The procession starts from the temple around five in the evening, takes a round of Worli Koliwada, and returns to the temple around three in the morning. Koli children dress up for the occasion and join the procession.
A Koli lady carrying a container of holy water moves ahead of the procession and sprinkles water on the path using a genda phool (marigold flower). This practice symbolizes the purification, sanctification, and blessing of the path to ensure the smooth and auspicious progress of the procession.
Priests at the temple perform the abhishekam ritual, which involves the ceremonial bathing of the mukhalingam with sacred items, each poured while chanting specific mantras. These items include water, milk, yogurt, honey, clarified butter, coconut water, and sandalwood paste.
Koli men lift the palanquin onto their shoulders and carry it outside the temple premises. Devotees feel a closer connection to the deity when they participate in carrying the palanquin, as it symbolizes the deity's presence among them.
A troupe performs lezim, a Maharashtrian folk dance known for its energetic and rhythmic movements, including jumps, spins, and coordinated group formations. The dance is named after the lezim, a musical instrument made of wooden or metal rods with small metallic discs attached. When shaken, the discs produce rhythmic jingling sounds.
The end-point of the procession is the Sai Baba Temple, located near Worli Fort. The open space in front of the temple is ideal for large gatherings. After a brief halt at the Sai Baba Temple, the procession starts the return journey to Papvimochneshwar Temple.
While the saxophone is not traditionally a part of Koli music, its use in fusion styles demonstrates the adaptability and evolution of traditional musical forms. Incorporating Western instruments like the saxophone adds a new dimension to Koli music, creating a unique and dynamic sound that appeals to a wider audience.
A floral rangoli made from marigolds, roses, frangipani, and jasmine. Worli Koliwada, like many other old neighbourhoods in Mumbai, is characterized by narrow, winding lanes and closely packed houses. Despite the narrowness, these lanes serve as common spaces where residents come together to decorate during festivals.
Abhanga is a form of devotional music and poetry narrated throughout the procession. The term ‘abhanga’ literally means ‘unbroken’ or ‘indestructible,’ symbolizing the eternal and continuous nature of devotion. They convey spiritual teachings, emphasizing the importance of inner purity, detachment, and the pursuit of moksha (liberation).