The brief gave the drummers their own full-width stage: rather than tucking musicians into small side panels, a whole row of five dhol players marches across the base, sticks up mid-beat, while the goddess sits enthroned in a cusped arch above as if summoned by their rhythm. That vertical relationship — drumming below, deity above — is the design's whole idea. The Vaghri (Devipujak) community of Ahmedabad, long kept from temple sanctums, painted the Mother onto cloth to carry their shrine with them, and dhol and shehnai players accompany the goddess's procession and worship. Alizarin red, iron-rust black, undyed cream: nothing else, because the limited natural-dye triad is the entire discipline.