The fingers behind the golu dolls of Bommaikara Theru in Kancheepuram

In the festive season of Navaratri, temple streets in Chennai, particularly Mylapore, come alive with rows of road retailers displaying vibrant golu dolls. These dolls depict gods, goddesses, and mythological characters, every crafted with care. But the place do these vibrant dolls come from? The reply lies only one district away, in Kancheepuram.

Behind the Varadaraja Perumal temple in Kancheepuram sits a quiet lane formally known as Asthagiri Street. For practically 70 years, it has been popularly referred to as Bommiakara Theru, or Doll Makers’ Street.

Families right here have been shaping figures for generations, as soon as utilizing clay however now more and more turning to paper mache or Plaster of Paris. This shift has come as clients, particularly Indians settled within the United States, demand lighter dolls that may be shipped simply. But paper mache requires much more funding than clay, and for a lot of artisans, the prices are crushing.

Among these holding the craft alive is 26-year-old Aravind Suresh, the fifth era of Meenakshi Golu. He not solely makes dolls but in addition markets them via social media, reaching clients throughout India and overseas. “I grew up watching my father make these dolls,” he mentioned. “Earlier, there have been many households right here, however now only some are left. I exploit on-line platforms to increase our work and discover new patrons.” He defined that almost all of his clients at the moment are primarily based overseas, whereas gross sales inside India have dropped. “People within the U.S. order greater than Indians. They organise golu competitions and at all times ask what’s new every year.”

But additional down Bommaikara Theru, the struggles are clear. M. Kandan, 46, has been within the commerce for the reason that age of 11. For 35 years, his day by day wage has risen solely from ₹100 to ₹500. Once a potter, he turned to doll making when metallic utensils changed clay pots. “I can solely make Vinayakas,” he mentioned. “I don’t have the cash to make different dolls. Every time I method a financial institution for a mortgage, they flip me away. I’ve tried so many instances, however it’s of no use.”

Another long-time doll maker, Rukmangadhan, 65, remembers a time when practically 60 households lived on this road making dolls. Today, solely about 25 stay. He and his spouse proceed the work with restricted means, whereas their son works as a medical consultant. “Making dolls requires heavy funding,” his spouse Valli mentioned. “From clay and paint to moulds and packing, all the pieces is dear. Now with paper mache, it’s even costlier. We borrow from moneylenders, and after we can’t repay on time, they harass us. Continuing this job has turn out to be very powerful.”

Their son Diwakar pointed to a different problem. “The native artisans’ union collects ₹1,000 every from my mom and father, each six months, but hardly ever gives assist. The union primarily helps these from the dominant Koyavar group,” he mentioned. “Loans and contacts are handed inside their circle, whereas others like us are ignored. When we ask for assist, they are saying the dates are over or it’ll occur subsequent time. But the following time by no means comes.”

Buyers visiting Bommiakara Theru imagine that these artisans deserve higher backing. “Some form of authorities assist needs to be there. Not everybody could make such idols. This expertise is exclusive, and it wants encouragement to outlive,” certainly one of them mentioned.

Without monetary assist and wider promotion, the craft dangers fading into historical past, leaving solely reminiscences of what was as soon as the proud road of dolls.