Kanchipuram Golu Bommai

05 R EMOVA L OF MOULD After sealing the base, the mould is almost instantly opened. The doll is removed from the mould and extra clay is scraped from its sides using a chiwarai. 06 FINISHING THE DOLL The chiwarai is also used to join the two parts of the doll seamlessly. A light brush of water is helpful in this process. 07 BAKING THE DOLL Doll is then left to dry naturally for 3-4 days to make sure it gets nice and hard, without any cracks. The doll is baked in the kiln at about 980°C. Dept. of FC/ NIFT, Chennai 2021 102

PAPIER M ÂCHÉ DOLLS 01 PREPARATION OF PAPIER M ÂCHÉ Scraps of waste cartons are collected and ground at a mill into a mash. Tapioca powder is boiled with calcium sulphate (to prevent fungus) to prepare a gooey brown paste. Then the paper scraps, tapioca paste and recycled Plaster of Paris powder are combined in the ratio of 1:1:1 and kneaded into a soft dough. 02 ROLLING THE DOUGH The dough thus prepared, is rolled into a chapati-like layer of 5-6mm thickness with the help of an uruttu katai or rolling pin. It dusted with French chalk powder and cut roughly into the size of the doll. 103 Craft Research & Documentation on Golu Bommai

03 L AY ER ING The papier mâché layer is then placed on one half of the mould of the doll. It is then patted lightly with water. The layer is pressed properly onto the mould using a horsehair brush and French chalk to take in all the impressions. Extra papier mâché is cut off from the sides using a blade. 04 RE- LAYERING A viscous glue is prepared using papier mâché and tapioca paste. Brown Kraft paper from cement packaging is torn into bits and stuck on the papier mâché layer in the mould, using the glue. Special care is taken not to stick the paper on the borders of the layer. The whole process is repeated for the other part of the doll crafted from the other half of the mould. Dept. of FC/ NIFT, Chennai 2021 104

05 JOINING BOTH THE H A LV ES The glue is applied properly to the borders of the layers of both the faces. The two halves of the mould are pressed together tightly, with the help of button and lines marked for guidance. The mould is opened carefully to reveal a whole doll. Extra components of the doll like hands, weapons, throne, miniature decorations, etc. (if necessary) are attached separately with the help of wire and fevicol to give a more 3D look. 06 CLE A N ING The leftovers of papier mâché are cleaned properly from the mould by scraping them gently with the horse-hair brush. The mould is ready to be used again. 105 Craft Research & Documentation on Golu Bommai

07 FIXING THE DOLL A soft paste of papier mâché, POP powder, glue (in the ratio 1:1:1), and French Chalk is prepared in such a consistency that it spreads easily. This is called sukka. It is applied along with a little water to the joints of the front and back faces of the doll to give a seamless finish. Any other cracks are also fixed using sukka. This process is done within two days of making a fresh doll. Horse-hair brush is used to dust the doll and spread the sukka properly in the crevices. The doll is then dried in the sun for about 30 mins. 08 SEALING THE BASE A thin border of the papier mâché dough is created inside the base of the doll. The sukka with double the amount of glue is generously applied to a flat cardboard cut in the size of the base. The cardboard is then stuck to the border created, sealing the base. Dept. of FC/ NIFT, Chennai 2021 106

Extra glue oozing out is removed using a chiwarai. The cardboard base is filed properly to remove any protruding edges and blend cohesively with the doll. It is dried completely for about a day. 09 FINISHING After the glue has dried properly, the doll is brushed with a runny solution of fevicol and water. This helps in getting rid of any French chalk left on the doll. The doll is further filed using sand paper so that it starts looking like one piece instead of two pieces stuck together. The doll is finally dipped in a 1:5 solution of tractor emulsion and water to form a smooth white coat of paint. It is then left to dry properly. 107 Craft Research & Documentation on Golu Bommai

PA INTING Dept. of FC/ NIFT, Chennai 2021 108

About 90% of the painting is done by hand and 10% by using simple machines like air brush spray gun. Painting is a painstaking job and requires a good eye. Most artisans are not able to paint well as they age, thus letting the younger generations take over. The multicoloured type of dolls painted in bright primary and secondary colours. Shades of the same colour are used for the creating shadow. Gold paint seems to be dominant in almost all the dolls since most of them depict bejewelled deities under golden arches or mortals wearing jewellery. The colours also depend on the deity’s visual representation. However, the base of the doll is generally blue, green, or red. In a few cases, textures are given with paint instead of clay or papier mâché. 109 Craft Research & Documentation on Golu Bommai

M ATER I A LS Enamel metallic paints Royale Shine paints Turpentine This paint provides a This paint provides a Turpentine is used glossy and shiny finish glossy and shiny finish as a solvent and thinner while painting. It is also to clean the air brushes. Gold powder Kerosene Varnish Used for ornamentation of Used to clean the air A final coat of varnish makes the jewellery and clothes the dolls look attractive and of the dolls. Also used in spray brushes seals the paint. It also has to be mixed with gold powder for spraying kalvettu dolls. painting. Dept. of FC/ NIFT, Chennai 2021 110

THE PROCESS The doll is first coated with emulsion paint to give an even white base before applying colours. A hole in the tin of the paint is made to transfer the paint in a controlled amount. After the first coat dries, the face and body of the doll is painted first in blue tints of enamel paint using a brush. It is left to dry properly for 3 hours, otherwise it will seep into the paint on the clothes. The painting is done from top to bottom. The clothes of the doll are painted next. 111 Craft Research & Documentation on Golu Bommai

The flora, weapons, crown etc are painted next. Royal Shine paints are applied to give gloss to weapons and musical instruments. Air spray gun is used to add depth. The spray gun is filled with a little kerosene and sprayed to allow the kerosene to clean the gun. A small quantity of kerosene and the desired paint which is usually a darker shade of the colour, is added in the gun. 3-4 drops of varnish are added next. Everything is mixed using a discarded brush. The needle is adjusted to control the intensity of the spray. The paint released is first sprayed on the base to check if it matches the body colour. With the help of an air compressor, the gun is used to spray a fine jet of paint on the doll with precision. Dept. of FC/ NIFT, Chennai 2021 112

Shades and highlights are also given with the spray gun. The spray gun is cleaned properly with kerosene and a cloth before introducing a new colour into it. Gold powder is mixed with the paint to spray on jewellery with a neat finish. Then a 000 brush is used to paint details of the face like the eyes, lips, smile, eyebrows etc. Finally, the dolls are left to dry. 113 Craft Research & Documentation on Golu Bommai

PA INTS USED The artisans purchase only the primary colours in enamel facial features like the auspicious mark of tilak and thirumal medium from the hardware shops. They prefer mix and and the lips of the doll. create tints and shades instead of buying secondary and Sky blue and navy blue are used to create shades of ash, tertiary colours. It is important to close the paint containers spray paint for Krishna skin, and clothes in combination with tightly for them to last longer. black and white enamel paint. White is the most used colour and so is purchased in large Magenta and light pink are used in flowers, clothes, pink quantities while green and blue are the least used. Hence, deity face and lips. Their shades can be used for clothing. they are purchased in lowest quantities. Tints and shades of both orange and yellow are used for Main colours for foliage like leaves, stem, sugarcane, grass, clothing, colouring the skin, mixing with green, foliage, and green saree of Goddesses are bus green and mint vahanas and base. Light orange, lemon yellow and golden green. The undertone of Rama is also depicted in shades yellow are used by the artisans. of green. Red is used for bright sarees and clothing of religious Golden brown is used to paint Saraswati’s veena, other figures. Signal red, poster red, pale red and blackish red are instruments, trees, tambura of munmurti, etc. Gold powder the names used by the artisans. It is also used to highlight is mixed with the paint to colour the deities’ ornaments. Dept. of FC/ NIFT, Chennai 2021 114

GLIMPSES OF THE PROCESS MOULDS The artisans wrench the two halves of the moulds open after they are sufficiently dry. The depressions created at the edges of the mould are used as guidance for proper alignment of the two parts when pressed together to create a doll. These are referred to as thavvu by the artisans. PAPIER-MÂCHÉ AND CLAY GANESHA DOLLS The papier-mâché dolls take up the detailing in the mould better and take a longer time to dry up. They are hard, resilient and lighter. Thus, there is a higher demand for papier-mâché dolls in the golu market. A HORSE-HAIR BRUSH The artisans create horse-hair brushes themselves, according to their preference. Good quality horse hair are arranged around a bamboo stick and cotton thread is tightly wrapped to form a convenient handle. They are used in brushing off excess chalk powder, pressing clay into the moulds, and in final finishing of the dolls. 115 Craft Research & Documentation on Golu Bommai

A SPRAY PAINTED DOLL After the first coat of paint for the doll’s body and dress, paint of a similar shade is sprayed on the doll using an air brush spray gun which gives better depth, shadows and more appealing look to the doll’s colourful appearance. GOLD POWDER FINISH Most dolls of deities require a final finish of gold powder mixed in paint for emphasising the crown, jewellery and other majestic details of the doll. It increases the value of the doll and mirrors its depiction in Hindu calendars. Dolls of world leaders are also given this look in Kalvettu style. FINE DETAILING After all paint and colouring of the doll is perfectly dry, a very thin squirrel brush is used to bring out the finer details of the dolls like the eyes, eyebrows, lips and other facial features like the tilak, etc. This step requires a sharp eye and constant attention to detail so, is generally undertaken by the younger artisans. Dept. of FC/ NIFT, Chennai 2021 116

117 Craft Research & Documentation on Golu Bommai

ARTISANS Dept. of FC/ NIFT, Chennai 2021 118

WOR KSPACE ADDRESS Chinna kanchipuram Ground floor - Residence 1st floor - work space X 3 Rooms and a hall The artisans have a home-based workshop environment. They live on the ground floor with their workshop on the first floor. The artisans spend most of their day in the production area, executing various manual processes required during doll-making. The room is fairly empty considering the rooms adjacent to it. The second room has equipment like air compressor and kneading machine as well as tools and a huge stack of paints. The other adjacent room is the place where all the unpainted dolls are stored. A large area is dedicated to storing fresh moulds. Painting is carried out in the production room itself. After traversing the production room, a small passage leads to an adjoining a room where the main stock of mould is kept. Smaller items, finished papier mâché dolls and carton boxes are stacked at the end of the passageway. They lay the dolls out to dry on the terrace and store additional dolls, moulds in the separate storage area. The work from home nature of the workshop makes it easy for the women in the family to contribute to the craft. However, the family follows a strict schedule and works for long hours inside the workshop, starting early in the morning and only to be back by evening, thus committing themselves completely to the handicraft. 119 Craft Research & Documentation on Golu Bommai

ARTISAN PROFILES Mr. Chockalingam and His Family Chokalingam NAME: Maheshwari NAME : Bharanitharan Master craftsman CRAFT: Papier-mâché and clay golu CRAFT : Papier mache dolls LOCALITY : Chinna, Kanchipuram Mentor : Muthu, Thozhupedu, LOCALITY: Chinna, Kanchipuram YEARS OF EXPERIENCE : 15 years Kanchipuram district YEARS OF EXPERIENCE : 30 years EDUCATION: B.Sc in Physics (started in 1977) PRODUCTS : Papier-mâché and clay Training Time : 3 Months PRODUCTS: Papier-mâché dolls dolls, painting( spray paint) Types of dolls : Multicolour and kalvettu Speciality : Natraja bronze replications with papier mâché kalvettu style NAME : Sasikumar NAME : Indrani CRAFT : Papier mache CRAFT : Papier-mâché LOCALITY : Chinna, Kanchipuram LOCALITY : Chinna, Kanchipuram YEARS OF EXPERIENCE : 15 years YEARS OF EXPERIENCE : 25 years EDUCATION: Mechanical engineering PRODUCTS : Papier-mâché and clay PRODUCTS : Papier-mâché and clay dolls, painting dolls, painting( spray paint) Dept. of FC/ NIFT, Chennai 2021 120

CHOK ALINGAM Born in the Kulalar or potter community of Tamil themes usually depicted in his dolls. Chokalingam Nadu, Mr. Chokalingam had no plans of ending up in has an experience of over 45 years in Golu dolls. the doll-making business. However, as the Kulalars However, he is open to adapting to the demands expanded into the doll-making business for extra and changes in this industry. He makes both income, he found himself drawn towards the fine multicolour and dark kalvettu dolls. He has also craftsmanship of Golu dolls. He learnt the process been making papier mâché dolls for 13 years now and nuances of the craft under his guru, Mr. Muthu and has found a new joy in it. His eyes light up and crafted his first ever doll of St. George slaying when he notices how well the paper mâché brings the dragon. However, what made him curious were out the intricate designs in his dolls. He prefers the the ingenious moulds in which the dolls were made. material as it is lightweight, gives a crisp finish and His teacher kept it a secret from Chokalingam, but has greatly reduced his transportation expenses. he figured it out by his sharp observation. He still He has also shifted from using gum arabica with holds the skill of mould making in high esteem and water-based paints to brighter enamel paints and has passed it on to his sons. tools like spray gun, which provide a depth effect. Chokalingam continued making clay dolls even after Chokalingam understands the legacy of this craft. his marriage. When he started his independent He could shift to plastic dolls and increase his workshop, he explored more designs, mainly production by 40x but chooses to craft traditional inspired by the local koil or temple architecture. He golu dolls. perfected the Nataraj doll and it is now a prized In the future, he aspires to design a full Ramayana design of his household. The well-structured Golu set and buy better machines for kneading figures, poised deities with their many hands clay. and weapons, and narratives from mythology are 121 Craft Research & Documentation on Golu Bommai

SPECI A L DOLLS OF THE FA MILY ST.GEORGE The first doll made by Mr. Chockalingam in his 30’s. After mastering the art of making moulds the visual of St.George killing a dragon was his try. NATARAJA MEENAKSHI THIRUKALYANAM The Nataraja modeled based on the Bronze sculptures of Cholas is the hot Meenakshi Thirukalyanam is second in piece in Mr. Chockaligams workspace. line after Natraja. This kalvettu style doll He has been making this doll since the featuring Meenakshi and Shiva getting beginning. He calls this as his family’s married, is sold in bulk to the supplier. identity. Dept. of FC/ NIFT, Chennai 2021 122

OTHER NOTABLE DOLLS MADE BY THE FA MILY SIVA’S FAMILY Siva with his wife Parvati and sons Ganesha and Murugan are seen seated on a frigid mountain - Kailasam. The visual is family portrait of sivas family on the Himalyas. Material : Clay Techniques: Mould and cast with spray painting Type: Multicolour ADIKESAVA PERUMAL Adikesava Perumal: This deity is an incarnation of Lord Ananthasayanam Vishnu . Lord Adikesava is in recumbent pose (yoga nidra), with both his eyes closed and reclining on coiled body of the king serpent, a symbol of the balance between finity with infinity. Material :Papier-mâché Techniques: Mould and cast with spary painting Type: Multicolour 123 Craft Research & Documentation on Golu Bommai

KALVETTU VINAYAKAR Ganapati, elephant-headed Hindu god of beginnings, who is traditionally worshipped before any major enterprise and is the patron of intellectuals, bankers, scribes, and authors. This is a kalvettu style with intricate details Material : Papier-mâché Techniques: Mould and cast with spray painting Type: Kalvettu SHESHANARAYANA This is a form of Vishnu which is called Adi-Murti. The Vishnu-dharmottara describes Vishnu as lying on a serpent bed. The serpent, Ananta is to have five or seven heads. If Vishnu reclines on the Sesha, he is called Sesha-Sayi and when he is seated on the serpent, he is called Adi-murti. The latter is the form of Vishnu prior to creation. Material : Clay Techniques: Mould and cast with spray painting Type: Multicolour Dept. of FC/ NIFT, Chennai 2021 124

A RTISA N’S FA MILY BHAR ANITHAR AN Bharanitharan is Chokalingam’s eldest son, skilled in making both clay and papier mache dolls. He is formally educated with a B.Sc degree. Job dissatisfaction made him return home and continue his father’s handicraft. He is now Chokalingam’s right hand. He is equally able in moulding and detailing the dolls. While Bharani believes he is yet to perfect the art of mould-making, Chokkalingam lovingly tells that his son is a master of the craft already. Bharani especially likes to create papier mache dolls and paint them. He is also skilled in making tools like and horse hair brush for the dolls. He is exceptionally good in painting the dolls, spray its face, dress and flowers with colours and handling them with care. He is patient with detailing the facial features with a minute brush as the face of the doll makes the first impression. He also handles packaging and keeps up with the news of the industry. Bharanitharan is very devoted to his craft and considers his father his guru. M A HESH WA R I Maheshwari is Chokalingam wife and helps them out in the golu doll business. She learnt the craft after her marriage and considers it as a productive activity to do when she is free. She believes her contribution makes her feel empowered, while it helps her husband earn well. She elaborates that there are customs her family needs to follow as makers of dolls. The women do not work when they are menstruating, neither do they touch the deity dolls. The family also does not make dolls on days they eat non-veg as the dolls are considered holy. She believes that the craft should be an option for the future generations to practice and they should get formally education first. She is proud of her 30 years of experience in golu doll making. 125 Craft Research & Documentation on Golu Bommai

INDR ANI Indrani is Chokalingam’s sister. She lives just 3 kms away and often comes to lend a helping hand to her brother’s craft. After her marriage, it was Chokkalingam who suggested that she learn the craft to keep herself busy. Now that her husband is busy and children are well settled, she spends a lot of time making golu dolls. She has gathered over 25 years of experience and gives valuable inputs on the female dolls’ clothes, jewellery and colours. Her favourite is Lakshmi as she can resonate with the stories of the Goddess. She also participates in painting the dolls. Together, the family relies on each other for their business to prosper. SASI KUMAR Sasi Kumar is Chokalingam’s youngest son. He holds a mechanical diploma and has an experience of 15 years in doll making. He used to love sketching as a child but then gravitated towards mechanics, while working in his father’s workshop part-time. It is with his knowledge of machines that he got new machines and tools to improve their doll-making. He is also a good craftsman of golu dolls. He was often ridiculed by his friends for choosing to make dolls while he could work in a company but with time, people accepted his profession and now appreciate his works. He actively communicates with shopkeepers to sell the dolls. He is also a keen observer of the sarees, sculptures and aesthetics of Kanchipuram and usually suggests the colour combination for the dolls. He even uses social media to observe what’s buzzing. The family trusts him to mix colours and offer painting ideas. He is currently focussing on a new set of Mysore Nav Durga that they are planning to release this September. Dept. of FC/ NIFT, Chennai 2021 126

FAC T O R S AFFECTING THE CR AFT Bommakaara veedhi COMMUNITY AVAILABILITY OF RAW MATERIALS The artisan community of Kanchipuram is cordial and With the decline in artisan communities, the supply well-connected with each other. There is a healthy chain which was closely linked has been disrupted. competition between them. Most them are based With the depletion of natural resources like clay near Asthagiri Street, near the temple. They share from fertile river and lake beds, onset of drought contacts with customers if a particular doll is to be and scarcity of water, it is difficult to procure the acquired and help other artisans. The families are raw materials at the opportune time at a reasonable supportive and look out for each other. However, they price. Since Kanchipuram is a well established city never disclose their secrets techniques or processes the import of raw materials are year round and that of making the mould outside the family. makes the artisans relaxed with respect to sources. 127 Craft Research & Documentation on Golu Bommai

DEMAND feeble in Kanchipuram. Thus, working on golu dolls is an year long activity. With the industry made goods capturing the market, the demand of handmade dolls has decreased over WEAKNESS the years. The availability of more affordable and unbreakable dolls is posing a tough competition to Golu dolls are well-established and have been an the traditional golu dolls. There is a need to revive indispensable part of Navratri in southern India for the fashion of authentic golu dolls and spread several years. However, Kanchipuram is hoarded awareness about the sustainability one can practice with seekers for its handloom sarees, hence golu through the adoption of handicrafts. dolls market take a backseat in comparison to it. SEASONAL INFLUENCE Nevertheless, these dolls are exported to the urban Golu dolls are an integral part of Navratri celebrations parts of Tamil Nadu and its neighbouring states, which subjects it to seasonal festivities and carrying the proof of the eternal craft. consequent profits. Besides the market, golu craft Another reason why the craft does not receive is in sync with nature just like all handicrafts. Clay much publicity is due to the fact that it does not has to be sourced during the humid months of April utilise geographically bound raw materials from and May to ensure proper texture and moisture. Kanchipuram. Thus, it does not have a GI tag, which The dolls need to dry during hot and dry summer could have otherwise contributed to its credibility. and the painting is taken up during the months of There are several schemes and policies to empower December to February, when it rains and sunshine is the artisans but it is tedious process for the artisans to avail the benefits. 2019 TREND TRENDS ATHI VA R A DA R The golu doll market is also governed by trending dolls and what the customers are seeking for a particular year. Sometimes, religious sets sell the best. Other times, people want newer narratives in their golus, resulting in better sale of the set dolls. Trends in Kanchipuram’s fashion market also affects the craft of doll-making. Most of the artisans are traditionally skilled in creating dolls of religious interest. They like to follow the designs that have been bought since generations. It is a challenge for them to study trends in clothing, craft and colours around them before designing a doll. They are apprehensive about how the doll would perform in the market. Artisans also have a tough time keeping up with the trends as their knowledge of internet and online social network is limited. Dept. of FC/ NIFT, Chennai 2021 128

129 Craft Research & Documentation on Golu Bommai

MARKET STUDY Dept. of FC/ NIFT, Chennai 2021 130

M A R K ET STUDY The demand for golu dolls soars during the Navaratri season which falls around September to October. Markets start flooding with dolls from 5 cm to 50 feet two months before the festival. There is no such thing as too many golu dolls. OFFLINE VS ONLINE GOLU MARKET The offline golu market offers the satisfaction of inspecting colours, size, jewellery, and other details of the dolls while socialising and bargaining with the sellers. However, with the rising social media and online platforms, golu dolls can be easily found on Instagram pages, amazon and other online websites. This has helped the handicraft to become global. People living abroad can buy Indian golu dolls in just a click. On the other hand, it has become just another item on the website. The experience of shopping is denied; you do not get to realise the lively environmental or the fun of golu shopping. Despite this, 80% of the sales are happen through offline shopping, encouraging the local artisans. Currently, golu dolls are roughly available from Rs. 100 to 10,000. CUSTOMERS Golu doll market is interesting in the sense that, the types of customers are varied and cannot be distinctly segregated. However, they can be broadly classified based on buying - impulsive and exclusive. The Mada and Asthagiri streets of Kanchipuram have the advantage of over a thousand people visiting the nearby temple. This helps in boosting their sales. It’s impossible not to catch attention of the pretty dolls filling the streets. The other category is the exclusive shoppers. People travel from far and wise to seek special dolls exclusively available in Kanchipuram. These consumers are determined and do not want to compromise on the quality of the dolls. Most of the consumers of are people from neighbouring districts itself. Most of them are Hindu by religion and buy them for religious value. Apart from religious reasons, golu dolls are purchased to imparts moral or as gifts. In recent years, the growing travel and tourism industry has also provided opportunities to local artisans manufacturers to produce commodified dolls, easy for tourists to transport and take them away as souvenirs. 131 Craft Research & Documentation on Golu Bommai

GOLU BAZAARS In Tamil Nadu, the main markets which sell golu dolls on a large scale in a bustling atmosphere are Mylapore and Mada streets. Poompuhar outlets, Khadi Bhavan, Victoria Technical Institute and Kuralaham are government initiatives. The artisans pitch their work or show samples to get a spot for display or sell them through these stores. In the capital city of Chennai, some streets are known because of the golu markets being set up there over the years like Mylapore-Mada streets, T-Nagar Usman road and Kosapettai. Artisans and retailers line the streets with golu dolls, painting the entire street in bright Navratri colours. Sometimes, the dolls sell for double their original price, bringing profits for the middlemen. Hence, the artisans end up making much less from the dolls. Most artisans avoid opening a shop. They believe that opening a store will affect their overall profit as their maintenance expenses would increase. It is the retailer who reaches out and sells it for them. So, many of them are dependent on the government and the retailers for their livelihood. COST The price quoted on the doll depends on the material, size, type, detailing and effort put in the doll. The cost between clay and papier-mâché is about Rs. 50-100, which papier-mâché dolls selling better. The cost depends on the season as well. During the Navaratri season, the salesmen try to increase the cost and make good money. Later, they give discounts to clear off the stock before the fervour of Navratri dies down. Dept. of FC/ NIFT, Chennai 2021 132

COMPETITION Traditionally, golu figurines were made of natural materials such as clay and painted with water based dyes. The material, craft, technique and appearance depend on local materials and inspirations. Over time, the industry switched to papier-mâché and durable enamel paints. Kondapalli dolls which are also included in the golu display are made from wood. Artisans have also started sourcing clay from other states. The craft of doll-making has been preserved by the artisans and is subject to limited exploration, therefore alternative materials pose stiff competition to the traditionally made dolls. There is vast variety of other materials that are being used in doll-making like wood, cane, quilling paper, ceramic, metal and plastic. BRONZE Bronze was the earliest metal used by humans to make tools. For making dolls from metals, the mould is prepared by giving several coatings of clay on the wax models. The molten metal or alloy is then poured in a thin stream into the mould, made red hot and finally broken to take the item out. This is a method well known in Orissa, Bengal and Bihar. The artists produce strong artistic products especially images of Hindu god and goddesses. WOOD Wooden dolls are in great demand recently. Traditional designs are first carved on the wood and then painted to give it contrasting effects. The Konyak tribe from Nagaland was the first known to carve wooden figures. Wooden Marapachi dolls of Tamil Nadu also have a strong influence on the golu display. Orissa, Kashmir, Gujarat and Madurai also create dolls in sandalwood, rosewood, walnut wood DIY- PAPER Paper quilling is a famous art form that involves the use of strips of paper that are rolled, twisted, or curled to create desired forms. The paper quilling dolls are made with different colours of paper looped or twisted to create the body and decorations. This way people are able to make cute DIY golu dolls. 133 Craft Research & Documentation on Golu Bommai

CERAMIC Ceramic dolls, also known as China dolls were first manufactured in Europe. They look classy with light colours on their mostly white bodies. Bisque or unglazed porcelain dolls are also regarded as antiques. These dolls in demand because of their matte texture that is closer to human skin. PLASTIC Like any other industry, plastic has also invaded the doll market. Most of the plastic dolls are made from PVC (polyvinyl chloride). It gives an unbreakable alternative and still rules the market mainly due to its high rate of production and affordability. Instagram pages : Indian antiques Twitter handles : Pokkisham R ESELLI NG A part of the market is also re-selling old gold dolls as an antiques. This attracts aesthetes and culture enthusiasts. Such shopkeepers generally advertise the dolls on social media platforms like Instagram, Twitter, and Facebook. The dolls are posted with their names, cost, and description and numerous hashtags to widen their reach. This is also an area where current artisans can expand themselves to. These pages post old dolls which are give away by the younger generation. They contain precious peieces which can never be remade. The colours are subtle and one with nature. The current craze for antique products is making swoon over antique golu dolls from Iyenger family lineage. Dept. of FC/ NIFT, Chennai 2021 134

GOVER NMENT INITI ATIVES WHICH SUPPORT GOLU DOLLS The golu dolls of Tamil Nadu are deified unique store because of all the efforts it and support a livelihood of hundreds of puts to provide socio-economic security artisans. Their numerous narratives and to craftsmen and market their innovative interesting combinations make the golu designs. Its collections are authentic, padi fascinating every year. The doll have attractive and reliable. It operates through successfully donned multiple roles as both retail stores and online website. deities for worship, as means of imparting The Khadi and Village Industries knowledge and as gifts. To keep this Commission (KVIC) is another body that tradition alive, people need to propagate empowers the artisans. The statutory body the craft sincerely and encourage the which came into existence in April 1975 by artisans. The government of Tamil Nadu the Government of India. This organisation has established stores and scheme for runs under the Ministry of Micro, Small the promotion of the handicraft. and Medium Enterprises with regards to Poompuhar is one such undertaking, villages and cottage industries. Its major which reaches out and showcases the goal is to “plan, promote and assist in the various crafts of Tamil Nadu. It spreads establishment and development of khadi awareness about the hard work done by as well as village industries” in the rural artisan in producing exquisite handcrafted area in coordination with other agencies products and provides a platform for involved in rural development. The Khadi customers to buy products from. It is a Gramodyog Bhavan often puts up an reputed platform of The Tamil Nadu exhibition of golu dolls for customers Handicraft Development Corporation to buy during the Navratri season. They (THDC), that has been serving the native also advertise online. Thus, they end up art and crafts of the state since its inception helping their fellow artisans. This builds in July 1973. Poompuhar is considered a up a strong community spirit. 135 Craft Research & Documentation on Golu Bommai

IMPACT OF COVID The onset of restrictions due to COVID-19 has unleashed and wide. Their house turns into a museum of sorts for new problems for the artisans. They were already in almost two months, with the family entertaining friends the production of many orders when the lockdown was and strangers alike and helping them find the right dolls ordered and all business came to a standstill. They had for their golu setup. Since last year, the doors remained no option but to let their stocks stagnate at their storage open but little else has gone according to plan. with no retail shops to sell them. The artisans do not have a regular income from their The last three years have been extremely difficult for business. They cannot dedicate much time to other jobs them. They could not sell well in 2019 as the market did as the craft of golu demands different responsibilities not perform well. People were not so interested in the throughout the year. They dedicate the summer months to designs displayed. sourcing the clay and drying the dolls. winter months are After COVID struck in 2020, the artisans did not make new reserved for painting. The time from August to October moulds since their previous batch was not sold then. They generally passes away in marketing and selling the dolls. are hesitant about trying anything new with the designs. Thus, the artisans are living from hand to mouth. Even They want to stick to want the customers generally like though, COVID restrictions have been relaxed and and are desperate for orders at this moment. people are venturing out, golu shopping is not their The artisans who were kind enough to teach their craft priority. People living in urban areas usually place their to us, are usually up by 5 am, throwing their doors open order online. Overall, the artisans of Kanchipuram has in the hope of welcoming customers coming from far incurred a major loss due to the pandemic. Dept. of FC/ NIFT, Chennai 2021 136

DESIGN OPPORTUNITIES After studying the craft of Golu Bommai, we understood the efforts put in it and how it is heavily influenced by the religious and socio-cultural beliefs of southern India. To sustain the craft, we need to create opportunities for the craft to flourish, reach and touch people’s lives. Therefore, our team came up with some ideas to make feasible changes so that the craft is profitable for the artisans in the near tomorrow. IDEA 1 Ponniyin selvan has always had a strong connection with the Tamil land. A 5 part novel was released weekly The artisans generally like to play it safe, creating dolls in a magazine with illustrations in the 1950s. With the that are always in high demand and this has over- feature film and web series being made based on the saturated the market with deity and religious dolls. story, people have been hooked to anything related Introducing fresh narratives in the golu display is a to the story. Book fairs piled up 1000s of copies and trending phenomenon. Families are looking for newer illustrations based on the actors; the influence is story lines, different combinations of set dolls and endless. So this can be seen as a possible trend in the newer additions to the otherwise very religious golu. future. They want to educate their kids and add some quirk Bahubali is a good example to show why we should do to their display, making it different from that of their this. When it was released, it was the talk of the town. neighbours. Many people even tried showcasing this story in their golu, but the lack of availability of these dolls made The idea includes introducing doll sets based on the them try makeshift versions during Navratri. This shows renowned Tamil novel Ponniyin selvan and other smaller that we already have a customer base, people who will stories like that of Panchatantra, legends of Maharana definitely buy golu sets inspired by movies. Pratap and his horse Chetak, and common Indian Ponniyin selvan is also in the same genre as Bahubali, folktales. and is soon to be turned in a great motion picture with a star cast onboard. It is bound to become just The Cholas play a major role in the history of as popular as Bahubali among the people, and when it Kanchipuram. Stories of Pallavas and Cholas are less does, the artisans will be able to cater to their needs. explored in golu dolls, therefore if explored, would be authentic to the region. Moreover it will be a fresh addition, instead of the Ramayana sets which have been made since ages. 137 Craft Research & Documentation on Golu Bommai

Doll depicting a crucial scene from the novel - Magazine illustration served as the reference IDEA 2 can study the trending colour palette for the saree for a particular season and paint their dolls accordingly. This suggests introduction of dolls spreading awareness Adopting a colour strategy can revamp their dolls, on Corona. These can be made attractive to target making them look absolutely different from the children like dolls holding a vaccine, a set showing social traditionally painted dolls in the market. distancing or handing out masks and sanitizers. People The artisans can also communicate with the saree have tried to incorporate awareness about corona in dealers of their area to know more about the happenings their golu of Navratri 2020 and such dolls could play an in the saree market, offline as well as online. important role in propagating the message. IDEA 5 IDEA 3 Documentation of one’s work and skill is always We believe that the artisans can set up an off-season rewarding. We encouraged the artisans to make a business of toys and kids’ learning accessories catalogue that documents their inspirations, colour like alphabets, slates, games, and the likes to it, study, reference images, photographs, calendars, manufactured from papier mache to help them get cards, previous and best works to keep a record of their some extra income. No doubt this would require time, progress. This will also help them to track their designs, patience and an in-depth study of the toy market. refer to older versions and create something better, and showcase their fantastic works with pride to their IDEA 4 customers or retailers. Thus, they can advertise their works as well as preserve it. This idea brings together the craft of Kanchipuram saree into the craft of golu dolls. Since the silk sarees are known for their plethora of colours and motifs, the artisans can look up to them for colour inspiration. They Dept. of FC/ NIFT, Chennai 2021 138

139 Craft Research & Documentation on Golu Bommai

CONCLUSION Dept. of FC/ NIFT, Chennai 2021 140

141 Craft Research & Documentation on Golu Bommai

CONCLUSION Through the craft cluster visit, the handicraft of golu doll making gained a new found respect in our lives. It is rightly said that if we aspire to become something, we should honour and strengthen our roots. It was indeed fascinating to learn how the golu dolls carry our culture, morals and folk tales in their gentle visages. This rich cultural association of the craft is noteworthy. The fact that the artisans of Kanchipuram have an intrinsic sense of design and iconography and could fashion a well-defined doll in a short time was marvellous. Apart from being sensitised towards the crafts and its techniques, we understood the efforts spent in creating a doll from scratch. A lot of resources also go into procuring raw materials and selling the dolls, that one can imagine. The traditional craft still holds a prestigious place against its competitors giving hope for the future opportunities linked to it. It is the livelihood of many and a treasure for others. The handicraft of golu has been a part of our Navratri festivities since ancient times. It is not just a means to evoke the blessings of God, but a joyful activity in the lives of the people. Therefore, it is our duty to encourage the craft and sustain the practice for the sake of India’s continuous prosperity and creative advancement. Dept. of FC/ NIFT, Chennai 2021 142

GLOSSA RY A Abhaya mudra - A sacred hand gesture or ‘seal’ used during yoga and meditation as a means of channelling the flow of vital life force energy known as prana Adhbhuta - Exclamation in Hindi to show surprise or wonder. Alankaram - A concept in Indian classical art form meaning ‘ornament or decoration’ Antariya - A lower body garment from ancient India that is passed through the legs and tied around the waist Artha - The pursuit of wealth or material advantage Ashta - Eight (8) Athi - Fig Attam - Dance Avidya - Ignorance Ayutha – Tamil for a shield like weapon Azhvarakals- Literally translates to’ those immersed in God’. They were Tamil poet-saints of South India who advocated bhakti (devotion) of Lord Vishnu in their songs of longing, devotion and service. B Bahumulam - Shoulder Bhakti cult -The Bhakti movement refers to the wave that was brought forward by several Hindu saints in medieval Hinduism that campaigned to bring religious reforms by adopting the method of devotion to achieve salvation. Bhayanak - Hindi for fearful. Bhaya means fear. Bommai- Tamil for doll Bommakaara veedhi - A street beside the Kailasanathar temple which houses doll-making artisans C Chakra –A wheel Charanam - Feet Chettiar-Aachi - Rich business heritage of the Chettiar community in South India. Chinna – Tamil for small Chiwarai - Bamboo tools personalized by the artisans in varying degrees of sharpness to detail the doll. D Dasavatharam - The 10 incarnations of Lord Vishnu Dharma- The ideology of ‘right way of living’ and dutifully following the ‘path of virtue’ E Ekadanta - Single tusked 143 Craft Research & Documentation on Golu Bommai

G Gajalakshmi – One of the manifestations of Goddess Lakshmi who is flanked by elephants or gaja on both sides. Ghulam - Neck Golu Padi - Steps on which gold dolls are arranged Gopuram - A tall and sculpted pyramidal tower over the entrance gate to a temple precinct. Guru - A spiritual teacher. H Hansa - Swan Hara- A metal ornament worn around the neck. Hara refers to a type of necklace or “neck-ornament” as defined in treatises such as —the Hara is a general term used to designate either a garland (invariably used just like the term mala) or a long necklace with single or multiple strings or laces. They may be worn around the neck and generally falling over the breast to the sternum. J Janumandalam - Knee Juxtaposition -two things being seen or placed close together with contrasting effects. K Kalasha – A silver or brass pot with a large girth and a small mouth, arranged with a coconut and mango leaves at the mouth for worship Kalimann- Clay Kalvettu - Sculpture Kama – Love and pleasure Karakaram - Arm Karuna - Hindi for compassion or pity. One of the nine rasas, it focusses on the emotion of sympathy, kindness and understanding sorrow. Kerosene - A combustible hydrocarbon liquid that is derived from petroleum Keyura - A thick metal ring for the wrist. Keyura refers to a type of bodily ornamentation, Keyura is the ornament worn around the upper arm or above the elbow. These are depicted variously, in many forms and shapes, depending on the material they represent. In the most elaborate cases, the  b­ahuvalaya  is represented as a large band, often embedded with gems, having the lower edge embellished with pearl strings, and the upper edge surmounted by a prominent decorative patterns. Koil – Tamil for temple Kumkum- A natural powder made from turmeric powdered with a bit of slaked lime, which gives it a red colour, used in Hinduism for putting an auspicious mark or tilak on the forehead Kundala - Sanskrit for loop like metal ornaments for the ears. Kundala is another name for ear-ornaments or earrings. M Mahalaya paksha - Mahalaya is the day when Goddess Durga is believed to have descended to Earth Makara- A chimeric mythical creature in South Indian iconography in the form of an elephant head and body with an elaborately foliated fish tail Dept. of FC/ NIFT, Chennai 2021 144

Mandapams- A pillared hall or pavilion for public rituals, especially Hindu temple architecture Modak - Steamed dumplings with an outer layer rice flour dough and a coconut-jaggery stuffing Moksha – Literally translates to freedom or liberation, refers to the philosophy of attaining release from the material world with the end of rebirths Mukham - Face Mukuta - Richly ornamented crown Mumurtivasam- The abode of the trio, Ekambareshwar temple (of Shiva), Kamakshi Amman temple (of Parvati) and the Varadaraja Perumal temple (of Vishnu) together are popularly known as the Mumurtivasam. Mu- Three, Murti – Idol/Deity, Vasam – Aroma) Mushak- Rat N Naagam- Snake Nava Durga- 9 Durgas P Padavalaya - Paadha ( Foot) Valaya ( ring ) An anklet. Padavalaya refers to a type of “ornaments of leg”, as defined in treatises, such as the —Padavalaya are the single or multiple circular anklets worn around the ankles. These are represented variously as a single circle, or a set of circles, or a large band. Plaster of Paris- A white chemical compound of gypsum powder or calcium sulphate hemihydrate that is used as building material, protective finishes or decorative coating of walls and in moulding and casting processes Prabhavali- The decorative brass arch placed around the deities in temples and home shrines. It typically features a Makara’s head at the top. It is considered to be the guardian of gateways and thresholds. Purattasi- One of the holy months in the Tamil calendar. Purattasi in Southern India is dedicated to the worship of Lord Vishnu or Lord Perumal. Pustak – Hindi for book R Raudra- Sanskrit term for furious. It follows the emotion of anger or krodha. S Saivites- One of the major branches of Hinduism that believes in worshipping Lord Shiva Samovar- Metal container used for heating water for tea Sattwa guna – Virtue of goodness, calm, harmony Shantha - Hindi for peaceful or serene Shringara – One of the nine rasas of Indian classical arts that focusses on love, romance and beauty Shwetamber - One who wears white clothes Siddhi- Complete understanding; enlightenment. Sikha- Hair tied in a bun or pony tail Sukka - A mixture of papier mâché, glue and water in a plasticine consistency which is used to refine the doll. This is applied to the cracks and edges of the dried dolls. 145 Craft Research & Documentation on Golu Bommai

Swadeshi- Literally translates to ‘of one’s own country’, a movement for national independence in India boycotting foreign goods and encouraging the use of home crafted products like khadi T Tella Poniki- Softwood found in Andhra Pradesh which is used to make Kondapalli dolls Thalayaati- Bobble-head Thamboolam- A tray containing auspicious items like kumkum (red powder), turmeric, betel leaves, flowers, fruits, sweets, and other gifts. Thavvu - Buttons made in the mould-making process. These buttons help the artisans align the two halves of the mould together. Thiruppavai- A set of Tamil devotional religious hymns attributed to the female poet-saint Andal Trishul – A trident U Udarabandha - Udarabandha is a piece of cloth (bandha) or a band, either flat in surface or variously decorated, which is worn (as a belt) round the belly/over the stomach area (udara). Rao defines it as follows: “At the junction of the thorax and the abdomen also is worn a broad belt of good workmanship; it is called udarabandha”. Ulagalantha- The one who measured the world with his foot Urutu kattai – A rolling pin Uttariya - An upper-body garment from ancient India V Vahanam - Divine vehicle of the deity, usually an animal Vaishnavites – One of the branches of Hinduism centred on the devotion of Lord Vishnu Velamaram- Babool tree Veshti- A long unstitched piece of fabric wrapped around the waist in southern India Vimana- Vimana is the structure over the garbhagriha or inner sanctum of a Dravidian temple Y Yaazhi – Also written as Yazhi or Yali (Pronounced ya lee and unrelated to the Navajo name), a mythical animal that is a chimera of a lion, elephant, and a snake Yatra- Hindi for travel Yeri – Tamil for lake Dept. of FC/ NIFT, Chennai 2021 146

BIBLIOGR APHY Agarwalla, V. (2019) India’s Creative Wealth--Handicrafts and Handloom Industry. IndianFolk [Online]. Available at: https:// www.indianfolk.com/indias-creative-wealth-handicrafts-handloom-industry-edited-anu-vensila/ (Accessed: August 15, 2021). Badam, A. (2020). Golu doll [online]. Available at: https://www.flickr.com. (Accessed: 27 July 2021) Baju, H. (2007) ‘Venkateswara Calendar’. Shop last year [Online]. 12 April. Available at: https://shoplastyear.blogspot. com/2007/04/venkateswara-calendar.html (Accessed: August 15, 2021). Birds of a Feather (no date). Gaatha [online]. Available at: https://gaatha.com/papier-mache-bird-ujjain/ (Accessed: August 15, 2021). Bryan Images. (2017) Golu dolls [online]. Available at: https://www.flickr.com (Accessed: 27 July 2021) Casual walker (2019) Navarathri Golu [online]. Available at: http://casualwalker.com/navarathri-kolu-doll-shops-north-mada- street-mylapore-chennai-part-2/ (Accessed: 27 July 2021) Choudhury, D. (2017). Mahishasura Mardini [online]. Available at: https://www.flickr.com. (Accessed: 27 July 2021) Claus, Diamond and Mills (2003). South Asian Folklore: An Encyclopedia : Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka. New York: Routledge Creations, N. (No date) The Traditional Motifs of Kanchipuram Sarees, Navgraha Creations. Available at: https:// navgrahacreations.com/blog/f/the-traditional-motifs-of-kanchipuram-sarees (Accessed: August 15, 2021). Dhubri District, Govt. of Assam. (2021). ASHARIKANDI – A Terracotta Village. [Online]. Available at https://dhubri.gov.in/ frontimpotentdata/asharikandi-–-a-terracotta-village (Accessed: 1 August 2021) Dhubribuzz. (2020). Hatima Putul. [Online]. Available at: https://www.facebook.com/dhubribuzz/photos/a.115431073399721/173530537589774/?type=3&theater (Accessed: 1 August 2021) Dolls That Are Worshipped: Golu Dolls of Tanjore (no date) Sahapedia. Available at: https://www.sahapedia.org/dolls-are- workshipped (Accessed: August 15, 2021). GIRI (No Date) Sri Kamakshin Kovil Stala Varalaru [online]. Available at: https://giri.in/kanchi-kamakshi-kovil-sthala-varalaru. html Govindarajan, V. (2016) ‘Photos: This Navratri, golu arrangements in Chennai reach new creative heights’, Scroll.in, 9 October. Available at: https://scroll.in/article/818359/photos-this-navratri-themed-golu-arrangements-in-chennai-reach- new-creative-heights\\ (Accessed: August 15, 2021). 147 Craft Research & Documentation on Golu Bommai

Goyal, A. (2018) Sri Kanchi Kamakshi Temple – The Soul Of Kanchipuram, Inditales [Online]. Available at: https://www. inditales.com/kanchi-kamakshi-temple-kanchipuram/ (Accessed: August 15, 2021). Grewal, R. (2009). The Book of Ganesha. Delhi: Penguin Books India. Harshananda, S. (1982). Hindu Gods and Goddesses. Chennai: Sri Ramakrishna Math. https://www.newindianexpress.com/cities/chennai/2020/oct/03/lockdown-effect-golu-doll-business-in-doldrums-in-tamil- nadu-as-demand-dries-up-2205006.html (Accessed: 1 August 2021) Indian Antique Quest. Instagram [Online]. Available at: https://www.instagram.com/indiantiquest/ (Accessed: August 13, 2021) Indian Craft House (2018). Papier Mache – Art Born In The Land Of Persia And Raised In Kashmir[Online]. Available at: https://theindiacrafthouse.com/blogs/news/demo1 (Accessed: 9 july 2021) Jagannathan, M. (2005). South Indian Hindu festivals and traditions. New Delhi: Abhinav Publications. Jagannathan, S. (1984). Hinduism: An Introduction. Bombay: Vakils, Feffer and Simons Ltd. Encyclopedia Britannica (no date). Kanchipuram [online]. Available at: https://www.britannica.com/place/Kanchipuram (Accessed: August 15, 2021). Kashmiri Paper Mache Crafts - Jewelry Box (no date) Sparrowbazaar. Available at: https://sparrowbazaar.com/product/ kashmiri-paper-mache-crafts-jewelry-box-10/ (Accessed: August 15, 2021). Kathakali Papier Mache Mask - Arjuna from Mahabharata (no date) Dolls of India. Available at: https://www.dollsofindia. com/product/papier-mache-crafts/kathakali-papier-mache-mask-arjuna-from-mahabharata-HC65.html (Accessed: August 15, 2021). Kumar, S. (2021). ‘Blessed by PM Modi, Varanasi’s wooden toys get makeover for new markets’, The Hindustan Times. 18 March [Online]. Available at: https://www.hindustantimes.com/cities/lucknow-news/blessed-by-pm-modi-varanasi-s- wooden-toys-get-makeover-for-new-markets-101616069355661.html (Accessed: 1 August 2021) Madhavan, A. (2020). ‘Lockdown effect: Golu doll business in doldrums in Tamil Nadu as demand dries up’, The New Indian Express. 3 October Mamatha, S. (2020). Grocery store golu [online]. Available at: https://www.flickr.com. (Accessed: 27 July 2021) Meenakshi. (2018). ‘Significance of Bommai Golu During Navarathri- India’s Doll Festival’. Polkajunction [Online]. Available at: https://polkajunction.com/significance-of-bommai-golu-during-navaratri-doll-festival-of-india-travel-blog/#What_is_ Navrathri_Golu_or_Navratri_Golu (Accessed: 29 July 2021) Ministry of Textiles, Government of India. (2021). Development Commissioner (Handicrafts) [Online]. Available at: http:// www.handicrafts.nic.in/index.aspx (Accessed: 1 August 2021) Dept. of FC/ NIFT, Chennai 2021 148

Mitchell, A. (1998). Hindu Gods and Goddesses. New Delhi: USB Publishers’ Distributors Ltd. Mondal, A. (2019). m_ashmita. Instagram [Online]. 25 October. Available at: https://www.instagram.com/p/ B4CxOPdFfYy/?utm_medium=share_sheet (Accessed: August 15, 2021) My learning, The History of Papier Mâché[Online]. Available at: https://www.mylearning.org/stories/the-art-and-craft-of- papier-mch-/resources#story_links (Accesses: 9 July 2021) Nabi, W. (2019) ‘In Photos: Papier-mâché — The labyrinth of a dying art’. Free Press Kashmir [Online]. Available at: https:// freepresskashmir.news/2019/02/06/in-photos-papier-mache-the-labyrinth-of-a-dying-art/ (Accessed: August 15, 2021). Nadadhur, S. (2018). ‘Bommala koluvu: a treasure trove of stories, traditions and memories’. The Times of India. 18 October [Online]. Available at: https://timesofindia.indiatimes.com/entertainment/events/hyderabad/bommala-koluvu-a- treasure-trove-of-stories-traditions-and-memories/articleshow/66264161.cms (Accessed: 28 July 2021) Nair, P. (1997). ‘Nine nights of excitement honour the Goddess Devi’. The Straits Times. 3 October, p.17 Narayan, V. (2017) ‘Navratri Golu Celebrations at Home’, Masalachilli [Online]. Available at: https://masalachilli.com/ navratri-golu-celebrations-at-home/ (Accessed: August 15, 2021). Narayanan, V. (2020) ‘Festival season brings no cheer to clay doll makers this year’. The Hindu [Online]. Available at: https://www.thehindu.com/news/national/tamil-nadu/festival-season-brings-no-cheer-to-clay-doll-makers-this-year/ article32041620.ece (Accesses:9 July 2021) Natarajan, J. (2020) Navratri Golu [online]. Available at: https://www.flickr.com (Accessed: 27 July 2021) Pareek, Shreya (2014) ‘How This Family Is Giving A Different Twist To Golu, The Lovely Festival Of Dolls’. The Better India [Online]. Available at: https://www.thebetterindia.com/14830/golu-traditional-festival-dolls-south-india/ (Accessed: 9 July 2021) Parthasarathy, A. (2007). The Symbolism of Hindu Gods and Rituals. Mumbai: A. Parthasarathy. Prasad,R. (no date) Craft Cluster-Kanchipuram, Issuu [Online]. Available at: https://issuu.com/rashmikaprasad4/docs/ cluster_final2__1__compressed (Accessed: August 15, 2021). Rainbow Art Gallery. (2020) golu dolls [online]. Available at: www.navarathrigoludolls.com (Accessed: 27 July 2021) Rainbow Art Gallery. (2020). Nilaa-rajeshwari [online]. Available at: https://www.flickr.com (Accessed: 27 July 2021) Rakshasa – Steel Blue Colour – Paper Mache Mask (no date) Crafts Odisha | Make in Odisha | India. Available at: https:// www.craftsodisha.com/product/rakshasa-steel-blue-colour-paper-mache-mask/ (Accessed: August 15, 2021). Ramesh,B. (2008). Golu 2008. Flickr [Online]. (Accessed: August 15, 2021). Ravi, P. (2019). ‘Dolls That Are Worshipped: Golu Dolls of Tanjore’. Sahapedia. 3 May. [Online]. Available at: https://www. sahapedia.org/dolls-are-workshipped (Accessed: 1 August 2021) 149 Craft Research & Documentation on Golu Bommai

Rotti, J. (2017). ‘Dasara doll festival – significance and history’. Karnataka.com. 25 September [Online]. Available at: https:// www.karnataka.com/festivals/dasara-doll-festival/ (Accessed: 25 July 2021) Sadagopalan, V. (2018). Golu Bommai [online]. Available at: https://www.flickr.com. (Accessed: 27 July 2021) Saks & Viv. (No date). ‘Kanchipuram – Tales of Temples, Heritage And Handloom’. seatbackupright.com [Online]. Available at https://seatbackupright.com/kanchipuram-quintessential-temple-town-of-tamil-nadu/ (Accessed 14 August, 2021) Sivakumar, B. (2019). Chettiar doll [online]. Available at: https://www.flickr.com (Accessed: 27 July 2021) Soundararajan, A. (2019). ‘Navaratri Golu -The Hindu Festival of Dolls’. Biblioasia. (Issue 03) p27-31. Sreenivasaraos. (No date). ‘Temple Architecture’. Sreenivasrao.com [Online]. Available at https://sreenivasaraos.com/tag/ temple-architecture/. (accessed 14 Aygust, 2021) Sriram, V (2017) Tales of Some Navarathri Dolls [Online]. Available at: https://sriramv.wordpress.com/2017/09/29/tales-of- some-navarathri-dolls/ (Accessed: 9 July 2021) Subramanian (2017); Naaidu, P. (Interviewer). Oral history interview with Vijayam Balakrishna Sharma [Accession no.: 004262/3/1]. Available at: www.nas.gov.sg. (Accessed: 28 July 2021) The Tamilnadu Handicrafts Development Corporation Ltd. (2021). Poompuhar [Online]. Available at: https://poompuhar. com (Accessed: 8 August 2021) ThirumalaI,V. (2018) ‘Shopping is part of every pilgrimage trip- Trichy, Writing for sharing’. Venkatarangan.com [Online] Available at: https://venkatarangan.com/blog/2018/09/shopping-is-part-of-every-pilgrimage-trip-trichy/ (Accessed: August 15, 2021) Varshney, D. (1990). Myth and Symbols in Hindu Mythology. Delhi: Ajanta Publications (India) Venkateswaran, V. (2016) ‘This Navratri, See How Golu Dolls Come Alive in Madurai Temple’, The Quint, 10 October. Available at: https://www.thequint.com/news/india/this-navratri-see-how-golu-dolls-come-alive-in-madurai-temple- dussehra#read-more (Accessed: August 15, 2021). Wilkins, W. (1882). Hindu Mythology. New Delhi: Rupa. Co Yashoda. (2017) ‘Navaratri Bommai Golu – South Indian Celebration’. Religionworld.in [Online]. Available at: https://www. religionworld.in/navaratri-bommai-golu-south-indian-celebration/ (Accessed: 7 July 2021) Dept. of FC/ NIFT, Chennai 2021 150