The hands behind the golu dolls of Bommaikara Theru in Kancheepuram

In the festive season of Navaratri, temple streets in Chennai, especially Mylapore, come alive with rows of street shops displaying colourful golu dolls. These dolls depict gods, goddesses, and mythological characters, each crafted with care. But where do these vibrant dolls come from? The answer lies just one district away, in Kancheepuram.

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

Families here have been shaping figures for generations, once using clay but now increasingly turning to paper mache or Plaster of Paris. This shift has come as customers, especially Indians settled in the United States, demand lighter dolls that can be shipped easily. But paper mache requires far more investment than clay, and for many artisans, the costs are crushing.

Among those keeping the craft alive is 26-year-old Aravind Suresh, the fifth generation of Meenakshi Golu. He not only makes dolls but also markets them through social media, reaching customers across India and abroad. “I grew up watching my father make these dolls,” he said. “Earlier, there were many families here, but now only a few are left. I use online platforms to expand our work and find new buyers.” He explained that most of his customers are now based abroad, while sales within India have dropped. “People in the U.S. order more than Indians. They organise golu competitions and always ask what is new each year.”

But further down Bommaikara Theru, the struggles are clear. M. Kandan, 46, has been in the trade since the age of 11. For 35 years, his daily wage has risen only from ₹100 to ₹500. Once a potter, he turned to doll making when metal utensils replaced clay pots. “I can only make Vinayakas,” he said. “I don’t have the money to make other dolls. Every time I approach a bank for a loan, they turn me away. I have tried so many times, but it is of no use.”

Another long-time doll maker, Rukmangadhan, 65, remembers a time when nearly 60 families lived on this street making dolls. Today, only about 25 remain. He and his wife continue the work with limited means, while their son works as a medical representative. “Making dolls requires heavy investment,” his wife Valli said. “From clay and paint to moulds and packing, everything is costly. Now with paper mache, it is even costlier. We borrow from moneylenders, and when we cannot repay on time, they harass us. Continuing this job has become very tough.”

Their son Diwakar pointed to another difficulty. “The local artisans’ union collects ₹1,000 each from my mother and father, every six months, yet rarely offers support. The union mainly helps those from the dominant Koyavar community,” he said. “Loans and contacts are passed within their circle, while others like us are ignored. When we ask for help, they say the dates are over or it will happen next time. But the next time never comes.”

Buyers visiting Bommiakara Theru believe that these artisans deserve better backing. “Some kind of government support should be there. Not everyone can make such idols. This talent is unique, and it needs encouragement to survive,” one of them said.

Without financial help and wider promotion, the craft risks fading into history, leaving only memories of what was once the proud street of dolls.