The artisans of Kosapet hustle to carry forward their craft

Despite a rise in raw material prices the idol-makers are confident about their craft being carried on into the future

By Anish Pathiyil

Chennai

An artist at Kosapet preparing the base for an idol

During the months of September and October, the Kosapet area of Purasawalkam in Chennai is a hive of activity as the narrow streets are thronged by wholesalers and customers trying to get their hands on the ornate idols produced by the inhabitants of the area. The roads are decorated with idols of all shapes and forms decked upon tables. The festivals of Ganesh Chaturthi, Krishna Jayanthi and Dussehra form the major markets for these idol-makers.The name Kosapet is in fact an anglicised version of Koyavan Pettai which translates to ‘area of the potters’. The families settled in this area have been practising pottery and idol-making for many generations.

These idol-makers are part of the Kulalar community sometimes referred to as the Koyavan community. In the recent past many people from outside the community have also skilled themselves in idol-making, resulting in the community not being as caste-rigid as it used to be. “Our occupation does not have any religion. We even make figures for the churches at Little Mount and Madhavaram,” Sambamoorthy, an elderly idol-maker from the region, told me. Kosapet is the main area of residence, but a few of them have also settled in the Kolathur and Choolai areas of Chennai too. Sambamoorthy said that the Kulalars were once a flourishing community in Kosapet, with over 10,000 members practising their craft, but only 30 families continue to indulge in their family profession at present.

The idol-making families of Kosapet have been braving all odds and continuing their family craft despite numerous roadblocks. The dwindling incomes in the craft have led to many families branch out and look for other similar opportunities. Most artisans have begun upskilling themselves to get job orders from movies and through event management avenues. “My forefathers started as makers of ‘satti-panai’ (pottery), my father began making ceramic idols and now my wife and I have begun making clay-idols too. Every generation we are learning something new,” said Guru Moorthi, a third-generation idol-maker from Kosapet. Guru Moorthi trained under Dhandapani, an artist who gained prominence working in T Rajhendherr movies.

Guru Moorthi also completed a certificate course in pottery, the craft of his ancestors at the Government centre in Chevvapet. He intends to send his 13-year-old son to the School of Arts in Egmore, so that he can learn the craft and continue the legacy of the family. The institute, which has centres in Chennai, Calcutta and a few other cities in India, provides courses on clay crafting, cloth painting and ceramic work. “We have not been getting any recognition as artists,” Moorthi said. “Such certifications are important if we need to find work. We did it for some money but the future generations will do it only if they have recognition.”.

The idol-makers of the area have formed a Kullalar Sangam of which Guru Moorthi is the head. The association deals with all the issues faced by the artisans while also being a point of contact with the art department of the government. During the lockdowns put up due to the coronavirus pandemic, the association held multiple deliberations with authorities to ensure that the artists get orders from the arts department to protect their livelihood. The government policy banning the use of plaster of paris was also taken up, with the authorities allowing them to continue making idols on the condition that it wouldn't be immersed in water bodies.

Since the workload of these artisans are heavily-dependent on the festival orders that come in, their incomes during the first half of the year are extremely dull. The efforts of the association along with other such platforms in the city, led to the government instituting a monsoon scheme which ensures a sum of Rs 5000 through the government’s Khadi Craft division. The members also work with the handicrafts department in forwarding loan applications to banks during the time of need. The association has also recently petitioned the government for some land to set-up a brick kiln. The government has promised to build them one with a chimney facility.

The gradual drop in the population of these idol-makers can be attributed to a multitude of reasons. One of the major issues in ensuring profitability of the craft is the rising costs of raw materials. Clay idols are one of the most difficult and capital-intensive forms of idol making. They take more than a month to prepare and the final product is very dependent on climatic conditions. “Temple orders are generally for clay idols as they believe that clay is a part of the earth that is living,” said Guru Moorthi. “In the past we were allowed to take clay from the river banks at Kolathur and Ayanavaram. But now we need to obtain a lot of permissions from the government and we are forced to spend a lot of money on it.”.

A substitute for the cost and toil in making clay idols was the use of plaster of paris, a gypsum-based moulding material which is chemically produced. The idols made using this material were quite easy to craft and needed a very short amount of time to harden. The use of plaster of paris allowed the makers to accept even last-minute orders. But the government has ordered the scaling down of plaster of paris idols citing environmental concerns surrounding the immersing of these idols during the Ganesh Chathurthi festival. “Plaster of Paris was used 10-15 years back to make figures. But the Pollution Control Board said it takes 6 months to dissolve in water and so farmers are getting affected by it. PoP only takes very less time to dry so it was easy,” said Sathyanarayanan, another craftsman from the area.

The use of paper mache to create idols is being promoted but its profitability is very low. “ Paper mache is allowed, but it’s extremely expensive to make. If a 4ft clay figure is sold for INR 4000, then the paper mache figure is sold for INR 8000, only then can it be profitable,” Sathyanarayanan added. “Government is doing their best to help farmers. But we artisans are not getting any help. We need to be given some assurances of land and food to survive. If my entire earnings are spent on the raw materials, then we have nothing to earn,” said Krishanveni, Sathyanarayanan’s wife.

Despite the issues they face, the idol-makers of Kosapet are determined to continue their legacy and craft and ensure that their craft is carried on to future generations. “There can never be machine made idols. As long as there is need for idols our craft will continue,” said Guru Moorthi. With more support from the government in provision of raw materials and in widening the market for these crafts through the Handicrafts Development Corporation, also known as Poompuhar, the artisans of Kosapet can continue practising their craft without worrying about its death.