Idol makers run up against lack of good clay, skilled labour

BENGALURU: The festival of the elephant-headed god is here and so are the idol makers. Come Ganesh Chaturthi and the streets of Pottery Town are lined with rows and rows of idols of Lord Ganesha.
Almost every family in the area, many of whom still live in the homes they grew up in, is involved in the creation of these beautiful idols in some way or other - be it painting of idols, transporting clay to the makers and other small processes.Idols of every size and make can be seen through the open doors of houses, sitting alongside kitchen utensils and on sofa sets. The commitment of the Kumbharas, potters by caste and tradition, to their age-old trade is visible in the way festival preparation takes over almost every aspect of their lives.
But like any other profession, theirs too is getting challenging. A third-generation idol maker, Chamaraj, 65, says the quality of idols today has deteriorated due to the entry of unskilled potters into the market.
"Nowadays, everyone's starting making idols, which is bad for our reputation. Inexperienced workers are getting involved in this profession, when they don't even know the basics. The hand or thumb of the statue may come off and they wouldn't know how to fix it. Our well-preserved tradition has been reduced to mere business," he says.
The lack of good quality clay is another problem faced by idol makers, who rue the loss of lakes. Anand S, secretary of the 120-strong Kumbara Karakushala Kaigarika Sahakara Sangha or potters' association, says it costs more to sculpt an idol today than it did during his father's and grandfather's time.
"About 30 years ago, we used to pay Rs 30-40 for an entire bullock cart of mud because we got it from a nearby pond. All the lakes have been cleared for BDA layouts to come up. We now have to go farther and farther away as there are rules against lifting mud from nearby lakes, unless we pay some royalty."
The community is also plagued by a lack of labourers to keep up with the demand for Ganesha idols. Earlier generations would hire up to 70 persons during peak season but that is no longer a possibility with most workers migrating to neighbouring Tamil Nadu to benefit from the multiple schemes operating there. This is an interesting inversion, as workers from Tamil Nadu would flood Pottery Town during festival time, in anticipation of work.
"During the season, I sell 5,000 to 6,000 pieces in wholesale. I used to employ labourers and have four to five persons from Tamil Nadu working for me. But now, they receive all kinds of benefits like the Amma canteen, courtesy their chief minister, so everyone's gone to work in Tamil Nadu, resulting in a huge deficit here," adds Anand.
Willing workers would rather make idols on their own, given the returns it generates. Sarvana Kumbhar, who has been helping his father make idols since he was seven, says it's difficult to hire people as coolies for even a few hours.
"All the work is done by my family, primarily my wife and myself. People are more willing to be their own bosses and start their own businesses rather than work for somebody else, though we are willing to pay them competitive rates," he says.
The entry of idols made from plaster of Paris (PoP) and paper have further eaten into the business of these traditional craftsmen. The largest clay idol measures 2-3 feet and takes almost a week to make, from start to finish. By contrast, 10-ft tall idols made of PoP and paper can be prepared in five days. Districts across Karnataka, like Mysuru and Belagavi, are also full of idol makers threatened by new entrants.
"For a while, we were threatened by PoP idols. They are in demand due to their finish, though it costs more. Thankfully, they are now banned, so hopefully, our sales will pick up again. We only make eco-friendly Ganesha idols which fulfil a cycle. When clay idols are immersed in water, they dissolve and accumulate in the water bed only to be collected again. This is how it is meant to be. With PoP, there is no reuse value as they have to be destroyed after use. "
But city idol makers say they don't see their children carrying forward their age-old tradition and express no interest in learning the traditional craft of their community. "I have two daughters who are doing very different things. My elder daughter designs clothes and is well settled. Effectively, I am the last generation in this trade," says Chamaraj, whose family has been making these idols for 130 years. Claiming he doesn't feel too bad about the tradition coming to an end, he said, "I knew this trade had to die sometime. It is the natural flow of things. The new generation will do what suits and appeals to them."
Anand agrees. He is happy his two grown-up daughters have also chosen alternative careers. "My children have completed their education, my second daughter is in final year B.Com. With my generation, it will come to an end, there is nobody left to continue our traditional profession. After us, I think the trade will see some major changes. Nothing can stay the same forever," he said.