In south India, the calendar brims with festivals, each month bringing its own celebration into homes and hearts. September-October bring a distinct experience: the nine nights of Navaratri, when living rooms become vibrant spaces of devotion, artistry, and imagination. Steps of dolls ascend from the floor, depicting centuries-old tales of gods, saints, kings, and legends. Every step tells a story, every doll carries meaning, and every offering is a gesture of devotion, hospitality, and family pride. For many, these nine days transcend a festival; they are a tradition, a ritual, and a canvas for creativity.
Unlike the Ram Leela enactments of Delhi or the grand Kali processions in Kolkata, South Indian households put up Golu, a display of dolls and figurines. For Seethalakshmi Krishnan, the tradition bridges regions. Having lived in both north and south India, she has witnessed the diverse ways festivals are celebrated, yet Golu remains a defining South Indian expression of devotion and storytelling.
“We worship goddesses Durga, Lakshmi, and Saraswati, three days each,” she says. “Every morning and evening, shlokas are recited with puja and aarti. Different types of sundal are prepared to energise those who are fasting, and gifts are offered to visitors. It’s a practice of devotion and family bonding.” She also observes, “Social media has changed the way people experience Golu. Fewer visitors come to homes, but online sharing allows these displays to reach thousands. The traditional way of practicing Navaratri has declined. Golu is readymade now…you can order it a day before, no need for months of planning.”
Thematic presentations
Golu, while deeply traditional, evolves with each household’s creativity. For the past six years, Bharathi Shankar Raman and her husband, from Nanganallur, have curated thematic displays. “Last year, we kept Puri Jagannath, and we also won a few Golu competitions. Every time we win, we think about how to make it better next year. Themes allow visitors to understand concepts, stories, and philosophies they might not know otherwise.”
This year, she has created a Mahabharata-inspired Golu focusing on Bhishma. “We all might wonder why he endures so much struggle. Understanding his trials teaches us life lessons — that inaction, even for the good, has consequences. Every character in our display has a purpose, a lesson.”
Her Golu is a blend of tradition and thematic storytelling. Five steps supported by a central theme, with one side dedicated to Vishnu, the other to Shiva, and the middle illustrating the journey of Bhishma — from the Ashta Vasus to the bed of arrows in Kurukshetra. Dolls are sourced from Mylapore and Nanganallur, sometimes requiring weeks of searching and selection. “Not everything can be depicted with dolls alone,” she notes. “Some elements require creativity, thermocol or backdrops, to convey the story. We budget in advance, but our goal is always to maximise the narrative impact while maintaining tradition and affordability.”
Similarly, each year, Sunitha Ananthakrishnan selects a temple or spiritual narrative. This year, her display draws from Oppiliappan Temple, complementing her central traditional Golu with detailed depictions of Saivite and Vaishnavite temples. “Conceptualisation happens months ahead. I have to come up with content and write a script for 10-20 minutes for social media,” she says. “Every doll, every backdrop, every arrangement is intentional. The focus is on happiness and philosophical depth — to liberate oneself and impart joy to others.”
She purchases dolls from different parts of Tamil Nadu, but visits the streets of Mylapore right before Navaratri to carefully select new dolls, ensuring they are reusable, durable, and aligned with the narrative. Sunitha is already planning her upcoming Golus. “I have a dream of getting all the Nayanmars and Alvars and narrating their poems and literature. For the next 60 years, I have stories ready with me.”
Family legacy
The tradition of Golu-keeping spans generations in Kalpakam Srinivasamurti’s household. Their Golu began in 1955 with Mysuru Gauri dolls, some of which are still preserved. Each doll, crafted from lightweight wood and fully articulated, allows for dynamic storytelling, no matter the theme. This year, they celebrate Muthuswami Dikshitar’s 250th birth anniversary, which includes Dikshitar playing the veena, deities blessing, and intricate representations of daily life and mythology. Her Golu is a living archive of cultural history, musical heritage, and devotional practice.
Kalasam — a ceremonial pot — plays a significant role in Golu symbolising the divine feminine energy of Goddess Shakti. Including it as a major element in their Golu, Kalpakam says, “Kalasam is a traditional item, which is worshipped every day. This time, we have changed the kalasam into Goddess Kamakshi because he [Dikshitar] has composed a lot of music for her.”
She emphasises that the festival transcends mere ornamentation. Every backdrop, every miniature, even the smallest prop is part of a larger narrative. Themes are chosen carefully, avoiding conflict-heavy or morbid stories. “My mother always believed Golu is meant to celebrate; so we select episodes with warmth, joy, or philosophical depth — moments that inspire rather than depress. Even when depicting historical or mythological struggles, the emphasis is on learning, reflection, and happiness.”
Methods may evolve with digital backdrops, thematic innovations, and curated social media galleries, but the essence endures: devotion expressed through meticulous preparation, joy shared among loved ones, and stories passed down through generations. Many families demonstrate that the Golu is far more than a seasonal display — it is a living tradition at the intersection of art, spirituality, and economy, inspiring, educating, and delighting all who engage with it.
Spanning beyond households
Thejus, a store in T Nagar, has been regularly setting up thematic Golu display for more than a decade. This year, their collection focuses entirely on Lord Shiva. With growing technological innovation, they have taken help from Artificial Intelligence (AI) to generate backdrops to match the energy of their 3D printed forms of Shivas, which includes Maha Sadashiva and Dakshinamurthy.