When every step tells a story: Meet these Chennai families who are keeping Golu traditions alive for decades

CHENNAI: The season of Golu in Chennai is not just about dolls on display—it is about stories rising step by step. Within every household, wooden planks draped in bright textiles turn into storytelling altars, where gods meet mortals, kings stand beside commoners, and folk traditions sit comfortably with modern creations.

In these carefully curated displays, tradition is not static—it is alive, evolving, and deeply cherished. DT Next visits a narrow lane in Mogappair, where we are welcomed by two homes adorned with flowers and a miniature Golu display of Lord Vinayaga.

Prabavathi Dhanasekaran greets us with a warm smile as we admire her stunning Golu doll collection. “This is our ninth year, and I’m very passionate about it. Once you get into this tradition, there’s no going back,” she says.

The 67-year-old has travelled across the world to collect some rare dolls. “We have the idol of Lord Narayana lying on the cosmic serpent Sheshnag, floating in a small pool of water, which was bought from Nepal. Our Golu displays are dedicated to gods, from the Dasavatharam to various forms of Perumal and Lakshmi,” she adds.

Prabavathi believes that the core of Golu should always stay rooted in tradition. “Innovations are welcome. But we always ensure there is at least one display that highlights the traditional aspects of the festival,” she shares.

One element that catches our attention is the idol set of Mupperum Devigal. But these figurines also have a special touch; their faces are inspired by Raja Ravi Varma’s paintings. “These are handmade idols, and the expressions are influenced by Varma’s works. It gives them a more subtle and natural appearance.”

We then step into Anitha Rajkumar’s home, where we’re awestruck by a massive Golu setup. From Marapachi bommais and kalyana sets to seer displays, temple replicas, and cultural scenes, her four sets of Golu arrangements are a visual treat. All were constructed from scratch by Anitha and her family.

“This is our 15th year, and we have over 2,000 dolls, both old and new. I embrace Golu as a traditional festival because it helps explore our artistic side, brings people together, and reminds us of our heritage,” she says.

Though rooted in tradition, Anitha’s display also includes miniature models of a tea shop, pani puri stall, flower vendors, idli kadai, and more.

Every tier tells a story—mythical deities, village life, celestial weddings, and slices of everyday moments—all frozen in clay and wood, yet alive through imagination. With the fragrance of sambrani in the air, the steady glow of kuthuvilakku lamps, and the gentle hum of slokas, each Golu becomes more than a festive display—it becomes a celebration of memory, devotion, and artistry passed down through generations.

Mylapore trio spreads joy with thematic Golu at Mahabs

Rows of dolls, gleaming lamps, and the soft hum of bhajans lit up the senior citizens’ home in Mahabalipuram, where the Mylapore Trio recreated the grandeur of a traditional Golu. The dolls narrated stories, the music echoed devotion, and the celebration reminded elders that Navaratri is as much about inclusion and companionship as it is about tradition.

Pioneers of thematic Golu, the Mylapore Trio—Amarnath, Surendranath, and Aparna—usually host their Golu at their residence, Sumukham Illam. “This Navaratri is extra special as it marks the 73rd year of Golu in our family. This year, we set up the Golu at a senior citizens’ home. We have three types of Golu. First, a traditional padi golu called Prathama Golu. The Shanmatha Golu Ratham is an abstract form of a chariot featuring the image of the Tiruvarur ther canopy. Four Kalamkari cushion covers represent the four chakras. Two galloping horses pull the Golu chariot, with thombais and garlands hanging on either side,” shares Aparna.

One of their themes this year, Maa Mayilai Maa Mallai Kandome, creatively connects Mylapore and Mamallapuram. “Historically, the Pallavas linked Mayilai and Mallai as their port cities. We wanted to highlight the greatness of both places,” the Trio says.

On displaying the Golu at a senior citizens’ home, they reflect, “It was a blessing to bring Golu here. The elders were thrilled, and many said it brought back memories. Events like this help revive nostalgia and spread cultural awareness.”

Speaking about how the celebration has evolved, the Trio says, “We started with marapachi dolls. Now, there are even miniature cardboard cutouts of gods. Earlier, Golu dolls were available only on the Maada streets of Mylapore and a few private shops. Later, stores like Poompuhar, Khadi, and Gramodhyog started selling them. Thanks to the internet, people now connect directly with artisans and makers. A small pooja has now grown into a cultural movement.”

They stress that traditional padi golu is essential, and themes must be positive. “We must never distort history, culture, or tradition. As a social and cultural festival, Golu should involve the entire family,” they conclude.