In my childhood, our annual family visit to our native village in Madhubani, was much awaited and a source of great inner joy. I and my siblings waited for this day, months in advance. As we reached our destination, from the train station, we were picked up by the chatty driver of our bullock cart sent by my grandfather to pick us up, and bring us to our village . As the bullock cart trundled along the empty country road at an unhurried pace, we could see the summer fields full of blossoming crops and mango trees laden with fruits. The sweet fragrance of hay pervaded the air.
We mostly visited our village during our summer vacation. During that time the sun shone fiercely, and except for the street urchins frolicking in the mango groves, most people spent their time indoors. Women in many households, after finishing the chores, would rest in the afternoons. The more enterprising ones would collect clay and convert them into beautiful figurines, pots and pans.
My grandmother otherwise a strict no-nonsense old woman, would sit down with a pile of old clothes and make rag dolls for us and my cousins. She was very talented when it came to making dolls. Leftover pieces of cloth, old saris, bedsheets, were used to create small figures. These rag dolls have been a part of my childhood and of many of my generation. Crafted with high-quality materials and detailed finishes, witnessing the process of doll making and possessing the most beautiful of them, was the peak of my modest ambition. With their cushiony bodies and charming features, a lot of effort went into making their outfit. In my part of the world, these dolls were called kaniyaputra.
The term “KaniyaPutra” means woman and her children. It depicted the beautiful bond between a mother and her progeny. It symbolized the young woman in the patriarchal society of Mithilanchal region, who brings up her children in a certain way, keeping in mind the traditions of the society.
Kaniyaputra is not merely an art; it is a reflection of the traditional society, a unique bond between mother and children, their journey which they navigate braving the difficulties of the world.
The tradition of Kanyaputra dolls once thrived in every household across the Mithilanchal region of Bihar. Summer vacations gave us ample time and opportunity to engage in various activities around these dolls. One such activity was to organize a doll’s wedding. Cousins and kids from the family and neighbourhood came together to join in the event and enjoy to the fullest, just like a real wedding. All the rites and rituals were celebrated just like an adult wedding with different ceremonies, typical of the Mithila region. Sometimes these doll weddings were celebrated as a grand occasion where adult family members, friends and relatives were also invited. The adults too would join in to help in the arrangements and enjoy the festivities.
A doll wedding was not just a way to pass some leisure time, when gadgets weren’t invented and the television did not exist. It also provided an opportunity for the children arranging it, to learn social skills and responsibility at an early age.
In the Mithila region, there is a festival called Sama Chakeva which celebrates the love between brothers and sisters, and is based on a legend recounted in the ancient Puranas. Dolls are an essential part of this festival. The legend goes like this : Sama, a young girl, was accused of wrongdoing. Her father punished her by turning her into a bird, but the love and sacrifice of her brother Chakeva eventually allowed her to regain human form. It is a story passed down through generations, forming an essential part of the cultural fabric of Mithila
Young, mostly unmarried girls assemble, carrying bamboo baskets, containing tiny figurines of dolls, which are not mere lifeless playthings, but tangible expressions of the love and warmth shared between siblings. They also carry small every day use items like kohl, cream, food items, sing traditional songs, perform some rituals like making kohl, exchanging baskets containing goodies. This celebration continues till Kartik Purnima. On the auspicious occasion of Kartik Purnima, girls take a dip in river and the idols of Sama and Chakeva are immersed in the river.
An interesting aspect of Sama Chakeva is its environmental message. The festival coincides with the seasonal migration of birds from the Himalayas to the plains, and the clay bird idols are a tribute to these migratory birds. This reflects the Maithili people’s deep respect for nature and highlights the interconnectedness of all living beings.
With the passage of time, modern plastic toys inundated the market. The art of Kanyaputra doll-making and its practitioners began to fade into obscurity. Traditional crafts got gradually eclipsed by mass-produced plastic alternatives, placing this exquisite and meaningful tradition on the brink of extinction. It was a great tradition where the use of waste cloth materials to create these dolls promoted sustainability and reduced the environmental impact of plastic toys. Needless to say, these dolls were environmentally friendly and non-toxic, making them a safe and sustainable alternative for children.
Its time that this art is revived. If we are serious about protecting our planet for future generations, it is time that we produce dolls and toys responsibly, using recyclable materials and promoting sustainable manufacturing practices.
