Channapatna

Spent the day at this quaint little town, where every second house seems to be a workshop of artisans making wooden toys, beads and bowls. Where all colour seems to be reserved for the wooden knick knacks. Where the world seems to go by under a fine layer of saw dust. If zipping down the Bangalore-Mysore highway, you would hardly notice the town but for its row of stores with brightly painted wooden horses.










The carpentry is all around. From bits of wood lying around to piles of logs to the finished products at the stores that line the highway. In the artisan's hands, we watch as the shapeless piece of wood attains shape, character and eventually, colour. Bright shades, happy faces, simple technology.



They have trouble sourcing the wood, but they put immense trust in Mother Nature. There will be wood, it won't be a problem. They have to bribe forest officials, they get into trouble when they are trying to procure the wood, but they have to go on. They have found alternates in cheaper, easier to source wood. But it just isn't the same.






Rather than the domestic market, they prefer the international. Of course, the money is better. And perhaps the recognition too. They export just about anything from napkin rings to jewellery. For these foreign shores, the artisans have drawn up new designs, thought up more and more innovative things they can do with wood. For the local markets, they remain the toy makers.



It's been a year since the Channapatna toys got the Geographical Indication (GI) certificate. But no one knows. Not the craftsmen, not the government official who sits at the government establishment that offers training to young carpenters as well as employs them and sources products for the government showrooms. So obviously, questions as to whether the GI certification has made any difference, draws a blank.




The bigger workshops have their own "design studios". When an export order is placed, they sometimes get bits of fabric. Their job? To match all the products -- be it rings or salt cellars or jars -- to the pattern on the piece of fabric. With some skilled painting, they can make the wood look like terracotta or metal.





They tell us that many people have to write about them. They come, speak to them, take pictures, and then disappear. Never hear from them again. We aren't going to be any different, are we?