Kirat Brahma, a designer from Assam’s Baksa district, has turned his childhood love for crafts into Zankla Studio, a venture using handmade, eco-friendly dolls to preserve Bodo folklore and create livelihoods for local artisans. Kirat began making figurines at six, later studied at the National Institute of Design in Ahmedabad and worked in animation before returning home and starting Zankla in 2021.
The dolls draw on stories of Bodo warriors, queens, freedom fighters, folk characters, birds and animals, with each creation accompanied by its story. The initiative has since expanded its livelihood and training work.
In July 2026, NTPC Bongaigaon signed an agreement with the Zankla Foundation for Project SRIJAN, a 12-month programme to train 15 beneficiaries from two project-affected villages in eco-friendly toy-making and embroidery, backed by funding of up to ₹15 lakh plus applicable GST.
From A Childhood Craft To Cultural Mission
Kirat’s connection with dolls began when he was six and made a papier-mâché bird. The idea stayed with him because the toys he encountered as a child rarely reflected the stories his grandmother told him about magical birds, Bodo farmers who could become warriors and powerful queens. After graduating from the National Institute of Design, Ahmedabad, in 2015, Kirat spent years working in animation and design.
His professional experience eventually shaped the way he approached folklore. “I think I was always going to find my way back to toys,” he said in a recent interview. He returned home after nearly a decade away and began Zankla Studio with his mother, Bharti Brahma. The studio’s central idea is simple: give physical form to stories that have traditionally been passed down through oral culture, allowing children to see their own heritage represented in the objects they play with. “The idea is to have these toys make people curious about what they stand for,” Kirat said.
Where Folklore Meets Craft
Zankla’s collection includes characters such as Gowdang Rani, a Bodo/Bhutanese queen associated with protecting her people’s land, and Boro Jwhwlao, an ordinary farmer who embodies the spirit of a warrior and community protector. Another character, Gambari Sikla, also known as Thengphakhri, comes from Bodo oral tradition and folk songs and is remembered for resisting British authority after witnessing the hardships caused by taxation.
The studio also creates Zara Fagla, a contemporary interpretation of a Bodo folk performer, alongside birds, butterflies and animals such as the red panda, rhinoceros, elephant, peacock and water buffalo. Earlier accounts of the studio have also documented dolls inspired by figures including Sikhwna Jwhwlao and Upendra Nath Brahma.
The products combine contemporary design with traditional materials and local craftsmanship, while the accompanying story cards encourage buyers to explore the cultural meaning behind each figure. Zankla’s official website says the studio has nurtured more than 70 artisans across multiple communities and directly impacted more than 30 livelihoods.
The initiative is increasingly moving beyond selling dolls towards building sustainable livelihoods around traditional skills. Its latest development is Project SRIJAN, launched through a July 2026 agreement between NTPC Bongaigaon and the Zankla Foundation.
Under the 12-month CSR programme, 15 people from two project-affected villages will receive structured training in eco-friendly toy-making and embroidery, followed by mentoring to help them develop sustainable income opportunities. The Bardwi Shikla Ladies Club of NTPC Bongaigaon will also support women beneficiaries after their training.
NTPC Bongaigaon Executive Director and Head of Project Arnab Maitra said the initiative aims to create long-term livelihood opportunities by combining skill development, creativity and market linkages. Kirat said the project would help nurture local talent while preserving the region’s cultural heritage through sustainable craftsmanship.
The Logical Indian’s Perspective
Kirat’s journey shows how cultural preservation can become a living, evolving practice rather than something confined to museums or archives. His dolls give stories, characters and traditions a form that children can hold, learn from and pass on, while the work also creates opportunities for artisans to earn through their skills. Just as importantly, the approach allows communities to tell their own stories instead of being defined by stereotypes or limited representation.
Zankla’s recent expansion into structured training also shows how creative enterprises can connect heritage with livelihoods, sustainability and local empowerment. At The Logical Indian, we believe India’s diversity becomes stronger when every community has the space to preserve, share and celebrate its own stories.
What traditional story from your community would you like to see brought to life for the next generation?
