Sphoorthi Theatre

The Cosmic Rhythm of Full Moons In Hindu tradition, the waxing and waning of the moon is not merely an astronomical cycle—it is a spiritual rhythm. Both Amavasya (new moon) and Purnima (full moon) are considered powerful thresholds for worship, fasting, and renewal. Each of the twelve full moons of the year carries its own significance, but the Pushya Masa Purnima , also known as the Banashankari Full Moon or Banana Full Moon , holds a special place in the devotional calendar. Pushya Masa Purnima: in January  In 2026, Paush Purnima (Pushya Purnima) will be observed on Saturday, January 3rd, with the Purnima Tithi beginning late on January 2nd and ending in the afternoon of January 3rd. This day is considered highly auspicious in Hindu tradition, marking the start of the Magha Snana, when devotees take holy dips in sacred rivers such as the Ganga and Yamuna for spiritual purification. It is also a time for fasting, charity, and performing the Satyanarayana Puja to invoke Lord...

  My grandmother often reminded me that she belonged to Panruti, a town in Tamil Nadu renowned for its clay dolls. For her, these miniature figures were not just ornaments for festivals—they were fragments of identity, reminders of stories and rituals that shaped her childhood. Each doll carried the warmth of community life, echoing voices of myth, folklore, and rural imagination. To me, knowing that my grandmother’s roots lay in this tradition makes the craft feel like an inheritance—an echo of her voice, passed down in clay. The Craft In the quiet lanes of Panruti, artisans shape stories out of earth. Their hands, seasoned by generations of practice, mold clay into miniature figures that are sun-dried and painted in vibrant hues. The dolls depict gods and goddesses, village couples, animals, birds, and the iconic Chettiar couple—symbols of prosperity and abundance. Unlike polished factory toys, Panruti dolls retain a rustic charm. Their slightly uneven contours and bold brush...

Introduction Among Tamil folk divinities, Karuppasamy ( Karuppar ) stands as a fierce guardian of justice, social order, and communal thresholds. Unlike āgama-based temple deities with standardized iconographic rules, Karuppasamy’s form emerges from local sculptural vocabularies, oral traditions, and regional practices . The posters documenting his many forms — Periya Karuppar, Chinna Karuppar, Sangili Karuppar, Ellai Karuppar, Vellai Kuthirai Karuppar, and the unique 18-step shrine at Madurai Azhagar Kovil — reveal the diversity and vitality of Tamil folk religiosity. These images come from Five Metal Masonry , a research and documentation initiative that bridges academic ethnography with community memory, producing bilingual Tamil–English iconography posters that preserve both mainstream and folk traditions.   Iconographic Features Across Tamil Nadu, Karuppasamy’s depictions share recurring traits: Posture: Wide-legged, assertive stance, signaling vigilance and...

  For the Kodava people of Kodagu, the Ainmane is more than a house. It is the ancestral hearth, the spiritual and social nucleus of each okka (clan). Within its walls, generations gather to celebrate, to mourn, and to remember. Every Ainmane carries the pulse of lineage, echoing with stories of those who came before. At the heart of its ritual life is Karanang Kodpu—the offering to ancestors. This ceremony binds the living to the departed, ensuring continuity of blessings. Food is offered, prayers are spoken, and symbolic gestures reaffirm the clan’s gratitude. In these acts, memory is not abstract—it is embodied, performed, and shared. At the heart of its ritual life is Karanang Kodpu—the offering to ancestors. •            Elders prepare ritual food and light lamps in the sacred corner of the Ainmane. •             Prayers invoke the blessings of ancestors, and offerings are placed before the ...