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More Than Play: Childhood Games

by Keya Gupta 

Our childhoods are shaped by noisy school classrooms, neighbourhood parks, playing with friends, and lots of games. These games filled out days and afternoons, or any free moment we could get. Regardless of when you grew up, childhoods were always full of the simple joy of playing, waiting for your turn, and laughing together. Along the way, these games taught us much more than just play and song. If we look beyond the fun moments, we see that they connect us to our roots, passing down culture from one generation to the next. They offer lessons in balance, agility, and teamwork that stay with us long after we have left the playground. No surprise then, that despite the world constantly changing, certain traditional games have stuck around. 

Art: Srinath Malolan M. and Harshal N.
Hopscotch 

You just need a small piece of chalk to begin playing Hopscotch. The exact origin of hopscotch is debated, though variants trace back thousands of years. Children draw a set of numbered boxes on the ground and hop through the squares on one foot, picking up a small stone or marble while avoiding breaking the pattern or stepping on the edges. The game usually starts with tossing a stone into the first box. Every child remembers the challenge of balancing and the thrill of getting through all the boxes. Hopscotch helps develop balance and coordination, but it is also as much about focus as it is about movement. 

Kho-Kho 

This classic chasing game is popular across India and is said to have originated in Maharashtra, in the form we now know it in. In ancient times, a version of the game, called ‘Rathera’, was played on chariots. In Kho-Kho, two teams compete, where one team chases while the other tries to avoid being touched. Players from the chasing team sit or kneel in a line, and one active chaser runs around trying to tag runners from the opposing team. The chaser can switch places with teammates by tapping them and saying “Kho”. Chasers must use speed, agility, and teamwork to catch opponents.  

Many even believe that the game originated from the Mahabharata. On the thirteenth day of the war, Dronacharya created the ‘Chakravyuh’ formation, a military defensive circle. Arjuna’s son, Abhimanyu, was the only warrior who dared to go inside and heavily injured the Kaurava warriors. However, fighting seven to one, Abhimanyu was eventually overpowered and lost his life. The method Abhimanyu used to fight this defensive circle is frequently used in Kho-Kho. 

The modern form of Kho-Kho was formalised in 1914 in the Gymkhana of Pune, which was founded by Lokmanya Tilak. Since then, Kho-Kho has been played across the nation and has even found an international stage in places such as the South Asian Games. 

Art: Srinath Malolan M. and Harshal N
Se Se Seboti 

In the green hills of Manipur, children have their own folk classics. Se Se Seboti is one such game which blends rhythm, movement, and song. The game has its own unique song which goes: 

“Se se seboti Boboti son of Laishram,  

Let us have a duel  

To see who defeats who  

Like a Kouna (reed) I can uproot you  

Like a Thambou (stalk of lotus)  

I can break you” 

Children gather and sing the song while challenging each other to various feats, such as arm wrestling, hopping or other challenges inspired by the song. The game is rooted in the stories and traditions of the Meitei community, with references to traditional elements and local flora (thambou), embedding elements of Manipuri everyday life. Martial arts is a key feature of Meitei culture and Se Se Seboti’s competitive spirit honours the region’s heroic past and warrior heritage.  

Kola Kolaya Mundhirika  

Down in the south, in Tamil Nadu, ‘Kola Kolaya Mundhirika’ is a popular game, where one person walks around a group seated in a circle, while singing a rhyme and holding a handkerchief. At any moment, the child can drop the handkerchief behind someone, who must chase and tag the child who dropped the handkerchief. Simple and energetic, it requires only a handkerchief and can be played anywhere at any time.  

One Game, Many Names 

An interesting thing about a lot of these games is that the same game is found with regional variants in different states and communities, being known by different names. For example, Hopscotch is called “Stapu” in North India, “Kith Kith” or “Ekka Dukka” in other Hindi regions, and “Paandi” in Tamil Nadu, with each region having different patterns and singing different rhymes. Tamil Nadu’s Kola Kolaya Mundhirika is not only played across India, but also across the world and called ‘Drop the Handkerchief’. This shows how games travel, adapt, and become part of local cultures all over the country. 

The language, location and community might change, but the spirit of these games remains the same. These traditional games are more than just a way to pass time; they connect children across the country and bring people together. 

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Drums, Dance, and Devotion — Harvest Festivals of Meghalaya

By Shree Sauparnika V

In the mist-covered hills of Meghalaya, two vibrant festivals bring communities together in joyful thanksgiving during the first few weeks of November — Wangala of the Garo people and Nongkrem of the Khasi tribe. Both celebrations honour the harvest, the land, and the spirits of nature — yet each has its own distinctive rituals, music, and meaning. 

Wangala – The Hundred Drums of the Garos 

Wangala is the major post-harvest festival of the Garo tribe, also known as the ‘Hundred Drums’ festival. It is dedicated to the sun-god Misi Saljong (also called Pattigipa Ra’rongipa), who is believed to bless a rich harvest. Typically celebrated between September and December, the festival marks the end of the agricultural year and the onset of winter. 

The celebration begins with the ritual Rugala, performed inside the village chief’s house, where offerings such as cooked rice, vegetables, and rice beer are made. On the following day, known as Kakkat, the public festivities begin with energetic drumming and dance. Men beat long, oval-shaped drums, women form parallel lines in colourful traditional attire, and flute-like instruments play alongside gongs and horns. 

Art: Saumya Ray

One of the most striking features of Wangala is how young and old come together in celebration — children, adults, and elders all join in the drumming, dancing, and community rituals. Through rhythm and movement, the Garos express gratitude, community identity, and the unity of nature and human labour. 

Nongkrem – A Sacred Dance of Thanksgiving 

Nongkrem (often written as Pomblang Nongkrem) is one of the most important festivals of the Khasi tribe. It is held at Smit, the cultural centre of the Khyrim Hima (indigenous kingdom) near Shillong, in November. 

The festival spans several days and involves sacred ceremonies led by the Syiem (traditional Khasi chief) and the high priestess. The key ritual is the Pomblang sacrifice (usually of a goat) offered to the deity Lei Shyllong — the guardian spirit of Shillong Peak — and to the ancestors of the ruling clan. 

Art: Saumya Ray

Once the rituals conclude, the rhythmic Nongkrem dance begins. Young Khasi women dressed in brilliant silk and wearing gold ornaments move gracefully to the beat of drums, while men holding swords and yak-hair whisks step up the rhythm with vigorous steps. The music of the tangmuri (a traditional pipe instrument) fills the air as the community expresses joy, unity, and gratitude. 

Nongkrem, thus blends devotion, heritage, and celebration — reinforcing the cultural identity of the Khasi people and their deep connection with the land. 

One Spirit, Many Songs 

Though Wangala and Nongkrem are celebrated by two different tribes, both festivals share a common heartbeat — one of gratitude, togetherness, and reverence for nature. Each dance step, drumbeat, and ritual reflects the people’s enduring bond with their environment and their ancestors.  

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Children Speak: A Children’s Day Special

by Keya Gupta and Shree Sauparnika V

Every year on November 14, India celebrates Children’s Day to honour the joy and imagination that children bring into the world. Did you know that Children’s Day, or Bal Diwas used to be celebrated on 20th November until 1964? After the death of India’s first Prime Minister, Pandit Jawaharlal Nehru, his birth anniversary was chosen as the date for Children’s Day, due to his fondness for children.   

This Children’s Day, we turned to the greatest storytellers of all — children themselves. (Please scroll past the banner to read more)

 

Art: M. Subramanian

We asked them to imagine, dream and share their thoughts about heroes, worlds and stories that inspire them. Here’s a compilation of a few of our favourite responses:

1.If you could switch places with a character from Indian mythology or history, who would it be? 

I think I would like to be Arjuna, the true disciple of Shri Krishna. His moment of doubt and awakening in the Bhagavad Gita teaches the power of courage, clarity, and duty. I connect with how he learns to listen within, understand life’s purpose, and act with both strength and compassion. 

– Ishaan, 14, Delhi  

Savitribai Phule – Saanvi, 10, Pune;   

Swami Vivekanada – Hrishikesh, 12, Mumbai;   

Ahalya – Cara, 12, Dubai;  

Chhatrapati Shivaji Maharaj – Manassvi, 7, Mumbai;  

Saraswati – Riddhi, 9, Ernakulum;  

2.  If you could have an animal as your best friend, which animal would you pick and why? 

Elephant, because elephants are bold, strong, brave, and they never forget. 

– Hrishikesh, 12, Mumbai 

Unicorn, because I would like to ride it and its horn has healing powers. 

– Manassvi, 7, Mumbai 

I would definitely choose a Galapagos Tortoise because then, my companion will last my lifetime (the average age of Galapagos is 177 years). I also would not need to run around much when I am old since the tortoise is slow. And maybe I can also learn how to enjoy a slow peaceful life from my companion. 

– Reyansh, 9, Jalandhar 

Scooby Doo, because he’s a funny talking dog and loves to eat. 

– Cara, 12, Dubai 

3. If you were to create a fantasy world, what 3 things would there be in it?  

Angry apples, houses built on clouds, and ants the size of houses and lots more. 

– Nikhil, 8, Bengaluru 

Inter-terrestrial aeroplanes, mobile phones to talk to aliens, and a magical coat to become invisible. 

-Yash, 10, Bengaluru 

Animals speaking human language., mountains and forest making imaginary straight roads for smooth traffic, humans flying. 

-Tarrinni, 11, Gurgaon 

Art: Dilip Kadam
4. If your life was a book, what would you title it?  

‘Nikhil the Boss’ 

– Nikhil, 8, Bengaluru 

‘The Girl Who Kept Going’ 

– Cara, 12, Dubai 

‘My Young Age Atrocities’ 

– Ananya, 11, Trichy 

5. If you could make a comic about anything, what would it be?  

The comic would be titled ‘Keepers of the Green Flame’. In a world where nature is fading, a group of children and magical creatures rise to protect the Green Flame, the spirit of the planet. It glows only when kindness and care for nature thrive. The story shows that every act of love towards Earth keeps its flame alive. 

– Ishaan, 14, Delhi 

A fantasy world full of surprises. 

– Saanvi, 10, Pune 

I would make a comic about the polar express coming to life and saving Christmas from corporate companies. 

– Hrishikesh, 12, Mumbai 

Art: Dilip Kadam
6. How would you best like to celebrate Children’s Day?  

I will celebrate with orphans and homeless children so that they can feel special on the day. 

– Saanvi, 10, Pune 

Have a ‘Yes Day’ where adults have to say yes to everything children ask for. 

– Nikhil, 8, Bengaluru 

I would want everyone to think and approach people like a child and give gifts to all children. It should be celebrated with family. 

– Izabel, 12, Dubai 

The whole day I would have fun, eating and lazing around. 

–Riddhi, 9, Ernakulam 

 

 

Thank you to all the children who shared their thoughts and dreams with us. Your ideas remind us that every story begins with imagination – and that the future of storytelling is bright in your hands. Happy Children’s Day! 

Check out our ACK Comics App for stories on Indian Mythology and History.

The Artisans of Diwali and Dussehra

by Keya Gupta

The festive season is filled with beauty. Flowers, rangolis, and diyas transform neighbourhoods for Dussehra and Diwali. These crafts are so woven into our celebrations that they often seem invisible. But who makes these objects, and what goes into making them? 

Building Ravana: The Effigy Makers of Dussehra 

As early as August, the work for Dussehra’s biggest spectacle, the burning of grand Ravana effigies, begins. In Delhi’s Titarpur and across northern India, this is a months-long family affair of turning bamboo and cane into massive figures, some reaching up to 40 feet! 

Effigy makers start by sourcing bundles of bamboo from local wholesalers. These are then split, bent, and woven into massive skeleton frames, a lightweight yet sturdy base that supports cloth and papier-mâché. Each body part is made separately: the torso, arms, legs, and, most importantly, the ten heads. All the features are exaggerated. Ravana is depicted with bulging red eyes and flared moustaches, made from papier mache, where glue and paper are alternatingly layered. 

After days of drying, the frames are painted in vivid traditional colours, decorated with sequins and vibrant fabrics, and dressed grandly. Firecracker garlands are carefully put in after all the decorating has been done, for the final dramatic burning. The work is collaborative; with the women and children also helping with colouring and assembly.  

Art: Saumya Ray
Masks of Ramlila: The Artists of Majuli Island 

On Majuli Island in Assam, the complex and vibrant masks of Ramlila are more than a source of livelihood; mask-making is a historic tradition passed down through centuries. This tradition is nurtured by the Satra community. Master craftsmen like Hemchandra Goswami and Haren Goswami are passing down the knowledge to apprentices, keeping it alive in the new generation.  

Masks of characters such as Rama, Hanuman and Ravana are made using split bamboo, cane, clay, cow dung, cotton cloth, and pith; a soft cork-like material. Craftsmen make bamboo frames which are then layered with cotton cloth dipped in a mixture of clay or cow dung. Each layer is painstakingly sundried. Each layer adds more details, and the mask grows more elaborate. Craftsmen add features like blinking eyes, moving mouths and eyebrows to make the features more expressive.  

The craft is kept alive both as a means of livelihood and a marker of cultural identity. Mask making is seasonal, ramping up during festival months but often supported by teaching workshops and tourism the rest of the year. As outside interest grows in the craft, artists have even adapted it across secular lines to make masks for a wide range of art and performances. 

Diyas: Lighting Festivals 

The diya might be smaller and simpler than the intricate effigies and masks, it is inseparable from the festival: every home glows with its presence.  

In the months leading up to Diwali, Kumhar and Kumbhar potter families shape thousands of diyas. Each diya begins with clay, sourced from riverbanks or the Western Ghats. The clay is then sifted for impurities, kneaded with water and shaped into diyas on a wheel by hand. Once the diyas are shaped, they are sundried and baked in makeshift kilns fuelled by scraps of wood and carboard. They are often painted and decorated by women and children before being taken to the market.  

For many families, Diwali is the busiest and most profitable part of the year, but the work is physically demanding, with cramped workshops and health risks. The kiln fumes while firing the diyas also pose an environmental challenge. Despite this, potters persist, driven by tradition, skill, and necessity.  

Art: Saumya Ray

The artisans behind these crafts – effigy makers, mask artists, and potters – are not just preserving tradition, they are also adapting to new challenges. Their skills carry centuries of culture and have shaped how communities celebrate these festivals. Artisan livelihoods, like the festivals themselves, are seasonal: intense and rewarding, but brief. For a few weeks, demand increases and communities come together, working with tradition. Supporting these local artisans as we carry out our own festivities does not just ensure that the season remains beautiful, but that the ancient traditions remain alive a bit longer.  

To read stories about Diwali and Dussehra, download our very own ACK Comics App. 

A Dussehra Beyond Borders: Dashain in Nepal 

By Keya Gupta

Marking the end of monsoon, communities across South Asia celebrate with festivals that commemorate the triumph of good over evil. In the month of Ashwin, the seventh month in the Hindu calendar, which is typically during September-October, India celebrates Dussehra with grand Ram-Leela performances and Ravana effigies. Similar celebrations occur across the region in Sri Lanka, Bangladesh, Thailand and Cambodia.

Art: Ram Waeerkar 

It is in Nepal, however, that Dussehra takes the expansive form of ‘Dashain’, celebrated across 15 days and touching nearly every household, whether Hindu or Buddhist. It celebrates Goddess Durga‘s victory over the demon, Mahishasura, symbolising the victory of righteousness and divine power. Unlike many Indian Dussehra or Durga Puja celebrations which are often shorter, Dashain’s celebrations create an atmosphere of festivity for weeks. Dashain shows us how the myths and festivals we are familiar with, have been adapted in Nepal. 

The first day of the festival is Ghatasthapana, when barley seeds are sown and nurtured in homes. This grows into a sacred grass called jamara. The barley seeds are grown over the days of the festival and by the end, they take on their distinctive yellow-green colour. This sacred grass is a symbol of prosperity and protection, like welcoming Goddess Durga into homes during Durga Puja.  

Throughout Dashain, families meet relatives, close and distant, to share the festive spirit, while donning new clothes and sharing meals to welcome the prosperity and blessings that Goddess Durga brings. Children streak the sky with kites, as is tradition, and kids and adults alike enjoy swinging on large traditional bamboo swings called ping. Both these traditions are more than just play. The kites are believed to be a way to send messages to the gods up in the skies, as the clouds clear out with the end of monsoon. Swinging in the ping is believed to be a way to rinse away the burdens and sins in one’s life.  

Maha Ashtami is the eighth day of the festival, when Durga is worshipped in her most frightening and fierce form of Kali, and is appeased through the sacrifice of animals and poultry. On Maha Navami, the ninth day, people worship their tools, vehicles, and instruments; a practice similar to the Vishwakarma Puja in India. This ritual recognises the importance of tools and implements in livelihoods and the conveniences in daily life that are often taken for granted, seeking divine protection for the safety of the things that provide livelihood.  

Art: Ram Waeerkar 

The main day of Dashain is Vijaya Dashami, the tenth day of the festival, when Durga slayed Mahishasura. Elders apply a ‘tika’ which is a mixture of red vermillion, curd, rice and the sacred jamara on the foreheads of younger family members. The jamara in the tika ties one to the earth and nature’s bounties, reflecting the end of the harvest season. Historically, this tradition of tika harks back to the largely agrarian and warrior culture of Nepal. After a period of agricultural rest during the first nine nights or Navratri of the Dashain period, it symbolises farmers or warriors receiving it as a symbol of protection and strength before returning to work.  

The festival’s last and final day falls on a full moon, called the Kojagrat Purnima or Sharad Purnima. Kojagrat literally means ‘one who is awake’, and it is believed that Lakshmi, the goddess of prosperity, descends to Earth on this night and showers the ones who stay awake all night, with blessings.  

As Dussehra and Dashain light up homes, they remind us that despite regional differences, the essence and spirit of these festivals is the same — the triumph of good over evil and the joy of togetherness and community.   

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The Astrology of Navratri

By Keya Gupta

In Indian culture, astrology is more than a tool to predict our ever-changing lives. It is the thread that connects everyday life to the stars and sky. As Sharad Navratri arrives, the air grows crisp and the seasons turn, along with a shift in the spiritual landscape. This is the festival that honours Goddess Durga, whose power is mirrored in the skies and the cycles of nature. 

Navratri means ‘nine nights’, a time where Goddess Durga is worshipped in her nine different forms. Each night is a step in the journey from darkness and struggle to clarity and transformation. The festival represents the triumph of good over evil, light over darkness, and knowledge over ignorance as Durga slays the demon, Mahishasura. But Navratri is also deeply tied to astronomy and astrology, with each day’s timing and meaning influenced by the planets and their movements.   

Sharad Navratri begins around the autumn equinox, the time when day and night are almost equal in length; highlighting balance in the universe, a natural balance in the earth’s cycle, and the shift from summer into the cooler season. The equinox reminds us of balance not only in the outside world but also in our inner lives. Just like day and night are equal and in harmony during this time, Sharad Navratri encourages us to find balance within ourselves.  

Each night of Navratri celebrates one of the nine forms of Goddess Durga, each representing different qualities like strength, courage, wisdom, and protection. Each of the nine days and corresponding forms of Durga is linked to the ‘Navagraha’ of Hindu astrology: Moon, Mars, Mercury, Jupiter, Venus, Saturn, Sun, Rahu, and Ketu. By praying to each form, we seek harmony with the energies of these cosmic bodies. The movements of these bodies influence the timing of the festival, making it a special time when spiritual and universal energies are aligned.  

 

Illustration: Harshal N. and Srinath Malolan

Why nine nights? The number nine holds a significant position in both mathematics and spirituality. Nine is the last digit before numbers repeat in cycles, as the digits ‘1’ and ‘0’ begin to repeat after ‘9’, symbolising completion and renewal. In Hindu thought, nine signals the end of one cycle and the beginning of another, representing rebirth, transformation, and infinity. Nine is the apex, both an ending and ushering of a new start. During Navratri, nine marks the harmony of the physical and spiritual, the journey through stages of life, from ignorance to finding the divine. The nine forms of Durga depict the nine stages of individual growth from death to rebirth, cleansing, and enlightenment. Even the structure of the Vedas and the planetary system is shaped by nines, reflecting a universe that moves in cycles, guided by the Navagraha. With each turn of the seasons and each phase of the moon, the number nine reminds us to recognise the rhythms of nature in our own lives.  

Sharad Navratri is more than a festival; it is a celebration of the skies and spiritual growth. As people light lamps and offer prayers, they participate in a tradition that honours the relationship between the stars and human life. For nine sacred nights, under the changing skies, Navratri invites us to embrace change, seek balance, and move toward renewal. 

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Monsoon Ragas: How Indian Classical Music Welcomes the Rain

By Shree Sauparnika V

When dark clouds gather and the first drops kiss the earth, nature begins its grand symphony. The wind whistles, thunder rumbles, and in homes, temples, and concert halls, a voice rises in song. In India, the monsoon is not only heard, seen or felt but also sung. 

Music and the Seasons 

In Indian classical music, a raga is more than just a melody. It is a living form with its own mood, time of day, and even season. Ancient texts like the Natya Shastra and the Sangita Ratnakara describe how music mirrors the rhythms of nature—sunrise and dusk, summer heat and winter chill, and the cool showers of Varsha Ritu. For centuries, musicians have turned to special ragas to welcome the rains, believing their music could not only celebrate the season, but even invite it. 

Carnatic Voices of Rain 

In Carnatic music, no raga is more closely linked to rain than Amrithavarshini, which means ‘the shower of nectar’. Legend tells us that the great composer Muthuswami Dikshitar once sang his composition Anandamrutakarshini in this raga at Ettayapuram in Tamil Nadu during a drought, and rain followed soon after. With its bright pentatonic notes that sparkle like falling drops, Amrithavarshini continues to be sung during the monsoon, carrying with it the aura of this miracle.

Some traditions even connect ragas to deities. Just as Amrithavarshini evokes joy and abundance, ragas like Varunapriya are linked to Varuna, the Vedic god of rain and water (who is often compared to the Puranic Lord Vishnu). Music, myth, and nature flow into one another seamlessly. 

Illustration: Sana Tripathi
Hindustani Ragas of Monsoon 

In the Hindustani tradition too, the monsoon has inspired some of the most beloved ragas. Megh, with its deep, resonant notes, is said to echo the rumble of monsoon clouds. Miyan ki Malhar, attributed to Tansen, carries the drama of storms and sudden showers. Desh, soft and lyrical, feels like gentle rain on a quiet evening. These ragas are often performed during the rains, their swells and pauses mirroring the rhythm of downpours and the freshness of wet earth. 

Regional Flavours of Rain Songs 

Across India, the rains are welcomed in many different musical voices. In Uttar Pradesh and Bihar, women sing Kajris which are playful, yearning songs that capture the beauty of dark clouds and the ache of separation. In Bengal, the monsoon finds its voice in Rabindra Sangeet, where Tagore’s melodies weave rain with love and devotion. In Maharashtra, folk traditions like Ovis and Lavanis bring out the rhythm of village life in the wet season, while in Kerala, temple courtyards come alive with folksongs that celebrate Varsha Ritu as a time of renewal. From the banks of the Ganga to the backwaters of the South, the rains become a reason to sing, each region adding its own colour to the music of the monsoon. 

Illustration: Sana Tripathi
Echoes Across the World – Western Musical Parallels

While Indian ragas are closely tied to seasons and moods, Western classical music also paints nature in sound, though with different methods. Composers there often use ‘tone painting’, shaping rhythm, harmony, and orchestration to mirror the world outside. Antonio Vivaldi’s famous concerto The Four Seasons captures a summer storm with rapid violin strokes and dramatic chords, much like a monsoon cloudburst. Later, Impressionist composers such as Claude Debussy created musical ‘weather’ with flowing, unpredictable scales and rhythms that evoke rain, wind, or waves. Unlike ragas, which are bound to specific times and seasons, Western music tends to suggest nature through mood and metaphor. Yet, across cultures, music and rain have always danced together.

The Rain in Our Hearts 

What is it about a raga that makes the rains feel so near? Perhaps it is because the monsoon in India is more than just weather. It is relief after heat, joy after waiting, and hope for abundance. Indian classical music transforms this anticipation into melody, carrying the rhythm of falling rain and the fragrance of the earth within its notes.

Perhaps we are always waiting for the rain; a cathartic flow of emotions, a much-needed respite. Our ragas give voice to these feelings. They don’t just describe the rain. They become the rain.  

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Ganesh Chaturthi and the Evolution of Sacred Art

by Keya Gupta

When you think of Ganesha, you picture the pot-bellied elephant-headed God, worshipped across India. But historically, Ganesha has travelled around the world, with the oldest surviving Ganesha statue being found in the Kung-sin province of China, in 531 CE! 

In fact, Ganesha idols have been found all over the world, from Japan to the islands of Thailand and Indonesia and even Afghanistan. The Ganesha statue in Gardez, Afghanistan is from the 4th or 5th Century CE. That is about 2,500 years ago! Ganesha has even been adopted into other religions, and an idol can be found in the Buddhist temples in Japan. There he has been transformed into Kangiten, and this form of Ganesha is worshipped differently than we do here in India.  

Kangiten, God of Bliss. Illustration: Srinath Malolan

But how did idols come into the form we see them in today? As we prepare for Ganesh Chaturthi, we must remember that these celebrations, and the idols, the centre pieces of our worship, represent a nearly 3,000-year-old tradition and craftsmanship evolving from simple stone to masterpieces.  

The First Forms      

The story of Ganesha sculptures begins nearly 3,000 years ago with statues of elephant-headed yakshas (nature spirits or minor deities in Hindu, Buddhist or Jain mythology) in ancient Mathura art. The Ganesha in Kung-sin, China, is dated around this era. During this time, the forms of Ganesha were still developing and were simpler and slimmer than what we see today.  

A little bit later, Ganesha appears in his more classic form about 2,500 years ago in the famous sculptures in the Udayagiri caves in Madhya Pradesh and the carvings in the Elephanta Caves near Mumbai.  

How Ganesha’s Form Evolved     

With time, Ganesha evolved to have more of the characteristic features that we recognise today. Early sculptures showed Ganesha with just two arms, but now he is usually depicted with four arms, each holding his broken tusk, a noose, a laddoo or a bowl of modaks, and an axe. These items are a visual representation of his ability to remove obstacles, his control over the mind, his love for sweets, and his power to destroy evil, respectively.    

Illustration: C.M. Vitankar

The worship of Ganesha developed later than that of other gods, sometime around 500-750 CE. While it was later than other gods, it was still in ancient times about 2,300 years ago. During this time, the Hoysalas of Karnataka built temples with incredibly detailed Ganesha statues, showing every piece of jewellery and fold of cloth. Around the same time, the Chola dynasty in the Tamil Nadu region created Ganesha idols with bronze casting, making them more portable and eventually leading to the idols we carry around in processions today. 

Shaping Modern Worship   

About 200-300 years ago, Maratha rulers adopted Ganesha as their family emblem and built more Ganesha temples in a conscious effort to elevate Ganesha from a supporting deity to a main one.  

In 1893, Lokmanya Tilak launched the first-ever Ganeshotsava festival to rally support against the British. This transformed Ganesh Chaturthi from a private family celebration to the grand public festival we know today. This evolution into a public festival created new demands on artists and sparked a shift from permanent stone or bronze statues to temporary clay ones meant for pandals and then visarjan (immersion in water).  

Yet through every transformation, Ganesha’s essence remains unchanged. Today’s celebrations are the living heartbeat of a tradition that spans thousands of years. Master artisans in Mumbai and Pune don’t just carry on family trades, they are the guardians of a chain of devotion. In every festival idol, ancient traditions meet modern celebrations, proving that while art may change, the spirit it captures is timeless.  

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Independence Day Stories: Courage Beyond Years

By Shree Sauparnika V

When we think of our freedom struggle, we often imagine towering  leaders and seasoned revolutionaries. Yet, history tells another, equally powerful story of young boys and girls who, with hearts full of courage, stood up for their country. Across the world, in every movement for justice, children and youth have been the ones to carry the torch forward. Their energy, fearlessness, and unshakable belief in a better future have made them a vital part of every social and cultural change. 

India’s fight for independence was no different. In towns, villages, and cities, young people risked their lives for the dream of a free nation. They braved imprisonment, exile, and even death, often before they had lived half their lives. 

Baji Rout of Odisha was only twelve years old when he became the youngest known martyr of India’s freedom struggle. In 1938, during the Praja Mandal Movement against the feudal rulers and the British, police forces tried to cross the Brahmani river in search of protesters. Baji, who worked as a boatman, refused to ferry them across. His defiance angered the armed officers, and they ended his life on the spot. His sacrifice at such a tender age ignited a wave of protests and became a symbol of unflinching courage among the youth of India.  

Illustration: Arijit Dutta Chowdhury; Script: Tanushree Banerji

Kartar Singh Sarabha was just nineteen when he became one of the key members of the Ghadar Party, which sought to overthrow British rule through armed revolt. His speeches and writings inspired many to join the cause. Arrested for his role in the Ghadar Conspiracy, he faced his trial with unwavering resolve and was executed at the age of nineteen and was thus immortalised as one of the youngest martyrs of the Independence movement. 

Illustration: Arijit Dutta Chowdhury; Script: Surekha S.

Then there was Saraswathi Rajamani, who was only sixteen when she joined the Indian National Army in the 1940s under Subhas Chandra Bose. Disguising herself as a boy to evade suspicion, she worked as a spy, gathering intelligence from behind enemy lines. Even when she was captured and interrogated, she refused to betray her comrades. 

Illustration: Arijit Dutta Chowdhury; Script: Shakthi Bharathi

These three are but a glimpse of the many young hearts, some remembered by name, others lost to time, who laid down their lives for the nation’s freedom. Countless children marched, carried messages, and braved danger, never to witness the sunrise of the independence they had dreamed of. Their courage, whether recorded in history or passed down in whispers, remains a quiet but enduring part of India’s story. 

Even as times have changed, the spirit of young changemakers has not. Around the world today, young people continue to be at the forefront of movements like speaking up for climate action, demanding social justice, protecting cultural heritage, and standing for equality. From streets filled with peaceful protests to voices amplified through social media, the younger generation is reshaping conversations and challenging systems with the same fearlessness that once drove India’s young freedom fighters. The tools may be different, but the courage, vision, idealism and hope for a better world remain the same.  

This Independence Day, as we honour the leaders who shaped our nation, let us bow in gratitude to the young heroes who dared to dream of freedom. In their courage, we see the boundless energy and hope that only youth can bring. They are the heartbeat of every movement for change, the promise of a brighter tomorrow, and the reminder that the spirit of freedom lives on most fiercely in the hearts of the young. 

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The Eternal Teachers: Great Gurus from Ancient India

By Shree Sauparnika V

In the Indian tradition, knowledge is sacred and those who share it are even more so. A Guru is not merely a teacher, but a guide who leads the seeker from darkness to light, from confusion to clarity. On the day of Guru Purnima, we honour these luminous figures who shaped minds, preserved dharma, and lit the path for generations to come. Among the many Gurus remembered in our scriptures, some stand out like constellations in the night sky— eternal, guiding, and ever-present.  

  1. Veda Vyasa – The First Among Gurus

Guru Purnima itself is named after him—Vyasa Purnima. Veda Vyasa is said to have compiled the four Vedas, written the Mahabharata, and composed the 18 Puranas. His work laid the foundation for nearly every aspect of Hindu philosophy and storytelling. In the Mahabharata, Vyasa appears not just as a writer, but also as a wise elder whose presence shapes the fate of generations. By bringing the vast knowledge of the Vedas into an accessible form, he became the Guru of all Gurus. 

Illustration: S.B Tendle
  1. Krishna – The Teacher Divine

In the middle of a battlefield, with war about to begin, Krishna becomes a Guru. To a hesitant and grieving Arjuna, he delivers the Bhagavad Gita, a text that is both deeply spiritual and profoundly practical. Krishna does not simply offer comfort but reveals truths about duty, detachment, devotion, and the eternal self. As a Guru, Krishna stands as the voice of clarity in confusion, the calm in the storm. His teachings continue to guide seekers, soldiers, and scholars alike. 

Illustration: Pratap Mullick
  1. Dronacharya – The Master of Warfare

In the Mahabharata, Dronacharya is the royal Guru of the Pandavas and Kauravas. An expert in warfare, Drona trained his students in archery, combat, and dharma. His teachings shaped some of the greatest warriors in the epic—most notably Arjuna. Drona’s story is not without moral challenges. His loyalty to Hastinapura, his complex choices, and his tragic end show that even Gurus must walk a difficult path. Yet, his dedication to his students and to his art made him a Guru remembered for his discipline and skill. 

Illustration: P.B Kavadi
  1. Rishi Sandipani – The Guru of the Divine

Not every Guru appears in royal courts or mighty battles. In a quiet ashram by the river, Rishi Sandipani taught three young boys: Krishna, Balarama, and Sudama. He taught them the scriptures, the arts, and the duties of life. It is said that Krishna, out of gratitude, brought back Sandipani’s lost son from the realm of death. Sandipani’s greatness lies not in his fame, but in the values he passed on to his students; values that even gods chose to learn from. 

  1. Sage Vasishta – The Seer of Truth

Vashishta, one of the Saptarishis, appears in many ancient texts, including the Ramayana. He was the royal Guru of the Raghu dynasty and served as the teacher and advisor to King Dasharatha and Prince Rama. His deep understanding of dharma and inner peace shines through in the Yoga Vasishta, a dialogue between him and the young Rama. Vasishta is the calm voice of wisdom in a changing world — a Guru who teaches that the highest knowledge comes not from rituals alone, but from self-realisation. 

Illustration: Rakesh C.S

The wisdom of a Guru does not fade with time, it lives on in every lesson remembered, every path chosen, and every act guided by truth. From palaces and battlefields to quiet forest ashrams, these ancient teachers shaped not only the heroes of our stories, but the soul of a civilisation. On Guru Purnima, as we touch the feet of our own mentors, let us also bow in spirit to these eternal Gurus, whose teachings continue to whisper across time, reminding us that knowledge shared with love is the most powerful gift of all. 

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