The screening of a new Rajinikanth film (there have been 168 to date) always brings to mind the Tamilian (Hindu) notion of divinity – that God is everywhere and in everything. This immanent deity has two significant implications. In deep metaphysical terms it means that knowing or experiencing the attendant reality requires a transcendence of the egoistic self and recognizing the unity of all consciousnesses in one consciousness. This unification or oneness of the divinity is, counterintuitive as it might seem, analogous to the Islamic notion of Tawhid. On more mundane egocentric level, however, this immanence means that Tamilians might choose to designate any one of the innumerable parts. of the ubiquitous divinity, as the bearer of the presence of the whole. While some might deem this to be idolatrous or, in Islamic terms, Shirik. for Tamils separate parts of the divinity, ranging from rocks and trees to consecrated icons, can each stand for the whole. It is this synecdochic ontology that allow Tamilians to turn, the adulation of public figures into a form of worship. While this deification of living people, ranging from gurus to politicians, is widespread it is the ritualistic offerings made to movie SUPERSTAR Rajinikanth at the opening of his films that epitomizes of this phenomena in contemporary Tamil culture.
The Koboi Project 
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