We have thematic presentations not only in vocal and instrumental concerts but also in Kolu. Since people want to have an identity in society they come out with innovative ideas.

Sangeetha Sridhar, a resident of Mambalam, had brought the ambience of Mamallapuram cave and Shore Temple in her Kolu. She had allotted a separate room for this. A scene from the evergreen classic of Kalki, 'Sivakamiyin Sabatham', was highlighted here. We were transported to the Pallava era when we entered the room. The sculptures in Mamallapuram are synonymous with the Pallava age.

Sangeetha had a blue backdrop on the wall for the sea which looked realistic. The dark blue waters of the Bay of Bengal matched with the azure sky. Sculptures depicting Arjuna's penance and stories from Mahabaratha which is world-renowned in Mamallapuram was brought to life by her skilful display of dolls.

The enchantress Sivakami, the heroine of 'Sivakamiyin Sabatham', looked true to life in a dancing posture. Sangeetha was reluctant to place any doll as 'Sivakami' probably her conception of the dancing damsel was different. Her beautiful cut-out of the bewitching lass (which she drew herself) made me dwell on her beauty for some time.

Similarly, Prince Narasimha Pallava, with a tall imposing structure and captivating robust appearance, took us to a make-believe world of the Pallavas. The Prince is shown romantically viewing the dance of his lady love Sivakami on the shores of Mamallapuram. Sangeetha had taken pains to depict this scene in an exemplary manner. The lighthouse, the sea sand, the rocks (tiny dark pebbles), that skirts the sea captured the Pallava age.

Similarly, the 'Garuda Seva' of Kanchi Varadaraja Perumal speaks volumes about her involvement in Navarathri. She had constructed a mini 'Vishnu Kanchi' and on viewing her splendid display of the 'Garuda Seva', we were soaked in bhakti for long.

Booma Kumar, an ardent devotee of Lord Raghavendra, had a mini 'Mantralayam' in her Kolu. She had an exact replica of Mantrayalam with river Tungabadra flowing gently near the hallowed shrine. This was a novel conception and she declares that it was only the Mantralayam Mahan, Sri Raghavendra, who assisted her in this display. She had placed serial lamps for illuminating the 'samadhi'. It looked splendid in the night when the whole area was glowing like 'Mantralayam'. 

Such unique presentations need a lot of preparation, dedication and time. Not satisfied with a routine Kolu, women have started exploring new thoughts and ideas.

Usha Raja