Latest news with #IDAM
The Hindu
15-06-2025
- Entertainment
- The Hindu
A ‘place' under the sun for folk arts
When you step inside IDAM, an art and cultural space in the middle of busy Kodambakkam, you will find out it is more than just a place, even though 'Idam' literally means place when translated. Inside, rural Tamil Nadu comes alive with folk art forms from Thappattam, Devarattam, Oyilattam, Bomallattam to Tholpavakoothu, apart from general open mics and theatre workshops. But what makes the space stand out is that it does not stop at showcasing these performances but invites Chennaiites to step into the venue as students of the traditional arts. Founded by actor Vetri MV, IDAM is the result of years of groundwork. Since 2017, Vetri has been conducting acting, theatre and art workshops across colleges. But a couple of years ago, he felt the need for a dedicated space for the urban crowd to get in touch with folk heritage. It is not necessarily folk instrument classes, children who attend events here often leave with folk tales and stories from traditional storytellers. 'The main purpose of starting our art and cultural space was simple. It is to connect the folk artists and general public,' says Vetri. 'Most people who live in the city are not always aware of the folk art instruments or dances. So, IDAM became a space for education as much as celebration.' Interestingly, it was not cinema that introduced the actor to folk art, it was theatre. His journey as a theatre artist performing and directing across Tamil Nadu made him give importance to folk forms and their unsung masters, many of whom now take the stage at IDAM. One such artist is Gramiya Kalaimani Nellai Manikandan, a recipient of the Ustad Bismillah Khan Yuva Puraskar. A passionate teacher, he lights up as he talks about training young, urban audiences in forms such as Devarattam. 'When I train people living in the city in folk art forms such as Devarattam, they should first know about the art form, so that is how I start. They are really interested in knowing it, but they do not know where to learn it from,' says Nellai Manikandan, commenting on how a lot of them are glued to screens all day, phones, laptops, TV, you name it! And now, they are hungry for something rooted and old-school. 'Every time I teach a class at IDAM, it turns into a new experience for me itself. On one hand, there are students who come with no prior exposure to dance or any art form, just curiosity and eagerness to learn. On the other, in a group of 20, you might find 15 trained classical dancers looking to explore folk dance and music,' says the folk art teacher. Vetri says the undertones of inquisitiveness has been pulling urban crowds towards folk art as there is an increased turnout. He admits it would not have been the same a decade ago. 'Initially, creating the space exclusively for artforms was a challenge in the city, but we have been successfully sustaining it,' says the founder. In 2025, engineers, designers, copywriters and other professionals are travelling to cultural centres of this kind located as far away as Coimbatore to attend the three-hour or day-long workshops. The space is also gearing up for something new. 'We are starting a full-time three-month course consisting of Thappattam, Devarattam and Oyilattam taught by three different masters which is starting from July, shares Vetri. Alongside, a theatre and acting course is also in the works, which is open to anyone with curiosity!
The Hindu
04-06-2025
- Entertainment
- The Hindu
Tamil play The Meaning of Malar explores relationship and gender dynamics
A small, cozy space with minimal lighting, floor-level performance area and props thoughtfully arranged was the unpretentious yet evocative setting of Karpanai Kudirai's Tamil play, The Meaning of Malar, written and directed by Vedarun, and staged at IDAM, Kodambakkam, Chennai. There were no backdrops or curtains the space felt less like a stage and more like an extension of a living room, inviting the audience into an intimate, almost confessional atmosphere. From the outset, the design and lighting choices set the tone for a theatrical experience that privileges emotional authenticity and psychological depth over spectacle. And that's how the viewers were drawn into the drama unfolding in Malar's life. The play's non-linear structure eschewed chronological storytelling, instead wove together moments from Malar's childhood and late twenties, revealing how past and present coexist in a continuous emotional dialogue. This dramaturgical choice mirrored the fragmented nature of memory and trauma, compelling the audience to actively piece together the narrative while inhabiting the emotional states of the characters. The absence of scene breaks or interval, created a temporal and spatial continuum. This uninterrupted flow functioned as a metaphor for unresolved emotions and silences that permeated Malar's relationships. Malar, portrayed with remarkable subtlety by Snehaa Sesh, is a woman caught in the complex web of her relationships with two men, Kumar (Sadasivam Suryanarayan) and Benjamin (Rajbarath Balamurali). Through these relationships, the play probes the ambiguities of attachment. The interactions of the two men with Malar oscillate between tenderness and tension, reflecting the messy, often contradictory nature of human bonds. The play's themes of emotional fragility, miscommunication, and the quest for freedom resonate universally, yet are deeply rooted in Tamil cultural idioms. The symbolic use of Malar (flower) evokes notions of beauty intertwined with impermanence and resilience. With subtle humour, the play speaks raw, balancing moments of levity with unflinching honesty. Post show, Vedarun shared that he loves reading books on psychology. And one such is Amir Levine's Attached. 'I drew inspiration from it while working on the play', he said. This influence was evident in the nuanced depiction of relationship dynamics that defined The Meaning of Malar.
