THIRUVANANTHAPURAM: Vinduja Menon shone on the Kalolsavam stage of 1991, bagging what was then the topmost honour a contestant could achieve — the Kalathilakam. Her entry into films had come much earlier, as a child artist. After winning the coveted title, she explored cinema for a good while and is still remembered for her landmark role opposite Mohanlal in Pavithram.
As the 63rd Kalolsavam winds up, TNIE has a quick chat with Vinduja about her memories of the festival, how her life has shaped up, and her intentions regarding cinema.
What are the memories you cherish about Kalolsavam?
I won the Kalathilakam title in 1991, when Kalolsavam was held in Kasaragod. Then, after 28 years, I was invited to Kasaragod again as a chief guest for that year’s Kalolsavam. My memories came flooding back, and at that moment, the true happiness and pride in my accomplishment dawned on me - it was inexplicable.
How do you view the way Kalolsavam is held now?
There is a need for participants to experience the positive aspects of competition. The first, second, and third positions (which have been discontinued) had their benefits. Nowadays, nobody knows where they stand (as the system has switched to grades), and this can hamper improvement and the honing of one’s skills.
Kalathilakam and Kalaprathibha titles, and the rankings should be reinstated. It is imperative. Otherwise, we are not grooming future generations to handle pressure and take responsibility. Nowadays, we have a generation that lacks confidence and won’t even make eye contact. They also miss out on healthy competition. I am still in touch with those who competed with me during the Kalolsavam. Allow students to make memories that will inspire them to face life’s challenges.
Your entry into films was remarkable, but equally remarkable was your stepping away from it. Why?
It wasn’t about being in films or staying away; it was about my interests and aspirations. I got sought-after roles, which I performed to my satisfaction. At the same time, I ensured I pursued my education, dance, and music, all of which were important to me.
I have always believed that education should never be compromised because cinema is a field where you need external agencies to approach you with work. Education, on the other hand, supports you at any turn in life. After my PhD (in music), I am now pursuing a senior fellowship. So, when roles came my way, I balanced my commitments, taking on only those projects that allowed me to focus on my art and studies.
After marriage, I continued taking up projects on TV and in films, but being away meant I couldn’t manoeuvre my choice of projects as I could have if I were here. Still, I got to work on Several exciting projects.
Would you return to cinema?
If the work is exciting, I certainly will. Ultimately, it is about doing what makes us happy. Dance and music are my life. So, any work in these fields that satisfies me.
What’s your take on many artists struggling to sustain a healthy livelihood?
That is indeed a significant question. This issue became particularly evident during Covid times. The mindset of society towards art needs to change, and artists who demand remuneration shouldn’t be seen as greedy.
People forget that an artist’s income is seasonal. We have tried reaching out to government agencies for aid and a scheme to provide artists with a steady income. First, however, societal attitude towards artists needs to change.