Tamil, a world classical language, has a long history of culture and its literature dates back to even before Common Era. The ten anthologies and eight long poems in Tamil of the Sangam age date from 100 BC to 250 AD [and] are the oldest and most distinguished body of secular poetry extant in India. Sangam Tamil literature has a construct of two opposing reference points, Akam and Puram. Akam has love as a focal point and Puram has war and land as focal points. The Sangam Tamil text clearly indicates that it had already been determined by the destruction of the matrilineal system and replacement of it with patriarchy. The classification is also based on Thinai, which is landscape that includes birds, flora, fauna, rituals, beliefs, gods, and manners of love. Women poets were a strong presence in Sangam literature of yesteryears and their scholarship is proved that [a] total of 154 of the 2831 poems carry women’s signatures. The legacy include the much quoted Avvaiyar, Velliveethiyar, Nappasalaiyar, Varumulaiyaritti, Nedumpalliyathai, Kachippedu Nannagaiyar, Parimagalir.
The Filmmaker enters the cavern of her own mind and finds there the scattered leaves not only of her own power but of the tradition of her foremothers that might have generated that power. The body of her precursors’ art, and thus the body of her own art, lies in pieces around her, dismembered, disremembered, disintegrated. The Filmmaker remembers it, becomes a member of it, joins it, rejoins it and integrates it in order to achieve her own integrity, her own selfhood.
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