Sandhya Menon is a dedicated folk artist rooted deeply in the devotional and cultural traditions of Kerala. For her, Thiruvathirakali and Pinnal Thiruvathira are not merely performance forms, but living expressions of unity, discipline, and shared joy. Every stage she steps onto is approached as an offering, especially when performed in temples, where devotion and art become one.

At the heart of her artistic philosophy is togetherness. She believes that forms like Thiruvathirakali and Pinnal Thiruvathira cannot be performed beautifully by an individual alone. Even if ten dancers stand in a circle, the performance only becomes complete when all ten move as one. The smile exchanged between partners, the subtle correction of a step, the shared rhythm, these are the invisible threads that bind the group. She often describes Pinnal Thiruvathira as a “knot of unity.” Just as the ropes are braided and later carefully undone in perfect rhythm, the dancers must remain connected in mind and movement. Without unity, the braid will falter. Without harmony, the beauty is lost.

When she performs, the emotion she experiences is simple and pure: happiness. She and her team play with enjoyment, but never casually. Pinnal Thiruvathira demands intense concentration. The braiding and unbraiding must happen in the same rhythm, with the same steps, and with unwavering attention. Even a single person missing from the formation makes practice impossible. A minimum of ten members is required, and continuous rehearsal is essential. According to her, at least a week of focused practice is necessary before presenting it on stage. Unlike simpler group dances, Pinnal Thiruvathira requires patience, alertness, and collective precision.

Traditionally, Thiruvathirakali has been associated with women. While men today perform Thiruvathirakali in certain contexts, Pinnal Thiruvathira remains largely a women-led form. Sandhya does not insist that men cannot perform it, but she emphasises that the art demands grace, control, and deep concentration. More than a question of gender, it is a question of commitment and discipline.

Through her organisation, Thaalam, Sandhya Menon and her team have steadily built a remarkable journey in performance. They have completed nearly 90 stages, presenting their art in different temples without repeating venues. Their performances have been offered with devotion at Padmanabhaswamy Temple, Mookambika, Guruvayur, Vaikom, Ettumanoor, Chottanikkara, Vadakkumnathan, and many other sacred spaces. Each stage is treated as distinct, each temple as a new blessing.

Their repertoire extends beyond Thiruvathirakali to include Kinnam Kali and Pinnal Thiruvathira, creating varied presentations within the Thiruvathira tradition. They frequently perform during Navaratri and Onam celebrations, and at cultural venues such as Akhila’s Heritage and other festival platforms. Their commitment lies not in repetition, but in offering each performance as a fresh act of devotion.

As they approach the milestone of 100 stages, the group holds a collective dream. After completing 100 performances, they wish to gather all who have been part of their journey, including early members who may have moved away for work or personal reasons, and celebrate together. The milestone is not only about numbers, but about honouring shared memories and collective effort. They are also exploring the possibility of formally recognising this achievement, though their focus remains on sincerity rather than record-making.

Looking ahead, their aspirations extend beyond Kerala. Ayodhya and Dwarka are among their cherished goals. One of their most ambitious dreams is to organise a mega Thiruvathira performance in Ayodhya with 16,008 participants. Members of Thaalam are spread across different states in India, and the vision is to unite Malayalis from across the country in one grand, synchronised offering. Small steps have already begun toward this dream, with careful groundwork being laid.

For Sandhya Menon, the braid of Pinnal Thiruvathira symbolizes more than choreography. It represents people coming together, holding rhythm, correcting one another gently, and moving forward as one. In every temple courtyard and festival ground, she carries forward this knot of unity — with happiness, concentration, and unwavering devotion.