A pushpanjali is an introductory performance in a Bharatanatyam repertoire, and it is a gracious offering of flowers to Nataraja, the lord of dance, as well as the Guru, accompanying artists, and the audience. Through this gesture, the dancer seeks their blessings for a harmonious and successful performance. 

Ragam: Ghambeera Nattai

Talam: Khanda Adi 

Composer: Smt. Ranganayaki Jayaraman

Choreographer: Smt Vaishali Ramachandran

Sri Vighna Rajam Bhaje is a devotional composition in praise of Lord Ganesha. The lyrics extol his majestic elephant-faced form, his resplendent ornaments, and his compassionate nature as the remover of obstacles and protector of his devotees. The composition also celebrates him as the deity worshipped by the gods and revered by sages, emphasizing his supreme and auspicious presence.

Ragam: Ghambeera Nattai

Talam: Khanda Adi 

Composer: Oothukaadu Venkata Subbaiyer

Choreographer: Smt Vaishali Ramachandran

Alaripu is the traditional opening piece of the Bharatanatyam margam, introducing the recital through pure rhythmic dance (nritta). The word Alaripu means "to blossom," symbolizing the awakening of the body, mind, and spirit as the dancer offers the first movements of the performance. Traditionally presented in 3 speeds, it serves as both an invocation and a graceful preparation for the recital ahead.

This unique Alaripu has been choreographed to a 19-akshara Trimukhi Tālam, offering an innovative rhythmic framework. In this composition, the first beat of the Laghu and the two Dhrutams of Adi Talam are rendered in Tishra Chapu, creating an engaging interplay of rhythm and movement.

Talam: Tishra Trimukhi

Composer: Sri DV Prasanna Kumar

Choreographer: Smt Vaishali Ramachandran

Shabdam is the first composition in the Bharatanatyam margam that introduces expressive storytelling, combining graceful abhinaya with rhythmic dance. This Sringara Shabdam, composed by Tanjore Quartet- Ponniah Pillai, begins with "Sāmi Ninne Chāla Nammiti Nādu Pai Chāla Mēlarā"  ("O Lord, I place my complete faith in You, Why do You continue to neglect me?"). Through this composition, the nāyikā expresses her longing and unwavering devotion as she pleads with Lord Rama, asking why He remains distant despite her sincere love and faith.

Ragam: Kambhoji

Talam: Mishra Chapu

Composer: Tanjore Quartet - Ponniah Pillai

Choreographer: Dr. S. Divyasena

The Varnam is the centerpiece of the Bharatanatyam margam, seamlessly blending intricate nritta (pure dance) and expressive abhinaya (storytelling). It is considered the most demanding composition in the repertoire, requiring stamina, rhythmic precision, and emotional depth.

This Ragamalika Varnam is a tribute to Goddess Meenakshi of Madurai, celebrating her divine grace and multifaceted nature. Through its lyrics and choreography, the Goddess is portrayed embodying the Navarasas: Veera (valor), Sringara (love), Adbhuta (wonder), Hasya (joy), Bibhatsa (disgust), Raudra (anger), Bhaya (fear), Karunya (compassion), and Shanta (peace), revealing the many dimensions of the Divine Mother.

Ragam: Ragamalika

Talam: Adi

Composer: Sri Lalgudi Jayaraman

Choreographer: Dr. Padmaja Suresh

"Ananda Natana Prakasham" literally translates to the "effulgence of the blissful cosmic dance," and it is dedicated to Lord Shiva in the form of Nataraja in the Chidambaram Temple. This kriti is also part of Sri Muthuswamy Dikshitar's Pancha Bhoota Stala Kritis and it is specifically written about the Akasha (space) Lingam. In this kriti, Nataraja is described as the one who is as radiant as a thousand suns and the one who takes immense joy in music and dance.

Ragam: Kedaram

Talam: Mishra Chapu

Composer: Sri Muthuswamy Dikshitar

Choreographer: Guru Smt. Indira Rajan, adapted by Guru Smt. Mythili Kumar

Aadu Pambe ("Dance, O Serpent") is a vibrant composition that celebrates the serpent as a sacred symbol woven throughout Hindu mythology and philosophy. Through expressive storytelling, the choreography depicts the serpent in its many divine manifestations: adorning Lord Shiva, embellishing Goddess Parvati, serving as the protective canopy over the infant Krishna as he crosses the Yamuna, and symbolizing eternal wisdom, strength, and divine energy. More than a portrayal of the serpent itself, the piece is a celebration of its profound spiritual significance and its enduring presence in the Hindu tradition.

Ragam: Punnagavarali

Talam: Adi

Composer: Pambaatti Siddhar

Choreographers: Manasvini Chengavalli in collaboration with Smt. Vaishali Ramachandran

In this delightful composition, the gopikas of Vrindavana affectionately complain to Mother Yashoda about the playful mischief of young Krishna. They describe the enchanting blue-hued child, adorned with sparkling ornaments and jingling anklets, whose irresistible charm captivates everyone he meets. Through lively episodes of Krishna releasing the cows, mischievously stealing a gopika's garment as she bathes, and breaking a pot of freshly churned butter, the composition beautifully captures his divine playfulness. Though they arrive to voice their complaints, the gopika's words reveal not frustration, but their deep love and devotion for the mischievous Lord, whose every prank only endears him to the hearts of Vrindavana.

Ragam: Thodi

Talam: Adi 

Composer: Oothukadu Venkata Kavi

Choreographer: Smt. Vaishali Ramachandran 

The Thillana is the vibrant finale of a Bharatanatyam recital, bringing the performance to a joyous culmination through intricate rhythmic patterns, energetic footwork, and graceful movements. This beloved Thillana in Basant Bahar was composed by the renowned Carnatic vocalist Sri Maharajapuram Santhanam as a heartfelt tribute to Jagadguru Sri Chandrasekharendra Saraswati Mahaswamigal, the revered 68th Shankaracharya of Kanchi, affectionately known as Mahaperiyava. The recital concludes with a Mangalam, also dedicated to Mahaperiyava, offering a prayer for peace, gratitude, and auspicious blessings.

Ragam: Basant Bahar

Talam: Adi

Composer: Sri Maharajapuram Santhanam

Choreographer: Smt. Vaishali Ramachandran