Maargam - Sequence of Songs - Details

Ganapathi Kowthvam

Raagam - Gowlai

Talam - Caturaśram Ata

Composer - Madhurai R Muralidharan

A prayer in motion celebrating Ganesha's strength, elephant-faced divine form, and role as the lord of wisdom. A rhythmic, fast-paced composition that blends Sāhityam (devotional poetry) with jatis (rhythmic syllables). The song emphasizes that reciting or dancing to his praise dispels suffering, bad karma, and ill fate.

Krishna Sabdam

Raagam - Raagamalika

Talam - Misrachapu

Composer - Madhurai R Muralidharan

Krishna Sabdam is a highly expressive, romantic Kuchipudi and Bharatanatyam item where a female devotee (the Nayika) eagerly awaits Lord Krishna. It is one of the foundational pieces used to introduce abhinaya (facial expressions and storytelling) and rhythmic hand gestures, blending devotion, longing, and delicate choreography.

Jathiswaram

Raagam - Panthuvarali

Talam - Tisra Dhruva

Composer - Madhurai R Muralidharan

A Panthuvarali Jathiswaram is a pure dance piece (Nritta) in Bharatanatyam. It combines rhythmic drum syllables (Jathis) with melodic musical notes (swaras) but lacks lyrics or storytelling. It showcases the dancer's precision, footwork, and geometry of movement, often culminating with intricate charana (verses) and rhythmic variations.

Varnam

Raagam - Kamavardhini

Talam - Aadi

Composer - Vidwan N. Krishnan

Engum Niraintha Paramporule is a renowned Carnatic dance piece that seamlessly serves as an ideal Varnam. It is a devotional composition honoring Lord Venkateswara (Srinivasa). The lyrics are deeply devotional and praise the cosmic, all-pervading (Visvarupa) form of Lord Venkateswara. It references the deity's avatars (like Matsya, Kurma, and Varaha) and highlights him as the protector of the universe. The composition beautifully blends robust bhakti (devotion) with the intricate rhythmic structures typical of a Varnam, allowing dancers to execute both abhinaya (expressive storytelling) and pure Nritta (rhythm-based footwork).

O ubiquitous self, dweller on Seven Hills, O Srinivasa, who, in cosmic form, measured Heaven and Earth, O Narayana, who incarnated as fish, tortoise and the rest, singing your praise we shall seek your sacred hills. O indwelling Holy Spirit, protector of the Universe, I trust only your grace to redeem me. Answer my prayer and lift me by your redeeming look, O transcendent spirit, the dweller in Vaikuntha. O lotus-eyed Govinda, who confers pleasures of the here and hereafter. May I, by your grace, sing your glorious name and be blessed, bestow on us ever and anon your grace to save us and elevate us. O, the lord of those that sing and dance to the melody of your glorious name, who grants well-being, strength and station.

Hanuman Kriti

Raagam- Suddha Sarang

Talam - Kanda Ekam

Composer - Madhurai R Muralidharan

The song functions as a surrender prayer, with "Saranam" meaning refuge or protection. It is a humble appeal to Lord Hanuman, known as Anjaneya (son of Anjana), seeking his grace, protection, and blessing. It extols Hanuman as the messenger of Lord Rama, a courageous warrior, and the son of the Wind God (Vayu Kumara). The lyrics emphasize his strength, devotion to Rama, and his role as a remover of obstacles and fear.

Devi Kriti

Raagam - Raagamalika

Talam - Taalamalika

Composer - Priyadarshini Govind

The performance delves into the different aspects of the Devi—grace, power, and compassion—using hand gestures (mudras), movement, and expression. It is described as a "divine encounter" with Devi, exploring the relationship between the deity and the devotee. The dance often includes depictions of various goddesses like Parvati, Ardhanareeswaram, Kali and Annapurna through specific hand gestures. It is characterized as a deeply engaging, artistic, and meditative experience that portrays the goddess coming alive through movement.

Javali

Raagam - Khamas

Talam - Deshaadi

Composer - Pattabhiramayya

Apaduruku Lonaitine is a popular 19th-century Carnatic Javali that narrates the story of an innocent heroine who becomes a victim of town gossip. She is distressed to find that locals are spreading rumors that she is having a romantic affair with a man who is merely a platonic friend. The text expresses the heroine’s frustration, innocence, and restlessness: She laments, "I have become the target of false accusations due to my own fickle mind". She wonders, "What sinner spread this about me, when I have committed no sin?". She recounts how the rumor started—she was simply walking and talking with a gentleman, but the townspeople immediately declared him to be her secret lover. She expresses anger at how innocent actions (like smiling or associating with a man of status) lead the community to call her a "loose woman" (Jarini) and give her derogatory labels.

Mangalam

Tillana

Raagam - Bahudari

Talam - Misra Jathi Jampa

Composer - Madurai R Muralidharan

The Bahudari Tillana is a lively, rhythmic Carnatic music composition set in Raga Bahudari. It typically features intricate, fast-paced percussion syllables (jatis) interwoven with melodic swaras, building to an energetic, joyous finale commonly used to conclude Bharatanatyam dance recitals.

A short traditional farewell item, thanking the audience. It is performed in a spirit of gratitude for the welfare and prosperity of the world.