Maargam - Sequence of Songs - Details

Pushpanjali

Raagam - Arabhi

Talam - Adi

Composer - Dr. M. Balamurali Krishna

Derived from pushpam (flower) and Anjali (offered with folded hands). The dancer enters holding fresh flowers, cupping them in both hands, and ritually offers them in a continuous stream at the start of the recital. The piece specifically honors Lord Ganesha (the remover of obstacles) for a smooth and successful performance. The popular composition set to the refrain "Jhem Jhem Tanana" was crafted by the renowned Carnatic musician Dr. Balamurali Krishna. Arabhi is known for its majestic and auspicious energy, perfectly paired with the rhythmic framework of Adi tāḷam (an 8-beat cycle). It blends ritual worship with pure dance geometry, establishing spiritual intent and artistic focus right at the outset of the performance.

Sabdam

Raagam - Raagamalika

Talam - Misrachapu

Through this Sabdam, the dancer portrays a significant episode from Lord Ayyappa's life, where in which he embarks on a courageous journey to obtain tiger milk. This story highlights Ayyappa, the divine child of Lord Shiva and Mohini, who was adopted by King Rajasekara of Pandala. When the queen, under the influence of a deceitful minister, feigned illness and claimed that only tiger milk could cure her, Ayyappa set off into the forest to fulfill this impossible task. In the forest, he met and defeated the demoness Mahishi, thereby freeing the devas (gods) from her tyranny. After this victory, a goddess in the form of a tigress willingly provided the milk. Ayyappa returned to the palace riding a tiger, astonishing everyone and proving his divine nature. This divine feat led the king to build the famous Sabarimala Temple in Ayyappa's honor.

Jathiswaram

Raagam - Malayamarutam

Talam - Aadi

Jathiswaram combines pure rhythmic syllables (jathis) with musical notes (swaras), requiring precision and laya alignment without any narrative storytelling. Set in Malayamarutam (a janya rāgam derived from Chakravakam), this scale is known for its bright, breezy, and uplifting mood. It is traditionally associated with the morning, carrying fresh and meditative energy. Set to Ādi tāḷam, it blends technical footwork with crisp melodic phrasing. Like all Jathiswaram, it consists of a Pallavi (introductory theme) and several Charanam or ettugada swaras. It seamlessly weaves rhythmic patterns into the melodic framework without any lyrical content.

Varnam

Raagam - Hamsanandi

Talam - Aadi

Composer - Madurai R Muralidharan

A varnam is the most complex, physically demanding, and central piece in a traditional Bharatanatyam repertoire. It perfectly balances Nritta (pure, rhythmic dance) and nritya (expressive storytelling), requiring immense stamina, deep emotional maturity, and mastery over abhinaya (expression). The opening song lyrics (sahitya) are introduced with slow, majestic expressions. Complex sequences of pure rhythmic syllables (sollukattus) where the dancer executes rapid, precise footwork. The core of the song where the dancer takes time to deeply interpret the emotions, complaints, and prayers directed at the deity through elaborate hand gestures and facial expressions (sancharis). Stanzas of pure rhythmic notes that intertwine with intricate adavus (dance steps).

Bho Shambho

Raagam- Revathi

Talam - Aadi

Composer - Swami Dayananda Saraswati

Bho Shambho is a widely revered Carnatic devotional song dedicated to Lord Shiva. The hymn praises Shiva's divine attributes, his cosmic dance, and his role as the ultimate savior. The lyrics invoke Shiva as the self-manifested (Svayambho), the bearer of the Ganges (Gangadhara), and the compassionate one (Karunaakara) who helps devotees cross the ocean of worldly sorrow. The song describes Shiva as the absolute, formless supreme reality (Nirguna Parabrahma Swaroopa) who is infinite, eternal, and full of bliss. The hymn captures the rhythm of the universe, equating the cycles of creation and destruction to Shiva’s cosmic dance.

Bengali Song

Raagam - Behag-Baul

Talam - Kaharwa

Composer - Rabindranath Tagore

This song is a devotional and spiritual composition in which the poet describes hearing the Divine Name echoing across the vast sky and among the stars. It expresses the feeling that the presence of the Divine fills the entire universe and, when that presence touches the human heart, it brings peace, humility, and inner light. The song beautifully portrays the harmony between nature, the cosmos, and the human soul.

Tillana

Raagam - Mahati

Talam - Aadi

Composer - Madurai R Muralidharan

A Tillana is a brisk, highly rhythmic, and energetic piece in Carnatic music, traditionally used as the grand finale for dance performances like Bharatanatyam. It consists of a Pallavi (refrain) and anupallavi (sub-refrain) filled with "jatis" (scintillating, percussive rhythm syllables, followed by a brief Charanam featuring melodic notes. Mahathi is a bright, auspicious, and youthful raga. Tillana emphasizes the striking, asymmetrical time cycles and swift footwork cadences. Designed as a "mobile sculpture," dancers match the intricate rhythmic flow with exact diagonals, jumps, and eye-catching adavus before coming to a concluding, statuesque pose.

Mangalam

Snake Dance

Raagam - Punnagavarali

Talam - Aadi

Composer - Pambatti Siddhar

The song, often referred to as "Adu Pambe" (Dance Snake), is a request for the serpent to dance, representing the awakening of Kundalini energy (a form of snake wisdom/serpent energy) within the body. It praises the snake as an ornament to Shiva (Nathar) and describes it with fear-inducing power—sinuous, poisonous, and capable of trembling armies. The snake is described as both the earring of the faultless Shiva, the umbrella for Vishnu, and the bracelet of Parvati, reflecting its role as a divine companion. The lyrics are a blend of reverence and awe, calling on the snake to continue dancing (Adu Pambe) while highlighting its graceful, wavy, and curled form.

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