Maargam - Sequence of Songs - Details

Nataraja Kowthvam

Raagam - Raagamaalika

Talam - Khanda Chapu

Composer - Madurai R Muralidharan

The Nataraja Kouthvam is a traditional, fast-paced invocatory item in Bharatanatyam repertoire. Lord Nataraja represents the five divine acts—creation, preservation, destruction, concealment, and grace—symbolizing the eternal cycle of existence.

The tradition of invoking deities at the beginning of a Bharatanatyam recital is deeply rooted in South Indian temple culture, where dance was historically performed as an offering of devotion within sacred spaces. Invocatory pieces like Kauthuvams were traditionally performed to sanctify the performance space and to facilitate a mental transition from the worldly to the sacred.

A Kauthuvam is distinct in its structure and energy. It opens with rhythmic syllables, known as sollukattus, followed by verses that describe the glory and attributes of the deity, and concludes with vibrant rhythmic passages that highlight the dancer’s technical strength and precision. This format reflects the dual nature of Bharatanatyam itself, seamlessly combining Nritta (pure rhythmic movement) and Abhinaya (expressive storytelling).

Sabdam

Raagam - Raagamalika

Talam - Misrachapu

Devi Sabdam is a classical performance piece dedicated to a Hindu goddess (such as Meenakshi or Devi). It serves as an expressive "icebreaker" in the recital, introducing the audience to Abhinaya (storytelling and facial expressions) through praise of the deity's beauty, valor, and cosmic power.

In this Shabdam, the dancer will portray the Goddess in her many forms—graceful, compassionate, and powerful.

The story of Kuchela, also known as Sudhama is depicted in this shabdam. Kuchela was a childhood friend and classmate of Lord Krishna. While Krishna grew up to become the wealthy and powerful king of Dwaraka, Kuchela lived a life of extreme poverty. One day Kuchela decided to visit Krishna but when he arrived at Krishna’s palace, the palace guards turned him away due to his ragged appearance. As soon as Krishna heard that his childhood friend was at the gate, he rushed out to meet him, embracing him warmly. As a gift for Krishna, Kuchela brought aval, a handful of flattened rice, tied up in a torn piece of cloth. Embarrassed by his poverty, Kuchela tried to hide the bundle of rice, but Krishna eagerly took the food, declaring it the most delicious meal because it was offered with pure love. While Krishna was eating, Goddess Rukmini, an incarnation of Goddess Lakshmi, watched the interaction. When Krishna reached for a second handful of aval, Goddess Rukmini stopped his hand. Rukmini knew that Krishna’s generosity had no limits. The first handful had already made Kuchela the richest man on Earth. If Krishna ate the second handful, his boundless gratitude would force him to give away the wealth of the entire universe. Kuchela returned home to find his tiny hut had been transformed into a magnificent palace and he and his family were dressed in royal attire, blessed with endless prosperity.

The shabdam also portrays the story of Thiru Gnana Sammandar, 7th-century Tamil child-saint and poet-philosopher. While his father bathed in the temple tank, the hungry young Sammandar cried. Goddess Parvati appeared and nursed him with milk blended with supreme wisdom. When asked who fed him, the toddler pointed to the sky and sang his first hymn.

A Shabdam is unique because it alternates between rhythmic footwork and lyrical storytelling, allowing the dancer to showcase both Nritta (pure dance) and Abhinaya (expression). It is often one of the first major pieces in a recital where expressive storytelling takes a central role.

Jathiswaram

Raagam - Rasali

Talam - Aadi

Composer - K.S.R. Anirudha

Jathiswaram is set in Raasali (a dynamic and melodious Carnatic raaga also known as Hamsadhvani), it brings specific musical and emotional nuances to the stage. Raasali typically contains a playful, majestic, and vibrant pentatonic scale. It allows dancers to execute fast, spirited, and sharp adavus (basic steps) while staying strictly aligned with the rhythmic cycle. The rapid swara phrases challenge the dancer to demonstrate physical agility, stamina, and impeccable body alignment without losing the joyous, sparkling tone characteristic of the scale. A defining feature of a Jathiswaram is that it contains absolutely no lyrics or poetic meaning. Instead of interpreting emotions or a narrative, the dancer literally embodies the musical notes themselves. Every sharp turn, crisp hand gesture (mudra), and foot stamp is a visual representation of a swara phrase.

Varnam

Raagam - Subha Panthuvarali

Talam - Aadi

Composer - DR. Harshan Sebastian

The Varnam is an intense, dynamic choreographic piece dedicated to the fierce, cosmic energy of the goddess Mahakali.

A true test of a dancer's stamina and expressive maturity, it seamlessly combines rhythmic footwork (jatis) and emotive storytelling (abhinaya). Through dramatic portrayals, you will witness the goddess's divine fury as she battles demons, slays Mahishasura, and drinks the blood of Raktabija—ultimately revealing herself as the ultimate protector and destroyer of the ego. Mahakali is known to wear a garland of skulls, or mundamala. This garland is not merely a symbol of destruction, but each skull represents a human ego or past life severed by her divine wisdom, transforming the remnants of ignorance into a garland of ultimate truth and spiritual liberation.

The varnam explores the story of Kalidasa, a simple and uneducated woodcutter. Princess Vidyottama who was tricked into marrying him, is heartbroken once she finds her husband wasn’t a scholar like she had thought. Vidyottama instantly threw him out of the palace. Shamed and desperate, Kalidasa ran to a nearby temple of Goddess Kali, determined to end his life if she did not grant him wisdom. Moved by his intense grief and devotion, Goddess Kali appeared before him. On his tongue, she wrote the sacred syllable “Om”, and the moment the script touched his tongue, all cosmic knowledge, vocabulary, grammar, and poetic rhythm rushed into his mind. He was no longer a simple woodcutter; he took the name Kalidasa, meaning "Servant of Kali."

This Varnam requires profound stamina and expressive maturity; it acts as the ultimate test of a dancer's technique. Originally crafted by the renowned contemporary composer Dr. Harshan Sebastian, this specific adaptation highlights the raw, viral power of Shakti. The lyrics vividly describe the goddess as dark as a raincloud, adorned with a garland of skulls, and wielding weapons of destruction to restore cosmic balance.

Ardhanareeswaram

Raagam- Kumudakriya

Talam - Roopakam

Composer - Muthuswamy Dikshitar

Ardhanareeswaram is a rare and profound Carnatic Kriti composed by Muthuswamy Dikshitar. Set in the mystical Kumudakriya raaga and to taalam Roopakam, this composition invokes the inseparable, half-male, half-female form of the divine, representing the eternal cosmic balance of Lord Shiva and Goddess Shakti. The lyrics and music beautifully contrast the dualities of existence—the energetic, dynamic movements represent the power of Shakti, while the deep, meditative, and grounded elements embody the presence of Shiva.

Tiruppavai

Raagam - Bowli

Talam - Adi

Composer - L. Subhashri

"Villi Nagarattil Vishnucittar" refers to the opening lyrics of the traditional Kumbha Andal, a devotional piece. This Carnatic composition describes the miraculous birth of the poet-saint Andal. The lyrics detail her birth as the daughter of Vishnucittar (also known as Periyalwar) in the city of Srivilliputhur (Villi). According to the verse, Andal appeared in a Tulasi grove on an auspicious Friday in the Tamil month of Aadi, under the star of Pooram. This traditional piece is often performed in Bharatanatyam and is especially celebrated during the Margazhi season. It serves as a rhythmic and musical tribute to her divine incarnation and devotion to Lord Ranganatha.

Tillana

Raagam - Sivaranjani

Talam - Aadi

Composer - Madurai R Muralidharan

A Tillana in Carnatic music is a vibrant, rhythmic composition usually performed at the end of a concert or in classical dance. This specific piece is set to the stunning Raagam Sivaranjani. Now, what makes this raagam so special is its soulful, flowing quality. Instead of heavy oscillations, it uses these beautiful, smooth glides that create an incredible mix of deep emotion and pure melody.

Structured in three parts—the Pallavi, Anupallavi, and Charanam—this Tillana is a brilliant showcase of intricate percussive syllables, crisp footwork, and a lyrical tribute honoring the divine. It requires an immense amount of precision and stamina to pull off at the end of a long night.

The thillana showcases the story of the multi-headed serpent, Kaaliya, who poisoned the Yamuna River and struck terror into the hearts of the people. A young Lord Krishna leaped into the toxic waters, subduing the serpent and performing a magnificent, victorious dance upon its hoods, restoring purity to the river.

Mangalam

Amman Folk

Raagam - Vakulabharanam

Talam - Aadi

Composer - Dr. Ulunthurpettai Shanmugam

The song is an energetic tribute to the Hindu goddess Amman (also referred to as Karu Neeli and Thirisooli). Characterized by its lively, rhythmic beat, the music relies on traditional folk instruments. The vocals are soaring, devotional, and highly dramatic, making it a staple for stage performers.

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