Margam, the traditional path of Bharatnatyam repertoire includes:
1. Pushpanjali: The opening invocation where the dancer seeks blessings of God and offers respects to the Supreme Being, guru, musicians, and audience by offering flowers.
Ragam: Gambeeranattai Talam: Adi
2. Ganesh Stuti: (Gajavadana Karuna) A dance in reverence of Lord Ganesha, the remover of all obstacles, who the dancer asks for a sound performance.
Ragam: Sri Ranjani Talam; Adi
Composer: Papanasam Sivan
3. Alarippu: The joy of pure rhythm serves as a prelude to the event. The artistry of the dancer unfolds through pure dance using significant footwork, arm gestures, and with delicate eye and neck movements.
Talam: Rupam
4. Jatiswaram: One of the most beautiful pieces of pure dance. The artist weaves a rhythmic tapestry of Swaras (musical syllables) interlaced with different rhythmic patterns of tala (rhythm) and jatis (dance patterns).
Ragam: Chakravaham Talam: Roopakam
Composer: Dandayuda Pani Pillai
5. Shabdam: (Sarasijakshulu) Poetic and the first dance exploring Abhinaya (facial expressions) with a devotional or amorous theme. "Sarasi Jakshalu", depicts childish pranks of Lord Krishna and the gopikas’ anger at his antics.
Ragamalika Talam: Misra chapu
Composer: Tanjore Quartet
6. Varnam: (Samikki Sarie evvare) the crowning piece in Bharatanatyam combines rhythm with melody displaying a wide range of emotions, combining dance sequences and artistic patterns with Abhinaya in equal measure, blending emotions, melody and rhythm. This repertoire has Virahotkantita nayika portray her love for King Sethupati, praising his qualities and glories, her pangs of separation, her recapitulations of joyful moments, and desire to be united with him.
Ragam: Shankarabharanam Talam: Adi
Composer: Tanjore Quartet
7. Padam: (Krishna nee begane) this delightful repertoire revolves around Yashoda and Lord Krishna portraying the "Vatsalya Ras". The melodious flute, churning of butter, and fragrance of Sandal paste, create a devotional atmosphere. As a spiritual experience, it is the desire of a devotee to unite with the Supreme.
Ragam: Yamuna Kalyani Talam: Misra chapu
Composer: Vyasarayaa
8. Shiva Stuti: A hymn in praise of Lord Shiva. This dance is a vibrant rendering of Shiva who has a crescent moon & sacred Ganga on his head, who is the conqueror of death and Lord of all. He is the cosmic dancer who performs Raudra Tandav (violent dance) and Anand Tandav (dance of bliss).
Music composed by Dr. V V Srivatsa Talam Adi
Lyrics composed by Dr Shataavadani R Ganesh Dr Shankar.
9. Tillana: The lively climax of the Arangetram exhibits exuberance of rhythm with sculptured poses and pure dance bringing out the ecstasy of human spirits by technical purity and vitality to convey a feeling of supreme bliss with rhythmic Korvais (patterns). This repertoire is one of the gems of the divine ancient art of Bharatnatyam presented in Raag Dhanshri and Taal Adi and is composed in the early 18th century.
Ragam: Dhanasri Talam: Adi
Composer: Maharaja Swathi Thirunal
10. Mangalam: (Ramachandraya Janaka) the auspicious ending of the recital where the dancer pays salutations to the God, guru, musicians, and audience by a prayer dance.
Ragam: Kurinji Talam: Adi
Composer: Bhadrachala Ramadass
1. Pushpanjali: The opening invocation where the dancer seeks blessings of God and offers respects to the Supreme Being, guru, musicians, and audience by offering flowers.
Ragam: Gambeeranattai Talam: Adi
2. Ganesh Stuti: (Gajavadana Karuna) A dance in reverence of Lord Ganesha, the remover of all obstacles, who the dancer asks for a sound performance.
Ragam: Sri Ranjani Talam; Adi
Composer: Papanasam Sivan
3. Alarippu: The joy of pure rhythm serves as a prelude to the event. The artistry of the dancer unfolds through pure dance using significant footwork, arm gestures, and with delicate eye and neck movements.
Talam: Rupam
4. Jatiswaram: One of the most beautiful pieces of pure dance. The artist weaves a rhythmic tapestry of Swaras (musical syllables) interlaced with different rhythmic patterns of tala (rhythm) and jatis (dance patterns).
Ragam: Chakravaham Talam: Roopakam
Composer: Dandayuda Pani Pillai
5. Shabdam: (Sarasijakshulu) Poetic and the first dance exploring Abhinaya (facial expressions) with a devotional or amorous theme. "Sarasi Jakshalu", depicts childish pranks of Lord Krishna and the gopikas’ anger at his antics.
Ragamalika Talam: Misra chapu
Composer: Tanjore Quartet
6. Varnam: (Samikki Sarie evvare) the crowning piece in Bharatanatyam combines rhythm with melody displaying a wide range of emotions, combining dance sequences and artistic patterns with Abhinaya in equal measure, blending emotions, melody and rhythm. This repertoire has Virahotkantita nayika portray her love for King Sethupati, praising his qualities and glories, her pangs of separation, her recapitulations of joyful moments, and desire to be united with him.
Ragam: Shankarabharanam Talam: Adi
Composer: Tanjore Quartet
7. Padam: (Krishna nee begane) this delightful repertoire revolves around Yashoda and Lord Krishna portraying the "Vatsalya Ras". The melodious flute, churning of butter, and fragrance of Sandal paste, create a devotional atmosphere. As a spiritual experience, it is the desire of a devotee to unite with the Supreme.
Ragam: Yamuna Kalyani Talam: Misra chapu
Composer: Vyasarayaa
8. Shiva Stuti: A hymn in praise of Lord Shiva. This dance is a vibrant rendering of Shiva who has a crescent moon & sacred Ganga on his head, who is the conqueror of death and Lord of all. He is the cosmic dancer who performs Raudra Tandav (violent dance) and Anand Tandav (dance of bliss).
Music composed by Dr. V V Srivatsa Talam Adi
Lyrics composed by Dr Shataavadani R Ganesh Dr Shankar.
9. Tillana: The lively climax of the Arangetram exhibits exuberance of rhythm with sculptured poses and pure dance bringing out the ecstasy of human spirits by technical purity and vitality to convey a feeling of supreme bliss with rhythmic Korvais (patterns). This repertoire is one of the gems of the divine ancient art of Bharatnatyam presented in Raag Dhanshri and Taal Adi and is composed in the early 18th century.
Ragam: Dhanasri Talam: Adi
Composer: Maharaja Swathi Thirunal
10. Mangalam: (Ramachandraya Janaka) the auspicious ending of the recital where the dancer pays salutations to the God, guru, musicians, and audience by a prayer dance.
Ragam: Kurinji Talam: Adi
Composer: Bhadrachala Ramadass