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Performance Description


Pushpanjali & Ganesha Vandana

Ragam: Arabhi    Talam: Adi

Composer: Shri Balamurali Krishna

Choreography: Vidyalatha Jeerage

Through unswerving dedication and energy, the dancer enters the stage. Her language of communication is powerful as she establishes a connection with the Deity, Guru, Musicians and Audience. The dancer also initiates adoration for the remover of obstacles, worship of the primordial Deity and a prayer for success is the objective.



Ragam: Abhogi     Talam: Adi

Choreography: Vidyalatha Jeerage

In Jathiswaram, melodic cycles of musical notations creates the bedrock foundation. The dancer carefully weaves a series of dance routines that follow the rhythmic content of this pure dance number.


Akilandeswari Rakshamam

Ragam: Dwijavanthi    Talam: Adi

Composer: Muttuswaamy Dikshitar

Choreography: Vidyalatha Jeerage


This devi kirthana explains the power held within the goddess,  Akhilandeshwari. The dancer describes the goddess as the one with the purest soul, the one whose knowledge is above all the rest, and who excels at all the arts. She is worshipped by her sons, Ganesha and Muruga. She is shown to possess a graceful smile and takes delight in music of the instruments like jhalli, maddala, and jarjara. The dancer takes this time to appreciate and surrender herself to goddess Akhilandeshari and all of her assets. 


Varnam: Devadi Deva Nataraja

Ragam: Shanmugapriya    Talam: Adi 

Composer:  Vennai Shesha Iyer 

Original Choreography by Late Guru Smt Narmada, adapted by Guru Vidyalatha Jeerage

Varnam is the most elaborate and complex dance item in a Bharatanatyam recital. It provides a challenge by demanding mastery and understanding of the three dance elements: Nritta, Nritya, and Natya. Through the lines of Varnam, the dancer enacts dramatic episodes of the prime deity Nataraja. 

Sriman Narayana

Ragam: Bowli    Talam: Adi

Composer: Annamacharya

Choreography: Vidyalatha Jeerage


In this prayer song, the composer describes the divine appearance and great qualities of the super soul, Narayana. In this krithi, the God is portrayed as the bright Sun, with lotus feet, and his consort Lakshmi, said to have a lotus face. The item also gives the dancer a chance to describe the 10 forms of  Narayana, the Dashavatara, and helps the dancer surrender herself to the supreme form. 


Muruganin Marupeyar 

Ragam: Behaag    Talam: Kandachaapu

Composer: Guru Surajananda.

Choreography: Vidyalatha Jeerage


In this krithi, the dancer describes how the lord Muruga’s other name is beauty. She explains how his smile enchants the whole world. The item shows that Muruga is said to be cool as the moon, the divine light mentioned by the vedas, and deserving of the name “Kumara”. 


Bho Shambo

Ragam: Revathi    Talam: Adi

Composer: Dayaananda Saraswati 

Choreography: Vidyalatha Jeerage


This fast-paced, vibrant item describes the one and only Shiva. He is shown to control the thrashing river Ganga and put her on his head of long hair. He is the one to free those in need, from their ocean of misery and sorrow. The dancer portrays Shiva to have no end, going beyond time; the future, present, and past. She looks up to him in amazement, he who is the supreme lord of dancing. 



Ragam: Brindavani    Talam: Adi 

Composer:  Shri Bala Murali Krishna

Original Choreography by Late Guru Smt Narmada, adapted by Guru Vidyalatha Jeerage

Thillana is the grand finale of the Bharatanatyam Arangetram. It is pure dance artistry, characterized by its fast beat and intricate steps. It showcases the dancer’s mastery of footwork routines, and command of rhythm. Brilliant steps are woven into repetitive lines of Pallavi, Anupallavi, and the culmination is a Charanam verse, which is dedicated in praise of Lord Krishna. 



Mangalam is a short prayer to conclude the recital. The dancer seeks divine blessings for the wellbeing of all and thanks the dancing deity, the Guru, the musicians and the audience members for the successful conclusion of the recital.

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