The Margam: Traditional Bharatanatyam Solo Performances
Experience the complete architecture of a traditional Bharatanatyam concert, from the rhythmic precision of Alarippu to the vibrant, concluding Thillana.
There's a special joy in the last performance of a season, where the music and dance flow effortlessly. This is one of my favorite jathis from a choreography by my teacher Mavin Khoo, a moment of high-octane fun on stage at the Krishna Gana Sabha.
When musicians share the same pulse as the dancer, magic happens. This is from my fifth kutcheri in Chennai, performing a Mohamana varnam where everything felt perfectly in sync, a truly effortless flow of art.
This Reetigowla Ata tala varnam was a piece I fell in love with after seeing it performed. Learning and exploring it was a journey, first as a musician and then as a dancer, discovering its lyrical potency and musical joy.
The "tat-tei-ta-ha(s)" are pure firecrackers. This jathi, composed by Vijay Kumar and choreographed by Mavin Khoo, was a memorable piece to present in London, showcasing the sharp, rhythmic footwork central to Bharatanatyam.
This varnam was a piece I learned by watching my senior, Vijna Vasudevan. It’s a joy to perform, especially with the intricate jathis composed by Nattuvanar Balakrishnan Sir, a testament to the continuous learning process in dance.
"Here comes Desire, body-less, yet holding me under a spell." This beautiful Khamas varnam explores the power of love and desire. Performing it is an experience of being swept away by sensitive and evocative music.
A thillana a day keeps the problems at bay. This challenging yet rewarding Hindolam Thillana, a masterpiece choreographed by Adyar Lakshman Sir, is a piece I was grateful to learn and perform at the Madras Music Academy.
About this collection
The traditional Margam is a rigorous, 75-90 minute journey that demands total presence. When I perform, the synergy with my live musicians is as vital as the footwork. We aren't just reciting steps, we are building a conversation that evolves from the first rhythmic beat to the final Thillana. If you're considering this for an event, expect a performance that respects the classical structure while staying deeply connected to the present moment.
The Margam is the spine of my practice. It is a structured ascent, beginning with the rhythmic clarity of Alarippu and Jatiswaram, leading into the technical and emotional depth of the Varnam, and resolving in the exuberant Thillana. Each piece in this repertoire serves a distinct purpose, and the transitions are just as critical as the movements themselves.
I work with a 4-5 member live Carnatic orchestra consisting of Nattuvangam, Vocal, Mridangam, and Violin or Flute. This ensemble support is not just accompaniment; it is a shared pulse. My approach is to ensure that the music and dance breathe together, responding to the energy of the space, whether we are in a small chamber or a larger auditorium like the Madras Music Academy.
For those booking a full Margam concert, please note that we require a mandatory 60-minute sound check to balance the acoustics of the live orchestra. This format is designed for audiences who appreciate the discipline of classical Bharatanatyam and want to witness how we keep the traditional repertoire alive and relevant today. My goal is always to present a performance that feels less like a demonstration and more like a shared experience of deep, concentrated art.
Divya Ravi
I see the Margam not as a museum piece, but as a living language that I speak with every performance. I spend my days digging into poetry and rhythm, and when I step onto the stage, I am just looking for that shared spark with my musicians and the audience.
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