Pushpanjali is a traditional opening piece in Bharathanatyam, symbolizing an offering of flowers and reverence to the divine, the guru, and the audience. The term "Pushpanjali" comes from the Sanskrit words "Pushpa" (flower) and "Anjali" (offering), representing devotion and humility. This dance item typically begins with simple rhythmic movements as the dancer performs to a composition in praise of a deity, invoking blessings for a successful performance. It also serves as a warm-up, allowing the dancer to establish a connection with the audience and set the tone for the rest of the recital with grace and poise

Ganapathi is worshipped before all dance repertoire to remove all the obstacles so the rest of the performance goes smoothly. "Vatapi Ganapathim" is a popular Carnatic composition by the saint-composer Muthuswami Dikshitar, written in praise of Lord Ganesha, the remover of obstacles and the deity of wisdom. The lyrics glorify Lord Ganesha's attributes, describing him as the one who resides in Vatapi (Badami), with a radiant form, elephant face, and divine wisdom. It highlights his role as the protector, one worshipped by Agastya Muni and Vishnu, and as the son of Goddess Parvati, symbolizing his supreme divine energy and benevolence

Khanda Alaripu is a variation of Alaripu set in the Khanda tala, a rhythmic cycle of 5 beats. It involves intricate movements synchronized to the 5-beat pattern, showcasing the dancer's control, precision, and grace. Symbolizing the blossoming of the body and mind, it is performed as a rhythmic and spiritual invocation at the beginning of a Bharatanatyam recital.

Jathiswaram is a pure nritta (rhythmic dance) piece in Bharathanatyam that combines intricate jathis (rhythmic patterns) with melodic swaras (musical notes). It is characterized by graceful movements, complex footwork, and seamless transitions that align with the structure of the melody and tala (rhythmic cycle). Jathiswaram emphasizes the dancer's technical prowess and coordination, serving as a bridge between the introductory Alaripu and the more expressive pieces that follow. This Jathiswaram is set to Adi Talam and Arabhi Ragam.

"Tulasi Dalamulache" is a profound Carnatic kriti composed by Tyagaraja in Mayamalavagaula raga and Rupakam tala, celebrating devotional worship through simple offerings. The composition beautifully articulates the composer's commitment to worshipping Lord Rama with tulasi leaves, water, and flowers, emphasizing the power of sincere, heartfelt devotion. Set in a raga known for its spiritual tranquility, the kriti reflects Tyagaraja's deep philosophical understanding of bhakti (devotional) traditions. By highlighting the significance of easily available sacred elements like tulasi leaves, the composition demonstrates that genuine spiritual connection transcends elaborate rituals, focusing instead on the purity of one's emotional surrender to the divine. This masterpiece exemplifies Tyagaraja's genius in blending musical sophistication with spiritual depth. 

Varnam is the central and most elaborate piece in a Bharathanatyam recital, combining intricate nritta (pure dance) with expressive nritya (storytelling). It alternates between rhythmic sequences and emotional narratives, often exploring themes of devotion or love, showcasing the dancer's technical skill and abhinaya (expressions). This long and challenging performance is the pinnacle of the recital, reflecting both spiritual depth and artistic mastery. This varnam is a pada varnam by Karaikal Natesa Dhandayudhapani Pillai in Tamil. 

"Himadrisuthe Pahimam" is a Sanskrit phrase meaning "O Daughter of the Himalayas, protect me." This opening line of the famous Carnatic kriti by Shyama Shastri is a heartfelt plea to the Divine Mother for protection and blessings. The composition addresses the goddess as the daughter of the Himalayan mountains, invoking her divine grace. The full pallavi, "Himadrisuthe pahimam varade paradevathe," expands this sentiment to "O Daughter of the Snow Mountain, please protect me. O Bestower of boons, O Supreme Goddess!" This devotional appeal encapsulates the essence of the entire composition, expressing the devotee's reverence and desire for divine protection.

Rooted in Hindu tradition, this kriti beautifully combines spiritual devotion with the artistry of Carnatic music, creating a powerful invocation to the goddess that resonates with both religious and musical depth.

Padam is a deeply expressive piece in Bharathanatyam that focuses on nritya (expressive storytelling) through abhinaya (facial expressions and gestures). It often portrays themes of love, devotion, longing, or separation, typically in a relationship between a devotee, a deity, a lover, and their beloved. Padam emphasizes subtle emotions and nuanced storytelling, allowing the dancer to connect intimately with the audience and bring the lyrical poetry to life. This padam is by Swathi Tirunal in Malayalam set to Ahiri Ragam and Misra Chapu Talam.  

Thillana is a vibrant and rhythmic concluding piece in Bharathanatyam, known for its intricate footwork, lively movements, and captivating rhythmic patterns. It showcases the dancer's joy and energy, often ending with a brief devotional verse or salutation to the divine and is usually the ending piece of dance repertoire.  This Thillana is set to Paras Ragam and is composed by Poochi Srinivasa Iyyengar also known as Ramanathapuram Srinivasa Iyengar. In the sahityam, he asks Varahi, Abhirami and Rajarajeswari to protect the king of Ramanathapuram, the greatest ruler of Ramalinga.