Margam literally means the "Path". It is the path taken by a Bharatanatyam recital as framed and codified by the Tanjore Quartet. It is the debut on-stage performance of a classical art student, after undertaking years of training and is a graduation performance for the art form. The Margam or the linear format of a traditional secular Bharatanatyam recital consists of Alarippu, Jatiswaram, Sabdam, Varnam, Padam/javali, Tillana and Sloka.
As described by the late T. Balasaraswati, the format reflects a marvellous scheme of aesthetic progression, as well as a unique architectural conception.The legendary exponent of Bharatanatyam said:
“The Bharatanatyam recital is structured like a Great Temple: we enter through the gopuram (outer hall) of alarippu, cross the ardhamandapam (half-way hall) of jatiswaram, then the mandapam (great hall) of sabdam and enter the holy precinct of the deity in thevarnam. This is the space which gives the dancer expansive scope to revel in the music, rhythm and moods of the dance. The varnam is the continuum which gives ever expanding room to the dancer to delight in her self-fulfillment, by providing the fullest scope to her own creativity as well as to the tradition of the art. Padams now follow. In dancing to padams, one experiences the containment, cool and quiet of entering the sanctum from its external precinct. The expanse and brilliance of the outer corridors disappear in the dark inner sanctum; and the rhythmic virtuosities of the varnam yield to the soul-stirring music and abhinaya of the padam. Dancing to the padam is akin to the juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of sacred verses in the closeness of god. Then, the tillana breaks into movement like the final burning of camphor accompanied by a measure of din and bustle. In conclusion, the devotee takes to his heart the god he has so far glorified outside; and the dancer completes the traditional order by dancing to a simple devotional verse”
Thus, while the margam can be considered most suited to unfold the major dimensions of the dance, it cannot be held that, unless it is used, a Bharatanatyam recital ceases to be one. It must be noted that the use of Pusphanajali’s and Mallari to begin a recital is relatively recent innovation.
