Traditionally, Pushpanjali is the first dance in a Bharatanatyam performance. In this piece, the dancer traditionally offers flowers to Lord Nataraja, the god of dance. She offers her salutations to Lord Nataraja, Mother Earth, the Gurus, the musicians, and the audience. Pushpanjali is derived from two Sanskrit words: “Pushpa” meaning flower and “Anjali” meaning divine offering. In this Pushpanjali, the dancer seeks blessings from Lord Ganesha to remove the obstacles in her path.

Kauthuvams are devotional hymns in praise of a deity that were traditionally sung by the devadasis as part of daily rituals, during festivals, or on special occasions.

This invocatory item, Hari Narayana Kauthuvam is in praise of Lord Vishnu who is worshipped in different incarnations: Matsya (fish), Kurma (tortoise), Varaha (boar), Narasimha (half-man half-lion), Vamana (dwarf), Parashurama (warrior), Rama, Balarama, Krishna, and Kalki. This song describes Vishnu in all his glory and encourages the listener to realize Vishnu’s greatness.

In Tamil, Alarippu means “a flowering bud.” This dance is considered a warm-up piece as it showcases “Nritta” which means pure dance. Alarippu is based on rhythm alone and brings out the special charm of pure dance executed at different speeds. This piece highlights the dancer’s controlled movements and focused concentration in her preparation for more complex and elaborate dances. This will be performed to the rendition of Fur Elise by Beethoven.

Following the Alarippu, the Jatiswaram is a musical composition that is exclusively meant for dance. It is a piece without any lyrics and is composed entirely of notes or swara passages arranged in a traditional format of a pallavi, anupallavi, and caranam. This high-energy piece starts with a small jati in the beginning and is noted for the three-dimensional symmetric patterns made by the dancer and its complex footwork.

The centerpiece of an Arangetram is the Varnam. It is a grand composition that showcases all elements of this dance form - from breathtaking pure dance and stylized mime to the elaboration of ideas and concepts encapsulated in the lyrics (called sancari)

This Varnam depicts the glory and compassion of Lord Shiva. The first half of the Varnam narrates the story of Markandeya, a virtuous young devotee who was destined to die at the age of 16. On the day of his death, Yama, the God of Death, arrives to take him away. However, as a staunch devotee of Shiva, Markandeya prays to him, cries for help, and clings to the Shiva Lingam. When Yama tries to take Markandeya with him, the noose around the young sage's neck, which also encircled the lingam, provokes an angry Shiva who comes to his devotee's rescue and attacks Yama. After saving Markandeya, Shiva blesses him to remain 16 forever.

The second half of the Varnam depicts how every individual has a purpose in life and encourages the listener to remain true to themselves while avoiding negative traits such as anger, lust, greed, and deceit. This song motivates the listener to seek greater truths beyond superficial worldly desires.

This Sri Rajarajeshwari Ashtakam is a divine hymn that praises and invokes the blessings of Goddess Sri Raja Rajeshwari. Each of the song’s stanzas begins with the name "Amba," which refers to the Divine Mother. This hymn is filled with descriptions of the goddess's attributes and her protective nature and is a powerful and devotional prayer that seeks the blessings and grace of the goddess.

Brindavandolu is a traditional song that celebrates the playful and divine nature of Lord Krishna. The lyrics of the song take us to the lush gardens of Brindavan, where young Krishna's dance draws the attention of the gopikas, the cowherd girls who are mesmerized by his enchanting aura.

The song also touches upon a significant event from the epic Mahabharata, where the Kauravas, led by Duryodhana, deceitfully win the kingdom and wealth of the Pandavas in a rigged game of dice. In a shameful act, Duryodhana orders Draupadi, the wife of the Pandavas, to be disrobed in front of everyone. However, Lord Krishna comes to her rescue, and with his divine intervention, Draupadi's honor is saved by an endless sari, even as Dushasana tries to disrobe her. This scene highlights the values of honor, respect, and justice that are deeply ingrained in Indian culture. It also showcases the strength and resilience of women in the face of adversity.

In the first part of the dance, the dancer will portray a peacock strutting around in spring and breaking into dance, emulating the bird's traits with jerking yet graceful movements. Then, the dancer will portray a snake swaying to the music, emulating the slithering and coiling of a python. In the final part, the two mortal enemies cross paths and engage in a fight. However, Lord Shiva and Lord Muruga appear and claim the snake and peacock, respectively. Lord Shiva claims the snake as his garland, while Lord Muruga claims the peacock as his vehicle, effectively ending their fight. This dance showcases how even mortal enemies can form peaceful connections under the guidance of powerful entities.

Tillana is a rhythmic piece traditionally performed towards the end of a Bharatanatyam Arangetram. This piece is a lively and energetic dance that features complex footwork, intricate hand gestures, and artistic poses. The Tillana is in praise of Lord Krishna and showcases his forgiveness and compassion by featuring the story of Krishna and Kalinga, the Serpent King.

After a long, mesmerizing dance performance, the Mangalam signifies its auspicious ending. As a conclusion to the Bharatanatyam Arangetram, the dancer completes her journey with a Namaskaram. 

Paluke Bangaramayena is in praise of Lord Rama. This song illustrates the longing of a devotee, Sri Ramadasa, to communicate with and receive guidance from the divine Lord Rama. The lyrics highlight the devotee's faith and belief in the Lord's compassionate nature and his ability to help those who seek assistance. It is a reminder to continue with one's prayers and devotion, even when it may seem that god is not listening.