A select list of Vilasini Nataym Items:

The repertoire of the traditional temple and court dancers who practiced their art in the Northern and North-coastal districts of Andhra Pradesh, has been collated and categorised under this group. These items were recovered and suitably adapted to the concert-format in Vilasini Natyam. They include temple-rituals, dance-operas and secular court-dances.

        Vinayaka Prarthana
        Bali Haranam
        Pallaki seva
        Kalyanotsava Nrithyam
        Laali
        Heccharika & Mallari
        Pallavis
        Varnams
        Salaam Daruvu
        Parijatham
        Golla Kalapam
        Radha-Vesha Katha

“ Beyond doubt this is a dance-style completely based on the Shastras and is beautiful in every aspect…This style, of the Telugu people, would attract those within the country and abroad…”
                                        - Andhra Prabha, Hyderabad

Pushpanjali & Todaya Mangalam
Kowtham
Prabandham
Jakkini Daruvu
Sabdam
Swara-Jathi
Varnam
Thillana
       
"Swapnasundari, the danseuse without a pause, is pursuing a brand-new cause. The doe-eyed beauty's intention in brining back the dance form of the Devadasis to life is to give the legendary art-form its due. Thus, the doyenne of dance is making a contribution to the art-form, that has given her a reason for being.."

- The Sunday Observer

The repertoire of the traditional temple a court dancers who practiced their art in the Southern and South-coastal districts of Andhra Pradesh, has been collated and categorised under this group. This community employed dance-movements and presentational techniques that differed from those of the Northern group.
                                    

“To be entrapped in academic correctness alone or spurred only by the heart rather than the intellect is to restrict oneself to be an 'either or' dancer. But in the case of Swapnasundari whose art is guided as much by the heart as the intellect, dance acquires a potency going beyond tailored performances. A musician in her own right, a scholar not afraid of chartering unknown seas and a dancer of unbelievable felicity of both Abhinaya and rhythm, this dancer reveals complete mastery over her art. There is no physical or psychic gap between the audience and the performer when Swapnasundari takes the stage, for she is doing what comes to her so naturally and is not aware of anything like a communication barrier. The range and variety of expressing one idea or word left one dazed. Such Abhinaya expertise! Altogether an aesthetic treat….”
 

-The Hindu, Chennai

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