Every item's complexity was added on seamlessly by an ascending order of seniority among the dancers, leading the audience subtly to greater levels of rasikabhava.
 
Even the littlest of students showed off the biggest of smiles, a clear indication of the joy of dancing they must be experiencing. The little girls showed astonishing caliber while performing the cleanly choreographed Pushpanjali and Sri Gana Natha. The rendition of Ra Ra Venugopala as the next item displayed a progression in performance standards.
 
Ninnukori, followed by Sadinchane were both excellent selections as the next pieces. Ninnukori, as a short and sweet varnam, showed off the talent among the students to perform a varnam. Sadinchane, allowed for a varied narrative, and since it was based on the multi-faceted and beloved Krishna, was highly diverting.
 
In Nadhiyum Penne, Vidhya provided a blank palette for Lasya's adult dancers to attempt choreography. Under her guidance, they worked with the relationship between woman and river, blending contemporary music and themes with an ancient art.
 
The post-interval session was "Kanchi Kshetram" performed by Vidhya as a solo. Her narrative style of performing here took the audience along with her- right up till the entrance to the temple, going from one sculpture here and another further along. In the role of the traveler, Vidhya gave the spectator a glimpse of Shaiva Kanchi, Vishnu Kanchi, and Baudha Kanchi.