The dancer is dressed in an off-white Anarkali suit, with green border and a pink dupatta. She is wearing matching accessories on her hands, neck and forehead. As the music starts, she is in a half-sitting position and then slowly gets up making an Alapadma mudra (a fully opened lotus) with her left hand close to her body and right hand open wide above her head. 

 

She takes her left hand over her right arm, using her fingers. She then clasps both her hands and takes her arms to her left and right, moving her head and eyes in synchronization with a smile on her face. 

 

She circles thrice taking her arms in and out in a graceful and swaying movement. She faces the audience and sways her body forward and backward with her arms moving up and down, her hands in an Alapadma mudra (a fully opened lotus). She again circles thrice. She throws her hand downwards and upwards on both the left and right side, faces the audience and sways her body to the right and left four times, bending her arms and keeping her palms open, towards her face. 

 

She keeps her left hand in Katakamukha mudra (opening of a bracelet : bringing together the index finger, middle finger and thumb), right hand in Alapadma mudra (a fully opened lotus)  and circles to the right and vice-versa, shaking her neck, with a smiling face in between the rotation. She clasps her left forefinger with her right and turns back. She turns and looks at the audience through her left side and right side. She then faces the front and poses like Lord Rama, like an archer and looks longingly to the right, keeping her right hand over her forehead and vice-versa. She then stands straight, takes her hands up and down four times, also making rhythmic steps with her foot, circles once and pauses in a Kathak pose with her right hand over her head, palm facing the sky and left hand bent in front of her chest.

 

She again replicates a Kathak movement, by throwing her hands outwards thrice and making a pose by keeping the right hand above her forehead. 

 

She then sways her arms from the right to left seven times, moving her hips in a graceful manner and performs the Indian gesture of taking each hand to the side of her head, closes her knuckles, touches them to the side of the head and rolls them which is said prevent the casting of evil eye, her body diagonally towards the right. 

 

She throws her left hand out eight times and pauses in a Kathak pose with her left hand over her head, palm facing the sky and right hand thrown aimlessly down.

 

She sways her arms from the right to left 12 times, moving her hips in a graceful manner. She then moves her body four times to the right and left side, hands in a budding flower mudra above her head. She then sways her body to the right and left, clasping her arms together at her waist, poses like a shy girl by keeping her left hand on her left cheek and right hand supporting the left arm and throws her hands to the right side, the right hand above the left in Alapadma mudra (a fully opened lotus). 

 

She then keeps her right hand over her left, the left hand thrown aimlessly down and heaves her body depicting pain. She emphasizes her eyes by keeping both her little fingers below her eyes and poses like Lord Rama (archer) towards the right side and keeps her right hand over her left, the left hand thrown aimlessly and heaves her body depicting pain. She then expresses how everyone knows her problem by throwing her hands down from her forehead and keeping it in an Alapadma mudra (a fully opened lotus) and opening her arms wide, repeating the steps twice. She again goes for the Kathak step of stamping her foot five times, swaying her hands down from the level of her forehead, circling and with her right hand over her head, palm facing the sky and left hand bent in front of her chest.

 

She clasps both her hands, takes it to the left side, keeps it above her head and sways her hands from the right to left six times and poses the ‘preventing the casting of evil eye’ pose on the left side. 

 

She then circles around eight times before moving on to her final posture where she stands on her left foot, extending her right leg to the right side, only her toes touching the ground, left arm extended to the left side and right arm extended to the right side, hands in Alapadma mudra (a fully opened lotus) .

As he exits the stage, six female dancers in Bharatanatyam costume enter and stand in a V position, each of them holding the National flag on their hands. They then sway the flag from left to right with coordinating body movements. 

 

All of them turn around and bend their knees, touching their left hands on the floor and right hands holding the National flag high, facing the sky. 

 

They exit the stage while four men in wheelchairs enter the stage. Two of them on the second row have their back turned towards the audience and two of them on the front start wheeling around (throwing the trunk backward while coasting quickly forward). As they stop, one more wheelchair user joins the team and all five of them come together in a straight horizontal line and show crisp movements throwing their right and left arms in the air alternatively and finally having both the arms wide open and looking at the skies above. 

 

As ‘Maa tujhe salaam’ plays, all of them turn their wheelchairs right and bow down by bringing their arms from the bottom to the center in a folded hands position. They turn towards their left and repeat the same before turning towards the audience and continuing the same action. 

During ‘Vande Mataram’, two of them fall backwards on their wheelchair as the female dancers in Bharatanatyam costume enter with the National flag and stand in a vertical line, one behind the other.

 

The dancer in the front alights and stands on the hands of both the wheelchair dancers who are on the floor and poses like ‘Bharat Mata’, with her right leg bent and crossing over towards the left, while the other dancers behind her neatly sways the flag. 

 

Some of them exit the stage and they now make the formation of the courageous ‘Bharat Mata’ where three Bharatanatyam dancers stand in a vertical line, one on top of the other, with two similar dancers on either sides and two wheelchair dancers in white in their front, swaying their bodies in sync towards the right and left with Simha mudra (Lion pose) on their hands. 

 

As some of them exist, there are now five wheelchair dancers and five Bharatanatyam dancers on stage, standing in two rows with the mein in front. The wheelchair dancers throw their bodies backwards, while the Bharatanatyam dancers balance on their wheelchairs, all of them saluting towards the audience. 

 

They now make a formation where the person who acted as the Ashoka chakra comes to the center of the stage, with a Bharatanatyam dancer standing behind him with peacock feathers covering her face and body, while the others stand behind her, covering themselves with the tri-colored flag and forming a peacock’s shape with it. All of them then sway together like a peacock.

The next formation is where four wheelchair dancers come in a semi-circle, shifting their bodies in such a way that their partner Bharatanatyam dancers can balance on the handles of the wheelchairs, with both their legs in the air, making a 60 degree angle. 

 

Next is where two Bharatanatyam dancers stand in Chakrasana (a  posture of the body that resembles a wheel) on either side and another Bharatanatyam dancer stands in Chakrasana, her hands supported by one wheelchair dancer and legs supported by another wheelchair dancer, after which both the wheelchair dancers also perform Chakrasana.

 

In the next formation, two wheelchair dancers balance a Bharatanatyam dancer on top of their heads on either side of the stage, while her legs make a 30 degree angle and hands hold a salute position. Four other Bharatanatyam dancers come to the center of the stage, three of them on ground and one balancing on the thighs of the two dancers on either side, all of them with saluted hands. 

 

Next, we see a Bharatanatyam dancer supporting two wheelchair dancers fall backwards onto the ground, while another Bharatanatyam dancer stands on top of them, holding the National flag while the two wheelchair dancers salute with one hand and balance their bodies. 

The teams gets into their final formation, where three wheelchair dancers sit in a row, two wheelchair dancers and one Bharatanatyam dancer in a row behind them, three Bharatanatyam dancers balancing themselves on wheelchairs behind them and one Bharatanatyam dancer in a sitting position at the front. The dancers standing at the edges of the first and third rows have the National flag on their hands while the others are in a saluting position.