Poornima Ashok, former disciple of Radha Sridhar, and later on for more than two decades studying under Dhananjayans, in the second half presented what Dhananjayans prefer to call Nrityopaharam for their compositions. She is a well known senior dancer of Bangalore. She presented Papanasam Sivan's Varnam in Nattakuranji raga and aditala in praise of Shiva in her own choreography. With attractive stage presence and good command over technique, in nritta she included movements similar to attributes of Shiva playing a damaru, crescent moon on jata, matted locks, flowing Ganga, wearing Vyghracharma, serpents as ornaments and so on, using poses in nritta as seen in sculpture and attempted a unity of narrative of Shiva both in pure dance and abhinaya. That was quite refreshing. The nayika speaks of her state first as Lord's devotee, then an admirer and finally his lover. She begs of him to give glimpse of his beautiful form with whom she desires to unite. Seeing him in a procession, describing his dance, Poornima displayed poise, balance and dignity. Describing his dance in Chidambaram using sollus while playing damaru, were interestingly interwoven. A mature presentation. In Swati Tirunal's composition Sahasamula, Poornima expressed the bashfulness, the fright of mugdhanayika at the lover's advances at love play, requesting him to have patience till she grows up. Nayaka pulling sari, and enticing nayika in various ways gave scope to Poornima to register various expressions of annoyance, confusion, enjoying secretly the attempts of the nayaka, all depicted with ease.

Oothakadu composition 'VishamakaraKannan' was treated by her in a folk style, dancing with abundance and lilting melody. It was an interesting experiment, combining classical and folk elements. Dealing with Krishna's pranks in various ways, how Krishna, if a gopi went to complain to Yashoda, she only received a rebuff, if she called him a thief, he would swear and curse you and your grandmother! His child like beauty attracts a gopi who begs him to give a kiss on her cheek. Poornima danced in an engaging manner. There were references to Krishna's pranks of stealing clothes of gopi when bathing and then demanding her to ask his forgiveness, pray to him and so on. Poornima was in her element dancing joyously. She concluded her recital with a tillana in Behag raga, a composition by Balamurali Krishna in praise of Tyagaraja. It had its customary appeal both in music and nritta. The programme ended with Mangalam.