The Padam follows next in the sequence of the performance. This is the stage of reverence, of simplicity, of abhinaya (expression) of the solemn spiritual message or devotional religious prayer (bhakti)
The music is lighter, the chant intimate, the dance emotional. The choreography attempts to express rasa (emotional taste) and a mood, while the recital may include items such as a keertanam (expressing devotion), a javali (expressing divine love) or something else
Padams are suggestive, they admit dual meaning – direct and indirect aspects. Padams are centered round theme of love, which is basic and underlying mood of Padam. Over this mood different emotions may be expressed, according to situation and character of the heroine and hero, but they should not break the main stream of tender affectionate feeling of love flowing underneath. Anger is often pretended, suffering is mingled with hope and indignation is softened by hidden affection.
Padam includes Pallavi, Anupallavi and Charanas. For dance not all charanas may be selected, just one or two the most beautiful lines are enough. Padams are set to Rakti ragas such as Ananda Bhairavi, Shankarabaranam, Todi. Padams are sung in slow tempo.
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