In her recital in Sri Krishna Gana Sabha, Chennai, she tried to reproduce items performed by the vilasinis or the temple dancers more than 50 years ago. She commenced with a Vigneshwara Prarthana. This was followed by a 400 year old Pushpanjali, one that was sung and danced in temples. This was part of the Balabhogam ritual, when the idol was woken up. Swapna Sundari next performed a chouka varnam in Mohanam ragam, Adi talam, 'Sarega dhani pei' written by Govindsamayya. This according to the dancer is one of the first varnam compositions to be known. The nayika is the messenger, the dhootika. She tells the nayaka '....That girl with the lovely eyes, hands, body, feet, ......she wants to be with you. She is pining for you. Please don't be indifferent to her.' The nritta resembled Kuchipudi with a more feminine flavour. With arms held in a more rounded position, the absence of the ubukkus ie. the spring in the adavus, and with the footwork being much gentler. The dancer's exposition was relaxed and easy. The orchestra was very supportive. It consisted of : Mohan Krishnan for the nattuvangam, Shyamala Venkatesan, vocal, R.Sivaganesh mridangam, Sankar, violin and Sankaranarayanan, flute.

'Enduku epudueraka' in ragam Mukhari, an old padam learnt from vilasinis themselves was next. She performed it sitting down on stage, flanked by her musicians. She started off sitting on her knees and then as the song unfolded, she sat down fully. A khandita nayika, betrayed and angry, 'It is early morning. Why have you come now? You have made a fool out of me. I had so much hope for you...' The practice of breaking up a line and stressing or repeating a single word or phrase was demonstrated. The word 'Rati' was repeated over and over again, with the dancer deploying different mudras for love every time. Again for the line, 'Navapuri vihara Sri Gopala' the repetition of 'Sri Gopala, Venugopala, Rajagopala...' continued. Her repertoire of mudras, and her split second timing were astounding. Not a moment of hesitation and not one gesture was repeated again.

Swapna Sundari concluded with a javali in Maniranga ragam by Ballava Raghavachari, 'Sarasooda'. Her performance was a treat with a rare glimpse of artistry, calibre and erudition.