'Bharatnatyam uses the cardinal numbers 3, 4, 5, 7 and 9 to arrive at a figure of 32 through various permutations and combinations of body postures like three in combination with four, three and three adding up to six and four divided by three. Most of the postures are characterised by three angular nodes, linear formations like straight lines and circular patterns,' said the danseuse, who has also worked as a circus artist.

Every number and shape, explains Viji, has a religious significance.

'While (Hindu god) Narayana is a straight line, (goddess) Parvati signifies three in Bharatnatyam because of the natural triangle her busts and upper limbs make in temple structures. Shiva is number five, controlling the five natural elements,' Viji said.

Bharatnatyam, she said, originally comprised 108 karnas or temple postures.

'But we kept our choreographies to the basic 32 and confined the geometric patterns made by dancers to triangles, circles and pentagons because we had only five dancers.'

The ensemble mostly used three Nritta (pure dance) nuances of Alarippu (initial flower bud or awakening formation), Mallari (invocation of Shiva) and Tilanna (brisk and pure sculpture dance) - the three basic Bharatnatyam components.

'We also tried a couple of Swara kattus (dance with verbal sounds), but eliminated the texts and also experimented with tribhangis - in which the body is broken into sharp triangles at hands, legs and the knee,' she said.

The ensemble is working on a new project called 'Faces', inspired by recession and workplace discontent. 'It is based on the martial art from Kerala Kalaripayattu,' Viji said.

'Prayog', which is now on its way to Pune, is on a six-city tour of India.