The dancing couple had a lot of ideas and wanted to propagate them. Not restricted by rules and regulations of an academy, they evolved a teaching style and philosophy that incorporated what they had learnt at Kalakshetra but also struck off in new directions.

Their success as Bharatanaatyam dancers can be attributed to the fact that they have been able to add a new dimension to the presentation of their art combining choreographic talent while retaining the aesthetic quality of classical tradition.

While Bharatanaatyam forms the quintessence of their recitals, the Dhananjayans have a penchant for innovation. The Ramayana production with neutral costumes, Kathakali performance without traditional costumes and the highly acclaimed Adventures of Mowgli are trail blazers.

The Dhananjayans have proved to be different:
Dhananjayan was the only male Bharatanaatyam dancer of his generation who chose to be a performing artiste, like the famous Ram Gopal. But unlike Ram Gopal who migrated to UK, Dhananjayan proved that a male dancer could make a name for himself in India if he had the talent and dedication.
They brought uniqueness in presentation, by way of repertoire, vitality in dance and costume.
They merged the male and female dance principle in specially conceived Bharatanaatyam duets.
They presented a lot of Tamizh padams to the public.
They emphasized performance of scenes from a play rather than a complete continuous presentation.
The word NAATYAANJALI, which is so prevalent now, did exist in the Samskritam language, but to the Dhananjayans goes the credit of popularizing it as the name of the invocatory item.
Dhananjayan renamed the varnam with a new title NRITYOPAHAARAM, which is a controversial subject even today, to the extent that it was actually discussed in a seminar.
They gave a new dimension to Kathakali by performing sans elaborate costumes.
They conceptualized, conceived and presented a full length Bharatanaatyam repertoire in Tamizh.
They created a trend for others to follow in the realm of dance items, in the remuneration and bringing in professionalism in dance.
In the earlier days, only old compositions of stalwarts were used for dance. In music as well as dance, they did path-breaking solo and group work with contemporary composers, poets and writers.
Introducing Malayalam literature to Bharatanaatyam and making it acceptable to the public was a path breaking idea. Dhananjayan has drawn a lot of inspiration from Malayalam works like Karuna and Magdalana Mariyam.
In those days when dancing to Swati Tirunal's compositions was not common, the Dhananjayans brought out a complete repertoire on them. They also popularized some beautiful and difficult varnams like sumasaayaka.
Dhananjayan used to write a lot of poems in Malayalam. He formulated a complete repertoire choreographed to his poetry for which he has composed the music himself.
The Dhananjayans have performed the choreography of their students.

Their dream
The Dhananjayans want to set up a national theatre like the Russian Bolshoi�or at least a smaller version.