Performances

  
 
Her Bharatanatyam as well as Mohiniyattam performances in national dance festivals and on various other occasions have received rave reviews. She has  performed in USA, UK, Russia, and Far East countries. She has  conducted workshops in India, USA and Japan.  Rema and her troupe have performed with great acclaim in dance festivals like  Kalmandir Dance Festival - Chennai, Chidambaram Dance Festival - Tanjore, Kalamandalam Saptadi - Vallathol Nagar, Swaralaya Dance & Music Festival - Palakkad, Uday Shankar Dance Festival & Gujarat Festival - Kolkatta,  HCL Concert series - India Habitat Centre,  Uttarardh Dance Festival - Modhera. She was the senior most artitste in Prof. Chandrasekha's troupe during the ICCR sponsored performances in the Far East Countries, in USA and Russia festival.
 
   
 
 

A Delightful Evening of Dance

  Dr. John R Marr, Asian Voice, Saturday, 10th June, 2000 (London)  
 
     
The Bhavan’s (London) delightful dance programme of Bharatanatyam on May 28 was led by Smt. Rema Shrikant and included her students. The principal item, the Varnam , danced by Rema Shrikant was to Ragamalika commencing with Thodi was a beautiful item addressed to Lord Brihadeeshwara at Tanjore. As the climax of the  performance, this Varnam was magnificent and Smt. Rema danced it with great dedication and precision. Her use of the eyes was particularly noteworthy, set in a style of great classicism. Smt. Rema’s last piece portraying with vigor and heroism, the Rudra-Tandava of Lord Shiva, with frequent references to Chidambaram in her poses, was a triumphal conclusion to a varied and fascinating programme".
 
   
 

Exquisite Expressions

 
  P. Subramanium, INDIAN EXPRESS, March 16, 1993  
     
 
Rema Shrikant (Mohiniyattam), third day of classical dance festival at Tagore Hall, Ahmedabad on Sunday organized by State Sangeet Natak Akademi was marked with simple looking footwork and rhythmic gyrations. Neither jerks nor jumps. Smooth and soft to the accompaniment of cymbals, violin, maddalam and mridangam. The essence of Mohiniattam is lasya and Rema is made for that".
 
   
 
 

Classical Dance Recital by Rema
  Gauri Parimoo, THE TIMES OF INDIA, January 24, 1987  
 
 
 
Being a captivating personality, one could at once observe that Rema communicates with her audiences with persuasive intensity through her nritta and abhinaya. One could observe the artist’s wide ranging potential at rendering abhinaya having total consonance with the character devoid of any tinge of self-consciousness. In complete contrast with the highly graceful, lyrical and ‘feminine’ styles like Mohiniyattam, Bharatanatyam and Kuchipudi, Rema could transport her personality, temperament and outlook in rendering a predominantly ‘masculine’ dance like Kathakali with its characteristic vigorous, body movements, leaps, swirls and intricate footwork".
 
   
 
Cultural fiesta in Palakkad - Swaralaya Music & Dance Festival Oct.2007

 
  K..K. Goplalakrishnan, The Hindu, Kerala edition  
     
 
"The piece de resistance of the festival was the 'Keraleeyam' presented by Vadodara-based Rema Shrikant and her seven disciples. The fine tuning of the group unfolded poetry on stage. Poetry that had imbued the cultural aesthetics of Kerala, starting a temple procession and a caparisoned elephant. The perfect blend of music and dance underscored the choreography of Rema Shrikant that had integrated elements of Mohiniyattam, Bharatanatyam, Kathakali, Kalaripayattu, harvest songs, folklore and myths, among other things.
 
   
 
  Body Language- Dance

  Sharmila Basu Thakur,Metro, Calcutta, Friday 9th December 2005  
 
 
 
"Innovation in traditional dance format was the central attraction of the programme presented by Anjika in association with Open Doors and Sanskriti Sagar at G.D. Birla Sabhagar November 27th. The evening opened with Mooladharam, a dance drama in Bharatanatyam by Rema Shrikant's group from Vadodara. It was  a colourful illustration of Kundalini, the energy in the human body mentioned in the yogic texts. The wedding sequence of Ganesha to Riddhi and Siddhi as his consorts was a gorgeous one with colourful umbrellas, masks and other interesting props. Precise group synchronization and perfect techniques made it a production with a difference"
 
   
 
Enthusiasm marks ECPA Show
 
  Valli Maragath, INDIAN EXPRESS, September 13, 1992  
     
 
The Ellora Centre for Performing Arts (ECPA) and its director Rema Shrikant are both familiar and popular in the cultural panorama of Baroda. Rema has dedicated her life to promoting and popularizing various classical dance forms. Her sincerity and dedication to her chosen profession was very much visible in the annual 'Nrityostava' of ECPA on September 6 at the General Education Auditorium.The evening brought to light the hard work and perseverance by Rema and her co-teachers. The new untrained material from the nrityaramba stage to the finished product of varnam was well-represented. ECPA definitely deserves appreciation in awakening in so many a desire for the traditional classical art form".
 
   
 
  The Uday Shankar Dance Festival 2001 [Maya]'

  Tapti Chowdhari, attendance 2001  
 
     
"On the last day of the festival, the Ellora Centre for Performing Arts, Baroda, and Presented Maya, choreographed by Rema Shrikant. It was a rare treat. The dances were composed beautifully and the coordination between the dancers was awesome. The stage space was used to advantage. The team had worked hard and produced a thing of beauty. Rema Shrikant needs to be congratulated for her work. Rabindra Sadan was bursting at the seams on that day, the last day of the festival. There were people sitting on the floor of the hall".
 
   
 
'Andal'  Depicts Intence Devotion     

  
 
Leena Misra, THE TIMES OF INDIA, March 1, 1995
  
 
 
The Ellora Centre for Performing Arts (ECPA) recently staged the dance-drama “Andal” at the C.C Mehta Auditorium based on the saga of the Vaishnavite poetess of the south.The dance drama is beautifully choreographed by Rema Shrikant on the poems by Andal depicting a cascade of emotions, there is the little girl building sand castles, the young woman in the pangs of separation from her lover and yearning for her union with him and lamenting on his indifference towards her".
 
   
 
  Classic Choreography

 
Gauri Parimoo, THE TIMES OF INDIA, February 28, 1989
  
 
 
Rema Shrikant, showed her potential as a choreographer with and imaginatively composed dance ballet based on Jayadev’s Gita Govinda which is a popular collection of verses, sung and danced in temples evoking the erotic sentiment of love between Radha and Krishna. The choreographer has thoughtfully tried to depict vividly varieties of moods and feelings that Radha passes through in her union and separation from Krishna, on the stage. The sakhis come and go, in the nritta interludes, filling the spaces of abhinaya pieces with spectacular nritta sequences. The movements and abhinaya of Krishna and Radha are dependent on Kathakali and Odissi styles, while the group of sakhis evoke certain movements in Kuchipudi's spirit. Tastefully designed costumes, based on the most poignantly pained Gita Govinda paintings of Pahari miniature schools, lend richness and ethnicity to the ballet. The Gita Govinda was performed recently at Baroda and Gujarat Refinery Township under the auspices of Ellora Centre for Performing Arts".