 |
|
| |
|
|
|
|
 |
 |
Press Reports |
|
| |
| Solo
performances of Rema Shrikant |
|
Choreographic
presentations |
|
|
|
| |
|
|
| ECPA
performances |
|
General |
|
|
|
|
|
| |
|
 |
|
|
| |
Commendable
Perfomance
|
|
| |
J. S. Pathak , THE
TIMES OF INDIA, December 14, 1988 |
|
| |
|
|
|
|
|
|
|
|
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". |
|
 |
 |
|
|
|
|
|
|
|
|
Parvati-
Another
|
|
| |
Shilpa
Desai, INDIAN
EXPRESS, March 13, 1994 |
|
| |
 |
|
"Dancing to
the accomplished Nattuvangam by Prof.
C. V. Chandrasekhar, her guru and
mentor, Rema Shrikant flawlessly slipped
into the different roles, taking the
audience with her through the entire
gamut of experiences. Rema’s
sensitive and animated rendering made
Parvati a visual and sensual delight". |
|
|
|
| |
|
|
|
|
|
|
|
A
Delightful Evening of Dance
|
|
| |
Dr. John R Marr, Asian
Voice, Saturday, 10th June, 2000
(London) |
|
| |
 |
|
AN
EVENING OF INDIAN
CLASSICAL DANCE AT THE BHARATIYA VIDYA BHAVAN (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". |
|
|
|
| |
|
|
|
|
|
|
|
Visual
Delight
|
|
| |
THE
TELEGRAPH - METRO - CALCUTTA,
Friday 14 June 2002 |
|
| |
 |
|
"For
laymen, Rema Shrikant’s name
may sound unfamiliar but those in
the dance circuit rever and respect
this reputed and highly creative and
dedicated dancer-teacher. Director
of Ellora Centre for Performing Arts,
Baroda, and Shrikant is an exponent
of both Bharata Natyam and Mohiniattam.
She is equally at ease in Kuchipudi
and Kathakali styles. This talented
dancer adheres to the traditional
classical form. Her performances is
a treat to watch because it reveals
a perfect blending of emotions and
technically apt movements of hands,
feet, eyes and eyebrows, an essential
part of abhinaya. She is also a brilliant
choreographer who has been highly
acclaimed for her imaginative dance-ballets
including Nritya Nivedanam, Jayadeva’s
Gita Govinda, Andaal, Krishna Leela,
Shree Ganesha, Skanda and Mayaa. Shrikant
is lauded for her role as a model
teacher. Over the years she has produced
a number of talented disciples as
well. At present she is in the city
conducting a 10 day Bharata Natyam
workshop for enthusiastic students.
As the workshop concludes today, she,
along with her disciples, will be
presenting a dance recital tomorrow.
Hosted jointly by Rabindra Sadan and
West Bangal Dance Group Federation". |
|
|
|
| |
|
|
|
|
| |
Captivating
Mystical 'Maya'
|
|
| |
Shyama Rajgopal, THE
HINDU, October 12, 2002 |
|
| |
| |
|
 |
The
stage was full of happenings. Happenings
of the world. They came and went enthralling
the audience, and before any interpretation,
they were gone, just like `maya'.
Maya
- the ballet choreographed by dancer
Rema Shrikant from Vadodara, was a
wonderful piece of beauty".
Mayaa
- the ballet choreographed by dancer
Rema Shrikant from Vadodara, was a
wonderful interpretation of the concept
of `maya' based on the Sankhya philosophy.
The show was organised by the Cochin
University Research Scholars Association
(CURSA) on Thursday.
With
a Hindi script set to tune based on
Hindustani ragas, Mayaa was a piece
of wonderful choreography in Bharatanatyam
style. Fast paced, there was not a
moment which did not engross the audience.
The movements were supple and the
performers were good with their style
and coordination.
The
10 dancers, including a male dancer
who played Mayaa are Ms. Shrikant's
students based in Vadodara. Samvitti
Joshi, played the woman personifying
Mayaa while Indu Chakravarthy, Swapnil
Mande Dalvi and Shivani Desai played
the different `devi' forms - of Lakshmi,
Saraswati and Mahakali signifying
wealth, knowledge and power.
The
concept of Purusha and Prakriti were
played by Harikrishna Thakkar and
Arpita Gargesh. Maushami Pradhan,
Gayatri Shetty, Pooja Sastri were
the other dancers who depicted the
other worldly beings in the Universe". |
|
|
|
|
|
|
|
|
|
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". |
|
|
|
|
|
| |
|
|
|
|
| |
Three
Words Pronounced in Dance
|
|
| |
Seema Rajendran , The
Times Of India |
|
| |
| "The dance ballet on Shree Ganesha
organized by the Ellora Centre for
Performing Arts on Sunday evening
was an educative and scintillating
experience.The most striking
part of the programme was the excellent
synchronization amongst the 15 dancers
and the flawless flow of the sequences.
Not to forget the dexterity of the
dancers, both at the abhinaya and
nritta, pure dance. The best tribute
to the performance was the refusal of
the audience, at the C.C. Mehta
Auditorium to budge from their seats
till the programme ended'. |
|
 |
|
|
|
|
|
|
|
|
|
'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". |
|
|
|
| |
|
|
|
|
|
|
|
Body
Language- Dance
|
|
| |
Sharmila Basu Thakur, The
Telegraph, 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" |
|
|
|
| |
|
|
|
|
|
|
|
Baroda
Troups Comes of Age
|
|
| |
Gauri Parimoo, THE
TIMES OF INDIA, February 21, 1991 |
|
| |
 |
|
|
| "The
Ellora Centre for Performing Arts
in Baroda, begun a few years ago by
Rema Shrikant has come of age with
the performance of 'Nritya Nivedanam',
conceived and choreographed by Rema. It
was performed by her well trained
group of girls in their teen and early
twenties with such zest and verve
that they won the hearts of the connoisseurs,
most of whom were pleasantly surprised
to see the well-rehearsed performance
unfolding flawlessly. It is heartening
to note that in the hands of a highly
creative and dedicated dancer-teacher
like Rema a professionally trained
group of students is coming up in
Baroda who can compete with any renowned
dance academics and products of university
faculties in terms of their technical
virtuosity. Indeed they should be
sponsored to take part in national
and international dance festivals.
Baroda public will always look forward
to Rema’s fabulous dance productions. The
premiere performance of the dance
drama ‘Nritya Nivedanam’
which is the fifth major dance production
of Rema, dealt with the evolution
and development of Bharatanatyam from
the age of the Devadasis to its present-day
form. Dance was integral to temple
ritual and worship, therefore the
custodians of this dance were the
Devadasis who were ritually married
to the temple deity and were known
as Rudraganikas. This tradition was
prevalent in the Shiva temples of
Tamil Nadu, the evidence of which
is provided by the inscriptions of
the Chola period. ‘Nritya Nivedanam’
is novel in its rendering because
of its exploration of the form and
technique of Bharatanatyam keeping
its own history as the thematic link.
Rema’s compositions are always
imaginative, appropriate and bear
the stamp of her originality as a
choreographer. ‘Nritya Nivedanam’
marks the full blooming of her expressive
ability as a dancer". |
|
|
|
| |
|
|
|
|
|
|
|
From
Russia with sweet Memories
|
|
| |
THE
TIMES OF INDIA, Thursday, JULY
29, 1988 |
|
| |
Rema Shrikant
(third from right) during Russian
tour.
"A
20-MEMBER group of Bharatanatyam dancers
from Baroda has just returned after
a two-month-long tour of the Soviet
Union as part of the Festival of India.
The group was
led by Prof. C.V.Chandrasekhar, an
eminent choreographer, dancer and
musician, and head of the dance department,
faculty of performing arts, M.S.University,
Baroda. The group comprised promising
youngsters and established artistes
of the city, who gave scintillating
performance of dance dramas entitled
‘Bhoomija’ and ‘Meghadoot’
in 12 cities of the Russian Republic.
Rema
Shrikant, a senior dancer of the troupe,
who played the most challenging role
of Sita in ‘Bhoomija’
was praised by all for her
performance". |
|
|
|
| |
|
|
|
|
|
|
| |
|
|
|
