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“Woman of Substance - carried the stamp of a mature artist for whom Bharatanatyam is a personal statement ……….impeccably profiled her dance is both scholarly and assertive….Along with the high conviction in the dance, was an unmistakable sense of sheer joy in the performance…………..evoked one of the best versions of Radha reliving the ecstasy of her first intimate encounter with Krishna in the Ashtapadhi creating quivers of aesthetic enjoyment in the audience ….masterly execution…… Leela Venkataraman, The Hindu, New Delhi “The Romance of Rhythm - It was a technically exhilarating performance by Indira Kadambi……..As far as Nritta is concerned Indira is unmatched . Such perfection one rarely comes across in this field…………..won the hearts of the audience……Indira will be reckoned as one of the foremost dancers of India. Subbudu, The Statesman, New Delhi The outstanding performance of the night .. was done by the mature and confident Indira Kadambi. Her ease in communicating ..left the audience with the appreciation of what encompasses the art of being a great Narthaki. .. the program gave an opportunity to see the masters at work .... Kanchana Sastri, Narthaki on line
Commendable choreography, flawless presentation and perfect synchronization Sunil Kothari, Times of India Her performance had the individual wholeness and the sublimity tugging at the heart of the rasikas. Her dance provided full aesthetic satisfaction arising from the completeness of form as well as projecting effectively the sublimity of Siva's dance and the unseen spiritual grace behind it all. Revealed her serious commitment to the art K.S. Mahadevan, Indian Express Danceuse in complete control - There are very few occasions when it is the dance only that remains….It has happened to me many times in performances of Padma Subramaniam. This recurred with the dance of Indira Kadambi much junior to Padma Subramaniam but completely in control of her dance. Precise, fluid and enjoyable, the form and content of Indira's dance was lyrical. Attention of the audience is transfixed on her and her dance beckons them to watch and give it undivided attention superb form…….grand choreography V.R.Devika, The Hindu An unconventional presentation…’Hasya’-a dance theatre production….a successful experiment…. Hilarity was generated through Vachika and Aharya… i was the icing on the cake….…..Kadambi was tongue-in -cheek in her expose ...excellent script …provoked non-stop mirth…… Rupa Srikanth….The Horizons Review of Philadelphia programme:….. evoked the feeling of seeing a dancer deeply rooted in tradition with no affinity for gimmickry…she was mesmerizing..the result was an audible appreciation by the audience, a sure sign of having evoked the rasas….a classic demonstration of satvika abhinaya-relating to inner psychological states….performed with conviction...there is a sense of confidence and authority…Her technique, done to perfect rhythm gave the impression of the mastery of the art form…such solo dance performances are quite educational while being entertaining. S.Amalan, New Jersey…Narthaki Online A performance for the connoisseurs ..Indira proved that the ultimate expression of all great art lies in its utter simplicity.. Dr M Suryaprasad, The Hindu Her recital was a triumph of patience and effort in the direction of dance propagation.. Abiding commitment, integrity, and passion for the art brought out the best in her Chitra Mahesh, The Hindu Indira Kadambi was definitely the find of this season. In the spotlight for her presentation Purush at Karthik Sabha, she wowed afficionados with her innovative style Ashish Khokar, The Pioneer Provided a true feast to the connoisseurs .. Adhiti newletter, UK Kept the large gathering enthralled and mesmerized. Her magical performance left the whole audience admiring and applauding . Deccan Herald Rewarding experience. Jyothi Raghuram, The Hindu Left the audience wishing for more.. V.V.Ramani, Savvy Indira danced with precision, confidence, grace and boundless energy Sheila Rubin, Synchronicity, Alabama, USA Stole the hearts of audiences and hypnotized them with her excellent performance GT Narayana Rao,Star of Mysore One presentation in which the dancer attempted a balanced utilization of multiple tools of communication was Purusha Parinaam by Indira Kadambi. The theme was conveyed not only through Nritta and Abhinaya, but also through carefully composed music and costume variations Nirmala Seshadri, The Economic Times Has mastered the intricacies of Nritta, Abhinaya... gave a dignified presentation... revealed her serious commitment to the art Nandini Ramani, The Hindu
Bright and accurate
Bundle of energy
precise, fluid and enjoyable
finesse and chiselled movements
flawless hand movements and nimble footwork gives sheen to her recitals
technically impeccable
Awe inspiring energy, enchanting dance
bristling rhythmic patterns rose to great heights with aesthetics always intact. The dignity and geometry glowed naturally with her artistry and her movements vouched for her good hold over the medium About her Abhinaya (Facial Expressions)
Controlled and judicious
Stirring abhinaya... has the stamp of her Guru Smt Kalanidhi Naryanan
Discreet manodharma made her dance more spontaneous and added a touch class
Deeply felt Abhinaya..proof of the unstinted effort and dedication of the dancer
her interpretations were so full of devotion and inspiration
The Sancharis in the varnams took us to the realm of heroine pining... was done with vividness and intensity.
Her abhinaya was meditative and sensitive in its depth and involvement
evocative abhinaya... emotions fleet across her face with ease... the moods were expressed and etched with great clarity
Her expressions were Drishya Kavyam (visual poetry)- subtle and charming
Music blended in at every turn , whether in mood or in creating the right atmosphere... the co-ordination between the singer and the dancer, was at a much more evolved level
Soulfully sang with an understanding of the dance
Synergy of the duo was palpable right through the performance.
Performance with synchronization of dance and music of high merit
The highlight of the recital was the vocal support rendered by the artist's singer husband T.V.Ramprasadh... it enhanced the mood of the performance
Reviews on her latest productions Ashtanaayika- (2000) Concept and choreography - Smt. Indira Kadambi A grand choreography. Superb coordination between the dancer and the vocalist husband T.V.Ramprasadh” V.R.Devika, The Hindu –Chennai ".Spirited performance"--Not a single flaw..executed the performance with consummate artistry..sent the audience into raptures..held the audience spellbound with her soulful abhinaya..her flexibility and exuberance filled the stage.. Sunday Times—Bangalore Marked by admirable confidence…The nritta,nrithya and abhinaya spoke of dancer’s hard work and mastery over the medium..her imaginative inputs made for the wholesomeness of the presentation. Dr.M.Suryaprasad-The Hindu Purusha parinaam(2000) Man-Past, Present, Future Concept and Choreography - Indira Kadambi Relations have always been the basis of life and its complexities. For a long time, there has been an unresolved conflict between men and women. In order for us to move towards resolving this, it is necessary to view the situation from both angles so as to arrive at an equal partnership. Indira extends herself as a dancer and more importantly as a woman to look from the man’s point of view. She looks at his dominance in the past, his conflict in the present and possibility of relative balance and equality in the future.Through the production MAN, various aspects of our lives, the historical links and their relational understanding are explored through a traditional dance form-Bharatanatyam. Review A journey through times- It was indeed a festival with difference and a significant moment in time.-Bharatam Trikalam-the theme which witnessed the coming together of contemporary poets, dancers and composers. If introspection and probing into life requires courage, then sharing this on an artistic platform is indeed an achievement. For audience, it was a thrust into the unknown; each moment was an unfolding of something new…… ……..One presentation in which the dancer attempted a balanced utilization of multiple tools of communication was Purusha Parinaam (Man) by Indira Kadambi. The theme was conveyed not only through Nritta and Abhinaya, but also through carefully composed music and costume variation ….the synergy of the duo was palpable right through the performance- Nirmala Seshadri, The Economic Times Sadashiva Darishanam (2001) Concept and Choreography - Indira Kadambi Sadasiva Darsanam’ is a solo thematic Bharatanatyam presentation in which the dancer, through the traditional repertoire, provides a glorious vision of the all encompassing and all-powerful Destroyer and Sustainer of the Universe, Lord Shiva. .The dancer depicts the Supreme Being through the eyes of various souls who have been touched by the form and concept of Shiva- there is the nayika or lover as well as the non-believer. There is also the devotee for whom surrender to the feet of Shiva is believed to annihilate the three-fold impurities of anavam, maya and karma (ego, delusion and deeds). For the dancer, He is none other than Nataraja, the Lord of Dance. In ‘Sadasiva Darsanam’ the bliss and power of the Cosmic Dance is conveyed, representing a moment in time when the dancer and the rasika are presented with the opportunity for a powerful aesthetic experience or samvega which is believed to give everlasting joy and healing. There cannot be a more apt moment in time. Review ----Her performance had the individual wholeness and the sublimity tugging at the heart of the rasikas. Her dance provided full aesthetic satisfaction arising from the completeness of form as well as projecting effectively the sublimity of Siva's dance and the unseen spiritual grace behind it all. Revealed her serious commitment to the art---- Her expressions were Drishya Kavyam (visual poetry)- subtle and charming K.S. Mahadevan, Indian Express The Divine Flute – Vamshi (2003) The magical interlude of the Bamboo Flute, Bharatanatyam and English Poetry Concept and choreography - Indira Kadambi The program is a unique and beautiful fusion of English Poetry and Bharatanatyam (South Indian Classical Dance). The traditional aspect of the dance form not being sacrificed, the poetry originally written for this production, is well interspersed, giving a beautiful flow to the narration Review Indira kadambi’s vamshi which premiered in the city was noteworthy ..because of different focus..the sancharis were bright,lucid,the tirmanams arrested audio-visual attention without flashiness.. had freshness and good taste. Gowri Ramnarayan - The Hindu Traditional yet contemporary, …blending the form and content in an aesthetic manner. ..was unique, …took up a very innovative theme,... . The song renditions by Ramprasad was a feast to the ears and the feel he was able to impart to each composition was indeed splendid.. Indira brought in so much life to every piece that at several points, the singer, dancer and audience - all became one and got elevated to a state of ecstatic and aesthetic bless. One final point which must be mentioned is the fine make up and costume of Indira Altogether, a remarkable show worth cherishing Samudra music and dance magazine HASYA (2002) Concept, Choreography, Dialogue : Indira Kadambi Hasya is perhaps the ability to laugh and much more. It is the process of looking at the world from a different perspective, one that involves going around the seriousness of life by viewing it in a humorous way. To possess a sense of humour, to be able to laugh at life and at oneself, is in itself a great qualification. Many Indian art forms have had segments devoted to satire. The Chakiyar Koothu is an example and so too the role of the Vidhushaka of Kudiyattam. Hasya has and will always exist as an antidote to lift humanity above the pathos. The Natya Sastra, too, has a segment that explores the idea of hasya- its definition and classifications. Indira presents an introduction to the concept of hasya as encapsulated in the Natya Sastra and Abhinava Bharati. Why Shiva drank poison, Krishna’s twist, Narada in chennai are the few episodes that Indira highlights in this unique production Review An unconventional presentation…’Hasya’-a dance theatre production….a successful experiment…. Hilarity was generated through Vachika and Aharya… ”Come o bulky stomach”…sung with a heavy classical intonation in Hamsadwani was the icing on the cake….A fresh look at Shiva’s Neelakanta’s episode was entertaining...resembled the fast forwarding of a cartoon…..Kadambi was tongue-in –cheek in her expose ...excellent script …provoked non-stop mirth…… By Rupa Srikanth….The Horizons Hasyam’ lightens and enlightens Indira Kadambi’s creative approach to dance has made her explore several new avenues. She sticks to traditional idioms in Bharathnatyam, and at the same time tries to discover methods to keep the art alive and reach it to the younger generation in the right perspective. Her latest production ‘Hasyam’ for Bharat Kalachar’s Margazhi Mahotsav was yet another feather in her cap. In Indira’s own words, “Laughter is your greatest qualification to face life. Laughter lightens, enlightens and blesses. Look around you and there are so many things worthy of laughter -language, culture, environment, society, politics, people - even the Gods.”Every move in this piece was so humorously conceived and executed that the audience went into peals of laughter. Indira’s observation of many minute details was really
striking. The side effects by the koothupatrai troupe helped one to link all the
episodes with ease.All was depicted with such humour. Samudhra….Music and Dance Magazine Manonmaneeyam—(2003) Resource person - Sharada Nambi Arooran Manonmaneeyam is a Tamil epic written by the poet Sundaram Pillai in 1892.This work is based on the legend-The Secret Way, written by The Rt.Hon.Lord Lytton. This unique production choreographed for the first time ever in the dance drama format will be premiered at the thematic festival “Kavya Bharatam” Love energy can be telepathic and very interestingly souls can connect with each other without physical proximity. This is proved in the case of Manonmani and Purushothaman, both total strangers, who dream about each other and are instantly and madly in love. This epic brings out interesting interpretations of Love, Penance, Sacrifice and Ethics. Review the presentation was of a high standard in terms of music composition, space visualization and high energy from both the dancers. Indira Kadambi is a senior Bharatanatyam artist, expressive and full of spirit. Her versatility as a performer saw her at home in a wide variety of roles, as a conniving politician, as a lovelorn young woman, and as an opportunistic young man….. Manonmani despairs when her wedding is fixed with the evil Baladevan, and agonizing over her situation she appeals to God; her misery was so palpable and so real……. The Horizons Jugalbandi by Smitha Rajan and Indira Kadambi-2003
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What the press feels.
Press
Views
Registers the expressions in quick silver manner
Perfect synchronization with the Carnatic Classical music of a
very high order
Dancers made a beautiful entry to the stage - Indira Kadambi with sprightly,
energetic adavus so typical of Bharatanatyam, and Smitha Rajan, with flowing,
graceful steps so characteristic of Mohiniyattam. . had choreographed this very
well, so that although there were two dancers dancing in two different styles on
the stage, the piece as a whole was cohesive and woven beautifully…. Smitha
and Indira alternated, each with a set of adavus, each dancer doing full justice
to her style, not for a moment going out of her own style, and yet, blending in
and dancing to the same song! There were some steps, which were similar, chosen
and performed well, so that they seemed to be in synchronization, and yet, on a
closer look, what Indira was doing was distinctive Bharatanatyam adavus, with
intricate jathis, while what Smitha was doing was classic Mohiniyattam, with its
absolute grace in each and every step or minute movement. T V Ramprasadh sang
soulfully, and he was very sensitive to the dancer’s feelings and movements
– his voice being soft and gentle for Mohiniyattam, whenever necessary, and
sharp and quick for the Bharatanatyam adavus…all the five artistes received a
standing ovation for a well-presented, lovely, memorable program.