PRESS

REVIEWS

Narthaki: “My favorite piece by Sakshi was Ravana’s Homage…the dance is a “homage  to Shiva, the ultimate cosmic dancer,” and the powerful beginning of the piece, with its sharp warrior like movements combined with the dramatic lighting embodies this idea of a cosmic dancer. The Odissi work was beautiful and powerful, particularly when done in canon.” http://www.narthaki.com/info/rev12/rev1211.html

Eva Yaa Asantewa, dance critic: “The evening’s crown belongs to Symbiosis–a palpably tender, occasionally playful duet in the sensuous Odissi tradition and shared by Sikand and Singh…Symbiosis was made and is danced by two beautiful masters who, in their clearly loving attention to detail and nuance in movement, reward our witness.” http://infinitebody.blogspot.com/search?q=sakshi

New York Times: “I adored the work’s firmly statuesque positions, its riveting use (occasionally) of the pelvis and upper torso tilted drastically sideways away from each other, its flow of gestures, its extraordinary side-to-side language of the eyes (heightened by full eyeliner for both sexes). And I loved the way — in rhythm, spatial design and mutual address — the duet kept changing.” http://www.nytimes.com/2009/08/22/arts/dance/22borders.html?_r=1&hpw#

New York Diary: Erasing Borders Dance Festival by Sunil Kothari:
“The performances opened with Rahul Acharya and Nandini Sikand’s duet in Arabhi Pallavi by Sakshi Productions, in Odissi style of Guru Durga Charan Ranbir. Tall and statuesque Nandini and wiry, with slim figure, Rahul Acharya performed with élan and had interesting mirror image movements. The sculpturesque quality of Odissi was arresting, as was the music. The dhyana shloka describing the form of Arabhi was striking in its depiction.  Rahul has incorporated Kelucharan Mohapatra’s flexibility in his torso movements, adding  a delectable texture. Holding Nandini’s hand when he made an exit, the male-female duet looked stunning. It indeed also looked exotic in a venue which IS exotic.”
http://www.narthaki.com/info/gtsk/gtsk11.html

New York Times: “No dances make more splendid use of the sole of the foot and its contact with the floor than those of India. (The best-known genres in New York are Odissi, Kathak and Bharatanatyam; I wish we saw more of each.) I especially love the way a dancer will lift a flexed foot, hold it parallel to the floor and then bring it down so that its sole slaps the ground like a cymbal.”
http://www.nytimes.com/2009/12/13/arts/dance/13feet.html?pagewanted=all