Your "Varnam" in the performance in I.I.C on 9.5.98 was superb. It was in typical Kalakshetra style. I wish you all success.
- R. Venkatraman, Former President of India,
New Delhi, May 1998
I wanted to write, to say what a superb performance you gave. You thrilled all of us. Your mastery of dance came through brilliantly. I will consider my self very lucky to see you dance again and soon.
- Frank Wisner, Former Ambassador of USA to India,
New Delhi, March 1997
Goddess of Dance
On stage, she is like the Lord Vishnu, appearing in various 'incarnations'. With her graceful movements, she brings onto the small stage, tales of cosmic properties. She sparkled on the stage, almost as though Lord Vishnu himself was telling the tale of his life as a cowherd in the India of yore. Just like Krishna, she mesmerised the audience with her performance in Phnom Penh and Siem Reap during the Ramayana Festival. A perfectionist at heart, Ananda's swift Bharatanatyam and Kuchipudi took every bit of energy required at the Ramayana festival at the Angkor Wat, where she reigned supreme as the diva of dance.
- Shima Roy, Cambodia Times, Phnom Penh,
Cambodia, December 1997
The joy of perfection
Ananda, as her name indicates, dances with joy and obvious involvement. Her performances are emotionally charged and she establishes an immediate rapport with the audience. Her accent is on aesthetic sensitivity.
- T.S. Parthasarathy, Indian Express,
Madras, December, 1997
Standing ovation for Jayant
Docile and imposing in turn, Jayant is an extraordinary dancer, who brings the myths to life in each piece with her rich facial expressions and elaborate hands and feet movements. If the dance was magnificent it was accentralized by Jayant's articulate and informative explanations. You leave not only impressed by an engrossing performance but also feeling you've learnt something new about two of the oldest surviving dance traditions.
- Nashen Moodley, The Mercury,
Grahamstown, South Africa, July 2002
This is tour de force artistry at its most sophisticated. A solo that looks and feels like an ensemble performance, so various and varied are the mythical characters created and epic tales spun by her unceasingly detailed body language. Now dedicatedly simpering, now sternly commanding, always in supreme command of her art form, Shankar Jayant's performance is at once dynamic and captivating.
- Kimala Naidoo, Cue, Grahamstown,
South Africa, July 2002
Under the shades of a great banyan tree, there came up a greater banyan tree, which was christened as Kalakshetra. This institution continues to produce fine artistes both dancers and musicians. One among them is Ananda Shankar Jayant.
- BEEYEMMES The Hindu,
Chennai, January 2004
Ananda excels in sublime dancing
The dance performance was more than just quality entertainment. As I reflect on it there were three distinct aspects that captured my imagination ; a grand integration, technical and presentational excellence and the paramouncy of the occasion. In keeping with the occasion, composure, solemnity and dignity prevailed over ostentation and virtuostic athleticism.
Ananda's last offering was for ' Peace on Earth for Posterity' the dance that followed touched the hearts and minds of all in the audience and a feeling of oneness enveloped the auditorium.
- Tennyson Rodrigo Daily News,
Colombo, February 2004
Melody and vivacity complemented each other in Ananda's high-energy performance.
The momentum of the finale on the Kurukshetra battlefield gradually grew from a ripple to a wave of empathy and poignancy through brilliant bhava-laden music and involved portrayals. The wave turned into a tsunami with the vision of Viswaroopam... wonderful way for the dancer to sign off.
The invocatory `Omkara Panjara Shuki' in ragamalika, tuned again by Prema Ramamurthy, set the tone for the recital. Melodious music and Ananda's vivacity complemented each other well in a high-energy recital.
Ananda's abhinaya is her strength, blessed as she is with a mobile face and an uninhibited style. The varnam contained sancharis that allowed her to give full rein to this talent. The visual essay of Rajagopala's procession and its attendant crowd of devotees that jostles the heroine as she attempts to garland the deity were well scripted.
Sringara bhakti gave way to a flirtatious and regretful heroine turning Krishna away from her door in the Kapi javali, `Sarasamulaadayatandhuku.' It certainly helped that every such effective portrayal had the backing of melodic mood music.
- Rupa Srikanth, The Hindu,
December 2006
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