CRITICAL ACCLAIM:

  • ‘With vivacious, spritely movements and perfect timing, Sahana looked an epitome of agility on stage. Her expressions brought out the intensity of bhakti and the devotee’s perceptions of the Lord. The well-choreographed piece stood out for its intricate and supple movements perfectly married with expressional nuances. It is rare to find young mind bringing out spiritual import of the composition in such vivid manner.’ - Velcheti Subrahmanyam, The Hindu, Vishakhapatnam, January 2016

  • ‘Sahana has mastered her art under her gurus. Brilliant performance; her Angashudhhi and rhythmic command were commendable throughout her recital.’ – Manjari Sinha, The Statesman, New Delhi, January 2016

  • ‘Captivating’ – The Hindu, Vishakhapatnam, January 2016

  • ‘Majestic Presence’ – The Times of India, Vishakhapatnam, January 2016

  • ‘Outstanding performance by Sahana Balasubramanya’ – Virakesari, Colombo, Sri Lanka, January 2015

  • ‘Displayed good command on her art, and grace marked her nritta, nritya and abhinaya. Jatis were executed with prowess and were praiseworthy.’ – Gudipoodi Srihari, The Hindu, Hyderabad, July 2013

  • ‘A uniquely packed string of items. Sahana carried an easy going body language and a good blend of natural and classical expression to make it a treat to watch. Well-choreographed dance, simple and serene rendition of Vande Mataram’ – Priya Raman, The Kalaparva, Hyderabad, July 2013

  • ‘When Sahana presented the Ardhanareeshwara Ashtakam, it was beyond praise’ – The Hans India, Hyderabad, July 2013

  • ‘Vivacious Bhartanatyam recital by Sahana Balasubramanya -  a brilliant and a stunning performance’ – Srimylaporetrio Sumukhi Rajashekharn Foundation, Mylapore, Chennai, January 2013

  • ‘Flowing grace in her ‘angikas,’ sparkled in well knit Adavus and sleek expressiveness’- Mysore V Subramanya, Deccan Herald & Prajavani, Bangalore, December 2012 
  • ‘Shows impressive command over Bharatanatyam. Commendable control over both technique and expressional aspects. The araimandi, full leg and hand stretches and teermanams were immaculately rendered. Musical statements asking if Krishna is stone hearted were highly embellished. Pancha Kalyani Devi homage was also communicative. Like the placid waters of a serene stream– Leela Venkataraman, The Hindu, Friday   Review, New Delhi, September 2012

  • ‘Performed with loads of zest and fervor. The untainted bhakti of Meera towards Lord Krishna was portrayed well. One of the most promising dancers.’ – Radhika Ramanujam, Ananya Kalasinchana, Bangalore, March 2012

  • ‘Commendable command over both nritta and abhinaya, immaculate angashuddhi, perfect sense of rhythm’ – Manjari Sinha, The Statesman, New Delhi, September 2010

  • ‘Sahana gets 100% for her Bharatanatyam on all counts’ – Apoorva Ragam, September 2010

  • ‘Laudable understanding of space’ – Leela Venkataraman, The Hindu, New Delhi, April 2010

  • ‘Beautiful Choreography’ – Madhumita Raut, Narthaki 2010

  • ‘Enthralling varnam, Movements quick as a deer; her facial expressions made this recital unforgettable’ – Apoorva Ragam, August 2009
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