Sahana Balasubramanya

CRITICAL ACCLAIM

The evening unfolded as a thoughtful meditation on India’s sacred rivers, interweaving mythology, ecological consciousness, and Vedantic philosophy into a seamless artistic arc . . . invocation to the Ganga through the evocative Jai Jai Gange. With measured araimandi, crystalline teermanams, and an inwardly focused abhinaya, Sahana established an atmosphere of reverence, evoking the river’s celestial descent and purifying grace. The choreography resisted excess, allowing restraint and clarity to underscore the sanctity of the moment.

A compelling shift in tone followed with the portrayal of the Yamuna. . . . Especially poignant was her portrayal of the Yamuna’s grief, voiced through Krishna’s gentle assurance . . . Suffused with quiet dignity, the moment held anguish and endurance in delicate equipoise. . . the sequence unfurled the Yamuna’s civilisational continuum . . .

The eventual confluence of the Tungabhadra became a metaphor for the reconciliation of dualities. A vibrant ragamalika score animated this section, and Sahana’s choreography sparkled with buoyant transitions, capturing synthesis not as abstraction but as lived joy.

Rhythmic exuberance peaked in the Thillana dedicated to the Kaveri . . . movement flowed with celebratory ease, tracing the river’s generous passage through temple towns and across political boundaries. Intricate jatis, fluid torso work, and an unbroken kinetic momentum affirmed water’s life sustaining vitality and its capacity to bind disparate landscapes into a shared cultural continuum. . . . The Mangalam distilled the evening’s philosophical core with quiet eloquence . . . Eschewing grand finale gestures, Sahana chose inwardness, allowing stillness to speak as powerfully as movement. – Satish Suri, Narthaki, February 2026
Link to online review
Lafayette College mathematics professor Sahana Balasubramanya held a Bharatanatyam dance recital at the Williams Center for the Arts last Saturday. Balasubramanya performed five dances at the recital, as well as the traditional conclusion to a Bharatanatyam performance. The first dance depicted the journey of a river and its parallels to a temple procession; the following four dances centered on different rivers in India. Between her dances, Balasubramanya spoke to the audience to explain the myths and discuss the impact of pollution and climate change on rivers.

Students expressed love for the performance. “As someone who’s also coming from India, she’s an absolute role model, and she represents our culture with such authenticity and grace,” said Swetha Tadisina ‘25 about Balasubramanya. “It fills my heart.” Shreya Suresh ‘25, a Maggin Creative and Performing Arts Initiative scholar, echoed this sentiment. “Coming to college is sometimes the first time people are exposed to cultures other than their own, people unlike themselves,” said Suresh. “I think that’s wonderful.”
– Allison Stein, The Lafayette, Easton, PA, October 2024 Link to article
Sahana invoked the sacred rivers of India and brought them to an Ananda Laya Pravaha (cascade of joy and rhythm) with her mesmerizing performance. Her nritta was impeccable and fluid and her abhinaya, restrained at times and exuberant in spots, typical to the grandeur of still and gushing waters. Her narrative was eloquent and helped the rasikas appreciate the sahitya. The backdrop and the apt choice of blue and green costume brought together a confluence of intellect, art, talent, tradition and environmental consciousness in a neatly delivered Bharatanatyam treat. –Mini Santhosh, Greensboro, NC, March 2024.
It is nice when an artist is able to relate context and the settings of the performance space. Dancing at the Jakkur lakeside, Sahana chose items on rivers and weaved in very beautifully the mythology and the geographical and cultural significance of the Kaveri, Yamuna and Tungabhadra rivers. –Anuradha Venkataraman, Bangalore, India, January 2023.
‘A naatya arpaNa to Devi, the Universal Mother at our Triad Hindu Temple this evening.
A terrific theme and an enthralling performance by Sahana Balasubramanya! Her narrations were picturesquely eloquent and created great anticipation for the repertoire that followed. Sahana demonstrated mastery in nritta, poise and vividly changing emotions in her abhinaya and perfection in her statuesque poses and theermanaas. The music selection was eclectic. Ragas Saraswati, Vagasheeshwari, Jog, Andholika, Suddha Dhanyasi and Mohanam mesmerized and elevated the rasikas to a visual and aural high. Enjoying such artistic brilliance in the serene ambience of our Triad Hindu Temple was a wonderful experience.’- Mini Santhosh, Greensboro, NC, USA, May 2019
‘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