Reviews

Joyous expressions join body and soul

"Spiritual yearning shared the stage with infectious celebrations of rhythm Saturday in a two-part program at the Barnsdall Park Gallery Theatre featuring the local Rangoli Dance Company and the Bangalore, India-based Nadam Dance Company in its first Southland visit. "

- Sara Wolf, Los Angeles Times, July 10, 2006

Concert Juxtaposes Bharatanatyam with Folk Dances

“… The main stay of the first half of the concert was an elaborate 25 minute Varnam titled “Maathe Malayadhwaja“, danced by Iyengar’s daughter and disciple Lakshmi, 23, who proved her mettle in the piece, delineating the brilliance, valor, and beauty of the goddess Meenakshi. The concernt opened earlier with an invocation to Ganesha followed by Pushpanjali danced by six accomplished (who have already given their Arangetrams) teenagers of the Rangoli School.“

“The idiom changed in the second half by giving way to a more spontaneous, softer, yet exuberant style of the folk dances choreographed K. Murali Mohan.“

“… Sharply differing from the folk dances, Kalari was a showcase of high Kicks, long stretches and rigorous body movements…“

- Archana Dongre, India West, August 2005

“… It is not easy to keep the flame of creativity alive but Malathi Iyengar over the past two decades has done just that. Each of her works is significant, breaks new ground and underscores the enduring appeal of classicism counter-balanced by innovation.“

“… The overpowering tender story of a pious cow and a rapacious tiger who is confronted by his cruelty and repents, touched a deep chord in the audience making Punyakoti deeply personal and warmly universal. This was possible by the amazing theatrical skill and vision of Iyengar who enacted the role of the cow Punyakoti. Ranjith Babu was superb and flawless as the tiger who undergoes a transformation. His movements enhanced by his supple body were extraordinary and compelling. The choreographic visual element of the herd of cows performed by the rest of the cast was a work of excellence.“

“… Suresh Iyengar, set designer, excelled in his inspirational and magnificent backdrop painting of the famed historic Melkote temple in Karnataka.“

- Prem Kishore, India Post, July 22, 2005

“…Malathi Iyengar, a quiet and sincere worker has created a niche for Indian dance in her setting. She has made a name for herself with a consistent output. Now, after 20 years of serious work, she has students and productions that hold. In 2004 she came to town with Punyakoti, a folktale of a benign cow who willingly sacrificed herself. Her well-trained students helped her depict this popular Kannada tale through Bharatanatyam.
Malathi also released her book, Dance & Devotion, brought out by Rangoli Foundation. A worthy and wholesome compilation, it offers prayers and performance thoughts to all, especially those settled abroad and thus bereft of immediate contact with their homeland ..“

- Ashish Khokar, attendance, the dance annual of India 2004 - 2005

“… Punyakoti’s lament was well portrayed by Malathi. The last, soul-searching moments of a penitent Arbuta, how he lopes to a nearby cliff (a small stool covered in black cloth), and jumps to the ground in shame, rolling across the stage before collapsing in a heap, was beautifully performed by Renjith. How he managed to do that on the hard stage floor and not get hurt is a miracle in itself!…”

Lalitha Venkat - www.narthaki.com / December 2004

‘Planting a Sequoia’, an evocative setting by Malathi Iyengar of a poem…

“…Henderson’s music inspired Iyengar to create movement that imaginatively combined modern dance with detailed, expressive pantomime shaped by Indian traditions. The result proved magical in its evocation of Gioia’s imagery when danced by Shaymala Moorty….”

“…Her company and guests looked capable of deeper artistry, and she artfully incorporated several distinct dance idioms - including Kathak…”

Lewis Segal - Los Angeles Times, Times Staff Writer, September 2004

‘Rangoli Dance troupe plants a Sequoia’“…The world premiere performance was an exciting blend of creativity and inspiration, interpreted by Iyengar’s dance company Rangoli and guest artists from India…”

"...The dancers artfully juxtaposed various forms of Indian classical dances as they paid obeisance to nature, planted trees and enacted the imagery of love, faith, resolution and acceptance…”

“…Costumes designed by Lakshmi Iyengar were simple and imaginative with intelligent lighting by Eileen Cooley…”

Prem Kishore - India Post, October 2004

'Tulasi' is a glow with spirit and reverence

'Tulasi' reveals the very essence of simplicity in modern society. Soul stirring compositions of 18th century poet Saint Thyagaraja and new works by contemporary composer, Rajkumar Bharathi were masterfully rendered by the music ensemble….”

“…The chaste authenticity of Iyengar's 'Tulasi' was best illustrated in Sri Krishna Tula Bharam. Flowing without restraint this piece narrates the story of Rukmini placing a single Tulasi leaf on the scale, which weighs Krishna and balancing the scale. The full implication of the dramatic and emotional potential of the production is revealed in this scene, which demonstrated that even a small object offered with devotion means more to the Lord than the weight of all the wealth in the world…”

Anuradha Kishore Ganpati - www.narthaki.com / June 2003

"The dancers as an inspired group converted the brilliant choreography into a masterpiece.

Malathi fashioned a plethora of shapes through configurations in 'etalams', 'emandalas', and dancer formations, multi-layered and multi-dimensional, fused to create a linear or curvy-linear effect.

Well researched and aesthetically finished Navagraha was the highlight of the exposition that added an element of spirituality to the otherwise abstract presentation.

Credit goes to the choreographer's vivid imagination that translated a potentially profound idea into something so straight forward and enjoyable, for even a layman to follow.

The music composition by Rajkumar Bharati and Gurumurthy was a rich, composite structure, with melody in the form of Bharati's voice enriched by Malathi Iyengar's well-modulated shollus, and the percussive grandeur of the morsing, ghatam, mridangam, edakkai and tavil."

Rupa Srikanth - The Hindu, Jan 2003

Sacred Geometry, Malathi Iyengar's 50-minute dance suite

"Images of community and harmony dominated the second Rangoli Festival of Indian Music and Dance program, part of the ongoing World Festival of Sacred Music.

Sacred Geometry started intriguingly with two couples embodying divergent relationships and states of energy. One couple was symmetrical, parallel and balanced (K. Murali Mohan and Sandra Chatterjee). The other was increasingly tense, dramatic-human in need and sympathy (Ronald Burton and Shyamala Moorty).

What was clear, was some arresting dancing by the dancers including Renjith Babu and Neewin Hershall.

The most impressive was a section called 'Navagraha', in which a serene Hershall represented the sun attracting nine orbiting planets in a series of distinctive solos.

As above, so below: the Epilogue revealed the same human harmony in a village laborer's circle dance"

Chris Pasles, Times Staff Writer - Los Angeles Times, September 2002

"..Iyengar is marvelous in her ability to masterfully envision through movement, space, and music, the ritual, theological, and cosmological significance of the geometric truism of variant forms.

Iyengar's 'Navagraha', (the nine planets), is both an act of worship as well as a deeply crystallized and stunningly crafted artistic endeavor. Expressed as spiritual art, Iyengar created concepts and forms to represent the movement of these nine bodies that are divinely and inextricably connected to creation of life on earth" Prem Kishore & Anuradha Kishore Ganpati - India Post, November 2002

"A remarkable segment was titled Sacred Geometry, a new choreography by Iyengar that included eight diverse items. 'Mallari' was a lovely depiction of geometry and movement, danced by nine dancers. The dancers wore costumes of a single hue, rich maroon red of the earth, with each one's hair in a single tight braid, without even the ornamentation and flowers typical of the Bharata Natyam idiom.

In the visual art section, a marble sculpture titled 'In Memory of', a painstaking work that took several hours to complete, created by Suresh Iyengar. This sculpture was created in honor of those who sacrificed their lives during the 9/11 disaster"

Archana Dongre - India West, October 2002

"Lakshmi Iyengar draws the rasika in by demonstrating natural poise, effortless extension and subtle abhinaya (facial expression).

The 'Pallavi' choreographed by Iyengar and performed by students, Shyamala Moorty and Sandra Chatterjee was the rapturous crest on a wave that revealed the soul of this sacred art form. Beautifully lit against magnificent temple columns crafted by visual artist Suresh Iyengar, the 'Pallavi' was performed as a duet elaborating in all its splendor and exploring the various time cycles and verse patterns while depicting the 'Navarasa' (nine emotions). Captivating, deeply effective, and gracefully detailed, Iyengar's 'Pallavi' was the heart of her graceful, original and intelligent style"

Anuradha Kishore Ganpati - India Post, September 2002

"Malathi Iyengar's work 'Pallavi' found Chatterjee and Moorty effectively executing fine 'Bharata Natyam' and 'Kuchupudi'-style dancing, with polyrhythmic footwork abounding"

Victoria Looseleaf - Los Angeles Times, Feb 2002

"The heightened visual imagery that captured the spirit of rural India was made possible by Malathi Iyengar's unique vision of Ankle Bells and Painted Faces, a celebration of Folk Traditions of India. With the choreographic competence of Murali Mohan from India, and with her own inherent commitment to detail, Malathi guided her classical trained dancers to a new landscape and frame of reference for viewing the world"

Anuradha Kishore Ganpati - India Post, November, 2001

"The Beatles got it right when they sang 'All you need is love'. So did the Indian dance company, the locally based Malathi Iyengar & Rangoli Dance Company. Iyengar's more formal, nine -part program had her able functioning not only as choreographer but as ensemble dancer, soloist and musician.

Mother and daughter, joined by Neewin Hershall and Unnikrishnan, displayed sheer energy, though in 'Pushpanjali' in which precise footwork and intricate arm weaving were on display.

Lakshmi soared, too, in her 25-minute solo, 'Sarasijanabha,' in which the dancer offers Krishna love. Punctuated with deep lunges, Lakshmi never lost her bearing while beating out poly-rhythms with her feet"

Victoria Looseleaf - Los Angeles Times, September 2001

"In a performance dedicated to the forms of love, dancer, choreographer and artistic director of Rangoli Foundation, Malathi Iyengar's Love Lyrics was an experience of unrivaled richness. Drawing upon the magnificent strength and dynamism of Neewin Hershall and Unnikrishnan, both from Kalakshetra and disciples of Dhananjayans in Chennai, Malathi skillfully choreographed the 'Dashavatara', ten incarnations of Vishnu.

The 'Pallavi' choreographed and performed by Malathi Iyengar and Murali Mohan captured the splendorous moments of both forms of Bharata Natyam and Kathak.

Lakshmi Iyengar's 'Sarasijanabha' (Varnam) illuminated the beautiful maturing of this young dancer and her elegant lucidity of movement accented by her sustained deep araimandi position (half sitting position, crucial to Bharata Natyam form).

Ashtapadi, the divine play between Krishna and Radha performed by Unnikrishnan and Malathi Iyengar was a refreshingly gentle elaboration of reluctant courtship.

Krishna Nee Begane Baaro was perhaps the essence of Malathi's vision. In the divine play between Yashoda and her capricious son, Krishna, Malathi was revealed as mother, teacher and dancer all at once, emerging as an artist who has made the essential connection between all the three realms of her life and finds rewards and joy in each sphere."

Anuradha Kishore Ganpati - India Post, October 2001

"A highly talented and accomplished dancer, Guru Malathi Iyengar along with K. Murali Mohan and a versatile painter BKS Varma regaled the audience with an imaginative program. Malathi Iyengar beautifully explored the lyricism of Bharata Natyam and interpreted the poem, Dr Maya Angelou's The Caged Bird Sings literally and metaphorically. Malathi's jumps and elevations were very neat and correct. Her walk was a gracefully executed movement and she never tended to remain anchored to a small area while dancing. Instead she covered a larger floor area on the stage.

The young Kathak performer, Murali Mohan, provided a fitting match to Malathi as he glided through the stage and his Kathak accent was firm and fine.

The import of the poem was rewardingly carried to the rasikas. BKS Varma drew the picture of a flying bird with a sewing thread dipped in paint.

The combination between Malathi, Murali, percussionists Praveen Rao & Bhavani Shankar, along with the poetry reading and BKS Varma's drawing all together was an experience to cherish."

M. Surya Prasad - The Hindu, Bangalore, January 2001

'A unique event began with a 'Bharata Natyam' dance recital by Lakshmi Iyengar and Malathi Iyengar reflecting virtuosity and superb foot-work. The program segued into painting experience explored by Malathi Iyengar.

Dr Maya Angelou's famed poem The Caged Bird Sings was a structured improvisation piece with Prem Kishore reading the beautifully phrased poem, accompanied by inspired flautist Derf Recklaw, juxtaposed with dramatic dance movements by modern dancer Ronald Burton and Malathi Iyengar.

Onstage, artist BKS Varma, painter from India sketched with sewing thread dipped in paint, his impressions of the visual images evoked by poetry, music and movement.

Blending various sources of inspiration, Malathi Iyengar always creates a work that is challenging, visionary, discovering to the audience the mystery of human creativity. The unique experience was followed by a post performance interactive lecture-discussion by art historian Dr Katherine Harper of Loyola Marymount University and dance historian and scholar, Dr David Gere of UCLA.."

Prem Kishore - India Post, October 2000

"It was a formidable task for Malathi Iyengar to cull just about 50 stanzas from the original 24, 000 couplet verses of the 'Valmiki Ramayana' to depict the story which so vividly portrays the timeless struggle between the good and the evil.

All the lyrics accompanying this two hour production were in Sanskrit, embodying a treat for many a lover of the sonorous Sanskrit tongue.

A traditional approach that was faithful to the original epic form was not the only distinctive feature of the work, but an array of male dancers depicting the lofty male characters of the Ramayana was an unusual highlight.

Iyengar portrayed the multiple aspects of the demoness Shoorpanakha's personae, her illusory beauty, shallow stupidity, flirtatious gestures and amorous behavior, as well as the inherent humor, and sudden infatuation over the handsome princes Rama and Lakshmana, and later, her intense sense of revenge when her nose was cut off by Lakshmana in the ensuing fight."

Archana Dongre - India West, July 2000

"It was a daring performance, given that the Ramayana has been performed innumerable times in this very city by other companies and Iyengar's production could easily have gone to the edge of cliche. But founder, Artistic director, Malathi Iyengar brought a level of artistry and excitement with layered imagery, creative fervor, and individual artists from India and the USA, that made it a joyous, spiritual and intelligent telling of the story of Rama, Sita, Lakshmana, Ravana, and Hanuman.

Malathi Iyengar's dynamic 'nattuvangam' was flawless and perfect in its purity of sound syllables.

Lakshmi Iyengar gave an extra sheen to the evening, as Sita, with her grace and exquisite poise."

Prem Kishore - India Post, July 2000

"Taut movements and perfect rhythm control made for a high-level exuberance both in the dance and in the viewing."

M. Surya Prasad - The Hindu, March 2000