Media Covers

  • Bharatanatyam dancer Shivangee as Panchali in her best performance to date ran the whole gamut of emotions from imperiousness and vengefulness to despair and anguish. With precision of expression she emerged as a strong Panchali in episode after episode standing tall in her interactions with major characters, including Krishna.– Prof. S.D. Desai, SHRUTI, The Dance Magazine
  • The story of Mahabharat from the eyes of Draupadi, nee Panchali in “From Fire to Fire” offers a refreshing re-look at the great epic. Ahmedabad-based dance academy Rasadhwani’s theatrical Bharatanatyam production glued us to the seats in utter admiration for more than one reason…Shivangee’s expertise with dance and more so abhinaya has personified Panchali as seen through author Chitra’s eyes for us.- Ranee Kumar, The Hindu, New Delhi
  • The solo performer Shivangee, in elegant aharya, with absolute grace, poise and control of lines remained focussed on the theme all through. Spirituality is integral to Bharatanatyam and a natural exponent like her does not need to make an effort to bring it to her performance. – Prof S.D.Desai,
  • Instead of giving a usual performance, Shivangee Vikram (Ahmedabad) chose to demonstrate the integral connect between the Indian spiritual thought and Bharatanatyam. Following Nrityanjali, with graceful gestures and controlled footwork she sketched in movement the Ganesh-yantra symbols first projected on the backdrop. She pleasingly expressed the individual equipoise anchored within and the balance between Purush and Prakriti in the without. Before concluding with a well-choreographed tillana, she visualized Ashtarasas – shringara, veera, adbhutaamong them – as perceived by Parvati in Shiva. S.D.Desai,
  • Savitri’, a symbolically choreographed dance ballet presented by Rasadhwani gave a fresh spiritual dimension to the legendary theme of Satyavan-Savitri. – Times of India
  • Choreographed and directed by danseuse Dr. Uma Anantani, the dance ballet Savitri – The saga of Eternity saw Bharatanatyam dancers display graceful and elegant moves. – Ahmedabad Mirror
  • ..the well-knit group of dancers (Shivangee, Akshay, Koral, Ashwini , Chintan, Sachchidanand) from Rasadhwani encapsulated inTat-sat the essence of the Vedic exposition of the mystic connect between the Creator and His Creation, the universe.  In Dr. Uma Anantani’s choreography it presents pleasing clusters of images of human consciousness rising from Mulaadhar Chakra and going up across five more culminating in a thousand-petal Sahasrara Chakra S.D.Desai, Dance Critic, (
  • Young dancers Vaibhav Arekar and Shivangee Vikram, both brilliantly expressive with the cutting edge classical training ..gave in their performance glimpses of the spiritual depth and poetic luxuriance Kavi Jayadev has created in his all-time classic Geeta Govindam.  The aesthetically dignified approach here – of the choreographer and the dancers – retains the essential sensuality the images invoke and, at the same time, creates tantalizing flashes of the mystic spirituality that helps an individual soul feel getting one with the permeating ananda swaroopaof Krishna that in turn is keen to take it into its fold. S.D.Desai, (
  • ‘Nritya Dhaara’ enthralls audience of Muscat with a scintillating performance. – Times of Oman
  • Through imaginative choreography, the dancers of Rasadhwani created many spectacular solos, duets and group compositions. – The Pioneer, Delhi
  • Shodashopcharam demonstrates through pleasing visualizations, how even the routine of daily life, sans an ‘affected attitude’ and cacophonous urban living from dawn till dark, can be dedicated to the supreme consciousness. – Times of India
  • It is an effort…a phenomenon that can be called the new traditionalism…that steers Bharatanatyam to its roots as against the glitter and artifice that dominate in many new choreographic styles reflect in Rasadhwani performance.  – Indian Express
  • Listening to the sacred mantras interspersed with the appropriate Sanskrit slokas even as a group of colourfully attired dancing girls of Rasadhwani performed the various temple rituals codified with the ablution to the final aarti, one realises what bhakti is all about. – Indian Express
  • There was no dazzle, no glitter, no jazzy karvai-s and yet it was rich with bhavabhinaya… The taut, well constructed repertoire commenced with Shodashopachara, an unusual opening number set to Sanskrit visualizing 16 temple rituals daily performed in temples from morn to dusk. The audience was at once transported to the serenity and soothing ambience of South Indian temple where day breaks to the wafts of vedic chants and the rich fragrance of chandan and dhupam when rasadhwani dancersbegan to perform. The teermanams beautifully crafted the reclining Vishnu on the Sheshnag with His consort Laksmi beside Him and His vahana Garuda behind Him… – Times of India
  • All the connotations for the poetry compiled from the great poets in Gujarati literature, and their emotional grades, were aesthetically presented by Uma in a leisurely manner. – Indian Express