byCamille LeFevre
Minneapolis Star Tribune
September, 2002
For the past decade the Ragamala Music and Dance Theater, under the direction of Ranee Ramaswamy, has introduced Twin Cities audiences to bharatanatyam. In the poetic dance form, intricate hand gestures, angled poses, subtle facial expressions and percussive feet enact old Hindu stories.
At the same time, Ramaswamy has become internationally known for expanding the parameters of bharatanatyam through a series of innovative collaborations with other percussive dance forms.
"Srishti (Creation)," which begins Ragamala's 10th-anniversary season, makes it vibrantly clear that the ancient dance form is alive in the next generation of artists. The concert's six dances are choreographed by Aparna Ramaswamy, the associate artistic director and Ranee's daughter. The third full evening of her work, "Srishti" reconfirms the young artist's mesmerizing power as a performer and her stature as a choreographer.
In her solo, "Chandra Chooda," Aparna manifests the many moods of Shiva. Using supple facial expressions, pantomime-like gestures and angular postures, she shifts from generous to fierce to teasing, even summoning his familiar many-armed pose. "Thillana/Behag" is a highly rhythmic piece for six dancers, full of broad and thrusting arms, little leaps and twirling wrists punctuated by slapping feet.
The second half of the program opens with "Dhvee," a duet that contrasts the Ramaswamy's choreographic styles. While Aparna's movements (performed by Tamara Nadel) are animated by quicksilver moves and springy leaps, Ranee's (performed by Alison Kirwin) are characterized by broad gestures and phrasing.
The final two dances cross choreographic borders. In the gorgeous duet "Chaaya," co-created with Uri Sands, Aparna Ramaswamy and Toni Pierce-Sands perform abstracted moves from bharatanatyam and ballet. In the full company work "Laya Taiko," set to drumming by Japanese Taiko composer Rick Shiomi, two lines of dancers spread their arms and beat their feet in a steady, earthy pulse that demonstrates, once again, how dance is a universal language.
