Raman has been
performing in the
She has received rave
reviews across the nation from the DANCE Magazine, Oregonian, Houston
Chronicle, Washington Post, Daily Nebraskan, Hindustan Times, Dayton
Daily News etc.
Raman celebrated the 15th year anniversary of her dance
school with a full house performance at the
"Raman is
an exquisite interpreter of the ancient Indian temple dance..."
The Oregonian
2006
2004 NDP supported
Jayanthi Raman's Gajamukha tour reviews:
"Raman is a
performer of extraordinary skill and power..." Feature article,
DANCE Magazine.
Arlene
Schnitzer Concert Hall,
“As
bare feet stamp and ankle bells ring, silken clad gods and goddesses
transport us to the mythic world of Lord Ganesha, the Hindu god with a
man's body and an elephant's head. With every wrist flick, finger quake
and ankle quiver the dancers moved with precision, radiating an inner
joy. Vibrant costumes of gold, burgundy, and magenta shimmered before
projections of mountains, trees, stars and fire. ..... The
performers project warmth and pleasure and their rhythmic movements draw
the audience onto the stage as if we're dancing with them."
--
The
Oregonian
Lied Performing
Director and troupe use dance, world music to tell their story
There
is nothing so nice as seeing dance on the spacious and lively
The
multitalented director, who is based in
The
ubercool region that gave us Mark Morris'
inventive take on ethnic dance
has incubated another folk-grounded modernist.
Respectful throughout in its intent, the storytelling transcends ritual
into fantastic proportion through the magic of projected images of
nature; ruby, emerald and curry-colored costumes, which are gilded and
intricately pleated; and the skilled gestures of the artists on stage.
The musicians, elevated and onstage throughout, were really jamming.
Their soaring flutes and drums, vocal trickery and sighing sitar were
thrilling. -
Indian
ballet translated to American audience
By John Wenz /
Daily Nebraskan October 2004
Nothing
in “Gajamukha” should be lost in translation. The people behind the
ballet have taken care to ensure this. Although the dance company brings
Indian language, culture, dance and music to an
Dance with the Gods
The
production, led by Dr Jayanthi Raman comprised of a 12 member cast...A
musical ballet .. presented on a platform that is both mainstream and
artistic, to an audience that was a veritable mix of cultures, age
groups and affinities, is just as globally riveting as it can get. The
production took flight amidst applauding patrons and an ambience that
was imbued with rich complexity of art in an alien ethos. This fusion of
East and West was made more engaging because of the merits of the
production itself. Added commentary in English.. made it even more easy
to relate to. Spiritual yet sensuous, colorful and soulful the ballet
adapted for common consumption...Panning all the nine rasas, the
production led one from entertainment to enlightenment.
The
troupe took the bow to a standing ovation. And in one stroke, Gajamukha
transformed the precincts of an urban American high brow art facility to
an amphitheatre that facilitated high art with utmost simplicity. -
Hindustan Times, review.
The
passion of Dr. Raman in presenting 'Gajmukha' was evident in all aspects
of the theatrical attributes- grace, spirituality, sensuality, vibrant
colors, shimmering costumes, stunning backdrops, precision, wonderful
music and choice of episodes that controlled the dance patterns.
In the mesmerizing last scene, the chaste, "Ganesha worship" (abhishekam),
practiced in the inner sanctum of the South Indian temples was a great
eye opener for those who are not familiar with this method of worship.
The entire ballet was a joy to watch. While the performances of the
Nandi and the mouse were captivating, the heart of the ballet is without
doubt Dr. Raman who as Goddess Parvathi excels in all scenes. Jayanthi's
stellar dancing career spans over 25 years.
Gandhi
Foundation, review.
Washington Performing Art Society
"Choreographer" is too limited a term to describe what Jayanthi Raman
does when she creates a work. A subject is chosen, texts perused, and
scenes or themes gleaned. Musicians are engaged to prepare music for the
production as the dances begin to take shape. Perhaps some new texts (as
in this case) are commissioned.
"Raman
.. flown off in a contemporary direction is in the inclusion of many
dance (and music) styles in one production. She incorporates folk dance,
pop dances and classical dance genres. In doing this, she joins the
community of contemporary Indian choreographers. Watching "Gajamukha" is
akin to watching "Giselle" with some scenes in ballet, some done as jazz
and some as modern dance.
--
Indian dancers give one of year's best shows
Don't
understand Sanskrit? Don't know a thing about Hindu mythology or
scripture? You still would have found much to enjoy in Gajamukha, a
marvelous touring dance and music production that was presented by the
Indian Foundation Saturday night... one of the best dance performances
of the new season based on versatility, power and expressiveness of the
six dancers and the first-rate musicianship of the accompanying quintet.
.. Jayanthi Raman was the featured dancer, her choreography, staging and
seamless meshing of Indian classical and folk dance forms that were most
impressive in the two-act dance drama about the elephant-headed god
Ganesha. The Portland, Ore.-based director and teacher created the
production with a grant from the National Dance Project and cast it in
Many of
Indian heritage in the audience understood what was taking place even if
they couldn't follow the lyrics that were sung, spoken and layered with
intonation by the vocalist who sat in the midst of musicians playing the
stringed veena, bamboo flute and drums of the double-headed, frame,
hollow and clay pot varieties. They supported and propelled the
performers with their energy.
The
drummers' hands worked in counterpoint to the accented slaps of the
strongly arched and bare feet of the dancers, whose undulating arms,
hands and darting eyes worked in tandem with the waves of sound and
atmospheric effects from the veena.
The
Hindu faithful invoke Ganesha to overcome obstacles, but there were no
serious barriers to enjoying a presentation that explained, among other
things, how the moon first began to wax and wane. A tusk hurled by
Ganesha, in response to the moon's laughter, served as the catalyst."
Engrossing production.......
The
stories were clear, thanks to narrated introductions in English and
Raman’s deft choreography for seven virtuosic dancers...-
Houston
Chronicle
South Indian
dance, music in Vermillion
Argus
“This
ballet took two years of work, and I have done it with Bhakti,
devotion, inspired by the music of the great composers with whom I have
this fortune to work with for this production,”
said Dr. Jayanthi
Raman, the principal dancer and choreographer of the production.
'A Very Different
Production'
Review,
The
numerous jewels atop the head of the dancer sparkle under the dim orange
and blue lights. From a crouched position, her hand movements are in
harmony with the beats of the mridangam, or double-headed drum. This is
“Gajamukha,” an Indian dance ballet based on 2,000-year-old ancient
texts. Siouxland India Cultural Association, the
Ballet group brings Indian culture to
Spokesman Review
"Gajamukha
–
This theatrical production is Dr. Jayanthi Raman's labor of love.
The researcher, choreographer and performer set aside her career in
medicine and computer science in favor of researching ancient Indian
texts and creating innovative dances rooted in the classical traditions
of
Performance highlights Indian folklore surrounding Lord Ganesha
News
Press,
Jayanthi Raman, the show's artistic director, choreographer and
principal dancer, spent more than a year researching ancient texts to
come up with "Gajamukha," which is the title of the performance.
Known
for her expressive Indian dance called abhinaya, Raman is the first
dancer of her genre to receive the National Dance Project grant award.
Other Ballet
and solo concert Reviews
"Raman
Sparkles in Dance of India - Jayanthi Raman is an artist of sparkling
presence and crystalline technique. The minute her jingling ankle bells
and stamping feet ring out and her silk-clad body, sinuous arms and
dramatically mobile face appear, the audience knows it's going to see a
world-class dancer. Raman’s talents go beyond dancing, more than the
star …She also choreographed, costumed and produced it."
Martha
Ullmann West,
The
Oregonian.
"Jayanthi Raman is the rare dancer whose body can contain multiple
intricate rhythms simultaneously -- juxtaposing a slowly descending,
ornately curved arm against a quick percussive burst of footwork, for
instance, her feet accenting the sharp trill of an accompanying tabla.
Raman has long distinguished herself as an eloquent soloist in her
interpretations of the ancient Indian classical dance form Bharatha
Natyam, deploying the style's hundreds of codified gestures for hands,
feet and face with an easy expressiveness."
Dance Review, Catherine Thomas,
The
Oregonian.
"Dr.
Jayanthi Raman danced the part of the adult Meera, a role that allowed
her express profound emotion. In the dimming lights, the audience showed
it's appreciation with a heartfelt ovation..."
Asian
Reporter.
"Raman’s percussive and precise movements and heady presence not only
command notice but channel older visions—a sight worthy of delight and
praise." 
"Few
dancers communicate effectively across the wide gulfs of cultural
difference. Jayanthi Raman is one. Even a viewer conditioned by American
culture can recognize what sets Raman’s dancing apart. Technique,
expressiveness, acting ability, musicality - just as in a ballet. Raman
is an elegantly musical dancer, vocalist Prema Ramamoorthy's voice
possesses uncommon color and flexibility. They play off each other like
two fine jazz musicians. Watching improvisation of this caliber is an
unalloyed pleasure."
The
Oregonian.
"The
characteristics that make the Madras-trained Raman an extraordinary
performer.......are precisely those that mark an extraordinary
ballerina. She places each gesture, every movement with precision.
Through it all, Raman displays warmth, ease and pleasure...." -
Cerinda Survant, The Oregonian.
"Indian
precision shimmers in ‘Valli’….Raman is a dancer of precise, musical
beauty--every gesture considered, every movement part of a danced design
as elaborate and refined as an Indian miniature painting.. The mix of
mime, narrative dancing, ritual dancing and musical interludes was so
skillfully done that the audience was thoroughly engaged." Dance
ballet review, Martha Ullman West,
The
Oregonian.
"Her
feet strike the floor like thunder claps. Her face and form take the
viewer through every possible emotion until the viewer and dancer are
almost one" --
Kassandra Sterling,
Portland
DownTowner.
“Raman
is a scholar of Indian dancing. She is a gifted practitioner of this
highly codified art form”
The
Oregonian.
“Jayanthi Raman, has long been devoted to retaining the purity of the
movement’s style and promoting knowledge of the Indian arts in
Portland.....her most recent dance ballet depicts the mythologies and
symbolism of that most felicitous and popular of Indian deities, Lord
Ganesha....”
The
Oregonian.
"Classical Indian dancer enchants audience. Her hands, painted with
bright red dye that made each finger stand out, were almost in constant
motion, moving from one mudra to another, exquisite to watch."
Phil
Hunt,
The
Oregonian,
1990.
