Hailed by The New Yorker as “a performer of exquisite grace and technique”, Bijayini Satpathy’s solo debut in the US tilted, “Kalpana, The World of Imagination” has been listed as one of the best dances of 2019 in the Dance Magazine. At the moment Bijayini prepares to create a solo world premiere with live orchestra in 2021.
Bijayini Satpathy has been the Principal Dancer of the famed Nrityagram Dance Ensemble for 25 years until 2018. She has shared a unique partnership with Nrityagram’s Artistic Director and Choreographer, Surupa Sen in all her original works in the last two decades and has contributed to them with her skill as a performer, scholar and designer. Her duets with Surupa Sen are considered singularly admirable and exemplary. Their duet called Vibhakta was rated as one of the best dance performances of 2008 by Joan Acocella in the New Yorker. Their partnership was listed as one of three unique dance partnerships in the New York Times in 2017.
Recognition & Awards in India:
- Best Dance, Dance Magazine, 2019 (USA)
- Nritya Choodamani, Sri Krishna Gana Sabha, Chennai, 2011, India
- Yagna Raman Award, 2010, India
- Bismillah Khan Yuva Puraskar, 2007, India
- The Sanskriti award, 2006, India
- Mahari Award, 2003, India
As Bijayini forges into a solo journey, her mission is to continue her ongoing research in the preparation, preservation and injury prevention of the Odissi/Indian Classical Dance Body, document the expanded Odissi vocabulary and training that she has developed and spread it worldwide.
- Bijayini has developed an integrated physical conditioning for Odissi/Indian Classical dancers, which amalgamates her knowledge of Yoga, Natyashastra, Kalaripayattu, western techniques, traditional Odishi warm up exercises, anatomy & kinesiology.
- She is instrumental in delineating a unique training vocabulary in Odissi which is known and practiced as Nrityagram’s Pedagogy. Bijayini was invited as the Regents Residency Lecturer, Department of World Arts & Cultures/Dance to UCLA in 2015 to share her research on Odissi.
- Bijayini is also the architect of a fun, energising and much loved training method for children.
Recent Solo Performances:
• Drive East, NY, 2019
• Drive East, SF, 2019
• George Mason University, WDC, 2019
• Rose Wagner Theatre, SLC, 2019
• De Bartalo PAC, Notre Dame University, IN, 2019
• Khajuraho Festival, India
• Konak Festival, India
• Krishna Gana Sabha, India
• Madras Music Academy, India
• White Light Festival, USA, 2017
• South Bank Centre Festival, London, 2017
• Fall For Dance, USA, Duet – 2014, 2016
• Fall For Dance, Toronto, Duet – 2016
• Dancing for the Gods, USA, 2015
• Baryshnikov Arts Centre, USA, 2015
• Joyce Theatre Series, USA, 2005, 2008, 2012
• The Edinburgh International Festival, 2010
• Spoletto Festival, USA, 2006
• Jacob’s Pillow, USA, 2006
• Holland & Belgium Performance Series, 2005 & 2003
Reviews of KALPANA, 2019
“Best dance of 2019”, Dance Magazine, 2019
“She’s easily among the top five dancers I’ve ever seen in my lifetime,Mark Morris.
The New York Times, 2019
“Bijayini Satpathy’s technique is extraordinarily vivid.”
The New Yorker, 2019
“Bijayini Satpathy, was one of the most beautiful technicians and performers to have ever graced a stage.”
“Satpathy’s dancing combines propulsion, dynamics, refined musicality, and absolute legibility. Watching her, one feels that the language of odissi is deeply alive, urgent, and universal, like all great art-forms.”
“Her well-honed technique allows for continuous, legato movements, without visible adjustments; she seems to swim through space, using every part of her body.”
“The combination of Satpathy’s perfectionist attention to detail, physical strength, musicality, ability to be simultaneously grounded and airy, her unwavering balance, and control at all times of every inch of her body would be admired by any dancer; but it is her facial expressions, and more specifically, the power of her gaze, which make her a truly compelling performer.”
“Time stood still as we witnessed a dancer at the top of her powers transform herself physically and metaphorically into an array of characters without the slightest hint of exaggeration or artifice. Bijayini’s technique and artistry fit her like a second skin.”
“it was the sinuous dancing, the execution of every turn, jump, sway, lilt, fall and recover as if she were born to do it, as if it were an inevitability, that rendered the program spiritual, ecstatic.”