IN NEWS

“Bijayini’s new solo explores the mind of a woman” Interview by Parshathy J Nath, The Hindu, May 2021

“Bijayini Satpathy on her transformative year” Interview by Marina Harss, Fjord Review, Jan 2021

“A great Odissi dancer conjures Gods and Demons alone” Interview by Marina Harss, The New York Times, Aug 2020

 

Reviews of KALPANA, 2019(SOLO)
Best Dance, Dance Magazine, 2019 – Visit the site
A Great Odissi Dancer Conjures Gods and Demons Alone
“She’s easily among the top five dancers I’ve ever seen in my lifetime,” the choreographer Mark Morris, who has been watching her for over 20 years, said in a phone interview….
New York Times
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Powerful Expressions of Indian Dance at the Drive East Festival
“Bijayini Satpathy’s  technique is extraordinarily vivid.”
New Yorker
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Bijayini Satpathy at the Drive East Festival – Kalpana bill – New York
“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.”
Dance Tabs
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Bijayani Satpathy: “Soul” Dancer
Her presence onstage always commands your undivided attention – every movement has timeless grace – and then there’s an indescribable “soul” quality to the dance that has to be experienced. In speaking with her, I realize that this “soul” quality stems from her complete dedication to Odissi and her thoughts spout forth with a sincerity of purpose as she speaks about this love.
India Currents
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Drive East festival showcases the best of India’s classical performance traditions
Eminent Odissi dancer Bijayini Satpathy who gave meditative recitals in both cities, appreciates the small venues. Having danced with the Nrityagram Ensemble in virtually all the large theatres across the world, she says, “I’ve made a conscious choice that I want to do solos, and in smaller theatres. The idea is to journey together with the audience. Not become the outsider and present something.”
The Hindu
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Natya- More than the sum of it’s parts!
An interview with Bijayini
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AUDIENCE REVIEW: Bijayini Satpathy in “Kalpana“ during Drive East Festival
“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.”
The Dance Enthusiast
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Temple Movement
Tejas Dance and guest artist Bijayini Satpathy collaborated for an intimate Bharatanatyam performance at Lewisville’s MCL Grand Theater.
“In addition to her captivating physicality, Satpathy also displayed moments of pure storytelling through gesture and theatrical embodiment. Sun Maiya and Sakhi He featured her talent for dramatizing traditional narratives in her enticing facial expressions and deliberate steps.”
TheaterJones
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Bijayini Satpathy in Kalpana – The World of Imagination
The evening’s soloist, Bijayini Satpathy, was one of the most beautiful technicians and performers to have ever graced a stage.”
loveDANCEmore
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SORE MUSCLES vs SERENE LIMBS/PRIMA NATYARINA
Now in her late forties, BIjayini has truly come into her own. Her dancing is free and fierce. Just watching a short clip of her performing to the words GARUDA GAMANA PANKAJA NAABHA (the One who rides on the Garuda/eagle and from whose navel the Lotus of creation blooms) I watched the ease of her shoulder and back muscles, her legs and core strength with which she was able to lunge, lean, stretch, crouch, and extend – all within the visual aesthetics of the Odissi costume.
narthaki.com
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Acclaimed dancer Bijayini Satpathy brings classic Odissi dance to Duluth
“Odissi bends and curves time by creating sequential or ripple time effect from limb to limb,” says Satpathy, who feels its grace and strength in her every isolation, change of direction or paradoxical representation of “harmony” in the body.
artsatl.org
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Critical Acclaim as Principal Dancer of Nrityagram Dance Ensemble:

“A lethal combination of fire, stillness and immaculate angasuddha, Nrityagram Bijayini Satpathy’s Odissi had the audience spellbound. Evoking the raw power and sensuous grace of Divinity in the feminine aspect, the dancer glowed with the inner fire of a possessed being!”
The Hindu
“Wonderfully sinuous arms and hands, rock-solid balance and vivid facial expressions ……this was always Ms. Satpathy’s solo, and it was a show- stopper!”
The New York Times
“…sensual….in what is already one of dance’s most sensual forms, all rounded shapes, inviting glances & lilting sways of the upper & lower body. Satpathy has the more serene &beguiling smile & the most tantalizing eyes. Her eyes seem to cradle & cajole every member of the audience individually…each convinced that she danced for him alone.”
Odissi at The Met, Marina Harss

“Satpathy is a sort of movie star with…timing as natural as breathing.” New Yorker “So beguiling, you resist blinking in case you miss a moment!”
The Herald

“An inspired dancer whose very exuberance makes one’s own heart leap!”
ExploreDance

“Satpathy demonstrated her formidable artistry as she integrated postures, mudras, facial expression and rhythmic footwork into an expressive whole. Her leaps, balances, and attack of the space had an animal like quality…….quite an arc of emotion permeated with absolute dramatic commitment.”
Ballet Review

“…this paragon of Nrityagram style pounced into the air to land in a wide warrior stance as her ankle bells jangled fiercely: a fitting introduction to an Odissi troupe that springs higher and moves bigger than almost anyone without sacrificing an iota of clarity or precision.”
Financial Times, White Light Festival//
“The Nrityagram Dancers(duo of Surupa Sen & Bijayini Satpathy) can present absolute precision and stillness, but even more seductive is how they can strike a pose and then deepen it. …….The only proper response to dancers this amazing is worship.”
The New York Times
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