Shanta
Serbjeet Singh
Hindustan Times, New Delhi
(In
the Khandita Asthapadi-Yahi Madhava) Her nuances on
expectation, yearning and disappointment are indeed
something to watch.... she is a tragedienne on the highest
order...out of this world and deserved accolades for its
interpretation. Kalidasa's Parvati wanting to marry Shiva..
The abhinaya rose far above its usual demand to heights of
spiritual bliss....by reason of her personal projection she
has internationalised Odissi with out altering one iota of
its form or style but by enriching this dance from with
mortal intensity in acting and a stronger projection of
feeling the quality of movement. Her additions lend
excitement and clarity to the style in total.
Evening
News, New Delhi
She
was all of dignified maturity and fluid movements marked
throughout by that indefinable something we can only call
the mind...serene, inward-looking joy.
The
Sunday Observer
The
multifaceted Sharon Lowen, one of the brightest disciples of
Odissi Wizard, Kelucharan Mohapatra.. brought the house down
with her piece from Geet Govinda where Radha pleads to
Krishna to apply the sandal paste back to her face which he
had ruined by kissing her. The aesthetics and artistry
of her dance was evident.
Amrita
Patrika, Calcutta
Movement
in all its joy as it flowed through space and time in the
Pallavi in Arabhi which was flawless in rhythm.
Leela
Venkataraman
The Hindu, New Delhi
Sharon's portrayal of Uttam Nayika will perhaps be regarded
as one of the best...Sharon exuded a radiance.
Rubai
Sunday Herald
Sharon swept the audience off their feet by her compelling
interpretation.
Leela
Venkataraman
The Hindu , New Delhi
The
footwork had a stamp of virtuosity...uninhibited flow of
rhythm and movement in a delightful stream of pure dance.
Leela
Venkataraman
The Hindu
Her
ability to become one with the emotive content of the lyric
is astonishing.
Subbudu
The Statesman, Madras
a vibrating experience for the audience...controlled abandon
of ‘laya’ - ‘taal’ and ‘bhangis’...pure dance
and ‘angabhinay’ was spectacular...In the devotional
pieces the dancer appeared to have delved deep into her
psyche to produce such a trance like state of being.
The
Chicago Maroon
Sharon's
complete control over the dynamics of the profile of Odissi
enabled her to bring out vividly the sculpturesque beauty of
the style. Moving towards and away from the frozen
moments with graceful ease in both the Pallavi compositions,
Sharon seemed to bring alive the temple friezes that one
sees in Odissan (sic) sculpture. The languorous beauty of the
style had in this dancer an enthusiastic performer whose
every movement seemed to exude joy.
Leela
Venkataraman
The
Patriot, New Delhi
Sharon's
body movements displayed a marvelous "lasya"
(feminine grace), with softness, grace, beauty and joy which
she uses to create an elegant world of dance. The
Manipuri style possesses a unique beauty of its own and it
is that beauty that Sharon projects to perfection.
Chhaya
Bhatnagar
Dharamyug Magazine
(Hindi)
Sharon
excelled in the Chhau.. torso thrusts and leg extensions in
the midst of extremely difficult balance postures.
Sharon executed these
Chicago
Maroon
The
East Indian solo dancer has ways of bringing details into a harmonious
whole even as she is offering them for our
inspection and -- if she is good for our delight...Sharon
Lowen is good...She has a beautiful line. Her gestures are
both compact and full in space...her legible face is ideal
for showing the vivid, changeable expression of Odissi
dance: we can see how her large , dark eyes flash in rage,
then soften, how her full mouth tightens, pouts, curves in a
reproving smile. She excels at the teasing erotic poems that
both recount the exploits of Krishna and adore as the
object of all desire.
Deborah
Jowett
The
Village Voice, New York
Sharon
Lowen has the intellect of a scholar, the devotion of a
dancer. She is a dancer, and a beautiful one at that...In the
sharply rhythmic and intricately-mimed Odissi dances from
the state of Orissa, the dancer showed an impressive ease
with the sculptural shapes and hand mudras of the style. Her
footwork was precise and sure - even in the double tempos of
the ecstatic Moksha Nata segment. She took a firm but
sensitive control of the space and
freely infused the work with a measure of personal nuance
within the context of the rhythmic patterns.
Martin
David
Drama-Louge,
Los Angeles-New York
