Reviews & Press Says

"Prerana Shrimali enthralled the audience by a heat and graceful presentation of Kathak Nritya and delicate nuances of 'Gatbhav'. The gliding, the glances and the finish were of a high order".

Sunil Kothari, Times of India, New Delhi.

Sep. 21st, 1982.

"While comparison are particularly odious in the context of such evenly matched dancers, the crown fell on Prerana Shrimali, and the grace, bravura and ''life'' infusing quality of the Jaipur Gharana, of Pancham Sawari took this intricate time cycle of 15 beats to such heights as drew spontaneous applause from the house. But more than rhythmic sureness, more than external-internal harmony was the fusion of the jaipur "andaaz" and its correct understanding by Prerana in each 'ang' and each part of the dance sequence".

Shanta Sarbjeet Singh, Hindustan Times, New Delhi.

But for sheer class, it was hard to beat Prerana Shrimali. Here is a dancer who has mastered the art of suggestion, with the 'netrabhinaya' characterised by delicate underplaying.
Leela Venkatraman, Patriot, New Delhi. May 6th, 1985.

In similar vein, Prerana Shrimali's dance was, as always , a tribute to her guru, the late Kundan Lal Gangani. The way in which she developed the theme of a 'Kavit' from Vandana to Nritta to Bhav through ang was impeccable. Prerana's secret lies in her understanding of how the magic of movement should be allowed to do its own communication.

Shanta Serbjeet Singh, Hindustan Times, New Delh. Oct. 1985.

Prerana Shrimali, student of Kundal Lal Gangani, is and established dancer of proven merit. She has poise, calm and dignity. Her approach is intelligent and with her natural gifts and note worth command over the medium she has carved her own place in Kathak.

Sunit Kothari, Daily Patriot, 0ct. 31st , 1985.

Prerana, eyes sparking, impulsively vocal, is good at verbal communication with the audience. She initially referred to the significance of her performance on 'Janmashtami', alluded to the tradition of 'Ashtachhap kavi's', who have in their poetic compositions vividly described Lord Krishna's 'Leela' and presented a 'Stuti' as a 'Raas-leela'. While demonstrating 'Thaat', 'Bol', 'Chakkar', 'Ladi' etc.

S D Desai, Times of India, Ahmedabad.
Aug. 27th ,2000.

Prerana is an artist who could only have been a dancer. Her very andaz of standing, of bringing her hands forward, clasping them lightly at the elbows or taking them upwards in Kathak's characteristic arch, is capable of evoking attention.
Then come her glides, as if she is moving on wheels, as in the Bandish Ka Thaat or the fully extended movements in the Ganesh Paran in three speeds, or the vivid, yet subtle expressional dance in the Chaturni Nayika bandish with a special Paran which Guru Kundan Lal added to its end. Each was a gem of gathered and illumined radiance.

Shanta Serbjeet Singh, Hindustan Times, New Delhi.
July 23rd , 2001.

Prerana Shrimali in her Kathak recital dedicated to the Late Guru Kundan Lal Gangani , gave proof once again of artistic depth and the vastness of repertoire she commands. Rarely has one seen her repeating bandishes. Based entirely on nritta in Ashtamangal, the dancer presented compositions, exactly as taught to her 20 years ago by her guru.

There was a flow in the performance, never marred by jerky forays into a show of rhythm. One does not often come across dancers of Kathak who can make virtuosity look so effortless and natural without any of that exhibitionistic attitude and wanting to impress, so much a feature of present-day dance. Leela Venkatraman, The Hindu, New Delhi.
April 12th, 2002.

Press Says

"Prerana's foot work was her forte which combined with quite dignity".

Indian Express, New Delhi
Feb. 18th, 1983

It was Prerana's mimetic talent that impressed one the most. Never obvious her 'abhinaya' has a suggestive understatement that is the hall mark of a mature performer.

Patriot, New Delhi
December 18th, 1984

Guru Kundan Lal Gangani may be no more but he lives if his ace pupil, Prerana Shrimali continues to dance the way she is doing right now..... Prerana lived up to her name, inspiring a palpable involvement from the viewer.

Hindustan Times, New Delhi
December 24th,1984

Prerana has the right sensuousness, dignity and excellent tayyari in Jaipur Gharana Kathak to display her maturity.... Prerana is a dancer worth watching.

Economics Times, Calcutta
July 28th, 1985

Prerana Shrimali, a disciple of the late Kundan Lal Gangani has arrived on the scene with maturity and her exposition of Jaipur Gharana Kathak was excellent. Sensuous, dignified and graceful her flawless nritta exemplified the many-splendoured beauty of Kathak. The chakkars were breath taking and the tatkar, the footwork superb. The gat nikas was full of nazakat, an element generally seen as a hallmark of the Lucknow Gharna. A dancer worth watching.

The Statesman, Calcutta & Delhi
July 21st, 1985

Prerana displayed a dignified approach of Kathak. There was an exposition and a judicious balance that never lapsed into a display of sheer technique.

Amrit Bazar Patrika, Calcutta
July 24th, 1985

Prerana Shrimali's Kathak is nimble and deceptively fragile.

Indian Express, Madras
Nov. 28th, 1986