was recognized for her talent
from a very young age, and has enjoyed an unbroken career with
performances spanning two decades.
achievements include over 100 solo dance recitals, lecture
demonstrations and workshops both in India and other countries.
She has performed in many prestigious venues in
Afghanistan, the United States and in India.
dance choreography, Nirupama thrives on presenting programs that are
strictly traditional in nature, but she also often takes up the
challenge of combining the best of classical dancing with innovative
ideas for presentation.
has conceived of, choreographed and presented several solo thematic
programs. One explored the compositions of the famous Indian poet
Subramania Bharathi. Another explored the role of the ‘sakhi’ or
the friend in Indian literature, poetry, music and dance. The most
challenging program broke away from the tradition of presenting songs
from different ragas and instead compiled songs based on one
particular Indian raga alone. Nirupama has conducted workshops on the 'Appreciation of
Bharatanatyam' in the San Francisco Bay Area in 1999, and in 2002.
achievements earned her the title
'Ezhisai Natya Roopa’ (Dancer
of the Seven types of Music) awarded
by the Cultural Center for Performing Arts in India.
started her training in
at the age of seven under the tutelage of the eminent guru Swamimalai
S. K. Rajarathnam in Madras,
India. In 1983, she completed her Arangetram or solo dance debut.
After this, she spent many fruitful years upto her early
adulthood imbibing the graceful and evocative Vazhuvoor
style from one of its greatest proponents.
also undertook an in-depth study of Abhinaya or the art of facial
expression under Guru Kalanidhi Narayanan, who has been
called the ‘Queen of Abhinaya’. She is among a small band of
disciples who have imbibed this renowned style of abhinaya for many years. The style is characterized by a deep
understanding of poetry and an accompanying intense depth of feeling
while translating it into dance.
Guru Kamala Rani
the Chief Nattuvanar at the famous Indian cultural institution,
Kalakshetra, trained her in Nattuvangam or the art of conducting a
dancing was flawless. Her dancing reminded one of a painting that had come to life on
Kailasam in a speech following a performance for R.R.Sabha, Madras,
India in 1986.
dancers possess equal skill in nritta and abhinaya as Nirupama does.
The skill that she displayed in all aspects of her dancing
reminded one of the dancing of the legendary Kumari Kamala Laxman of
--- Professor V.
Subramaniam in a letter of appreciation following performance for
Indian Fine Arts Society in 1991.
possesses an in-built calm, leisurely approach, which brought about a
certain harmonious blend in the musical and dance aspects of her
presentation. She was at ease while presenting the central item, 'Ma
Mohalahiri'. While she handled the technical side with precision, her
presentation of the sancharis was lively'.
Ramani in the Hindu, 1998.