Surangama is a Master degree holder in Psychology and has completed her executive course in Computer Systems. She has tied the bridal string and also maintaining her dancing programmes. She is a master in many trades and not like what the old proverb says. Though she is India No 1., yet her, dream is not fulfilled. She is awaiting for the day when she can perform the character of daughter and mother in Rabindra Nath's Chandalika and spellbound the audience.

Guru Bela Arnab academy presented a poetic and expressive Kathak ballet based on the poems of Henrich Heine, the famous German Poet. The beat, rhythm, movement of Kathak blended excellently with the poems of Heine and created a finely original spectacle. The two dedicated students of Guru Bela Arnab, Surangama Dasgupta and Tapas Debnath deserve acclaim for conceiving this innovative recital. This ballet is a remarkable example of creative fusion of East & West, of Kathak and Heine.

– Ananda Bazar Patrika

It is a matter of pride to win the first place in any prestigious examination at the national level. Surangama Dasgupta could well feel proud because she has won the first position in the All India “Praveen” examination. This honour recognizes her excellence as a Kathak artiste. A pupil of great gurus like Pandit Ramgopal Mishra and Nritya Baridhi Bela Arnab, Surangama is now engaged in utilizing her style and mastery to focus the various facets of our contemporary reality.

While the German Festival was proceeding at full pace in India, the Indian dancer Surangama Dasgupta was presenting Kathak recitals in Germany. Her performances in Frankfurt, Cologne, Heidelberg, Berlin and Essen were highly acclaimed. Surangama’s companion was her 12 year old daughter Lokeshwari and both of them enthralled Germans and Indians

– Sananda

Surangama Dasgupta’s first solo Kathak recital at Max Mueller Bhavan was an indication of her promise in this classical dance form. From the very first Vandana to the final Thumri exposition, Surangama exuded praiseworthy tayyari, her demonstration was flawless and lively. The impeccable footwork and graceful executions were worth watching and displayed her virtuosity and command over the tala and laya. Surangama’s range of expressions is wide. Her Gat and Nikas had all the delicacy and beauty.

– The Telegraph

 

In the abhinaya portion, a bold attempt was made by Surangama Dasgupta to compose a group choreography on Meera bhajans, the theme centered around Krishna, Radha, Gopis and Meera. Some dances were composed on Tagore’s song, an experiment to blend the Kathak style with the philosophy.

– The Telegraph

 

The quaint little auditorium of Max Mueller Bhavan came alive with the sounds of the ghunghroos as Surangama Dasgupta began her Vandana with apt dedication. Where she scaled heights of excellence was the Meera Bhajan. The quick change of facial muscle is a feat only a few dancers can achieve.

– The Statesman

What impressed the audience about Surangama Dasgupta’s Kathak recital was the way she fused the angular vigour and svelte grace that the Hindustani dance forms dedmand.

– The Economic Times

Guru Bela Arnab Kathak Academy presented a selection of Heine’s poems. The dances were composed by Surangama Dasgupta and Tapas Debnath. At a time when dancers are often experimenting with religious themes, an exploration of contemporary and secular subjects is commendable.

– The Economic Times

The lead dancers Surangama Dasgupta and Tapas Debnath deftly employed Kathak abhinaya to express the longing of the lover.

– Hindustan Times

– The Telegraph (Friday 10 Dec. 2004)

Suchanda, a guild, put togather a dance drama of the play using Odissi, Kathakli, Manipuri and Bharatanatyam. Macbeth (Surangama Dasgupta) was the pivot around whom the production played itself out. Though the chosen section contained all of Lady Macbeth's crucial lines, Macbeth, with his expressive and gleaming eyes and charismatic stage presence, over shadowed the rest of the cast. His clipped diction, too, did justice to the Bard's fether (a live reading done backstage by Subhoranjaan Dasgupta). But since the dialogue-delivery was slowed down to follow the dance movements, the lines lost the natural flow of speech. The appearance of the dagger, backoning Macbeth towards his crime, in serpentine slithery moves, added to the sinister feel.

– The Telegraph (Saturday 11 Dec. 2004)