Earlier On . . .
The
Times of India,
December 1979, Bombay:
Uma Dogra, from Delhi, gave a fine account of her tayari, under her mentor, Pt. Durgalalji’s exacting eye. Uma revealed technical virtuosity of a high order.
Cultural
News from India,
1980, Jaipur:
Uma Dogra’s presentation was marked for her clarity and forceful expression. Her portrayal of “thumri” was superb. All told, it was a brilliant exposition where complex Kathak grammar was presented in a simple yet dignified manner.
The
Evening News,
1981:
Uma Dogra is one of the best among the younger exponents of Kathak. Her recital at the young dancer’s festival was remarkable for her excellent technique and neat presentation. Uma showed a fine ability to dance softly and vigorously, with Laasya and Tandava.
Uma
Dogra a talented disciple of the late Pt. Durgalal presented a superb
“Chhandokriya” – a dance and rhythmic ensemble.
Brevity
was the soul of this item. Uma performed to the combined beat of the tabla, the
mridangam and the pakhavaj. The experiment was strikingly novel.
Uma Dogra’s recital was noteworthy for flowing grace, precision and above all a fine command over rhythmic patterns. Uma Dogra is a danseuse with a difference, whose primary concern is excellence. Nevertheless, she really outstanding as her movements were interwoven and flowing with never an abrupt ending whether it was the thumri or the tatkar.
Following in her mentor’s footsteps, the talented Kathak danseuse, Uma Dogra, is among the front ranks of Kathak dancers as her performance is enriching, refreshing and above all technically perfect.
Indian
Express, 17
May, 1994,: [By
Vidyasagar]
Uma Dogra’s command over expressions with a typical “nazaakat” was revealed in the thumri “Jawo ji jawo na aao meri aur”. The spiritual aspect of Kathak also came into the picture with depiction of “Bhayan surat tori nainan main bas gayi Shyam”. In this unique composition diverse emotions are projected simultaneously as the “nayika” suffers from “viraha tarpan” and at times she recollects the wonderful moments she has spent with her lord. Uma has fine command over abhinaya.
The Hitavada, 14 September, 1994, Nagpur: [By V. Sarada]
Uma Dogra danced with zest and style. Her mature rendition of bhava and superb abhinaya endeared her to her audience. She expounded intricate rhythmic patters with such verve and vivacity reminding one of quotations, “O, body swayed to music, O brightening glance, how can we know dance from dance?”