Later on . . .
The
Afternoon, 28
October, 1994: [By
Hima Devi]
Uma played with rhythms – Kathak is a part of her – or she is Kathak.
The Free Press Journal, 14 November, 1997:
Uma Dogra unfolded the true nature of Kathak with a poise and dignity that has been often lacking in performances of this style.
Indian Post, October, 1998:
Uma is a true performer as her primary concern is excellence and is constantly keeping her audience spellbound with her bhava chaturya. As an exponent of the kathak art she stands head and shoulders over others.
The Hindu, 20 March, 1998:
Very impressive indeed was the performance by Uma Dogra . . . this dancer has matured over the years [and] it was in the abhinaya item "Na Maro Shyam Pichkari" that Uma reached new heights.
Star of Mysore, 18 January, 1998: [By Manik Bengeri]
Uma Dogra took the rasikas to an altogether different world where nothing else but divine pleasure is experienced.
Indian Link, 2000:
Uma's enriching refreshing and technically perfect performances have won her many fans in Sydney. In her latest recital. she joined together with Raghavan Nair and Vasundhra Doraswamy tp perform a stuti, fusing the styles of Kuchipudi, Kathak and Bharat Natyam. The result was critically acclaimed.
Nartanam - A Quaterly Journal of Indian Dance, Jan - March, 2002: [Vol. II; #1]
Uma, noted for her strong command over "Ang" and "Laya", brought out the refinement and subtleties of Kathak . . . The beautiful pure dance items like "Uthaan", "Thaat", "Aamad", etc. were rendered with dignity and grace, which are very specific to her style of dance.