The fact that we experience Joharís need for an explosion viscerally and that the explosion itself has the quality of consummation makes Joharís Dance Works, one of the few truly modern, angst ridden interpretations of classical dance in our time.
Shanta Serbjeet Singh
The Hindustan Times, Nov. 1997

The new confidence is not so much about technique or repertoire, it is about dancing well. Navtej has brought into this form an aura of other worldliness. . . [he] shows how thin the dividing line between madness and genius can be. . . Navtej has surpassed himself.

Ashish Khokhar
The Times of India, Nov. 1997

The best recital [in the three-day "Impressario India's Choreography Festival" was by Navtej Johar] in the Bharatanatyam style. . . Very abstract in interpretation, three very fine dancers along with Navtej's occasional intervention, made a fine presentation.

Leela Venkataraman, Nartanam,
Jan-March 2003, Mumbai.
Navtej Singh Johar is an excellent performance artiste and a choreographer. . . he created an atmosphere of true beauty through vivid and unique imagery.
The Statesman,
Kolkata, 22nd March, 2002

The enmeshing of different musical genres, all emphasising Sufi mysticism . . .enabled the inner dancer to speak. . . Ecstasy and surrender come easily to Navtej whose mobile face mirrored every emotion.

Leela Venkataraman,
The Hindu, 17th November, 2000

What Navtej achieved in his performance was a stiff brushing away of the cobwebs of imagery that Bharatanatyam had acquired over the recent years. And in abandoning its decorative aspect Navtej happened upon its design, its taut geometry, its power of suggestion and communication without drowning in spiralling contexts and syntax. It is in this vein that Navtejís varnam became an exercise in joy . . . a tour de force.

The Pioneer, New Delhi, Nov. 1997
Navtejís abhinaya is exceptional. It has a depth and a dignity, a maturity of its own.

Ashish Khokhar
The Times of India, 1994

Looking like a veritable flying messenger from Heaven, Navtej Singh, showed himself to be a dancer not afraid of listening to the voice of silence. . . [he] gave to the performance a rare power. . . There is a raw masculinity in Navtejís dance which the dancer never tries to prettify.

Leela Venkatraman
The Hindu, Dec. 1994

He is a puristís delight. With his clean lines, agile body and abounding energy Navtej Singh poured out his creativity. . . His mature handling of the sahitya is coupled with a deep and emotional blend of complete Ďbhakti rasaí. . . the aesthetic experience of pure joy is felt while watching Navtej dance.

Alka Pandy
Chandigarh Tribune, Jan. 1994

To "see" the face of Radha of the Gita Govinda. . . through the facial forestry of Navtej was verily a look into the heart of Radha. . . With total absorption in the Sahitya, with inner clarity and understanding of the subliminal restraint that classical dance requires, Navtej made the item live and glow.

Shanta Serbjeet Singh, The Hindustan Times, Feb. 1996

When it comes to building bridges between East and West the world could use a few more Navtej Johars . . . It was more than an culturally enlightening evening, it proved to be an artistically satisfying as well. Johar proved gifted at both pure dance and the expressive "story dance." . . He literally filled the room with the presence of the two lovers, depicting Ramaís tender care with especially expressive and minute facial movements of the eyes and nose, all a quiver with a languid and longing desire.

Marianne Rudnici, The Ann Arbor News, 1986

In form alone, Navtej triumphs . . .[his] Bharatanatyam is soaked in bhakti . . . His face and dance register an inner stillness akin to a yogiís--something difficult to attain in dance, the art of motion.

Ashish Khokhar
The Times of India, 1996

Navtej Johar, a maverick Bharatanatyam dancer who threw everyone in a light hearted spin with his modern dance.

Shanta Serbjeet Singh
The Hindustan Times, Oct. 1993

[F]ew dancers attain that inner growth which alone gives to the dance that sense of discovery. Navtej Johar is one of those rare Sikhs doing Bharatanatyam, who has managed to experience that visceral communication with oneís inside through the dance. Sublime and ecstatic in Radhaís recollected image of Krishna. . . the dancerís rendition had a beatific quality.

Leela Venkatraman
The Hindu, Feb. 1996
Watching Navtej perform on stage, one senses almost a metamorphosis of his body, finely tuned with the emotion and gender of the piece.
Asit Jolly
The Asian Age, Feb. 1994
Navtejís images are imaginatively conceived and admirably strung together.
Chandigarh Tribune, 1982
Navtejís images are imaginatively conceived and admirably strung together.
Chandigarh Tribune, 1982

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