The Bharata Natya technique at Kala Bharati strictly follow the tradition of the Pandanallur style. Mamata Niyogi-Nakra, director of the dance school, received her training from Guru Balakrishnan at "Arts and Artists", Patna, and later went on a scholarship for advanced training with his teachers the renowned Gurus U.S. Krishna Rao and Chandrabhaga Devi of Bangalore. The importance of a strong technique is emphasized throughout the dance training and is reflected in the performances of Kala Bharati students.
 


 

"The dancers were sprightly and trained well in the grammar of Bharata Natyam and did their mentor proud. But what was more heartening was the fact that the standard was so high that after seeing all sorts of Bharata Natyam for so long, it was like a whiff of fresh air to see the old order and technique maintained so well uniformly by the young dancers. Whether it was Sita Rama varnam in Todi, or a composition in praise of the goddesses, the angashuddha permeated their presentation from the word go. Leave alone the technique, the understanding, confidence and the flawless execution impressed one and all. At times I felt that such presentations would serve as a corrective to our dance scene here. That is saying a lot."

The Economic Times, Calcutta
 
"...the purity of lines (anga shuddhi), the mastery of the adavus, the geometric perfection of the mudras and the grasp of rhythm were so polished that they together made it possible for every new twist in Mamata's choreography to be presented with unsurpassed beauty."

The Nav Bharat Tumes, New Delhi
 



"It was indeed heart-warming to note that the pristine purity of the Pandanallur style of Bharata Natyam has been maintained so authentically in the Western hemisphere."

Indian Express, New Delhi

"The great Pandanallur style of Meenakshi-sundaram Pillai, from whom Mamata's gurus U.S. Krishna Rao and his wife U.K. Chandrabhaga Devi learnt, was there in its pristine strength and clarity."

The Hindustan Times, Art and Culture, New Delhi

 
"The Adavus were well-etched in both these numbers — as they were indeed throughout the programme on both the days. The geometric precision, the accurate straight lines, and the graceful sweep of the arcs were admirable."

Indian Express, New Delhi
 


"Jai Govinda gave proof of his excellent training in the technique of Bharata Natyam in far off Montréal."

Hindustan Times, New Delhi


"Even more admirable was the ease, order and fluency with which the dancers melted away from one formation and emerged in another pattern. The same nimbleness was seen in their entries and exits in and out of the stage."

Evening News, New Delhi
 


"One had begun to follow the dictum that you couldn't apply the usual standards to judge them. But here was a group that instead of falling short of these standards, equalled, if not surpassed them. Their fundamental training in adavus and their immaculate footwork, put them ino the upper bracket of contemporary dancers."

The Times of India, New Delhi
 


"From the word go each item was marked by neat symmetrical lines and the angashuddham — the purity of physical stretches..."

Sunday Mail, New Delhi

 


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