Press Reviews

Smt Anitha Guha

- Vikatan Magazine, 2019

Group Performance at Konark Festival 2013
Retrieving sunken spirits of viewers, though many had unfortunately left, was the brilliant Bharatanatyam recital of chiselled finish by dancers of Chennai’s Bharatanjali under Anita Guha. Nobody could have realized the ordeal of the troupe – having to don their costumes and regalia in a moving train running and travelling by road from Khurda Road station to Konark to take the stage in one motion for the recital, sans any rehearsal on the large performance area. Immaculate group spacing, co-ordination, and beautifully profiled central Ardhamandali stance, involved half a dozen performers including a lone male dancer, losing themselves in the dance, exuding an aura, permeating the large space. After a fitting start for Konark with Suryashtakam in Bowli (music by Neyveli Santanagopalan), Swati Tirunal’s “Bhavayami Raghu Ramam” followed as the varnam by the group performing without a cue missed. Following a crisp navarasa slokam, the Ramayana episodes unfolded, spirited Jatis linking the Saveri, Natakuranji, Dhanyasi, Mohanam, Mukhari, Poorvikalyani and Madhyamavati narrative sequences, with unimpeded flow in dance narrative. Each dancer donning a role for a fleeting moment gave it all the person had. Subtle aesthetics in dance treatment, with Rama’s role carried with dignity by Pavitra Bhatt the male dancer, scenes like Sita’s abduction, the breaking of the bow, exchange with the boatman Guha, the fleeting Setubandha scene with three dancers at the rear comprising the monkey sena with Rama, Sita and Lakshmana crossing the bridge in a line, emerged as flawless sequences - simplicity creating the impact. The Kapi Tillana provided a racy finale to an inspired programme with excellent music led by Anita Guha’s nattuvangam.

- The Hindu, Leela Venkataraman, 12th Dec 2013

Group Performance at Dhauli Kalinga Festival 2012
“The celebrated Bharatanatyam dancer and choreographer Anitha Guha from Chennai brought her versatile disciples and stole the show with excellent choreographic presentations. The group dances were well synchronized, movements arresting, dancers of equal heights, thematic presentation of Vedachala and other sacred sites of Tirupati temple woven in a flawless manner, dancers performing joyously with clean geometrical lines of Bharatanatyam. The concluding teermanams executed artistically showed Anita Guha’s imaginative approach. The tillana danced by all in unison, offering a visual treat brought down the house. So different from dominating Kalakshetra bani, Anitha’s Bharatanatyam style left an indelible impression. That the form of Bharatanatyam can offer such variety was an eye opener for many in the audience. Anitha Guha’s works deserve to be watched in major national and international festivals. Though I have been watching dance for past forty years and more, it was only in January this year in the Music Academy’s dance festival at Chennai that I saw her work and was impressed and wondered how I had missed her work! Now that I have seen her work twice in different venues, I look forward to watching her troupe in other national festivals.

- Narthaki, Sunil Kothari, 27th Dec 2012

“Very finished in the dancers’ movements, with commendable synchronisation, Bharatanjali Trust from Chennai run by Anita Guha gave one of the really flawless performances of the festival in terms of presentation and planning of the programme. After the sprightly vandana to Muruga and Ganesh, the Ardhanariswara Tandava, presented by two dancers one behind the other, was superbly composed — the perfect coordination between the two dancers, with minimal gestural language reflecting the tandava/lasya contrasts in complementing attitudes. Kudos to Anita! The Annamacharya kriti followed by Tulsi Das’ “Thumak Chalata” showed the animated performers getting involved in the mood of the items. From here on to a tillana in Kapi, the crisp programme with not a dull moment drew rousing applause”.

- The Hindu, Leela Venkataraman, 28th Dec 2012

Hare Rama Hare Krishna
“Excellent footwork, gestures and quick execution of narratives held the interest of the audience throughout the recital….. The students gave ample scope to bhava in the sancharis….. TheGajendra Moksham episode, which was presented to perfection, earned the young dancers many laurels”.

- The Hindu, LalithaSai, 20th Dec 2012

Parishvanga Pattabhishekam
“Vibrant journey of rasa and bhava….. The two-hour dance recital was an exceedingly structured combination of dramatics and Margam (narratives). All the dancers (32) exhibiting all aspects of abhinaya -- aangikam vaachikam, saaththvikam and aahaaryam -- turned each scene vibrant…..Anita Guha's voice intonation to bring out Lankini's fearful laugh deserves special mention here…..Next Lanka was perceived by Hanuman as one synonymous with riches and opulence. There was apt visualisation by the choreographer of the different types -- beautiful, ugly, tall, short, angry, calm, thin, fat and others -- of the rakshasis of Lanka…..Throughout the recital it was a sensitive journey of rasa and bhava all the while preserving the musical brilliance of the lyric and what stood out was Anita Guha's crisp and impressive choreography.

- The Hindu, Lalithasai, 16th Dec 2011

“Mythological spectacle….. Anitha Guha’s latest is a melange of dance, drama and wonderful costumes…..As Hanuman rose to show his vishwaroopam, the other vanaras looked on in awe. The scene done with exemplary visualisation remained in the mind much after it was over…..All the rakshasas in their brown and black costumes and good bhava, brought alive the chapter from the Sundara Kandam done in the malleri format of choreography accompanied by lustrous music…..The costumes, the music, the good dancing and characterisation symbolised the appeal of the dance drama that she does so well…..She has been able to mould children to attain professional standards at an early age and many of them are also solo performers performing regularly in the December Season…..Giving equal importance to nritta and abhinaya…..”

- Chennai Times, Chitra Mahesh, 30th Dec 2011

Mahadevam Mahasenam Bhaje
“The deep rooted religious aspect of our art form creates an eternal appeal and Anitha exhibited her skill by narrating such a theme in a crisp, catchy and impressive manner….. Anitha’s management of the different aspects of the production deserves praise. The costumes, scenic arrangements and lights added the right note of dignity to the divine theme. Equal credit is to be given to the young dances who revealed remarkable talent and involvement…..Anitha’s hardwork was evident in the scene of the 3 sets of six very young children who depicted the different stages of child muruga….. Training young people to do a neat job is by no means an easy task….. It was a joy to watch these children dance in gay abandon.”

- The Hindu, Nandini Ramani, 29th Dec 2002

Perfection in sync, footwork, gestures with a rapid execution of the narrative holding the audience’s interest all through, high editing skills, aesthetic stage management – all these and much more go into Anitha Guha’s productions…..What draws one’s attention, appreciation and applause is the dance(nritya) element in Anitha Guha’s presentation….. Right from the tiny tots to the senior pupils, every single dancer delivers nothing but flawless footwork with adorable abhinaya and hastha mudras…..The jathi patterns as they dance their way into our hearts was distinctly different…..Shiva- Parvati nrityam was the Ardhanareeswaram, and to say it was superb would be an understatement. Exquisite stances and precision in movement marked their ‘fused dance’. When there are so many dancing, there is bound to be repetitive adavu patterns, but not with her. Even the cute murugans who enter like little soldiers or display varied skills both in footwork and gestures that the audience watched them in rapt attention.”

- The Hindu, R.K, 3rd Dec 2010

“Captivating show…..The fully packed hall was enthralled by the talent exhibited by the dance troupe…..Creative thinking was the highlight of ‘Mahadevam Mahasenam Bhaje’…..Noteworthy were the adavus, gaits and abhinaya…..What stole the show was the ardhanari dance. Holding the right hand of Medha with her left hand Saatvika just half visible behind the petite Medha executed various adavus. The hands moved in such unison that it appeared as if it was only one dancer and not two….. The show, once again, underlined Anitha's competence in training young children….. The appearance of six Murugas and their union was a joy to watch….. Lyrics by P.R. Venkatasubramaniam, costumes, scenic arrangements and lights enhanced the theme of the ballet.”

- The Hindu, Lalithasai, 10th Dec 2010

“Anitha Guha’s dance-drama gets huge ovation in Hyderabad…..Her homestead was gratified to welcome her with a packed to the doors Ravindra Bharathi, an audience who came all prepared with water bottles to beat the heat, much ahead of time and made sure they stuck to their seats or they would lose it…..The attention to detailing in each of the frames, costumes, characterisation, use of props and intelligent support of lights, summed up the ballet as a visual treat…..The water bottles and the reserved seats did their job for the audience, as no one left until quarter past nine (two and a half hours almost) only to give this humble artiste a standing ovation…..A little chat with her reveals tha her ballets have run all over Chennai’s sabhas and in auditoriums where videos had to be screened outside owing to the over crowding! Now that’s what one would call true and its appreciation.”

- Priya Raman, Hyderabad

Pada Kavitha Pitaamaha
“Synchronised steps to perfection….. The standing ovation and the ‘ad interim’ frequent applauses spontaneously awarded to Acharya Choodamani Anitha Guha was vibrant enough testimony of the appreciation for her dance ballet…..The concept was Anitha’s, she was the choreographer and she did the nattuvangam….. There were dazzling- dozen sequences where several participants were involved….. The well chosen songs, all made it difficult to decide what was the best…..The blossoming lotus from which emerged Goddess Lakshmi, the Brahmotsavam scenes with the golden chariot, garuda and Seshavahanam, the nine alluring baby Krishnas, Hanuman’s pranks are among those that deserve particular mention.”

- Deccan Chronicle, R. Srinivasan, 13th Dec 2008

“Anitha Guha’s dance-drama gets huge ovation in Hyderabad…..Her homestead was gratified to welcome her with a packed to the doors Ravindra Bharathi, an audience who came all prepared with water bottles to beat the heat, much ahead of time and made sure they stuck to their seats or they would lose it…..The attention to detailing in each of the frames, costumes, characterisation, use of props and intelligent support of lights, summed up the ballet as a visual treat…..The water bottles and the reserved seats did their job for the audience, as no one left until quarter past nine (two and a half hours almost) only to give this humble artiste a standing ovation…..A little chat with her reveals tha her ballets have run all over Chennai’s sabhas and in auditoriums where videos had to be screened outside owing to the over crowding! Now that’s what one would call true and its appreciation.”

- Priya Raman, Hyderabad

“Choreography at its best…..’Pada Kavitha Pitaamaha’ was an enthralling dance presentation by the students of Bharathanjali….. Anitha’s prolific talent and rich experience in handling children made the show remarkable…..In the scene describing the seven hills, Anitha’s choreography came to the fore. To show that Aadisesha himself had taken the form of a mountain, the students with movements made it look as though the hill was infested with snakes…..The backdrop effect was superb as Hanuman assumes Vishwaroopam…..The Rama- Ravana war and the nritta sequence that followed was rhythmic and drew a thunderous applause…..The contrast between how the Lord couls be magnificent and small in form was potrayed through five year old Keerthana…..The most delectable sequence was that created by nine Krishnas. The children dressed in the colours of the nine gems danced to perfection to the fast beat. Shefali Bahadur, six years, with her supple body made the audience go into raptures while executing the Kalinganardhanam….. It rained rhythm during the folk compositions….. All the youngsters in the ballet showed varying degrees of prowess. Neat movements and precise abhinaya were the highlights.”

- The Hindu, Lalithasai, Dec 26th 2008

“Srinivasa Vaibhavam was the seemingly simple theme choreographed with a magic wand by Anitha Guha…..The picturesque presentation was replete with aesthetics and grammar of Bharathanatyam….. What made the dance ballet draw a standing ovation towards the end was Anitha’s eye for detail. Her choice of the number of dancers at each juncture as the scene changed showed the in depth thought process that went to symbolise certain principal belongings that form a vital link to the verses…..The highlight of the song drama was Muddugare Yashoda wherein nine little Krishnas sashayed across the stage from the side wings. It was a wonderful piece of aesthetics to see these little ones drop on to the forefront from behind the scenes and dance in perfect sync. The jathis of these below 10 year-olds were executed with professional perfection…..The journey in aesthetics closed in the most majestic fashion with all the Tirumala Brahmotsavams….. The audience felt that Anitha Guha transported the divine spectacle of Tirumala to Ravindra Bharati….. Srinivasa Vaibhavam bears testimony to the fact that a visual art is great only when it reaches out in the real sense.”

- The Hindu, R.K, 26th Mar 2010

“The hallmarks of Bharathanatyam guru Anitha Guha’s disciples are an erect stance, clear mudras and energy…..Today with more than 120 students under her wing, she has become a trendsetter in presenting children with professional standard on stage…..Her productions have been so popular that the auditoriums had set up CCTV cameras for the rasikas to watch the show outside the main hall.”

- The Hindu, Lalithasai, 25th Dec 2009

“Chitrangadha by Anitha Guha and her group was a heartwarming yet simplistic presentation…..Using bengali for parts of the drama was effective and the pathos came across…..Effective costumes and uniformally synchronised dancing ensured that this fast, jathi-based presentation did not lag.”

- Deccan Chonicle, Chitra Mahesh, 5th Aug 2007

“Tagore’s Chitrangadha, a welcome variation…..Of the many uniformly pleasing presentation, Acharya Choodamani Antha Guha’s Bharathanjali troupe’s ballet ‘Chitrangadha’ needs special mention….. Anitha, with the guidance of Manjulika Sen, supported by music add on by P.R Venkatasubramanium, presented manfully, the story of the princess, in two roles, effectively….. Anitha had taken special pains to present on stage the Bengali original suitably remixed with innovative Bharathanatyam-Kathak blend nuances.”

- City Express, R.Srinivasan, 18th Aug 2007

Koodiyirundhu Kulirndelorempavai
“’Koodiyirundhu..’ was a beautifully constructed edifice, whose foundation lay in the good music, good dance and aesthetic visualisation…..Whatever circumstance, the focus always remained soft and hence pleasurable…..The beautiful music and the add ons by Sri.P.R Venkatasubarmanium and Anitha, sung by the Padma Seshadri sisters and the dynamic choreography kept the show alive and pulsating…..Different tableau presented at the same time was an interesting concept well executed….. The young dancers, 33 of them, were well coordinated. They performed their favourite adavus of the profuction, the Kudhitha mettu adavus and the dhi dhi thais with energy. More importantly their role play was most convincing, irrespective of the size of the role.”

- The Hindu, Rupa Srikanth, 11th Dec 2009

“Amply in evidence as the show opened, was the ebullient joy of the dancers, from tiny tots to young women, who performed in the efficient presentation, as well as the guru’s adherence to the basics of classical dance…..It was a disciplined group whose energy was contagious…..Not just the neat entries and exits, but their attention to fundamentals of technique – such as a straight spine, the walk in which the heels are placed first, so typical of Bharathanatyam but largely ignored today, firmness of posture (Sthiratvam) and a deep square araimandi – signalled a a careful teaching process…..It was a calendar come to life.”

- The Hindu, Anjana Rajan, 22nd Dec 2006

“ The aesthetic production titles ‘Koodiyirundhu Kulirndhelore Empaavaai ‘ was beautiful in every frame, aided by pleasing make-up and rich costumes…..The large audience of nearly a thousand, was held spellbound, by the 150 minute non-stop extravaganza…..Anitha has worked with Dr. Anantha Padmanabha Chariar’s interpretation of Thiruppavai, with the entire exposition imbibing a profound feeling of Bhakthi…..The high point of the ballet was the hi-tech application of light and sound effects…..Vishnu in par kadal with the sea waves wafting, the moon effect, or the changing colours of Krishna, was technology at its best, in the promotion of culture. All this cannot take away the credit from the graceful and elegant dancing of each and every member of the twenty five member group, which in itself is a rarity when large troupes perform.”

- The Hindu

Natrunai Aavadhu Namatchivayave
“The cosmic ballet…..The four episode presentation opened with a grand procession of the dance-lord of Chidambaram, Nataraja riding a gaily-decked of palanquin on the shoulders of his ardent devotees, chanting his name all the while. The sequence was truly impressive with nadaswaram, cymbals, pipes, flags, festoons, horses, elephants, with tiny tots Shefali and Kavya stealing the show….. Meticulous attention was paid to minute details…..The cosmic dance with five Sivas, displaying five divine aspects was dynamic…..All the 50 dancers proved to be excellent disciples. The credit certainly goes to guru Anitha.”

- Deccan Chronicle, R. Srinivasan, 27th Dec 2005

“The life trials, betrayals and eventual redemption by the lord of prince charming Sundarar were pleasing potrayals…..The division of the stage into 3 parts each one alternately spotlighted sequentially served to unfold the story graphically….. The related manouevers, sancharis and jathis (Anitha’s innovative choreography) were quite artistic and traditional.

- Indian Express, R.Srinivasan

Ramyam Hitham Natyam
“This show was originally scheduled for that evening at Krishna Gana Sabha. However due to technical glitches it could not be staged. Despite the handicaps (no lights, no props, no nothing), and improvised and make shift switches, the dance-drama did succeed eminently in keeping the large and hurriedly gathered audience impressed…. The concept was highly imaginative and the choregraphy was excellent…..The ‘brihannala’ episode was absolutely the best prize winner of all the six sequences.”

- City Express, R. Srinivasan,

“Youngsters perform with professional touch…..Watching ‘Ramyam Hitham Natyam’, it was clear that Anitha Guha not only trains her students very well in the basics of Bharathanatyam but also elicits a professional level of performance from them…..The casting of roles was appropriate…..The dancers vied with each other in maintaining araimandi throughout the performance and there was neatness of execution in each one of them.”

- The Hindu, Tulsi Badrinath, 31st Dec 2004

3 consecutive day performances at Shanmugananda Sabha, Mumbai
“It was a costume extravaganza with excellent settings and props…..The dancers including tiny tots who were used judiciously were extremely well trained and did their guru proud with their coordinated movements, good abhinaya and exceptional nritta, with every one of them maintaining perfect araimandi….. Kudos to Anitha Guha for the perfect training she hasgiven her students. Not once during the performances did one get the feeling that they were just students of various age groups. The experienced seniors as well as the raw beginners proved their metal at every step very professionally – a great asset to any guru.

- K. Subadra Murthy.N

Sada Venkatesam Smaraami Smaraami
“Enchanting ballet…..Anitha Guha of Bharathanjali trust is sure to receive the bountiful blessings of the Lord of Seven Hills, for her excellent presentation of the dance ballet ‘Sadaa Venkatesam Smaraami Smaraami’…..Anitha’s choregraphy of the ballet was very impressive…..She had taken enormous efforts to visualise several aspects of the ballet to make it a very lively and interesting mode of story telling…..Anitha Guha sang and conducted the show with utmost commitment and care…..The ballet had a clear scenic development. Noteworthy scenes were those of Ardhanari with the dancers exhibiting perfect coordination in a well conceptualised, creative piece….. It is heart-warming that Anitha has given opportunity to almost all of her disciples and made them have a feel of our divine treasure.”

- The Hindu, Nandini Ramani,

“The choreography and imaginative inputs were commendable and evoked special appreciation at many places….. It proved that the quality of basic training in dance is an important deciding factor and advantage.”

- Sruthi, Manna Srinivasan

“Can two cute live baby dolls and six invisible girls hiding in the garb of cows and cal steal thunder in a dance ballet? Anitha delights us with huge cast, each one of them making an indelible impact.”

- Indian Express, R.Srinivasan,

Sarvam Shakthi Mayam Jagath
“Ardhanari was the highlight with the two dancers sharing every movement. Their perfect sync added beauty to the entire sequence. The choreography proved the genius of Guru Anitha Guha….. The credit of staging and conducting a more than 30 member team of young dancers goes in entirety to Anitha Guha….. Her vocal rendition with clear diction filled with bhava added to the success of the show.”

- Lakshmi V.N, Indian Express,

Swagatham Krishna Saranagatham Krishna
“Young children had a rare sense of dignity and respect for the stage. Their entries and exits were seamless and very professional…. Kudos to Anitha Guha who has trained so many children who have such good sense of stage. The erect back, clean limb movement, clear mudras marked by joy and dignity and ecstatic vigour was a marvel in the dance drama….. The sense of fun and frolic while maintaining the Angasuddham was a treat.”

- The Hindu, Devika,

Abhai showcases young talent
“Six students of Anitha Guha stunned the audience with their energetic performance of the Dashaavatharam.”

- Kutcheribuzz

Upcoming Performances & Latest Updates

Upcoming Perfomance
Season Schedule 2019-2020
Aishwarya Balasubramanian
On 28th Dec At 1:45pm
Bharthanatya Arangetram
On 30th september 2019
Schedules and Venues for the nrityanatakams:
» NANDALALA - A thematic dance presentaion in association with AIM FOR SEVA

December 2nd -:- Karthik Fine arts
December 9th -:- Bharath Kalachar
December 16th -:- Narada Gana Sabha
December 23rd -:- Mudra Festival
December 25th -:- Bramha Gana Sabha
December 29th -:- Krishna Gana Sabha
January 13th -:- Thyaga Bramha Gana Sabha
January 19th -:- Parthasarathy swamy sabha
February 2nd -:- Manjakkudi
January 28&29 -:- Shanmukhananda Hall , Mumbai