Navtej Johar dances Sri Muthuswamy Dikshitar's paean of praise to Meenakshi, the fish-eyed, green goddess of Maduari. Adhering to the Bharatanatyam technique, Navtej interprets this votive poem that celebrates the feminine principle by theatrically illustrating the magical attributes of the Devi, and lyrically evokes her mystique and eroticism through the use of meditative and ritualized movement


Reviews:
Kudos should go to Navtej Johar for his interpretation of Dikshitar's famous kriti Meenakshi memudam.
Prof. V. Subramanianam, SRUTI, Chennai, March 2003

Navtej Singh Johar of Chandigarh is a rare example of a dancer who has combined traditional Bharatanatyam with refreshing touches of modernity. . . On this occasion, Johar literally took the audience on an aesthetic journey.

Chaganty, The New Indian Express, Hyderabad, April 7, 2000

As a dancer, Navtej found a lyricism, that takes on an inner search and allows one to disconnect from the ordinary. Meenakshi Memudam Dehi is almost like a lengthy leisurely lullaby. His dance takes the audience into the mediative sphere. This is where the artist makes the cohesion between Sufi thought and Hindu philosophy. . . At a leisurely pace, the dancer developed the number truly as a work of art.


Pratima Sagar, The Hindu, Hyderabad, 14 April/15 May 2000

For those who love to venture out to the uncharted shores of contemporary dancing, here was something that one is going to remember for a long time.


Shukla Dasgupta, Newstime, Hyderabad, 7th April, 2000

That crossing boundaries of given categories should come naturally to a performer who in the ultimate sense has no gender, was illustrated by Navtej Singh Johar in his leisurely and savoured Bharatanatyam interpretation. . . a totally involved and intnese interpretation.

Leela Venkataraman, The Hindu, 13th December, 2002

There were a lot of theatrics involved and Navtej not only uses his facial muscles, but the body in its entirety to communicate nuances of the abstract theme that he has opted to dabble with.


Suresh Krishnamoorthy, The Hindu, 3rd April, 2000