“The performances smolder… and enfold the audience in subtly thickening layers of implication and intimacy... This ember state circle(s) the void where body and sound originate. Samita Sinha is channeling the contradictions of the South Asian psyche around gender and sexuality….  Sinha’s performance proposes an interior resolution, a kind of turning inside out. ”
-Village Voice, April 20, 2018

“Stunning vocal and movement work [that] abstracts tradition and strives toward sensation over narrative...  she uses the traditions of her instrument and her training as tools to intuitively shape and sculpt motion, sound.... [and] create a space that provides room for the audience to interpret, question, and experience.”
-Sound American, June 28, 2017

“Sinha’s new piece, Suspension, is a haunting dissection of the Hindi alphabet as building blocks, which takes you into her lungs and out again on the exhale. The intense focus and examination of the body, centering it as the primary locus for experiencing the world and shaping our perceptions, evokes a certain quality of wonder and self-questioning that I regard as deeply spiritual.”
-Dr. Risha Lee, Curator of The World is Sound at the Rubin Museum

“There’s plenty of movement and mystery and beauty in Samita Sinha’s bewilderment and other queer lions… she has woven together a world inhabited by creative forces and energies from across genres and encompassing the four corners of the aural world. There were eerie keenings, and deep rumbles, higher pitched vocalizations, cries, exhales, sighs, electric guitar and steel objects banged together, all in the purpose of building a world of pure and unclichéd  vocal resonance… Her vision and talent, keen eye and gracious presence speak – and sing – volumes.”
-DC Dance Watcher, December 31, 2015

"bewilderment and other queer lions is formed around a rich and nearly continuous soundscape of great complexity and subtlety. A wide variety of instruments, sounding objects, and mixing devices, not to mention the main artist's extraordinary vocal range, are synthesized organically in a flow that moves from minimalist pulse to wail to wild laughter to song and more... Although Sinha is the central figure, the other two are equally matched in presence and the three work together with blissful ease.”
-Ben Spatz, author of What a Body Can Do: Technique as Knowledge, Practice as Research

“When Sinha begins to sing, sound comes out of her throat like it has been trapped somewhere in her diaphragm for a very long time—it has its own history, its own reasons for being, its own grievances to voice…. channeling something very wild from the deep. She seems to respond to energy channels in the air. How can the body become a conduit, vessel, and/or interference to energy? Later, Sinha squats down, pointing at us and making gestures as if trying to make us understand the obvious answer to a question we have tried too long to figure out.”
-Culturebot, November 13, 2014

“Cipher stands among the most mesmerizing TBA performances I’ve ever seen.  Rather than mash-up, she minimalized, delicately teasing her voice and the elements of the raga form through a vast range of musical territories: the avant garde of Meredith Monk and Joan La Barbara to the visceral blues of Nina Simone and Bettye LaVette.”
-Portland Monthly, September 19, 2014

“In addition to choreographing the piece, Vasudevan is also its lead dancer.  However, this lead role is shared with Samita Sinha, who ‘plays’ a profound instrument during the course of the piece: her voice… Haunting vocal music, which presented a rich variety of vocalized sounds.”
-Critical Dance, May 5, 2015

"The remarkable (and lovely) Sinha spins a story using the sounds of tarana, a genre of song in Indian classical music that mixes Persian, Arabic, and Sanskrit syllables."
-The New Yorker, November 2011

 "Beguiling"
-The New York Times, November 2011