Chitresh Das - Style and Contributions

Style and Contributions

“Freedom comes through refined discipline with responsibility”.

In the early years, Das was known for his distinctively athletic style: fast and powerful emphasizing footwork and swift turns. Today, Das teaches in this rigorous style with focus on tayari (readiness of technique, speed, and stamina) and laykari (virtuosity of Indian classical rhythmic system), but equally emphasizes khubsurti (beauty) and nazakat (delicacy and refinement). Dancers must become adept at abhinaya (expression) and learn to masterfully portray the concept of 'Ardhanariswara' (the embodiment of the masculine and feminine) in their dance.

Das’s teaching and performance also emphasize Upaj, or improvisation. Whilst Das has choreographed many group pieces, he and his students continue to present traditional full-length Kathak solos, requiring the dancer to improvise on stage with live musicians for up to two hours.

One of Das’s most important contributions to his school and to the larger field of Kathak is his development of “Kathak yoga”. Kathak yoga involves the practice of simultaneously dancing, singing, and often, playing an instrument. In Kathak yoga, the dancer recites a chosen taal (rhythmic cycle), sings the melody and the theka (language of the drum) of the taal, while practicing precise complicated footwork. Kathak yoga is based on the fundamental yogic concept of integrating the mind, soul and body and was the subject of a doctoral dissertation at Harvard University by Dr. Sarah Morelli. Das himself has demonstrated Kathak yoga by dancing, singing, and playing tabla simultaneously. His company also exhibits the practice of Kathak yoga by adding the playing of instruments to their dance. The dancers simultaneously perform three contrasting concepts – complex rhythmic compositions with the feet and body, continuous singing of the rhythmic cycle, and playing an instrument (harmonium or manjira).