Kathak Teaching Fellow 2025-26 Ishani Basak
Ishani Basak, interviewed by Communications Intern Armaan Sharma, began learning kathak at Pandit Chitresh Das’ institution in 2008 at the age of five, and auditioned and was accepted in to the youth company in 2011 when she was eight. As a Youth Company member, she performed at Davies Symphony Hall, San Francisco Opera House, Zellerbach Hall, in Toronto with the Toronto Tabla Ensemble, and many other prestigious events. As member of the professional dance company, Chitresh Das Dance, she has performed in major performances at ODC Theater, as well as in New York City.
Q: How did you first come to Kathak, and what made you stay with it over the years?
Ishani: When I was five years old, my mother enrolled me in a Kathak class just to see if I would enjoy it. To her surprise, not only did I enjoy it, but I also picked it up very quickly. I learned tatkar in one go and grasped the compositions with ease. As I grew older, attending Kathak class every Sunday became a cherished ritual. Over the years, I found a deep sense of belonging within this community, building friendships and sisterhoods along the way.
With every new teacher I met, I felt more enriched and empowered, both as a dancer and as a person. Most importantly, I discovered pure joy in every intensive, every rehearsal, and every performance. Even on days when I didn’t feel like practicing, I always wanted to keep dancing.
Q: Was there a turning point where Kathak shifted from being just a class you took to something much deeper in your life?
Ishani: By the time I was eight, I was selected to join the pre-professional youth dance company. This was a major turning point in my Kathak journey. I still vividly remember one of my first few classes with Dadaji, Pandit Chitresh Das. He slid across the floor, stopped right in front of me, and asked with a smile, “What is this liliput going to dance for me today?” Then he asked me to perform the first four natawari tihais. The words that followed have stayed with me ever since. They became my driving force, my inspiration, and my motivation to keep learning Kathak. For four years, I had the privilege of learning directly from Dadaji before his passing, and every class felt like a year’s worth of learning. His energy, creativity, and passion for the art form made me fall deeply in love with Kathak. Today, I no longer see it as just a hobby. It’s a way of life. Kathak connects me to my roots and has become an integral part of my identity.
Q: What made you interested in joining the fellowship at this stage of your journey?
Ishani: I have been learning Kathak for 17 years now, and each teacher I’ve learned from has touched me in one special way. Their passion and guidance inspired me to want to teach like them, to make a meaningful impact on another student’s life. I’ve already had the opportunity to serve as a teaching assistant both at my dance school and at university, experiences that have helped me build a strong foundation for this next step.
Through this fellowship, I hope to deepen my understanding of how to teach thoughtfully and intentionally, emphasizing the culture and history behind Kathak while keeping the process joyful, creative, and inspiring for students.
Q: What do you think is the importance of teaching Kathak?
Ishani: Teaching in Kathak is essential because it keeps the lineage and spirit of the art form alive. Kathak is passed down through generations, not just through technique but
through stories, values, and lived experiences. Each teacher becomes a bridge between tradition and innovation, preserving the roots while allowing the art to evolve. For me, teaching is also a way of giving back to the community that shaped me. It allows dancers to share the joy, discipline, and depth of Kathak with others, while helping students discover their own voices within the form. Through teaching, Kathak continues to grow as a living, breathing art that connects people across cultures and generations.
Q: Have you noticed any new challenges or surprises after starting the fellowship?
Ishani: After starting the fellowship, I’ve realized that teaching Kathak requires a different kind of discipline and awareness than performing. As a student, my focus was always on refining my own technique and expression. As a teacher, I’ve had to shift that focus toward understanding how each student learns and how to communicate rhythm, movement, and emotion in ways that resonate differently for everyone.
One of the biggest surprises has been how much I learn from my students. Their questions and perspectives constantly challenge me to think more deeply about the art form and its meaning. It’s both humbling and inspiring to see Kathak through new eyes, and it reminds me that teaching and learning are truly interconnected.
Through this process, I’ve also found myself wanting to share my experiences with my students in the same way Dadaji, Pandit Chitresh Das, taught me — with passion, rigor, and joy. His approach continues to guide me as I learn how to pass on not just the technique, but the spirit of Kathak to the next generation.
I also find myself wanting to teach the way Dadaji, Pandit Chitresh Das, taught me — with the same passion, care, and energy that made me fall in love with Kathak in the first place. Teaching in Kathak is essential because it keeps the lineage and spirit of the art form alive. Kathak is passed down through generations, not just through technique but
through stories, values, and lived experiences. Each teacher becomes a bridge between tradition and innovation, preserving the roots while allowing the art to evolve. For me, teaching is also a way of giving back to the community that shaped me. It allows dancers to share the joy, discipline, and depth of Kathak with others, while helping students discover their own voices within the form. Through teaching, Kathak continues to grow as a living, breathing art that connects people across cultures and generations.
Q: Have you noticed any new challenges or surprises after starting the fellowship?
Ishani: After starting the fellowship, I’ve realized that teaching Kathak requires a different kind of discipline and awareness than performing. As a student, my focus was always on refining my own technique and expression. As a teacher, I’ve had to shift that focus toward understanding how each student learns and how to communicate rhythm, movement, and emotion in ways that resonate differently for everyone.
One of the biggest surprises has been how much I learn from my students. Their questions and perspectives constantly challenge me to think more deeply about the art form and its meaning. It’s both humbling and inspiring to see Kathak through new eyes, and it reminds me that teaching and learning are truly interconnected.
Through this process, I’ve also found myself wanting to share my experiences with my students in the same way Dadaji, Pandit Chitresh Das, taught me — with passion, rigor, and joy. His approach continues to guide me as I learn how to pass on not just the technique, but the spirit of Kathak to the next generation.
I also find myself wanting to teach the way Dadaji, Pandit Chitresh Das, taught me — with the same passion, care, and energy that made me fall in love with Kathak in the first place.