HOW does one tell the story of love without words?
For New Delhi-based Indian classical dancer Pritam Das, it all boils down to the art of expression, honed through almost three decades of training.
Audiences in Kuala Lumpur had the full experience during a two-night show at Sutra House, where the 32-year-old Kolkata-born dancer performed an original piece he choreographed himself – Anuragavali, which can be translated as Dance of Longing.
Giving a review of Pritam’s solo performance, Sutra Foundation chairman Datuk Ramli Ibrahim, 73, described him as a rare dancer who combined impeccable technique with extraordinary emotional depth.
“His artistry flows effortlessly between strength and tenderness.
“He transforms seamlessly from a whispering tendril in the breeze to a serpent charged with primal energy,” Ramli wrote in a social media post.
As seen in Ramli’s social media reels, Pritam’s agile footwork and highly expressive eyes made a vivid impression on the audience.
In an interview with StarMetro, Pritam said Anuragavali was themed around the sense of longing one feels and the gamut of emotions experienced in such a state.
The inspiration behind these pieces are based on the love stories of mortals as well as of devadasi, women who were ritually married to temple deities during ancient times in India.
As dance and music were integral to worship and devotion, devadasi communities played a vital role in preserving and developing the foundations of Indian classical dance forms.
By 1947, this system had ended. However, the artistry of this era was not lost on Pritam.
“The work explores the idea of love in general, not only of the devadasi, but of human beings.
“In both cases, such feelings can sometimes be bitter or sweet,” he said.
Explaining his work, Pritam said the choreography for Anuragavali comprised several compositions.
One is of a devadasi dancing in a temple before a deity’s statue, where she expresses her desire to be united with the deity.
“There is also one of a courtesan who tells a two-timing lover to get lost, as it is time for her to perform her temple rituals.
“She tells her lover to keep his thoughts to himself, remove her from his heart and return to the other woman.”
Pritam explained that when coming up with movements for a dance piece, thousands of ideas can arise.
“You could do this or that. As my teacher says, the sign of a good choreographer is what you do not take.
“A choreographer must be a good editor.
“You need to know what is enough to convey the story and what is unnecessary.
“When I watch videos of choreography I created three years ago, I sometimes think, ‘I can say this in one line now, I do not need two.’
“It is a process through which one learns,” he added.
As for expressions, only practice makes perfect.
“In dance, this is essentially dialogue.
“If you were speaking to someone, you would naturally have expressions on your face.
“But on stage, I cannot speak,” said Pritam.
“I have to say the dialogue in my mind, and it is then reflected on my face.”
He said the best way to practise was to sing and dance.
“You have to sing through the dance and repeat it thousands of times.
“The more you sing and dance, particularly in our dance forms, the more clearly you can hold the dialogue with the other character.
“It is essential that the voice belongs to the character, not to me.
“I have to detach from the character, like putting on a mask and then removing it after the performance,” he elaborated.
In addition to his performance, Pritam also conducted a series of workshops at Sutra House and the Temple of Fine Arts.
Anuragavali is part of “KamaRia Under the Stars Series 2026”, an intimate session celebrating some of India’s most outstanding male dancers, organised by Sutra Foundation.
