A Niral Uprit store

NIRAL UPRIT

Tihai Threads

Some movements are easier to feel than explain.

Drop 01

The First Tihai

The First Tihai is inspired by the moment a Kathak learner composes a tihai of their own—when counting, memory and creative instinct begin to carry an individual voice. Rooted in tradition, the drop explores where rhythm, mathematics and movement become personal.

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Drop 01

The First Tihai

Kathak learners spend years receiving compositions from their gurus—repeating them until rhythm, movement and memory begin to work as one. Then comes a small but defining task: compose a tihai of your own.

A tihai is a rhythmic phrase repeated three times so that its final beat arrives on sam. Creating one asks the learner to move beyond recall. Counting must meet instinct; structure must make room for an individual voice.

The First Tihai is named for that threshold. For a trained dancer, it may recall a taal, a classroom or the first sequence they ever composed. For everyone else, it is an invitation into the moment practice becomes authorship.

The drop carries this meeting of mathematics, movement and self-expression beyond the stage—rooted in the discipline of Kathak and interpreted for the present.

About Niral

Niral Uprit is a Kathak dancer shaped by fifteen years of riyaaz, rhythm and storytelling. Her practice brings together inherited tradition, creative exploration and an analytical understanding of movement—rooted in discipline and expressed in her own voice.

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About Niral

About Niral Uprit

Hi, I’m Niral Uprit.

Welcome to my official store.

I began learning Kathak when I was five. What started with unfamiliar steps and reluctant tatkar gradually became the language through which I understand and express myself. Over fifteen years of training under my gurus, Archana Saxena and Damayanti Bhatia, Kathak has taught me discipline, patience, storytelling and the importance of returning to one’s practice every day.

My relationship with dance has always carried both tradition and curiosity. I deeply respect the bandishes passed down to me, but I also enjoy questioning, interpreting and discovering what I can bring to them. Rhythm appeals to both sides of me—the artist who feels it and the analytical mind that wants to understand its structure.

A four-year period in which I trained every day without the immediate reward of an examination became especially formative. It shaped my understanding of riyaaz and sadhana: the quiet, private work beneath every public performance.

That instinct eventually led me to create Awahan: Some Dialogues with the Divine, my first solo Kathak production. Written from scratch, it brought together movement, language and storytelling as a personal conversation with the divine.

This store is an extension of that journey. It is a space where the discipline, rhythm and expression of Kathak can move beyond the stage and become part of everyday life—rooted in tradition, interpreted for the present.