How Kathak dancer Aditi Mangaldas is bring stories from the war zone to the stage

Aditi Mangaldas leads a three-day micro-residency at the NCPA in Fort. Pic/Atul Kamble

The steady clap of taal paired with rhythmic syllables or bols echo inside the Jamshed Bhabha Theatre at National Centre for the Performing Arts (NCPA). A group of professional Kathak dancers are immersed in Aditi Mangaldas's command. They are revising a piece based on the movement of a deer through the woods.

"Relax and notice the space on the stage. Think how you will use it," she softens the focus. She leads a trataka eye exercise (a yogic practice) to explore the dancer's gaze. "The thehrav [stillness] in the dancer's gaze is an internal exploration. Nothing is changing, but you shift your brain energy," she explains.

"Let's go!" she announces, taking centre of the stage, as the vocalist recites the taal, supported by the mridamgam. Together, they immerse in a sprightly 40-second choreography flowing with tatkar (footwork) and chakkars (swirls).

Mangaldas says that with classical dance form as a base, the movement vocabulary expands for the body to communicate the story

For the 66-year-old National Sangeet Natak Akademi award winner (2013), who has trained under Shrimati Kumudini Lakhia and Pandit Birju Maharaj, collaboration and dialogue keeps the child-like process of wonder alive. "My dance needs to age with me," she says.

Mangaldas conducted a three-day micro-residency last week as part of her Living Legacy Project that invites dance artistes to facilitate dialogue for artistic exploration in movement. The workshop explored a Kathak piece within its repertoire of Nritta, Nritya, and Natya, and understanding the contemporary dance that stems from it.

Aditya Garud, Mumbai-based Kathak dancer and choreographer who attended the workshop, says Mangaldas' forte lies in being able to articulate the intention of the movement. "She encourages everyone to dance their own dance, think between the lines, and see how a bandish resonates within. With the classical dance form as base, the movement vocabulary expands for the body to communicate the story."

To watch Mangaldas on stage is to witness her agile grace. "I can't dance like I did in my 20s. I must dance what I have now, with emotion and intelligence. I have trained myself to bring forth the physicality and energy in a different way," says Mangaldas, who in 2024 won the UK Theatre Award 2024 in the category of ‘Achievement in Dance' for MEHEK, a duet with her co-choreographer and dancer Aakash Odedra.

Most of her works stem from ideas that move her. "I immerse myself in issues that burn me," she says, giving the example of her work, Within. "It began as an exploration of relationships. Then, the tragic Nirbhaya case happened and the piece became an exploration of relationships within us," she explains. The piece used masks as a metaphor for claustrophobia; for truth trapped in fear and conditioning.

Her work reflects universality, so anyone can view it regardless of geography. "For a piece on Krishna, we played with just three lights to represent his omnipresence. One can enter the piece through the poetry and the text; through the abhinaya or the gestural language or the body. Or through the music, lighting, or the visuals."

Her next upcoming work, titled The Absence of PRESENCE, will feature at the NCPA in October. Based on the mass killing of children in conflict areas, Mangaldas calls it a difficult production. "Every day, someone on the team is having a breakdown. For such a production, you rely on craft and let it take over. At one point, you open the floodgates of your heart," she says.

By removing geography and history from the narrative, the piece questions what such a tragedy does to society. "How can you ever justify a 10-month-old baby being shot to pieces as collateral damage?"

Often called an art activist, Mangaldas maintains her courage exists in the creative forum of dance and music. "A poet will write poetry; a dancer will dance. I am expressing what I feel," she adds.

The residency ended with a tête-à-tête with her core team sharing learnings on lighting, set design, movement development and mentoring. "Surround yourself with people you question.

Throw your ideas and see where it goes. First, nothing happens, and then there is breakthrough. The key is to be patient and allow the process to happen," Mangaldas signs off.