Renowned Indian classical dancer who is celebrated for her innovative approach to Kathak, is Aditi Mangaldas, with a career spanning over four decades, Mangaldas is known for blending classical technique with contemporary themes, pushing the boundaries of Kathak while honouring its rich heritage. She trained under her mother, the esteemed dancer and teacher Kumudini Lakhia, Pandit Birju Maharaj and has since become a prominent figure on the international stage. Mangaldas's performances are marked by their elegance, storytelling depth, and rhythmic precision, earning her acclaim as a leading force in contemporary Indian dance.
Drishtikon, the dance company founded by her is renowned for its unique fusion of traditional Kathak with contemporary themes and experimental elements, creating performances that are both visually stunning and deeply expressive. Drishtikon’s work often explores complex narratives and emotions, pushing the boundaries of classical dance while maintaining its cultural roots. Through collaborations with artists across disciplines and a commitment to artistic excellence, Drishtikon has garnered international acclaim, establishing itself as a pivotal force in the evolution of Indian dance. Mangaldas new show ‘Lost in the Forest’ premiered in Mumbai. I spoke with the supremely talented Aditi about the new show, excerpts from the interview:
Your new offering ‘LOST… in the forest!’ Can you explain what the show is about?
LOST… in the forest! Show is divided into three distinct parts: "River In The Boat!," "Now Seen… Now Not!," and "Walking Into The Sunbeam!" The first two pieces, originally created as a dance film during the pandemic, have now been re-choreographed for the stage. They reflect the surreal and disorienting nature of that time. "River In The Boat!" captures the tumultuous, upside-down existence we experienced. The empty frames in this piece symbolize the confines we were living in, detached from reality. "Now Seen… Now Not!" explores the illusory nature of our times, with a deer as the protagonist, navigating between the real and the reflected moons. The final piece, "Walking Into The Sunbeam!," represents hope, renewal, and joy as the sun rises, embracing everything with its rejuvenating light.
What was your inspiration for this concept?
Honestly, the concept emerged during the pandemic, a time when reality felt suspended and distorted. I was deeply affected by how our lives had become a chaotic blend of moments. One evening, while driving on the island of Sylt in Germany, I saw a gigantic red moon reflected in the calm North Sea, which transported me to a dark forest with two moons. This vision inspired the deer as the central figure, grappling with the nature of reality and illusion. Conversations with Shubha Mudgal, who composed the music, and the poem "Naav Mein Nadiya" by Kunwar Narayan, further shaped the pieces. The empty wooden frames, which I used as a creative element, symbolized the disconnection and loss of familiar narratives during those times. The third piece was inspired by the resilience of the human spirit and the hope for renewal.
Can you tell us about the team involved in this production and their contributions?
I’m immensely grateful to my creative team. The stage designer Manish Kansara brought the visual elements to life, while Govind Singh Yadav’s lighting design beautifully complements the choreography. Shubha Mudgal composed the music for the first two pieces, and Faraz Ahmed and Ashish Gangani created the music for the third piece. My musicians, including Aneesh Pradhan and Shahnawaz Khan, have contributed profoundly to the performance. I also appreciate the support from NCPA for premiering the work and G5A Foundation for Contemporary Culture for providing a space for our technical residency. The film version was made possible with the commission from Sampradaya Dance Creations Canada and support from OddBird Foundation New Delhi.
What are your plans for the future of this show?
We hope to take LOST… in the forest! to various parts of India and internationally. Each production finds its space and evolves through different performances, so we’re excited to present it at festivals and venues around the world. It’s important for the work to reach diverse audiences and continue its journey of exploration.
Your work is known for its uniqueness. How is this show different from your previous ones?
I believe in constantly challenging myself and not becoming complacent. This show is different because it emerged from a very unique and unprecedented period, and it reflects a deep engagement with the present moment. It’s about stepping into the unknown and embracing the fog of uncertainty, much like venturing into a forest. Each work I create is a response to the NOW, and in doing so, it often resonates in ways that transcend time and space. This philosophy helps me create something distinct with each production.
What was the highlight of the premiere performance for you?
The best part of the premiere was witnessing how the work, which I had labored over for months, came alive on stage. Seeing it in its full, dynamic form and feeling the audience’s response was incredibly fulfilling. This work holds a special place in my heart because it represents a collective human experience during a global crisis. The sense of fulfillment and humility from seeing the work breathe and resonate with others was profoundly moving.
You were recently nominated for several awards, including the National Dance Critics Circle Award and the Eastern Eye Arts, Culture and Theatre Awards. How do you feel about these recognitions?
I’m honoured and deeply grateful for these nominations. They represent a recognition of the hard work and dedication of everyone involved in my productions. It’s always encouraging to receive such acknowledgment, and it motivates me to continue pushing boundaries in my art. I’m thankful to all who have supported me and my work.
