Aditi Mangaldas stands at the forefront of Indian dance, seamlessly blending the classical and contemporary. Trained under luminaries Shrimati Kumudini Lakhia and Pandit Birju Maharaj, she has not only mastered the intricacies of Kathak but has also reimagined it for a modern world. Recognised for her fearless artistry and technical brilliance, Aditi’s performances radiate energy, eloquence, and emotional depth. Awarded the UK Theatre Awards 2024 for MEHEK, her boundary-breaking work continues to earn international acclaim. Whether shattering conventions or exploring new artistic frontiers, Aditi Mangaldas remains an unstoppable force in dance today.
In this interview, Aditi reflects on her artistic journey, the evolution of Kathak, and the challenges of pushing creative boundaries. She shares insights into her inspirations, her collaborative process, and what drives her to constantly innovate while staying true to the essence of her craft.
Nikhil Sardana: How do you balance preserving the traditional essence of Kathak while pushing its boundaries through contemporary choreography?
Aditi Mangaldas: For me, preservation is synonymous with evolution. The traditional essence of Kathak has never been static—it flows like a river, continuously evolving with time. I strongly believe that the great heritage we have inherited must pass through the present moment, absorbing the pulse of the world we live in today.
NS: Having trained under iconic mentors like Kumudini Lakhia and Pandit Birju Maharaj, how have their teachings shaped your journey as both a dancer and choreographer?
AM: I have been truly blessed to have two legendary Gurus—both recipients of the Padma Vibhushan—who opened up a world of magic, wonder, and deep love for dance within me.
Their influence is vast, but to distil its essence: from Smt. Kumudini Lakhia Ji, I learned to expand outward, stretching my body horizontally into the universe—engaging with space, music, text, and light. From my other Guru, the late Pt. Birju Maharaj Ji, I imbibed the art of internal exploration, where the very essence of ‘Aditi the dancer’ permeates every pore, emotion, and thought.
NS: Your work often explores social and present-day concerns. How do you integrate these themes into your performances while maintaining artistic integrity?
AM: Art cannot exist in a vacuum; it must breathe the air of today. Whether choreographing traditional Kathak or contemporary works rooted in Kathak, I ensure each piece resonates with present-day concerns. Even while performing classical mythology, one must be mindful of the underlying message being conveyed to new generations.
Both my classical and contemporary streams of dance stem from the same seed—if nurtured with Kathak sensibilities, a Kathak tree emerges; if watered with contemporary sensibilities, a different tree grows, reaching toward another part of the sky. I have also explored diverse musical genres, from Hindustani classical to electronic, experimental, Western classical, and world music.
NS: Could you walk us through your creative process for a production like MEHEK? How do you develop a piece from concept to stage? (Alternatively, this could focus on an upcoming 2025 production.)
AM: 2024 was an energizing and creative year—I premiered two new productions: MEHEK (co-choreographed with Aakash Odedra) and the classical solo LOST… in the forest!
The creative process, from inception to performance, is long and rigorous. Its trajectory is like a parabolic curve—plunging deep into the concept while simultaneously expanding toward infinity.
Looking ahead, we are now working on our next production, Weeping RED!, premiering in 2026. I am thrilled to collaborate with the prestigious Symphony Orchestra of India at the National Centre for the Performing Arts, Mumbai. The music, composed by the brilliant young British composer Rushil Ranjan, bridges Hindustani and Western classical traditions. This work stands in solidarity with children affected by conflict and questioning the human tendency to turn a blind eye to their suffering.
Production LOST in the forest | Photo: AMDC
NS: You’ve been called a maverick in the dance world. What drives you to challenge conventions, and how do you handle resistance or criticism from traditionalists?
AM: A river without banks has no direction—similarly, critical analysis is essential for growth. Constructive criticism serves as a mirror, reflecting both strengths and areas for evolution.
Life is in constant flux, so what is tradition? How far back in history do we go? And where do we pinpoint its origin? Just as accolades encourage me to innovate, criticism has also fuelled my evolution, challenging me to refine and strengthen my artistic voice.
NS: Winning the UK Theatre Award for MEHEK and other accolades must be rewarding. How do you stay grounded and continue innovating amidst such recognition?
AM: Recognition and awards bring immense joy and gratitude—they are moments of exhilaration! But at the end of the day, what truly matters is the dance itself—the immersion, the surrender. Whether performing on the world’s grandest stage or in a small rehearsal space, the essence remains the same. And the realization that everything is transient keeps me grounded.
Production MEHEK | Photo: Angela Grabowska
NS: Dance is as physically demanding as it is emotionally immersive. How do you and your troupe sustain energy and artistry during intense performances?
AM: Dance engages the body, heart, and mind—each element must be finely tuned. Riyaaz is more than practice; it is immersive practice, where every movement carries thought and emotion.
To achieve this, we integrate diverse disciplines: Kathak training, yoga, strength conditioning, martial arts, movement techniques, meditation, and mindful nutrition. These regimens prepare us rigorously in the months leading up to a performance. But once I step onto the stage, I strive to empty myself completely—allowing the dance to unfold in a state of pure presence.
NS: Your work has been celebrated worldwide. How do audiences in India and abroad respond differently to your performances?
AM: At its core, there is either good dance or not. Too often, we get caught up in history and geography, compartmentalizing our traditions. But as artists, while we must be informed by our heritage, we should not be weighed down by it. The narrative and emotions should lead the audience—if they resonate, it does not matter where they are from.
NS: Through your Drishtikon Dance Foundation, what is your vision for nurturing the next generation of Kathak dancers and contemporary choreographers?
AM: We have initiated the Legacy Project on a small scale but aspire to expand it significantly in the coming years. It is envisioned as a living, evolving entity—supporting, commissioning, awarding, and showcasing exceptional young talent.
To realize this vision, we have launched several initiatives:
- The Parabola of Dance and Imperfect Circle—platforms for emerging artists.
- The Dr. Sunil Kothari Award—honouring promising young dancers.
- Studio Baithaks—intimate performance spaces fostering artistic dialogue.
We are now preparing to take Parabola of Dance, currently in its third Delhi edition, to Mumbai and Bangalore. Our director, Sangeeta Rana, is spearheading these efforts, and we look forward to unveiling more creative initiatives under the Legacy Project umbrella.
NS: Dance has been described as your way of exploring freedom, love, and truth. How has this philosophy evolved over the years, and what does it mean to you today?
AM: Freedom, love, and truth are universal—they encapsulate the essence of our shared humanity. Over the years, my perspectives may have evolved, but these core values remain unchanged. They are the pulse of my artistic journey, anchoring me to what is most essential.
Witness Aditi Mangaldas’ captivating performance at the Sufi Heritage Festival in New Delhi on 8th March and the NAAD Festival in Kolkata on 21st March.
Source:https://serenademagazine.com/aditi-mangaldas-redefining-kathak-with-boundless-innovation/