A compelling and visually striking piece that seeks to raise important questions about female desire and societal attitudes in different cultures.
Aditi Mangaldas’ “FORBIDDEN,” made its UK premiere at Sadler’s Wells last night. Mangaldas, a renowned choreographer, known for combining Kathak and contemporary dance forms, presents a piece that delves into the complex issues surrounding societies’ reactions to women who take ownership of their sexual desire.
The performance is divided into three parts, but it’s a game of two halves for me. The opening section is captivating. As Aditi enters the stage in darkness, the traditional Kathak bells around her ankles jingling gently, we are at once intrigued. When the downward spot reveals her, she is curled on the floor. For a few moments we watch her move and explore gently. Aditi’s precise and intricate movements are immaculately controlled.
There was minimal use of text in the performance, but the sections that were included were affecting. Aditi’s mastery of traditional Indian dance forms is evident, and the codified movements conveying messages and stories through gestures is beautiful and complex.
All technical elements of the piece are gorgeously realised. The lighting design by Michael Hulls accentuates and adds mood, and emotion to each section of the piece. At one moment, the light is a smouldering fire, at the next it becomes another character that Aditi dances with. The accompanying score by Nicki Wells is beautiful and complements each section of the performance, again enhancing the emotional impact.
The bells around Aditi’s ankles also accompany the performance of course, and there is a particularly arresting sequence where Aditi dances only to the accompaniment of her bells and her own breath, portraying a struggle for control over her body, while silenced by an unseen force.
The imagery was undeniably beautiful throughout, but as the piece progressed it wasn’t always clear what the imagery was representing. The bells (for instance) came to represent a myriad of different things—some of which were clearer than others— and left me confused as the piece went on. In the second half we also seemed to lose some of the coherence and specificity of movement that made the beginning so engaging. As an audience member I felt a general wash of emotion in these sections that soon became repetitive, rather than specifically understanding what the main figure in the piece was experiencing, and what elements of this nuanced female experience was being explored. Programme notes were provided, but I have always felt we should understand your piece from watching it, not reading about it.
Aditi Mangaldas showcases her incredible talent, stage presence, and control, but the performance loses some of its clarity and impact in the second half. Nevertheless, it’s a thought-provoking and visually impressive work that leaves the audience with much to reflect upon.