The fascinating presentations at The Other Festival were representative of either end of the spectrum; one entrenched in the physicality of sound and the other in a surreal expression of ‘bhava’ only through the language of the limbs. That the dancer has traversed such a long way, and finds a comfort factor at both ends of the scale speaks of her artistic sensitivity and her ability to venture beyond the familiar.

Technical virtuosity remains the governing principle in Mangaldas’ style. Rhythmic dexterity afforded sound exploration at different levels creating a reverberating thirty-five minute journey of discovery. Props in the form of kitchen equipment, seeds, shells, ghungroos, wooden boards, clay utensils, clogs for the feet, castinets, cymbals, in addition to clapping, footwork and percussive support created infinite patterns of time cycles of diverse intensity and cadence. Footwork on water was one more novel venue to voyage in- a trip that was as meaningful to the viewers as it was for the performers. Besides Mangaldas, dancers from her Dhrishtikon Dance Foundation: Rohit Lal, Pooja Srivastav, Gauri Kumari, Hemanta Kumar Lalita, and percussionists Yogesh Gangani on the tabla and Mahaveer Gangani on the pakhawaj were a part of ‘Rhythm and Sound,’ an extract taken from ‘The Hidden Stream.’

It is one thing to portray sadness, but to capture the very moment of breakdown, of realisation of loss, that moment of madness, if one may say so, or despair can be very draining on a performer. In this case Mangaldas in a solo called ‘Lament’ had neither the support of lyrics nor facial expression. A darkened stage, the dancer dressed in black, and the music composition by Shubha Mudgal- a hindusthani alaap based on a westernised beat, were the only pointers. Mangaldas writhed in agony, flung her head and arms about to full effect. She even had a pot of red paint to dip into, and with reddened palms dabbed it all over herself. But the intensity was sullied with the introduction of rhythm. It broke the mood in a trice. How can you beat your chest to a rhythm in pain? It falsified the very foundation of her exercise and reduced it to a mere mockery. Interestingly, Mangaldas sees the anguish as a stage in the cycle of love, the agony of separation that ultimately leads to a peace that marks a fresh beginning. An inspiring thought process that can spread hope through dance.