A coming together of ‘Zero Moment’ from her 2006 work Timeless and her feelings and creative impulses during lockdown, Amorphous…The Zero Moment proved the outstanding selection of the programme (The 39th Annual Battery Dance Festival 2020). Time past and present become intertwined as the footage cuts back and forth between stage recordings from performances in London and recent black and white film of Mangaldas captured on an iPhone at home. It’s the latter that really hits hard in gorgeous and hypnotic dance that’s loaded with anxiety and uncertainty, her shadow on the wall only serving to emphasise those feelings.
David Mead, Seeing Dance, UK August 2020
Whereas Aditi Mangaldas, by juxtaposing a recording of herself on a stage a few years ago with video of herself dancing the same solo in her apartment during lockdown, spinning under a ceiling fan, captures something recognizable and deep about how we have experienced time these past several months.
Brian Seibert, The New York Times August 2020
Kathak exponent Aditi Mangaldas dances within walls for a purpose... Though the films (WITHIN... From Within) explore diverse human expressions, the connecting feature among them is chakkar, the soul of Kathak. As vigorous whirls and unhurried turns expose our emotional state, you realise what it means to dance in the time of COVID-19.
Chitra Swaminathan, The Hindu June 2020
‘Immersed’, by Aditi Mangaldas, the celebrated Kathak dancer/choreographer, who was initiated into learning Kathak under Kumi Ben at the tender age of five, came as a tribute to her Guru. Centered around the multi-hued names and attributes of Krishna, the presentation incorporated all the intra-forms of Kathak technique and Abhinaya on the melodious music composed by Shubha Mudgal, Anish Pradhan and Aditi herself, based on raga Jhinjhoti and Abhinaya on the poem of Bhartendu Harischanra. This emotionally-charged tribute of the chiseled dancer concluded with a meditative and aesthetic ecstasy of bliss. Manjari Sinha, The Statesman 2020
Aditi Mangaldas, one of Kumiben's earliest disciples at Kadamb emerged as one who with the Kathak vocabulary she has learnt takes her thematic expression to the level of poetry with an appeal to the aesthetic sense of the modern viewer. Combining reason and emotion as also technique and skill in Immersed she has her physical existence melt into the portrayal of a human being gifted with a rare sensibility to see herself as part of the universe in which Krishna permeates as a fragrance. She demonstrated the peak it is possible to scale through the medium. Dr. S.D. Desai, Narthaki.com, 2020