Amina Khayyam's latest dance piece, Bibi Rukiya's Restless Daughter, draws on Federico García Lorca's The House of Bernarda Alba to explore tensions between tradition, freedom, fear and love. The Slough-based choreographer, known for works on domestic violence and nonconformist women, blends north Indian kathak dance with contemporary themes.
The story centres on a matriarch who perpetuates patriarchal systems by repeating repressions she experienced. In this version, Bibi Rukiya has three daughters: one obedient, and two rebellious who dress up and dance to Beyoncé until their mother intervenes. Rather than domineering, Khayyam portrays a muted, distant figure.
The performance maintains a low-level tension, with anxious ankle bells adding to the brooding atmosphere. However, the piece lacks the grit and detail of its subject, leaving questions of desire and thwarted emotions unexplored. The tragedy ends in confusion rather than clarity.
Based on Lorca's play and real-life testimony from Khayyam's community groups, the work has powerful source material but too much remains unsaid.
