Akram Khan, one of the most exciting artistes of the contemporary dance world who explores with fiery passion deeply personal and socio-political narratives, gently asks if this interview could be postponed by an hour. “You know, my four-year-old daughter Sayuri wants me to be around,” he says apologetically. An hour later, you can still hear the little one in the background. Khan tells her to go upstairs and that daddy will join her soon. He now seems to be more a doting father than a dancer known for his incisive performances.
“Children make you realise the need to renegotiate your schedule. I used to be out of home for almost 10 months; I then cut it down to six and finally, I am putting an end to my crazy travel. Barring some cameos, I will spend time watching Sayuri grow. It may sound trivial, but I do not want to take my life for granted. Along with her, I will rediscover the many small and beautiful aspects of life. It will be as special as dancing,” says Khan, referring to his much-talked about decision to retire.
At 43, he is performing his farewell piece ‘Xenos’, a full-length solo with the same physical eloquence that has defined his dance. Premiered in Athens early this year, it will be staged at Sadler’s Wells, London, from May 29 to June 9. ‘Xenos’ will later travel to France, the Netherlands, Spain and Canada, besides a performance at the Edinburgh International Festival in August. He is joined on stage by five musicians — percussionist B.C. Manjunath, vocalist Aditya Prakash, bass player Nina Harries, violinist Andrew Maddick, and saxophonist Tamar Osborn. “There is also my stellar creative team of Dramaturg Ruth Little, playwright Jordan Tannahill, designer Mirella Weingarten and lighting designer Michael Hulls that has been amazing with its inputs,” says Khan.
Born and raised in London as a second-generation Bangladeshi immigrant, Khan’s collaborative oeuvre is unique and diverse. It includes sculptors Anish Kapoor and Antony Gormley, ballerina Sylvie Guillem, actress Juliette Binoche, composer Steve Reich, writer Hanif Kureishi, filmmaker Danny Boyle and Spanish flamenco dancer Israel Galvan. So, will he not miss being in the spotlight that had been turned on him two decades ago?
“Of course, I will. It is going to be challenging to live away from the spotlight and not have the adrenalin rush of live shows,” he says. “It is hard, but I had to arrive at this. I had been contemplating it for some time. My dance language is highly demanding on the body. I am tired of perpetually worrying about injuries. I have had my share — a tear in the Achilles tendon in 2012. I was in a lot of pain. And, the pain is not just physical, it’s psychologically more traumatic. I have been constantly fighting age and time,” he explains.
“It is ironic,” he continues, “That, at the point when dancers are maturing as artistes is also when their bodies begin to age. When young and adventurous, we keep raising the bar of our physical virtuosity with intricate moves and high-powered leaps and pirouettes, which becomes difficult to sustain as we grow old. Contemporary dance is constantly evolving. Along with it, you also have to. You don’t want the audience that celebrated you, to see you struggle with line and form.”
‘Xenos’, which plays out mostly in a trench, marks the centenary of the First World War. It blends the Prometheus myth with the story of a colonial Indian soldier and his shattered dreams. “He is one of the four million men, most of who were from north and north-western India, mobilised on behalf of the British empire. Many soldiers died and were buried in a faraway land; and those who returned with deformed bodies and mind felt estranged from their home and history,” says Khan, who goes into a rage looking at the agony of people across the world. The pain and truth of the past and the present have often been the stimulants to his extraordinary creativity.
Why did he choose an emotionally turbulent piece as his swansong?
“How can I think of a happy piece in the present situation? It’s a response to what’s happening around, for instance in Syria. I want to remind people that war is one of the worst acts of humankind.”
‘Xenos’, which has very little textual support, sees Khan’s body mirror the anguish and anger. His body is like a character built on experiences. “The greatest experience was working with Peter Brook. I was 13 when I first got to work on his ‘Mahabharata’. I learnt the art of storytelling from him. Brook has this knack of seamlessly traversing between times. The subtleties that lent an edge to his productions came from his ability to look between words and movements.”
Khan returned to the epic in his own distinct way in ‘Until The Lions’ that focused on Amba. Through her, he approached the gender issue. “With three strong women — mother, wife and daughter — in my life, I view things more from a female perspective.”
He lays bare his mind and soul when creating a piece. His technique has both a zen-like stillness and fluidity of the modern vocabulary combined with the essence of Kathak. His training in the Indian classical form gives his choreographic works an Eastern sensibillity.
“I have a huge respect for the classical tradition that is undergoing a change. But, my concern is it should not get watered down. Submit to the art completely before attempting to redefine it. I recently watched Aditi Mangaldas; like prima ballerina Sylvie Guillem or the trailblazing Kathak exponent Kumudini Lakhia, she has the spirit of a 20-year-old and the wisdom of a centenarian.”
(clockwise from left) Akram Khan in his new work ‘Xenos’, during a rehearsal, with ballerina Sylvie Guillem in ‘Sacred Monsters’ and ‘from ‘Choto Desh’
Khan looks at his art holistically. "Your concerns should extend beyond the rehearsal space and stage. A dancer should keep asking questions about art and life to develop a wider perspective," says the master of stylish moves, who can never bid adieu to hope.
