By Royona Mitra
Via seven key case reports from Khan's oeuvre, this ebook demonstrates how Akram Khan's 'new interculturalism' is a problem to the Nineteen Eighties western 'intercultural theatre' venture, as a extra nuanced and embodied method of representing Othernesses, from his personal place of the opposite.
Read or Download Akram Khan: Dancing New Interculturalism PDF
Best dance books
Greater than a quarter-century after his dying, Bob Fosse’s fingerprints on pop culture stay indelible. the one individual ever to win Oscar, Emmy, and Tony awards within the related 12 months, Fosse revolutionized approximately each part of yank leisure, perpetually marking Broadway and Hollywood together with his iconic type — hat tilted, palms splayed — that will impression generations of appearing artists.
The Singer and the Scribe brings jointly reports of the eu ballad from the center a long time to the 20 th century through significant gurus within the box and is of curiosity to scholars of ecu literature, renowned traditions and folksong. It deals an unique view of the advance of the ballad by way of concentrating on the interaction and interdependence of written and oral transmission, together with reports of recent singers and their repertoires and of the position of the viewers in producing a literary product which keeps to reside in functionality.
The good Russian choreographer Leonide Massine was once an important determine in modernist ballet within the Nineteen Thirties, identified for works equivalent to Gaite Parisienne and The Three-Cornered Hat. His versatility and scope made his choreography the main consultant of the century. no matter what interval he portrayed, his variety flowed freely and unselfconsciously.
In 1930, dancer and choreographer Martha Graham proclaimed the coming of "dance as an paintings of and from the USA. " Dancers resembling Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in making a new type of dance, and, like different modernists, they experimented with and argued over their aesthetic recommendations, to which they assigned nice that means.
Extra info for Akram Khan: Dancing New Interculturalism
In this it is similar to his collaborator from Zero Degrees (2005) Sidi Larbi Cherkaoui’s postulations on conceiving the self as both one and many Others: You are never just one thing, one character, one function but rather each of us has the ability to perform many different functions, within a project but also in life. By recognizing this multiplicity in oneself, you realise that ‘the Other’ (being the other performer, the new culture you discover, or the audience even) is often buried somewhere inside you too.
Menski 12) Examining this issue of visibility in the context of the contemporary British (and international) art world, Kobena Mercer echoes Menski’s concerns in noting that ‘although cultural difference is now more visible than ever before, the unspoken rule is that you would look a bit dumb if you made a big issue out of it’ (Mercer, ‘Ethnicity’ 193). Mercer’s and Menski’s observations about this oscillating nature of making difference visible in both the British and the international domain raise interesting questions about what constitutes too much visibility and what is visible enough, and indeed who judges this sliding scale.
3. While the Western starting point for intercultural theatre has often been to adapt non-Western texts (such as The Mahabharata) with a view to extrapolating their innate universalism, Khan chooses to work with personal stories (sometimes his own and sometimes others’) and cultural exchanges that operate primarily at a corporeal level. In focusing on more microcosmic, personal and embodied starting points, Khan’s works are ironically often more accessible and less threatening to the source culture/s.