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Reader rating
Pared down but still sumptuously received: Akram Khan
It shows how highly he’s regarded that Akram Khan can start late, perform for less than an hour, and then only half of what he intended, and still receive a standing ovation.
During a show in Paris last month, the dancer-choreographer fell and gave his arm a hairline fracture, meaning he couldn’t perform his new work Gnosis which was set to open the two-week Svapnagata Festival of classical Indian music and dance that he’s co-curated with Nitin Sawhney.
Instead, Khan presented a less strenuous excerpt from Gnosis plus several traditional kathak solos with his six excellent musicians performing with him on stage.
Khan started out as a kathak soloist, beguiling us with the speed and sensuality of the north Indian dance form. That was the best part of 10 years ago, since when he’s worked with other artists in other dance traditions and the effect is to make his kathak look both less emphatic and more intense.
His costuming is also lower-key — he wore an almost drab-coloured tunic to open the show. He changed into a mango-coloured one for the second section, but this was hardly the sumptuous costumes he used to wear. It’s as if he’s paring back his performance to its essence. He still explains what he’s dancing and how it works, as is traditional, and his anecdotes, especially the one about working with Kylie Minogue, are good humoured and self-effacing.
While Khan’s kathak confirms his enduring virtuosity, it was the extract from his new work that reveals his innovative intelligence. It was barely five minutes, but his jagged moves to Yoshi Sunahata’s lament proves he is a true choreographer — someone who asks what it is to be human and provides the answers in dance.
Svapnagata Festival until 28 November (0844 412 4300, www.sadlerswells.com).
Details are correct at the time of publication - please check with venue before booking.
