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‘Autonomy’
by Cornelia Prior, PYLOT issue 08
12 April 2018
‘On the uneasy dance between knowledge and information’
by Charles Shafaieh, Kinfolk issue 27
1 March 2018

“We feel we’re more intelligent because of our immense access to information, but that’s not the same as knowledge. Knowledge is information that is fully embodied and experienced. There’s a huge difference between the two, and right now, we are in awe of information rather than wisdom.”

‘Home Was In My Body’
by Ben Bohm-Duchen, Contra issue 01, Displacement
19 January 2018
"Displacement in Khan’s eyes goes far beyond the physical migration of humans; it is a crisis of identity within our society; it is a lack of connection to the natural world and the planet."
‘Akram Khan – Le radici nella spiritualità’
by Giuseppe Distefano, Danza&Danza Magazine
5 May 2016

“Nel gotha dei coreografi più riusciti e prolifici di oggi, Akram Khan abbraccia l’Oriente o l’Occidente in una danza scolpita che emana bellezza e trascendenza. La sua ultima creazione, “Until the Lions”, prende ispirazione dal Mahabharata, il poema epico Hindu. Un ritorno alle origini eppure il prossimo progetto guarda già all’Occidente. In cantiere una rivisitazione di “Giselle” per l’English National Ballet.”

‘Akram Khan: dance as resistance’
by Royona Mitra, Why Dance, Seminar magazine
6 December 2015

“For Khan, at every step of his life, dance has been an act of resistance to expectations, people and ideologies. What once was an act to ground him into distilled and sustained focus, has gradually become his ammunition for challenging the status quo, his vehicle for political statements and his very own language of survival.”

‘Textiles in the performing arts: designing costumes for Akram Khan Company’
by Kimie Nakano / edited by Ruth Little, Jamini
6 December 2015

“Theatre and film work involves collaboration with an entire creative team. Performance art is neither a fine art installation nor a fashion show. The designer must think both visually and practically to bring his or her ideas to fruition. The set and costume design must be considered in conjunction with lighting, video and/or stage design.”

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