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‘Another thing I wanted to tell you…’
by Tom Reiss, AnOther Magazine issue 36
14 February 2019

“There are so many stories that have been edited out of history because they’re different, or because of power and greed. I want to tell those stories.”

‘Autonomy’
by Cornelia Prior, PYLOT issue 08
12 April 2018
‘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 as Visiting Professor in the Centre for Interdisciplinary Research in Dance
4 November 2016

Akram is an alumnus of De Montfort University and was awarded an Honorary Doctorate for services to the arts by the University in 2004.

He is now Visiting Professor in the Centre fo Interdisciplinary Research in Dance – CIRID – at De Montfort University.

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Imaginatives Bodies: Dialogues in Performance Practices
by Guy Cools, Valiz
1 November 2016

Imaginative Bodies contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine, anthropology, and the arts. Depending on the affinities of the artist, a more specific theme has been defined for each dialogue, ranging from poetics to politics, from mythology to ecology, from intercultural studies to conflict management. The associative chains of thoughts of these talks give an intimate insight into the creative process, inspirations, sources, identity, and ways of collaborating. It is through the sentient body that we experience, know and imagine. Imaginative Bodies reaffirms the central position of the body in many artistic practices.

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Human Race/Human Dance – Open Letter
by Akram Khan
30 October 2016

Akram Khan is the latest patron of Dance Proms, the UK’s biggest annual multi-genre youth dance celebration bringing together over 500 young dancers from around the UK and the rest of the world. Ahead of this year’s event at the Royal Albert Hall on October 30, Khan writes an open letter to parents and teachers highlighting the cultural and societal benefits of dance during a ‘time of separation’.

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Decolonizing Immersion
by Royona Mitra, Performance Research
20 October 2016

This article decolonises hitherto Anglophonic theorising of the audience phenomenon of immersion by disassociating it from the participatory and interactive nature of immersive theatre practices, and locating it instead in the reception of contemporary British dance. It argues that by looking to rasa, the art reception theory as laid out in the Natyashastra (an ancient Indian dramaturgical treatise), immersion can also be theorised and experienced as an embodied and psycho-physical state that transpires between any audience, any artist and any piece of art that is premised on gestural codes of communication, regardless interactive participation.

In order to exemplify this argument, the article draws on two case studies from the field of contemporary British dance: Desh (2011) by the British-Bangladeshi dancer and choreographer Akram Khan and Yesterday (2008) by the Israeli choreographer Jasmin Vardimon. While distinct in many ways, Desh and Yesterday embody shared themes and aesthetic in the forms of border-identity politics, character transformations through body-markings and intermediality. Through comparative analyses the article argues that in these pieces, audiences can experience immersion, but it is not through physical interactivity as championed by immersive theatre practices. Instead, here, immersion is triggered as an embodied state, accessed from within the audience’s interiorities and attuned-ness to twenty-first global migration politics, enhanced by their first hand lived knowledge and/or second hand mediatised awareness of what is at stake for bodies at borders, vis-à-vis volatile migrant identity-politics.

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Keynote Speech for Navadisha International Dance Conference
by Akram Khan
20 May 2016

“Why are stories important? Because stories are a way for me to make sense of the world we inhabit. Stories are the way for the next generation to make sense of the new world that they will inherit.”

‘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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‘In-between Dance Cultures: On the Migratory Artistic Identity of Sidi Larbi Cherkaoui and Akram Khan’
by Guy Cools, Valiz
1 December 2015

The respective artistic universes of Belgian-Moroccan Sidi Larbi Cherkaoui and British-Bengali Akram Khan are largely built around their identity in-between dance cultures. Dramaturge Guy Cools, who accompanied both, situates the work of these prolific contemporary choreographers within the larger critical debate on the (post-)modern and (post-)migrant identity. With a uniquely privileged insight into their creative practices, Cools details some of their iconic choreographic pieces. He also shows how they invent a new and much-needed social imagery for present-day ways of living in a globalized environment. As such,

In-between Dance Cultures offers a complementary view on questions of cultural identity, taking the contemporary dancer’s somatic awareness and knowledge of the body as its starting point.

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‘Akram Khan: Dancing New Interculturalism’
by Royona Mitra, Palgrave Macmillan
3 November 2015

Through seven key case studies from Khan’s oeuvre, this book demonstrates how Akram Khan’s ‘new interculturalism’ is a challenge to the 1980s western ‘intercultural theatre’ project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.

‘Akram Khan: Dancing New Interculturalism’ won the 2017 De la Torre Bueno Prize.

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Akram Khan Company Archive at V&A

Victoria and Albert Museum (V&A)’s Theatre and Performance Department holds an Akram Khan Company Archive which could be accessed by the public on site in London.

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