“In Asian culture,” says Akram Khan, “you don’t have a voice. You just accept what everybody says.” It is, I have to say, rather hard to believe now. The darling of the dance world has a reputation for pushing the boundaries of his form, tossing in a visual artist here, a musician there, a writer there, and then maybe adding, just for fun, an actress who’s never danced in her life. Hailed as “the great new hope” and “wunderkind” of contemporary dance, “a phenomenon” and “a marvel”, he’s an (extremely muscular) human whirlwind, leaping from project to project, and travelling the world on an endless, exhaustive, exhausting quest for new ideas, new creative partnerships, new marriages of story and feeling and form. For a man obsessed with the idea of stillness, he’s remarkably bad at it.
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