India’s Akram Khan Company focuses on Jaffna’s rich cultural heritage
The Akram Khan Company based in Pune, India, held the third edition of its Classical Intensive in collaboration with the British Council in Sri Lanka at Thinnai Farms in Jaffna. From December 9-13, 30 young dancers enjoyed an immersive and intensive experience in Bharathanatyam.
Akram Khan has won international dance awards, including an Olivier Award in 2012 for DESH, his solo production. His innovative dance company formed in 2000 has programmes ranging from kathak to artist-to-artist collaborations and ensemble productions, carving a niche for itself in the world of dance. For the London Olympic Games Opening Ceremony in 2012, the company created a segment for the opening ceremony.
Eager participants: Mavin Khoo with the students in Jaffna
In a world moving increasingly fast, classical art forms are referred to as endangered species, says Akram. However, recognising that there is so much talent, creativity and love shown by those who engage in these disciplines, the company’s Classical Incentive was introduced in 2019, stemming from Akram’s dedication to preserving classical Indian dance, and reimagining it within a modern framework.
This year’s edition focused on Bharatanatyam, South India’s classical dance form, and honoured Jaffna’s rich cultural heritage, steeped in centuries of traditional arts.
Mavin Khoo, AKC’s Creative Associate and a well-known figure in contemporary bharathanatyam, was trained under the renowned guru Adyar K. Lakshman. The Malaysian artiste encourages others to follow their own hearts, conveying their own stories through dance.
Mavin has known Akram for over 30 years; they worked together as very young dancers. “We decided there was a need and space for younger dancers within the Indian classical dance spectrum to have access to a programme where they could unapologetically be themselves and find their identities,” Mavin says.
With the help of the British Council, Mavin says they were able to work within a local framework to hold their Classical Intensive on Bharathanatyam. “The obvious choice of location would be Jaffna,” he adds, “and it was very interesting to see where the dancers were with their own personal love for dance and what it could propose for their futures.”
Their series of workshops and masterclasses ranged from technique to deep study of music. There was also an element that he refers to as ‘creative practice’; how the dancers are able to bring their own voice into the choreography that he feels is very underestimated.
The process of personalising a dance is specific to every person. With an excellent turnout of a diverse group of 30 dancers, including many male dancers, the training in Jaffna proved to be a great success. As the workshops went on, personal results began to shine through. Akram and Mavin’s main goal was not to act as teachers, but to facilitate a space where a community could be joined together in a manner in which the latter voices become louder, while the former can fade. This was something Mavin was very glad to see happen through the Intensive in Sri Lanka.
They have more plans for this Classical Intensive. These more traditional and niche art forms “must not be allowed to get lost,” Mavin says.
Mavin’s main objective is to reignite the childhood spark within dancers of any age, bringing back the excitement and curiosity to keep learning, growing, and going on.
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