To understand the kinaesthetic qualities of Khan’s art requires an engagement with his dance vocabulary drawn from kathak and contemporary dance idioms. Moreover his embodiment of eclectic movement languages is nuanced further by his own biographical circumstances and his interactions with the wider field of British South Asian arts. Together they generate complex affiliations to diverse traditions, cultures, nations and histories. It is this processual intersection between his biography and his art that lends Khan’s vital life its charge, and infiltrates his new interculturalism with a spirit of ‘self-knowledge’, evoking identity not as a fixed inherited entity, but as an ongoing exploration of its incomplete and multi-layered constructions (Fraleigh xxii).
Because dance is in essence an embodied art, the body is the lived (experiential) ground of the dance aesthetic. Both dancer and audience experience dance through its lived attributes — its kinaesthetic and existential character. Dance is the art that intentionally isolates and reveals the aesthetic qualities of the human body-of-action and its vital life. (Fraleigh xiii)
KeywordsPhysical Theatre South Asian Immigrant Alexander Technique Dance Training Contemporary Dance
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