As demonstrated through the previous five chapters, Khan’s new interculturalism manifests in his art as both a political and philosophical stance and a performance aesthetic. Although I have deployed one characteristic per case study in each of the preceding chapters, Khan’s trajectory as a whole engages with all of the following features that nuance his embodied approach to this position. As a dancer and choreographer, working with his own lived reality and that of others, Khan ultimately interrogates his own multiple and fragmented selves through his art.
KeywordsHand Gesture Zero Degree Ballet Dancer Swan Lake Music Festival
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