Akram, 43, will retire from full-length performances in 2018. His last solo will be in Xenos—a new production to mark the centenary of the First World War. British-Bangladeshi choreographer and performer Akram Khan challenges the seeming contradiction between static sculptures and moving dancers. The power of the statue, he says, lies in how its immobility prompts movement in the observer while, conversely, the moving body can make the viewer still. He’s been exploring this theme since he began creating his unique fusion of contemporary and South Asian classical dance traditions in 2000. Speaking from London, where he co-founded the Akram Khan Company, he addresses our tendency today This story is from Kinfolk Issue Twenty-Seven Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Issue 19 Neighborhood: Fire Stations The firefighting profession has evolved over time from Ancient Rome’s rudimentary bucket brigades to today’s sleek life-saving departments.
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