Review: Akram Khan’s GIGENIS, The Generation of the Earth – a masterclass in storytelling

Matthew Paluch experiences “a heady appreciation of the collective experience and skill” seeing Akram Khan back on stage in GIGENIS: The Generation of the Earth.

It’s been 22 years since Akram Khan hit the scene as a choreographer, and four since his last performance (as a dancer) in London. GIGENIS: The Generation of the Earth, showing at Sadler’s Wells until 24 November, sees Khan play both the role of creator and dancer.

The work looks at many topics and uses the ancient Indian epic poem Mahābhārata as its underpinning to explore aspects of power, greed, loss, joy and fear. Told from a woman’s perspective, GIGENIS also asks questions about family, narrative, destiny and control. Confused yet? There’s definitely a lot going on… in the blurb at least anyway!

Khan is additionally eager to discuss his concerns over loss of connection with nature and tradition and uses his background in classical Indian dance as a conduit for all of the above.

Thankfully the work is less over-busy and communicates as a masterclass in storytelling through dance and music. The premise feels like an homage to women, as Khan shares the multifaceted roles of the naive, joyous daughter, loving wife and wise mother all through external reflection, grounded by the presence of the individual who was all of these things in times gone by.

Men also feature via the caring husband who then passes causing grief and loss, and brothers wrestling with sibling rivalry which manifests in power struggles and ultimately death.

Akram Khan’s GIGENIS, the generation of the Earth. Photo Maxime Dos, Productions Sarfati

Akram Khan’s GIGENIS, the generation of the Earth. Photo Maxime Dos, Productions Sarfati_1

Though the plot might still read on the convoluted side, Khan’s narrative structure (including minimal, yet insightful narration) allows things to unfold with apparent ease, but of course he isn’t alone in this. The cast of six dancers and seven musicians/vocalists are the absolute cream of the crop, and together, signify the very best that this historical, traditional, cultural genre can offer.

The stage is framed by three slightly raised platforms and subtle, atmospheric lighting (Zeynep Kepekli) features throughout to allow this play without words (forgive the cliché) to speak like few works manage.

The movement is endlessly original and intricate whether emotive adage or dynamically percussive, and largely acts as visualisation for the diverse, eclectic score (Jyotsna Prakash). All of the composition is emotive, but two interludes of 3/4 time stuck with me the most, perhaps because it was the least expected (in my ignorance).

One could analyse the choreographic depth for days, but the most obvious aspects include the expressive use of the face, arm movements that feature figures of eight to dizzying effect and characterised, emotional embodiment – seen in a lovers’ duo of caring softness, a crown motif depicting power, and unison moments that include dynamics as powerful as a punch to the stomach.

Certain periods of the work allow one to float in a heady appreciation of the collective experience and skill on stage, yet others feel ever so slightly lacking in structural tightness – hence the four rather than five stars. I’m unsure who’s to blame for this, Khan or me, but the matter isn’t a deal breaker, as whatever kind of ticket one purchases, you’re guaranteed your money’s worth. The whole event made me want to get on a plane to India to experience total immersion ASAP. Job done I’d say.

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.