Антропологические аспекты современного танца. Беседы с Акрамом Кханом о судьбе, истоках вдохновения и сценическом повествовании : DOI: 10.33876/2311-0546/2021-54-2/157-176
Bibliographic record
Abstract
Contemporary dance is a global phenomenon, but national and ethnic aspects are regularly manifested both in the content and in the form of performances, and in artists’ life-stories. Akram Khan is one of the most famous dancers and choreographers of our time. Member of the Order of the British Empire for Dance Merit since 2005, he is the creator of numerous ballets performed by various troupes and the author and performer of solo programs. Each of his performances is an event that offers a new vision of both the form and the content of contemporary dance. This essay is based on personal conversations of Svetlana Ryzhakova with Akram Khan in 2017 and 2019, as well as observations and analysis of his family history, career and artistic activity. Akram Khan was born and raised in England, but his parents are migrants from Bangladesh, a Muslim, although a very Westernized family. Problems of ethnic and cultural identity, personal attitudes towards language and the body, historical memory, social tension, “friends and foes”, homeland, as well as how modernity can and should be reflected on stage formed the basis of our conversations and reasoning of Akram Khan. For Citation: Ryzhakova, S. 2021. Anthropological aspects of contemporary dance. Conversations with Akram Khan on fate, inspiration and stage narration. Herald of Anthropology (Vestnik Antropologii) 2: 157–176. References Banes, Sally. 2021. Terpsikhora v krossovkakh. Tanets postmodern [Terpsichore in sneakers. Postmodern dance]. Moscow: OOO “Art Guide” (Artguide Editions)]. Grem, Marta. 2020. Pamyat' krovi. Avtobiografiya [Memory of blood. Autobiography]. Moscow: OOO “Art Guide” (Artguide Editions). Kanningem, Mers. 2019. «Gladkiy, potomu chto nerovnyy…» [“Smooth because uneven ...”], edited by Jacqueline Leshev. Moscow: Guide, Garage Museum of Contemporary Art. Klimenkhaga, Royd. 2021. Pina Baush. Obnazheniye telesnogo prisutstviya [Pina Bausch. Exposure of bodily presence]. Moscow: OOO Art Guide (Artguide Editions). Ryzhakova S.I. 2020. Akram Kkhan: o zhizni, tantse i istoriyakh [Akram Khan: about life, dance and stories]. Screen and stage 18, September 29. Adshead-Lansdale, J. (ed.) 1999. Dancing Texts: Intertextuality in Interpretation. London: Dance Books. Bohm-Duchen, Ben. 2018. Home was in my Body https://www.akramkhancompany.net/explore-archive/home-was-in-my-body/ (access: 12.04.2021). Devidayal, Namita. 2018. The Six String of Vilayat Khan. Chennai: Context, Westland Publication Private Limited. Foster, Susan Leigh, (ed.). 2009. Worlding Dance. Basingstoke, UK: Palgrave Macmillan. 209 p. Hind, John. Akram Khan: “My father hated my waitering – how I’d prance around”. 17.09.2017. https://www.theguardian.com/lifeandstyle/2017/sep/17/akram-khan-dancer-choreographer-life-on-a-plate (access: 12.04.2021). Kealiinohomoku, Joann. 1983. An anthropologist looks at ballet as a form of ethnic dance (1970). Copeland, Robert and Marshall, Cohen. What is Dance? Readings in Theory and Criticism, 533–549. Oxford University: Oxford University Press. Partsch-Bergsohn I., Bergsohn H. 2003. The Makers of Modern Dance in Germany: Rudolf Laban, Mary Wigman, Kurt Jooss. Highstown, N.J.: Princeton Book Company. Prickett, Stacey. 2011. Akram Khan. Fifty Contemporary Choreographers. 2 ed., edited by Marth Bremser and Lorna Sanders. N.Y.: Routledge. Sanders, L. 2003. Choreographers Today: Akram Khan. Dancing Times. May, 17–23. Sanders, L. 2004. Akram Khan’s Rush: Creative Insights. Alton: Dance Books. Sanders, L. 2008. Akram Khan’s ma (2004): An Essay in Hybridisation and Productive Ambiguity, Lansdale J. (eds). Decentring Dancing Texts. Palgrave Macmillan, London. Sparshott, F. 1995. A Measured Pace: Toward a Philosophical Understanding of the Arts of Dance. Toronto, Buffalo and London: University of Toronto Press. Swaminathnan, Chitra. 2015. Dancer-choreographer Akram Khan on movement, his muse. The Hindu. 23.09.2015. Vasudewan, Preeti with Akram Khan. 2002. Clarity within Chaos. Dance Theatre Journal 18 (1).
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.002 | 0.006 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.001 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.017 | 0.006 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".