What do we know about RUSH so far?
Rush is stylised around the idea of skydiving/free falling this is the motif for the dance. Akram Khan combines a form of Classical Indian dance (named khatak) with contemporary dance creating his own hybrid dance.
This is shown only once in the piece at the start so it shows that Akram has thought through every move to capture the true free falling effect. Khan wanted to explore each sense that is used when free falling; look, touch, smell, feel and taste. The music used in Rush was composed by Andy Cowton.
A purely abstract work inspired by the observation of paragliders in “freefall˜, a physical state between tremendous speed and serene stillness. A rare Indian cycle of nine and a half beats is the choreography basic structure for movement, space and music.
Khan was interested in the contrast between stillness and speed, portraying this by using different tempos within the dance. He also thought about spacing as when free falling you are restricted by all theses forces coming at you at different angles so you also can experience feelings of claustrophobia and slow restricted movement. So he allowed the dance to have moments of spacial restriction and spacial freedom.
"He is classical and modern, earthy and mystical, sensuous and masculine, fluid and muscular and he embodies these dramatic opposites without any tensions."
- Anne Sacks, London Evening Standard, 2 February 2001
The link below is a recording of our group doing our first run through of our interpretation of RUSH.
Rush is stylised around the idea of skydiving/free falling this is the motif for the dance. Akram Khan combines a form of Classical Indian dance (named khatak) with contemporary dance creating his own hybrid dance.
This is shown only once in the piece at the start so it shows that Akram has thought through every move to capture the true free falling effect. Khan wanted to explore each sense that is used when free falling; look, touch, smell, feel and taste. The music used in Rush was composed by Andy Cowton.
This is shown only once in the piece at the start so it shows that Akram has thought through every move to capture the true free falling effect. Khan wanted to explore each sense that is used when free falling; look, touch, smell, feel and taste. The music used in Rush was composed by Andy Cowton.
A purely abstract work inspired by the observation of paragliders in “freefall˜, a physical state between tremendous speed and serene stillness. A rare Indian cycle of nine and a half beats is the choreography basic structure for movement, space and music.
Khan was interested in the contrast between stillness and speed, portraying this by using different tempos within the dance. He also thought about spacing as when free falling you are restricted by all theses forces coming at you at different angles so you also can experience feelings of claustrophobia and slow restricted movement. So he allowed the dance to have moments of spacial restriction and spacial freedom.
"He is classical and modern, earthy and mystical, sensuous and masculine, fluid and muscular and he embodies these dramatic opposites without any tensions."
- Anne Sacks, London Evening Standard, 2 February 2001
"He is classical and modern, earthy and mystical, sensuous and masculine, fluid and muscular and he embodies these dramatic opposites without any tensions."
- Anne Sacks, London Evening Standard, 2 February 2001
The link below is a recording of our group doing our first run through of our interpretation of RUSH.
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