Thikra: Night of Remembering

(🇬🇧)

by Anna HOLMES

Contemporary dance doesn’t stand still, and nor should it, if it is to remain relevant to our times.  We were reminded of this with Thikra: Night of Remembering, Akram Khan’s last work for his company before it closes.

Thikra is a collaboration between choreographer, Khan, and Saudi visual artist Manal AlDowayan who designed set and costumes.  Originally staged in the AlUla desert, Saudi Arabia, it has been reworked as an indoor experience.

The printed programme describes the background, themes, and creative team. I skim-read it before the show, then carefully afterwards. In the Need-to-Know section it states “Thikra explores the (AlUla) landscape’s richly diverse culture along with sacred practices from around the world to reflect on our contemporary existence, paying homage to those who came before”. A little portentous? I would have welcomed a ballet-style programme outlining scenes step by step. The company did employ a dramaturg (Blue Pieta) to assist with clarity and purpose, but, even so, it is difficult to accurately describe what is on stage. Ritual for sure. Khan is clear about that.

All Photos: © Camilla Greenwell

Imagine yourself in a remote ancient desert place – a crossroads for cultures and sharing ideas – here women gather “to remember an Ancestor who long ago taught the tribe to be free”.

In the dark it is the soundscape heard first (Aditya Prakash and Gareth Fry) then focused overhead lights (Keynep Kepekli credited) highlighting still figures on stage. In a recorded soundscape – often so loud it overwhelmed the visual elements – drumming, pulsating drumming, and singing accompanied the dancers. What unfolds is a ritual to honour the past.  Movement motifs are repeated, manipulation of long hair particularly.  There is animal imagery; a huntress drawing an imagined arrow. I got confused by the multiple (it seemed) deaths and revivals, then gave myself over to being in the moment.

The dancers were exquisite with their mix of Bharatanatyam and contemporary dance expertise: Azusa Seyama Proville, a mature scarlet-clad matriarch, Ching-Ying Chien a white clad spirit. I particularly enjoyed the seven dancers who provided a Greek style chorus. With their unison work – frequently very slow and controlled as only highly trained dancers can manage – they grounded the production, keeping me in the zone. Greek myth was conjured again in the soundtrack with recognisable snippets from ‘Dido’s Lament’ from Henry Purcell’s opera. “Remember Me”, a singer asks plaintively. Yes, I will remember this night, but it didn’t touch the marrow of my bones.

I would have loved to experience Thikra under a desert sky, that is maybe chilly, or windy, but you know you are in the elements.  It’s difficult to evoke this in the theatre and I feel Thikra only partly succeeded in capturing, what must have been a unique, evocative experience.

Thikra is a transition. Khan’s last production for his company of twenty years with the baggage of that admin, the need to raise funds to keep the core business functioning – to something more artistically flexible. Rather like moving house, throwing out things you no longer need or feel are rooting you to the ground. Maybe time to head off and live in a touring van for a while.

Over the years Khan has created solo work and large-scale pieces. We will have to wait and see what comes next. Collaboration for sure, as that is what inspires him.  Next steps please!