>From what I can tell, you can still get some tickets
for the show through today through the American India
Foundation - part of the ticket will go towards AIF's
program and there's and after-party at the Funky
Buddha Lounge.

----------------------------------------------------
Forwarded Message:
From: Gurnani, Anjali
Date: October 13, 2003

This show is completely sold out exept for the tickets
AIF is holding untill end of day today!  Read the
show's great review in the New York Times to learn
more about this highly anticipated performance!

Date: 10/24/2003
Time: 07:30 - 11:30 PM
Event: Akram Khan Company with Anish Kapoor and Nitin
Sawhney in KAASH
Place: Museum of Contemporary Art: 220 East Chicago
Avenue, Chicago

Tickets: $30 each, includes free admission till
10.30pm to a VIP after-event party at the Funky Buddha
Lounge, 728 West Grand Avenue Event+party tickets
available exclusively at: http://www.aifoundation.org
$11 per ticket is tax deductible, donated directly to
the American India Foundation Limited numbers of
exclusive event/club tickets are available till
October 13. After purchase, tickets will be available
for pick-up at the Will Call station at the MCA

The New York Times 
October 12, 2003 
PAGE TURNER 
The Agile Ambassador at Large 
By EMILY EAKIN 
Globalization was supposed to incite not just the
clashing of cultures but the creation of dazzling new
forms. In the case of the Anglo-Bangladeshi
choreographer and dancer Akram Khan, it actually has.
Khan, 29, would have easily earned notice for his
preternatural grace and stunning athleticism. But it
is his polished, utterly novel meld of East and West
that has made his fledgling company's performances
among the most talked about in the dance world. His
startling innovations are on virtuosic display in
''Kaash,'' his first full-length work, which has
its New York premiere at the Joyce Theater this week.
The piece begins in near darkness with an explosion of
movement as Khan leads a column of four dancers
lunging across the stage, their arms scything the air
at electrifying speed. 
The warlike gestures -- angular, intricate and
exceedingly precise -- come from kathak, an ancient
North Indian dance form, and evoke Shiva, the Hindu
god of creation and destruction (and, not
incidentally, dance). The pounding soundtrack,
composed by Nitin Sawhney, is inspired by kathak as
well, incorporating both the tabla (an Indian hand
drum) and the tala (rhythmic chanting). But the
astounding pace, rigorous ensemble work and minimalist
costumes -- sleeveless black tunics and
leggings -- are a legacy of the West. The combined
effect is riveting and culturally unclassifiable.
Stylistically speaking, Khan's closest kin may be
neither kathak nor Martha Graham but the lyrical
martial-arts-inspired choreography of global
blockbusters like ''Charlie's Angels,'' ''The
Matrix'' and ''Crouching Tiger, Hidden Dragon.'' What
those films accomplish with special effects, Khan and
his company do unassisted in bare feet. 
Cultural fusion, Khan insists, was not a conscious
goal; exposed to a smorgasbord of styles, his body
simply got confused. And no wonder. Born in London to
Bangladeshi parents, he grew up moonwalking to Michael
Jackson and improvising Bengali folk dances in the
living room. When he was 7, his mother took him to see
Sri Pratap Pawar, England's presiding kathak guru, who
agreed to take him on. It wasn't ntil he was nearly 20
that Khan encountered ballet and modern dance. The
experience, he says, was shocking, but his body --
infinitely adaptable -- made the most of
it. He graduated from the Northern School of
contemporary Dance in Leeds with the highest honors
ever awarded for a performing-arts degree and has been
racking up prizes ever since.  ''Kaash'' derives its
title from the Hindi word for ''if.'' As Khan
bashfully explains it, the word conveys a wish that in
Indian tradition is taboo: what if you could question
the authority of your guru, your tradition or your
gods? But this, of course, is precisely what Khan,
intentionally or not, has done. 


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