Direction : Jose Agudo Cast : Jose Agudo and Kenny Wing Tao Ho
SILK ROAD Review
In recent years, the borders between dance and theatre in India have compellingly blurred, forging a new and discerning audience drawn from both worlds. Jose Agudo's magnificent SILK ROAD stands as a prime testament to this evolution. The production is a profound exploration of the rituals that line the ancient nomadic routes, conjuring vivid, spectral images of the pilgrims, monks, traders, and urban dwellers who once journeyed from China to the Iberian Peninsula. Further enriching this tapestry are the invaluable contributions of Guest Choreographer (Flamenco) Rafael Amargo and Guest Choreographer (Kathak) Nahid Siddiqui, whose distinct influences are woven into the production's exquisite fabric. It is a sublime celebration of diverse cultures, as powerfully resilient and yet as exquisitely delicate as the process of making silk itself. For its Indian Premiere, the piece, originally conceived as a solo work, was brilliantly reimagined with the addition of London-based dancer-choreographer Kenny Wing Tao Ho. Together, Agudo and Ho present something far beyond mere fusion; their performance is a spiritual and cultural intermingling, a conversation told through movements that are at once silent and profoundly articulate.
The production rests on the mesmerising duality of its two performers. Kenny Wing Tao Ho's segments are nothing short of mystical and trance-like, leaving an indelible mark on the psyche. His body works as a testament to diverse voices; at times contorting with the slow, deliberate anguish of Butoh, his face a mask of serene emptiness, it suddenly erupts into a fluid sequence of martial grace, seamlessly infused with the meditative stillness. This is physical theatre at its most potent, a masterclass in proxemics where he commands the stage, his kinesphere pulsing with a hundred emotions that shine on his very skin. In stark yet harmonious contrast, we experience Jose Agudo's signature amalgamation of Kathak and Flamenco. A percussive flurry of intricate footwork, his torso held in a rigid, proud line, is answered by a cascade of rapid Kathak-flamenco footwork, his hands carving intricate stories in the air. In his body, these distinct forms do not simply merge; they co-exist, maintaining their unique identities in a breathtaking dialogue.
To understand Agudo's unique choreographic language, one must look to his artistic lineage. His journey began in Andalusia, first with theatre and then a deep immersion in flamenco, where he mastered the traditional Palos within Granada's Gitano community. A growing fascination with contemporary dance led him to formal training in Seville and Valencia, where his talent as both a choreographer and dancer earned him numerous awards. However, the most pivotal chapter was arguably his six-year training in Kathak under the expert direction of the legendary Akram Khan. This rich background explains why flamenco remains a continual source of inspiration for him, not just as a technique, but for its historical connection to Kathak and its affinity with Eastern spirituality. This spiritual quest is deeply personal; in a post-performance discussion, Agudo mentioned that while in India, he found yoga "too still for a dancer," but discovered profound joy in Kathak. He confessed he even briefly considered becoming a monk, and while he realised that path wasn't his, the potent influence of that contemplative discipline is strongly visible throughout SILK ROAD.
This spiritual journey is illuminated by a dream-like and meticulously crafted sensory world. The music, composed by Bernhard Schimpelsberger and Giuliano Modarelli, is a layered soundscape combining the soulful cry of a flamenco guitar with the intricate vocal rhythms of Indian konnakols. This creative interplay of rhythms, drawing on jazz, Western classical, and Indian tabla traditions, provides as much of the production's soul as the dancers themselves. This auditory tapestry is matched by an exceptionally poignant and complex light design, conceived by Jackie Shemesh and expertly executed for the Indian stage by Gokhale. Rarely does lighting in a dance piece feel so much like a character in its own right; the carefully crafted beams and shadows make the entire performance feel ethereal and timeless.
Conceptually, the SILK ROAD is not a history lesson on trade routes. While the title evokes a specific historical image, it's worth noting the complexities behind the term itself. (For instance, historian William Dalrymple proposed the 'Golden Road' as a more accurate term, encompassing a network of sea routes connecting the Red Sea, Arabian Sea, Persian Gulf, Indian Ocean, Bay of Bengal, South China Sea, and the Mediterranean over the Silk Route. He pointed out that the term ‘Silk Road' gained popularity more recently and may not accurately reflect the historical reality of trade networks.) Agudo's focus, however, is resolutely elsewhere. His work is a meditation on cultural and spiritual exchange, where Kenny's ephemeral, monk-like presence becomes a powerful symbol of this inner journey. The piece wisely avoids a linear narrative; instead, the onus of framing a story rests on the audience, who are free to simply immerse themselves in this enchanting world without expectation.
If a single element didn't work in favour of this otherwise flawless piece, it was the questionable 15-minute intermission in an 80-minute performance. SILK ROAD feels like a sacred ritual unfolding on stage, and the interval unfortunately disrupts this carefully cultivated hypnotic flow. Consequently, the shorter second half, featuring a nuanced unison sequence, struggles to rebuild the energy and reach the powerful zenith it might have achieved without the break. Other than this one shortcoming, SILK ROAD is a transcendent and meditative dance, a journey of a soul travelling through a vast desert, its silence echoing with the profound rhythms of the cosmos.
*Dr. Omkar Bhatkar is a Sociologist and Playwright. He has been teaching Film Theory and Aesthetics and involved in theatre-making, poetry, and cinema for more than a decade now. He is the Artistic Director of Metamorphosis Theatre and Films.
