Review: GIGENSIS: THE GENERATION OF THE EARTH at Kennedy Center

In his new work “GIGENSIS: The Generation of the Earth,” Akram Khan interprets a story of familial relations from the ancient Sanskrit epic The Mahabharata. 

Kapila Venu, a Kuttiyam artist with a massive stage presence, portrays a woman looking back at her life as a daughter, a wife, a mother of two sons, and as a woman, alone. 

The woman interacts throughout the piece with three other dancers who represent these temporal parts of herself; a young girl before marriage, danced by Sirikalyani Adkoli, a young woman married without children, danced by Vijna Vasudevan, and as a single mother after her husband is killed in war, danced by Mythili Prakash. Other performers include Renjith Babu as her husband, Mavin Khoo as the peaceful son, and Akram Khan as the ambitious and violent son, the main driver of the plot.  

The climax of the show is a fight between the two brothers who struggle in a power dynamic after the death of their father. The performance ends on a solemn note, with one son victorious, the other dead, and the mother woman left to reflect alone on the role she played in this story. 

In addition to the movement artists onstage, four musicians and three vocalists sit on raised platforms in the back and on both sides of the center. A deep narrative soundscape is created through chanting, singing, percussion, and string instrumentation. Spoken word provides context and character identification while atmospheric music sets a quick-paced dramatic overtone.

There are many remarkable things about this work, including the breathtaking richness and control of the performers, the innovative blend of classical Indian and Western contemporary dance forms, and the stripped-back nature of the costumes and set. The most remarkable feature however was Khan’s ability to tell a clear and authentic story without sacrifice of or overdependence on virtuosity. 

Choreographies of contemporary dance sometimes suffer from over-abstraction; the dancers are talented, the costumes are flattering, the lighting is pretty, but audience members are left wondering, what is the point this work aims to make? There are certainly exceptions to this generalization (Crystal Pite, Faye Driscoll, and contemporary reimagining of classical ballets come to mind), but I am often guessing for meaning at the end of contemporary dance concerts.

In contrast, the narrative arc of “GIGENSIS” and how its choreographic elements tie into the overall theme was crystal clear. Khan’s choreography is generally representational, using elements of mime to convey plot points like holding a baby or wearing a crown. Audience members do not have to extrapolate too far from the motions to understand the symbolic meaning, leaving more attention to appreciate intricate choreography of the hands and face. 

Tender touch and swift distal motions complement the weight of sorrow and conflict in the body. Dancers perform rooted movement in wide stances, seemingly pulling energy up from the Earth and expressing it out through nimble limbs. Alongside sounds of wind and rain, it was apparent that Khan choreographed this work with the natural world in mind. 

Though the interpretation of myth and philosophy into dance is a challenge, Akram Khan rises to the occasion. “GIGENSIS” offers a dark mood, yes, but it challenges us to ask what comes after destruction and what roles we play as individuals with relationships to others, the Earth, and ourselves.

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