What do a Belgian singer, British composer/cellist, Pakistani singer, Australian violinist, Taiwanese choreographer, Bangladeshi-British choreographer/dancer, and Parisian dancer have in common?
They are all monsters ““ sacred monsters.
The title “Sacred Monsters” comes from the French term “monstres sacres,” first used in the 19th century to describe big theatrical stars.
Sylvie Guillem and Akram Khan are two of today’s most prominent “sacred monsters” who will perform in the UCLA Live-sponsored Akram Khan Company’s production of “Sacred Monsters” tonight and tomorrow at Royce Hall.
A legend in her own right, Parisian prima ballerina Sylvie Guillem is a ballet superstar, albeit one more commonly known in Europe than in America.
While Guillem may be a “sacred monster,” what’s sacred to her is where she performs.
“The “˜place’ where I perform, whatever style I perform, feels strongly a “˜sacred place;’ the stage … (is) my sacred monster,” Guillem said.
With a resume that spans much longer than the usual short-lived career of a ballerina, Guillem has danced with, among others, the Paris Opera and the American Ballet Theatre, receiving international acclaim.
In addition to being an emotionally powerful performer, Guillem is most known for her perfectly arched feet and stunningly controlled 6-o’clock extensions, where her leg literally touches the side of her ear.
“I never knew that walking could look so beautiful, and that the human body could go into such positions,” said Alies Sluiter, who plays violin in the production.
Constantly looking for new challenges, Guillem has transitioned from classical to contemporary, dancing a fusion of ballet, kathak, and modern dance with her partner, Akram Khan.
“”˜Sacred Monsters’ is about the journey for the both of us from the classical world to the contemporary,” Khan said. “It’s about moving from the classical allusion of perfection to a more realistic aesthetic, the sense of imperfection.”
Khan is also a world-renowned dancer who has won several awards for his radical fusion of kathak and contemporary dance.
Kathak is a traditional form of Indian dance with rhythmic, often quick movement that usually tells a story. While Khan has danced classical ballet before, the stylistic combination and physical differences were challenges for both dancers.
“I never danced with someone taller than me. I had to work harder, extend further,” he said. “I have a knack for speed. She had to keep up, but I had to struggle to reach her.”
In addition to the choreographic combination, “Sacred Monsters” is danced to music as diverse as its cast.
The music becomes an integral part of the performance, as the musicians and singers are on stage with the dancers.
The musicians and singers also come from different musical styles, playing out of their expertise.
“It’s about wanting to explore a new direction together, to create something new,” Sluiter said.
Philip Sheppard, whose music can be heard in the soundtracks to “Hotel Rwanda” and “Harry Potter: The Goblet of Fire,” composed most of the music.
Pakistani vocalist Faheem Mazhar and Belgian vocalist Juliette Van Peteghem sing in French, Urdu and Italian, often using languages which are distinctly different from those of their respective roots.
The instruments used to play the music also break tradition. Using instruments such as the violin can add a whole new layer to the piece.
“It adds color and lightness, particularly using violin and cello as a musical spine instead of guitar or piano,” Sluiter said.
Sluiter explained that one advantage to using strings is that it allows the musicians greater control over the sound.
This is important because Gypsy and Indian music, which have different scales, are played on strings more easily than on a tuned instrument.
The one thing that brings all of these dissimilar performers together is their love for what they do ““ like Khan’s passion for choreographing, for example.
“You always love it, and you always hate it, like a relationship really,” Khan said.
Nevertheless, “Sacred Monsters” allows these masters to push and combine their own boundaries.
“”˜Sacred Monsters’ brings a need for us all to accept each other and our differences in a subtle, beautiful way,” Sluiter said.