KUALA LUMPUR, November 20 –– Meet the Malaysian born classical dancer Mavin Khoo who has made a name for himself in the dance industry especially in Indian classical dance, more specifically the Bharatanatyam.
Khoo, who started dancing at the age of nine, had not only received training by legendary Indian maestro of Bharatanatyam, Padma Shri Adyar K. Lakshman, but in ballet as well by figures such as Marian St Claire, Michael Beare, Nancy Kilgour and Raymond Chai.
What makes his specialty more formidable is the fact that the Bharatanatyam, an old and expressive dance form from Tamil Nadu, is traditionally performed by females.
However, Khoo is among the few male dancers who has achieved international recognition for the female-dominated dance form by blending classical Indian moves with contemporary techniques.
The 47-year-old is now currently residing in London, working as a creative associate for world renowned contemporary dance company, the Akram Khan Company –– and yes, he is also active in doing solo performances as well.
Mavin Khoo started dancing at the age of nine had not only received training by legendary Indian Bharatanatyam’s maestro, Padma Shri Adyar K. Lakshman but in ballet as well by figures such as Marian St Claire, Michael Beare, Nancy Kilgour and Raymond Chai. — Picture by Firdaus Latif
Navigating age and confronting ego
One thing about Khoo and his performances, be it in ballet or Bharatanatyam, he would make sure that his performances are not stagnant or the same and evolving is a crucial part of the process.
Especially being in his late 40s where Khoo said is one of the biggest challenges he has to face now as a dancer.
“One of the big challenges (for me) has been navigating age, navigating beauty.
“Because when you’re a young dancer, I think it’s natural to be aware of how beautiful you are and how the body proposes in terms of the beauty and in your 40s, that ego is confronting all the time.
“And for me, what has been really important is to not shy away from that navigation but to actually accept it and make it part of it,” Khoo told Malay Mail.
Which is why inserting his own imprint into his performances helps in its evolution; however, not everyone could accept when things are being done differently.
“Any classical form has an element of what we’ll say performative, impressing with your technique or your virtuosity or your body but I think all of those are very important in the process and your journey as a dancer.
“I’ve been dancing for more than 30 years, it can’t just remain there, it has to become something else, it has to evolve.
“It has to evolve as you yourself are maturing, so that it becomes, hopefully, a mature relationship that is shared with the audiences,” he said.
He added that another reason he chooses to continue to perform is that it allows his relationship with the art form to deepen thus allowing it to continue to evolve.
A coach and a student still
Although a large chunk of his time nowadays is spent in coaching other professional dancers, Khoo admitted that he is still a student of the arts and he would often communicate with his dance teachers up to this day.
He shared that his two teachers, Anna and Raymond, have played a pivotal role in his journey as a dancer throughout the years.
“One thing about our relationship is that they know my body inside and out and they were amazing teachers because they really allowed me to transition from my 20s to my 30s, and my 30s to my 40s.
“As a 47-year-old, I’m not trying to dance like I was in my 20s, my training is the same but what I’m looking for in my training has changed.
Khoo also actively communicates with his dance teachers. — Picture by Firdaus Latif
“For example, when I was younger, I would wonder how high I could do the jump or how many times I can turn but now, it’s not about how much I can turn but rather how I turn and it’s much more focused on quality rather than quantity,” Khoo said.
Meanwhile, Khoo also said that being a dance coach has been a blessing and a privilege to him as he’s not only able to collaborate with professional dancers but also helps them in getting the best out of them.
One of his most memorable coaching moments was in 2016 when he was part of the creative team behind the staging of Akram Khan’s Giselle (a modern reimagining of a classic romantic ballet) and he knew from the start that they would be making history.
“I remember very clearly being in the studio and just knowing that we’re making something great, that’s an amazing feeling.
“It’s just something about the energy of the room and its silence, and it’s fascinating because no one would talk (about it) because we were scared we would then jinx it,” he said.
And Giselle had gone on to be one of Akram’s most distinguished shows with it being awarded several recognitions including for the Robert Robson Best Dance Production at the Manchester Theatre Awards as well as for the South Bank Sky Arts Award for Dance.
The current dance landscape and…Malaysia?
Previously during his 20s, Khoo could do up to 170 performances in a year and now the numbers have dropped to around 35 shows per year.
According to Khoo, this is not a bad thing but is a privilege that he has earned throughout his years as a dancer.
This allows him to decide when to perform, with 35 shows being the ideal number to maintain his energy and excitement for each performance, ensuring the experience remains fresh and captivating.
When asked about the current dance landscape, Khoo said that while the scene is vibrant at the moment in London, it is experiencing a challenging process in terms of what artists are looking for nowadays.
He said that arts and entertainment can be easily confused and it is much easier today to develop good shows.
“Because good shows can be dependent on good dancing, amazing lighting, amazing sets and all that external things.
“But deep art is one that can sit with or without these external things.
“(It’s when) if I sat in a room with you and danced for you and made you cry without having to rely on any other external factors,” he said, adding that it’s now becoming increasingly rare to see such shows.
When speaking about Malaysia, Khoo acknowledged that some local dancers have reached out to him or followed him via social media and he admitted that he has come into contact with some of them who show promise and potential.
However, Khoo said that he would not be coming back to Malaysia or starting a dance company here anytime soon.
“To be honest, as an artist, you’re just trying to go day by day and as I grew older, I learned to not try to plan too much.
“I got a diary, my working diary is always two-and-a-half years in advance, so I already know what I will be doing in 2027.
“That also didn’t permit me the time to consider such a big shift like moving back and starting something but I never say never, so yeah,” he said.
Khoo was recently invited for a talk during the Kreatif KL Festival at GMBB on November 9.
In addition, he’s also doing a duet performance and lecture alongside vocalist Poornima Satish on November 13 at the Esplanade Rehearsal Studio in Singapore.
Khoo during his talk in conjunction with the Kreatif KL Festival at GMBB. — Picture by Firdaus Latif
The performance is centred on Abhinaya (a Sanskrit term that refers to the art of expression in Indian classical dance and drama) where Khoo and Poornima will be sharing the technique of storytelling through the lens of Abhinaya.
