In India, the concept of an artist-manager relationship is not as clearly determined or explored, save for the managers employed by film stars and celebrities. So when the Akram Khan Company from the UK visited Mumbai recently, as part of its six-city tour in India of the Park's New Festival, curated by the Prakriti Foundation, we thought it would be interesting to talk to Farooq Chaudhry, the dynamic manager, producer and co-founder of the Akram Khan Company. A dancer himself, Farooq has been actively managing the Akram Khan Company since 1999. While in Mumbai, the British Council had hosted a talk with the artist-manager duo. Farooq shared his insights about managing his company and we take that conversation further.
Deepa Punjani (DP): You mentioned that you met a young Akram Khan in 1999 when he was not so well-known. You were drawn to his work and that was also the beginning of a relationship that seems to have only grown in strength over the years. What did you exactly see at that time that inspired you to work with Akram and be his manager? Also, it was the time when you were stepping off the stage as a dancer. So it must have meant exploring things for yourself too...
Farooq Chaudhry (FC): What I first saw in Akram was a way of moving that I had never seen before in contemporary dance or any other kind of dance. It was totally mesmerising and thrilling. He seemed to effortlessly embody two worlds - the two worlds that I myself as an Asian living in Britain had been trying to negotiate through my personal and professional life. I also saw unfulfilled potential. A creative voice on the cusp of something refreshing and new that if refined, could enrich the global dance community. I had just retired from dancing so this partnership afforded me an opportunity to continue my love affair with dance but in a completely new direction. If there is no desire for exploration, then the relationship between artist and manager is servile and not collaborative. I was not interested in serving but creating a joint vision with Akram that we could both passionately work on together, and that was exactly what we did.
DP: You are an independent company and your philosophy is driven by a spirit of entrepreneurship, which for the kind of work you showcase has some big challenges. Yet you have managed to not only sustain Akram's artistic integrity and creative freedom (and Akram says, 'he will never compromise') but also make your company economically viable. I am sure a lot of artists will be interested to find out how you are able to do that, so please share...
FC: We are not entirely independent as we do receive investment from Arts Council England. Please note I use the word investment instead of subsidy. Subsidy works on the principle that underwrites loss which is very different from the principle of investment. That is the first step towards becoming economically viable and entrepreneurial. It's a way of thinking about yourself and your relationship with your partners and that includes sponsors. We all invest in each other. Each project begins as per Akram's dream and then I as a producer go out and find what we need to do financially and artistically to fulfil that dream rather than constrain ourselves with what we've got. For Akram's first project I sold my apartment to fund it for the way he had dreamed the project. I took a risk based on faith in our vision. We did not want to compromise excellence, quality and innovation. In the end these three things, if done with authenticity and rigour, grab attention. If you are consistent with your artistic principles, the attention gets converted into reputation. Each step of the way you are adding value to your work. But it's my belief that you get to where you want to go faster by going slower. We have very busy and intense touring schedules which means our work generates a good amount of revenue. If managed well through clever business structures, I believe you can fulfill artistic excellence without compromise. But there is no formula. You need to exercise your business judgement according to an organic process of artistic growth. But whatever happens, the financials are shackled to the creative vision and not the other way around.
DP: What was interesting for me at the conversation which the British Council had hosted is the artist-manager relationship. I personally feel that artists can gain a lot from astute managers who truly believe in their work and who are able to support it rather than compromise it. But, that again may be rare to have managers who not only understand their artists but who can also bring in the lucre. At the heart of it, I believe it's all about a good relationship that two people share apart from the roles they play professionally. What is your insight on this?
FC: I absolutely agree with this view. Everything that has real substance in life is based on powerful human values. We are so easily preoccupied with roles, titles and labels to add importance and definition to our activities and professional identities. But in the end they are meaningless if the foundation stone of any partnership is not built on trust, love, respect and honesty.
DP: Is it always possible for a manager to be on the same wavelength as his artist is? Have you had any disagreements with Akram?
FC: Not always. Without disagreement or tension, there is no growth. But any challenge of another person's view or choices requires a delicate touch and sensitivity. If it becomes a power struggle you can bet it will cause hurt and resentment. But we are humans and yes, Akram and I have fallen out with each on the odd occasion but thankfully there is enough trust, respect and honesty that until now, has always taken us to a better place.
DP: What is the most defining aspect of your relationship with Akram?
FC: Our absolute love and passion for the arts and storytelling and to tell these stories with warmth and hopefully, relevance. The need to learn with intense curiosity. We also look for simplicity but awesome simplicity. It would be easy and lazy to say that's because we share common cultural roots.
DP: Has it helped that you were a dancer yourself and are therefore able to understand and respect the creative freedom that Akram needs?
FC: Without question. I can speak the same language as him and therefore we won't get lost in translation or waste endless amounts of time trying to understand each other.
DP: How would you define the work that the Akram Khan Company does?
FC: I hate this question because I have to look for a superficial label. But if I have to go down this road, I would say intercultural and interdisciplinary storytelling. Doesn't that sound horrible and pretentious?
DP: Any tips for an aspiring manager of an arts based company?
FC: Be a dreamer, a risk taker, a good decision maker. Don't fear the unknown, follow your instincts and make sure that whenever you have a good idea you wake up in the morning and do something about it. Too often we are a genius in the evening and a coward in the morning.
DP: You have done your Masters in Arts Management from the City University in London. Was the programme helpful to you when you decided to work with Akram as his manager?
FC: The program mainly taught me how to organise my thoughts and ideas on paper after fifteen years of organising them through my body. When you hit real life however, I believe much more powerful, creative and intuitive forces need to come into play.
DP: Is it possible that you might be drawn to work with another artist and yet continue your work with the Akram Khan Company? Would that be practical?
FC: Why not? We all need new challenges and I'm sure Akram would encourage that. Right now I'm not quite ready as I still feel that we have so much more to do and to say.
DP: You have had quite a stint as a dancer yourself, working with Rosas, the Belgian modern dance company and you have also received the Asian Achievement Award for your work as a dancer. You don't ever feel like returning to the stage?
FC: In 2001, Akram made a very moving and profound work for mature women over the age of fifty. He has since expressed a desire to make a similar work for mature men. I'm waiting and ready. It would be both terrifying and wonderful as you accept your limitations as you get older and are less obsessed about wanting to prove something. Until then I'll stay away from the cakes and keep doing those sit-ups and push-ups because who wants to see a fat, balding brown man on stage? Only kidding!
