Conclusion

Abstract

As demonstrated through the previous five chapters, Khan’s new interculturalism manifests in his art as both a political and philosophical stance and a performance aesthetic. Although I have deployed one characteristic per case study in each of the preceding chapters, Khan’s trajectory as a whole engages with all of the following features that nuance his embodied approach to this position. As a dancer and choreographer, working with his own lived reality and that of others, Khan ultimately interrogates his own multiple and fragmented selves through his art.