O Makundé in KÀ by Cirque du Soleil - Music and the Fictive Dream

Introduction/Background

     Imagine getting scouted to audition for the sake of getting into the bank of talents list of Cirque du Soleil, where you basically need to compete with a lot of aspiring former athletes to be included in the lineup for future roles to fill in when you get called back weeks, months, and even years down the road. There's a joke going around in the Cirque community saying, "The good thing about their job is being able to drive a Mercedes; the bad part about it is losing a leg." This goes to show how lucrative and dangerous a circus life can be.

    The creator and director of the Cirque Du Soleil show KÀ is Canadian theatre and film director Robert Lepage. At the time, he was mandated by Guy Laliberté, the co-founder and former CEO of the Canadian circus entertainment company, to create nothing less than an epic saga. This would result in a massive and astonishing set and permanent residency at the MGM Grand in Las Vegas, since its premiere on November 12, 2004.  Just like in any circus, acrobats who perform for Cirque Du Soleil are not exempt from the dangers of the complex routines during the show. There have been accidents, one reported and investigated death on KÀ since its inception. The company has gone through two buyout agreements. First, when Laliberté's majority stake was purchased by TPG Capital, and when it filed for bankruptcy protection in 2020. The latter was a result of the closure of shows in observance of social distancing due to the COVID-19 pandemic, resulting in a loss of a billion dollars in revenue overnight. The company has since pulled the plug on shows around the globe, through the shows' ups and downs (literally and metaphorically), KÀ has remained and endured in the last 21 years since its creation. And there's a good reason for that.

    KÀ is a chronological event of what transpired succeeding the attack of an enemy tribe on the imperial court where a fraternal twin belonged, prompting their unfortunate separation in the process. The protagonists encountered unexpected love and allies while they battled their journey back to each other, with the main goal of saving and reclaiming the kingdom from the invaders. The narrative is delivered with a global audience in mind using acrobatics, martial arts, and theatrical effects. But the most important one is through music. Every scene is accompanied by live music. Through the years, several musicians performed during shows, twice a night, five days a week. 

    In ancient Egyptian mythology, the ka was the spiritual duplicate or life force that accompanied every human being from birth. In the Cirque du Soleil show KÀ, fire is used as a dualistic symbol. It derives from the Egyptian concept of ka, a metaphor for the dual nature of fire. It is noticeable in the love and conflict that define the twins' story. It is the very energy that drives the narrative forward. This duality is also prominent in the show's visuals and plot on illumination alongside destruction. Just as fire can be a source of light and warmth, it can also be a destructive force.

"O Makundé" by Cirque du Soleil , Oct. 18, 2005, Montreal, Canada

Musical Elements/Social Commentary

    "O Makundé" is a work by the Canadian composer René Dupéré. It is used during the foreword and aftermath to set the mood and tone of the show. The focus of the music in KÀ is to primarily enhance the show's fantasy narrative. "O Makundé" and the rest of the songs used in every scene are not as political or social as some of the Cirque du Soleil shows. The show tells a coming-of-age story about imperial twins separated after an attack. The musical score supports this martial-arts-inspired fantasy narrative rather than offering explicit social criticism. Like many Cirque du Soleil shows, KÀ features music with vocals in a mixture of real and fictional languages, or sometimes with nonsense syllables. The lack of understandable lyrics makes direct lyrical interpretation difficult. That is why one would be hard-pressed to find any social commentary about the song "O Makundé." 

    I would like to mention that a song titled "If I Could Reach Your Heart" is included in the KÀ official soundtrack album, released in 2005. It is adapted from the music score "O Makundé" and actually contains English lyrics. This version of the song was sung by the composer René Dupéré's wife, Élise Velle. The melody is the same, but it is a longer version of "O Makundé." You can listen to the said song here. 

     KÀ features the Earth Harp during its foreword and a variety of instruments, including flute and world percussion. The music "O Makundé" is used during the foreword of the show as well as the "Aftermath" scene. The music is performed live by a band, featuring both traditional and world instruments such as flute, world percussion, bass, drums, and orchestral elements. The complex musical score incorporates a variety of percussion instruments from around the world, including Chinese and Tao drums, to create its cinematic, multi-layered sound.

    The intro begins with loud percussion, giving us the feeling of an impending doom and a battle on the horizon, which is exactly what happened when the antagonists attacked the twins' court. As I listen to the song, as it progresses, I feel the longing of the twins to be back home, as I ponder what transpired. It's an appropriate music to tune into when you are missing someone in your life; the melody that carries the same mood you're in is surprisingly soothing. Despite it being a bit melancholic, it does contain that feeling of hope during the chorus, specifically when the backing vocalists provide harmony with the lead vocalist. This feeling of victory in the chorus foreshadows the joyous reunion of the twins and reclaiming their rightful place in the kingdom.

    

Personal Connection

    

    The first and hopefully not the last time I watched KÀ in 2018 was overwhelming. I didn't have my two younger kids yet, so I am hoping I can enjoy it again with them when my youngest turns three. It was definitely a different experience from other shows I have seen in Vegas. My favorite and unforgettable part is the "Slave Cage", which is somewhat similar to the "Wheel of Death" in the show KOOZA, also by Cirque du Soleil. It's pretty nerve-racking! I was holding my breath the entire time while I watched their performance. 

Impressive Technology

    

    The technology behind this massive production stage is unique in the world, distinguishing itself from other theatrical productions. Its complex and groundbreaking automated platforms allow it to completely transform during the show, making the stage itself a primary character. The "floating" stage for KÀ is made of two massive, computer-controlled moving platforms, the Sand Cliff Deck and the Tatami Deck. Instead of a traditional stage floor, these decks move in and out of a 51-foot-deep, bottomless pit, providing the show with its dynamic, gravity-defying set. This technology earned the production a prestigious Thea Award for Outstanding Technical Achievement in 2008. That is why I highly encourage you to go see it for yourself while it's still in operation.

Cast of KÀ, MGM Grand, 2018 by R. Olson

Conclusion

    How amazing that Cirque du Soleil had come up with this brilliant idea to amaze people with such talents that only a few individuals can do. I have never thought that a circus could be this elaborate. These skilled people dedicate their whole lives to achieving mastery in their crafts while laying their lives on the line. These acts are a culmination of their hard work. They practice every day of their lives to deliver a perfect performance in every show they're in. I think it is fair to show our support by patronizing their shows whenever we have an opportunity to do so. I am not just talking about the Cirque du Soleil cast and crew, but to all circus people out there who are giving their best to bring about entertainment in our lives.

Works Cited

Gross, Michael. "Life And Death At Cirque du Soleil." Vanity Fair. May 29, 2015.https://www.vanityfair.com/culture/2015/05/life-and-death-at-cirque-du-soleil?srsltid=AfmBOorEuyeseNWO83zLPO0rIU5mjtBNPyjJuALwP6vKUAz6dHzpeg1_

"Innovative Technology Meets Interactive Story-Telling." Cirque du Soleil. Oct. 31, 2025. https://www.cirquedusoleil.com/ka?gclsrc=aw.ds&gad_source=1&gad_campaignid=1677241354&gbraid=0AAAAAoTCuBA2delG440-3L7jfD8c1xHb0&gclid=Cj0KCQjwvJHIBhCgARIsAEQnWlDnbBOHlMQXWXY8xyNXqFpgAxDt9avK_dElM8GAWE3F2QYS1-OfREcaAsZREALw_wcB

J. Keith. "A Conversation With René Dupéré." Fascination. Cirque Fascination. Feb. 04, 2006. https://www.cirquefascination.com/?p=32

Wikipedia contributors. "Cirque du Soleil." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 27 Oct. 2025. Web. 31 Oct. 2025. https://en.wikipedia.org/w/index.php?title=Cirque_du_Soleil&oldid=1318979779  

Wszalek, Arlene. "The Technology of Cirque's Spectacular KÀ." SW14. SW14group. Feb. 18, 2010. https://sw14group.com/2010/02/the-technology-of-cirque’s-spectacular-ka/