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FESTIVAL DANCERSCharya Burt Cambodian Dance
DANCE ORIGIN: Cambodia 2011 PERFORMANCE
WORLD PREMIERE In Caressing Nostalgia, master Cambodian dancer Charya Burt expresses a nostalgia for her revered past. This new choreography honors Cambodian tradition with a grounded fluidity and stance of bent knees and flexed toes. It also adds clarity and expression to classical gesture and movement, and adds some Cambodian folk dance steps. In place of the tight-fitting golden royal Khmer dress, Charya dances in contemporary simplicity; retaining only some temple jewelry and a traditional hairstyle. She replaces the traditional Pin Peat court orchestra with a cellist, playing a contemporary composition and a song adapted by Ms. Burt from Cambodian classical poetry. Oh Magnificent Angkor, standing in such sublime splendor Charya says, “Nostalgia means that in my heart I carry Cambodia of the ninth century, and yet I live in the twenty-first century. The ancient temple dancers were able to create such powerful art work, and those dances still speak to me.” Khmer Classical Dance—Royal Ballet of Cambodia—was closely associated with the Khmer court for over a thousand years, as traced in ancient carvings. Khmer dancers offered prayer and prophecy, retelling legends of origin with ceremonial performances of dance, graceful hand gestures, and stunning costumes. The Royal Ballet practically ceased to exist when the Khmer Rouge murdered most master dancers and musicians. After Pol Pot’s defeat in 1979, survivors have revived the ancient repertory. Classical Cambodian dancers train intensively for years to master this sacred and symbolic tribute to Cambodia’s cultural legacy. The form also evolves, as Charya Burt says, “one step at time.” Caressing Nostalgia was created by Charya Burt in 2010. The music is from Blue Roses, written for solo cello by Alexis Alrich, performed by noted cellist Samsun van Loon. 2010 PERFORMANCETitle: Villeer Chruar Knear (Intersections
Through Time) Then a combined sampo and sralai symbolizes transformation;
and—to evoke new possibilities in America—a pin peat orchestration
interprets Pat Metheny’s "Above the Treetops." 2008 PERFORMANCE
Classical Cambodian dance can be traced back to carvings, inscriptions, and complex court rituals from the Khmer Angkor period. Stone carvings in the 12th century Temples of Angkor Wat, depict over 2,000 celestial dancers—the apsaras—wearing ornate headdresses, gesturing gracefully with raised arms, pointing toes in a lively dance. This is the group's first public presentation of the traditional Robam Apsara—presenting a traditional pin peat ensemble from the acclaimed Khmer Arts Academy. Long ago, gods and demons churned a great sea of milk—by pulling at opposite ends of a divine serpent coiled around a submerged mountain. From this churning sea, the apsaras were born. One apsara, Mera, made love with the hermit, Kampu, and gave birth to the nation of Kampu-Mera or Kampuchea. In Robam Apsara, Mera and her maids are sent down from heaven. As the dance begins, the apsaras are frozen in time. Gradually, under the influence of earthly music, the ancient Angkor Wat sculptures come alive. They dance in an earthly garden, and these words echo the voices of the heavens: Charya Burt dances Mera, dressed in white to represent purity. The dancers, all women, carry golden flowers to symbolize happiness and well being of Cambodian people. Cambodian dancers are sewn into elaborate handmade costumes, a process which can take two to three hours. They are then adorned with neckpieces, belts of silk brocade, delicate jewelry, and finally, elaborate golden headdresses. The Khmer Arts Ensemble is an internationally acclaimed classical dance and music troupe. Co-founder and Artistic Director Sophiline Cheam Shapiro graduated from Phnom Penh’s University of Fine Arts and taught there from 1988 to 1991. She is a choreographer, dancer, vocalist and educator whose original works—giving new life to Cambodian classical dance—have been performed worldwide. Today's pin peat musicians are Cambodian performing artists who studied and served as faculty in Cambodia's National Department of Performing Arts, Phnom Penh’s National School of Fine Arts, and Phnom Penh’s Royal Palace. 2007 PERFORMANCE
2006 PERFORMANCE
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PIECE: Forever My Ancestors Charya Burt’s Classical Cambodian Dance Company performs Forever My Ancestors which is a new piece honoring Khmer ancestors. The dance is an offering and tribute to the dance ancestors who carefully preserved and passed down the precious Khmer tradition. Similar to royal ceremonial dress, the fabrics, jewelry and headwear is made of golden metals, and the headdress, shaped like a Buddhist shrine, symbolizes a mountain at the center of the universe. Before each performance, dancers are sewn into their elaborate costumes, which can take up to two hours. 2005 PERFORMANCE
Charya Burt performs the lyrical Robam Chhouy Chhay, which was originally choreographed under the guidance of Queen Kossamak Nearyrath, mother of King Norodom Sihanouk, in the 1950's, depicting the spirit and character of a young princess' blossoming beauty. This dance was created for the King's daughter, and praises her composed demeanor and immense beauty. The movements demand flexibility, balance, spatial precision and control. Charya learned it in the 1980s as part of the repertoire taught at the Royal University of Fine Arts where she graduated and taught. The Pin Peat, a Court-style orchestra, accompanies the dance. This type of orchestra is largely percussive and is considered the oldest and most revered type of musical formation. The costumes, all hand-made, are adorned with silk and metallic brocade. The style reflects images of divine beings descending from heaven to bless the earth with peace and prosperity. |
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