Seasons of Migration Spring 2005 USA Tour. Teacher s Guide 2004 Toni Shapiro-Phim, Ph.D

Transcription

1 Seasons of Migration Spring 2005 USA Tour Artistic Director Sophiline Cheam Shapiro Featuring Dancers and Musicians of the Royal University of Fine Arts, Cambodia Produced by Khmer Arts Academy, Long Beach CA Teacher s Guide 2004 Toni Shapiro-Phim, Ph.D Seasons of Migration was developed, in part, with support from the John Simon Guggenheim Memorial Foundation; the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts, the Doris Duke Charitable Foundation, the Ford Foundation, the Andrew W. Mellon Foundation, and Altria Group, Inc.; the W.L.S. Spencer Foundation; and Arts International. The 2005 USA tour has been made possible, in part, with support from Spunk Fund, Inc.; the Ford Foundation; the National Dance Project; the Asian Cultural Council; the Max & Victoria Dreyfus Foundation; and the Fund for Folk Culture s California Traditional Arts Advancement Program, with funding support from the William and Flora Hewlett Foundation and the James Irvine Foundation. Teacher s Guide for Seasons of Migration by Toni Shapiro-Phim, produced by Khmer Arts Academy, and edited by Deirdre Valente, Lisa Booth Management. Reproduction by permission only. Contact Khmer Arts Academy, 375 Redondo Ave., Suite #156, Long Beach CA john@khmerartsacademy.org Tel (562)

2 INTRODUCTION Welcome to our Teachers Guide for the United States premiere of Seasons of Migration, a program choreographed and directed by Cambodian- American Sophiline Cheam Shapiro, and performed by dancers and musicians from Cambodia s Royal University of Fine Arts in Phnom Penh. This guide presents information about a new work added to Cambodia s classical dance form entitled Seasons of Migration, and about a centuries-old dance-drama that opens the show, Moni Mekhala and Ream Eyso. Cambodian classical dance (also known as court dance) is one of the world s great performing arts traditions. It has a centuries-old history rooted in religious practice and royalty. Its repertoire includes dance-dramas that tell tales of myth, magic, love and battles, and more abstract dances that have no story-line but are meant to evoke a certain state of reverence and enjoyment. Imagine that heavenly spirits have come to earth to live among humans and how they are shocked and transformed by the experience. Created by choreographer Sophiline Cheam Shapiro for dancers and musicians of the Royal University of Fine Arts, Phnom Penh, Seasons of Migration explores the expressive boundaries of Cambodia s exquisite classical dance, rendering contemporary ideas timeless and the ancient utterly modern. Paired with the traditional dance drama Ream Eyso & Moni Mekhala (The God of Thunder and the Goddess of the Sea, Creator of Lightning), this dazzling program demonstrates how the new emerges from the old and how one brings dynamism to the other. This guide also presents background material on aspects of Cambodian culture, the performance program and the participating artists. It provides a glimpse into the lives of dance students in Cambodia. It also introduces the concept of culture shock as it relates to Cambodians who have come to settle in the U.S.A. The choreographer of Seasons of Migration, Sophiline Cheam Shapiro, is an immigrant to America from Cambodia and her own experiences inspired the creation of this new dance. This guide is intended for use by teachers of elementary through high school students. Each section ends with suggested discussion questions or activities that can be adapted according to grade level. At the back of the guide you will find a glossary and a list of suggested resources for additional information and teaching materials. We hope that you will enjoy sharing the stories and ideas included here with your students. Unless otherwise credited, performance photos are by James Wasserman and courtesy Khmer Arts Academy. All rights reserved. Page 1 of 14

3 THE PROGRAM This presentation of Cambodian dance and music features a very old piece the dance-drama Moni Mekhala and Ream Eyso and a new one Seasons of Migration. In combining the ancient with the contemporary, the program highlights the dynamic relationship between the two, and the relevance of each to our complex and continuously changing world. The Seasons of Migration title implies the cyclical nature of movement, of transformation. And while change may happen in stages over time, it is only somewhat predictable. The unexpected inevitably occurs, sometimes setting us back a step or two, or leading us in an unknown direction. For Cambodians, the performance of the Moni Mekhala and Ream Eyso story as part of a sacred ritual is one way of helping to bring the world back on course. By re-enacting this tale of thunder and lightening that brings forth the rains, Cambodians seek the blessings of the divinities for the fertility of the earth. It is one way of attempting to bring the forces of nature into balance. As for Seasons of Migration, though it is a theatrical, not a sacred piece, its very creation is a way of naming through movement and music a personal experience of transformation, and the hoped-for equilibrium one seeks in one s own life as well as in the world in general. Scenes from Ream Eyso & Moni Mekhala (left) and Seasons of Migration (right). Note the highly stylized hand gestures and intricate costuming. In Cambodian classical dance, women perform male (nearong), female (neang) and giant (yeak) roles. Costumes provide a key to identity: those worn by nearong feature epaulets; yeak characters wear masks. Page 2 of 14

4 STUDENTS OF DANCE IN CAMBODIA, A STORY Students wrap each other into rehearsal clothes called kben in preparation for class. Sina and Sophal climb on the motorcycle seat behind their father every morning at about 6:30. The streets of Cambodia s capital, Phnom Penh, are already crowded with people going to the markets, or to school or work. By the time the motorcycle makes its way through the traffic to the north end of the city, the home of the dance department of the Royal University of Fine Arts, it is close to 7 o clock. Sina and Sophal slide off the seat, say good-bye to their father, and begin their day at school. Sina, 13, has been a student of dance for five years. Her brother Sophal, 10, is in his third year of studies. Sina and her girlfriends help each other dress in their practice outfits. On top they wear tight-fitting button-down dance shirts. They wrap lengths of cloth (3 yards each) around their waists, then twist the ends together and pull them through their legs to make pantaloons that are held in place with a silver belt; (see photo above). Boys, on the other hand, wear tee-shirts and sweat pants, or other loose fitting clothes. Once ready, they sit in lines awaiting the arrival of their teachers. Sina and Sophal are the children of a professional dancer who performs the role of the monkey in classical dance-dramas as an artist with Cambodia s National Department of Arts. He has performed on stages throughout the world, from Hong Kong to France, and has danced in religious ceremonies in Cambodia, as well as for tourists. Sina and Sophal s grandfather was a classical dancer, too. They grew up surrounded by the sounds, movements, and stories of the dance, and never wanted to do anything else but perform. When their teachers appear before them, the students ranging in age from eight to eighteen sit absolutely still, in silence. With the tap of a rattan wand on the tile floor, class begins. They start each day s practice with exercises meant to encourage flexibility and strength, which are very important in Cambodian dance technique; (see photo at left). One exercise involves bending the hand backward from the wrist, pushing gently on the fingers with the opposite hand. Some dancers are supple enough to continue until the fingers rest on the forearm. Following these exercises, students practice a Daily practice begins with stretching exercises. series of basic gestures and movements, a sort of vocabulary of the dance. These positions and movement patterns form the base from which actual dances are created. It may take a year or longer to memorize the entire series. Dancers repeat this over and over again, day after day, throughout their years of training. There are various types of dance in Cambodia. At the dance department, three main types are taught: classical (or court), folk, and all-male masked dance-drama. In classical dance, characters such as princes, goddesses, giants and monkeys, among others, enact stories of myth and history. Girls and women play the roles of princes, princesses, gods, goddesses and giants. Boys and men perform as monkeys, often the good characters in opposition to the giants. Both boys and girls perform folk dances, which often interpret ideas about life in Cambodia s countryside. In the third form of dance, called lakhon khol, boys and men, mostly wearing masks, play all the Page 3 of 14

5 roles. Students practice together for their first years at school. Students are selected to specialize in classical or folk dance or lakhon khol after their first several years at school. Aspiring monkeys. Both Sina and Sophal hope to be classical dancers. Sina, because she is so petite, is studying the female steps those of a princess or goddess. And Sophal, of course, is a young monkey. Their teachers demonstrate a sequence of movements that the students then imitate. Moving along the lines of dancers, the teachers press behind the students shoulder blades to help them open their shoulders, or push their elbows in, etc., molding them into correct position; (see photo below). Studying Cambodian dance can be painful, with muscles all over the body energized. It is also exhausting. There is one official rest period in the four hours of morning practice. Sina and Sophal can hardly wait for lunch and a nap at home. They return to the school for afternoon classes in math, literature, science, history and so on. Public school in Cambodia is held half a day, and students of dance get the same academic training as do students in other schools. Pen Sokhuon corrects posture and alignment during repetition of the kbach baat. Dance students have a special relationship with their dance teachers. They bring them incense, and sometimes flowers and candles every Thursday (considered teachers day ) as a form of respect. In return, the teachers bless them with prayers for successful careers as artists, and for the strength to carry on the cultural heritage of the country. Sina and Sophal s father, as well as their teachers, suffered enormously under the rule of the Khmer Rouge from They saw the artistic and cultural heritage of Cambodia nearly wiped out during that time when close to two million people out of a population of seven or eight million died from starvation, disease, forced labor, and execution. Surviving dancers estimate that perhaps ninety percent of their professional colleagues perished under the harsh conditions imposed by the Khmer Rouge, including Sina and Sophal s grandfather. Cambodia s artists have struggled hard to rebuild that heritage over the past twenty-six years. And now their children and their students are carrying the myths, stories, and movements for yet another generation. Discussion/Activities 1. Try the finger flexibility exercise described in the passage above. Don t push too hard! 2. Discuss the place of dance and dance classes in your students lives as compared to the place of dance and dance classes in the lives described above. 3. Is there anything that your students devote themselves to as thoroughly as Sina and Sophal devote themselves to dance? (a sport, reading, ceramics ) What draws them to the activities they love? What pressures do they feel about continuing (or not continuing) with these activities? Photos in this section by Toni Shapiro-Phim. All rights reserved. Page 4 of 14

6 MUSIC Cambodia has a rich and varied musical tradition. There are numerous distinct ensembles, each meant to accompany certain kinds of events or activities, such as weddings, funerals, parties, religious ceremonies, folk songs and dances, and so on. The pin peat is the orchestra that accompanies classical dance. It generally consists of a sampho (a barrel drum, played with a hand on each of its two ends), roneat aek (first or lead xylophone made of wood), roneat thung (bamboo xylophone with lower sounds than those of the roneat aek), kong wong tauch (small circle of gongs), kong wong thom (large circle of gongs), chhing (bronze hand cymbals), a pair of skor thom (large barrel drums placed on stands, hit with wooden sticks), and a sralai (quadruple-reed pipe, akin to an oboe). Two or more singers usually complete the ensemble. During a dance performance in a theatre, the musicians, ideally, are visible as well, seated either to one side, or even at the back of the stage. In a ritual dance performance, the pin peat ensemble is always able to be seen because the music is an essential part of the rites. Not only is the music and the playing of it, highly regarded in Cambodia, but the instruments themselves are many times works of art, carved or inlaid with intricate designs. This same ensemble is integral to Buddhist temple ceremonies and the performance of lakhon khol (all-male dance-drama) and shadow puppet plays. Excellent background information and activities, including percussion comparisons, can be found at: DANCE AND RAIN History, mythologies and art are intimately tied to the fertile land and waters that make up Cambodia and which provide sustenance for her people. They also offer relief from the intense tropical heat; people relish the shade of trees and forests and the chill of flowing rivers and streams. In addition, people construct houses and everyday objects such as fishing traps from natural elements. In Cambodia s largely agrarian and fishing society the earth and the waters are honored as powerful and significant in people s lives through a variety of rituals. The power of nature is both respected and adapted to human needs. The spirits of the land and the water figure prominently in local and national ceremonies. Dance and music are often central in such rites. Water On a map of Cambodia, the huge body of water sitting in the northwest section of the country is the Tonle Sap, a great freshwater lake that is a unique natural wonder. During the rainy season (roughly June through October) the Tonle Sap River, which usually flows from the lake, reverses direction, flooding the lake instead. The lake expands to about ten times its normal size with Map of Cambodia courtesy CIA Fact Book Page 5 of 14

7 waters engulfing the surrounding forests and farmland. As a result of this process, fresh, fertile silt, ideal for the cultivation of rice, covers the countryside. During this time, the Tonle Sap becomes the largest freshwater lake in Southeast Asia. The lake yields many tons of fish per square mile, providing a major source of sustenance for the population. The popular Cambodian saying, Where there is water there are fish, refers to this phenomenon. As the water recedes, children run through the fields, catching fish with hand-held traps. On a map one also notices a long river cutting through the country s eastern section. This is the Mekong whose meandering course takes it from the Himalayan mountains through China, Laos, Thailand and Cambodia on its way to the South China Sea through Vietnam. Cambodia s rivers and lakes together form a lifeline for her people. Water dominates not only the country s map, but much of its rhythm of life, from the backbreaking labor in the paddies and orchards, to the spiritual realm. Carvings on Cambodia s ancient stone temples depict everyday existence along the waters and the impact of seasonal changes. Today, just as long ago, people strive to co-exist with nature so that their fields and families prosper. Irrigation projects, whether huge reservoirs or small dykes, help guide the flow of water as needed. Prayers to the gods and spirits, sometimes in the form of sacred dance and music, acknowledge the power and importance of water, especially rain. Buddhist monks change their routines according to the dry and the wet seasons. They ordinarily walk through their village or neighborhood on daily morning rounds, accepting offerings of rice and other foods from people in homes and shops along the way. But, for the duration of the rainy season, they retreat to temple compounds. They re-emerge at its conclusion following great festivities. Water. Even the word is part of how Cambodians refer to their country. Instead of the land of Cambodia, they say, the water and land of Cambodia tik dey Khmer. Moni Mekhala and Ream Eyso, The Story Once upon a time there lived a hermit, famous for his skills in magic. He was generous with his knowledge, teaching many students in his forest dwelling. One day he challenged two of his students to a contest. Calling the goddess Moni Mekhala and the giant Ream Eyso to his side, he instructed them each to take an empty glass he was offering, and to return the next day with the same glass filled with morning dew. I will reward the first of you to complete the assignment with a prize, he said. So Moni Mekhala and Ream Eyso went to their respective homes, eager to be the winner, for each respected the hermit and wanted to please him. Each wanted the prize as well! Ream Eyso was pretty confident. This isn t a complicated task at all, he thought to himself. He had a good night s sleep and first thing the next morning he started collecting dew. Spotting leaves with droplets upon them, he pinched and squeezed one leaf after another, methodically filling his glass, drip by drip. Moni Mekhala, on the other hand, felt it best to begin that very night. After careful consideration she placed a piece of cotton flat upon the grass. When she awoke the following morning, dew had soaked the cloth. She picked it up and with one twist filled her cup. Off she went to present her teacher with the glass of dew. The hermit was indeed pleased with Moni Mekhala s cleverness. She returned to her teacher first, task completed, and won the prize. The hermit took the glass of morning dew and from it, fashioned a magic jeweled ball. This ball was so powerful the teacher explained, that Moni Mekhala was to guard it carefully, as with it she could do many wondrous things. I am ever so grateful, teacher. I will use it wisely, Moni Mekhala said before she took her leave. Page 6 of 14

8 Soon after, Ream Eyso appeared in the forest before his teacher, full glass in hand. He hadn t seen the goddess and assumed he had gotten there first. When his teacher told him that he was in fact the second to have shown up, the giant was enraged. And when he then learned that Moni Mekhala possessed a magic ball the prize he grew even angrier. His teacher did give him a consolation prize. It was a sparkling axe, powerful in its own right, but not quite as powerful as the ball that Moni Mekhala had won. In a huff, full of jealousy, Ream Eyso took off in pursuit of his rival. He just had to have that ball. Ream Eyso found Moni Mekhala enjoying an outing with others, singing and dancing in the heavens. Unable to control himself, Ream Eyso attacked and defeated Moni Mekhala s partner, the deity Vorachhun, in battle; (see photo above). He then pushed the other divinities to the side (see photo at left), and faced Moni Mekhala directly, demanding her magic ball. Moni Mekhala, never losing her composure even in the face of the high-stomping giant, distanced herself with grace from his outstretched hand, curved in the shape of a claw. Ream Eyso grew so frustrated that he hurled his axe at the goddess, barely missing her. The awesome impact of the axe shook the heavens. In response, Moni Mekhala tossed her ball into the air. Its glow lit up the skies, blinding Ream Eyso who then fell to the ground. Moni Mekhala escaped into the clouds, safe for the time being from the greediness of the giant. Moments later, however, Ream Eyso wiped his eyes and, regaining his bearings, realized that she had gotten away. Promising to renew the encounter another time, he too slipped into the clouds. Cambodians see in this story the origin of thunder (the crash of the axe) and lightning (the radiance of the ball) which together produce rain, rain that is so critical to the well-being of the country and her people. For centuries, a ceremony has been performed in Cambodia at least once each year in which dance and music form the communication link to the gods and spirits to ask for rain and other blessings for the country. Sponsored by the royalty, the ceremony features the dancing of sacred stories, including the story of Moni Mekhala and Ream Eyso, as a way of calling forth rain at the height of the hot season. If pleased with the offering of dance and music, it is believed, the deities will allow the rain to fall, getting the next cycle of planting and growth off to a good start. Dancers selected for the roles of Moni Mekhala and Ream Eyso must participate in a special ceremony of their own before they are allowed to perform. Each role, so important and powerful, requires the blessings of teachers and spirits of the dance. Only certain accomplished dancers may perform as the goddess or the giant, and only after receiving the necessary blessings. When they do perform, along with lines of dancers representing lesser deities, and accompanied by a pin peat orchestra composed mostly of xylophones, gongs, and drums, the public watches a tale it knows so well come to life, a tale whose enactment is part of the nation s relationship to the land and water that sustain it. Page 7 of 14

9 This drama is so beloved that excerpts of it are often performed by classical dancers in theatrical settings, apart from the ceremonial ones. Such is the case with the current production, which begins with Moni Mekhala and Vorachun meeting other gods and goddesses after Moni Mekhala has received the special ball. Discussion/Activities 1. Compare thunder and lightning origin stories from various places, including how the students parents or grandparents have explained this, for example. 2. Discuss the different attitudes of Moni Mekhala and Ream Eyso towards their assignment. What resulted from these differing approaches? 3. Where does Ream Eyso s greed and aggression lead? Might there be other ways to attempt to deal with his disappointment at not getting the jeweled ball? Give some examples. Either draw or enact these alternative story lines. 4. For younger students: Read a story of a girl who lived and danced by the water: Silent Lotus by Jeanne M. Lee, New York: Farrar, Straus and Giroux, 1991: Long ago in Kampuchea, a man and a woman lived on the edge of a lake. A daughter was born to them. She was beautiful, with a face as round as the moon and eyes as bright as the stars. So begins the story of Lotus, a girl of ancient Cambodia. (Kampuchea is another word for Cambodia.) In fact, in the Cambodian (or Khmer) language, Kampuchea is the way the name of the country is pronounced. Lotus received her name because of her parents appreciation of the lotus blossoms covering the lake by their house. Years went by without Lotus learning to speak. Her parents realized that she was deaf. They made a gesture with their hands all fingers stretching to the sky, forming a kind of bowl as a way of representing the flower, and the name of their daughter. This was the first hand gesture Lotus learned. But it wouldn t be the last. Lotus father was a fisherman. While he was out on the lake, casting his net or setting fish traps, his daughter would play along the banks. Often she danced in imitation of the movements of the herons. But though she was happy dancing and playing by the water, she was often lonely. The other children didn t want her to be with them. One day her parents decided to go to the huge stone temple a distance from their village to pray for some relief for their daughter s sadness. While they were there, they saw magnificent dancers. Lotus, feeling the vibrations of the music, imitated the dancers movements. At that moment, her parents recognized her calling. Lotus stayed with the dancers, among whom she made many friends, and grew up dancing at the court and the temples. As a dancer she could communicate with all those around her, as well as with the gods. Suggested discussion questions: 1.With whom did Lotus feel most comfortable as a young child, besides her parents? Why? 2. Look at Lotus s house. Most homes in Cambodia s countryside, even today, are raised just as hers was. Why do you think people build houses up high like this? (It creates a space below the home in which both animals and people can find shade. It may also be used for storage and activities such as weaving or cooking. It can also offer protection from flooding.) Page 8 of 14

10 3. What is the gesture her parents made to represent the word, lotus? This is also a hand gesture in Cambodian classical dance that means flower. 4. Do you know anyone who is deaf? How does he/she communicate? 5. Why did Lotus parents take her to the big temple in the city? What were they hoping for? 6. How could Lotus dance with others if she couldn t hear? 7. From the readings and activities above (in this guide), what do you think the role of dance was during the days when Lotus danced in the court and at the temples? MIGRATION Cambodians in the USA Since the 1970s, more than 100,000 Cambodians have immigrated to the United States. And many of those have established families here, so that the Cambodian-American population is now over 200,000. There are large concentrations of Cambodians in Long Beach, California (50,000), Lowell, Massachusetts, and many other American cities. Those who came from Cambodia did so for a number of reasons. Some fled on-going war, extreme poverty, and political instability. Some sought to re-unite with loved ones who left earlier. Others wanted their children to have a chance for a broader, higher education. They came from the different regions of Cambodia and from many social and economic backgrounds. But most share in common language, religion, food, music, and dance. Speaking their language, practicing their faith, and enjoying familiar foods, music and dance allow them to identify themselves as Cambodian, even while surrounded by very different customs and traditions. Some of the Cambodian dancers now living in the USA originally learned to dance in refugee camps along the Thai-Cambodian border. In the 1980s, hundreds of thousands of people from Cambodia sought refuge in camps that straddled Cambodia s western border with Thailand to find food and shelter. The Khmer Rouge regime that was overthrown in 1979 left almost a quarter of the population dead; there was a severe drought, and an international embargo kept muchneeded aid from arriving; fighting between political factions vying for power was incessant. The United Nations eventually supervised some of these camps. And it was from those camps that people were selected for resettlement to the United States and elsewhere. In the refugee camps, former palace dancers and others who had learned the art second- or third-hand, found many eager apprentices waiting for an opportunity to bring beauty and grace into the bleak existence of camp life. Those who studied classical dance and then moved to the USA often taught others in their new homes. That is part of the reason why in so many places where there are Cambodians, there is classical dance. It is practiced by college student associations, community service organizations, and informal cultural groups. While their level of experience and expertise varies, their passion is the same. And if it means studying from pirated video tapes in the absence of professional accomplished dance teachers, then that is what they do. They also most often practice and perform to recorded music, because it has been so hard to put together even partial pin peat ensembles in many places in the USA, as talented musicians are spread across the continent. Although originally a royal tradition, classical dance has become an egalitarian art form that Cambodians use to celebrate their traditional holidays, to pass on ideas about classical aesthetics and social norms, and as a source of ethnic pride. It unites Cambodian communities whether they are in Long Beach, Lowell, Sydney, Paris, or Phnom Penh. Page 9 of 14

11 Culture Shock When people move from one place to another, from one country to another, from one culture to another, they often experience culture shock: surprise, frustration, sometimes anger and embarrassment at not understanding people and things around them. It is natural that those who felt comfortable and in control where they used to live would feel such unease in a new and very different place. In their old home they could run down the street to the market or to visit friends; they could earn a living, perhaps doing what they had been trained to do. In an unfamiliar environment they might have to rely on others to translate for them, take a job that doesn t use any of their previous knowledge or skills, or sit at home without the loved ones who stayed behind in their homeland. These are just a few possible scenarios. But, no matter whether the newcomer is 8, 18, or 80 years old, he or she will most likely experience some shock at aspects of the surrounding reality. And it can take years to gain comfort, given all that is new. This was the situation for those who came here from Cambodia. People express their culture shock in many different ways. Some have headaches and nightmares. Some retreat from studies, doing poorly in school. Others express their distress through art: poetry, painting, music. Eventually, most people are able to reconcile aspects of their old lives with aspects of their new ones. They find ways to be Cambodian-American, ways that acknowledge how complex and important it is to recognize where one has come from as well as where one is at the present. Sophiline Cheam Shapiro, the choreographer of the new dance piece Seasons of Migration, has been through this cycle of culture shock and its ultimate resolution within herself. She has designed the production around her own experience. Seasons of Migration Yan Viphearun (left), Sam Limsothea (background) and Sam Savin (right) in Seasons of Migration, section one ( Euphoria. ). Seasons of Migration is a new dance born out of the ancient Cambodian classical dance tradition. In that tradition, some works are dance-dramas with complex plot lines and others are straight-forward dances, without a storyline that nonetheless invoke spirits as a part of sacred rites. Another type of dance may allude only obliquely or symbolically to a story, and though in costuming it references the sacred, it functions as entertainment, as an expression of joy. The latter is the lineage of Seasons of Migration, a dance constructed in four parts, each portraying a state of mind. As Shapiro, explains: Linked together, the four sections describe a psychological transformation corresponding to the stages of culture shock. Culture shock involves a process of learning to be comfortable with who you are, no matter where you are. Through the language of classical dance, Seasons of Migration presents divinities who dance in the heavens coming to live among the humans on earth, and adjusting to their new surroundings. The first section of the piece is entitled, Euphoria, referring to the initial excitement and wonder at the encounter with the new. Dancers, representing both male (nearong) and female (neang) divinities, move in combinations that express, abstractly and symbolically, an eagerness to go forward, to meet whatever lies ahead. Page 10 of 14

12 Following this, the mood of the dance shifts as the mythological serpent, Neang Neak, appears for her solo, Rejection. She has become uncomfortable with her new surroundings, realizing that she is, in so many ways, out of place. And yet she is equally uncomfortable with parts of what she has carried with her, symbolized by her tail. She struggles to free herself from the tail by tearing at it, and by turning away from it. But eventually she acknowledges that what part of her is from before (her culture, traditions, the way she looks, and so on) will continue to be part of how she defines herself in her new place. Though she realizes this, she has yet to move forward, to experiment with ways to redefine herself in light of the richness of what she carries with her and what now surrounds her. In the third section, Adjustment, the divinities begin to understand more about the world around them so that they can balance that with an understanding of where they came from. Past and future here are signified by the play Sam Sathya as the Neang Neak. of shadow and light. The central character, the spirit of the present, seeks to avoid her shadow (the past) by moving toward the light (the future). Repeatedly failing this, she comes to terms with the fact that both shadow and light make her a whole being. Finally, in Equilibrium, the divinities gain a sense of balance and comfort with their new existence. The choreography is performed in pairs, symbolizing the nature of this balance: a seamless combining of different elements that makes a unique being. For Cambodians, this idea is captured in the image of an ancient deity named Harihara who combines attributes of the Hindu gods Shiva and Vishnu. When the dancers lift their arms to the sides, at various levels, with elbows bent, they are re-creating the multi-armed image of Harihara. Discussion/Activities 1. What kinds of things might be especially exciting for someone moving to a new place? What kinds of things might be especially upsetting or scary? 2. Why would someone feel compelled to reject her or his past? (racism, stereotyping, etc.) 3. How might we help someone adjust to new surroundings? 4. Have students do some creative movement exercises, presenting emotions non-verbally, and creating poses of balance in pairs. THE ARTISTS Twenty-eight dancers and musicians from Cambodia s Royal University of Fine Arts perform in this production. Short artistic biographies of the choreographer and two of the performers follow below. Sophiline Cheam Shapiro (Choreographer) was a member of the first generation of classical dancers to graduate from the Royal University of Fine Arts (RUFA) after the fall of Pol Pot s Khmer Rouge regime and was a member of the dance faculty there from 1988 to With RUFA she toured India, the Soviet Union, the USA, and Vietnam. She immigrated to Southern California in Shapiro studied dance ethnology at UCLA and has taught classical dance in its World Arts & Cultures Department. Among other awards, she has received a Durfee Foundation Master Musician Fellowship, a Guggenheim Fellowship and an Irvine Fellowship in Dance. Page 11 of 14

13 Her essay, "Songs My Enemies Taught Me" was published in Children of Cambodia's Killing Fields: Memoirs by Survivors, compiled by Dith Pran, edited by Kim DePaul and published in 1997 by Yale University. In April 2000, Shapiro premiered Samritechak, a full-length classical dance-drama loosely adapted from Shakespeare s Othello in Phnom Penh with the RUFA ensemble; the work has toured to the USA and been presented by the Hong Kong Festival and the Venice Biennale. A solo work, The Glass Box, premiered in Los Angeles in 2002 and toured to Cambodia and India in She is co-founder and Artistic Director of the Khmer Arts Academy. As a choreographer working in the classical Cambodian form, Cheam Shapiro brings to her work a distinctly contemporary sensibility united with a deep kinetic understanding of each of the classical roles a rarity among performers of this form. Originally selected to portray giant (yeak) characters, her small stature led the teachers to switch her roles, first to the male (nearong) characters, and finally to female (neang) roles. Sam Sathya (Dancer), a peer of Sophiline Cheam Shapiro, began formal training as a classical dancer in the early 1980 s, after the end of the Khmer Rouge regime. But she had her first exposure to performance during the years of revolutionary rule ( ). As a little girl it was her task to light the lamps that illuminated the performance area of the troupes that danced and sang of the glory of the revolution. By the end of the Khmer Rouge period, when she and her immediate family returned to their hometown of Phnom Penh, they had lost more than a third of their extended family to starvation and disease. As a dance student, Sam Sathya was selected to perform female roles in the classical repertoire. These include principal roles such as Princess Sita (Neang Seda) in the Reamker, the Cambodian version of the Ramayana epic (she was seen in this role during RUFA s 2001 tour to the USA), and Moni Mekhala, goddess of the sea (which she performs in this program). For Moni Mekhala, she had to participate in a special ceremony of offerings and blessings before being allowed to perform, as the role carries great responsibilities and demands spiritual force. In performing this revered role she continues a lineage passed to her by her own renowned teachers, Chea Samy (who passed away in 1994) and Menh Kossany. Sam Sathya, who has toured Asia, Europe, and the United States numerous times, teaches and performs at the Royal University of Fine Arts dance department. Seang Ngorn Ly (Musician) was born in Kandal Province in Central Cambodia in After graduating from high school, he enrolled at the University of Fine Arts to study roneat (xylophone), but his studies were cut short by the Khmer Rouge takeover. He returned to the school in 1981 when it reopened and was awarded a Certificate of Art in classical music in He has been a resident musician with the school s dance department ever since, and he has toured throughout Asia, Europe and North America. As a resident musician of the dance department, Seang Ngorn Ly performs for concerts and plays live music for dance classes, most typically kbech baat (basic movements), six mornings a week. He also takes on an extra role when he tours as musicians are expected to pack set pieces and instruments. Photos: Sophiline Cheam Shapiro by Jerry Gorman, Sam Sathya by James Wasserman. Page 12 of 14

14 GLOSSARY Angkor Empire Vast and powerful empire that spread over much of present-day mainland Southeast Asia from the 9 th to the 15 th centuries, ruled by Khmer kings. Centered in what is now northwestern Cambodia. Its most famous symbol is the magnificent Angkor Wat (temple) which distinguishes Cambodia s national flag. Classical Dance Dance form in Cambodia whose roots are traced back to ancient inscriptions and carvings on temples that refer to dancers performing for the gods, and for the kings. Also called Court Dance. Culture Shock The experience of the unfamiliar resulting from sudden immersion in a new culture. Kben Worn in dance classes and rehearsals, it is fashioned from large piece of cloth that is tightly wrapped around the lower body and secured with a belt to make a kind of pantaloon. Khmer Majority ethnic group of Cambodia. Commonly used interchangeably with Cambodian in reference to language, food, music, and so on. Khmer Rouge Communist group that ruled Cambodia from 1975 to early During their time in power, the country lost almost a quarter of its population to disease, starvation, overwork, torture, and execution. It is estimated that nearly 90% of Cambodia s artists, intellectuals and teachers died during this period. Lakhon Khol All-male masked dance-drama performed traditionally in the countryside as part of the celebration of Cambodian New Year, now also performed on stage. Moni Mekhala Goddess of the sea. Neang Generic term for a female character in classical dance. Neang Neak Sacred serpent who is a progenitor of the Khmer people in one origin myth. Nearong Generic term for a male character in classical dance. Pin Peat Music ensemble made up of xylophones, gongs, cymbals, drums, and an oboe-like instrument, that accompanies classical dance, Buddhist temple ceremonies, and shadow puppet plays. Ream Eyso The giant who is Moni Mekhala s adversary in a classical dance-drama. Royal University of Fine Arts Official performing and fine arts academy in Cambodia s capital, Phnom Penh. Yeak Generic term for Giant character in classical dance. BIBLIOGRAPHY AND SUGGESTED RESOURCES Calliope, volume 12, no. 5, January Special issue: The Ancient Khmers. [World cultures magazine covering archeology, history, stories, and activities for kids ages 9-14] Page 13 of 14

15 Children of Cambodia s Killing Fields, edited and compiled by Kim DePaul and Dith Pran, New Haven: Yale University Press, [Memoirs by survivors of the revolutionary Khmer Rouge era, all of whom were children at the time, and most of whom now live in the U.S.] Dance in Cambodia, by Toni Samantha Phim and Ashley Thompson, New York: Oxford University Press, [History, meaning, and current practice of classical, folk, and allmale masked dance, and shadow puppetry, in ritual and theatrical contexts] Dancing Through Death: The Monkey, Magic, and Madness of Cambodia, video documentary directed by Janet Gardner, [Dancers lives in both Cambodia and the U.S., set against 20 th -century Cambodian history] Faces, volume 15, no. 1, September Special issue: Cambodia. [magazine of history, stories, and activities for grades 4 and up] A History of Cambodia, by David Chandler, Boulder: Westview Press, 1992 [1983]. [historical overview covering ancient and modern Cambodia, including the Khmer Empire of Angkor (9 th -15 th centuries)] The Reamker, by Ly Daravuth, Ingrid Muan, and Chet Chan, Phnom Penh: Reyum Publishing, [Beautifully illustrated Cambodian version of the Ramayana epic of Indian origin, as told by a Cambodian painter; description of character representation in terms of colors, stylization of headdresses and masks, costumes, etc. for the giants, monkeys, and royalty in the story] Reflections on a Serpent s Tail by Toni Shapiro-Phim, article Works in Progress, Volume 17:3 Summer 2004 pp. 8-11, 23; a publication of the Philadelphia Folklore Project. [Detailed feature about the impulses, process and production of Seasons of Migration ] Silent Lotus, by Jeanne M. Lee, New York: Farrar, Straus and Giroux, [Illustrated Children s book about a girl who grows up to be a dancer in ancient Cambodia] Silent Temples, Songful Hearts: Traditional Music of Cambodia, by Patricia Shehan Campbell and Sam-Ang Sam, Danbury, Connecticut: World Music Press, 1998 [1991]. [Introduction to aspects of classical and popular Cambodian music, with guide for teachers & a music CD] About this Guide... Toni Shapiro-Phim (author) is a cultural anthropologist with a specialization in the performing arts of Southeast Asia. She received her Ph.D in Cultural Anthropology from Cornell University in Her dissertation, "Dance and the Spirit of Cambodia," a recent book (Dance in Cambodia, with Ashley Thompson) and other publications focus on the history and cultural context of dance in Cambodia. She has conducted ethnographic research in Cambodian communities in Southeast Asia and the U.S., and has designed and implemented public arts and educational programs in diverse settings both in the U.S. and abroad. She has held teaching and research appointments at the University of California-Berkeley, San Jose State University, Yale, and Mills College, and has served as a consultant for the Asia Society, Asian Cultural Council/ Rockefeller Foundation, Japan Foundation, New England Folklife Project and elsewhere. Currently editing a book on dance an human rights, she is Associated Director of the Philadelphia Folklore Project and a cocurator of Philadelphia s DanceBoom Festival. Khmer Arts Academy (Producer, Seasons of Migration project) is a performing arts organization based in Long Beach, CA dedicated to fostering the vitality of Cambodian arts and culture. Its resident ensemble performs regionally and on tour. Page 14 of 14