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Dancing Feet
ROB SAVAGE EXPLORES THE CAMBODIAN ROYAL BALLET’S FASCINATING STORY OF SURVIVAL
VISITING Angkor Wat is undoubtedly one of the highlights of travellers keen on discovering Asia. But for two nights of the year, as its illuminated tiers rise from the falling dusk, the temple of the devaraja (the God King) is reduced to a simple backdrop while the gathered audience sits spellbound by the enigmatic smiles and sensual movements of the Cambodian Royal Ballet. These magical evenings are known as Les Nuits d’Angkor.
Accompanied by the xylophones, drums and oboes of the traditional Pinpeat orchestra, the dancers descend from their pedestals with slow, sinuous steps. And as the lights placed within the temple are raised, 40 dancers appear, gracefully lining the terraces of the temple. Striking the sharply angled poses of the devaraja’s heavenly consorts, the illusion that the temple’s celestial apsara has become animated is complete.
KEEPING CULTURE ALIVE
Yet, the Royal Ballet is much more than just a mere form of entertainment. is elegant show of control, poise, strength and movement is an embodiment of the history of the Cambodian people, and each contemporary performance is a reconstruction of a culture nearly lost on so many occasions over the centuries.
In a nation where literature has not acted as the predominant record of history, the dancers hold the position of guardians of Khmer culture. rough the reign of ambivalent monarchs, colonists and the oppression of political regimes, the Royal Ballet has risen phoenix-like from the ashes of confl ict.
Their work has ensured that, from generation to generation, such masterpieces of intangible history as the Reamker – the Khmer version of the Indian epic, Ramayana – have remained at the forefront of the Cambodian psyche.
ORIGINS OF KHMER DANCE
The history of classical dance is so deeply entwined within the roots of the Cambodian nation that the myth of the celestial dancer or apsara, and the court dancers as their representations on earth, can be found at the very founding of the nation.
Kambuja or Cambodia takes its name from the legend of Kambu and his apsara consort, Mera, a myth dating from the reign of Jayavarman II, the founder of Angkor in the eighth century. is 1,000-year history makes the robam preah reach trop or “dance of royal wealth”, one of the oldest surviving art forms to remain to this present day.
STEPS OF SURVIVAL
It has not been as easy journey for the Royal Ballet, with the cycle of loss and rediscovery following it into the 20th century. At the turn of the century, an unsympathetic French Protectorate almost put an end to the institution in a bid to reduce costs.
By the time His Majesty King Norodom Sihanouk ascended the throne in 1941, the dancers were having to perform popular theatre pieces in competition with private troupes in order to survive.
Fortunately, the King’s mother, Princess Kossamak and her love of ballet ensured the support of her son in re-establishing its special place in Cambodia.
In fact, her enthusiasm was so great that her granddaughter, Princess Norodom Bophadevi ended up training with the Royal Ballet from age fi ve and became one of the most revered dancers of her generation.
Dance master, Sot Somali recalls her time as a contemporary of the Princess in the 1960s. “We had an important place in the functioning of the palace, training very hard and dancing at royal parties for the King and French officials.”
For 15 years, Somali studied and danced on the grounds of the Royal Palace – that is, until the Khmer Rouge arrived on 17 April 1975. It soon became clear that it was not a foreign invader that would come closest to obliterating the 1,000-year history of the Royal Ballet, but a threat from within.
Together with the other dancers, masters, and musicians, Somali was forced to leave Phnom Penh for the countryside and taken to work in the labour camps of Democratic Kampuchea. Hiding her history as a dancer in the royal court (as its discovery meant almost certain death), Sot Somali still kept her skills alive the best she could.
“I thought of dance so often. I would run through routines in my mind at night, and a few times, alone in the woods, I was able dance without the Khmer Rouge seeing me.”
THE KBACH
The kbach refers to the graceful and elegant stylised hand gestures that distinguishes Khmer classical dance from that of neighbouring countries. Documentary research has recorded at least 100 hand movements, but the total number is more likely to be over 4,000. Reminiscent of mime, the kbach gestures provide a narrative for the audience, marking performers as both dancers and actors.
DANCING INTO THE FUTURE
Today, Sot Somali is once again working in the Royal Palace. e Royal Cambodian Ballet tour the world with their acclaimed shows. As a master tutor and choreographer, she sits talking with Princess Norodom Bophadevi, who now holds the position of Minister of Culture and Fine Arts. Both cast appraising gazes over the techniques of the current generation of dancers as they present an abridged version of the Reamker for government officials.
As the senior dancers perform under the intense a( ernoon sun, there is new hope for the future. Recognising the work of UNESCO who proclaimed the Royal Ballet of Cambodia a masterpiece of oral and intangible heritage of humanity in 2003, Somali says, “I do not fear for the future of dance in Cambodia as I did during the Khmer Rouge years. Dances are now being documented, and if we raise more money, we will be able to continue training new generations of dancers.”
WHERE TO WATCH
With its close ties to the palace, the Royal Ballet still largely performs at the behest of the King or the Royal Cambodian Government. Independent organisations such as the Centre Culturel Français (CCF) in Phnom Penh, however, have been working with the Ballet for over 15 years to increase the number of performances accessible to visitors to Cambodia. Through their fundraising, the CCF organises up to fi ve performances a year in Phnom Penh’s public Chaktomuk and Chenla Theatres.
A highlight of any visit to Cambodia is an opportunity to watch the rehearsals at the University of Fine Arts, or better yet, if you are lucky enough to catch one of the performances on the grounds of the Royal Palace. Easier still is to catch a show by one of the smaller regional troupes that perform throughout the country.
In Siem Reap, performances are held every night, with hotels, guesthouses and restaurants hosting troupes of professional and amateur dancers, many of whom have been trained by or have members who are graduates of the University of Fine Arts. Earthwalkers is a local favourite, held every other Sunday with performances by the children from the Sankheum Centre for Children orphanage. Between them, the luxurious Sofi tel, Le Meridien and Grand Hotel D’Angkor hotels ensure that there are daily performances.
In Phnom Penh, Sovanna Phum (Golden Land) ) eatre features classical dance performances every Friday and Saturday night. Director of the Theatre, Mann Kosal, who is a shadow puppet master and formerly of the National Theatre, proudly explains, “Classical dance performance is very popular with visitors. In fact, over 90% of our dancers come from the University of Fine Arts School of Choreographic Arts, and have danced with the Royal Ballet.”
THE GRAND FINALE
Yet, even with trips to perform abroad and almost weekly performances for royalty and other heads of state, December’s Les Nuits d’Angkor spectacular at the East gate of Angkor Wat remains the highlight of the Royal Ballet’s calendar for both dancers and audiences alike.
Sitting in the shade of Angkor Wat’s west gallery, Vuth Chan Molly, a 26-year-old senior dancer and tutor at the University of Fine Arts School of Choreographic Arts, talks about her love of dance.
“It is so hard to become a dancer. We exercise before class because it can take 10 years for our hands to become supple enough to perform the kbach. But I love these performances and I always want to be involved with dance.”
This sentiment is shared by Borin Kor, Head of Cultural Activities for the Centre Culturel Français (CCF) and chief organiser of the event, as he enthusiastically describes the passion that goes into the production.
“The sheer level of cooperation and organisation required make this the biggest spectacle organised from within Cambodia. It is especially wonderful for the dancers to perform in front of the temple.”
The popularity of this dance event means that the 1,300 seats sell out each night. For that reason, Angkor National Park’s World Heritage status tightly restricts the audience size and visitors must book well in advance for their tickets.
In that light, perhaps it is time to plan for your trip to Cambodia so you can enjoy the spectacle for yourself this year…
PERFORMANCE & CONTACT DETAILS
SIEM REAP
Earthwalkers
Every other Sunday at 7pm
Airport Road, tel +855 (0)12 967901, www.earthwalkers.no
Grand Hotel D’Angkor
Monday, Wednesdays and Fridays at 7.45pm
1 Vithei Charles de Gaulle, tel +855 (0)63 963888, www.raffes.com
Le Meridien Angkor
Tuesdays, thursdays and Saturdays at 8-9pm Vithei Charles de Gaulle,
tel +855 (0)63 963900, www.lemeridien.com
La Résidence d’Angkor Resort & Spa
Traditional dance performance (8-8.45pm) and dinner on Tuesdays, thursdays and Saturdays East River Road, tel +855 (0)63 963390, www.pansea.com
Sofi tel Royal Angkor
Traditional dance performance (8-9pm) with dinner from 6-10pm daily Vithei Charles de Gaulle, tel +855 (0)63 964600, www.accorhotels.com/asia
PHNOM PENH
Centre Culturel Français (CCF)
Les Nuits d’Angkor is due to take place on 16-18 December 2006. Contact the CCF for further details. 218 Keo Chea (Street 184), tel +855 (0)23 213124, www.ccf-cambodge.org
Sovanna Phum , Theatre
Classical dance, puppet and folk theatre every Friday and Saturday night at 7.30pm 111Street 360 (Corner 105), tel +855 (0)23 987564 and (0)23 221932, www.sovannaphum.org
University of Fine Arts
Hotels and guesthouses can arrange visits to the University of Fine Arts School of Choreographic Arts 4 Oknha Khlaeng Moeung Street 70, Sangkat Sraas Chak, Khan Daun Penh, tel +855 (0)23 724669 and (0)12 872413
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