CHEY Chankethya in Ojai Playwrights Conference 2014

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Photographer: Jeremy Mimnagh

Our Artistic Director, CHEY Chankethya, is going to join the Ojai Playwrights Conference in California, USA from 2th to 10th of August. She will dance the audiences into the legacy of the Killing Fields and its impact on the generation of women.

The Ojai Playwrights Conference is a non-profit organization focused on playwrights and the development of their new plays. It is founded on the belief that gathering a community of world-class theatre artists together in a place of extraordinary beauty can lead to a collaborative process that enables these artists to qualitatively rework and refine their dramatic vision.

Her Cambodian presence at this American event is a wonderful opportunity that allows dance practitioners and audience to have an insightful experience into the dance traditions and development in Cambodia and Amrita’s endeavors in the field. We are very proud of her.

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Nam Narim has returning to work with Epic Arts.

Nam Narim has returning to work with Epic Arts’ Epic Encounters team to create a new piece in preparation for their tour to UK (November 2014). They want to create a piece ” Coming Back Brighter” that explains the history of the country and its effect on the artist and the arts. Epic Arts believes in a world where Every Person Counts (EPiC) and where people living with disabilities are valued, accepted and respected. “It’s very exciting be a part of this work that we can share the World our Cambodia’s history, and specially I work with disabilities people but I can see their abilities, I am very proud of them.” Narim.

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Photo Courtesy of Epic Arts

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Through The Mask: Costume Trial – First Time

“I am enjoying a wonderful experiment in the studio where Khmer Lakhaon Khaol male masked dance meets Javanese tari topeng Klana, masked dance, in preparation for our piece for Dusk Dances 2014 from 4th to 10th of august “Through the Mask”. Javanese dancer Boby Ari Setiawan and Khmer dancer Chy Ratana tried the dance today wearing partial costume and masks for the first time. The results were so exciting, and clearly, these two male masked dance traditions have a vital affinity, not only as revealed by historical analysis, but more forcefully, in practice as I witnessed it in the studio! I am so excited. I hope you can come to see these two amazing dancers perform our new work.” Peter Chin

Photos Below: Photo Courtesy of Tribal Crackling Wind

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Peter Chin, Artistic Director, Tribal Crackling Wind

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Photo Courtesy of Cylla von Tiedemannn

Peter Chin, an Artistic Director of Tribal Crackling Wind, is an award-winning multidisciplinary artist born in Kingston, Jamaica and based in Toronto. He is active as a musician/composer, dancer/choreographer, performance artist, designer and director.

Peter was Now Magazine Best of Toronto dancer/choreographer/ designer in 2008. He won the 2006 Murriel Sherrin Award for International Achievement in Dance at the Toronto Mayor’s Arts Award and is a co-winner of the 2005 inaugural Interdisciplinary KM Hunter Award. He has been awarded a prestigious Gemini Award for “Best Performance in a performing arts program” in Nick de Pencier’s film Streetcar, for which he choreographed, performed and composed the music. Peter has received four Dora Mavor Moore Awards: “Outstanding New Choreography” for Stupa in 2005, “Outstanding New Choreography” for Northeastsouthwest in 1997, and “Outstanding New Choreography” and “Outstanding Performance” for Bite in 2000. He has also been nominated three times for: Language in 1998, Ghost Train in 2001 and Transmission of the Invisible in 2008.

Peter’s works have been presented internationally and throughout Canada at the Canada Dance Festival in Ottawa, Festival International de Nouvelle Danse in Montreal, the Guelph Contemporary Dance Festival, the Peterborough Festival of the Arts, pUsh International Festival Vancouver, St. John’s Sound Symposium, Season of Cambodia Festival NYC, the Other Festival in Chennai India, the Indonesian Dance Festival, the International Jakarta Festival (representing Canada), the National Gallery of Jamaica, Danza en la Ciudad Bogotá, Los Talleres Mexico City, Our Roots Right Now Festival Bangkok, Sutra’s Gerak Angin Festival in Kuala Lumpur Malaysia, the Singapore Festival Fringe and da:ns festival Esplanade, the Ijsbreker Festival in Amsterdam Holland, Lakhaon: Rencontre Internationale de Theatre, Phnom Penh Cambodia; and in Toronto among others with Harbourfront Centre World Stage, CanAsian International Dance Festival and DanceWorks. Peter has also toured fLight in Japan, a work he created with Tokyo dance artist Hideo Arai and German/Canadian visual artist Cylla von Tiedemann.

He is highly acclaimed as a choreographer throughout the dance community, as shown by the numerous commissions he has been offered, including: Dancemakers, Toronto Dance Theatre, the Harbourfront Centre for the Toronto Music Garden, CanAsian Dance Festival where Chin created a solo for National Ballet of Canada’s Chan Hon Goh, Canada’s only orchestra devoted solely to contemporary repertoire Esprit Orchestra, Fujiwara Dance Inventions, Yvonne Ng’s tiger princess dance projects Productions, Erasga Dance Society, Red Sky, Kate Alton’s Overall Dance, Bill James, Marie-Josee Chartier, Bharatanatyam dancer Hari Krishnan, Dancers for Life, the Moving Pictures Festival, the School of Toronto Dance Theatre, Canadian Childrens’ Dance Theatre, TILT sound motion, the York University Dance Ensemble and Lorraine Kimsa Theatre for Young People.

Photo Courtesy of Cylla von Tiedemannn

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CHEY Chankethya gives a Cambodian Classical Dance Masterclass in the International Workshop in WDA Global Summit 2014.

teaching (ada khun) copyChey Chankethya has taught Cambodian classical dance locally and internationally over 10 years. She teaches both professional dancers and amateurs and taught technique class at secondary school of fine arts, Cambodia, from 2002-2011. Kethya has regularly given dance workshops and master classes at international conferences and festivals and she is currently a part time dance instructor at Khmer Arts Academy, Long beach, and teaching the Cambodian dance class at Department of World Arts and Culture/Dance, University of California, Los Angeles. Now she is going to give a Cambodian classical dance masterclass in the International Workshop for Professional Dance Artists working in performance, education, community, youth and special interest areas which is a part of WDA Global sumit.

This class is an introduction to the basic concepts, principles, and techniques of Robam Boran, a Cambodian classical dance. The class will focus on the basic hand gestures, body postures, the art of expression, meditation, and basic composition of this ancient court dance form. Participants will learn selected dance phrases (known as Cha Bachos) and some movement sequences that interpret the complex principles and narrative vocabulary that make up Cambodian classical dance.

It will enable participants to: 1. Recognize the basic characteristics and vocabulary of Cambodian Classical Dance, 2. Understand the key concepts and discourses involved in the study of the form, 3. Learn the fundamental choreographic principles and technical exercises of the dance repertoire.

Furthermore, it is the real example of how a traditional culture has been handed down from the past to present and it will pass on to the future. This class is an evident of the long linear of creative craft that still serves the today’s need and frames the future.

Photographer: Ada Khun

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My Mother and I at WDA Global Summit 2014

My Mother and I Photographer Pete Pin copyChey Chankethya, as one of Cambodia’s top classical dancer, has had opportunities to perform nationally and internationally. Now that she has just finished her MFA program in UCLA on Fullbright scholarship and we are very proud of her. She is now in Angers, France as an Artistic Director on behalf of Amrita Performing Arts at WDA Global Summit 2014 and she is going to perform her piece My Mother and I which is choreographed, performed and sound designed by herself at the showcase program. This work exposes the legacies of classical Cambodian dance through a contemporary lens. The solo is propelled by virtuosic physical precision, theatrical gesture, and spoken word. It explores the relationships between three women (the choreographer, her mother, and her dance master) to create a dialogue on the tension between individualism and conformity in politically oppressive societies. Kethya’s work puts the medium of Cambodian dance in direct conversation with its audience as she poses questions about responsibility, lineage, and the future.

The piece reflects on the current Cambodian environment that is influenced so much by the past. Through syntax and somatic approach, it reveals the connection between now and the past. The piece syntax focuses mainly on utilizing Cambodian classical dance’s principle in a new frame. Since one of the main principles of Cambodian classical dance is narration, the choreographer structured the piece with narrative way but taking a non-lineage approach. In addition, on the somatic level, movements were invented based on Cambodian classical dance vocabularies. The incorporation between the existing dance form with different choreographic structures are mainly focused.

My Mother and I is an example of how traditional culture or the past influences the present and inspires the future. It is the result of an inventive traditional culture that aims to take the classical dance style to the next level. A promising future creates out of the conversation between past and present.

Photographer: Peter Pin/Season of Cambodia

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Chumvan Sodhachivy (Belle) passed the scholarship to New Zealand.

_BA51546Our dancer/choreographer, Chumvan Sodhachivy (Belle) is going to New Zealand for 6 months to study English Language Training for Officials (ELTO) program under the scholarship of The Ministry of Culture and Royal University of Fine Arts. The intake of Education Policy, Leadership and Governance. She’s very exciting for this and she really cannot wait to join a study program as it is gonna be her new experience in New Zealand. Belle said with a very exciting beautiful smile, “Study is always hard but I do believe I can do it and it will be fun to meet people over there, this is a great opportunity to develop my communication skill as well as education.”

Amrita is very proud of her and we wish her all the best in New Zealand.

Photo Above: Bach Cello Suite by Chumvan Sodhachivy

Photographer: Anders Jiras

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