The Last Performance: Ensemble Dance

Ensemble Dance
Directed by Chey Chankethya

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វាចានាយិកាសិល្បៈនៃអម្រឹតាសិល្បៈ ជ័យ ច័ន្ទកិត្យា                                                                         

វាចានាយិកាសិល្បៈនៃអម្រឹតាសិល្បៈ ជ័យ ច័ន្ទកិត្យា  ក្នុងរាត្រីនៃការសម្តែងចុងក្រោយពីអម្រឹតាសិល្បៈ

សូមជម្រាបសួរនិងសូមស្វាគមន៍មកកាន់ការសម្តែងនារាត្រីនេះ! ជំនួសមុខឲ្យក្រុមអម្រឹតាសិល្បៈ នាងខ្ញុំសូមសម្តែងសេចក្តីថ្លែងអំណរគុណចំពោះភ្ញៀវកិត្តិយសទាំងអស់ ដែលអញ្ជើញមក ទស្សនាការសម្តែង។

ជាច្រើនឆ្នាំកន្លងមក លោកអ្នកតែងតែបន្តគាំទ្រដល់ការងាររបស់ពួកយើងឥតឈប់ឈរ។ ទឹកចិត្តដ៏ទូលាយនិងការគាំទ្រដ៏ប្រសើររបស់លោកអ្នក បានផ្តល់លទ្ធភាពឲ្យយើងខ្ញុំអាចចែករំលែកនិងបង្ហាញនូវការដកពិសោធសិល្បៈ ក្នុងបរិយាកាសរីករាយនិងអំណោយផល ហើយប្រកបដោយការរិះគន់ស្ថាបនា។

ប្រទេសកម្ពុជា ក៏ដូចជាកន្លែងផ្សេងទៀតដែរ ត្រូវការសិល្បៈដើម្បីជាសន្សើមនៃជីវិត ដើម្បីជំរុញឲ្យមានការជជែកគ្នា ដើម្បីគាស់រលើងនូវប្រឌិដ្ឋញាណ ដើម្បីញ៉ាំងឲ្យមានការត្រិះរិះ និងដើម្បីស្វែងរកនូវអី្វដែលថ្មី ប្រសើរនិងមានការអភិវឌ្ឍជាងមុន ។

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ការដែលយើងនាំគ្នាធ្វើការក្រៅពីក្បួនខ្នាតដែលមានស្រាប់និងក្រៅកន្លែងងាយស្រួល គឺជាភារកិច្ចដ៏លំបាកមួយ តែយើងមានជំនឿថា ការងាររបស់យើងមានសារៈសំខាន់ ។ មិនថាមានឧបសគ្គនិងបញ្ហាប្រឈមអ្វីក៏ដោយ យើងមិនព្រមរួញរាឡើយ ។ យើងជឿជាក់លើសារៈប្រយោជន៍នៃការផ្លាស់ប្តូរបទពិសោធនិងចំណេះដឹង ហេតុនេះហើយ រយៈពេល១៥ឆ្នាំកន្លងមក យើងបាននាំកម្ពុជាទៅកាន់ពិភពលោក និងនាំពិភពលោកមកកាន់កម្ពុជា ។ យើងលើកទឹកចិត្តឲ្យប្រតិបត្តិករសិល្បៈរបស់យើង ឆ្លងលើសដែនកំណត់របស់ខ្លួន សួរសំណួរកាន់តែច្រើន និងបន្តស្វែងរកអ្វីដែលថ្មីនិងខុសប្លែក។ អ្វីដែលសំខាន់បំផុត យើងសង្ឃឹមថា សិល្បករនឹងមិនឈប់ទទួលអ្វីថ្មីឡើយ និងបន្តបើកចំហចិត្តឲ្យទូលាយក្នុងការគាំទ្រដល់គំនិតថ្មី។ យើងធ្វើការយ៉ាងអស់ពីកម្លាំងកាយចិត្តដើម្បីផ្តល់នូវឳកាសនិងវេទិកាសមរម្យ សម្រាប់សិល្បករអាចក្លាយជាអ្នកដំឡើងរបាំ ជាទស្សនវិទូ និងជាអ្នកដែលប្រើរាងកាយកាន់តែប្រសើរឡើង។ នាងខ្ញុំជឿថា ពេលមនុស្សម្នាក់មានឳកាសធ្វើជាអ្នកដឹកនាំ មនុស្សម្នាក់នោះនឹងក្លាយជាអ្នកប្រណិប័តន៍ដ៏ប្រពៃផងដែរ។

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តាមរយៈការសម្តែង អម្រឹតាសិល្បៈ បានផ្តល់នូវទីកន្លែងសម្រាប់ប្រតិបត្តិករសិល្បៈនិង    ទស្សនិកជនបានចែករំលែកគំនិតគ្នា សួរនាំគ្នា និងធ្វើជាអ្នករិះគន់ស្ថាបនាគ្នា។ ថ្ងៃនេះមិនមែនជាអវសានឡើយ តែជាការចាប់នូ​វទំព័រថ្មីមួយទៀតដ៏អស្ចារ្យ។ ជាមួយនឹងពិសោធនិងចំណេះដឹងរបស់ពួកគេ យើងជឿជាក់ថា សិល្បកររបស់យើងមានលទ្ធភាពក្នុងការយកជំនាញនិងទេពកោសល្យសិល្បៈរបស់ខ្លួន ទៅបន្តបម្រើដល់ប្រជាជននិងសង្គមជាតិរបស់ពួកគេ។

ជាថ្មីម្តងទៀត នាងខ្ញុំសូមថ្លែងអំណរគុណលោកអ្នកដែលបានចំណាយពេលវេលាចូលរួមក្នុងរាត្រីថ្ងៃអាទិត្យនេះ។ សូមអរគុណចំពោះការគាំទ្រ។ សូមអរគុណចំពោះចំណាប់អារម្មណ៍លើអ្វីដែលលោកអ្នកមិនស្គាល់ ។ សូមអរគុណដែលមិនខ្លាចនឹងធ្វើជាអ្នកឆ្ងល់ ។ សូមអរគុណដែលរួមគ្នាផ្តល់វេទិកាដល់សិល្បករបន្តវេនដ៏ក្លាហានទាំងនេះបង្ហាញស្នាដៃសិល្បៈខ្លួន។

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សូមអរគុណនិងសូមសប្បាយរីករាយក្នុងរាត្រីដ៏ត្រកាលនេះ។

Read this article in English at https://amritaperformingarts.wordpress.com/2019/01/29/a-note-from-the-artistic-director-chey-chankethya/

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A NOTE FROM THE ARTISTIC DIRECTOR, CHEY CHANKETHYA

A NOTE FROM THE ARTISTIC DIRECTOR, CHEY CHANKETHYA AT THE LAST PERFORMANCE BY AMRITA PERFORMING ARTS

Chumreap Sor and welcome to our show!

On behalf of my team, I would like to pay my gratitude to all the distinguish guests for coming to our show this evening.

Throughout the years, you have supported us endlessly. Your open heart and genuine support have allowed us to share our experimentation in a very friendly, supportive, but yet quite critical environment.

This country, like everywhere else in the world, needs art to cherish people lives, to evoke conversations, to ignite creativity, to inspire exploration, and to seek for something new, better, and more developed.

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Working outside of the usual norm and comfort zone is not an easy job, but we believe that our job is important. Regardless of any obstacles and challenges, we’ve never stopped. We believe in exchanging experience and knowledge that is why for the past 15 years we bring the world to Cambodia and bring Cambodia to the world. We encourage our team to push their boundaries, to ask more questions, to keep seeking for the new and difference. Most importantly, we hope they will never stop learning and remain open to supporting innovation.  We also work hard to provide opportunity and platform for our artists to become dance maker, thinker, and better mover. I strongly believe that when one has a chance to be a leader, one will be a great follower.

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Through our show/performance, Amrita has provided space for our team as well as our audiences to share, to question, and to be each other’s critic. However, today it is not the end, it is just the beginning of something new and incredible. With their experience and knowledge, we believe our artists are capable enough to use their crafts and artistry to continue and serve their people and society.

Once again, thank you so much for spending your Sunday evening with us. Thanks for your generous support. Thanks for willingness to visit the unknown. Thanks for being unafraid to be the fool. Thanks for creating a space for the brave.

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Have a great night! Thank you very much.

អានអត្ថបទជាភាសាខ្មែរ

 

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វាចានាយកប្រតិបត្តិ កង ឫទ្ធីសាល    

ប្រសិនបើសួរខ្ញុំថា ពីឆ្នាំ២០០៣ដល់២០១៨ តើអ្វីជាសមិទ្ធផល១៥ឆ្នាំកន្លងមកនេះ? ខ្ញុំអាចឆ្លើយបានតាមបែបបរិមាណថា យើងបានធ្វើការជាមួយព្រឹទ្ធាចារ្យនិងសិល្បករជាច្រើនរយនាក់ ដំឡើងស្នាដៃសិល្បៈប្រហែល៤៥ផលិតកម្មស្ទើរគ្រប់ទម្រង់សិល្បៈ ធ្វើដំណើរសម្តែងនិងចូលរួមព្រឹត្តិការណ៍វប្បធម៌អន្តរជាតិជាង៦០ដង គ្រប់ទ្វីបទាំង៦រួមទាំងទ្វីបអាព្រិចផងដែរ បានទទួលពានរង្វាន់កិត្តិយសជាតិនិងអន្តរជាតិចំនួន៥  មានទស្សនិកជនក្នុងស្រុកនិងបរទេសដែលបានទស្សនាវណ្ណកម្មសិល្បៈផលិតដោយអម្រឹតាសិល្បៈសរុបចូលគ្នារាប់ម៉ឺននាក់ ។ ទិ​ន្នន័យរហ័សទាំងនេះ អាចធ្វើឲ្យសាធារណជនមានអារម្មណ៍ស្ងើចសរសើរ ប៉ុន្តែ អ្វីដែលយើងខ្ញុំទាំងអស់គ្នានៅអម្រឹតាសិល្បៈមានក្តីរំភើបនិងមោទនភាព គឺជាដំណើររឿងដ៏មានន័យជ្រាលជ្រៅ អំពីការរីកចម្រើនរបស់មនុស្សមួយក្រុម ដែលបាន​កើតមានឡើងក្នុងរយៈពេល១៥ឆ្នាំកន្លងមកនេះ។ បើទោះជាវាចានេះវែងម្តេចម្តាក្តី សូមអនុញ្ញាតឲ្យខ្ញុំបានដំណាលរឿងនេះដូចតទៅ៖

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Rady trained in Lakhaon Kaol (classical male masked dance) with Master Proeung Chhieng. Unknown photographer.

កាលពីឆ្នាំ២០០៧ ង៉ែត រ៉ាឌី គឺជាសិល្បករល្ខោនខោល តួស្វាពល ដែលក្មេងជាងគេក្នុងក្រុមសម្តែងទៅកាន់ទីក្រុងឡុងដ៍ចក្រភពអង់គ្លេស ។ រ៉ាឌី អៀននិងមិនសូវហ៊ាននិយាយច្រើននោះឡើយ ។ ៦ឆ្នាំក្រោយមក ក្នុងឆ្នាំ២០១៣ ក្នុងប្រទេសសឹង្ហបូរី រ៉ាឌី អង្គុយជាមួយសិល្បករដ៏ទៃទៀតមកពីប្រទេសជប៉ុន តៃវ៉ាន់ និងឥណ្ឌា ក្នុងកិច្ចពិភាក្សាក្រោយការសម្តែងស្នាដៃសហវប្ប​ធម៌មួយ និយាយជាភាសាអង់គ្លេសអំពីការបណ្តុះបណ្តាលមូលដ្ឋានរ​បាំខ្មែររបស់ខ្លួននិងបទពិសោធផ្លាស់ប្តូរសិល្បៈសហវប្បធម៌ដែលខ្លួនទើបនឹងសម្តែងចប់។ ហ៊្វែ្រដ ហ្វ្រាំប៊ើក ដែលជាស្ថាបនិកនិងប្រធានក្រុមប្រឹក្សាភិបាលអម្រឹតាសិល្បៈ អង្គុយជាមួយខ្ញុំ ស្តាប់រ៉ាឌីនិយាយទាំងទឹកមុខញញឹមនិងទឹកចិត្តរំភើប ប្រកបដោយមោទនភាព ។

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១០ឆ្នាំក្រោយមកទៀត ក្នុងឆ្នាំ២០១៧ រ៉ាឌី ទៅកាន់ទីក្រុងញូវយ៉ក ដោយបានទទួលអាហារូបករណ៍សិល្បៈរយៈពេល៧ខែ ពីក្រុមប្រឹក្សាវប្បធម៌អាស៊ី ។ ទៅដល់ភ្លាម រ៉ាឌី មិនទុកពេលសម្រាកឡើយ។ គាត់ផ្លាស់ទីគ្រប់កន្លែងដើម្បីទស្សនកិច្ចសិល្បៈ ចូលរួមក្នុងសិក្ខាសាលាផ្សេងៗ និងផ្សាភ្ជាប់ទំនាក់ទំនងជាមួយប្រតិបត្តិករសិល្បៈអន្តរជាតិទាំងឡាយ។ ទៅដល់បានតែ២សប្តាហ៍ រ៉ាឌី សម្តែងស្នាដៃរបាំទោល របស់ខ្លួននៅទីសិល្បៈ JUDSON MEMORIAL CHURCH កណ្តាលទីក្រុងញូវយ៉ក ។ ទាំងអស់នេះ គ្រាន់តែជាសង្ខេបព្រឹត្តិការណ៍ដ៏ខ្លីមួយរបស់រ៉ាឌី ហើយនៅមានសកម្មភាពសិល្បៈជាច្រើនទៀតមិនអាចរៀបរាប់អស់ក្នុងវាចាដ៏ខ្លីនេះ។

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ដំណើរជីវិតរីកចម្រើនក្នុងអាជីពសិល្បៈរបស់រ៉ាឌី គ្រាន់តែជាលំនាំរឿងរបស់សិល្បករម្នាក់ក្នុងចំណោមសិល្បករដទៃទៀត ដែលបានទទួលការផ្តល់នូវលទ្ធភាពនិងភាពអំណោយផលសម្រាប់វឌ្ឍនភាពអាជីពរបស់ពួកគេ។ នៅមានអ្នកដ៏ទៃផ្សេងទៀតដូចជា កិត្យា ប៊ែល ណារីម សុភាព ដាវី​ ម៉ូ លក្ខ បូរី ប៊ុន្នី បូរ៉ាមី និងជាច្រើននាក់ទៀតដែលមិនអាចរៀបរាប់អស់  ​ដែលសុទ្ធតែមានដំណើរជីវិតរីកចម្រើនក្នុងអាជីពរបស់ខ្លួន ។ ដំណើរវឌ្ឍនភាពរបស់ពួកគេរួមមាន ពីសិល្បករទម្រង់បូរាណក្លាយជាសិល្បករដែលបានបញ្ចប់ការសិក្សាថ្នាក់អនុបណ្ឌិតពីសាកលវិទ្យាល័យអន្តរជាតិ ពីសិល្បករទម្រង់បូរាណក្លាយជាសិល្បករទទួលអាហារូបករណ៍សិល្បៈចូលរួមសិក្ខាសាលាតំបន់និងអន្តរជាតិ ពីសិល្បករទម្រង់បូរាណក្លាយជាសិល្បករសម្តែងស្នាដៃសិល្បៈនៅអាស៊ី អឺរុប និងសហរដ្ឋអាមេរិក   ពីសិល្បករបូរាណក្លាយជាអ្នកដំឡើងរបាំជំនាន់ថ្មី ពីសិល្បករបូរាណក្លាយជាអ្នកឯកទេសអាជីពផ្តល់សេវាការងារបច្ចេកទេសគំាំទ្រសិល្បៈ និងជាធុរជនសិល្បៈនិងអ្នកគ្រប់គ្រងការផលិតវណ្ណកម្មសិល្បៈទស្សនីយភាពក្នុងស្រុកនិងក្រៅប្រទេស ។ល។

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រឿងដំណើរជីវិតរីកចម្រើនទាំងនេះ គឺជាការតស៊ូមិនខ្លាចនឿយហត់ សេចក្តីក្លាហាន ការពិសោធសាកល្បង ការស្វែងរក និងការប្រឹងប្រែងអភិវឌ្ឍ ដែលពួកគេបានឆ្លងកាត់។ អ្វីដែលពិសេស សិល្បករទាំងនេះ កំពុងបន្តកិច្ចការងារខ្លួន ប្រកបដោយការតាំងចិត្តប្រកាន់យកនូវសេចក្តីថ្លៃថ្នូរនិងឧត្តមភាពសិល្បៈ ។

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កង ឫទ្ធីសាល នាយកប្រតិបត្តិ Kang Rithisal, Executive Director

ខ្ញុំបានចាប់ផ្តើមធ្វើការជាមួយអម្រឹតាសិល្បៈ អំឡុងចុងឆ្នាំ២០០៣។ កន្លងមកនេះ ខ្ញុំបានឃើញនិងជាកត្តាលីករម្នាក់ជាមួយ ហ្រ្វ៊ែដ ហ្វ្រាំប៊ើក  សួន ប៊ុនរិទ្ធ (អតីតនាយកប្រចាំប្រទេស) និងសហការីដទៃទៀត ក្នុងដំណើររីកចម្រើនរបស់ពួកគេ។ នេះក៏ជាការជំរុញឲ្យមានវឌ្ឍនភាពក្នុងជីវិតអាជីពនិងបុគ្គលរបស់ខ្ញុំផងដែរ។    រយៈពេល១៥ឆ្នាំនេះ ពិតជាមានន័យណាស់សម្រាប់យើងខ្ញុំទាំងអស់គ្នា។ ទាំងអស់គ្នានេះ គឺជាប្រតិបត្តិករសិល្បៈ ដែលបានចេញពីមូលដ្ឋានសិល្បៈបូរាណ បន្តពិសោធសាកល្បងនិងស្វែងរកមធ្យោបាយថ្មីប្រកបដោយប្រឌិដ្ឋញាណ ចូលរួមជាសំឡេងនិងជាលំនាំប្រតិបត្តិ ដែលឆ្លើយតបទៅការផ្លាស់ប្តូរទៅមុខរបស់កម្ពុជានិងពិភពលោក។ ទាំងអស់គ្នា បានរៀនសូត្រពីអតីតកាល ក្រឡេកមើលរាល់​ឳកាសនិងមធ្យោបាយក្នុងបច្ចុប្បន្នកាល ហើយត្រួសត្រាយផ្លូវទៅអនាគតកាលខាងមុខ។ ដំណើររឿងរបស់យើងទាំងអស់គ្នា អាចជាលំនាំមួយដ៏មានសារៈសំខាន់ សម្រាប់យុវជនដទៃផ្សេងទៀត មិនថានៅក្នុងវិស័យអ្វីនោះទេ។

រាត្រីនេះជាឳកាសមួយដ៏ពិសេសសម្រាប់យើងខ្ញុំបានបង្ហាញត្រួសៗជាការសម្តែង នូវអ្វីដែលបានរៀបរាប់ខាងលើ។ លោកអ្នកនឹងបានទស្សនាការសម្តែងនេះ ហើយអាចនឹងទទួលដឹងនូវការងារដ៏ច្រើនសន្ធឹកសន្ធាប់​ នៅពីក្រោយអ្វីៗទាំងឡាយដែលលោកអ្នកធ្លាប់បានឃើញ តាំងពីដំណើរការនៃការបង្កើតអ្វី១ ការចរចារ ការធ្វើការងារជាក្រុម ការគ្រប់គ្រង់ និងការដឹកនាំ ដើម្បីឲ្យអ្វីៗទាំងអស់នេះ អាចដំណើរការទៅបាន។

Read this article in English at https://amritaperformingarts.wordpress.com/2019/01/28/a-note-from-the-executive-director-kang-rithisal/

 

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A NOTE FROM THE EXECUTIVE DIRECTOR, KANG RITHISAL 

If asked, from 2003 to 2018, what have been accomplished for the past 15 years? I may be able to give the following quantifiable answer. We have worked with hundreds of performing arts masters and artists surviving the Khmer Rouge’s Regime and continued to build a new generation of dozens of artists. We have mounted around 45 productions. We have toured our works and have been part of regional workshops, exchange programs and international tours over 60 times. We have worked in all the 6 continents including producing an on stage performance in a refugee camp in Rwanda, Africa.  We have received 5 national and international awards. We have received thousands of local and international audience members. And the list goes on. This quick fact would easily impress the public. But what is more important for all of us at Amrita is the real  stories of this 15-year odyssey.  I would like to share with you a little bit about this journey as short as this page allows me.

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Rady trained in Lakhaon Kaol (classical male masked dance) with Master Proeung Chhieng. Unknown photographer.

In 2007, Rady Nget was a monkey role dancer of Lakhaon Kaol (Cambodian classical male-masked dance) who was cast for the touring of production of Weyreap’s Battle at the Barbican Center in    London. Back then, I noticed that he was a shy boy, small in posture, and would not speak until spoken to, especially if it meant speaking in English. Yet just six years later, in 2013, at the post-show discussion where artists from Japan, Taiwan, India and Cambodia collaborated, Rady, required no translation and spoke confidently to the audience about his own artistic training and creative       process. Fred Frumberg (Amrita’s founder and chairman of the board) and I sat in the audience, both stunned and proud at how much our artists had grown into their own.

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In January 2017, Rady went to New York City to undertake a 7-month residency funded by the Asian  Cultural Council. Upon his arrival, he took no rest. Rady was all over New York, going from the Mark    Morris Dance Group in Brooklyn to La Mama Theater to the New York City Center in Manhattan,    seeing shows, taking classes and meeting people. Two weeks into his residency, Rady gave his solo performance at the Judson Memorial Church. Since then, Rady has worked in numerous projects in Cambodia and in different parts of the world.

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The story of Rady’s remarkable journey is one of a new generation of Cambodian artists empowered by a supportive contemporary arts community within the past decade.  Other stories of Kethya, Belle, Narim, Sopheap, Davy, Mo, Leak, Borey, Bunny, Boramy, and many others, would be no less significant and are uniquely fascinating. These are the stories of people from being trained by their masters in the classical forms to earning their master’s degrees from international universities, participating regional workshops and exchanges, performing works in Asia, Europe and US, creating their own contemporary works, and being practitioners in associated technical expertise and other areas of arts management.

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These stories of hard work, boldness, experimentation, exploration, and transformation go on. These practitioners continue with their works, taking center stage with integrity and dedication to artistic excellence.

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Kang Rithisal, Executive Director

Tonight is a special occasion for us to give a snapshot of our odyssey through highlight of works by our artists. You will see the performance and feel the tremendous amount of hard work behind the scene in creative process, negotiation, teamwork, management and leadership to realize it.

អានអត្ថបទនេះជាភាសាខ្មែរ: https://amritaperformingarts.wordpress.com/2392 

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A Testament by Fred Frumberg

I was profoundly humbled, overwhelmed and deeply proud of what Sal and his team pulled off on Sunday night.   It was a true celebration in every sense of the word.  The adventure began as soon as one drove up to the venue.  The front of the theater was decorated with posters and photographs of every show that Amrita ever produced…. And my god there are a lot of them!  There was a video retrospective and an extraordinary sense of festive celebration as the place filled up with Amrita’s long time fans and admirers.   The show began outdoors with an ensemble dance by Kethya performed in the shadow of our many show posters.   The audience was then ushered inside and it was a very full house indeed.  We then had welcome speeches from Sal, Kethya and myself. The show then proceeded with five additional pieces for a total of six works of dance, all choreographed and performed by Amrita choreographers and dancers.  The production quality of the evening was world class so every member of the team including each artist, stage manager, crew member, administrator, usher, ticket taker etc.,  shined bright for all to behold.   There was a wonderful post show party at Java Cafe dominated by an atmosphere of utter joy and pride.   Many tears were shed but all tears of joy at this moment of both closure and new beginnings.

The performance was also dedicated to our late board member, Sam Miller who would have been extremely proud.
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– Fred Frumberg 
Founder & Chairman of the Board

Photographers: Mech Sereyrath & Sour Sophea
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“Here I Stand In Time” Program Information

HERE I STAND IN TIME
by Peter Chin
in collaboration with Chey Chankethya &
the Artists of Amrita Performing Arts

Produced by Tribal Crackling Wind in collaboration with Amrita Performing Arts. In-kind contribution by Somatoa Lotus Textiles and Additional support Robert Boszch Stiftung through Cambodian Living Arts.

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Photographer: Kandy (Crazed)

THE ARTISTS

Dancers of Amrita Performing Arts
Chumvan Sodhachivy (Belle), Nam Narim, Phon Sopheap (Amrita’s artistic leadership team)
Chey Rithea, Chy Ratana, Hou Cheychanrith, Kao Sithy Nita, Khon Chansina, Khon Chan Sithyka, Noun Sovitou,Sor Sophal, Soy Chanborey, Sour Kimseng, Yon Chantha, Yon Davy.

Dancers Associated with Amrita Performing Arts
Khiev Sovannarith, Khuon Chamroeun, Leav Chanlyka, Nop Samboramey, Oeun Sokunthea, Ouk Channita, Phon Chanpisey, Pumtheara Chenda, Than Chanthakunny, Sang Malen.

Child Artists
Pheap Sovannkakada, Tep Chandalin, Thon Mithona, Thy Chandara.

Dance Masters
Thong Kim Ann, Sam Sathya.

Musicians
Ros Sokunthea (lead musician), Ing Vanna, Khem Rith, Meoun Chanthy, San Kimsour

THE DANCEWORK

This title is a personal, conscious declaration. So therefore it is strong and self-aware, not passive, not vague. It is concrete, awake, ready, full of potential, at the service of something bigger than oneself, conscious of a large framework and one’s personal position within it. It is specific but open to broad and universal interpretation.

“Here”

– it is a place, a specific place, which fits the site-specific nature of the project. It therefore honours the place, in this case, the generic streetscape of Phnom Penh, where the common person works to make a living, to find meaning in life. The public realm is to be honoured as much as the palace, the vihear, the school. “Here” acknowledges the common person, who is not to be forgotten when we make a special artistic offering. This piece is for everyone, not just kings and queens, people with lots of money, powerful people, prominent artists, smart people, but for everyone, all kinds of people.

-Here is also the White Building, the Bassac Theatre and S21 Prison. We acknowledge the specific features and quali-ties and histories of those places, and we engage with that to make art, to make a special ceremonial connection through the beauty and poetry of dance and music and meditation.

-Here is a moment in time, a specific moment that stands in the flow of time, of history, where we can be in the present moment while looking back and looking forward

“I”

-I am personally involved, I am not anonymous, nor just a nameless participant; I put my name, my identity, my whole being into this collective project. I am one of many I’s in this project, about 30 I’s (because there are 30 per-formers), and by extension, 7 billion I’s that are alive today in the world, and by extension, the trillions of beings that have lived on this earth in the past and will live on this earth in the future, and by extension, the countless hosts of sentient beings, animals that have lived, live now, and will live on this earth. It is a declaration of identification of myself, I, being a part of all of humanity, past, present and future, and also of all living beings of the earth. It is a as-sertion of Oneness.

-I also reinforces the personal responsibility and commitment of each individual to do their best, to go as deep into their being as possible, to take their part in this vast project called humanity, and to join with open hearts and a co-operative, loving spirit with others to move forward and manifest the best that is the human spirit.

“Stand”

-it is a posture that means ready, active, engaged, standing on the earth, grounded, full of conviction.

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Photographer: Peter Chin

-it is a noun as in “take a stand” which means standing up for something that you believe in, something that is right, fighting for truth and justice, standing against the prevailing or predominant forces that tell you things that you do not believe in, or that you do not believe are right.

“in Time”

-it can mean, together, as in musicians playing together in time, coordinated, harmonious, following the same tem-plate.

-it can mean “on time”, punctual, the right time, just in time, timely.

-it can mean a particular position, a place within the flow of time. So that means it can suggest history. What is my personal position within the flow of events of Cambodian history? I am born after the Khmer Rouge war, but I am still affected by it, it still affects the choices I make in my life, in my art-making, in my thoughts. There is Khmer an-cient history too, from Angkor times and other periods of history that still flow through my present-day reality, and even within me. There is what is happening right now in Cambodia, present-day history, each moment unrolling to make more and more history, and I am a part of it. Here is my chance to consciously stand in my place, through my awakened participation in this moment of history, Cambodian history, world history, humankind’s history. Also, as a young Cambodian artist, I am in the special position to look ahead in time, knowing that the influence and impact of my generation will become more and more important, and in fact, become the establishment, the mainstream, the senior level of society. What will Cambodia be like in the future? what kind of Cambodia, what kind of world do I want to see in the future? Am I a part of that future in a pro-active way? As a dancing/music-making artist involved in this project, do I take my personal responsibility to use my inner life, my meditative practice, my dancing and my music to create something within this group that will resonate in time and space, going out far and wide, hopefully touching peoples’ hearts, hopefully making a contribution towards making the world and humankind better? When I say to myself, while performing this piece, “here, I stand in time” what will this mean to me?

PROGRAM ORDER

Part 1: The Park opposite Meta House (or opposite Build Bright University)
concept and choreography – Peter Chin
in collaboration with Chey Chankethya and the dancers

music – Traditional and Peter Chin
in collaboration with Ros Sokunthea (lead musician) and the musicians

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Part 2: Tuol Sleng (S-21) Museum
concept by Chey Chankethya

Prologue
choreography – Chey Chankethya

Circling the Tree of Life
choreography – Peter Chin and Sam Sathya
in collaboration with the artists

music – Traditional and Peter Chin
in collaboration with the musicians

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Photographer: Vong Sopheak

Part 3: 3G Football Court
concept – Peter Chin and Kang Rithisal
choreography – Peter Chin and Thong Kim Ann
in collaboration with the dancers

music – Traditional

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Photographer: Vong Sopheak

THE CHOREOGRAPHERS

 Peter Chin, Artistic Director of interdisciplinary dance company Tribal Crackling Wind, has been called a “renaissance man” based on his work as a dancer/choreographer, composer/musician, writer, designer and director. Chin was born in Kingston Jamaica, and is based in Toronto and Phnom Penh. Besides his work in Canada, he has also conducted extensive research and creative activity in Asia, Cambodia and Indonesia in particular. Chin’s performance works have been presented across Canada at major dance and music festivals, as well as in Japan, Indonesia, Malaysia, Cambodia, Thailand, Taiwan, India, Singapore, Holland, Jamaica, Mexico, Columbia and the United States. Peter Chin is the recipient of numerous awards including five Dora Mavor Moore Awards for dance, as well as the Muriel Sherrin Award for international achievement in dance, a Gemini award for his performance in the film Streetcar, among others.

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Photographer: Kandy (Crazed)

Chey Chankethya started off her career touring nationally and internationally with the Royal Ballet of Cambodia under the direction of HRH Norodom Buppha Devi. In 2008 Kethya began working with Amrita as an artist and was introduced to contemporary dance. Since then she has been a featured dancer of award winning pieces of contemporary dance, as well as becoming one of Cambodia’s most prolific choreographers in her own right. Kethya’s works have been presented in Singapore Intl Festival of the Arts, Bangkok International Arts Festival in 2014 and Season of Cambodia festival, amongst others. In 2011- 2014 Kethya received the Fulbright scholarship with support from the Asian Cultural Council to obtain her MFA degree in Dance/Choreography at the University of California, Los Angeles (UCLA) where she also received the OS Mostin Award. In 2014 Kethya became the Artistic Director of Amrita.

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Photographer: Kandy (Crazed)

Sam Sathya was born in 1969 and started learning classical dance majoring in female role in 1981. She was among the first generation to enter the school of fine arts when it opened after the Khmer Rouge’s. She finished the school in 1988 and became a classical dance teacher the following year. Sathya is a star dancer at the school of dance. She dances the role of Seda (Sita) in the Cambodia’s Ramayana epic in all the performances of the Ministry of Culture and Fine Arts including the Ramayana Festival at Angkor Wat temple. She was lead dancer in the dance pieces by the renowned Cambodian choreographer Sophiline Cheam Shapiro including Samritchak (a re-interpretation of Shakespear’s Othello), Seasons of Migration, and Pamina Devi (a re-interpretation of Mozart’s Magic Flute). Sathya appeared as the principal role in Persephone by internationally acclaimed stage director Peter Sellars. She has represented Cambodian dancers in a lot of international and local conferences and workshops. She has choreographed a number of classical dance works and worked in a number of contemporary dance pieces. Sathya is currently a faculty member of the Faculty of Choreographic Arts, Royal University of Fine Arts.

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Photographer: Vong Sopheak

THE COMPANIES

Tribal Crackling Wind (TWC) is an interdisciplinary performing arts company based in Toronto. It was founded in 1999 to bring together the artists and means to produce the works of artistic director Peter Chin. TWC is a distinctive creative force, bringing riveting ritual-based events to acclaim in its native Canada and internationally. The company’s repertoire has been shaped by the multi-faceted creativity of Peter Chin’s leadership.Described as a “renaissance man”, Peter Chin is a choreographer, composer, designer, writer, director and performer of dance and music. He creates works that potentially engage all of these disciplines, inspired by the Asian paradigm of “Total Theatre”.Born in Jamaica of mixed Chinese, black and Irish ancestry, Peter Chin is also a true multicultural soul and his rich heritage has been played out through the company’s repertoire, giving it a genuine international and global character.Within these creations, performers and creators are directly involved in the meaning of the work, aspiring to the proverbial merging of art and life. Transformation through real ritual, as opposed to a mere representation of ritual is the desire. www.tribalcracklingwind.ca

Amrita Performing Arts (Amrita) is a leading contemporary dance and producing company from Cambodia. Amrita is committed to the creation of Cambodian contemporary dance and theatre, responding to the creative drive of a young generation of artists who have taken on the task of ushering Cambodia’s performing arts heritage into the future. Artists from Amrita have worked with international directors and choreographers such as, Arco Renz, Eko upriyanto, Emmanuèle Phuon, Pichet Klunchun, Peter Chin and Peter Sellars, as they continue to explore and create their own works. Through its work, the company aims to translate the experience of current social conditions into the dance parameters of time, space and physical energy, exploring the themes of emergence from isolation towards integration within the complexities of the contemporary world. Amrita also assists in nurturing Cambodian practitioners in all areas of arts management, engages in dialogues of creative practices and policy, and facilitates connections between Cambodian and international performing arts communities. www.amritaperformingarts.org

THE TEAM

Tribal Crackling Wind    
Peter Chin, Artistic Director
Adina Herling, General Manger
Hul Rasy, Assistant to the Artistic Director
Naishi Wang, Additional Assistant

Amrita Performing Arts
Kang Rithisal, Executive Director
Chey Chankethya, Artistic Director
Chumvan Sodhachivy (artistic leadership team)
Nam Narim (artistic leadership team)
Phon Sopheap (artistic leadership team)
In Samphirachny, Office Manager
Lim Chanboramy, Project Coordinator
Ros Sothmmea, Project Coordinator
Vorn Bunnary, Finance & Admin Coordinator
Chrin Chandara, Finance Assistant
Hourt Bunny, Production Coordinator
Dang Chariya, Project Assistant
Chea Sopheak, Project Assistant
Chen Borey, Technical Assistant

Kong Vollak, Documentation Artist

Vong Sopheak, Photographer

Film crew led by Lim Sipheng

ACKNOWLEDGEMENT

Special thanks to the Ministry of Culture and Fine Arts and Tuol Sleng Museum. We are deeply grateful to Mr Chhay Visoth, Director of the Tuol Sleng Museum and his staff for their kind facilitation. Many thanks also go to Cambodian Living Arts for their coordination. Thanks go to Meta House for their logistics support.

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