“Here I Stand In Time” Program Information

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.


Photographer: Kandy (Crazed)


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.

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


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.


– 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 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.


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


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?


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


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

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


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


Photographer: Vong Sopheak


 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.


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.


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.


Photographer: Vong Sopheak


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


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


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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«រូបនេះ ទីនេះ ពេលនេះ»


 ១) តើការសម្តែងនេះប្រព្រឹត្តទៅម៉ោងប៉ុន្មាន? ទីកន្លែងណា?
ថ្ងៃសៅរ៍ និងអាទិត្យ ទី ១១និងទី១២ ខែមីនា ឆ្នាំ២០១៧
បើលោកអ្នកអញ្ជើញមកដល់១០នាទីមុន ម៉ោងសម្តែង នោះជាការប្រសើរ ។
ការសម្តែងស្នាដៃនេះ ចែកចេញជា៣ឆាក ហើយឆាកនីមួយៗឋិតនៅទីកន្លែង

ឆាកទី១៖ សួនច្បារទល់មុខផ្ទះមេត្តា (ឬខាងមុខសាកលវិទ្យាល័យបៀលប្រាយ)
សូមចតកង់ម៉ូតូរបស់លោកអ្នក នៅផ្ទះមេត្តា ។ បើផ្ទះមេត្តាអស់កន្លែងចត សូមចតកង់ម៉ូតូរបស់លោកអ្នកនៅចំណតរបស់សាកលវិទ្យាល័យបៀលប្រាយ ។
សូមចតឡាន នៅជុំវិញសួនច្បារឬក្នុងចំណតសាកលវិទ្យាល័យបៀលប្រាយ ។
Meta House

ឆាកទី២៖ សារមន្ទីរទួលស្លែង (មន្ទីរស២១)

ឆាកទី៣៖ តារាងបាល់ទាត់3G (ទល់មុខស្ថានទូតអូស្រ្តាលី)
3G Football Court

២) តើត្រូវការសំបុត្រចូលទស្សនាដែរទេ?
មិនត្រូវការសំបុត្រទេ ។ ការសម្តែងនេះ លោកអ្នកអាចចូលរួមទស្សនាដោយសេរី ។
សូមបបួលមិត្តភក្តិ និងក្រុមគ្រួសារមកទស្សនាទាំងអស់គ្នា ។ នេះជាពិសោធទស្សនា
សិល្បៈមួយដ៏ប្រសើរ។ ដោយឡែកនៅសារមន្ទីរទួលស្លែង បើជនបរទេសមកទស្សនា
សារមន្ទីរក្នុងកំឡុងម៉ោងធ្វើការ ជនបរទេសនោះត្រូវបង់ថ្លៃសំបុត្រចូលទស្សនាសារមន្ទីរ
ដូចធម្មតា ។ បើមកទស្សនាការសម្តែង លោកអ្នកអាចចូលសារមន្ទីរបានបន្ទាប់ពីម៉ោង
៥.២០នាទីល្ងាច ដោយគ្រាន់តែប្រាប់អ្នកយាមនៅមាត់ច្រកថា មកទស្សនាការសម្តែង

៣) តើផលិតករការសម្តែងមានផ្តល់ការដឹកជញ្ជួនពីទីកន្លែង១ទីកាន់ទីកន្លែង១ទៀតដែរទេ?
មិនមានការរៀបចំការដឹកជញ្ជូនអ្វីទេ ។សូមលោកអ្នកសាកល្បងការធ្វើដំណើរ
តាមដានការសម្តែងពីទីកន្លែង១ទៅកាន់ទីកន្លែង១ទៀតនេះ ដែលជាផ្នែកមួយនៃ
ពិសោធទស្សនាសិល្បៈនេះ ។ យើងខ្ញុំសូមអរគុណដែលលោកអ្នកសហការនិង
ចូលរួមតាមដាន ។

៤) តើខ្ញុំអាចទស្សនាតែឆាកសម្តែងណាមួយបានដែរទេ?
ពិតជាបាន ។ តែទោះយ៉ាងនេះក្តី យើងខ្ញុំសូមលើកទឹកចិត្តលោកអ្នកអញ្ជើញចូលរួម
ទស្សនាគ្រប់ឆាកទំាំង៣ គ្រប់ទីតាំងសម្តែងទាំង៣ ។ ការទស្សនាការសម្តែងនេះ គឺជាពិសោធទស្សនាការសម្តែងសិល្បៈនៅកន្លែងជាក់ស្តែងដ៏ប្រសើរមួយ។

៥) មានចំណតយានជំនិះទេ?
សូមមើលចម្លើយសំណួរទី១ ។ ចំណតសម្រាប់កង់ម៉ូតូ មានតម្លៃប្រហែល១០០០រៀល ។ សម្រាប់ឡាន សូមលោកអ្នកមកដល់យ៉ាងហោច១០នាទីមុនពេលម៉ោងសម្តែង ព្រោះការរកចំណតអាចប្រើពេលយូរ ។ តម្លៃចំណតឡាន អាចថ្លៃជាង១០០០រៀល ។

៦) តើអាចថតរូបនិងថតវីដេអូបានទេ?
អាចថតបាន សម្រាប់ការសម្តែងនេះ ។ សូមមេត្តាកុំប្រើពន្លឺផ្លេកបន្ទោរក្នុងការថត ។ ដើម្បីជាការគោរពដល់សិល្បករសម្តែងនិងទស្សនិកជនដ៏ទៃទៀត សូមលោកអ្នក
មេត្តាអធ្យាស្រ័យ ជៀសវាងការថត ដែលបាំងភ្នែកអ្នកដ៏ទៃនិងការចូលកណ្តាល
ទីសម្តែងដែលសិល្បករកំពុងសម្តែង ។ សូមកុំបណ្តោយឲ្យឳកាសនិងពិសោធទស្សនា
ការសម្តែងដ៏ពិសេសនេះ ត្រូវបានបាត់បង់ ដោយសារតែលោកអ្នករវល់គិតតែ

៧) តើមានការកំណត់ការស្លៀកពាក់ដែរទេ?
ទស្សនាការសម្តែងនៅតាមទីកន្លែងសាធារណៈទាំងនេះ។ ដោយឡែក ទីតាំងសម្តែង
ឆាកទី២គឺជាសារមន្ទីរទួលស្លែង ដែលជាសារមន្ទីរឧក្រិដ្ឋកម្មប្រល័យពូជសាសន៍ ហេតុនេះរាល់អ្នកចូលទស្សនាទាំងឡាយ គួរគប្បីផ្តល់នូវការគោរពដល់ទីតាំងនេះ
និងមានការស្លៀកពាក់សមរម្យ ។

៨) ខ្ញុំរកទីកន្លែងសម្តែងមិនឃើញ ហើយមានសំណួរផ្សេងទៀត
០៧៧៩៤៥០១៥ ឬ boxoffice@amritaperformingarts.org

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 1) What are the times and venues of the performance?
 Saturday and Sunday March 11-12, 2017. Times and Venues Below. It is good to plan your arrival 10 minutes before the performance times. Each evening performance is in 3 different parts at 3 different sites.

The Park opposite Meta House (on Sothearos Blvd)
Please park your motorbikes or bike at Meta House. If it is full, please park your vehicle at the Phnom Penh Center across from Meta House. You can park your car at some available spaces around the area or at Phnom Penh Center.
Meta House

Tuol Sleng Museum (S-21)
Parking within the campus.

3G Football Court (opposite the Australian Embassy)
Parking within the campus.
3G Football Court

2) Do we need tickets or passes to the performances?
No. The performances are free admission.  Bring anyone. It would be a nice evening experience.

At Tuol Sleng (S-21), you will need to pay the entrance fee if you are a foreigner visiting the museum during the opening hours. After 5.20pm, you can enter by telling the guards that you are coming for the free admission performance.

3) Is there any provided transportation between performance venues?
No arranged transportation between venues. It would be an experience to travel to the next performance venue by yourselves. Thanks for following us.

4) Can I see only one part at one venue?
Yes, of course. Join us at any of the venues you can. However, we encourage you to plan the evening to see all the 3 parts at all three venues. It would be a great site specific performance experience.

5) Parking?
Please see answer to Question 1. The parking fee (or tip) at each venue is usually 1000 rile (USD 0.25) for a motorbike or bike. If you are driving a car, plan to arrive early at each of the venues and the parking fee or tip can be a bit higher.

6) Can I take photos and video?
Yes, you can. No flash photography allowed. However, for the courtesy of the artists and other audience members, we ask you to be respectful. It would be unpleasant for others if you go into the middle of the performance area and take photo or video. Do not lose the opportunity of experiencing the site specific performance because you are too busy taking photo and video.

7) Is there a dress code for the performance?
You can dress whatever convenient for you to sit down on the ground or stand to watch the performance at these public spaces. One of the venues, Tuol Sleng (S-21) is a genocide museum, so it is hoped that visitors have some sense of respect and dress appropriately.

8) I cannot find the venues or more questions?
077945015 or boxoffice@amritaperformingarts.org

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Chankethya Chey, the Artistic Director

Chankethya Chey (Kethya) started her classical dance training at the age of five. As one of Cambodia’s outstanding classical dancers, Kethya has performed nationally and internationally with the Cambodian Ballet Royal Troupe. In 2006, she was awarded a Choreography Arts Management Fellowship to support a three-month residency at the University of California, Los Angeles (UCLA). In 2009 she received an Asian Cultural Council grant to participate in American Dance Festival. Kethya has worked under some of the world’s leading contemporary choreographers at World Dance Alliance (WDA) choreographic labs in Brisbane, Hong Kong and New Delhi and has been a featured dancer in works by Emmanuèle Phuon, Peter Chin, Arco Renz and others who have toured extensively throughout Europe, the United States and Asia. Kethya was a soloist in CRACK, a contemporary Cambodian dance work by German choreographer Arco Renz that was awarded the 2012 ZKB Patronage Prize.

She was a 2011-2014 Fulbright and Asian Cultural Council grantee while earning her Master of Fine Arts in Dance/Choreography at University of California, Los Angeles. At UCLA, she was the Mo Ostin Performing Arts Award winner 2013. Kethya’s works have been presented at the Season of Cambodia Festival 2013 in New York, Singapore International Festival of the Arts 2014, Colombo Dance Platform 2016, and i-Dance HK 2016. Kethya became the Artistic Director of Amrita Performing Arts in 2014 and teaches dance at the Secondary School of Fine Arts.

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Rady Nget’s 7-month US residency

Nget Rady (Dancer), began his dance training in 1999  in the monkey role of Lakhaon Kaol and graduated with a BA in choreography from the Royal University of Fine Arts in 2014. As a classical dancer, Rady has toured to Europe and throughout Asia and as a contemporary dancer has performed in numerous works of contemporary dance by Cambodian and international choreographers including Chey Chankethya, Arco Renz, Emmanuele Phuon, and Hiroaki Umeda. Rady is also a featured artist in CRACK that earnt an ZKB Patronage Award 2012 in Switzerland. Rady has choreographed several of his own works including Tension, a work-in-progress created in Amrita’s Contemporary Dance Platform in 2015. He has recently received a grant from the Asian Cultural Council to undertake his seven-month residency in New York City in early 2017 including his participation at the American Dance Festival (ADF). Rady is the dancer/choreographer of Amrita Performing Arts and a faculty member of the Royal University of Fine Arts.

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Amrita continues to nurture artists in choreographic capacity and artistic leadership and arts practitioners in all areas of arts management. In Fall 2016, our production coordinator, who is also a faculty member of the Faculty of Choreographic Arts, Royal University of Fine Arts, took a production management residency with Mark Morris Dance Group and Music Ensemble (MMDG) in New York city.

Nget Rady and Amrita Performing Arts thank the Asian Cultural Council for their generous support. We owe gratitude to Dr Kim Pichpinun, Dean of the Faculty of Choreographic Arts and Dr Bong Savath, President of the Royal University of Fine Arts for their support. We are also grateful to the US embassy in Phnom Penh, Public Affairs Section, Jay Raman, Monica Davis, Ou Socheath, and Pin Samphos for their kind visa rassistance.

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Amrita’s Production Coordinator in New York City

Our Production Coordinator, Bunny Hourt, is currently in a two-month production stage management residency with the international acclaimed New York based dance company, Mark Morris Dance Group (MMDG). This residency has been made possible through a grant from the Asian Cultural Council in New York City.

Bunny developed an intimate personal and professional relationship with Johan Henckens, MMDG’s Technical Director when this company came to Cambodia as part of the tour, Excursions 2014. Afterwards, dialogues continued between Amrita and MMDG regarding the possible opportunity in working together until Bunny received the ACC grant to realize this residency.

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Amrita continues to nurture artists in choreographic capacity and artistic leadership and arts practitioners in all areas of arts management. We look forward to 2017 when our emerging dancer/choreographer, Rady Nget, also with a grant from ACC, is undertaking his six-month residency in the US.

We are grateful to the Asian Cultural Council for the generous support, especially to Cecily Cook and Jeremy Gleason. Many thanks to MMDG, particularly Nancy Umaoff and Johan Henckens, for their facilitation.We owe gratitude to Dr Kim Pichpinun, Dean of the Faculty of Choreographic Arts and Dr Bong Savath, President of the Royal University of Fine Arts for their support. We are also grateful to the US embassy in Phnom Penh, Public Affairs Section, Jay Raman and Pheakdey Nhim, for kind visa assistance.

More about Bunny

Hourt Bunny was trained in Khmer folklore dance and holds a Bachelor of Arts in Choreography from the Royal University of Fine Arts. In 2010 with a grant through Amrita Performing Arts, Bunny undertook the stage management fellowship in collaboration with Kelola at Teater Koma in Indonesia. Bunny has worked as a production coordinator for numerous Amrita productions and festivals including the rock opera Where Elephants Weep, Cambodian Youth Arts Festival, Season of Cambodia festival in New York, Mahabharata by Japanese director Hiroshi Koike and toured to Singapore, Japan, Vietnam and Rwanda. In 2014 he participated in the ASEAN Design and Technical Theater Workshop (Phase III) which focused on Production and Stage Management at the Cultural Center of the Philippines in Manila, Philippines. Bunny is also a faculty member at the Faculty of Choreographic Arts, Royal University of Fine Arts in Phnom Penh.

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Chy Ratana The Choreographer

Photos by Cylla Von Tiedemann

Chy Ratana in Woven by Peter Chin. Photo courtesy of Cylla Von Tiedemann.

Chy Ratana (Leak) comes from a family of artists and therefore considered studying dance as natural. He graduated from the Secondary School of Fine Arts with a Baccalaureate in 2000, specializing in the monkey role of Lakhaon Khaol (Cambodian classical male masked dance) form and in 2012 was awarded a BA degree in choreographic arts at the Royal University of Fine Arts, Phnom Penh.

In 2006, Leak developed a strong interest in contemporary dance and since then has been a featured dancer in works by Emmanuèle Phuon, Peter Chin, Arco Renz, Akiko Kitamura and others which have toured internationally. He remains faithful to his traditional skills but he is also eager to further develop as a contemporary dancer and choreographer. He was a featured dancer in CRACK – a work of Cambodian contemporary dance by German choreographer Arco Renz that was awarded the 2012 ZKB Patronage Prize in Zurich Switzerland in September 2012.

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