Persephone – what are our artists originally trained in?

Persephone artists

សិល្បករខ្មែរ ៤ រូបនៅប្រទេសបារាំង ដើម្បីហាត់សម និងសម្ដែង ដែលនៅក្រោមការដឹកនាំរបស់លោក Peter Sellars ដែលជាផ្នែកមួយនៃការសម្ដែងស្នាដៃ Iolanta/Persephoneក្នុងមហោស្រព Festival Lyrique d’Aix en Provence។ ទម្រង់សិល្បៈនេះមានលក្ខណៈខុសគ្នាពីអ្វី ដែលសិល្បកររបស់យើងបានធ្លាប់ហ្វឹកហាត់នៅ អម្រឹតា។ ត្រលប់មើលទៅក្រោយវិញ និងស្វែងយល់អំពីប្រវត្តិរូបរបស់ពួកគាត់ មុនពេលពួកគាត់ឈានចូលក្នុងសិល្បៈរបាំសហសម័យ និងទម្រង់សិល្បៈអន្ដរជាតិជាច្រើនផ្សេងទៀត៖
* សំ សត្យា បានហ្វឹកហាត់ក្នុងទម្រង់សិល្បៈរបាំបុរាណ។
*​ ណម ណារីម មកពីត្រកូលគ្រួសារនៃអ្នករបាំបុរាណខ្មែរ។ ណារីម បានហ្វឹកហាត់ក្នុងទម្រង់សិល្បៈរបាំបុរាណ។
* ជុំវណ្ណ សូដាជីវី (ប៊ែល) បានហ្វឹកហាត់ក្នុងទម្រង់សិល្បៈរបាំបុរាណខ្មែរ ប៉ុន្តែគាត់ថែមទាំងស្ទាត់ជំនាញក្នុងរបាំប្រពៃណីខ្មែរ និងល្ខោនស្បែកផងដែរ។
* ខុន ច័ន្ទសិទ្ធិការ្យ (ម៉ូ) បានហ្វឹកហាត់ក្នុងទម្រង់សិល្បៈល្ខោនខោល។

Four  Cambodian artists have been in France to rehearse and perform under the guidance of Peter Sellars, as part of the grand Iolanta/Persephone‘s show, one of the Festival Lyrique d’Aix en Provence‘s highlights. This art form is quite different from what our artists are used to with Amrita. Let’s go back and learn more about their original background before they turned to contemporary dance and more international art forms:

* Sam Sathya is classically trained.
* Nam Narim comes from a long family line of esteemed Cambodian classical dancers. Narim is classically trained.
* Chumvan Sodhachivy (Belle) trained in Cambodian classical dance but is also proficient in Cambodian folk dance and shadow puppetry.
* Khon Chan Sithyka (Mo)​ trained in Lakhaon Kaol – Cambodian classical male masked dance.

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Persephone – Greek myth

ភាសូហូនី គឺជាទេពធីតានៃនរករបស់ទេវកថារបស់ក្រិច។ នាងគឺជាបុត្រីរបស់ សូ និង ឌឺមីសទ័រ ដែលជាទេពធីតានៃការច្រូតកាត់។​ ភាសូហូនី គឺជា​ក្មេងស្រីដែលស្រស់ស្អាតម្នាក់ ហើយមនុស្សគ្រប់គ្នាស្រលាញ់នាង។​ ហាដ ជាមនុស្សម្នាក់ក្នុងចំណោមនុស្សទាំងនោះ។​ គាត់ពិតជាចង់បាននាងមកជារបស់គាត់។​ នាថៃ្ងមួយ នៅពេលដែលភាសូហូនីកំពុងតែរឹសផ្កានៅវាល អុនា ស្រាប់តែព្រះធរណីរហែកចេញ។​ ហើយរំពេចនោះស្រាប់តែ​ ហាដបានផុសចេញមក​ ហើយចាប់ពង្រត់នាងយកទៅ។ គ្មាននរណាម្នាក់បានឃើញហេតុការណ៍នេះឡើយ លើកលែងតែ ហ្សូ និង ហីលីអូស ដែលបានឃើញ។

នាងឌឺមីទ័រ ដែលជាម្តាយដែលមានភាពសោកសង្រេង​ បានតាមស្វែងរកកូនស្រីរបស់គាត់នៅសព្វទីកន្លែង។​ នាងបានដឹងពីហេតុការណ៍ដែលបានកើតឡើងលើកូនស្រីរបស់នាងតាមរយះ ហីលីអូស។ ឌឺមីទ័របានខឹងជាខ្លាំង ហើយបានទៅសម្ងំលាក់ខ្លួនតែម្នាក់ និងធ្វើអោយព្រះធរណីទាំងមូលគ្មានជីរជាតិ។ ដោយបានដឹងថា ទង្វើររបស់នាងពុំអាចបន្តរយ៉ាងដូច្នេះយូរទៅទៀត ហីឌ បានបញ្ចូន ហឺមអោយចុះទៅរក ហាឌ ដើម្បីធ្វើអោយគាត់ព្រលែង ភាសូហូនី។ ហាឌ យល់ព្រមនឹងសំណើរទាំងសោកស្តាយ ប៉ុន្តែមុននឹង ភាសូហូនីត្រឡប់ទៅវិញ គាត់ក៏អោយគ្រាប់ផ្លែទទឺមទៅនាង។​ បន្ទាប់ក្រោយមក នៅពេលដែលនាងហូបគ្រាប់ផ្លែទទឺមនោះទៅ វាបានយកនាងទៅក្នុងដីវិញជារៀងរហូត។​ ចាប់ពីពេលនោះមក នាងត្រូវរស់នៅទីនោះចំនួនមួយភាគបីក្នុងមួយឆ្នាំ។​ ហើយនៅសល់ប៉ុន្មាខែទៀត នាងនៅជាមួយម្តាយរបស់នាង។​ ដូច្នេះនៅពេល ភាសូហូនីនៅជាមួយនឹង ហាឌ ឌឺមីទ័រពុំយល់ព្រមអោយអ្វីៗទាំងអស់អាចដុះលូតលាស់បានឡើយ​ គឺនៅពេលនោះហើយដែលសិសររដូវចាប់ផ្តើម។ នេះគឺជាជំនឿនៃការស្លាប់ និងរស់ឡើងវិញរបស់ធម្មជាតិ។

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Persephone is the goddess of the underworld in Greek mythology. She is the daughter of Zeus and Demeter, goddess of the harvest. Persephone was such a beautiful young woman that everyone loved her, even Hades wanted her for himself. One day, when she was collecting flowers on the plain of Enna, the earth suddenly opened and Hades rose up from the gap and abducted her. None but Zeus, and the all-seeing sun, Helios, had noticed it.

Broken-hearted, Demeter wandered the earth, looking for her daughter until Helios revealed what had happened. Demeter was so angry that she withdrew herself in loneliness, and the earth ceased to be fertile. Knowing this could not continue much longer, Zeus sent Hermes down to Hades to make him release Persephone. Hades grudgingly agreed, but before she went back he gave Persephone a pomegranate (or the seeds of a pomegranate, according to some sources). When she later ate of it, it bound her to underworld forever and she had to stay there one-third of the year. The other months she stayed with her mother. When Persephone was in Hades, Demeter refused to let anything grow and winter began. This myth is a symbol of the budding and dying of nature.

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Hamlet in Cambodia – Story in a nutshell

រឿងHAMLET ជាទឹកដៃនិពន្ធដ៏វែងជាងគេរបស់កវី សេកស្ពៀរនិងជាស្នាដៃប្រលោមលោកបែបកំសត់។កាលសម័យសេកស្ពៀរ រឿងនេះមានភាពពេញនិយមខ្លាំង ហើយបច្ចុប្បន្ននៅតែជាប់ចំណាត់ថាជាល្ខោនដែលគេយកមកសម្តែងច្រើនជាងគេ ។ រឿងនេះដំណាលពីព្រះអង្គម្ចាស់នៅប្រទេសដាណឺម៉ាក ដែលមានគំនិតសងសឹកនឹងម្ចាស់មា ដែលបានសម្លាប់បិតា របស់ខ្លួនដណ្តើមរាជ្យនិងបង្ខំមាតាធ្វើជាព្រះជាយា ។

The TrHamletEventBriteagedy of Hamlet, Prince of Denmark (often shortened to Hamlet) is a tragedy written by William Shakespeare. Hamlet is Shakespeare’s longest play and among the most powerful and influential tragedies in English literature. The play seems to have been one of Shakespeare’s most popular works during his lifetime and still ranks among his most-performed ones. Set in Denmark, the play tells us about the revenge of Prince Hamlet against his uncle Claudius. Claudius had murdered his own brother, Hamlet’s father King Hamlet, and subsequently seized the throne, marrying his deceased brother’s widow, Hamlet’s mother Gertrude. “To be or not to be, that is the question” is still a wildly spread quote from one of Hamlet’s monologues.

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Hamlet in Cambodia – Shakespeare’s biography

វីល្លៀមសេកស្ពៀរ ជាកវីជនជាតិអង់គ្លេសដែលគេចាត់ទុកថាជាអ្នកនិពន្ធល្ខោនដ៏អស្ចារ្យជាងគេក្នុងអក្សរសិល្ប៍អង់គ្លេស ។ គាត់ជាអ្នកនិពន្ធប្រលោមលោក ស្នេហារឿងរ៉ូមេអូ ជូលីយែត ។ កាលពីឆ្នាំ១៥៩៩ គាត់បាននិពន្ធរឿង HAMLET ដែលគេចាត់ទុកជាស្នាដៃដ៏ អស្ចារ្យបំផុតរបស់គាត់ ។ គាត់ពូកែទាំងនិពន្ធប្រលោមលោកស្នេហាកំសត់ និងពូកែទាំងផ្នែករឿងកំប្លែងហើយជាអ្នកនិពន្ធមួយដែលនាំល្ខោនឲ្យមានការវិវត្រីកចម្រើនទៅមុខ ។​

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William Shakespeare (1564-1616), often called the English national poet, is still widely considered the greatest dramatist of all time. He went to London in 1587 and by 1592, William had begun a career as a playwright.In 1595, he wrote Romeo and Juliet, which is arguably the most famous love story and tragedy of all time. In 1599, Shakespeare wrote Hamlet, historically thought of as his greatest masterpiece. To this day, Hamlet is probably his most quoted and reproduced tragedy. Today, he is regarded as one of the few playwrights to have succeeded in writing both comedies and tragedies. He is also seen as having revolutionized the world of theater.

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Leak at the SEA Choreolab 2015 – May 30th till June 7th, Rimbun Dahan (Malaysia)

សិល្បកររបស់យើងមួយរូប ជី រតនា (ល័ក្ខ) បានចូលរួមសិក្ខាសាលាតែងរបាំអាស៊ីអាគ្នេយ៍ឆ្នាំ២០១៥​ 
ពីថ្ងៃទី៣០ ខែឧសភា រហូតដល់ថ្ងៃទី៧ ខែមិថុនា។ គាត់ជាអ្នកដំឡើងរបាំសហសម័យមួយរូបនៅក្នុង
ចំណោមអ្នកដំឡើងស្នាដៃទាំង១៥រូប ដែលមកពីប្រទេសឡាវ កម្ពុជា ថៃ វៀតណាម ម៉ាឡេស៊ី សឹង្ហបុរី
ឥណ្ឌូនេស៊ី និងហ្វីលីពីន ដែលមានរយៈពេល៩ថ្ងៃ នៅមណ្ឌលសិល្បៈរីមបូនដាហាន(Rimbun Dahan)
ប្រទេសម៉ាឡេស៊ី។ ពួកគាត់បានធ្វើការក្រោមការសម្របសម្រួលរបស់ Arco Renz ដែលជាអ្នកដំឡើង របាំជនជាតិអាល្លឺម៉ង់ដែលមានមូលដ្ឋាននៅទីក្រុង Brussels។

អ្នកចូលរួមនីមួយៗមានឱកាសដឹកនាំក្រុមខ្លួនឯងក្នុងកំឡុងពេលChoreolab ដែលពួកគាត់បានចែករំលែក
នូវរបៀបផ្លាស់ប្ដូរចលនា និងវិធីសាស្រ្តក្នុងការដំឡើងរបាំរបស់ពួកគាត់។ Arco បានដឹកនាំក្រុមក្នុងការរួម បញ្ចូលសម្ភារៈនេះទៅក្នុងលំហាត់នៃការបង្កើតរបាំនិងការវិភាគ។ វាគ្មិនជាច្រើនរូបក៏ត្រូវបានអញ្ជើញ ដើម្បីបកស្រាយលើកប្រធានបទក្រៅសិល្បៈដូចជា សន្ដិសុខក្នុងតំបន់ សេដ្ឋកិច្ច និងជីវភូមិសាស្ត្រជាដើម។

មន្ទីរពិសោធនាដកម្មឆ្នាំ២០១៥​ ត្រូវបានគាំទ្រដោយវិទ្យាស្ថាន Goethe-Institut​ នៅប្រទេសម៉ាឡេស៊ី និង
ទទួលស្វាគមន៍ដោយរីមបូន ដាហាន(Rimbun Dahan)។ វាជាគម្រោងមួយដែលបានរួមគ្នាជាមួយ My Dance
Alliance និងWorld Dance Alliance Asia-Pacific។

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One of our Artists, Chy Ratana (Leak), joined the South East Asia Choreolab 2015, from May 30th till June 7th. He was among 15 emerging contemporary dance choreographers from Laos, Cambodia, Thailand, Vietnam, Malaysia, Singapore, Indonesia and the Philippines to be part of a 9 days training at Rimbun Dahan, Malaysia. They worked with the facilitation of Arco Renz, a German choreographer based in Brussels.

Each of the participants had the opportunity to run their own group session during the Choreolab, sharing their particular movement style or choreographic method. Arco led the group in integrating this material into choreographic and analytical exercises. ‘Zeitguest’ speakers were also invited to address non dance related topics such as regional security, economics and marine biogeography.

The Southeast Asian Choreolab 2015 is supported by Goethe-Institut Malaysia, and hosted by Rimbun Dahan. It is a joint project between MyDance Alliance and World Dance Alliance Asia-Pacific.

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Our choreographer and dancer Nget Rady successful candidate of the prestigious Asian Cultural Council (ACC) grant

Our Artistic Director, Chey Chankethya comes back on Rady’s background and commitment to contemporary dance at the announcement of his accomplishment.

da:ns 2013 - KHMEROPÉDIES III: SOURCE / PRIMATE by Emmanuèle Phuon and Amrita Performing Arts (Cambodia)

dans 2013 – KHMEROPÉDIES III:
SOURCE / PRIMATE
by Emmanuèle Phuon and Amrita Performing Arts (Cambodia)

Rady has always been very committed. He is trained as male masked dancer and he believes in what he does. As coming from a very poor family, he is interested in social issues and believes that as an artist, he can bring change to society. He uses art to reach out and heal himself: not for money or fame but to help society. I see him as a promising choreographer for Cambodia and even South East Asia.

Thanks to the ACC grant, he will have the opportunity to go to the US for six months. It is a great chance to both improve his English and build his network, to develop and broaden his mind as a conceptual artist, so he can get inspiration for once he gets back to Cambodia, as he is interested in developing Khmer classical training methodology.

To me, he personifies independence and can adapt to a new environment easily, he is very open. He is one of the most amazing dancers; he has a leader brain and never stops creating work. He shows real commitment, he is a real model. He is the hope of the young generation of Cambodian choreographers. This shows in his life’s motto “Never stop questioning, never stop learning.”

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A note from our Artistic Director about the last Contemporary Dance Platform (CDP)

_AAD2921It is still a very early process, but our artists now know how to think beyond themselves. They thought deeply about life and how they take it as a source of inspiration. We can see it in their respective works and approaches: Davy focuses on a reflection between inner and outer through visuals, while Mo is more confident in his use of choreography as to show how life is a journey from one place to the next and Belle focuses on using new elements of expressing her ideas, making the audience wonder about consequences of one’s actions. I feel proud as they, as artists, think broader thanks to more research, expanding their boundaries to better reflect nowadays Cambodia.

This CDP marks a significant change: from stopping to try to be something else to be more original and creative and find how to use technical elements to support their message. For example, musics used in their works, all unique creations, are inspired by their Cambodian backgrounds: none of the pieces used Western instruments. I can only emphasize the completeness of the platform involving all aspects of the arts.

I also appreciate it as a resounding success towards the young audience and wonder: “How to reach out to more audience to support city life? Every event reflects the heart of a city. How to get more involved?” As an Artistic Director, choreographer and dancer, I cherish the idea of giving the opportunity for upcoming choreographers to present their work and speak up for themselves as a way to promote democracy and leadership through the arts.

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