Beyond the Killing Fields: A Journey of Cambodian Cultural Revival

1. Classic Khmer Civilization 9th – 15th Century

3. Temple Monuments

4. Khmer Society • The King – omnipotent power encompassing people, state, law, soil • Administrative Nobles & Priests • Scholars, Poets, Artists, Astrologers, Astronomers • Warriors & Farmers – largest class • Slaves

5. How we know…

6. Little change in the basic methods & means of agrarian life

7. Celestial Dancers

8. Royal Ballet (Ankor Wat,1949)

9. Year Zero

10. An Agrarian Utopia

11. The Killing Fields • Peasants – ‘Old People’ … City folk – ‘New People’ with no human rights • Literacy, Arts, Music, Religion abolished • Anyone deemed educated – spoke English or French – executed • Families separated – starvation… torture • 300 Royal Musicians & Dancers – 30 survived

12. 1.7 Million

13. Ong Keng Seng(Director) • ‘Intercultural Theatre’ – mixing contemporary & traditional performance styles • ‘Cultural Negotiation’ – artists from different backgrounds working together in experimental ways • Evolution of Asian Identity & Aesthetic for contemporary performance in 21st Century

14. The Continuum: Beyond the Killing FieldsTheatre Works, Singapore • Documentary – Performance • Weaves real life stories of life & death under Pol Pot – as told by 3 classical dancers & 1 puppeteer • Classical Dance Repertoire • Dance Training Exercises • Shadow Puppetry • Evocative Music • Documentary Video Footage

15. Lead performer Em Theay • 78 year old Em Theay • Master dancer of Royal Cambodian classical dance – trained from age 7 • At 15 – main roles at Cambodian Royal Palace; became dancer for Cambodian Republic in 1970 • Lost 3 sisters, 4 children, 1 grand daughter & 1 son-in-law on Killing Fields • Now a Kru – master teacher – of dance

16. The Journey • 2 years in development • Artists revisit sights from past • Shared journey with each other – and now us • Audience synthesis with performer’s ordeals • Deep appreciation of Cambodian art forms • Aesthetic – to become involved with performers rather than form

17. Cambodian cultural influences in the performance Traditional Cambodian style puppetry • Puppets hand made from leather • Used for first time ever in a performance that is not the story of the Ramayana • Tell history of modern Cambodia under Pol Pot – controversial change for Cambodian cultural custodians

18. Cambodian classical dance • Cambodian classical dance and theatre is based on great epic poem – Reamker, ‘Glory of Rama’ • Adapts Hindu ideas to Buddhist themes • Shows balance of good and evil in the world • Explores ideals of justice and fidelity

19. Cambodian cultural influences in the performance Classical Dance • Exquisite finger, hand & wrist gestures – expresses emotion • Knees & feet pressed outwards as dancer semi-squats – at least one leg always bent • Palms & fingers stretched backwards elegantly – similar style to neighbouring countries • Spine erect, slightly arched, forming gentle curve – allows stylised, feminine movements – supported by facial expressions • Together, movements & facial expressions tell story

20. Rituals in Asian culture and performance • Connection with spiritual world • Prayers & offerings • Elaborate body & head ornamentation • Experiential enhancement through smell, often in the form of incense • Range of artforms – music, dance, chanting, singing Balinese ceremonial ritual

21. Use of ritual in The Continuum • Opening scenes… • EmTheay undertakes with her creative team a formal ritual – sampeahkru – before the first performance of Continuum • Honours deities, spirits and teachers – made as a blessing for the new work & to protect the performers on their journey • In today’s workshops, we will create our own rituals