Sophiline Cheam Shapiro (L) and Charya Cheam Burt

Sophiline Cheam Shapiro (ឆ្វេង)
និង Charya Cheam Burt (ស្ដាំ)
Los Angeles, ២៥ កក្កដា ២០០៤

របាំជាលក្ខណៈពិសេសមួយរបស់វប្បធម៌ខ្មែរ ទាំងជាសកម្មភាពកំសាន្ត និងជាសញ្ញារបស់វប្បធម៌ ប្រវត្តិសាស្ត្រ និងប្រជាជាតិ ។ ជនជាតិខ្មែរមានដានលំនាំរបាំតាំងពីមុនសម័យអង្គរ (សតវត្សទី៩-១៤) មកម្ល៉េះ ហើយតែងតែនិយាយពីរបាំថាជា «ព្រលឹង» នៃប្រជាជន។[i] យោងទៅតាមសិលាចារឹក ពីសតវត្សទី១២ មាតារបស់ប្រជាជនខ្មែរ គឺឈ្មោះមេរា ដែលជាអប្សរា (ស្រីសួគ៌)។[ii] របៀបរាំជាច្រើន មានរួមបញ្ចូលទាំងការរាំកម្សាន្តជាក្រុម របាំប្រពៃណីតាមតំបន់ និងរបាំបុរាណនិងការរាំក្នុងល្ខោន ដែលលេងពីរឿងព្រេងបុរាណ។

ការបង្កើតរបាំនិងភ្លេងសំរាប់អមនៅឡងប៊ិច គឺពោរពេញដោយឧបសគ្គ។ ពីមុនមានអ្នកចេះចំនួនតិចណាស់ ដែលមានជំនាញខាងរាំនិងអាចបង្រៀនអ្នកផ្សេងៗទៀតបាន។ ឧបសគ្គដែលពិបាកស្មើគ្នានោះ គឺគ្រឿងតុបតែងនិងសំលៀកបំពាក់ ដែលជាទេពកោសល្យមួយដោយខ្លួនឯង។ ដោយគ្មានរបស់របរត្រឹមត្រូវ និងមានអ្នកចេះតិចតួចជួយ អ្នកទាំងនោះបង្កើតសំលៀកបំពាក់ គ្រឿងពាក់នៅក្បាល និងរបាំងមុខ ពីការចងចាំ។

របាំពីរយ៉ាង ដែលតែងតែបានរាំបង្ហាញនៅសាធារណ នៅឡងប៊ិចសព្វថ្ងៃនេះ គឺរបាំបុរាណនិងរបាំប្រជាប្រិយ។ ជាច្រើនឆ្នាំមកនេះ មានក្រុមរបាំមួយចំនួនដែលបានបង្កើតឡើង ដែលមានថ្នាក់បង្រៀនរាំផងដែរ។ សព្វថ្ងៃនវ យ៉ាងតិចណាស់ក៏មានក្រុមរបាំពីក្រុមដែលសម្ដែងជាវិជ្ជាជីវៈ ក្នុងពិធីក្នុងតំបន់។ ថ្មីៗនេះសមាគមវប្បធម៌និងសិល្បខ្មែរបានបង្កើតរបាំត្រុដ និងឆៃយ៉ាំដើម្បីសម្ដែងក្នុងបុណ្យចូលឆ្នាំនៅខែមេសា។

តាមរូបភាពនិងវីដេអូ វគ្គនៃទំព័រនេះមានប្រវត្តិខ្លីៗនៃការបង្កើតរបាំខ្មែរដែលមានប្រភេទផ្សេងៗនៅឡងប៊ិច។ យើងខ្ញុំអញ្ជើញអ្នកទាំងអស់គ្នាដែលចង់បរិច្ចាគឯកសារ សៀវភៅ វីដេអូ ឬរូបថត មកដល់ប័ណ្ណសារ ឬបណ្ដាញទំព័រខែមឆែភ នៅសង្គមប្រវត្តិសាស្ត្រទីក្រុងឡងប៊ិច តាមទូរស័ព្ទ ៥៦២-៤២៤-២២២០ ឬ សារអេឡិចត្រូនិក Aquesta adreça de correu-e està protegida dels robots de spam.Necessites Javascript habilitat per veure-la.។

រូបថតវិចិត្រសាល

Celestial dancers, known as Apsara, and other female deities, known as Tevoda, were carved on the surfaces of temples built by Khmer kings during the Angkor period (9th-15th centuries). The Apsara pictured here are on a pillar at Bayon Temple, built by Jayavarman VII in the late 12th century. Modern Khmer classical dance is influenced by forms of ritual dance performed as part of Hindu and Buddhist worship. Dancers were seen as intermediaries who venerated the deities and asked for blessing on behalf of the people. Photo: Gareth Bogdanoff (2009).
According to a Hindu tale, Apsara were created during the Churning of the Sea of Milk. The story tells of how the Devas (deities) and Asuras (demons) fought with each other to be the first to produce the divine elixir which would give them immortality. Vishnu (the four-armed figure at center, known as Preah Noreay in Khmer) brought the fighting to an end by having the Devas and Asuras work together. Using a giant serpent as a rope and a mountain as the pivot, the Asura (at left) and Devas(at right) pulled on the serpent, churning the sea for 1,000 years. Many creatures were created out of the mixing, including the Apsara, which are seen flying away above Vishnu's shoulders. This detail is from the bas relief on the south end of the east gallery at Angkor Wat, built by Khmer king Suryavarman II in the 12th century. Photo: http://en.wikipedia.org/wiki/Angkor_Wat
Modern Cambodian classical dance reflects the postures of the Apsara carved on Angkorean temple walls. The dance incorporates controlled, softly flowing movements and curved lines. Hand gestures along with body posture and facial expression impart meanings such as joy, sorrow, and anger. This dancer is dressed in the traditional rehearsal costume which consists of a close fitting blouse and pants-like lower garment known as "kben." The kben is fashioned from a 9 foot length of fabric. The cloth is caught at the waist and pulled forward away from the body. The loose ends are twisted to a point and then pulled through the legs, up to the back of the waist, and tied in place with a knot at the belt.
Bas reliefs of Tevoda (celestial beings) at Angkor Wat (shown at right) provided inspiration for costuming and choreography of the Apsara Dance, created in the 1950s by Queen Sisowath Kossamak Nearyrath, the grandmother of the current King, Sihamoni. The principal dancer represents Mera, a celestial dancer, who married the wise man Kambu and gave birth to the Khmer people (see Phim 1999). The influence of the bas relief can be seen in the details of the headdress, necklace and belt, upper arm bands, anklets, and skirt design. Pictured: Julie Nuth, Long Beach, CA. Photo: Kimsua Chay.
The first Cambodians in Long Beach were students who attended California State University Long Beach through a USAID program in the 1960s. Pictured here is a culture show the students produced to celebrate Cambodian New Year. The Cambodian students formed a band, made the costumes, and taught other CSULB students Cambodian dances. Photo: c. 1964.
The first evacuees from Cambodia following the fall of the country to the Khmer Rouge, arrived in Long Beach in the late spring of 1975. In April 1976 a New Year celebration was held at Wilson High School. Cambodian New Year is traditionally held in April following the rice harvest. Leng Hang (center), who had been trained in dance while in the military in Cambodia, was instrumental in establishing classical and folk dance forms in Long Beach. She retired from dancing after this performance and concentrated on teaching classical and folk dances to the younger generation in Long Beach. In 1983 she founded the Cambodian Arts Preservation Group to train youth in classical and folk dance. The company performed in the 1984 film Micki and Maude (see Catlin 1987). Pictured from left: Sunthary Del Castillo, Leng Hang, Monica Pich. Photo: 1976.
From 1975 to 1979, Cambodia was closed off to the rest of world and the silk fabrics, jewelry, and other adornments used in dance costuming were not available to the newly forming community in Long Beach. Additionally, there were very few classically trained dancers and teachers in the United States. Cambodian dance was not a written tradition, but was passed from teacher to student orally, through direct instruction. With no written documentation and only a few experts in Long Beach, everything, including choreography and music, was recreated from memory with materials available in the U.S. Over time, materials from Thailand which are similar, but not identical to Khmer, were imported. It was not until Cambodia re-opened in the early 1990s that materials and expert knowledge from Cambodia became more easily available to Cambodians in Long Beach. Pictured from left: Monica Pich, Sunthary Del Castillo, Ana Ung. Photo: c. 1977-78.
In Cambodian classical dance, women perform both male and female roles. In this photograph, the dancer on the left, with the taller headdress, ornamental shoulder pieces, and pants-like kben is dressed for the male role. The dancer on the right, dressed as a woman, wears a smaller headdress, a shawl over one shoulder and sampot skirt. Pictured: Ana Ung (L), Monica Pich (R). Photo: c. 1977-78.
With no formally trained costumers and no photographs or books describing how the costumes, masks, headdresses, and other adornments for classical dance were made, people made use of what was available. Masks and headdresses were especially challenging because methods and materials were not known, or if they were known, the materials were not available. Pictured here is a collection of masks and headdresses made by Mr. Yon Pich in the late 1970s. Mr. Pich experimented with many different kinds of materials and methods before arriving at workable designs. Photo: Yon Pich (1976).
The fan dance tells of the protective shade the king provides for his people (see Shapiro 1994). Even though the dance moves and costuming were not exact, Cambodians in exile in Long Beach deeply appreciated the effort. As Sunthary Del Castillo explains, "Everybody was so sad and it made them so happy that we tried." Pictured from left: Monica Pich, Ravy Lu, Sunthary Del Castillo, Davy Lu. Photo: c. 1977-78.
Axe dance performed in Long Beach sometime between 1977 and 1978.
Chhayam is one of many traditional dances found throughout Cambodia. It is a light-hearted, animated dance for men and women composed of percussive rhythms, exaggerated dance moves, and call and response singing, joking, and teasing. Males usually have comically painted faces or wear masks, and flirt with a graceful female dancer who pretends to ignore their antics. A Chhayam troupe usually leads ceremonial processions. Pictured from left: Yon Pich, Dan Demang, unknown. Photo: c. 1977-78.
The Monkey King, Hanuman, is one of the most beloved characters of the Indian epic poem, Ramayana (the travels of Rama). The Ramayana tale is found throughout Southeast Asia and in Cambodia is known as the Riemker (pronounced Kiemke - the final 'r' is silent). Monkey roles had long been part of another Cambodian theater tradition, known as Lakhon, but were not included in classical dance until the 1950s. The monkey role is quite athletic and is one of the few roles in classical dance which is performed by men. Pictured: Yon Pich. Photo: c. 1977-78.
The King's Father, Prince Norodom Sihanouk visited Long Beach in 1980. In honor of his visit, Leng Hang's dance troupe performed the Apsara Dance. Pictured: Monica Pich (L), Sunthary Del Castillo (R).
"Robam Traloak," the Coconut Dance, is a lively folk dance in which "lines of women and men clack their coconut shells in a lively steady rhythm while the men shout and sing in syncopation" (Shapiro 1994). It is a familiar dance in Long Beach, performed by most dance troupes and a variety of other groups and organizations for culture shows and special events. The dancers are usually adolescents and young adults. This performance occurred in the 1980s.
Rehearsal of the Coconut Dance at a school in Long Beach in the 1980s. In December 1978 the Vietnamese invaded Cambodia and pushed the Khmer Rouge into the western jungles along the border with Thailand. Although Cambodians throughout the diaspora had some idea of the atrocities being committed by the Khmer Rouge, the full extent of the devastation and loss was not revealed until this time. It has been estimated that 80% to 90% of Cambodia's artists died during the Khmer Rouge period. Since training in the arts was transmitted orally from teacher to student, the death of so many artists meant much of Cambodia's cultural knowledge was lost forever. Additionally, the fact that Cambodia's long-time enemy, the Vietnamese, now occupied the country, increased fear that their country and culture would be entirely and finally destroyed. Cambodians in Long Beach felt an even greater urgency to preserve and transmit what knowledge they had to the next generation growing up in exile from the homeland.
Several organizations in Long Beach worked with Cambodian-led organizations and groups to preserve and transmit Cambodian arts. Among them was the "Light of the Cambodian Family" a program offering instruction in Cambodian dance at local schools. The project was part of the Southeast Asian Health Project, a joint venture of St. Mary Medical Center and United Cambodian Community. This dance performance was at Lincoln Elementary School in 1990s.
In 1990, the Classical Dance Company of Cambodia performed in the Los Angeles Festival. It was the first tour of dancers in the United States since 1971 and for many Cambodian Americans it was the first contact with Cambodia since fleeing in the 1970s and 1980s. It was an emotional tour that confirmed for those in exile that the country and culture had not been destroyed. Sophiline Cheam Shapiro, pictured here in 1992, was a member of the troupe. She returned to Long Beach in 1991 and began teaching Cambodian classical dance and music. In 2002 she and her husband founded the Khmer Arts Academy in Long Beach. Sophiline has since returned to Cambodia to found the Khmer Arts Ensemble, a professional touring dance company, while maintaining the Khmer Arts Academy in Long Beach. Sophiline has won numerous awards and international recognition for her original choreographed works.
The quality of dance costumes changed significantly following the re-opening of Cambodia in the early 1990s. More and more people were able to travel to Cambodia to obtain the fabrics, headdresses, jewelry and other accoutrements for the various dances. The shawl pictured is velvet with an intricate hand-embroidered design in gold thread and sequins. The skirt is a 9 foot piece of hand-woven silk brocade which is wrapped around the waist and held in place with a belt. No zippers or fasteners are used on the costumes. Performers are sewn into their costumes. With hair and makeup, it can take up to one hour to dress a single dancer. Pictured: Morishe Yang performing the Blessing Dance.
Apsara Dance performed at a New Year celebration in El Dorado Regional Park in April 2000. Pictured: Gloria Leng (center).
"Robam Kom Araek," Bamboo Pole Dance, is a folk dance found in many countries of Asia. The dance is similar to jump rope, but with bamboo poles instead of rope. The poles are struck on wooden blocks resting on the ground and then struck together in a rhythmic pattern as one or more dancers step between them. The dance was performed at the New Year celebration in El Dorado Regional Park in April 2000.
"Robam Vong" is a group dance for men and women usually performed by guests at large social gatherings, such as wedding receptions and banquets. Dancers form a large circle which moves counter-clockwise as they coordinate graceful hand movements with dance steps. Robam Vong is more relaxed than the formalized movements of classical dance and allows a greater range of individual variation. The dance was performed at the New Year celebration in El Dorado Regional Park in April 2000.
As contact with Cambodia has increased, dance forms and costuming in Long Beach have become more varied and sophisticated. A fund raiser for the Cambodian dragon boat team in 2005 featured a performance of "Sovann Machha" which tells the story from the Reimker of how the monkey king, Hanuman, became enraptured with the golden mermaid and tried to win her love.
"Chuon Po," Blessing Dance, brings the blessings of the gods and ancestors to those present and wishes all guests good health and prosperity. In Long Beach, the Blessing Dance is usually performed at the beginning of a program. Each dancer holds a cup containing rose petals, which they gently toss toward the audience signifying blessings from the deities. Pictured from left: Chanaphear Hout, Sandy Nou, Jacquiline Pan, Nicole Khuon, members of the Spirit of Khmer Angkor, a dance troupe supported by the Cambodian Association of America. Photo: April 2000, New Paradise Restaurant.
Cambodian classical dance originated as a form of worship. Within its cultural context, it was not necessarily performed to entertain, but to connect the kingdom with the gods and spiritual ancestors. Although the cultural context for dance performances in Long Beach is significantly different, some of the sacredness remains. Before a performance, many dance troupes prepare themselves through a ceremony called Sampeah Kruu, in which they give thanks to their teachers and the spirits of the dance. Offerings of fruit and flowers are arranged and incense is lit. Elements associated with dance, such as musical instruments, masks, and images of past teachers, may also be included. On the third Thursday of November 2006 (Thanksgiving Day), the Spirit of Khmer Angkor Dance Troupe held a Sompeah Kruu dedicated solely to the purpose of giving thanks to past and current teachers and ancestor spirits. The ceremony included a Blessing Dance accompanied by musicians in a Pin Peat ensemble and was witnessed by dancers, musicians, families, and friends who support the dance. Participation in rituals such as this helps Cambodian youth in Long Beach create a "sense of historical and spiritual continuity" as did their ancestors before them (see Phim 1999). Photo: Yon Pich
Members of the Cambodian Student Society of CSU Long Beach perform Chhayam at the 2007 New Year celebration at El Dorado Regional Park. Pictured from left: Thourn Heng, Ernest Ung, Peter Seng, Tina Thuch and David Kem. Photo: Susan Needham.
The Trot troupe in Long Beach usually performs at New Year, leading the parade on Anaheim Street and performing on stage at El Dorado Park. Trot reenacts the slaying of a golden dear. The characters of Trot include the hunter, an ox, demons, witches, and peacocks, who try to protect the golden deer from the hunter. The dance is believed to have originated in the Battambang and Siem Reap areas of Cambodia. Photo: Susan Needham
Mastery of Cambodian classical dance requires years of daily exercises and practice to achieve sufficient hyperextension and flexibility of the fingers, arms, and back. Classes begin with exercises which stretch and extend the normal range of the body's joints. This posture stretches the joints of the fingers and elbows. Arts of Apsara Gallery and Cultural Center. Fall 2003.
Facial expression is also critical to classical dance. Students spend several years internalizing and learning how to express the emotions and sensibilities associated with classical dance (Shapiro 1994). The dancer in the foreground displays the valued body posture (shoulders down and level, back arched) and concentrated, meditative expression. Khmer Arts Academy, Fall 2002. Photo: Susan Needham
Khmer Arts Academy students rehearse with live musicians. Julie Nuth in the yellow kben models the form for her students. Fall 2002. Photo: Susan Needham

[i] Shapiro, Toni (1994) Dance and the Spirit of Cambodia. Ann Arbor, MI: UMI Dissertation Services.

[ii] Phim, Toni Samantha and Ashley Thompson (1999) Dance in Cambodia. New York: Oxford University Press.

អត្ថបទបន្ថែម

Beyond the Apsara: Celebrating Dance in Cambodia (2009) Stephanie Burridge and Fred Frumberg, eds. Routledge India.

Catlin, Amy (1987) Apsara: The Feminine in Cambodian Art. Los Angeles: The Woman's Building.

Cravath, Paul (2008) Earth in Flower: Divine Mystery of the Cambodian Dance Drama. Holmes Beach, FL: DatASIA.

Ghosh, Amitav (1993) Dancing in Cambodia. IN Granta 44, Spring.

Groslier, George (2010) Cambodian Dancers Ancient and Modern. English translation of 1912 French original. Holmes Beach, Florida: DatASIA.

Heywood, Denise (2009) Cambodian Dance: Celebration of the Gods.Bangkok: River Books Press.

Marchal, Sappho (2006) Khmer Costumes & Ornaments: After the Devata of Angkor Wat.Hong Kong: Orchid Press.

Pearson, Colin (2006) Harihara at the Beach: Finding Equilibrium Through Dance in a Cambodian Diaspora Community. M.A. Thesis, University of California Riverside.

Pech, Tum Kravel (1995) Sbek Thom: Khmer Shadow Theater. Ithaca, NY: Cornell University, Southeast Asia Program.

Pich, Tum Kravel (2001) Khmer Dances. Toyota Foundation.

Phim, Toni Samantha and Ashley Thompson (1999) Dance in Cambodia.New York: Oxford University Press.

Sam, Chan Moly, Sam Ath Nguon and Sam-Ang Sam (1998) Khmer Folk Dance. Cambodian Network Council.

Shapiro, Sophiline Cheam (2008) Cambodian Classical Dance and the Individual Artist. IN Dance, Human Rights and Social Justice: Dignity in Motion. Naomi Jackson and Toni Shapiro-Phim, eds. Pages 166-167. Lanham, MD: Scarecrow Press.

Shapiro, Sophiline Cheam (2009) Seasons of Migration. IN Cultural Identities: Tokyo to Bombay. Centre national de la danse.

Shapiro, Sophiline Cheam (1993) Saving Grace. Transpacific, July/August.

Shapiro-Phim, Toni (2008) Mediating Cambodian History, the Sacred, and the Earth. IN Dance, Human Rights and Social Justice: Dignity in Motion. Naomi Jackson and Toni Shapiro-Phim, eds. Pages 304-322. Lanham, MD: Scarecrow Press.

Shapiro, Toni (1994) Dance and the Spirit of Cambodia. Ann Arbor, MI: UMI Dissertation Publishing.

The Royal Ballet of Cambodia (2008) UNESCO, Ministry of Culture and Fine Arts. Site has images and video.

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