Cambodia's Khmer Arts Ensemble - Cal Performances - University of ...

Table of Contents1. Theater Etiquette 12. Student Resource Sheet 23. About the Performance and the Artists 44. About the Art Form 75. About Cambodia 116. Learning Activities & Resources 157. California State Standards 19About SchoolTime 19| SchoolTime Cambodia’s Khmer Arts Ensemble

1 Theater EtiquetteBe prepared and arrive early. Ideally you should arrive at the theater 30 to 45 minutesbefore the show. Allow for travel time and parking, and plan to be in your seats at least 15 minutesbefore the performance begins.Be aware and remain quiet. The theater is a “live” space—you can hear the performerseasily, but they can also hear you, and you can hear other audience members, too! Even the smallestsounds, like rustling papers and whispering, can be heard throughout the theater, so it’s best to stayquiet so that everyone can enjoy the performance without distractions. The international sign for“Quiet Please” is to silently raise your index finger to your lips.Show appreciation by applauding. Applause is the best way to show your enthusiasmand appreciation. Performers return their appreciation for your attention by bowing to the audienceat the end of the show. It is always appropriate to applaud at the end of a performance, and it iscustomary to continue clapping until the curtain comes down or the house lights come up.Participate by responding to the action onstage. Sometimes during a performance,you may respond by laughing, crying or sighing. By all means, feel free to do so! Appreciation can beshown in many different ways, depending upon the art form. For instance, an audience attending astring quartet performance will sit very quietly, while the audience at a gospel concert may be inspiredto participate by clapping and shouting.Concentrate to help the performers. These artists use concentration to focus theirenergy while on stage. If the audience is focused while watching the performance, they feelsupported and are able to do their best work. They can feel that you are with them!Please note: Backpacks and lunches are not permitted in the theater. Bags will be providedfor lobby storage in the event that you bring these with you. There is absolutely no food or drinkpermitted in the seating areas. Recording devices of any kind, including cameras, cannot be usedduring performances. Please remember to turn off your cell phone.SchoolTime Cambodia’s Khmer Arts Ensemble | 1

2Student Resource SheetCambodia’s Khmer Arts EnsembleQuestions to Think About During the Performance• What happens in The Lives of Giants?• How do the performers tell the story of the dance?• How did the Khmer Rouge’s rule affect Cambodia?What You’ll SeeOn Monday, October 3, your class willattend a performance by Cambodia’s KhmerArts Ensemble. This troupe, led by SophilineCheam Shapiro, performs new works and classicCambodian dance pieces, set to traditionalCambodian music. At SchoolTime, the 36-membertroupe will perform The Lives of Giants, a storydrawn from the Reamker, the Cambodian versionof India’s ancient epic the Ramayana.The Story of The Lives of GiantsA giant who lives in a heavenly kingdomhas been teased since he was little by a group ofmischievous angels. Tired of being bullied, he asksthe king for a way to protect himself. The king feelssorry for the giant, and although his wife warns himnot to, the king gives the giant a magic finger withwhich he can defend himself. At first, the giant isunsure about using his magic finger. But when theangels start knocking him on the head, he pointshis finger at them and breaks them into pieces.Soon, he goes wild with his new power, destroyingthe heavenly kingdom.The angels ask the king for help, but he runsaway, afraid for his own life. The king’s wife, Umagoes to the god Visnu for advice. When Visnu saysthe giant will have to be killed, Uma disagrees,saying all the giant needs is to discover his kindnessagain, then he’ll stop being violent. Visnu agrees tolet Uma try her plan, but warns that he’ll step in ifit doesn’t work.Uma dances for giant, and the beauty of herperformance soon calms him. But as he relaxes andjoins Uma in her dance, Visnu becomes impatientand forces the giant to point his magic finger athimself. The giant rages that he will return in anotherlife to get his revenge. Then, he falls into Uma’s armsand dies. Seeing more destruction to come, Umamourns that violence has won over compassion.Cambodian DanceTraditional Cambodian dance began in thecountry’s royal courts. Classical dance centersaround tales of gods and goddesses, folk myths orstories of royal characters, and were performed asa way to call on the gods, or give honor to royalty.2 |

Dancers wear elaborate costumes decoratedwith sequins and semi-precious gems as well asgold headdresses, bracelets and anklets. They usestylized movements and gestures to help tell thestory. Hand gestures have clear meanings, somerepresent items from nature, like fruit, flowers, andleaves, some show thoughts or emotions.A pinpeat ensemble of musiciansaccompanies the dance, with singers voicing thecharacters’ words and thoughts.CambodiaThailand, Laos and Vietnam borderCambodia, as does the Gulf of Thailand on the westcoast. Cambodia’s climate is tropical. The rainymonsoon season lasts from May to November; itis dry from December to April. The terrain consistsmostly of low, flat plains and mountains in thesouthwest and north. Phnum Aoral is the highestpoint. Southeast Asia’s great river, the Mekong,runs through the center of the country and is calledTonlé Thom (“Great River”) by Cambodians. Forestsand woodlands account for 66% of the land; onlyabout 13% is farmland. Cambodia is slightly smallerthan Oklahoma.Cambodia’s capital, Phnom Penh (pronouncedNohm Pen) lies on the banks of the Mekong. Thecity of Siem Reap (pronounced See-am Reeb)lies at the north end of the Tonlé Sap lake andis the gateway to Angkor Wat (meaning “capitalmonastery”), the ancient temple complex builtin the 12th century. Angkor Wat is Cambodia’sbest-known tourist attraction and appears on thecountry’s flag. The temple is known for its beautifularchitecture and reliefs.Cambodia’s HistoryThe area that is now Cambodia was thecenter of the Khmer Kingdom of Angkor, apowerful force in Southeast Asia from aboutthe 9th to 15th centuries. Cambodia was aFrench colony from 1863 to 1953, but gainedits independence in 1953, and entered a shortperiod of peace and prosperity. However, bythe late 1960s, Cambodian was drawn into theVietnam war. In 1975, communist forces knownas the Khmer Rouge captured Phnom Penh andemptied cities and towns. Over one million peopleforced from their homes were executed or diedfrom hardships. The Khmer Rouge believed thatCambodians needed to return to a simple, farmingway of life, so they targeted people they feltwere elite – especially teachers, writers, artistsand performers. After years of struggle, in 1993,Cambodia held general elections and restored aking to the throne.Today, traditional dance and arts are makinga strong comeback, taking their place once againat the center of Cambodian culture.SchoolTime Cambodia’s Khmer Arts Ensemble | 3

3Guiding Questions:♦♦♦♦♦♦About the Performance & ArtistsDescribe what you might experience at a Khmer Arts Ensemble performance.What main theme does The Lives of Giants explore?Who are some of the characters in The Lives of Giants?Cambodia’s Khmer Arts EnsembleCircus OzThe SchoolTime Performance:The Lives of GiantsCambodia’s Khmer Arts Ensembleexplores universal themes through traditionalCambodian movement, music and costumes.The ensemble is made up of 36 dancers,musicians and singers and is led by SophilineCheam Shapiro who has been instrumentalin preserving and advancing the performingarts traditions of the millennium-old Khmercivilization. Cheam Shapiro has injectedcontemporary choreography and music intothe company’s work producing “innovative,enchanting [and] riveting” performances (Voiceof Dance).Performance SynopsisFor SchoolTime, the Khmer Arts Ensembleperforms a selection from The Lives of Giants,an interpretation of an ancient tale of powerand vengeance. The production examines theculture of violence – how violence generates moreviolence, how the abused become the abusers, andtragically, how compassion is trampled in the urgefor revenge.The Lives of Giants is drawn from the Reamker,the Cambodian version of the Ramayana, anancient Sanskrit epic. Its principles, philosophyand characters are fundamental to the culturalconsciousness of South and Southeast Asians.Akaeng Khameaso, a giant in god Preah Eyso’sheavenly realm, has been the target of relentless4 |

taunting and bullying by a band of mischievousangels since he was a child. Fed up with the abuse,he complains to Preah Eyso, pleading for a way toprotect himself. Preah Eyso pities the giant and giveshim a magic finger, despite protests from the king’swife, Uma, that this will only cause more trouble.Akaeng Khameaso celebrates his newweapon, although at first he’s reluctant to useit. However, when the angels return and startknocking him on the head, he points his fingerat them and breaks them into pieces. Beforelong, the giant becomes drunk with his newfoundpower and lays waste to heaven.Panicked, the angels plea for Preah Eyso’shelp. But worried for his own safety, he resistsand flees in the opposite direction.With her husband and leader now gone,Uma turns to the god Preah Visnu for help.Preah Visnu declares that the only choice is tokill Akaeng Khameaso. But Uma disagrees. Shewants to put the giant in touch with his sense ofhumanity so that he’ll renounce violence. PreahVisnu insists that her plan will never work butallows her to try. If she fails, he’ll step in andslaughter the giant.Uma dances before Akaeng Khameaso.Entranced, he approaches, allowing her to redirecthis destructiveness and hunger for power towardbeauty and transcendence. As he relaxes and joinsin her dance, an impatient Preah Visnu enters andattacks. Despite Uma’s attempts to protect thegiant, Preah Visnu gets hold of the giant’s fingerand forces him to point it at himself.Emerging from the grace of Uma’s dance,Akaeng Khameaso rages at Preah Visnu, proclaimingthat he will be reborn with even more powerin his next life so no one will be able to defeathim. Then he collapses into Uma’s arms and dies.Uma, foreseeing the coming violence, laments thetriumph of violence over compassion.SchoolTime Cambodia’s Khmer Arts Ensemble | 5

Cast (in order of appearance)Akaeng Khameaso (child)Chea SocheataUmaKeo KunthearomTevabot (male angels)Kong Bonich, Lim Chanboramy, Sao Phirom, SaoSomalyTep Thida (female angels)Long Chantheary, Mot Pharan, Pum Molyta, SomSaymalyrouAkaeng Khameaso (adult)Rin SreyleakPreah Eyso (Shiva)Chao SocheataPreah Visnu (Vishnu)Sot SovanndyInstrumentalistsRoneat Ek (xylophone)Nil SinoeunSralai (quadruple reed oboe)Touch SarinSampho & Skor Thom (drums)Ros SokunGong Thom (circle gong)Soun PhallySingerCheam ChanthopeasDresserSam RathaScenic and Lighting DesignMarcus DoshiIn Cambodia, a person’s family name precedesthe first name when written or spoken. The honorificis associated with a person’s first name - e.g. SaoPhirom: Sao is the surname, and Ms. Phirom is theproper form of address.About the Artists:Khmer Arts EnsembleKymer Arts Ensemble was establishedin Cambodia in 2007 by Sophiline CheamShapiro to keep ancient performing arts of theKhmer region alive and vital. The companyperforms both contemporary creations andworks from the classical repertoire. The KhmerArts Ensemble has been hosted at majorvenues around the world and regularly toursthroughout the United States. The ensemblelasted performed at Cal Performances in 2005.Khmer Arts, dual-based in Cambodiaand Long Beach, California (home to thelargest Cambodian community outside ofSoutheast Asia), is an independent non-profitorganization founded in 2002 by SophilineCheam Shapiro and John Shapiro. In LongBeach, branch encompasses a school, a preprofessionalcompany and a Salon Series,which showcases classical dance in Cambodiancommunities throughout California. TheCambodia campus is in Takhmao outsideof Phnom Penh’s city center, which is fastbecome a vital center for dance. Along withproducing Khmer Arts Ensemble, Khmer Artsconducts media projects and has establishedan important international center for dancescholarship and documentation.Costume DesignMerrily Murray-WalshProducerKymer Arts: John Shapiro, Executive DirectorTouring General ManagerDeirdre ValenteTechnical DirectorRobert W. Henderson6 |

Guiding Questions:♦♦♦♦♦♦4 About the Art Form Cambodian Dance & MusicHow is Cambodian dance evolving?What do the four basic hand gestures represent?Circus PerformanceWhat role do the musicians and singers play in a Cambodian dance performance?Dance in Contemporary CambodiaBy Toni Shapiro–PhimDancers in Cambodia are responding to acontemporary environment that includes bothlightning-speed development and remindersof a devastatingly violent past. During theKhmer Rouge regime (1975–1979), nearly athird of Cambodia’s population perished. Largenumbers of professionally trained dancersdied, with a mere 10-20 percent surviving thegenocide. Classical dance, with long historicalroots intertwined with spirituality and with themonarchy, was nearly wiped out. With the loss ofso much embodied knowledge, government artsofficials have publicly prioritized the preservationof Cambodia’s traditional dance heritage formore than 30 years. Stylistic innovation, officialsclaim, threatens efforts to recover and rebuildCambodia’s arts. As a result, younger generationsof dancers— students of genocide survivorswho had danced before the war, and theirstudents—embody the main force of creativity inprofessional dance circles in Cambodia today.Traditional repertoire andcustomary themesGovernment-sponsored dance activity,beyond the teaching and performance ofselections from the traditional repertoire ofclassical and folk pieces, includes both the restagingand completion of previously unfinishedworks, and the creation of new choreographiesfor state celebrations and festivals. These danceshave been fashioned strictly within the classicalor folk movement vocabulary, representingcustomary themes, such as the celestial, royal,and sweeping mytho-historical focus of theclassical repertoire. Thus, while the productionof contemporary work in the state institutions ofthe arts is ongoing, it is most often only specificstorylines that are new.SchoolTime Cambodia’s Khmer Arts Ensemble | 7

“Robam Sahasamay”:Contemporary danceUntil very recently, discussion of professionalCambodian dance within the country revolvedpredominantly around “tradition.” Over the pastseveral years, Cambodia’s dancers have come totranslate the phrase “contemporary dance” asrobam (dance) sahasamay (modern/of the sametime period), acknowledging that this is a newconstruct on their part. Nonetheless, Cambodianchoreographers, and the institutions supportingtheir work, are still often tied to concerns aboutnational identity and history. Many sahasamaydances employ common conventions ofWestern contemporary (and other) dance suchas pedestrian costumes and movements, avariety of musical accompaniment, innovativechoreographic patterns, projections and spokenword. These dances have often taken as a centraltheme the desire of the younger generation toexplore new creative grounds while still honoringtheir country’s long artistic heritage. Despiteoccasional criticism from teachers and peers forstraying from strictly “Cambodian” performances,these artists are exploring their unique creativevoices through movement and music, looking toliterature, biography and autobiography, emotion,nature and politics for inspiration.Expanding possibilitiesThe neo-classical choreography of SophilineCheam Shapiro represents another approachto creativity. Her company, the Khmer ArtsEnsemble, performs both contemporary creationsand works from the classical canon. Sophiline hasa firm base as an accomplished performer andteacher of classical dance. She was a member ofthe first generation to study dance professionallyafter the ousting of the Khmer Rouge.Since 1999, Sophiline has been expandingclassical dance’s possibilities through thedevelopment of original dance dramas thatbreak with received storylines, and throughexperimentation with gesture, vocabulary,partnering, movement patterns and costume – allof which are often officially considered inviolate.Sophiline also makes pioneering use of traditionalmusical arrangements and instrumentation.In The Lives of Giants, you see and hear all ofthese elements at play. Choreographic patternsare dynamic and sometimes asymmetrical;movement flows out of but is not restricted tocodified gesture, vocabulary or posture. Melodiesthat never before accompanied classical danceare employed to great emotional effect. MerrilyMurray-Walsh’s costumes synchronize withMarcus Doshi’s scenic abstractions of waterand light while referring to traditional motifs indecorative patterns and accessories. AkaengKhameaso’s mask incorporates a metal meshwith traditional papier-mâché elements, allowingdancers to breathe and see more easily.This essay is adapted from “Professional Dancersand their Contemporary Context in Cambodia”www.goethe.de/ins/id/lp/prj/tac/zgt/kam/enindex.htm8 |

Elements of Cambodian DanceHand GesturesThe four basic hand gestures describe the cycleof growth in nature: the vine, the leaf, the flowerand the fruit. When the fruit drops, its seed growsinto a new vine. Used together and in combinationwith different postures, these gestures form thevocabulary of classical dance. The language themovement communicates can be specific or general;it can depict a complete sentence (“I will pick thisflower”) or a feeling (happiness).One easily recognizable gesture to watch foris when a dancer (holding her hand as in The Fruitgesture) flicks her middle finger, demonstratingthat the fruit has dropped. This movement signifiesan ending or farewell. Hand gestures, along withhyper-extended elbows and highly arched backs,also mimic the shape of a serpent, with the flowergesture forming the mythological creature’s head inone hand and its tail in the other.The vine The leaf The Flower The FruitCostumesIn Cambodian dance, costumes are elaborateand made of silks, woven through by hand withsilver and gold threads and adorned with sequinsand jewels. Gold arm bands, headdresses, ankletsand bracelets complement the outfits. Costumesprovide important clues to gender. Malecharacters wear pantaloons (kben) rather thanskirts and feature epaulets on their shoulders.The Music and InstrumentsLike Western opera, Cambodian classicaldance dramas are set to music performed bysingers and instrumentalists. Traditionally, themusicians are placed on floor level to one sideof the playing space. Dancers and musicians cueone another to begin or end a section, establishor change tempo, heighten or release dramatictension and generally move the action forward.Instrumental passages alternate with versessung by vocalists. A Cambodian audience willrecognize classic melodies and rhythms, andknow that they are about to see a battle scene,or that a popular character is entering the scene.As dancers do not speak in Cambodian dancedramas,the singers voice individual characters andalso narrate the overall story. Vocalists sing solo,or in unison as a chorus. Classical dance is a formmost often performed by women, while musiciansaccompanying them may be male or female.The mainly percussive orchestra is calleda pin peat ensemble and consists of some ofthe instruments below that you’ll see at theSchoolTime performance. Each instrument istreated with respect, made by hand and oftendecorated with sculpted or inlaid accents.Incense, candles and other offerings are placed infront of the orchestra (most importantly in frontof the sampho drum, believed to house the spiritsof the arts) before rehearsals and performances.SchoolTime Cambodia’s Khmer Arts Ensemble | 9

Roneat EkRoneat Ek: A high-pitched wooden orbamboo key xylophoneSralai: A quadruple reed windinstrument, similar to an oboe; anensemble may include one sralai, or botha smaller, higher-pitched (sralai touc) anda larger, lower-pitched one (sralai thom).Sampho: A double-headed barreldrum that rests horizontally on a stand.Skor Thom: A large pair of barreldrums played with mallets.Gong Thom: Low-pitched circle ofknobbed gongs.Chheung: small brass cymbals.SralaiSamphoSkor ThomGong Thom10 |

5About CambodiaGuiding Questions:♦♦♦♦♦♦Where is Cambodia located?What is Angkor Wat?Name some significant events in Cambodia’s history.The CountryCambodia is located on the mainland ofSoutheast Asia, bordered by Thailand to the northand west, Laos to the north and Vietnam to the eastand southeast. It has a relatively short coast lineonto the Gulf of Thailand to the south/ southwest.Mainland Southeast Asia’s great river, the Mekong,runs through the Cambodia’s center, from Tibetthrough China, Thailand and Laos on its way to itsdelta in southern Vietnam. The river is also called theTonlé Thom (pronounced “Tohn-lay Tohm,” whichmeans “Great River”). Its major tributary is theTonlé Sap (pronounced “Tohn-lay Sahp” or “GreatLake”), a combined river and lake that is the largestfreshwater lake system in Southeast Asia. Aboutthree quarters of the country consists of a low andvery fertile plain rich enough to support complexsocieties for several thousand years.Cambodia’s capital, Phnom Penh (pronounced“Nohm Pen”) lies on the banks of the Mekong, at theconfluence of the Mekong, Tonlé Sap and Brassacrivers. The city of approximately 1 million peopledates from the 14th century, and had the nameKrong Chaktomuk, meaning “City of Four Faces” forthe four corners created by the rivers that cross in anX in the middle of the city. Phnom Penh became theseat of government in 1866 during the reign of KingNorodom I, but under the instructions of the French,who had become the country’s colonial power.The city of Siem Reap (also spelled Siemréab andpronounced “See-am Reeb”) lies at the north end ofthe Tonlé Sap lake, and is the gateway to the ancienttemple complex of Angkor Wat.The PeopleCambodia is dominated by one ethnic group,the Khmer (pronounced Kuh-mare in English orKuhm-eye in Khmer), who make up over 90 percentof Cambodia’s population. Other important ethnicgroups include the Vietnamese and the Cham (aMuslim minority closely related to the Malays).These groups were more prevalent in Cambodiabefore the Khmer Rouge took power in 1975,instigating large-scale genocide against thesepopulations as well as the country’s intellectuals,teachers and artists.SchoolTime Cambodia’s Khmer Arts Ensemble | 11

Another effect of the Khmer Rouge era is thatCambodia’s population is overwhelmingly young.Over 50% of Cambodia’s population is under the ageof 25, and the median age is just over 20 years.The Khmer are Buddhists, practicing theTheravada version of the religion found acrossSoutheast Asia in Laos, Thailand and Burma as wellas in Sri Lanka. The Khmer language is tonal, and issimilar to both Thai and Lao.Many foreigners recognize Khmer culture inthe graceful and controlled gestures of classicalKhmer dance, which draws its inspiration from basrelief carvings on the walls of Angkor Wat. This artform was became a world cultural treasure underthe artistic sponsorship of the Cambodian royalcourt. Although dancers and musicians were heavilytargeted by the Khmer Rouge, the dance formhas made a strong comeback, becoming a symbolnot only of Cambodian cultural legacy, but also ofCambodian cultural rebirth.12 |

Angkor Wat was built during the reign off Suryavarnam II (1112-1152). More than 2,000 Apsaras (celestial maidens, progenitors ofCambodia’s classical dancers) are depicted in bas-relief carvings found throughout what is now Cambodia’s most recognized symbol.Cambodian ChronologyCompiled by Deirdre ValenteKingdom of CambodiaRecorded history traced to 100 A.D.9th-15th centuries A.D: Age of Angkor Empire1867: Cambodia incorporated into colonialFrench Indochina1941-1945: Cambodia occupied by Japanduring World War IINovember 9, 1953: Independence fromFrance declared and a constitutional monarchy isestablished under King Norodom Sihanouk.1950s-1960s: Disparate political groups(including nascent Khmer Rouge) emerge andmilitarize. Cambodian arts flourish. Classical dancegains international exposure during state visitshosted in Cambodia and abroad by King Sihanouk.Khmer Republic (1970-75)Military coup d’état in 1970 led by LonNol deposes monarchy; royalty goes into exile.Violent conflicts devolve into civil war. USAlaunches covert bombing and other militarycampaigns through 1973 during what Americansrefer to as the Vietnam War. As many as 800,000Cambodians die during this period.Democratic Kampuchea (1975-79)A communist regime headed by Pol Potand his Khmer Rouge reaches Phnom Penh andseizes power on April 15, 1975. More than 2million Cambodians (estimate) are executed, ordie of starvation, torture, and forced labor. 90% ofCambodia’s artists are thought to perish during whatcomes to be known as the time of the “killing fields.”People’s Republic of Kampuchea (1979-91)January 6, 1979: Vietnamese forces ‘liberate’Cambodia and back a second communist regime.13-year civil war ensues; hundreds of thousandsof refugees flee, many to Thailand; thousandsmore Cambodians die. International peace talksbegin in Paris in 1989.SchoolTime Cambodia’s Khmer Arts Ensemble | 13

State of Cambodia (1991-93)Vietnamese occupation ends in 1991 whenthe United Nations is given a mandate to enforce aceasefire, oversee disarmament, and manage thecare and repatriation of refugees (estimated at some370,000 people). An interim government is formed.Kingdom of Cambodia (1993-present)1993: UN-sponsored elections are held withinthe governing framework of a parliamentaryrepresentative democratic monarchy. Stabilityremains fragile as factional fighting with resistantelements of the Khmer Rouge continues until 1999;(Pol Pot, infamous ruler of the Khmer Rouge, dies inApril 1998). Norodom Sihanouk once more becomesKing (though his role is largely ceremonial) andserves until 2004, when he abdicates in favor of hisson Norodom Sihamoni.Hun Sen (born 1951), Prime Minister, hasbeen the leading player in Cambodian politics andgovernment for more than 30 years. A self described‘freedom fighter’ beginning in 1970, he was KhmerRouge functionary and has held positions of powerin every government since 1979, serving variously asForeign Minister, Prime Minister, co-Premiere (oftenserving in multiple positions at once).2007: Nearly 30 years after the end ofCambodia’s genocidal Khmer Rouge rule, aninternationally backed war crimes tribunal has madeits first indictments. In the intervening years, manytop leaders died or were pardoned; other partymembershold positions in Cambodia’s government.14 |

6Learning ActivitiesDance & Language Arts (Grades 2-12)Gesture DanceCambodian dance often depicts stories with dancers portraying gods and goddesses, animals or objects fromthe natural world. Dancers rely on hand gestures to communicate meaning or emotion, for example, onegesture signifies happiness, another represents a flower in full bloom.Read aloud a book listed in the resource section (page 17), choose a Cambodian folktale from:http://gocambodia.com/Cambodian_folktales/index.asp, or use the synopsis of The Lives of Giants (page 4).Students can also bring in a Cambodian legend or folktale of their own choosing.• Select a section of the story for your dance (or use a very short tale)• Read the section to your students again and ask them to identify where adjectives are used todescribe a character or object.• Capture these adjectives on a chart pad or board.• Ask each student to choose one of the adjectives listed and create a hand gesture (or other precise,expressive movement) for this adjective.• Go around in a circle and have each student in turn share their gesture; the group should repeateach gesture immediately after.• Play some Cambodian music (you can find selections at:http://www.asianclassicalmp3.org/mahori.htm) and read the story again. Go around the circle onemore his time, ask the students to try to use their whole bodies when they show their gestures.Option for grades 3 & up:• Divide the class into groups and give each group a section of the story.• This time ask students to create movements or gestures for the actions (or action verbs) in the story.• After they create movements for the actions in their text, ask them to choose a narrator to readtheir section of the story as they practice their dance.• Have the groups perform their section in the same order as the original story.Language Arts / Social Studies (Grades 3-12)Journey InterviewDuring the Khmer Rouge’s brutal regime, many Cambodians fled to the San Francisco Bay Area and othercities in the US. Like many emigrants to America, they faced difficult challenges on their journey here, andwhen facing a new life in this country.• As homework, ask students to interview someone in their community who emigrated to America.• Have students do some research on the country, history, culture and political situation of the personthey interviewed. Ask students to write up the interviews, but write them as short first personnarrative essays. (Students may also draw pictures to accompany their essays.)• Ask students to share their essays with each other, in groups or with the whole class.SchoolTime Cambodia’s Khmer Arts Ensemble | 15

Post-Show Discussion Topic: BullyingWhen adapting The Lives of Giants from an ancient epic tale, Khmer Arts Ensemble focused on a timelesstheme – bullying and its after-effects.• After watching the performance, discuss how the company chose to portray this theme. Whatthoughts or emotions did it evoke for the students?• In groups, ask students to discuss where they see bullying in their own lives. Some questionsto consider might include: When someone is bullied what happens to the victim, the victimizer andthe community? Why does someone choose to bully others? What are some ways we mightprevent bullying?• As a whole class, reflect on what emerged from the group discussions.Additional ResourcesKhmer Arts Ensemblehttp://www.khmerarts.org/Video Clips of Khmer Arts Ensemblehttp://www.youtube.com/watch?v=l8441iW1VOY (scene from The Lives of Giants)http://www.youtube.com/watch?v=G8BVy1Fk-oEhttp://www.youtube.com/watch?v=LRDKLi8Lsk4&feature=player_embeddedhttp://vimeo.com/10252176Online Articleshttp://www.reninc.org/BOOKSHELF/Silent_Temples_Sam_and_Campbell.pdfLink to an extensive article on Cambodian music and instruments.http://www.state.gov/r/pa/ei/bgn/2732.htmInformation on the country of CambodiaPublications- Cambodian Arts and CultureBlumenthal, Eileen, 1990. “The Court Ballet: Cambodia’s Loveliest Jewel.” Cultural Survival Quarterly 14 (3): 35-38.Chet Chan, Daravuth Ly and Ingrid Muan, 2001. The Reamker. Phnom Penh: Reyum Publishing.Kam, Garrett, 2000. Ramayana in the Arts of Asia. Singapore: Select Books. Compares and contrastsPhim, Toni [Shapiro] and Ashley Thompson, 1999. Dance in Cambodia. Oxford: Oxford University Press.Roveda, Vittorio, 2000 [1997]. Khmer Mythology: Secrets of Angkor. Bangkok: River Books.Sam, Sam-Ang and Patricia Shehan Campbell, 1991. Silent Temples, Soulful Hearts: Traditional Music of Cambodia,Danbury, Connecticut: World Music Press. (Introductory text, with photographs and a companion CD, for teachers andyoung audiences.)Chandler, David, 1992 [1983]. A History of Cambodia. Boulder: Westview Press.Coedes, George, 1984 [1963]. Angkor, trans. and ed. Emily Floyd Gardiner. Singapore: Oxford University Press.DVDsDancing Through Death: The Monkey, Magic, and Madness of Cambodia ( 1999)The Flute Player (2003)Samsara (1988)The Tenth Dancer (1993)16 |

Musichttp://www.myspace.com/khmerartsacademyhttp://www.asianclassicalmp3.org/mahori.htmVarious artists: “The Music of Cambodia.” Celestial HarmoniesVarious artists: “Homrong.” Real World.Various artists: “Folk and Ceremonial Music.” UnescoChildren’s BooksChamroeun, Yin. 1997. In my heart, I am a dancer. Philadelphia Folklore Project. For grades K-3.Lee, Jeanne M. 1991. Silent Lotus. New York: Farrar, Straus and Giroux. For grades K-3.Ho, Mingfong. 2003. Gathering the Dew. New York: Orchard Books. For grades 6-9.Him, Chanrithy. 2001. When Broken Glass Floats: Growing Up Under the Khmer. New York: W. W. Norton & Company. Forgrades 10-12.Online Folktaleshttp://gocambodia.com/Cambodian_folktales/index.aspLocal Companies featuring Cambodian Dance, Music and CultureCharya Burt Cambodian Danceinfo@charyaburt.comThe Cambodian Dance Troupe of San Josedances@caraweb.orgSan Jose Cambodian Buddhist Society, Inc.840 Mervyn’s WaySan Jose, CA 95127(408) 251-4458http://www.wattkhmer.orgSchoolTime Cambodia’s Khmer Arts Ensemble | 17

7California State StandardsMusic Grades K-121.0 Artistic PerceptionProcessing, Analyzing, and Responding to SensoryInformation Through the Language and Skills Uniqueto MusicStudents read, notate, listen to, analyze, and describemusic and other aural information, using theterminology of music.2.0 Creative ExpressionCreating, Performing, and Participating in MusicStudents apply vocal and instrumental musical skills inperforming a varied repertoire of music. They composeand arrange music and improvise melodies, variations,and accompaniments, using digital/electronictechnology when appropriate.3.0 Historical and Cultural ContextUnderstanding the Historical Contributions andCultural Dimensions of MusicStudents analyze the role of music in past and presentcultures throughout the world, noting cultural diversityas it relates to music, musicians, and composers.Role of Music3.1 Describe the social functions of a variety of musicalforms from various cultures and time periods (e.g., folksongs, dances).Diversity of Music3.2 Identify different or similar uses of musical elementsin music from diverse cultures.3.4 Describe the influence of various cultures andhistorical events on musical forms and styles.4.0 Aesthetic ValuingResponding to, Analyzing and Making Judgmentsabout Works of MusicStudents critically asses and derive meaning fromworks of music and the performance of music, theelements of music, and original works according to theelements of music.Dance Grades K-121.0 Artistic PerceptionProcessing, analyzing, and responding to sensoryinformation through the language and skills unique todanceStudents perceive and respond, using the elementsof dance. They demonstrate movement skills, processsensory information, and describe movement, usingthe vocabulary of dance.2.0 Creative ExpressionCreating, performing and participating in danceStudents apply choreographic principles, processes,and skills to create and communicate meaning throughthe improvisation, composition, and performance ofdance.3.0 Historical and Cultural ContextUnderstanding the historical contributions andcultural dimensions of danceStudents analyze the function and development ofdance in past and present cultures throughout theworld, noting human diversity as it relates to dance anddancers.4.0 Aesthetic ValuingResponding to, analyzing, and making judgmentsabout works of danceStudents critically assess and derive meaning fromworks of dance, performance of dancers, and originalworks according to the elements of dance and aestheticqualities.5.0 Connections, Relationships, ApplicationsConnecting and applying what is learned in dance tolearning in other art forms and subject areas and tocareersStudents apply what they learn in dance to learningacross subject areas. They develop competencies andcreative skills in problem solving, communication, andmanagement of time and resources that contribute tolifelong learning and career skills. They also learn aboutcareers in and related to dance.18 |

Cal Performances thanks the followingdonors for their gifts in support of ourEducation and Community Programs:AnonymousBank of AmericaJesse and Laren BrillRichard Buxbaum and Catherine HartshornEarl and June CheitNancy and Gordon DouglassDeborah Duncan and Mr. Barnett LiptonKarin Evans and Charles Mark HumbertThe Fremont Group FoundationThe Robert J. and Helen H. Glaser Family FoundationAlex and Eva GlazerJane Gottesman and Geoffrey BiddleEvelyn and Walter Haas, Jr. FundBeth HurwichKaiser PermanenteKennedy Center Partners in EducationCarol Nusinow Kurland and Duff KurlandMs. Germaine LaBergeSally Landis and Michael WhiteSusan Marinoff and Thomas SchragThe Hare FamilyMaris MeyersonRachel Morello-FroschCarol and Joe NeilEddie and Amy OrtonKenneth and Frances ReidGail and Daniel RubinfeldLinda and Will SchieberWilliam A. Settles Fund for AileyCampWarren Sharp and Louise LaufersweilerBarclay and Sharon SimpsonMarkus and Barbara TriceCarol Jackson UpshawWells FargoZellerbach Family FoundationAbout Cal Performances andSchoolTimeThe mission of Cal Performances is to inspire,nurture and sustain a lifelong appreciation for theperforming arts. Cal Performances, the performingarts presenter of the University of California, Berkeley,fulfills this mission by presenting, producing andcommissioning outstanding artists, both renownedand emerging, to serve the University and the broaderpublic through performances and education andcommunity programs. Cal Performances celebratesover 100 years on the UC Berkeley Campus.Our SchoolTime program cultivates an earlyappreciation for and understanding of the performingarts amongst our youngest audiences, with hour-long,daytime performances by the same world-class artistswho perform as part of the main season. SchoolTimehas become an integral part of the academic year forteachers and students throughout the Bay Area.Lead Community Partner:For information on supporting ourEducation and Community Programs,contact, Eric Stensvaag at 510.643.6705 oremail donate@calperfs.berkeley.edu.SchoolTime Cambodia’s Khmer Arts Ensemble | 19

This Cal Performances SchoolTime Study Guide waswritten, edited and designed by Laura Abrams, RicaAnderson, Nicole Anthony and Toni Shapiro-Phim.Cal Performances gratefully acknowledges the generosityof Toni Shapiro-Phim and the University of Michigan’sUniversity Musical Society for their permission in allowingus to adapt and excerpt portions of their materials for usein this educational resource.Copyright © 2011 Cal Performances