1. Classic Khmer Civilization 9 th – 15 th 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 21 st Century

14. The Continuum: Beyond the Killing Fields Theatre 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… Em Theay undertakes with her creative team a formal ritual – sampeah kru – 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