| Dance in Cambodia |
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Dance in Cambodia. By Toni Samantha Phim and Ashley Thompson. New York: Oxford University Press, 1999. Pp. xii + 91. Index, bibliography, glossary, photos, maps, ill. $19.95 cloth. As the title might suggest, Dance in Cambodia is a straightforward discussion of the history, style, and practice of the principal genres of Cambodian or Khmer dance and dance-drama. The text, though brief, provides a thorough introduction to the art form that will be useful to students of Southeast Asian culture and history. It is dryly written but very informative, in the style of a college textbook, and could be used for that purpose. Another strength of this 91-page book lies in its supplemental facts and figures, which include numerous black and white photographs, some color plates and line drawings, two maps, a glossary of Khmer terms, and a pictorial glossary of seventeen musical instruments commonly played for dance performances. The origins of the Khmer people and the subsequent development of their particular style of dance form the subject of the first chapter. The central role of dance in the culture is illustrated by the fact that, according to legend, the word Khmer is derived from the names Kambu and Mera, the mythical founders of the nation. Mera was an apsara or celestial dancer and consort of the Hindu god Shiva, also a god of dance, and she continues to serve as a national icon. In addition, the Reamker, the Khmer language version of the Indian epic Ramayana, may have originated as a libretto for a dance drama in the sixteenth and seventeenth centuries. Two major forms of dance, sbaek thom (shadow theater) and lakhon khol (all-male dance drama), are expressly dedicated to the performance of Reamker stories. The former is the topic of Chapter Two, in which the genre is constrasted with other types of Southeast Asian shadow theater, its performance is detailed, and the design of the leather shadow panels is described. The latter is the subject of Chapter Four, in which two different kinds of male dance companies are featured. The traditional, provincial dance troupe called Svay Andet is known for its seven-night-long New Year's performance in which village mediums play a prominent role---so much so, in fact, that it is a sort of "collective, choreographed trance" (59). In contrast, government-sponsored groups like the Royal University of Fine Arts perform newly created pieces, only loosely based on traditional themes, for staged dance reviews. Other chapters address the two remaining major Cambodian dance genres. In Chapter Three, the history and current practices of classical or court dance and dance dramas are outlined, as is the rigorous training performers must undergo beginning in childhood. It is noted that many of the classical dances performed today are actually recent creations. The Apsara Dance, a graceful piece in which women mimic the bas-reliefs on the ancient temple of Angkor Wat, was first performed by Princess Norodam Buppha Devi in the 1950s. Chapter Five, entitled "Ceremonial and Theatrical Folk Dance," describes some of the dances that still form an important part of village celebrations, as well as the newly created "folk dances" performed by the Royal University dancers that depict typical regional activities. Among the former is Trot, a dance representing a deer hunt. It is performed to increase prosperity, but through its performance also helps to reinforce bonds in the Buddhist community. Among the latter is the Fishing Dance, in which young fishermen and women flirt while miming fish trapping. The dance highlights a national resource as well as traditional gender behavior, while incongruously incorporating Western gestures such as the wave goodbye. In summary, authors Phim and Thompson do an excellent job of presenting and describing the styles of Cambodian dance, their history, and performance context. They also deserve praise for integrating some key issues in the study of traditional arts into their discussion of Khmer dance, including maintenance versus change, gender issues, and the role of arts in culture. The publisher notes that the series "Images of Asia," of which this volume forms a part, is intended to serve as "a means of acquiring a deeper understanding and appreciation of the region in all its diversity" and is meant expressly "for the non-specialist reader." Dance in Cambodia does fulfill those goals. However, that very accomplishment also means that the book will probably not be of interest to the expert on Cambodian dance except as a text for classroom use, or possibly as a reference work to keep on the bookshelf. Sydney Hutchinson |
