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                  <text>Tsapatsaris, George N. and Dorothea. A City of Refugees, the Memories of Cambodia Collection, circa 1987-1991</text>
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                  <text>&lt;p&gt;&lt;span&gt;The George N. and Dorothea Tsapatsaris “A City of Refugees, the Memories of Cambodia” collection contains artwork, stories, letters, and other documents created by Dorothea Tsapatsaris’ young Cambodian students from the years of 1987-1991. Topics range from Cambodian clothing, ceremonies, and every day activities to food recipes, leaving Cambodia, and living in Lowell, Massachusetts. Also included are several photographs of Dorothea Tsapatsaris’ students, classroom, and student work; a couple of newspaper clippings; and material related to the 1990 “Memories of Cambodia” exhibit. &lt;br /&gt;&lt;br /&gt;Part of the collection is accessible on this site.&lt;br /&gt;&lt;br /&gt;Part of the collection is accessible on the Digital Commonwealth under the collection title "&lt;a href="https://www.digitalcommonwealth.org/collections/commonwealth:1n79h429p" target="_blank" rel="noreferrer noopener"&gt;A City of Refugees, the Memories of Cambodia&lt;/a&gt;."&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml9" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml9&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Etsuko Benton and Monita Chea.&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>Tsapatsaris, George N. and Dorothea. A City of Refugees, the Memories of Cambodia Collection, circa 1987-1991. UML 9. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.</text>
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                  <text>The collection finding aid, &lt;a href="https://libguides.uml.edu/uml9" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml9&lt;/a&gt;.</text>
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                <text>UMass Lowell Library makes this material available for private, educational, and research use. It is the responsibility of the user to secure any needed permissions from rightsholders, for uses such as commercial reproductions of copyrighted works. Contact host institution for more information. </text>
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                <text>The collection finding aid, &lt;a href="https://libguides.uml.edu/uml9" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml9&lt;/a&gt;.</text>
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                  <text>Huy, Phousita S. Cambodian Art, Dance and Culture Video Collection, circa 1984-2003. UML 6. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA. </text>
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                  <text>Note: Videos in this collection have been ingested into YouTube. To view the videos, click to an item and view the embedded video in the description field.&lt;br /&gt;&lt;br /&gt;&lt;p&gt;The Phousita S. Huy collection contains digital versions of master dance teacher Phousita S. Huy’s videotape collection documenting Cambodian classical and folk dance performances between 1984-2003. Contents include amateur and professional video recordings. Dance performers include students from the Royal University of Fine Arts (RUFA) in Cambodia, the Angkor Dance Troupe in Lowell, Massachusetts, and the Dance Troupe of Cambodian American Heritage in Fort Washington, Maryland. Also included are recordings about Angkor Wat, traditional Cambodian kite making and cultural performances at festivals as well as interviews with master teachers.&lt;/p&gt;
&lt;p&gt;Select video recordings are available for viewing on this site.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml6" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml6&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;&lt;span&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Julia Huynh, Peter Pa, and Chummeng Soun.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>The Royal University of Fine Arts students performing multiple dances for final exams, 1994-02-28</text>
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                <text>&lt;iframe width="480" height="270" src="https://www.youtube.com/embed/kDcR5rNr8Rc" frameborder="0"&gt;&lt;/iframe&gt; &lt;br /&gt;&lt;br /&gt;A video recording of students performing the following Cambodian classical dance and dramas for their final exam: Manimekhlala (&lt;span class="tag"&gt;Moni Mekhala)&lt;/span&gt;, Ream Eyso, Sawva Botthom (long version), Chhan Banchous (long version), Preah Anurudh: The Kennari Bird, Robam Phkar Meas Phkar Prek, Robam Plet, Robam Preah Somuts, and Preah Vorachhun.</text>
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                <text>Huy, Phousita S. Cambodian Art, Dance and Culture Video Collection</text>
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                <text>UMass Lowell Library makes this material available for private, educational, and research use. It is the responsibility of the user to secure any needed permissions from rightsholders, for uses such as commercial reproductions of copyrighted works. Contact host institution for more information.</text>
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                <text>Tape 22</text>
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                <text>Phnom Penh, Cambodia</text>
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                  <text>Note: Videos in this collection have been ingested into YouTube. To view the videos, click to an item and view the embedded video in the description field.&lt;br /&gt;&lt;br /&gt;&lt;p&gt;The Phousita S. Huy collection contains digital versions of master dance teacher Phousita S. Huy’s videotape collection documenting Cambodian classical and folk dance performances between 1984-2003. Contents include amateur and professional video recordings. Dance performers include students from the Royal University of Fine Arts (RUFA) in Cambodia, the Angkor Dance Troupe in Lowell, Massachusetts, and the Dance Troupe of Cambodian American Heritage in Fort Washington, Maryland. Also included are recordings about Angkor Wat, traditional Cambodian kite making and cultural performances at festivals as well as interviews with master teachers.&lt;/p&gt;
&lt;p&gt;Select video recordings are available for viewing on this site.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml6" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml6&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;&lt;span&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Julia Huynh, Peter Pa, and Chummeng Soun.&lt;br /&gt;&lt;/span&gt;</text>
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&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml6" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml6&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;&lt;span&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Julia Huynh, Peter Pa, and Chummeng Soun.&lt;br /&gt;&lt;/span&gt;</text>
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&lt;p&gt;Select video recordings are available for viewing on this site.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml6" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml6&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;&lt;span&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Julia Huynh, Peter Pa, and Chummeng Soun.&lt;br /&gt;&lt;/span&gt;</text>
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&lt;p&gt;Select video recordings are available for viewing on this site.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml6" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml6&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;&lt;span&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Julia Huynh, Peter Pa, and Chummeng Soun.&lt;br /&gt;&lt;/span&gt;</text>
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                    <text>0

~fi'gfmfte;
~~

Angkor' Dance.

n

Tr'o'-lpe., Inc..

June 30, 1999
Paul Marion &amp; Rosemary Noon
44 Highland Street
Lowell, MA 01852
Dear Paul &amp; Rosemary,
Thank you for purchasing an ad in the Angkor Dance Troupe's annual
commemorative publication. The book was released in May and has been
enthusiastically received by the community. Copies will be distributed throughout
1999 including at area retailers and restaurants, and at the Lowell Folk Festival
and Southeast Asian Water Festival.
Your tax-deductible contribution of $70 will help us continue our important work
in the Cambodian community. The Angkor Dance Troupe preserves and teaches
cherished cultural traditions that were severely threatened by events in
Cambodia's recent history. We also work extensively with at-risk youth in the city
of Lowell.
Our programs are made possible in large part by the generosity of people like
yoi.J. The Troupe's Board of Directors, staff, and dancers are deeply appreciative
of your support.
Thank you again for your support and your commitment to Lowell's Cambodian
community.

Sincerely,

Ruth Page
General Manager

A Nonprofit Cultural Organization
P.O. Box 1553 • Lowell, MA 01853
(978) 441-9277 • FAX: (978) 937-9419 • http://civic.uml.edu/angkor

�</text>
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                  <text>&lt;p&gt;&lt;span&gt;The George N. and Dorothea Tsapatsaris “A City of Refugees, the Memories of Cambodia” collection contains artwork, stories, letters, and other documents created by Dorothea Tsapatsaris’ young Cambodian students from the years of 1987-1991. Topics range from Cambodian clothing, ceremonies, and every day activities to food recipes, leaving Cambodia, and living in Lowell, Massachusetts. Also included are several photographs of Dorothea Tsapatsaris’ students, classroom, and student work; a couple of newspaper clippings; and material related to the 1990 “Memories of Cambodia” exhibit. &lt;br /&gt;&lt;br /&gt;Part of the collection is accessible on this site.&lt;br /&gt;&lt;br /&gt;Part of the collection is accessible on the Digital Commonwealth under the collection title "&lt;a href="https://www.digitalcommonwealth.org/collections/commonwealth:1n79h429p" target="_blank" rel="noreferrer noopener"&gt;A City of Refugees, the Memories of Cambodia&lt;/a&gt;."&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml9" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml9&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Etsuko Benton and Monita Chea.&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;</text>
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~~finff~f

Att5kor Dattce Troupe, lttc.

20th Anniversary
Fundraising Event
You are cordially invited to the Angkor Dance Troupe's
20th Anniversary Fundraising Event.

-

With stunning performances from the award-winning
troupe, live band, and a five-course meal,
this evening should not be missed!
Date:
Time:
Location:

Cost:

Friday, November 3, 2006
6:00 PM - 12:00 AM
Sunnyda Restaurant
454 Chelmsford Street
Lowell, MA 01851
$45 in advance/$50 at the door

Please RSVP by October 27, 2006
For tickets and information: (978) 590-5654 or tim@angkordance.org
If you are not able to attend, but would like to forward a
tax-deductible donation, checks can be made payable to:

Angkor Dance Troupe
PO Box 1553
Lowell, MA 01853
Please be sure to check if your organization has a matching gift program
- it's a great way to build on our fundraising efforts!

�SA VE THE mA TE
IOVEM::IJEJ.l J, 2006 .- 6:00 F.M: . .- I.2:00 A.H.
0

tt:~D;S,1$$~!

Att5ltor Dattcc Troupe, lttc.
20th ANNIVERSARY FUNDRAISING EVENT
Sunnyda Restaurant
Tickets $45 in advance/$50 at the door

Look for your invitation in the mail in September
for additional information:
978-275-1823

P.O. Box 1553

Lowell MA 01853

tim@angkordance.org

SAVE THE mATE
IOVEM:EEJ.l J, 2006

_..J

6:00 F.M.

_..J

I2:00 A..M.

�0

1'~smff~s

Attgkor Dattcc Troi.pc. lttc.
2ot Vi AV'vV'vLVers.C{Ykj
Fu VI-cl r et ts. LVl-fj sve V1-t
NOVeVVlber 3 , 200G

Photo by Higgins &amp; Ross
Design and Photography

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MIDDLESEX COMMUNITY COLLEGE, 
&amp; INDEPENDENT UNIVERSITY ALUMNI
ASSOCIATION

present

Rekindling the
Light of
Khmer Arts

Featuring Alan Lightman , author of the new book Three Flames
and Chummeng Soun, recipient of a grant from the Independent
University Alumni Association for “Sopileak: Unveiling the Magic and
Mystery,” a documentary about the revival of a classical Khmer dance
Monday, September 23 • 5-7 PM
UMass Lowell - University Crossing Lobby
220 Pawtucket St, Lowell, MA 01854
RSVP at: www.alumni.uml.edu/KhmerArts

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�You are cordially invited to
a special pre-event reception celebrating
Khmer arts and stories.

4:00
PM

5:00
PM

Pre-event Special Reception
University of Massachusetts Lowell
University Crossing Room 255

Rekindling the Light of Khmer Arts

Meet our special guests
Alan Lightman
author of Three Flames

Chummeng Soun

recipient of Independent University Alumni Association
grant for “Sopileak: Unveiling the Magic and Mystery,” a
documentary about the revival of a classical Khmer dance.

For more information, please contact Michael Tith at 978.934.6659
or Michael_Tith@uml.edu

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MIDDLESEX COMMUNITY COLLEGE, 
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ASSOCIATION

present

Rekindling the Light of Khmer Arts
Schedule of Events
Welcoming Remarks
Independent University Alumni Association of Lowell recognition of
Chummeng Soun, University of Massachusetts Lowell
Trailer for Sophileak: Unveiling the Magic and Mystery
Performance of “Sophileak” by Angkor Dance Troupe
Channa Sath as Sophileak (Female Deity)
Virginia Prak as Preah (Prince) Aunaruth
This story is about 2 lovers -- Princess Osa and Prince Aunaruth -- who
were separated by the gods. Sophileak, a female deity who took pity on
Princess Osa, went in search of Osa’s lover. She returned with portraits of
many princes she had encountered, but none of them were the right one.
The princess gave Sophileak her ring and scarf to continue on her search.
In this scene, Sophileak finally finds Aunaruth, who recognizes the perfume
on the scarf. Later, Sophileak will reunite the lovers.

Preview of Apsara Dancing Stone by Angkor Dance Troupe
Full performance on Saturday, Oct. 5, 2019, at 7pm at Lowell High School

Reading from “Three Flames” by author Alan Lightman, Massachusetts
Institute of Technology. Discussion to follow.
Book signing and reception

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                    <text>UNIVERSITY OF MASSACHUSETTS LOWELL,
MIDDLESEX COMMUNITY COLLEGE, 
&amp; INDEPENDENT UNIVERSITY ALUMNI
ASSOCIATION

present

Rekindling the
Light of Khmer Arts

Featuring Alan Lightman , author of the new book Three Flames
and Chummeng Soun, recipient of a grant from the Independent
University Alumni Association for “Sopileak: Unveiling the Magic and
Mystery,” a documentary about the revival of a classical Khmer dance
Monday, September 23 • 5-7 PM
UMass Lowell - University Crossing Lobby
220 Pawtucket St, Lowell, MA 01854

RSVP at: www.alumni.uml.edu/KhmerArts
For further information, please contact CAAS@uml.edu
ytisrevinU tnednepednI

noitaicossA inmulA

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                    <text>The Angkor Dance Troupe Presents the World Premiere of

APSARA DANCING STONES
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A Century of Strength. A Generation ofTrust.
A Lifetime of Support.
Since that day long ago when children gathered their nickels and pennies
to save for a better future, the mission of Jeanne D'Arc was put into action.
For 100 years, we have been fully involved in this community and in helping the people
who live, work and go to school here, pursue opportunities and fulfill dreams.
It is our past It is our present. And it is our future.

JOIN US AND BE A PART OF THE NEXT 100 YEARS.

WeShareACommonThread.org

As a community partner, Jeanne D'Arc Credit Union is
proud to support the Angkor Dance Troupe.

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Nancy &amp; Richard
Donohue
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�Thank You
We are delighted you have joined us for the world premiere of Apsara
Dancing Stones. 25 years ago, we began the Angkor Dance Troupe with the
vision to preserve and develop the traditions of Cambodian performing arts,
that was almost completely wiped out during the Khmer Rouge genocide. As a
community struggling to put down roots in a new homeland, Cambodian dance
provides a poignant reminder of the beauty and spirituality of our culture and
helps us build a more stable foundation for our children.
As the heart and soul of the Cambodian American community in Lowell, the
Troupe has served as a foundation and voice of our cherished cultural traditions.
We are nationally recognized as one of the most accomplished and experienced
of the U.S. - based Cambodian traditional arts ensembles and have received
recognition from the Massachusetts Cultural Council, the National Endowment
of the Arts, and the White House.
Apsara Dancing Stones represents a monumental achievement in the artistic
development and innovation of the Troupe. The story of Apsara Dancing Stones
uses the traditions and techniques of the classical Khmer dance blended with
contemporary dance drama elements. This interpretive dance allows the Angkor
Dance Troupe to honor Cambodian history and culture while advancing the art
form to a new level.
As we debut this performance we look forward to all the opportunities that lie
ahead the next 25 years.
We hope you enjoy the show!

Tim Thou
Founder &amp; Director

Phousita Huy
Artistic Director

Linda Sou
President of the Board

�Story
The Angkor Dance Troupe presents the premiere of Apsara Dancing Stones, a
contemporary dance drama that embodies the beauty and culture of Cambodia.
With Eastern and Western influences, this visual narrative combines an
unparalleled performance of dance and music from modern and classical
Cambodian styles.
A young Cambodian/ American architectural student, Khemra, travels to
Cambodia with a group of students to study the UNESCO world heritage site,
Angkor Wat. He is unaware that the spirits inhabiting the stones of Angkor have
a story to tell.
Through the eyes of the Apsara, Khemera is about to embark on a magical
journey into Cambodia's golden era of Gods and Goddesses.

Evening Program
General Audience Admission
Apsara Dancing Stones ACT I
Intermission
Apsara Dancing Stones ACT II
VIP Meet &amp; Greet with Classical Dance
Master, Artistic Director &amp; Principal Dancers

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�Cast&amp;
Artistic Stage &amp; Crew:
Mrs. Phousita S. Huy, Artistic Director
Mr. Higgins, Jim, Flying Orb Productions Director
Mr. Touch, Chhan, Asst. Artistic Director
Mr. Proeung, Chhieng, Writer
Mrs. Soth, Somaly, Assistant Advisor
Mr. Tim C. Thou, Program Director
Mrs. Khakhada Horn, Asstistant Manager
Mrs. Kolab Thou, Costumer/Dresser
Mrs. Chenda Wilson, Assistant Costumer/Dresser
Mrs. Akara Mao, Assistant Costumer

Principal Dancers of the Angkor Dance Troupe:
Kim Allen
Pech Heung
EmalyHorn
Sophy Leng
Brianna Mai
Phirum Meas

Sovannthida Morn
Sophorl Ngin
RanciaPhin
Virginia Prak
Mary Prum

Channa Sath
Sokhoeun Sok
Krisna Thou
Monica Veth
Peter Veth

�&amp;Crew
Performers &amp; Dancers:
Caitlyn Chan
Nova Chenda
Charlie Chhor
Tanromni Chum
Isabel Clafin
Nicky C. Fennell
Sopaul Hem
Malia Keo
RandyKeung
Johnny Khat
Samantha Lehouillier
Kalya Iek
Sovann-Malis Loeung
Kelly Salida Ly

Alexandra S. Mai
Celena Mai
Curtis Mai
Krissandra Mai
Salena Mam
Athenna Mao
Anton Mao
Bunkeath Meng
Vanny Nelson
Melissa Ouk
Jefferson Phan
Victoria Phan
John Phim
Nina Touch

Vituu Touch
Kevin Searth
Phalida Sok-Soth
Anita Srey
Rotanna Srey
Chummeng Suon
Sopeeda Suy
Paulina Tran
Daisy Var
Jasmin Tauvari Udomsay
Judith S. Wilson
Robin S. Wilson
Reaksmey Yan

Soundtrack Production:
Mrs. Hieng, Nayto, Folk Dance
Master from RUFA
Miss. Heung, Pech
Mr. Chun, Sokdavin, Studio Mixer/
Owner
Mr. Ek, Side, Guitar, Keyboard ,
Music &amp; Lyric Composer, and Singer
Mr. Chau, Sopharith, Asst. Studio
Sound Track Recording

Mr. Preung Proun, Musicians Leader
Mr. Nou, Vandy, Musician
Mr. Se, Phalla, Roneat Thung
Mr. Nol, Kol, Salai-Kloy
Mr. Ven, Phirum, Violin
Mr. Yun, Theara, Tro
Mr. Meas, Kimhan, Sampo
Mr. Rus, Sokunthear, Kong Thom
Chun, Sokdavin, Studio Coordinator

Artists from Royal University of Fine Arts in Phnom Penh
Cambodia:
Miss. Sin, Sakada (Apsara)
Miss. Um, Chanthida
(Seven Color Dancer)
Miss. Sith, Chanvoleak, Dancer
Miss. Chhoan, Nirothanak, Apsara
Miss. Sok,.Lyna, Dancer

Miss. Mom, Vanvotei, Dancer
Miss. Sam, Limsothea, Menop
Miss. Sam, Savin,
(Seven Color Dancer)
Miss, Chhoan, Niboran, Krot

.

�Characters and Scenes
In order of Appearance
Welcoming Dance - Mary Prum, Pech Heung, Kim Allen, Virgina Prak,
Brianna Mai, Thida Morn, Phirum Meas
Khemra - Chantha Krouch
A young architectural student traveling to Siem Reap to study the temples of
Angkor.

Student Dancers - Tim Sokhoeun, Sophy Leng, Sophorl Ngin
The students explore the temples and dance amusingly among one another
bringing with them western influences in their style of dance as they imitate the
gestures of the Apsara carvings.

Apsara Dancer - Monica Veth
An Apsara dancer within the palace walls of Angkor which symbolizes
Cambodia's beauty and culture.

Prince Mearnup - Sokhoeun Sok
A Prince who lives within the palace walls encounters the Apsara dancer. They
fall in love with one another gazing at stars and moon in the night sky.

Warriors in Training - Bunkeath Meng, Charles Chhor, Cheymony
Fennell, Chummeng Suon, Randy Keung, Johnny Khat, John Phim,
Kalya Iek, Sopaul Hem, Reaksmey Yan
Young warriors train in preparation to protect the Angkor kingdom from intruders.

Garuda - Peter Veth
A mythical half man half bird creature is depicted destroying the Apsara stones.
This animal is used to symbolize those who show disregard for others' culture,
and Cambodia's period ·of strife and destruction with the looting of precious
temple artifacts and art forms.

Flashlight Search - Poutda Pech, Tim Sokhoeun, Charles Chhor,
Johnny Khat
Broken Apsara Stones - Krisna Thou, Rancia Phin, Channa Sath, Robin
Wilson, Monica Veth
The broken Apsara stones weep from the vandalism by Garuda.

�Tep Apsara - Sophorl Ngin, Sophy Leng, Brianna Mai, Virgina Prak,
Emaly Horn, Ihida Morn, Mary Prum, Phirum Meas, Pech Heung
The finale is a dance of rebirth as young dancers rise to dance once again.
The song is an appeal for protection and preservation of this beloved icon
of Cambodian people. The Apsara's power as a symbol of peace and
reverence lies in the hands of future generations.

Angkor Sponsors

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LOUIS L. PINN

INSURANCE AGENCY

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211ChelmsfordSt.
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Phone:(978)452-4748
Fax: (978)452-4754

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Staff &amp; Administration

Host Committee:
Melissa Carino
George Chigas
Suzzanne Cromwell
Carol Duncan
Jenny Fichera
David Grenier
Stacies Hargis

Vanna Howard
Richard Howe Jr.
Sovann-Malis Loeung
Paul Marion
Rosemary Noon
James Ostis
Dara Pinn

Louis Soares
Sopheap Theam
Sophy Theam
Aileen Tran
Ani Vong
Jessica Wilson

Volunteers:
Vandara Chum
Emil Kuruvilla

Visa! Lim
Linda Uch

Performers and Crew from Flying Orb Productions:
Tim Sokhoen
Poutda Pech
Sara Thanongsinh

Paula Em
London Long
RickyOrng

�Board of Directors:
Linda Sopheap Sou, President
Sochenda Uch, 1st Vice President
Deborah Nelson, 2nd Vice President
Vyrik Eng, Treasurer
Sovanna Pouv, Secretary

Program Staff:
Tim Thou, Program Director
Khakhada Horn, Assistant to Director
Phousita Huy, Artistic Director
Peter Veth, Assistant Artistic Director
Liz Clafin, Sales Coordinator
Shaun McCarthy, Grant Writer

Joan Gendron
John Phim
Lianna Kushi
Lydia Breckon
Narin Sinuon
Walter Wright

�Mission
The Angkor Dance Troupe, a 501 (c) 3 nonprofit, is a unique organization
that provides an essential service to the community. The Troupe is the only
nonprofit cultural group in Lowell, MA, whose sole mission is to preserve
the traditions of Cambodian performing arts.
The Angkor Dance Troupe develops and teaches Cambodian dance,
promotes an understanding and appreciation of Cambodian culture, and
provides a positive social and educational outlet for Cambodian youth.

History
The Angkor Dance Troupe was formed in 1986 by Cambodian refugees of the
Khmer Rouge holocaust. Lowell's Cambodian American community, estimated
at more than 35,000 people, is the second largest in the country. When we
resettled here, we brought a passion to carry on our cherished cultural traditions
to practice and perform, to teach our children, and to see our art preserved for
future generations of all cultures.
We take our name from the great Angkor civilization, between 802 and 1432 AD
when Cambodia was a dominant empire in Southeast Asia. Dance and music
have always been prominent in Khmer society, but these ancient traditions were
nearly eliminated when the Khmer Rouge controlled Cambodia in the 1970s.
Artists were among those deliberately targeted for execution. More than 90% of
the country's tradition bearers perished. Today, as Cambodians around the world
struggle to emerge from decades of war and poverty, our people look to the
rebirth and re-creation of dance as testimony to the endurance of our culture.
"The Angkor Dance Troupe is a gem in the Commonwealth. The Massachusetts
Cultural Council is proud to be a longtime supporter of Angkor for its beauty,
value, and impact in preserving this rich cultural art form for the Lowell
community and beyond" says Anita Walker, the Executive Director for the
Mass Cultural Council. "The Angkor Dance Troupe is not only an organization
promoting dance, it's an inspiration to all those who survived the Cambodian
Genocide three decades ago, and a testament to the enduring power of the arts:'

�Contributor Sponsors.

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Supporters
Socheat Chan
Dr. George Chigas
Vandara Chum
Kent Davis
Jim Higgins
Phousita Huy

DatASIAN, Inc.
Samkhann Khoeun
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HISTORICAL PARK

In Celebration of the 25th Anniversary, we would like to extend sincere gratitude to the Lowell National Historic Park for their continuous support and partnership, which made this milestone possible.

www.angkordance.org

�</text>
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                    <text>�T'ha11ff You
We are delighted you have joined us for Reamker, 29 years ago we
began the Angkor Dance Troupe with the vision to preserve and
develop the traditions of Cambodian performing arts, that was
almost completely wiped out during the Khmer Rouge genocide.
As a community struggling to put down roots in a new homeland,
Cambodian dance provides a poignant reminder of the beauty and
spirituality of our culture and helps us build a more stable foundation for our children.
As the heart and soul of the Cambodian American community
in Lowell, the Troupe has served as a foundation and voice of our
cherished cultural traditions. We are nationally recognized as one
of the most accomplished and experienced of the U.S. - based Cambodian traditional arts ensembles and have received recognition
from the Massachusetts Cultural Council, the National Endowment
of the Arts, and the White House.
We hope you enjoy the show!

Tim Thou
Co-Founder

~

Phousita Huy
Artistic Director

~

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DahvyTran
Executive Director

~

�•

Progra,n

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The Angkor Dance Troupe is proud to present Reamker a Cambodian epic poem, based on the Sanskrit's Ramayana epic. It adapts
the Hindu ideas to Buddhist themes and shows the balance of good
and evil in the world.
Reamker Program
Scene I:
Krong Reap sees Preah Ream and
Neang Seda
Scene II:
Preah Ream follows the Golden Deer
Scene III:
The Abduction of Neang Seda
Scene IV:
Preah Ream and Preah Leak calls
for Hanuman
Scene V
Kingdom of Langka
Scene VI
Hanuman and Sovann Macha
Scene VII
Neang Seda and the Test of Fire

�Rea,nter

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The classical literature of Cambodia during the 16th and mid-19th
century reflected the cultural influence of India and represented
three major genres: the epic, verse novels, and bap, or "codes of
conduct:'
One of the earliest literary epic stories that was composed in the
Khmer language is the Cambodian version of the Indian Ramayana, Reamker. The evolution of the Indian Ramayana story in Cambodia represents the adaptation of Hindu ideas to Buddhist themes
and shows the balance of good and evil in society. Reamker serves
as an inspiration for various genres of performance in Cambodia.
Classical dance-drama, all-male masked dance-drama, and shadow
puppet plays all include episodes in their repertoire.
The story of Reamker centers on Preah Ream, a Prince who was
exiled to the forest through no fault of his own for fourteen years.
Following many adventures including the abduction of his wife
Neang Seda by the evil giant Krong Reap, Preah Ream eventually
rescues her with the help of an Army of monkeys guided by Hanuman. Preah Ream and Neang Seda return home in triumph and the
Prince reclaims his throne.
The complex interplay of strengths (bravery, foresight) and weaknesses (distrust, trickery) --though couched in episodes lined with
magic -- nonetheless represents aspects of human social behavior.

4

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Characters

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Preah Ream, is the main protagonist of the epic. He is believed to be
the reincarnation of the Hinduism deity Vishnu and the husband of
Neang Seda.

Neang Seda, the female protagonist of the epic and wife of Preah
Ream.

Preah lea~, is the brother of Preah Ream and his aid to fight Kong
Reap and rescue Neang Seda.

Krong Reap, is the main antagonist of the story. He captures the
beautiful Neang Seda to his island of Langka.

Preus Meas (G()lden Deer) is the transformation of Maharik, a cousin
of Krong Reap.

T'a rysi (Hermit) - Krong Reap transforms into an old hermit to disguise his true identity in order to capture Neang Seda.

Hanuman (General White M()nhy), helps rescues Neang Seda. While
building the bridge connecting the island of Langka to the mainland, he fells madly in love with Sovann Macha, the Golden Mermaid.
S()Vann Mar;ha (G()lden Mermaid), is the Golden Mermaid who tries to
spoil Hanuman's plans to build a bridge to Langka but fell in love
with him instead.

5

�Rea1nker

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Scene I: Krong Reap sees Preah Ream and Neang Seda

The story begins with Preah Ream, Neang Seda and Preah Leak venturing off to the forest to gather fruits and flowers. Preah Ream and Neang
Seda falls asleep under a tree. It was there that Krong Reap catches sight
of Neang Seda, he was so awed by her beauty that he commands his
soldier Maharik to transform into Preus Meas - the Golden Deer. Neang
Seda falls in love with Preus Meas and ask Preah Ream to capture it for
her. Neang Seda and Preah Leak waits, while Preah Ream pursues the
Golden Deer.
Scene II: Preah Ream follows the Golden Deer

As Preah Ream pursues Preus Meas, Neang Seda becomes worried that
her husband may have trouble capturing the deer and ask Preah Leak to
assist him. Preah Leak agrees but before leaving he pulls out his magic
bow, shoots it at the ground near Neang Seda, which cast a protective
enchantment around her
Scene III: The Abduction of Nean Seda

Krong Reap's plans to get Neang Seda alone succeeds and attempts to
capture her, but fails. He keeps circling around the enchanted perimeter,
trying to find a way in, but each time gets burnt by the enchantment.
The only way Krong Reap can get to Neang Seda is to trick her out of
the circle, so he transforms into an Ta Eysi - an old Hermit. Neang Seda
sees Ta Eysi and steps out of the protective circle to bow down and pay
her respects. She allows him into the circle, where Ta Eysi tells her she is
destined for Krong Reap and not for Preah Ream. Shocked, Neang Seda
reprimands Ta Eysi by striking him. Angered, Ta Eysi transforms back to
his true form and chases her. The scene ends with Krong Reap capturing
and flying away with Neang Seda.

6

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Scene IV: Preah Ream and Preah Leak calls for Hanuman

Upon returning the brothers realized Neang Seda was abducted. They
seek out Hanuman for help. Preah Ream shoots his magic arrow into the
sky to summon Hanuman and when he arrives, Preah Ream places his
ring preah thomrong in Hanuman's hand. This would be proof to Neang
Seda that she can trust Hanuman to bring her back home.
Scene V: Kin dom of Lan ka

At Krong Reap's palace, the gods cast a protective spell around Neang
Seda's body, which caused intense heat to radiate. Krong Reap is burned
every time he attempts to touch her. Angered, Krong Reap orders two
female servants to punish her, but they are interrupted by Hanuman.
Initially, Neang Seda thinks Hanuman is a fraud, so she places a spell on
him to test him. If he is the real Hanuman, a flower garland would appear around his neck. Hanuman then places the ring from Preah Ream
in Neang Seda's hand.
Scene VI: Hanuman and Sovann Macha

Hanuman attempts to build a bridge to the kingdom of Langka to rescue
Neang Seda, but is thwarted by Krong Reap's daughter, Sovann Macha.
As soon as the monkeys lay down the stone path to cross the ocean,
Sovann Macha's mermaids remove the stones. Hanuman catches Sovann
Macha and decides to seduce her. He succeeds and they end up falling in
love. Sovann Macha allows the completion of the stone path to the kingdom of Langka where a battle ensues between good and evil.
Scene VII: Neang Seda and the Test of Fire
Preah Ream, out of jealousy, assumes that Neang Seda was unfaithful and
no longer pure after being Krong Reap's captive, he puts her through the
test of fire to prove her fertility and purity. Her innocence was proven.
7

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sova1111 Ma,1ha Spo11sors

Lowell General Hospital is proud to
sponsor the Angkor Dance Troupe, Inc.
~
Lowell General Hospital

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Complete connected care=

GALLAGHER

&amp; CAVANAUGH LLP

COUNSELLORS AT LAW

8

�Sora1111 Ma,;ha Sponsors

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INSURANCE AGENCY

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At Align Credit Union , it's how we 've been doing things since 1922.

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Visit our convenient Lowell locations at:
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(800) 942-9575
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Carol &amp; George Duncan
"We are delighted to support and celebrate
the Angkor Dance Troupe as it debuts
their annual residency at the Merrimack
Repertory Theatre and continues to connect communities with the preservation
and innovation of their rich culture:'

&lt;

Enterprise Bank
is proud to support the

Angl&lt;or Dance Troupe
/

as they celebrate their heritage and continually bind
the immensely-diverse cultures of our community.

978-459-9000
Member

FDIC

~~ Enterprise

Bank

CREATE SUCCESS

EnterpriseBanking.com

10

�Mo11i Methala Sponsors

Thinking about buying a house?
Do it right.
Project Genesis
Home Buyer Training Seminars
LEARN ABOUT

The Home Buying Process

Mortgages
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Seminars avaiLible in Engish. Spanish &amp; Khmer.
T O REGISTER

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SAVINGS BANK
We give you more

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11

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Demoulas Foundation

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creator of
•Monkey Dance• documentary

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Robert Farrant
Sara Serendipity

Sharing Foundation

12

�13

�Artists and Perf or,ners
Masters and Teachers
Artistic Director and Master Teacher - Phousita Huy
Dance Program Manager - Channa Sath
Master Teacher Pech Heung
Master Teacher Phirum Meas
Master Teacher Kimhan Meas

Supporting Master Tead1ers:
Master Teacher/Choreographer - Proeung Chhieng
Master Teacher - Yorn Peng

14

�Artists and Pert or1ners
Perfcmners
Alexandra Mai
Anita Srey
Brianna Mai
Celena Mai
Chad Mai
Channa Sath
Chummeng Soun
Daisy Var
Emaly Horn
Isabel Clafin
Jaren Kong
Jasmine T. Udomsay
Jefferson Phan
Johnny Khat
Judith Wilson
Kelly Ly

Kevin Searth
Kevin Vann
Krisna Thou
Krissandra Mai
Monica Veth
Nadia Heng Noeuk
Nicky C. Fennell
Nina Touch
Pech Heung
Peter Chea
Peter Veth
Phirum Meas
Poutda Pech
Robin Wilson
Salena Mam
Sambo Yoeun

Costume Support:
KolabThou
Chenda Wilson

Multimedia Support:
James Higgins

Prerecorded music:
Royal University of Fine Arts, Phnom Penh, Cambodia

15

Semnang Kao
Sophy Leng
Sovann-Malis Loeung
Tanromni Chum
Tim Sokhoeun
Victoria Phan
Virginia Prak
Viseth Loeung-Rinehart
Vituu Touch

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Stat f &amp;leadership

Advisory Board:
Celeste Bernardo
Michael Gallagher
Nancy Donahue
Carol Duncan
Felicia Sullivan
Jim Conlon
Adrien Bisson
Sophy Theam
Vanna Howard
Joe Hungler
Jim Wilde
Robert Farrant
Walter Wright

Students practice a scene from Reamker

16

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Board of Direr.tors:
Lianna Kushi, President
Karen McManimon, Vice President
Linda Uch, Clerk
Chummeng Soun
Michael Conway
Narin Sinuon
Nary Tith
Sheila Kirschbaum
Sochenda Uch
Sovanna Pouv
Virginia Prak

Program Staff:
Dahvy Tran, Executive Director
Tim Chan Thou, Operations Director
Tom Southernton, Program Coordinator
Khakhada Horn, Program Assistant
Shaun McCarthy, Grant Writer

The Angkor Dance Troupe host a traditional Sampeak Gru ceremony to pay their
respects for past Master Teachers to help guide them to a successful performance.

17

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Vision

We envision Lowell Massachusetts to be the epicenter for innovative Cambodian performing arts with the Angkor Dance Troupe at
the core.

Mission
The Angkor Dance Troupe connects communities through the preservation, education and innovation of Cambodian performing arts.

History
The Angkor Dance Troupe was formed in 1986 by Cambodian refugees of the
Khmer Rouge holocaust. Lowell's Cambodian American community, estimated
at more than 35,000 people, is the second largest in the country. When we
resettled here, we brought a passion to carry on our cherished cultural traditions
to practice and perform, to teach our children, and to see our art preserved for
future gene!ations of all cultures.
We take our name from the great Angkor civilization, between 802 and 1432 AD
when Cambodia was a dominant empire in Southeast Asia. Dance and music
have always been prominent in Khmer society, but these ancient traditions were
nearly eliminated when the Khmer Rouge controlled Cambodia in the 1970s.
Artists were among those deliberately targeted for execution. More than 90% of
the country's tradition bearers perished. Today, as Cambodians around the world
struggle to emerge from decades of war and poverty, our people look to the
rebirth and re-creation of dance as testimony to the endurance of our culture.
"The Angkor Dance Troupe is a gem in the Commonwealth. The Massachusetts
Cultural Council is proud to be a longtime supporter of Angkor for its beauty,
value, and impact in preserving this rich cultural art form for the Lowell
community and beyond" says Anita Walker, the Executive Director for the
Mass Cultural Council. "The Angkor Dance Troupe is not only an organization
promoting dance, it's an inspiration to all those who survived the Cambodian
Genocide three decades ago, and a testament to the enduring power of the arts:'

18

�Supporters

\
National
Endowment

for the Arts

ARTWORKS.

arts.gov

Th Lenny Zakim Fund
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charitable foundation
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The Parker Foundation

19

�PRESERVE• EDUCATE• INNOVATE

www.angkordance.o

�Reamker Cast

2015
Students
PreahReam
Nean Seda
PreahLeak
Giants Army

Golden Deer ·
Tha E si Hermit
Hanuman

Tim Sokhoeun
Poutda Pech
Brianna Mai
Monica Veth

Judith Wilson
Alexandra Mai
Salena Mam
Dais Var
Channa Sath
Kimhan Meas
Nicky Fennell

Gen. White Monkey)

Monkey Army

Swva Pol Army

Sovann Macha

Jaren Kong
Peter Chea
Johnn Khat
Kevin Searth
Vituu Touch
Chad Mai
Viseth Loeung-Rinehart
Jefferson Phan
Semnang Kao
Sambo Youen
Nadia Heng Noeuk

Golden Mermaid

Mermaids

Candle Dance

Nina Touch
Victoria Phan
Jasmine Tauvari Udomsay
Isabel Claflin
Kelly Ly
Anita Sre
Krisna Thou
Emaly Horn
Robin Wilson
Celena Mai
Krissandra Mai
Tamromni Chum

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Wr(BfAHAM (c[)

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�</text>
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                    <text>�THilnH YOU
The Board of Directors and Staff of the Angkor Dance Troupe
welcome you to this performance of Pin Panhchapor. Tonight's
event marks the kickoff of our 30th Anniversary Series of events,
culminating in a celebration that will take place on April 7, 2017 at
the Sompao Meas Hall.
The Angkor Dance Troupe was formed thirty years ago with the
vision to preserve and develop the Cambodian performing arts,
traditions that were almost completely wiped out during the
Khmer Rouge genocide. For a community struggling to put down
roots in a new homeland, Cambodian dance provides a poignant
reminder of the beauty and spirituality of our culture and helps us
build a more stable foundation for our children.
As the heart and soul of the Cambodian American community in
Lowell, the Angkor Dance Troupe has served as a foundation and
voice of its cherished cultural traditions. The Troupe is nationally
recognized as one of the most accomplished and experienced
traditional Cambodian arts ensembles in the United States and has
received recognition from the Massachusetts Cultural Council, the
National Endowment of the Arts, and the White House.
Enjoy the show, and we hope to see you at other 30th anniversary
events to come!

Tim Thou
Co-Founder

Phousita Huy
Artistic Director

DahvyTran
Executive Director

2

Michael Conway
President

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Dr. Hang Rithyravuth
Mr. Hang Rithyravuth was born on April 21, 1967 in Phnom
Penh, Cambodia. In 1979, he started learning Classical Cambodian
Dance at the of School of Fine Arts in Phnom Penh and in 1981
began his study in piano, where he realized his passion for music.
This led to him receiving a scholarship in 1985 to study music in
Russia. He graduated in 1990 with a degree in Choir Conducting
from the Tchaikovsky's College of Music, in Moscow. Then
received his Master Degree in Orchestra Conducting from the
Gnesin Academy of Music in 1995 and his Ph.Din Philology
from the Institute ofWorld Literature in Moscow, in 1999. He
returned to Cambodia in 2000 and has been working for the Royal
University of Fine Arts (RUFA), and became a Acting Dean of
the Faculty of Music in 2016. He is a conductor of the Cambodia
Chamber Orchestra, professor of music history for various
universities including the Royal Academy of Cambodia and other
3

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private universities in Phnom Penh, Director of Mozart Music
Center. In addition to his professional work, Mr. Hang Rithyravuth
spends his free time creating Cambodian robam and lakon (plays),
and have successfully completed four works: Piano Peanor (Piano
and Monkey), Pin Panhchapor (Harp and 5 colors), Snaeng
(Horn), Mom ChangKran (Triangle Store).
Pin Panhchapor was created with the support of:
Mrs. Him Nala, Vice Dean of Faculty of Choreography at RUFA
Mrs. Sam Sathsa, Classical Dance Master at RUFA
Mr. Proeung Chhieng, Advisor of Ministry of Culture/Fine Arts
Mrs. Phousita S. Huy, Angkor Dance Troupe's Artistic Director

4

�PRDGRIM

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Pre Show:
Ream Leak Chup Leak - classical
In the story Reamker, Neang Seda, the princess is living in exile in
the forest with her son and the hermit, a magic wizard. She sets out
to bathe one morning, leaving her sleeping son Ream Leak with
the hermit. On her way to the pond, she spots a female monkey,
and she notices the monkey carrying her young with her wherever
she goes. Neang Seda feels guilty about leaving her own son behind
and goes back and gets him.
The hermit is in deep meditation and doesn't notice Neang Seda's
return or her taking Ream Leak. When he wakes to find the child
missing, he panics and fears Neang Seda anger. He takes Ream
Leak's pillow and scrapes off some remnants of his skin cell - and
fashions a new child - an identical clone of Ream Leak.
Imagine Sita's surprise when she returns from bathing and finds
that Ream Leak now has a twin. The hermit names the new boy
Chup Leak. They decide the two boys will study together and for
the next seven years, they study magic with the hermit.

In this scene, the two boys go off to play in the forest with their
bows and arrows. They each shoot an arrow into a large tree. The
impact makes such a huge sound; it is heard all the way to the
capital city.
The Prince, Preah Ream, hears it and gets mad. He sends his best
army general, a white monkey named Hanuman, to investigate the
source of this sound, and to capture those responsible for it. He
sends his white horse along with Hanuman but hangs a sign on the
neck of the horse that says "Anyone who plays with this horse will
be executed."

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Eventually Hanuman and the horse catches up with the two boys
in the forest. Ream Lak and Chup Lak are very curious boys. They
see the sign and immediately check out the horse - and take turns
riding it. Hanuman tries to capture them, but he can't because,
with their seven years of training in magic have made the boys very
powerful and crafty. Instead they capture Hanuman, tie him up,
and before sending him back to Preah Ream, they take resin from a
tree and write a letter on his face that says only Hanuman's master,
Preah Ream will be able to untie the string. You see the Monkey
general struggle against the rope and eventually he gives up and
returns to his master, defeated in his mission.

Krama Dance - folk
The Krama, a Cambodian scarf woven from silk or cotton, has been
a fashion staple since Ancient times and even to this day is still
used by Khmer people throughout the country from rural areas
to major cities. Over the years, the Krama became a symbol and
a major part of the Khmer identity. In today's society, regardless
of their position in life, every Cambodian uses Krama everyday
whether as a scarf, a hammock, a fan, or to carry their lunch.
Khmer people for generations have tied kramas around their waists
to work and play in cool comfort. While some claim the thin
cloth, wrapped around one's head or neck, is used primarily to wipe
the sweat from a hot face, others say wearing a krama is as 'Khmer'
as wearing a necktie is American. The Krama dance was depicted
and symbolic of everyday Khmer people life

6

�PROGRAM

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Pin Panhchapor Program:
The Angkor Dance Troupe is proud to present Pin Panhchapor, a
play inspired by the wall carvings on Angkor Wat and Bayon. It
mixes traditional with contemporary to create an original work that
focuses on the idea of love, war, and peace.
Scene I: Churning of the Sea of Milk
Scene II: Apsaras in the

Garden of Paradise
Scene III: Arun and Soriya

Fall in Love with White Apsara
Scene IV: Destruction of the

Garden of Paradise
Scene V: Summoning Panhchapor

(Five Gods of Color)
Scene VI: Peace and Harmony Returns

Post-show talk with Dr. Hang Rithyravuth

7

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Inspired by the 1,000 year old bas-relief or wall carvings on
Angkor Wat and Bayon in Cambodia, Dr. Hang Rithyravuth,
wrote the play of Pin Panhchapor along with composing the music
accompaniment. As the Acting Dean of the Faculty of Music
at the Royal University of Fine Arts (RUFA) in Phnom Penh,
Dr. Rithyravuth was able to bring together talented musicians
and performers to showcase the carvings of the Apsara, music
instruments accompanying the Apsara, circ (circus performers), and
the musical instruments accompanying the battle scenes.

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Sampoh, standard drum

Chhing, small cymbal

Sko Thom, large drum
Pin, harp and is a string instrument

Tro, two string instrument

Kong Peat, nine intersecting gongs

Srolai, wind instrument

Kong Nhy, big female gongs

Ksae Diev, one stri ng instrument
9

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The whole play only uses 5 hand gestures:

Pin Lok - grow

Triuy- bud

Slek - leaf

Phka - flower

Phlae - fruit

The word Pin means harp, Panhcha means 5, Por means color
There are 5 elements (water, earth, fire, wind, space )
The play is about PEACE
There are 5 apsaras: 1 white and her 4 attendants
There are 5 main notes for the Pin (CD EGA)
The 5 colors (red, yellow, black, white, and blue) were inspired by the
5 rings of the Olympics
Reference: h ttp://jeffmassni ck. b logspot. com/2008/07I meaning-of-h and-gestures-in-clasical. html

10

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Scene I: Churning of the Sea of Milk
Based on a tale over a thousand years ago, during the time of
Brahmanism. It tells about a battle of good and evil between
the Monkey General and Giant King over the Neak (Naga
snake). The Neak was used to churn the sea of milk to extract
the amrit (water of immortality). This liquid brings immortality
to whomever possesses it. Over the course of 1,000 years they
continued to churn the sea until one day within the foam of the
sea, appeared an Apsara.

Scene II: Apsaras in the Garden of Paradise
Due to the churning of the sea, the White Apsara raised to the
surface of the ocean. The White Apsara accompanied by her
other Apsaras friends, entered the garden of paradise.
Inspired by the beautiful flowers, the White Apsara began to sing
and play her harp.
12

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Scene Ill: Arun and Soriya Falls in Love with White Apsara
Arun (meaning sunrise) walks into the garden and sees the White
Apsara and immediately falls in love. He picks a lotus flower and
hands it to her to declare his love. The White Apsara takes the
flower as a sign of friendship and thought the lotus was meant to
be given as an offering at the temple.
As Arun offers the the lotus, Soriya (meaning sunset) enters the
garden and sees this. Soriya, also in love with the White Apsara,
offers her a bouquet of orchids. The White Apsara also accepts the
flowers as a sign of friendship and as she reaches for the orchids,
Arun becomes angry and pushes the orchids out of Soriya's hands.
This was the start of the conflict between Arun and Soriya.

Scene IV: Destruction of the Garden of Paradise
Arun and Soriya each called their army and began to battle and
destroyed the garden. The White Apsara and her friends tried to
clean up the garden but the battle continued on, which caused the
war between Soriya and Arun to get worse.
13

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Scene V: Summoning Panhchapor (Five Gods of Color)
The never ending battle between Arnn and Soriya does not stop, so
the White Apsara calls for help. She picks up her Pin (Harp) and
starts to play the music, which summons the Panchapor (Five Gods
of Color)

Scene VI: Peace and Harmony Returns
The Panhchapor came to save the heavenly garden by helping all
sides to communicate and work together. Due to the White Apsara's
effort she brought everyone including the Panchapor together.
The End.

PRESERVE• EDUCATE • INNOVATE

14

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�INSURANCE AGENCY

Carol &amp; George Duncan
"We are delighted to support and celebrate
the Angkor Dance Troupe as it debuts
their annual residency at the Merrimack
Repertory Theatre and continues to connect
communities with the preservation and
innovation of their rich culture."

�Lowell General Hospital is a proud supporter of the

Angkor Dance Troupe, Inc ..
We applaude their mission to connect communities
through the preservation , education and innovation
of Cambodian Performing Arts.
" Best wi shes to Angkor Dance Troupe on
your performance of Pin Panhchapor" .

~
Lowell .General Hospital

~
C om p le t e connected careSM

www.lowellgeneraI.org

�18

�MUT PEilH (FRIErtDS)

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2017 SOUTHEAST ASIAN AMERICAN STUD IES CONFERENCE

Community Engagement, Research, &amp; Policy in Action
University of Massachusetts Lowell
July 27-29, 2017 Abstract Admission Deadline: February I, 2017
UMass Lowell Center for Asian American Studies announces
the fifi:h triennial Southeast Asian American Studies conference, open to
scholars, anises, a~-tivists, org.mizers, and conummity members from all fields
and backgrounds.
The 2017 confuence will highlight Southeast Asian American conumm.ities in
New England and will seek to build bridges across disciplines, policymakers,
and community members.

Thursday &amp; Friday, July 27-28: Traditional panels/ poster sessions
Saturda~ July 29: Conununity Building Day devoted to srrengthening
coal itions regionally and nationally.
Please submit abstracts to CAAS@uml.edu. Please direct questions to the
conference co-chairs: Phitsamay Uy (phitsamay_uy@uml.edu), Ivy Ho
(ivy_ho@uml.edu), and/or Sue). Kim (sue_kim@uml.edu).

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�ARTiSTS

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PERFORMERS

Masters and Teachers
Artistic Director and Master Teacher - Phousita Huy
Master Teacher Nayto Hieng
Master Teacher Kimhan Meas
Dance Program Manager - Channa Sath
Master Teacher Sophea Chamreounnop
Master Teacher Pech Heung
Supporting Teachers
Contemporary Choreographer - Peter Veth

Music Ensemble
Dr. Hang Rithyravuth, Pin
Dr. Alan William, Pin
Kimhan Meas, Sampoh
Sovann Khon, Tro so
Jeff Dyer, Ksae Diev
Peter Tham, Sko Thom
Andrew Cornish, Kong Peat
Sopaul Cheam - singer

21

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ARTiSTS ;;no PERFORMERS

Performers (Friday)
Rerun Leak Chup Leak:
Channa Sath
Nina Touch
Johnny Khat
Peter Chea
Kroma Dance:
Alexandra M ai
Daisy Var
Isabel Clafin
Judith Wilson
Stephanie Seng
Salena Mam
Alvin Teng
Jaren Kong
Kevin Searth
Peter Chham
Viseth Loeung Coleman
VituuTouch

Apsara:
Celena Mai
Ranica Phin
Sophy Leng
Sophea Chamroeunnop
Virginia Prak

5 Colors
Felicity Moon
Kelly Ly
Khakhada Horn
Robin Wilson
Stephanie Seng
Arnn: Chummeng Soun
Soriya: Kevin Vann

Neak:
Alvin Teng
Chad Mai
Jaren Kong
Kevin Searth
Peter Chham
Viseth Loeung Coleman
Vituu Touch
Yeak:
Chummeng Soun
Chad Mai
Johnny Khat
Viseth Loeung Coleman
Monkey:
Kevin Vann
Jaren Kong
Peter Chea
Vituu Touch

Performers (Saturday)
Ream Leak Chup Leak:
Nina Touch
Victoria Phan
Johnny Khat
Peter Chea
Kroma Dance:
Alexandra Mai
Daisy Var
Jasmine Odomsay
Judith Wilson
Salena Mam
Alvin Teng
Kevin Searth
Kyle
Peter Chham
Viseth Loeung Coleman
VituuTouch

Apsara:
Celena Mai
Rancia Phin
Sophy Leng
Sophea Chamroeunnop
Virginia Prak

5 Colors
Felicity Moon
Kelly Ly
Khakhada Horn
Robin Wilson
Stephanie Seng
Arnn: Chummeng Soun
Soriya: Kevin Vann

22

Neak:
Alvin Teng
Chad Mai
Jaren Kong
Kevin Searth
Peter Chham
Viseth Loeung Coleman
Vituu Touch
Yeak:
Chummeng Soun
Chad Mai
Johnny Khat
Viseth Loeung Coleman
Monkey:
Kevin Vann
Jaren Kong
Peter Chea
Vituu Touch

�ARTISTS

t1rtr.J

PERFORMERS

Stage/Production Support

Emaly Horn
Roselynn Soung
Lee Viliesis - MRT
Brendan Conroy - MRT
Costume/Makeup/Hair Support

Kolablhou
Chenda Wilson
Peter Veth
Korry Voeun

Multimedia Support

Jim Higgins
Tim Thou
Dr. Hang Rithyravuth
Carter Miller - MRT
Original Music

Dr. Hang Rithyravuth
Program Design &amp; Support

Sochenda Uch
Isidro

23

Att5kor o.,ttcc Troupe, lttc.

tl'JfMro~~f

�-

A ttsl«&gt;r O..\ttcc Trowp¢. Inc.

1,!15Hmff~5

STilFF

Advisory Board

Celeste Bernardo
Adrien Bisson
Jim Conlon
Nancy Donahue
Carol Duncan
Robert Farrant
Michael Gallagher
Vanna Howard
Joe Hungler
Felicia Sullivan
Sophy Theam
Jim Wilde

24

11tH1

LERDERSHiP

�STAFF

iHtD

LEilDERSHIP

Att5kor D41ttce Troupe. IYic.

1.f1~HU$$~f

Board ofDirectors

Program Staff

Michael Conway, President
Karen McManimon, Vice President
Sovanna Pouv, Treasurer
Linda Uch, Clerk
Jay Lee
Chummeng Soun
Narin Sinuon
Nary Tith
Sheila Kirschbaum
Virginia Prak

Dahvy Tran, Executive Director
Tim Chan Thou, Operations Director
Khakhada Horn, Program Coordinator
Emaly Horn, Program Intern
Shaun McCarthy, Grant Writer

Left to right: Sheila K., Chummeng S., Linda U., Nary T., Karen M., Michael C., Paul Marion (special
guest), Jay L. , Sovanna P., Tim T., Narin S.

25

�An5lwr Dance

Troi~rf'.

Inc,

1.11~.mu $f~f

SUPPORTERS

lill

Massachusetts Cultural Council

C Parker Foundation)
1be
Great Individuals

Chhan Touch
BonnaMai
Linda Sopheap Sou
Sochenda Uch
Malis Loeung
Chenda Wilson
Liz Claflin

WEARE PROUD
TO PARTNER WITH
ANGKOR DANCE
TROUPE!

Contact Soben For
Advertising Opportunities
Email: sobenpin@khmerpost.us
978-677-7163

www.khmerpostus

�UISIDrt
We envision Lowell Massachusetts to be the epicenter for innovative
Cambodian performing arts with the Angkor Dance Troupe at the core.

MISSIDrt
The Angkor Dance Troupe connects communities through the preservation,
education and innovation of Cambodian performing arts.

HISTORY
The Angkor Dance Troupe was formed in 1986 by Cambodian refugees of the
Khmer Rouge holocaust. Lowell's Cambodian American community, estimated at
more than 35,000 people, is the second largest in the country. When we
resettled here, we brought a passion to carry on our cherished cultural traditions
to practice and perform, to teach our children, and to see our art preserved for
future generations of all cultures.
We take our name from the great Angkor civilization, between 802 and 1432 AD
when Cambodia was a dominant empire in Southeast Asia. Dance and music
have always been prominent in Khmer society, but these ancient traditions were
nearly eliminated when the Khmer Rouge controlled Cambodia in the 1970s.
Artists were among those deliberately targeted for execution. More than 90% of
the country's tradition bearers perished. Today, as Cambodians around the world
struggle to emerge from decades of war and poverty, our people look to the rebirth
and re-creation of dance as testimony to the endurance of our culture.
"The Angkor Dance Troupe is a gem in the Commonwealth. The Massachusetts
Cultural Council is proud to be a longtime supporter of Angkor for its beauty,
value, and impact in preserving this rich cultural art form for the Lowell
community and beyond" says Anita Walker, the Executive Director for the
Mass Cultural Council. "The Angkor Dance Troupe is not only an organization
promoting dance, it's an inspiration to all those who survived the Cambodian
Genocide three decades ago, and a testament to the enduring power of the arts."

27

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                    <text>�4. Celebr-atiun uf
Cambudian Cla\\ical and f'ulk. uance
ARTIST DIRECTOR

DANCE COORDINATORS GENERAL MANAGER

Mrs. Phousita Serey Huy

Mr. Tim Chan Thou
Mr. Sokheoun Sim

Ms. Ruth Page

ARTISTS/PERFORMERS
Miss Akara Im
Miss Linda C. Thou
Miss Sopharl Ngin
Miss Ratana C. Thou
Miss Vanrotha Im
Miss Choumnith Sath

Miss Chenda Ty
Miss Sophannary Khem
Miss Sophannarin Khem
Mr. Savann Leng
Mr. Retha Yok
Mr. Samnang Hor
Mr. Khoeun Pring

Mrs. Sokhanarith Moeur
Mrs. Somaly Hay
Mrs. Sopheap Sim

Miss Leakhena Moeur
Miss Rachana Khiev
Miss Rith Malay Hay
Ms. Maly Ouk

Mr. Pov Sath
Mr. Samuth Koam
Mr. Boo Ouch
Mr. Rothana Yok
Mr. Sochenda Uch
Mr. Tola Sok

SPECIAL GUESTS
Mr. Phan Phoung
Mr. Tonara Hing
Ms. Sophana Keth

COSTUMERS/ DRESSERS
Ms. Phalik Ting
Mrs. Kolab Thou
STAGE/SOUND/LIGHTING/PRESENTER COORDINATORS
Mr. Nissay Liek
Mr. Chhan D. Touch
Mr. Scott Glidden
Mr. Tim Chan Chou
Ms. Carol Keirstead
Ms. Gloria Polites
THE PROGRAM
Welcoming Remarks
Lowell Mayor Edward Caulfield
State Representative Thomas Golden
1.
2.
3.
4.
5.
6.

7.
8.

9.
10.
11.
12.

Apsara Dance
The Coconut Shell Dance
Expression of Sentiment Dance
The Butterfly Dance
The Good Crops Dance
Mani Mekhala Dance
15-Minute Intermission
Khen Dance
Chhoy Chhay Dance
The Peacock of Pailin Dance
Tep Monorom Dance
Pestle Dance
Chhay Yam Dance

Classical
Folk
Classical
Folk
Folk
Classical
.....

Folk
Classical
Folk
Classical
Folk
Folk

�Table uf Cuntenu
I.

11.

II.

About the Angkor Dance Troupe .
Dance Descriptions
Apsara Dance .
The Coconut Dance .
The Expression of Sentiment Dance
The Good Crops Dance
The Butterfly Dance .
Moni Mekhala Dance .
Khen Dance .
Chhoy Chhay Dance
Peacock of Pailin .
Tep Monorom Dance .
Pestle Dance .
Chhay Yam Dance .
Directory of Advertisers
Alden's Discount
Fred C. Church Insurance
Colonial Gas
Enterprise Bank &amp; Trust Co.
Family Bank
Friends of the Angkor Dance Troupe .
John H. Honan Insurance .
Henrick F. Johnson Insurance .
Lowell General Hospital
Paul Marion
Massbank .
Carole Mathews .
Kris Niccoli .
Page One Productions .
Donald E. Pierson
Safeway Insurance .
Saints Memorial Hospital .
Marina &amp; Peter Schell .
Smithwick's Restaurant &amp; Tavern .
Terry's Creations
Washington Savings Bank .

.2
16
.17
.19
.19
21
21
.22
.22
22
22
23
.23
20
19
.21
1
20
14
23
10
8
1
.17
.13

.23
15
12
6
18
6
9
20
9

�le~ ENTERPRISE

ir

@
EQUAL HOUSING

BANK AND TRUST COMPANY

LENDER
Member

A Certified SBA Lender

FDIC

Main Office and Trust Division
222 Merrimack Street • Lowell, MA 01852 • 508-459-9000
Branch Offices
674 Boston Road (Rte 3A) •Billerica, MA 01821 • 508-262-0123
185 Littleton Road (Rte 110) • Chelmsford, MA 01824 • 508-442-5588
4 Central Street• Leominster, MA 01453 • 508-534-7400
910 Andover Street• Tewksbury, MA 01876 • 508-863-5500
Mortgage Lending Center
27 Palmer Street• Lowell, MA 01852 • 508-459-9000

PAUL MARION
Writer
and
Cultural Affairs
Consultant
44 Highland Street
Lowell, MA 01852
Phone/Fax : (508) 454-4883
E-mail: MarionPF @aol.com

1

�0

tffg;~H~;
An~kor' "Dance. Tr'o'-lpe., Inc.
History and Background
/ ike all traditional arts, Cambodian classical and folk dance has
/...!Jen passed down from one generation to the next. Since the
Angkor Era, Cambodian dancers and musicians have preserved,
cherished, and celebrated their art.
The Angkor Dance Troupe was formed

For' Cambodian~,

in 1986 in Lowell, MA by two teachers

ar'f i~ +he cor'e of

and a handful of dancers who learned

life, combining

traditional Cambodian Dance in

enfer'fainmen+,

refugee camps along the Thai-

fr'adifion, r'eligion,

Cambodian border. Between 1975, and

and ~ocial cohe~ion.

1979, when Pol Pot and the Khmer
Rouge controlled Cambodia, many dancers and musicians perished
or fled the country. It was in the camps and later in places like Lowell
and at the University of Fine Arts in Phnom Penh that traditional
Cambodian dance was painstakingly resurrected.
Today, dance has become one of the primary ways that Cambodians,
split by politics and war, identify a common culture. For Cambodians,
art is the core of life, combining entertainment, tradition, religion,
and social cohesion. Wherever Cambodians live, so do the traditions
of practicing, performing, and passing on the culture.
2

�classi&lt;;:
Dan '

C

ambodian classical dance has been associated with the
court of Cambodia for more than one thousand years.

During the great Angkor civilization, the dancers of the Khmer
royal ballet made offerings while performing during rituals and

ceremonies before sacred idols.
In court dance, we see highly-stylized positions in concert with
gentle movements. Gestures are strictly defined and distinguished
by the intricacy of hand positions.
Each of these gestures has a specific meaning, often relating to
nature. For example "Lea" can denote a leaf, but it can also mean
"to open." (See right hand in photo below.) Depending on its
context within the dance, Lea can represent the leaf and its beauty
or the opening of a hand or a piece of paper.
"Cheep" (left hand in photo) can symbolize
a flower or it can mean to fold into
small pleats.

3

�F

olk dance is rooted in rural Cambodia and reflects the life

and spirit of peasants. Throughout Cambodia, after the

harvest is over, it is time for music, song, and dance. Dance motifs
are commonly based on local legends and inspired by themes of
nature as well as the ceremonies, customs, and rituals of everyday
life. Just as court dance is ruled by a strict form and a prescribed
language of movement, folk dance is spontaneous, created for
emotional expressions.
The folk dances performed by the Angkor Dance Troupe were refined
by the University of Fine Arts in Phnom Penh. Researchers collected
dances and music from all over the country and then choreographed
dances that were suited to staged performances.

~alkD11nes

4

�A Leader in Traditional Cambodian Dance
The mission of the Angkor Dance Troupe is to preserve and
develop the traditions of Cambodian performing arts, to promote
an understanding and appreciation of Cambodian culture, and to
provide a positive social, cultural, and recreational outlet for
Cambodian youth.
The Angkor Dance Troupe is recognized throughout New England
as a leading Cambodian folk and classical dance ensemble.
The Troupe's artistic director, Phousita S. Huy is one of the mostrespected master teachers of Cambodian dance in the U.S.
She is a recently-emigrated star performer from the University of
Fine Arts in Phnom Penh, which is considered the cultural source
and artistic standard bearer of Cambodian performing arts. Troupe
coordinator and cofounder Tim Chan Thou was trained and
certified as a teacher of Cambodian traditional dance from
Khao-1-Dang and Philippine Refugee Centers.

�Phalik Ting (left) and
Thida Loeung at a
recent performance
in Boston.

The Angkor Dance Troupe
is recognized througout
New England as a leading
Cambodian Classical and
Folk Dance Ensemble.

"

6"-'~ 66
Safeway Insurance
i!!•~efltt~nmmvse
1nnt1mt tfl! ~= m•~"! ~eann ie ii11
1es1e~e1mn1~eemsere~e~em•m~nvse
555 Merrimack Street, Lowell, MA 01852
(508) 970-2442 (508) 458-7681 Fax: (508) 441-1611

CoNqRATulATioNs!
THANk you ANkqoR DANCE TRoupE
foR sHARiNq youR cu lTuRE,
bRiNqiNq SUCH bEAUTY ANd yRACE iNTO OUR CiTY.

MARiNA ANd PETER ScHEll
6

�An Extensive Collection of Authentic Costumes
The Dance Troupe has assembled an extensive collection of
authentic costumes, dance materials, artifacts, and documentation.
The Troupe's principal costumer, Phalik Ting, learned Khmer classical dance in Camp Sakeo, Thailand. Costumers from the University of
Fine Arts in Phnom Penh have also made costumes for the Troupe.

Preparing for a performance can
take several hours. Many
Cambodian dance costumes are
so intricate and close-fitting that
dancers have to be sewn into
them before performances.
Above - Angkor Dance Troupe
member Akara Im assists Linda
Thou with her costume.
Right - Vanrotha Im gets help
with her costume before
performing the Coconut Dance.

�~~~rfamily,
your

your

friends,

life.
Lean on Lowell General

LGH
LOWELL GENERAL
• HDnlTAL •

Lowell General Hospital
295 Varnum Avenue, Lowell, Mass.

www.lowcllgcneral.org
8

�Congratulations
to The Angkor Dance Troupe
from

•

wash1. Gton
n

~~~'!!~~!!!e~
Est.1892

458-7999

Member FDIC/DIF

All Deposits Insured in Full

Plenty of Free Parking

Best Wishes to the Angkor Dance Troupe
from

~mttbtutck's
Restaurant &amp; Tavern

92 - ro4 Middle Street in downtown Lowell
(508) 937-21n

Live Entertainment

Home of 220 Beers

9

�Members of the Angkor Dance T
roupe perform the classical dance"Tep
Monorum " at First Night Boston in Decem ber 1996.

The Angkor Dance Troupe has participated in workshops at the
Jacob's Pillow Dance Festival and is listed on the Touring Roster for
the New England Foundation for the Arts. The Troupe is routinely
invited to perform at prestigious events, such as Boston's First Night
celebration at the Wang Center and the Boston Ballet. Other
performance venues have included the National and Lowell Folk
Festivals, the Boston Public Library, the Peabody Museum, the
Peterborough NH Town House, the University of Massachusetts Lowell and Amherst campuses, the Annual City of Fall River
Cambodian Celebration, and the Children's Museum.

HENRICK

r !Jf]·- .~- (!
{.rr:1h2flJ
.~

F.

JOHNSON INSURANCE AGENCY, INC.

"Building For The Future Through Personal Service"

448 Gorham Street, Lowell, Massachusetts 01852 I Telephone 508-458-3458

10

�Carrying on the Tradition
Over a dozen performances and public events have been scheduled
to date in 1997, including workshops and residency programs in
several public schools. Instructor Tim Chan Thou believes teaching in
the schools is vitally important. "This is how we plant the seeds of
interest in traditional culture," said Thou. "This is how we develop in
young people an appreciation for our heritage, and ultimately it's our
best hope to keep Cambodian dance alive."

Members of the Angkor Dance Troupe rehearse at the Madelon
Curtis Dance Studio in downtown Lowell.

The Troupe holds weekly rehearsals. For four hours every Sunday,
members gather to practice. The method of teaching is practiced as
it has been done traditionally, by watching, imitation, and assistaoce
from teachers to achieve the correct postures and movement.
Through the dance instruction, students learn about Cambodian
culture. From the folk dances, they learn about geography and a
daily life in Cambodia that they have never experienced. From the
classical or court dances they experience revered ancient traditions.
11

�Cambodian tradition prescribes
a particular relationship
between student and teacher,
a relationship that is repeated
in the relationships of children
to parents, and young people to
elders. Students are respectful
of teachers and of the knowledge they possess. They appreciate the chance to learn and
understand their responsibility
for carrying on their culture.

Four young members of
the Angkor Dance Troupe
after a performance of
Tivea Propey, a dance
originally performed in
honor of Children's Day
in Cambodia.

Donald E. Pierson, Dean
College of Education
University of Massachusetts Lowell
12

�Members of the Angkor Dance Troupe
at a recent performance.

From left Chhan D. Touch, Khoeun Pring, Phalik Ting, George
Chigas, Thida Loeung, Linda Thou, Sochenda Uch, Vanlina Im,
Rothana Yok, Pov Sath, Boo Ouch, Ratana Thou, Vanrotha Im,
Sophannary Khem, Sophannarin Khem, Harlen Hor, Soparl Ngin,
Samnang Hor, Akara Im, Andeth Vann, Phousita Serey Huy,
Chenda Ty, Sarith Heng, Sokhoeum Sim, Maliny Pen,
Maliny Khem, Elizabeth Yim, Choumnith Sath. Not pictured:
Tim Chan Thou, Savann Leng, Rotha Yok, Tola Sok, Samuth Koam .

•••••••••••••••••••••••••••••••••••••••••••••
•
•
•
•
•
•
•
•
•
•
Happy New Year
•
•
•
•
•
•
to the Cambodian Community
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•••••••••••••••••••••••••••••••••••••••••••••

Carole Matthews
13

�We would like to
honor and thank
Thoeun (Tlnl) Thou
and Kolab Yin
for their dedication to
continuing the tradition
of Canlbodian dance.

Many people have made valuable contributions to the
Angkor Dance Troupe1 but without the sustained
commitment of Thoeun and Kolab over the past decade1
the Troupe would not have survived.
Despite the difficulties and hardships1 they have never
given up in their belief that Cambodian traditional dance
has meaning and value for future generations.
With respect and appreciation1 we give them our thanks.
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Friends of the Angkor Dance Troupe:
Ann Bartholomew
George Chigas • Cecily Cook • Sovann-Thida Loeung
Ron Micheels • Elizabeth Morrish • Saly Pin-Riebe
Bunrith Sath • Vathana and Parady Soch • Nancy Sweezy .
14

�1--IONORING Tl--IE ARTS

Corporate Video • Multimedia
Advertising • Desktop Publishing

PAGE ONE PRODUCTIONS
80 Aberdeen Street, Lowell, MA 01852
(508) 441-1740 • Email: PAGEl PROD@AOL.COM

�Apsara Dance

Apsara is a central symbol of Cambodian culture. In the great Angkor
civilization, the beautiful celestial dancers of the temple represented the
prayers and linked the human world to omnipotent deities. Hundreds of
bas-relief Apsara carvings can still be seen on the walls of Cambodia's
national treasure, the temples of Angkor Wat.
The Apsara Dance is based on the Angkor Wat sculptures. It is a dance
for special occasions, originally performed only for the royal families of
Cambodia. In the dance, we see Mera, dressed in white for purity,
dancing in her garden with her handmaidens, also Apsaras. The
golden flowers they carry symbolize the happiness and well-being of
Cambodian people.

�The Coconut Shell Dance
Coconut trees are a main
agricultural resource in
Cambodia. They provide
sustenance to Khmer farmers
and are abundant in villages.
Inspired by a popular game
called Coconut Shell, the
Coconut Dance originated in
the province of Svay Rieny, the
eastern part of Cambodia. In
its original form, it was a oneman show. In the modern-day
dance, an equal number of male and female dancers performs
the dance, signifying friendship and courtship.

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Sa ints Me1norial Walk-In Center
2 2 0 Paw tuck et Street, Lowell
Telepltone: 446-1608

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Yours for life
18

�TROUPE
O. Foll- Dane&lt;'

Good Crops Dance
This folk dance comes from a minority tribe called Phnorng that lives in
the hilly plateaus and forests of the Mundulkiri and Tarankiri provinces
of Cambodia. The Good Crops dance depicts a delightful episode of
choosing the fields for crops. The dance, through its movements and
gesture, celebrates the hope for a productive harvest.

Expression of Sentiment Dance
Choreographed by the late dance master Chea Samy, this dance was
originally created to provide dance students with a wide range of
expressions and sentiments. It has also been performed by professional dancers as an addition to their repertoire of court dances. The
theme depicts courting actions and, as it concludes, the sadness of
two lovers separated.

+- Fred C. Church
n Insurance

SINCE 1865

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19

�To a 11
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20

�The Butterfly Dance

In Cambodia, a young Khmer hunter captures a butterfly, intrigued by its
color and motion. But when the hapless helpless creature begs for mercy,
he lets it go. And so the Butterfly Dance symbolizes both the curiosity and
the compassion of Cambodian people. The graceful gestures and polite
manner. The willingness to always help and support one another. And
above all, the desire to live in peace and harmony.
Moni Mekhala Dance

According to Cambodian legend, thunder and lightning result from the
eternal battle between the Goddess Moni Mekhala and her adversary,
the storm demon Ream Eyso. One of the most sacred dances in the
Cambodian classical repertory, Moni Mekhala is still performed as a
ceremony to pray for rain.

A
tradition in the
community since 1849.
It has always been the goal of Colon ial Gas Company to offer exceptional value
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21

�Khen Dance
This is a dance of courtship. In a region of Cambodia along the
border with Lao, people frequently play an instrument called the
khen or mouth organ. In this dance, men play the mouth organs to
serenade women. Not able to resist, the ladies touch the flowers
hanging from the khen and fall in love.
Chhoy Chhay Dance
Chhouy Chhay is the name of an adolescent princess dancer with
perfect beauty in all aspects. Her dance, voice, figure, and attitude are
rare and unmatched in the world. This choreography demonstrates her
delicate and gentle dance during her promenade in the forest.
e peacock is a symbol of
happiness in the region of
Pailin, which borders Thailand.
The dance is thought to bring
prosperity to villagers and for
that reason the dance is performed
during the New Year and at other
Peacock
of Pailin

ceremonies and festivals. The original
performance of this dance was adapted
from a tale involving a peacock and a
hunter and was danced with both
dancing and chasing actions.

When it was brought to the University of Fine Arts in Phnom Penh,
some of the original elements were eliminated and new elements
added. The theme was changed and now the dance embodies courtship.
Tep Monorum Dance
This dance, often considered the most beautiful in the classical
repertory, embodies the well being, friendship, and prosperity of
Cambodian people.

22

�Happy New Year
to the Cambodian Community
from

l(ris Niccoli
The Pestle Dance
The Pestle Dance is a popular Khmer folk dance that originated in
Siem Riep Province. It is a dance that celebrates the harvest. The
pestle and mortar are used in Cambodia as an old-fashioned way to
mill rice paddies. Usually two people, each with a pestle, pound
alternatively in a constant rhythm, an action which provided the
basis for the modern day dance.
Ch hay Yam Dance
Chhayam is a comic country dance. After the harvest, Khmer
peasants and farmers gather in ceremonies and festivals to
celebrate. Chhayam is performed to enliven and add levity to these
celebrations. Its exciting rhythm encourages dancers to improvise
their steps and gestures.

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1 0 '·HONAN
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NEEDED

INSURANCE AGENCY

421 CHELMSFORD IT., LOWELL (NEXT TO WENDY'I)

TEL. 454-0402
23

�••••••••••••••••••••••••••••••••••••••
•
Special Thanks to
Our Dedicated Staff &amp; Board of Directors

•

Chhan D. Touch, President
Carol Keirstead, Vice President
Gloria Polites, Co-Secretary
Carole Matthews, Co-Secretary
Nissay Liek, Treasurer
Phousita S. Huy, Artistic Director
Phalik Ting, Instructor
Sokhoeum Sim, Instructor
Akara Im
Samuth Koam
Arn Chorn Pong
Tim Chan Thou, Troupe Coordinator
Dr. Toni Shapiro, Advisor
Also to:
Lori Kalb, New England Folklife Center
Molly Sheehy, Middlesex Community College
Michelle Ramahlo, Smith Baker Center
Thurman Prints
The Top Half
Publication designed by Page One Productions
Sources: "Cambodia's Royal Dance, " by Eileen Blumenthal, Natural History 4189
Khmer Folk Dance by Sam-Ang Sam &amp; Chan Moly Sam, Khmer Studies Institute Inc., 1987
Khmer Songbook, Forward by Sophiline Cheam Shapiro, 1992
The Classical Dance Company of Cambodia, Sam-Ang Sam, Music Director
"An Introduction to Khmer Traditional Dance" by Huy Serey Phousita, Seoul, 1995

Photo Credits:
Tim Chan Thou, Toni Shapiro, Eileen Blumenthal,
Ann Bartholomew, Eleanor Briggs, Higgins &amp; Ross
Translation Services: Nissay Liek
If you are interested in booking the Angkor Dance Troupe,
please contact: Ruth Page, General Manager (508) 441-1750

••••••••••••••••••••••••• ••• •••••• • ••

�The Angkor Dance Troupe is funded in part by the:
THEODORE EDSON PARKER
FOUNDATION

li111

MASSACHUSEITS CULTURAL COUNCIL
A state agency that supports public programs
in the arts, humanities. and sciences

Lowell Cultural Council
with funds from the Massachusetts
Cultural Council, a state agency

Angkor'

ll:l:HllMc.e. Tr'o'Jpe.
P.O. Box 1553
well, MA 01853

�</text>
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tf1Uftt1~t~f

Attsltor Datte~ Troi.p~, lttc.

The Quick Center for Arts
Ptesents
Dances anci wotkshops of the Cambociia
March 16-17, 2004
Program:
1. The Blessing Dance
2. The Coconut Dance
3. The Tep Monorom Dance
4. The Khen Dance
5. The Moni Mekhala &amp; Giant
6. Fishing Dance
7. Pestle Dance
8. Swva Pol with DNC

Classical
Folk
Classical
Folk
Classical
Folk
Folk
Classical

Angkor Dance troupe, Inc.
Mrs. Phousita Huy, Artistic Director
Mr. Tim Chan Thou, Dance Program Director
Mr. George Chigas, Troupe Manager

This program is sponsored by the Quick Center for the Arts
With special thanks to
Ms. Deborah Sommers, Director Programming
Ms. Melissa Di Fiore, Assistance Director of Programming

Mr. Russ Nagy, Technical Director and his staff
P.O. Box 1553 • Lowell, MA 01853
(978) 275-1823 • FAX: (978) 275-1824

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1) The Blessing Dance
Dancers: Heng Noeuk, Rancia Phin, Sopharl Ngin, Rathanee Yean, Monica Veth

It is dance of greeting and good wishes. During the performance, the dancers come forward and
sprinkle flower petals toward the audience. This is done in the hope brining prosperity, peace,
and good health to everyone in the audience.

2) The Coconut Shell Dance
Dancers: Povtda Pech, Sodany Krouch, Paulina Srey, Linda Hong, Channa Sath
Samnang Hor, Zenith Rith, Sanny Meas, Rothna Mao, Vyrik Eng
The dance was inspired by a popular game that used coconut shells. The game was played during all kind
of ceremonies, but most often during weddings, engagements, and when the groom was escorted in a
procession to the bride's house. The Coconut Shell dance is one of the most popular and well known on
the Cambodian folk dance. In its original form, it was a one-man show. In the modem-day dance, an
equal number of male and female dancers perform the dance, signifying friendship and courtship. The
Khmer-language lyrics, the words that accompany the song-speak to how the coconut is the heart of the
Cambodian people.

3) Tep Monorom Dance (The Happiness of the Gods)
Dancers: Linda Sou, Sophy Leng, Khakhada Hom, Elizabeth Yim
Monica Veth, Sandra Proeung, Rancia Phin, Sopharl Ngin

This dance, often considered the most beautiful in the classical repertory, embodies the wellbeing, friendship, and prosperity of the Cambodian people.

4) The Khen Dance
Dancers: Rathanee Yean, Paulina Srey, Sodany Krouch, Channa Sath, Povtda Pech

Sanny Meas, Peter Veth, Vyrik Eng, Steve Hom, Vandary Moeun
The Khen Dance from a province of Cambodia located in the northeastern part on the CambodiaLoas border. Many young men from that part of the country play a musical instrument, a mouth
organ called Khen, which is made of bamboo and decorated with a garland flowers. Men play
their Khen to attract young passing by. The women can't resist so they touch the flowers and fall
in love.

5) Mini Mekhala &amp; Giant
Dancers: Heng Noeuk, Linda Sou
Moni Mekhala and Ream Eyso were at one time students of the same teacher and both strived very hard
to be his best favorite. In the end, the teacher favored the goddess, Moni Mekhala, and rewarded her with
a beautiful and very powerful crystal made fro the morning dew. The storm demon, Ream Eyso, was
given an ax as a consolation prize. As the dance begins, we see Moni Mekhala preparing to go out and
dance with other Gods and goddesses in the heavens. But on her way, she is accosted by Ream Eyso,
who is quite jealous and craves the powering glittering ball.
P.O. Box 1553 • Lowell, MA 01853
(978) 275-1823 • FAX: (978) 275-1824

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Mini Mekhala teases him by holding the ball out very close. Then she tosses the crystal, momentarily
blinding him. This ends Ream Eyso to his knees, giving her just enough time to glide away.
It is said that the flash of Moni Mekhala' s crystal is what we know as lighting, and the crashing of Ream
Eyso' s ax is thunder.This is one of the most sacred dances in the Cambodian Classical repertoire and is
still performed in Cambodian in ceremonies to pray for rain.

6) The Fishing Dance
Dancers: Khakhada Hom, Sopharl Ngin, Sophy Leng, Monica Veth , Elizabeth Yim
Samnang Hor, Vyrik Eng, Peter Veth, Jamie Rin, Steve Hom
There' s saying in Cambodia "Where there is water, there are fish."
In this dance you will see two traditional methods of catching fish, using braided bamboo baskets Called
CHHNEANG In this dance you'll see young women scoop up water from the river into their Chhneng.
The baskets act as strainers-the water drains out through the bamboo leaving small fish in the basket.
And the guys use bell-shaped traps called ANGKUT For catching large fish in shallow water. Love and
romance and favorite themes in Khmer stories and dance. In traditional Cambodian society, young
people are careful watched and don't have many opportunities to get to know one another. But the
fishing quarter is one place they had the chance to meet.

7) The PestleDance
Dancers: Sophy Leng, Vyrik Eng, Linda Hong, Paulina Srey, Sokhoeum Khim, Zenith Rith
Povtda Pech , Sandra Proeung, Sodany Krouch, Rathna Mao, Channa Sath , Peter Veth
The pestle dance is depicted that celebrated the hard work of the harvest season.

8) The Swva Pol with DNC Dance
Dancers: Samnang Hor, Vyrik Eng, Jamie Rin, Steve Hom
In Cambodian legend, monkeys always fight evil; in fact they are army solders. And these solders are
celebrating a bid win. They're gathering food for a feast. The monkey dance is lively and acrobatic,
always performed by young boys, who you will see also capture the spirit and quick mannerisms of
monkeys. Following the original dance, the Troupe will feature some new choreography with elements
of modem dance. But if you watch carefully, you will see the dancers remain, throughout it all, Swva
Pol, the monkeys.

P.O. Box 1553 • Lowell, MA 01853
(978) 275-1823 • FAX: (978) 275-1824

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                    <text>The Angkor Dance Troupe Presents the World Premiere of

APSARA DANCING STONES
"A contemporary dance drama that embodies the beauty
and culture of Cambodia. With Eastern and Western influences,
this visual narrative combines an unparalleled performance
of dance and music from modern and classical Cambodian styles."

To purchase tickets, please call (978) 454-2219 or online:

www.lowellauditorium.com/apsaradancingstones.htm lffi_
www.angkordance.org
Will

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                    <text>0

tff'5tm";t

0

1;1~smSt~s

At15kor Dat1ce Troupe, lt1c.

Att5kor Dattce Troupe, lttc.

2011-1 ANNIVER.SARY

20th Anniversary

FUNDRAISING BANQUET , /
NOVEMBER. 3, 2006

Fundraising Banquet
You are cordially invited to the Angkor Dance Troupe's

20 th Anniversary Fundraising Banquet.
With stunning performances from the award-winning
troupe, live band, silent auction, and a five-course meal,
this evening should not be missed!
Date:
Time:
Location:

Cost:

Friday, November 3, 2006
6:00 PM - 12:00 AM
Sunnyda Restaurant
454 Chelmsford Street
Lowell, MA 01851
$45 in advance/$50 at the door

R.S.V.P b y October 27, 2006
For tickets and information: (978) 590-5654 or tim@angkordance.org
If you are not able to attend, but would like to forward a tax-deductible
donation, checks can be made payable to:

Angkor Dance Troupe
PO Box 1553
Lowell, MA 01853
Please be sure to check if your organization has a matching gift program
~ it's a great w ay to increase the value of your donation!
Photo by Higgi,is &amp; Ross
Desig11 a11d Photography

�</text>
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                    <text>Angkor Dance Troupe, Inc.
Satuka

Cha Bachos

Introduction (Angkor)

Title of Folk and Classical Dance

Satuka is song being used all opening ceremonies. Song performs to
invite all dance spirits, stage, hall, and deceased masters to oversea
and witness during opening ceremonies and performances. That is
normally performed at opening event during Khmer ceremonies;
Sampeak Kro, Wedding, Others form of Theaters, and Folk and
Classical performance etc...
Cha Bachos is mother postures song. There are two parts; 15 minutes
and 45 minutes long. Students who entered 1st 4 year is needed to
take and completed study this basic until they past to next stage.
Students who earned degree and graduated from school of Fine Arts
female and male has to have trained and met performance arts
standard academy of mother postures and understand these versions.
Cha is mean slow and Bachos is faster beat, tempo movements.
INTRODUCTION
Dance, Drama, and Music have always been prominent in Khmer
Society, but these cherished traditions were nearly wiped out when
the Khmer Rouge controlled Cambodia in the 1970’s. Artists among
those deliberately targeted. More than 90% perished or fled. Today, as
Cambodians around the world work to rebuild, the people see the
resurrection of their music and dance as testimony of the endurance of
their culture.

Folk Dance

The Angkor Dance Troupe was formed in 1986 in Lowell by two dance
teachers and a handful of dancers who had learned traditional
Cambodian dance in the Thai refugee camps. When they came to live
in Lowell, they brought a passion to continue these cherished
traditions, to practice and perform, to teach others, and to see the art
form preserved for future generations. It was a way to keep part of
their heritage alive, to remember their homeland and to teach their
children.
Cambodian Folk Dance
Cambodian folk dance is rooted in rituals of everyday village life. The
dancers honor skills that are typically undervalued in the rush towards
to westernization, such as fishing and rice farming. Dance motifs are
commonly based on local legends and inspired by themes of nature as
well as ceremonies and customs that shape the lives of the Khmer
people. Just as classical dance is ruled by a strict form and prescribed
language of movement, folk dance is spontaneous, created for
emotional expressions. Costumes are very colorful and reflect the
traditional dress of the particular province or ethnic group within
Cambodia where the dances originate.

�Classical Dance

Cambodian Classical Dance

Blessing Dance

Classical Cambodian dance has been connected to the sacred rituals
of Cambodia for more than one thousand years. During the great
Angkor civilization, dancers performed blessing ceremonies to bring
prosperity to the Kingdom. More recently, classical dancers lived and
performed in Cambodia’s royal palace. Elegant and refined, Classical
Dance combines highly stylized positions with gentle movements.
Once reserved exclusively for Cambodia’s elite, Classical dance is
now performed for audiences around the world and has become a
central symbol of the beauty and spirituality of Cambodian Culture.
The Blessing Dance
Classical Dance

Sovann Machha or
Golden Mermaid and
White Monkey Dance

The Blessing Dance was first performed in Cambodia to rid the palace
of bad spirits and to bless the kingdom. Today the blessing dance is
performed at the beginning of all types of performances and
ceremonies – special occasions like this one – to bless the event and
welcome honored guests. During the performance, the dancers come
forward and sprinkle flower petals toward the audience. This is done in
the hope of bringing you peace, prosperity, and good health.
Hanuman &amp; Sovann Macha or “The White Monkey and the Golden
Mermaid”

classical Dance

Our next dance is a classical dance called: Hanuman &amp; Sovann
Macha “The White Monkey and the Golden Mermaid”


The dance also depicts a scene from the Reamker,



It is a story involving capture and rescue.



Before this episode begins, the queen was captured, abducted to
the kingdom of Lanka far out at sea. The King calls on a famous
army general named Hanuman to help him rescue the queen.



Hanuman and his army of monkeys set about to build a bridge
across the ocean so the King and his soldiers can march over to
rescue Queen.



But as fast as Hanuman and his army of monkeys pile up stones
for the bridge, the stones mysteriously disappear. They work from
morning to night, but when they go back out the next day, their
work is destroyed.



The monkeys dive into the sea to investigate. What they discover is
that a school of fish, led by a golden mermaid named Sovann
Macha, has been carrying off the stones in an act of playful

�vandalism.

Phoung Neari Dance

Hanuman confronts the beautiful troublesome mermaid Sovann
Macha – at the same time he can’t help but be dazzled by her beauty
and falls in love. And while she initially resists, Hanuman uses a
variety of tactics to get her attention and win her over as his partner in
the fight against evil.
Phuong Neary Dance
classical Dance
Because of Cambodia’s climate, there are beautiful tropical flowers
throughout the countryside. In our next performance, Phuong Neary, a
beautiful classical dance, the dancers symbolize blossoming flowers.

Fan Dance

Through this dance, we seek happiness in a new beginning, just as
the budding flower is about to blossom. We ask for health and peace
for all people, far and near.
The Fan Dance
classical Dance

Apsara Dance

This dance is invented in order to glorify His majesty the King, for all
the glory, peace, security, prosperity, and grace under his royal
governing of the Kingdom of Cambodia. People are singing, praising,
and rejoicing under his reign, praying for the omnipotent Gods to
continually blessing His majesty the King and his reign will be lasted
forever. Fanning out means getting rid off bad spirits and fanning in
means bringing peace, prosperity, and good health to all audiences.
The Apsara Dance
Classical Dance
One of the prominent origin myths in Cambodia suggests the line of
Khmer descended from the union of “Mera,” a celestial dancer, and
“Kambu,” a wise man.
The following is quoted from “Dance in Cambodia” by Toni Samantha
Phim &amp; Ashley Thompson.
“An invocation of the mythical founders of Cambodia is part of a long
Sanskrit poem that was inscribed on a stone temple doorway an
Angkor in the tenth century AD.
“Looking to ancient bas-reliefs for inspiration, court dance masters in
the mid-twentieth century created the Apsara dance. Surrounded by
four or six dancers crowned with elaborate golden headdresses, the
central figure, the Apsara Mera, leads her coterie on an outing to a
selectable garden.
“The Apsara Dance was created for the modern stage out of an
ancient tradition. While it is not overtly ritual in nature, by exploiting the

�deliberate and subtle flow of movement in the classical tradition, the
dance maintains an intense ritual-like atmosphere. The
formalized…poses of classical dance recall the virtuosity of Angkorian
sculptors in representing figures in space. The Apsara Dance, in its
explicit reference to Angkor Vat’s bas-reliefs, gives body to an
association latent in all classical dances, which is the tension between
earthly grounded and ethereal lightness, evinced in a strong vertical
pull, weight low and centered, balanced by movement across a
horizontal plane.

Tep Monorom Dance

Chhoy Chhay Dance

“Queen Sisowath Kossamak Nearyrath Norodom Sihanouk’s mother
was the inspiration behind the genesis of the Apsara Dance in the
1950’s.”
Tep Monorom Dance (The Happiness of God &amp; Goddess Dance)
classical Dance
Cambodian classical dance has been connected to the sacred rituals
of Cambodia for more than 1000 years. Classical dancers used to
perform in Cambodian’s great temples in ceremonies to appease the
Gods and, more recently, for the King and his family in the royal Court
– classical dance is sometimes called court dance or royal ballet.
There was a time classical dances were performed only for royalty but
today these dances are performed for audiences around the world and
have come to be seen as a symbol of the beauty and complexity of
Cambodian culture.
The dance also provides an interesting study in the different dance
roles of Cambodian classical dance. Classical dance has been
historically a women’s art form – even when dances have both male
and female roles. That’s the case here with Tep Menorom. It will be
very clear to you which dancers are playing the Male roles by their
costumes. What’s more subtle is how the gestures and the dance
moves are different depending on the role of the dancer. Please
welcome the Tep Monorom Dance.
Chhouy Chhay Dance
Classical
Dance
Cambodian classical dance is an exquisite art form involving hundreds
of complex gestures and the impossible curving back of fingers and
other joints.
Classical dancers used to perform in Cambodia’s great temples in
ceremonies to appease the Gods and more recently for the King and
his family and special guests in the royal Court.
There was a time when these beautiful dances were reserved
exclusively for royalty and Cambodia’s elite, but today they are

�performed for audiences around the world and are a symbol of the
beauty and spirituality of Khmer culture.
Chhouy Chhay is called the adolescent princess. (*Phoenitic: Choy
(rhymes with Joy) Chai (rhymes with lie))
The choreography for Chhoy Chhay was commissioned by one of
Cambodia’s ruling queens in the early 1960’s for her grand daughter,
the Princess Bopha Devi. Princess Devi, once a world-renowned
classical dancer, is now Cambodia’s minister of culture.

Sentimental
Expressions Dance

It’s interesting to note the choreography was created by Chea Samy,
(CHEE-a – like the pets, sa-MEE) who was the most senior dance
master to have survived the Pol Pot regime. Her story is detailed on
one of the panels in the exhibit in the hall of the Mogan Cultural
Center. Like many dancers, Chea Samy hid her identity in order to
survive in the Khmer Rouge labor camps. She worked as a dish
washer by day. But by night, under the cover of darkness, she would
practice the intricate hand gestures of her art so as not to forget.
The sentimental expressions dance.
Classical Dance
This is a classical dance. Like most Cambodian classical dances, the
Sentimental Expression dance is performed only by young women
(two in this case) one plays the role of a young woman, other plays the
role of a young man




Boung Soung Dance

Costumes are positively regal. This dance is often
performed for special ceremonies and to welcome honored
guests Part of what makes Cambodian classical dance
unique is the gestures. These gestures are the language of
the dance - they tell a story. Cambodian dancers, from a
very young age, Rehearse for countless hours to perfect
hundreds of these gestures work incredibly hard to achieve
remarkable flexibility in their hands and other joints
This dance tells the story of a prince and princess. The
princess enters a garden and picks a flower. The prince
sees hers and falls in love with her. After a time, the
princess has to return to the palace. She is sad and she
cries. The prince comforts her and tells her he will be
returned.

Robam Boung Soung Dance

Classical Dance

The Yorkorn Dance is performing to ask for rain, peace, and
prosperity during war and famine. It can be performed by one person
or as a group as desire. The central dancer, always dressing in white,

�Neang Neak Dance

represents purity. This dance is created by Neak Kru Mam Yinyan.
Neang Neak Dance
Classical Dance

Moni Mekhala &amp; Ream
Eyso Dance

This dance is choreographed according to the legend of the present
Kingdom of Cambodia. Prince Preah Thong, son of the earth
kingdom, met Princess Neang Neak, daughter of the sea kingdom, on
one of the isolated islands during one of his evening promenades.
The dance is selected from the scene where the Princess Neang
Neak visited the island with her servants. At the end, as the legend
continued, the couple married. As a gift for the new couple, the sea
king magically created a new island that is known presently as the
Kingdom of Cambodia.
“Moni Mekhala and Ream Eyso” is the age-old Cambodian fable of
thunder and lightning.
Classical Dance
Moni Mekhala and Ream Eyso were at one time students of the same
teacher and both strived very hard to be his favorite. In the end, the
teacher favored the goddess, Moni Mekhala, and rewarded her with a
beautiful and very powerful crystal made from the morning dew. The
storm demon, Ream Eyso, was given an ax as a consolation prize.

Reamker (Story)

As the dance begins, we see Moni Mekhala preparing to go out
and dance with other gods and goddesses in the heavens. But on
her way, she is accosted by Ream Eyso, who is quite jealous and
craves the powering glittering ball.
A confrontation ensues. Ream Eyso alternates between: force –
knocking her down and persuasion – putting away his ax and
pleading.
Moni Mekhala teases him by holding the ball out very close. Then
she tosses the crystal, momentarily blinding him. This sends
Ream Eyso to his knees, giving her just enough time to glide
away.
Ream Eyso is not down for long though; he gets back up and
eventually will resume this eternal battle with Moni Mekhala.
It is said that the flash of Moni Mekhala’s crystal is what we know
as lightning, and that the crashing of Ream Eyso’s ax is thunder.
This is one of the most sacred dances in the Cambodian classical
repertoire and is still performed in Cambodia in ceremonies to pray for
rain.
FOR IMMEDIATE RELEASE
Classical Dance
November 3, 2015
Angkor Dance Troupe Presents Reamker: The Balance of Good
and Evil
Merrimack Repertory Theatre Hosts This “Epic Story”

�Lowell. Tuesday, November 3, 2015 - The Angkor Dance Troupe is
proud to announce the debut of Reamker: The Balance of Good and
Evil on the Merrimack Repertory Theatre stage, as part of its second
year in residence. This year’s performance is presented by the Richard
K. and Nancy L. Donahue Charitable Foundation and tells the story of
a prince’s epic journey through a series of adventures prior to a
triumphant return home.
Carol Duncan, who sits on the Angkor Dance Troupe’s Advisory Board
remarked, “We are delighted to celebrate the Angkor Dance Troupe’s
annual residency at the Merrimack Repertory Theatre. It’s a wonderful
partnership and the Troupe has a clear vision for Lowell to be known
as a leader in the preservation, education and innovation of
Cambodian performing arts."
Channa Sath, the Artistic Dance Program Manager and a principal
dancer for Angkor Dance Troupe stated, “I am honored to have been a
part of this project! It was a long journey filled with different challenges,
but in the end, the final product continues to amaze me. It has been
challenging to play different roles beside the princess (Neang Seda)
role…as a dancer and actor, I am very honored to be given such
challenges.”
Performances will take place at the Nancy L. Donahue Theater at
Lowell’s Merrimack Repertory Theatre (MRT). Tickets are available at
the MRT Box Office, online at http://www.mrt.org/partnerships/angkordance-troupe, or by calling 978-654-4678.
The public is also invited to attend a VIP Reception on Friday,
November 6 at 6:30 pm. Wine and snacks will be served as a master
teacher and leading artist discuss the performance. Potential sponsors
may visit the sponsorship opportunities page at AngkorDance.org.
Event Details:
Friday, November 6, 2015 - VIP Reception 6:30 pm;
performance 8:00 pm
Saturday, November 7, 2015 - 8:00 pm
Sunday, November 8, 2015 - 3:00 pm
Merrimack Repertory Theatre
50 East Merrimack Street, Lowell, MA

�Mokor Dance

Mokor dance

Classical Dance

Mokor, the main female character, is a creature that resides in the
lakes, rivers, and oceans. Moni Mekhala, goddess of the sea,
dances for her entourage. The female choristers wear abundant
jewelry, long skirts, and velvet sashes across their chests while the
male choristers wear an outfit with epaulets on each shoulder. The
decorated fans used by the performers represent the scales of the
Morkor.
ReamLak-Chublak
Story

Ream Lak &amp; Chup Lak Story

Classical Dance

Sita, the princess is living in exile in the forest with her son and hermit,
a wise wizard. She sets out to bathe one morning, leaving her sleeping
son Reamlak with the hermit. On her way to the pond, she spots a
female monkey, and she notices the monkey carried her young with
her where ever she goes. Sita feels guilty about leaving her own son
behind and goes back and gets him.
The hermit is in a deep meditation and doesn’t notice Sita come back
and take Reamlak. When he discovers the child is gone, he panics
and fears Sita’s anger. So he takes Reamlak’s pillow and scrapes off
some remnants of dead skin – some DNA – and fashions a new child
– an identical clone of Reamlak.
Imagine Sita’s surprise when she returns from bathing and finds that
Reamlak now has a twin. The hermit names the new boy Chuplak.
They decide the two boys will study together and for the next seven
years, they study magic with the hermit -As this episode begins, the two boys go off to play in the forest with
their bows and arrows. They each shoot an arrow into a large tree.
The impact makes such a huge sound; it is heard all the way to the
capitol city.
The Prince, Rama, hears it and gets mad. He sends his best army
general, a white monkey named Hanuman, to investigate the source of
this sound, and to capture those responsible for it.
He sends his white horse along with Hanuman but hangs a sign on the
neck of the horse that says “Anyone who plays with this horse will be
executed.”
Eventually Hanuman and the horse catch up with the two boys in the
forest. Ream Lak and Chup Lak are very curious boys. They see the
sign and immediately check out the horse – and take turns riding it.
Hanuman tries to capture them, but he can’t because, with their seven

�Yor Kon Dance or
Boung Soung Dance

Swva Pol

Swva Pol w/American
Break Dance

Sek Sarika Dance
Butterfly Dance
(Classical)

Butterfly Dance (Folk)

years of training in magic, the boys are just too powerful and crafty.
They in fact capture Hanuman, tie him up, and before sending him
back to Rama, they take resin from a tree and write a letter on his face
that says no one, except Hanuman’s master, Prince Rama will be able
to untie the string. You see the Monkey general struggle against the
rope and eventually he gives up and returns to his master, defeated in
his mission.
Robam Boung Soung or Yorkorn Dance is performing to ask for rain,
peace, and prosperity during war and famine. It can be performed by
one person or as a group as desire. The central dancer, always
dressing in white, represents purity. Please welcome the Boung
Soung dance
SWVA POL — The Monkey Dance
Classical Dance
This is an excerpt from a famous Cambodian legend called the
Reamker, (Ree-um-KAY) which is a long story that would take three
days to tell. Many Cambodian classical dances come from this tale.
In Cambodian legend, monkeys always fight evil, in fact they are army
soldiers. And these soldiers are celebrating a big win. They’re
gathering food for a feast. The monkey dance is lively and acrobatic,
always performed by young boys, who you will see also capture the
spirits and quick mannerisms of monkeys.
The Swva Pol w/ American Dance
Classical Dance
In Cambodian legend, monkeys always fight evil; in fact they are army
soldiers. And
these soldiers are celebrating a win. They’re
gathering food for a feast. The dance is lively and acrobatic, always
performed by young boys, who you will see capture the spirit and
quick mannerisms of monkeys.
Following the original dance, the Troupe will feature some new
choreography with elements of modern dance. But if you watch
carefully, you will see the dancers remain, throughout it all, Swva Pol,
the monkeys.
No description found in file
The Butterfly Dance-Classical
Classical Dance
Butterfly is one of the most graceful creatures that is spending time
flying and roaming around garden with beautiful flowers. This
choreographic dance represents the play and courtship of butterflies
during a beautiful afternoon.
The Butterfly Dance
Folk Dance
This dance starts on a beautiful sunny day in Cambodia, when a group
of young boys set out to hunt for butterflies. Anyone ever caught a
butterfly with a net?

�Coconut Dance

Well these boys captured some in their nets. But when the poor
creatures, trapped in the boys’ nets, beg for mercy –– they let them
go. And so, the Butterfly Dance symbolizes both the curiosity and the
compassion of Cambodian people. The boy has graceful gestures and
polite manner. They are willingness and they always help and support
one another. Above all, the desire to live in peace and harmony.
The Coconut Dance
Folk dance
The country of Cambodia is near the equator, and because of this, the
climate is very warm. We never have winters in Cambodia.
In fact, there are just two seasons, the rainy season and the dry
season. Because of this warm climate, you see Coconut trees
throughout Cambodia. After the meat of the coconut is carved out,
Cambodian people often save the shells, polishing them and using
them for many things in their homes.
The dance was inspired by a popular game that used coconut shells.
The game was played during all kind of ceremonies, but most often
during weddings, engagements, and when the groom was escorted in
a procession to the bride’s house.

Bopha Lokei Dance

The Coconut Shell dance is one of the most popular and well known of
the Cambodian folk dance. In its original form, it was a one-man show.
In the modern-day dance, an equal number of male and female
dancers perform the dance, signifying friendship and courtship. The
Khmer-language lyrics to the words that accompany the song, speak
to how the coconut is the heart of the Cambodian people.
BOPHA LOKEY - "Flowers of the World"
Classical
Dance
This next performance is called "Bopha Lokey" (bow-PAH low-KY)
This stands for “Flowers of the World"
This dance was originally performed in Cambodia in honor of National
Children's Day. It's designed specially for young dancers to gain
experience in movement and the rhythm of the classical orchestra.
I'll read some excerpt from the lyrics which accompany the dance –
loosely translated from Khmer:
Naturally the flower of the world
everyone wants to have
to adorn oneself
because of its sweet fragrance
Creates bliss.

�Everyone always admires the flower
the bumblebees in the garden
surrounding all over
to pick the nectar.

Neari Chea Chour
Dance

Phoung Neari Dance

This dance is being performed today by two of the youngest girls in the
youth program - with a special guest appearance from the youngest
performing member of the Angkor Dance Troupe who is three years
old.
The Neary Chea Chour Dance
Classical Dance
The image of the Cambodian woman has always been compared to
the celestial goddesses on the walls of the great temples Angkor Wat.
The pleasant smile and distant gaze serve as a shining example for
Cambodian women. Neary Chea Chour, as they are called,
symbolizes water, cleanliness and the fluidity of the virtuous females.
“To be an improper woman is to cease to be Khmer, and given Khmer
notions of the centrality of Khmer, to cease to be Khmer is to cease to
be fully human”, as The lyric describe .She is required to speak softly,
walk lightly and be well-mannered at all times.
Phoung Neary Dance

Classical Dance

Because of Cambodia’s climate, there are beautiful tropical flowers
throughout the countryside. In our next performance, Phoung Neary, a
beautiful classical dance, the dancers symbolize blossoming flowers.

The Bird Dance (Dove)

Through this dance, we seek happiness in a new beginning, just as the
budding flower is about to blossom. We ask for health and peace for all
people, far and near.

The White Bird Dance

Classical Dance

Nina Touch, Robin Wilson, Judith Wilson, Krissandra Mai, Celena Mai,
Alexandra Mai, Romni Chum, Vanny Nelson, Isabel Claflin,
Sopheanee Khoeun

Tiva Propey Dance

The Preap or White Bird Dance in Cambodia, the dove represents
peace, as it does in many other parts of the world. White Dove is a
dance to discourage war and the atrocities of war and to celebrate
peace and harmony among all people.
The Tivia Propey Dance
Classical Dance
Tiva Propey was originally performed in Cambodia in honor of National
Children's Day. It is designed to give young dancers experience in
movement and the rhythm of the classical orchestra. The song and
dance describes solidarity, nationalism, and also, the children’s joyous
day.

�Kom Rong Phar Dance The Robam Komrong Phka Dance

Classical Dance

Robam Komrong Phka is a classical dance that had been
choreographed in 1985 by a group of artistic masters from the Royal
University of Fine Arts, Phnom Penh City, Cambodia.

Fishing Dance

The beautiful flowers, turning softly through the rhythmic gestures of
the dancers, represent the prosperity and blossoming growth of the
Cambodian cultures. Moreover, it signifies the wish and desire of the
Cambodians as well as the other nations of the world for the
everlasting peace, freedom, love and solidarity.
Fishing Dance
Folk Dance
There’s saying in Cambodia “where there is water, there are fish.” In
this dance you will see two traditional methods of catching fish, using
braided bamboo baskets called Chhneang. In this dance you’ll see
young women scoop up water from the river into their Chhneang. The
baskets act as strainers—the water drains out through the bamboo
leaving small fish in the basket. And the guys use bell-shaped traps
called Angkut for catching large fish in shallow water.
Love and romance are favorite themes in Khmer stories and dance. In
traditional Cambodian society, young people are careful watched and
don’t have many opportunities to get to know one another. But the
fishing quarter is one place they had the chance to meet.

Khen Dance or
Mouth Organ Dance

Good Crops Dance

At the beginning of the dance, you’ll see young men coming down to
the river from one side and women from other. You’ll notice how happy
and excited they are when they see each other. As they fish, they flirt
with each other. The boys playfully snatch the girls’ fishing baskets.
When the other leave, one young couple stays behind and falls in love.
At the end the dance, the others return to tease and congratulate
them.
The Khen Dance

Folk Dance

The Khen (mouth organ) Dance is originated from one of Cambodian
provinces, locating in the northeastern part on the Cambodia-Laotian
borders. It has begun as young men from that part of the country are
playing a musical instrument, a mouth organ known as Khen, which is
made of bamboo and decorated with garland flowers. Men are playing
their Khen to attract passing by young and beautiful women. The
women cannot resist the seductive sound of the Khen and they are
reaching to touch the flowers. As they are doing so, the magical
flowers cause to fall in love.
The Good Crops Dance
Folk Dance

�Picking Krovann
Dance

Magic Scarf Dance

Throughout Cambodia, after the harvest, it is a time for song and
dance. The good crops dance, celebrates the hope for a good rice
harvest. The dance shows a scene where farmers are choosing the
fields for their crops. The dance is using poles to make holes for the
rice plants.
Picking Krovann Dance
Folk Dance
Picking Krovann dance is a traditional folk dance of the Por tribe,
which lived in the Pursat Province of Cambodia. The dance
demonstrates the tradition of farmers who each year would embark on
a long journey - 3 to 6 months long - to pick Krovann, which is a spice
or a medicinal herb found in the distant mountains. Before the journey,
the Por villagers gathered for a big ceremony to pray and offer foods
to the spirits – in the hopes of good weather for their harvest journey
and protection from evil spirits.
The Magic Scarf Dance
Folk Dance
Our last dance for this evening is called “The Magic Scarf Dance.”
There was a kingdom in Southeast Asia known as Champa. After the
Cham civilization was overrun, some of the people resettled in small
communities in Cambodia. The Cham are Muslim people, where most
of Cambodia s Buddhist. This dance is performed as a way to
remember and honor the Cham people. The Magic Scarf dance
depicts the Cham custom of Courtship between men and women.
Cham women are shy so they wear scarves to cover over their heads.
They believe in magic and spells, especially for choosing their
partners. The girls in the dance use their magic scarves to magically
their lovers.

Harvest Dance

Peacock of Porsat
Dance

The Harvest Dance

Folk Dance

The harvest dance is performed to reflect Khmer peasant activities
from planting rice to harvesting it and showing joyfulness after all the
hard work has been completed.
The movements are soft and slow.
The dance is composed of graceful bending, swaying, and turning and
is accented by stamping feet.
The movements show the actual process of planting and harvesting
rice as well as the happiness the people get from their productive
crops.
The dance is said to reflect the Khmer peasants’ lives by means of
music and song, agricultural tools, national dress, ad movements and
gestures that can immediately be recognized.
The Peacock of Porsat Dance
Folk Dance

�Our next dance the Peacock of Porsat, originated in the Porsat
province of Cambodia. The people of the Cardamom Mountain region
would perform dances for the spirits before going on trips to pick
cardamom, which is a spice from the ginger family.
This part of Cambodia has lush tropical forests that are home to a
large variety of animals and birds, including numerous peacocks and
peahens.

Peacock of Pailin
Dance

The birds’ green and black tail feathers bear the stamp of nobility.
During the dance, performers wearing headgear of peacock feathers
represent pairs of peafowl as they play in the forests and mountains.
Peacock of Pailin Dance or Ka-ngaok Pailin
(Pailin Peacock) Folk Dance

Tbal Kdoeung Dance

This traditional dance comes from the Kola ethnic group, who live in
the region of Pailin in the west of Cambodia. The dancer relates to a
Pailinian legend about a magic peacock that goes to preach to the
King. The lively dance is about commemorating this peacock which is
a symbol of happiness. The dance imitates the peacock with lively
colors of beautiful wings, and suggests a courting scene between a
peacock and a peahen. The dance is said to bring happiness and
prosperity to villagers, and is often performed during the New Year
and ritual ceremonies in times of drought to pray for rain.
Tbal Kdoeung – The Rice Harvesting Dance
Folk Dance

Kroma Dance

Tbal Kdoeung is a dance about harvesting rice that comes from the
northern part of Cambodia. It demonstrates how Khmer farmers
processed rice after it was brought in from the fields. The dancers
show how farmers break the rice chaff with wooden mallets and
winnow, or separate, the rice from the chaff by rotating it in baskets. In
a comic scene near the end, a peace-loving palm juice vendor
happens on the scene to offer juice to the thirsty workers, creating
lighthearted tension between the male and female workers.
The Krama or Kromar Dance
Folk Dance
It is too hard to understand how this Cambodian scarf became a real
symbol over generations and a major part of the Khmer identity.
Nowadays, whatever his social status may be, every Cambodian uses
Krama everyday whether it is as a scarf, as a hammock for babies, or
as a bandana. So, as you can see, Krama is a symbol
in Cambodia and represents its legacy. Krama (Kromar) is engaged in
continuing this legacy for generations all over the world.

Phloy Souy Dance

Phloy Souy Dance

Folk Dance

�Mrs. Phousita Serey Huy

Kimhan Meas

The exciting and fast-paced Phloy Suoy folkdance belongs to the Suoy
ethnic group who live near the Oral Mountain in Kampong Speu
province. The Suoy perform this dance annually in dedication to the
Cave Spirit and other gods who are believed to protect their
community.
Phousita Huy (Traditional Consultant and Classical Dancer), is an
internationally recognized master performer and instructor of Cambodian
classical dance. Phousita was among the first group of post-war graduates of
the University of Fine Arts in 1988 and went on to teach and perform for
many years. She toured internationally, performing in Japan, China, North
and South Korea, and India. In addition to her work at the University,
Phousita served as Cambodia’s Assistant Minister of Culture and as Festival
Coordinator for the International Dance Festival at Angkor Wat in December
1995. She authored and presented papers on Cambodian classical dance at
the international World Dance Alliance Conference in Korea in 1995. Since
the early 1990s, Phousita served as the Artistic Director for the Angkor
Dance Troupe in Lowell, MA.

Biography: Mr. Kimhan Meas, Master Teacher
Angkor Dance Troupe, Inc
Current Lowell resident Kimhan Meas is an internationally recognized master
performer and instructor of Cambodian classical dance. He was classically
trained at the University of Fine Arts in Phnom Penh, which is considered as
the world’s cultural source and artistic standard bearer for traditional
Cambodian dance.
Master Kimhan graduated from the University in 1989 and went on to teach
and perform for many years. He toured internationally, performing in
Philippines, Japan, Malaysia, China, and Thailand. In 2011 and 2012, he
worked with Angkor Dance Troupe under the Parker Foundation to teach
dancers folk and monkey dance, along with monkey mask making. He toured
throughout the world until 2013. During this time, he applied to become a
teacher of Folk and Monkey with Angkor Dance Troupe.
Since 2013 until the present day, Master Kimhan teaches not only folk and
monkey dance but developed, implemented, and oversee Angkor’s first
Traditional Cambodian Music Program. Outside of Angkor Dance Troupe, he
provides expertise on Traditional Cambodian Music development at Lowell
Community Charter Public School’s afterschool music program and the
University of Massachusetts Lowell’s Music Department.

Tim Thou

Mr. Tim Chan Thou, Troupe Founder and currently Operation Director of
Angkor Dance Troupe

Tim Chan Thou learned Cambodian folk dance and became certified as a folk
dance instructor in a refugee camp along the Thai-Cambodian border. He was
21 when he arrived at Khao-I-Dang, traumatized by his wartime experiences
in Khmer Rouge-controlled work camps and by the deaths of his parents and

�four siblings. For Tim, teaching traditional Cambodian folk dance became a
way to keep part of his heritage alive. He went on to teach and dance at the
Philippine Refugee Center before immigrating to the U.S. in 1982.
Tim brought to the U.S. a passion to carry on and develop traditional
Cambodian dance, to perform, to teach others, and to see the traditions
preserved for future generations of people of all cultures. In 1986, he and
another teacher founded the Angkor Dance Troupe. Today, the Troupe is one
of the most respected Cambodian dance ensembles in the country, with
several highly qualified master teachers and more than forty students.
Tim’s vision and dedication have brought the troupe to its present level of
recognition. His many roles in managing the troupe include instruction,
bookkeeping, management of the dance wardrobe, and directing
performances. In recognition of his untiring commitment to improve the
community and his willingness to devote his life to preserving Cambodian
culture, Community Teamwork honored Tim with its prestigious Local Hero
award in 1997. And he also received a individual ward winner from (MCC)
Massachusetts Cultural Council in May 2005.
Achievements/Recognitions:


Angkor Dance Troupe Inc.
Lowell, MA
Co-founded non-profit
1986



Community Teamwork Inc.
Lowell, MA
Local Hero Award
1997



Massachusetts Cultural Council
Boston, MA
Individual Achievement Award
2005



Eastern Bank
Boston, MA
Good Things Happen Award
2015



Angkor Dance Troupe Inc.
Lowell, MA

Lifetime Achievement Award
2016
All Dances history resources from master Fine Arts; Mrs. Phousita Serey Huy Artistic
Director, Kimhan Meas Master folk dance, Former Dean Mr. Chhieng Proeung, Mrs.
Yom Penh Master from Fine Arts, And Tim Thou 2001-2012

�</text>
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                  <text>Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.</text>
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                  <text>Angkor Dance Troupe, Inc. is a 501(c)3 nonprofit is dedicated to preserving the traditions of Cambodian performing arts while providing a positive social and educational environment for their young members. The collection includes financial records, board of directors records, correspondence, program files, and photographs. &lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml5"&gt;https://libguides.uml.edu/uml5&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;Part of the collection is accessible on this site. &lt;br /&gt;&lt;br /&gt;-------------------- &lt;br /&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Monita Chea, Soumeng Chea, Julia Huynh, and Vivien Zhuo. &lt;br /&gt;&lt;br /&gt;SEADA would like to thank the following individuals for their help with describing photographs, dating items, and identifying individuals featured in photographs and other materials: Linda Chan Flynn, Emaly Horn, Khakhada Horn, Channa Sath, and Tim Thou.</text>
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                <text>A document listing and describing various Khmer folk and classical dances and other performances Angkor Dance Troupe has performed.</text>
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                <text>Huy, Phousita Serey</text>
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                <text>Thou, Tim Chan</text>
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                <text>UMass Lowell Library makes this material available for private, educational, and research use. It is the responsibility of the user to secure any needed permissions from rightsholders, for uses such as commercial reproductions of copyrighted works. Contact host institution for more information. </text>
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                <text>history of Folk and Classical Dance</text>
              </elementText>
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      <tag tagId="25">
        <name>2010-2019</name>
      </tag>
      <tag tagId="105">
        <name>Apsara Dance</name>
      </tag>
      <tag tagId="97">
        <name>Blessing Dance</name>
      </tag>
      <tag tagId="180">
        <name>Bopha Lokey Dance</name>
      </tag>
      <tag tagId="176">
        <name>Boung Soung Dance</name>
      </tag>
      <tag tagId="124">
        <name>Butterfly Dance</name>
      </tag>
      <tag tagId="82">
        <name>Cambodian Classical Dance</name>
      </tag>
      <tag tagId="230">
        <name>Cambodian Folk Dance</name>
      </tag>
      <tag tagId="17">
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      </tag>
      <tag tagId="172">
        <name>Cha Bachos</name>
      </tag>
      <tag tagId="127">
        <name>Chhoy Chhay Dance</name>
      </tag>
      <tag tagId="114">
        <name>Coconut Dance</name>
      </tag>
      <tag tagId="107">
        <name>Fan Dance</name>
      </tag>
      <tag tagId="101">
        <name>Fishing Dance</name>
      </tag>
      <tag tagId="181">
        <name>Flowers of the World Dance</name>
      </tag>
      <tag tagId="125">
        <name>Good Crops Dance</name>
      </tag>
      <tag tagId="173">
        <name>Hanuman and Sovann Macha</name>
      </tag>
      <tag tagId="186">
        <name>Harvest Dance</name>
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      <tag tagId="188">
        <name>Ka-ngaok Pailin</name>
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      <tag tagId="100">
        <name>Khen Dance</name>
      </tag>
      <tag tagId="184">
        <name>Komrong Phka Dance</name>
      </tag>
      <tag tagId="191">
        <name>Krama Dance</name>
      </tag>
      <tag tagId="185">
        <name>Magic Scarf Dance</name>
      </tag>
      <tag tagId="177">
        <name>Mokor Dance</name>
      </tag>
      <tag tagId="151">
        <name>Moni Mekhala and Ream Eyso Dance</name>
      </tag>
      <tag tagId="118">
        <name>Monkey Dance</name>
      </tag>
      <tag tagId="117">
        <name>Neang Neak Dance</name>
      </tag>
      <tag tagId="182">
        <name>Neary Chea Chour Dance</name>
      </tag>
      <tag tagId="128">
        <name>Peacock of Pailin Dance</name>
      </tag>
      <tag tagId="187">
        <name>Peacock of Porsat Dance</name>
      </tag>
      <tag tagId="192">
        <name>Phloy Souy Dance</name>
      </tag>
      <tag tagId="175">
        <name>Phuong Neary Dance</name>
      </tag>
      <tag tagId="116">
        <name>Picking Krovann Dance</name>
      </tag>
      <tag tagId="178">
        <name>Ream Lak and Chup Lak Story</name>
      </tag>
      <tag tagId="122">
        <name>Reamker</name>
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      <tag tagId="189">
        <name>Rice Harvesting Dance</name>
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      <tag tagId="171">
        <name>Sakuta</name>
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      <tag tagId="115">
        <name>Sentimental Expression Dance</name>
      </tag>
      <tag tagId="106">
        <name>Swva Pol Dance</name>
      </tag>
      <tag tagId="190">
        <name>Tbal Kdoeung</name>
      </tag>
      <tag tagId="86">
        <name>Tep Monorom Dance</name>
      </tag>
      <tag tagId="113">
        <name>Tiva Propey Dance</name>
      </tag>
      <tag tagId="183">
        <name>White Bird Dance</name>
      </tag>
      <tag tagId="174">
        <name>White Monkey and the Golden Mermaid</name>
      </tag>
      <tag tagId="179">
        <name>Yorkorn Dance</name>
      </tag>
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                  <text>Huy, Phousita S. Cambodian Art, Dance and Culture Video Collection, circa 1984-2003</text>
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                  <text>Huy, Phousita S. Cambodian Art, Dance and Culture Video Collection, circa 1984-2003. UML 6. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA. </text>
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                  <text>Note: Videos in this collection have been ingested into YouTube. To view the videos, click to an item and view the embedded video in the description field.&lt;br /&gt;&lt;br /&gt;&lt;p&gt;The Phousita S. Huy collection contains digital versions of master dance teacher Phousita S. Huy’s videotape collection documenting Cambodian classical and folk dance performances between 1984-2003. Contents include amateur and professional video recordings. Dance performers include students from the Royal University of Fine Arts (RUFA) in Cambodia, the Angkor Dance Troupe in Lowell, Massachusetts, and the Dance Troupe of Cambodian American Heritage in Fort Washington, Maryland. Also included are recordings about Angkor Wat, traditional Cambodian kite making and cultural performances at festivals as well as interviews with master teachers.&lt;/p&gt;
&lt;p&gt;Select video recordings are available for viewing on this site.&lt;/p&gt;
&lt;br /&gt;&lt;br /&gt;View the collection finding aid for more information, &lt;a href="https://libguides.uml.edu/uml6" target="_blank" rel="noreferrer noopener"&gt;https://libguides.uml.edu/uml6&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;--------------------&lt;br /&gt;&lt;span&gt;SEADA would like to thank the following individuals for their work in making this collection available online: Julia Huynh, Peter Pa, and Chummeng Soun.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Classical Cambodian music and dance performances, 2003</text>
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                <text>Dance drama</text>
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                <text>&lt;iframe width="480" height="270" src="https://www.youtube.com/embed/lyViitXtQDg" frameborder="0"&gt;&lt;/iframe&gt;&lt;br /&gt;&lt;br /&gt;The dance drama, Preah Sanh Neang Rachana is performed in honor of Master teacher Em Theay by the Royal Ballet of Cambodia at Preah Suramarit National Theatre on April 3, 2003.</text>
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                <text>Huy, Phousita S. Cambodian Art, Dance and Culture Video Collection</text>
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                <text>2003</text>
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Att5ltor Dattce T rol-fpe~ lttc.
Cambodian N1ZW Y1Zar G1Zl1Zbration &amp; Th1Z
23rd '(lnnuat f undraisfl,r

Photo courtesy of Higgins &amp; Ro s s

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�~ngkor &lt;Vane~ Troup~
Cordially invites you to the Cambodian New Year Celebration and

23 rd

Annual

Fund raiser to be held on Friday, April 9, 2010 from 6:00 pm to 12:00 Midnight
at Sompov Meas Hall located at 450 Chelmsford Street in Lowell, MA.
We are especially pleased to have two young exceptionally gifted artists from
Cambodia, Ms . Srey Peov Phoeun and Mr. Sinat Nhok, student leaders from
the Cambodian Living Arts , a project of Marion Institute, as our special guests
along with special performances by the nationally acclaimed Angkor Dance
Troupe. Enjoy delicious Southeast Asian food , music and dancing as well as
silent auction special prizes and 50/50 cash raffle.

Thi evining Program
Welcoming guests &amp; Cash Bar ................................. 6:00 PM
"Cambodian Refugee Poetry" Book Signing by Samkhann Khoeun ... 6: 15 PM
Silent Auction for Special Prizes ........................ 6:30 PM
Cambodian &amp; Southeast Asian Dinner................ ... 7:15 PM
Special Presentation by Cambodian Artists, Srey Peov Phoeun &amp;
Sinat Nhok.............................. 7:45 PM
ance by

~ n gkor &lt;F&gt;anciz Troupiz ...8: 10

Performance by

~ngkor

PM

Ballroom ... 8:45 PM

50/50 Cash Raffle .................... 9:10 PM
DJ Music &amp; Social Dancing ...... 9:30 PM
The End ........................... 12:00 AM
RSVP &amp; Info: Angkor Dance Troupe
P.O. Box 1553 - Lowell, MA 01853
.275 . 1823 - Email: Tim@angkordance.org

�~plleial PrllS\Zntation of

Cambodian 'Rllf US\Zll Polltry d3ook &amp; ~mot
The
political
and
military whims of the
superpowers fractured
the gentle land of
Cambodia,
ultimately
claiming the lives of
one-fourth
of
the
population in one of the
worst genocides of the
twentieth
century.
These
tragic stories
have
made
the
dangerous journey from
the Killing Fields of
Cambodia, to the makeshift shelters along the Cambodian-Thai border, to the
Refugee Holding Centers in Thailand, the Philippines and Indonesia, and finally to
communities in countries around the world, where traumatized Cambodian
refugees resettled , seeking freedom and opportunity. The poems were handwritten by the late Venerable Ly Van , who was a survivor of the Cambodian
holocaust and a refugee himself. They are beautifully written , poignant, and
filled with richness of Cambodian culture and history. "O! Maha Mount 'Vangrek:
Poetry of Cambodian 'R.ef ugee experiences" book is a testament to the hardship and
ugliness of war, as well as to the resilience of the survivors who have struggled for
the past thirty years to find peace in their hearts, justice for those lost, and
healing for the Cambodian survivors and refugees themselves.

Special book signing by editor/publisher, Samkhann C. Khoeun , along with special
presentation by two
Cambodian artists,
Ms. Srey Peov
Phoeun and Mr.
Sinat Nhek will be

held on Friday, April
9, 2010 from 6:15
pm at Sompov Meas
Hall in Lowell,
Massachusetts.

�0

1!1gsmf4~t

Att5kor Dattcc Troupc, lttc.
iii&gt;1iUSS:QS~~S~~ &amp; nsji&amp;'\SG~&amp;'\55

KHMER NEW YEAR CELEBRATION &amp; BANQUET
1',.J

llJfi.!Lfi sg 5im1f01 w1:10~0 Ci

0

"'

Friday, April 9, 2010

N

~ : oo~u

-

~l:l : oornunu;

6:00 PM - 12:00 Midnight

SOMPOV MEAS HALL - 450 Chelmsford Street; Lowell, MA.
Please RSVP by Friday, April 2, 2010
I will attend _ _ __

,I will not attend _ _ __

Number of adult(s)._ · _ , · Number of children

Total Cost: $ _ _ _ __

Please print name clearly~---'----------------Contact phone number _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
E-mail _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
KEEPING TRADITIONAL CAMBODIAN PERFORMING ARTS ALIVE
Annual special event covers about 10% of our operating costs. We hope you will consider

a gi~ that will directly benefit hundreds of young children and youth who attend weekly
dance practices and cultural enrichment classes at the Mogan Cultural Center of the
Lowell National Historical Park.
Yes, I would like to make a tax deductible gi~ to ADT in the amount of:
0$250

0$100

0$50

0$25

OOther _ _ _ _ _ _ __

OCheck Enclosed
Please return in the enclosed envelope
Or call (978) 275-1823 and RSVP to Tim Thou, Program Director &amp; Co-founder.
Angkor Dance Troupe, Inc.NP. 0. Box 1553; Lowell, Massachusetts 01853
Email: Tim@angkordance.org

N

visit us at: www.angkordance.org

�0

tr:~smf4Rt.

. ··

A115kor Dattcc T roMpc, lttc.
Preserving &amp; Promoting Cambodian Dance Traditions Since 1986

Deborah Nelson, President
Linda Sou, 1 •t Vice-President
Samkhann C. Khoeun, 2 "dVice-President
Joan Gendron, Treasurer
Margaret Ouellet, Secretary

Doeun "Duey" Kol
Elaine McKinnon
Sochenda Uch

Tim Thou, Co-founder &amp; Program Director
Phousita S. Huy, Artistic Director
Vandara Chun, Ballroom lnstrutor
Rosalie Williams, Assistant Program Director
Samnang Hor, Youth Coordinator/Dance Instructor
Jim Conlon, Performance/Out Rea&lt;;h Assistant
Peter Veth, Assistant Artistic Director
Pech Heung, Classical Dance Master
Bin Phan, Khmer Music Master/Instructor
Kolab Thou, Costume Design Assistant
Eleanor Rizzo, Web Master
Randy Koung, Office Assistant

&lt;Cll.at§§lL&lt;e.atll &amp; lFollk. JDl;aurnoe ll1rn§tt1ructo1
rn
Brendan Vuong

Brianna Mai

Channa Sath

Emily Horn

Kalya lek

Monica Veth

Sopaul Hem

Sophorl Ngin
Sophy Leng

Angkor Dance Troupe NP. 0 . Box 1553
Lowell, Massachusetts 01853
978-275-1823

N

Email: Tim@angkordance.org

Website: www.angkordance.org

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                    <text>Phousita Serey Huy
Master of Cambodian Royal Court Ballet

Phousita S. Huy was born in Phnom Penh City, Cambodia.
Ev ery Thursday, at her early age, her mother took her to the
royal palace for the public performances of royal court ballet .
She loved the beautiful dances and costumes and dreamed of
someday being a dancer herself.
In the past, Royal Court Ballet
was for entertaining the Cambodian king and queen, for some
priv ilege personnel, and for official reception of the foreign
delegates or diplomates.
Royal Court Ballet requires onl y female
performers due to its soft, gentle, flexible and delicate
gesture.
It is always regard as a special privilege to b e
s e lected for the Royal Court Ballet.
In April 17, 1975 the communist radical group, known as
Khmer Rouge, took control of Cambodia.
In order to reform
Cambodia to a pure peasant society, the Khmer Rouge start e d the
unspeakabl e destruction of Cambodian society. They destroye d
lives of the inhabitants, national properties, tradition and high
culture of Cambodian society--including the royal court ballet.
Most of the learned and intellect were perished under the Khmer
Rouge's brutal regime along with the most prominent p e rf o r me r s of
roya l court ballet .
Despite being separated from her family, Phousita manage d t o
s urv i v ed the most ordeal of her life. After being reunited wit h
h e r famil y , she h e aded back to her birthplace, Phnom Pe n h Ci t y .
Her dream of royal court ballet in her childhood remaine d ali ve
in her heart.
After several scrutinies, she finally wa s admitt e d
to University of Fine Arts at the early of 1980.
She gradu a t e d
in 1 989 . During her school years and after her graduation, she
had toured several countries, including Vietnam, North and South
Korea, Japan, America, Lao, Thailand, and India.
Prior to her departure from Cambodia for permane nt residency
in United States in the middle of 1996, Phousita taught . royal
cou r t ball e t at the University of Fine Arts and general publi c
e lementary schools . Presently, she is an artistic director at
Angkor Dance Troupe, Lowell, Massachusetts.

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Att5ltor Dattcc Troupc, lttc.
Annual c:fundrais1i13 c;;:yzitner
CW!th live pe!formcmcesjirJm the hi§hlp acclaimed &lt;Yambodicm
&lt;Y!a:ssiccrl &amp;' cfolk c:Bcmce &lt;YrJmpcmp, Angkor c:Bcmce rcroupe
and dinner b~t catered bp the award-winning- &lt;Yambodicm/
cfrench cuisine, "rche C!iiejJhcmt CWcrlk, "this evening- shrJuld nrJt
be missed cU'ark pour ccrhndars!!!
O&lt;!JattJ

dndap, ®cttJber 21, 200S

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?00 pm - 1l00 pm
cM!. ~leastJJl! c2;tJf&lt;Ylub
33 CffJtaple CffJtreet
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cf§!!pou are nfJt able to make the cel.ebratifJn and would like tfJ
forward a tca;-deduct1bl.e CrJntnbutitm,
checks can be made papable M
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matchin3 gi.Ji pmgr{[/11 - its a great wap M build fJn fJurjimdraisin3 tJorts!

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                    <text>��30th Anniversary
Evening Program
Cocktails
Welcome
Recognition of Angkor Dance Troupe by Congresswoman
Niki Tsongas, Senator Eileen Donoghue,
Mayor Edward Kennedy
Past, Present, Future
Dinner
Performance
Special recognition by Angkor Dance Troupe
Lifetime Achievement Award
Raffle announcement

3

�Thank You
On behalf of our Board of Directors, our planning committee, and staff
of Angkor Dance Troupe, we would like to thank you for joining us as we
commemorate "30 Years of Connecting Communities through the Preservation,
Education and Innovation of Cambodian Performing Arts:'
Tonight's anniversary is a true celebration of our past, present, and future. This
celebration is an opportunity to honor those who helped establish Angkor
Dance Troupe in 1986; a chance to acknowledge those who believed in our work,
leading to over 4,500 youth served and 20,000 reached across the Northeast; and
a time to recognize those who continue helping us grow.
We would like to recognize each of you for making this a memorable event for
years to come and extend a special thank you to all our sponsors for this evening.
Your contributions are invaluable to this organization and will be used to ensure
the future growth of Angkor Dance Troupe.
Angkor Dance Troupe could not deliver on our mission without the support of
our donors, community partners, families, friends, staff and board. We look forward to your continued partnership in helping us connect Communities through
the Preservation, Education and Innovation of Cambodian Performing Arts.

~ h,Ctn~

JY.o/-1~

Michael Conway
President- Board of Director

DahvyTran
Executive Director

0

4

�Staff &amp; Leadership
Advisory Board
Celeste Bernardo

Michael Gallagher

Adrien Bisson

Vanna Howard

Jim Conlon

Joe Hungler

Nancy Donahue

Felicia Sullivan

Carol Duncan

Sophy Theam

Robert Farrant

Jim Wilde

Board of Directors
Michael Conway, President

Chummeng Soun

Karen McManimon, Vice President

Narin Sinuon

Savanna Pouv, Treasurer

Nary Tith

Linda Uch, Clerk

Sheila Kirschbaum

Jay Lee

Virginia Prak

Program Staff
Dahvy Tran, Executive Director

Emaly Horn, Program Intern

Tim Chan Thou, Operations Director

Shaun McCarthy, Grant Writer

Khakhada Horn, Program Coordinator

Artistic Staff
Artistic Director and Master Teacher - Phousita Huy
Master Teacher Kimhan Meas
Dance Program Manager - Channa Sath
Master Teacher Sophea Chamroeunnop
Master Teacher Pech Heung

5

�Honoring Our Past
History
The Angkor Dance Troupe was formed in 1986 by a group of
Cambodian refugees of the Khmer Rouge holocaust. Lowell's
Cambodian American community, estimated at more than 35,000
people, is the second largest in the country. When we resettled here,
we brought a passion to carry on our cherished cultural traditions
to practice and perform, to teach our children, and to see our art
preserved for future generations of all cultures.
We take our name
from the great
Angkor civilization,
between 802 and
1432 AD when
Cambodia was a
dominant empire
in Southeast Asia.
Dance and music
have always been
prominent in
Khmer society, but
these ancient traditions were nearly eliminated when the Khmer
Rouge controlled Cambodia in the 1970s. Artists were among those
deliberately targeted for execution. More than 90% of the country's
tradition bearers perished. Today, as Cambodians around the world
struggle to emerge from decades of war and poverty, our people
look to the rebirth and re-creation of dance as testimony to the
endurance of our culture.

6

�Celebrating Our Present
Today
What began as an organization that focused on the preservation
of Cambodian arts and culture quickly became a youth-serving
program. We recognized that, in order to fulfill our mission, we
needed to groom the next generation of leaders. Using performing
arts as the tool, we developed and guided over 4,500 youth over the
years. These young people furthered their education and became
teachers, nurses, and civic leaders within the community. They
pointed to ADT as an integral part of their leadership journey.
Since our 25th anniversary we
have built a passionate Advisory
Board, strengthened our current
Board of Directors, created
a comprehensive strategic
fundraising plan, and we continue
to establish strong partnerships.
The number of youth served has
increased each year, with our
residency reaching an additional
100 youth through a summer
program serving new refugee
groups.
In addition to our expansion in youth programming, our
accomplishments include three "big" annual performances,
two residencies, performance market expansion outside of
Greater Lowell, co-hosting a national Southeast Asian American
Conference with UMass Lowell (summer 2017), Senior Dancer
Certification, (Bi)Annual Master Teacher Residencies, and Senior
Dancer professional development.
7

�Embracing Our Future
Future

The future of Angkor Dance Troupe is to become the epicenter for
innovative Cambodian performing arts. To achieve this vision, our
goal is to have Lowell become home to the following:
Lowell Angkor Arts Academy
10 Certified Master Teachers
Angkor Touring Company
We ask that you help advance this vision by supporting our goal of
raising $30,000 toward establishing an endowment that will ensure
thousands more youth will be served.

8

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9

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is proud to sponsor the

NGKOR
DANCE TROUPE'S

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10

�11

�Circle Health is a proud
supporter of the

Angkor Dance Troupe, Inc.
We applaud their mission to
connect communities through
the preservation , education
and innovation of Cambodian
Performing Arts.
Happy 3Qth Anniversa ry.

~

circlehealth
~ Complete

connected care ..

www.circle-health.org

INSURANCE AGENCY
12

�Happy 30th Anniversary to Angkor Dance Troupe,
who preserves the traditions of Cambodian performing arts.

Fede rally in sure d by NCUA

I Shares and Deposits in excess of NCUA limits are fully in su red by MS IC.

Jeanne D'Arc Credit Union and the phrase We Share a Common Thread are federally registered trademarks owned by Jeanne D'Arc Credit Union.

Paul Marion &amp;
Rosemary Noon

------

Congratulations, Angkor Dance
Troupe, in celebrating 30 years of
performing arts. We are blessed
to have the dance troupe in our
community preserving Cambodian
traditional dance, art and culture!

13

�We are proud to
support the
.!lngkor Dance Troupe
and congratulate them
on their remarkable
30th .!lnniversarg.

The Gaslight Building
22 Shattuck Street
Lowell, MA 01852
Tel 978.452.0522
Fax 978.452.0482
www.gcattorneys.com

14

�e

1

CREDIT UNION

Connecting all your banking needs

ol &amp; George Duncan

e are delighted to support Angkor
Dance Troupe as they celebrate 30 years
of connecting communities with the
preservation and innovation of their rich
culture.

s

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t

S c:c s s S a
15

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�~

UMASS

LOWELL

learning with Purpose

Lianna Kushi &amp;

16

�Raffle and Cocktail Sponsors
Amara Boutique and Trav
Bangkok Market
Brew'd Awakening Coffeehaus
Cultural Shock Apparel
Hong Kong Market
New Asia Restaurant
Pailin Express
Peephuptmei Restaurant
Sorin Sieng
Yummy Express
Washington Savings Bank
Humanities
:l'fUU5fT 3:)0AU J!O&gt;ICJ0A
':))nsO Alo~ i8 '6Ji?zsD l'j{T)r/&gt;f

17

�Mut Peah Sponsor

18

�Dear Angkor Dance Troupe,
You're Getting Old ...

. . . But That's Good!
Happy Anniversary and
Many More Years to Go!
Your friend,
MehmedAli
19

�Mut Peah Sponsors
2017 ASIAN AMERICAN CULTURES FESTIVAL

PIN PANHCHAPOR
THE HARP &amp; FIVE COLORS OF HARMONY

Angkor Dance Troupe
UMass Lowell World Music Ensemble

H

UMASS
LOWELL

Friday, April 21 at 8pm
Durgin Concert Hall
UMass Lowell
35 Wilder Street
Tickets $10 at the door
(cash only please)

Washington
SAVINGS BANK
We give you more

washingtonsavings.com
20

�Supporters
Music Support:
Alan Williams &amp; UMass Lowell
World Music Ensemble Wongpleng Khmer
Kimhan Meas
Sovann Khon &amp; Tepniyum Band
Program Design Support:
Jim Higgins

Joan Ross

Sochenda Uch

30th Planning Committee Members/Supporters:
Angkor Dance Troupe's Board of
Directors
Celena Mai
Channa Sath
Cheymony Fennell
Chummeng Soun
EmalyHorn
Linda Sou

Peter Chea
Phousita Huy
Roselyn Soung
Sochenda Uch
Sodany Krouch -Venue Designer
Tim Thou
Victoria Phan

�Supporters
Organizations:
Center for Asian American Studies
Flying Orb
Lowell National Historical Park
Massachusetts Cultural Council

Parker Foundation
The Flower House

Individuals:
BonnaMai
Chamroeun Sdoeung
Chenda Wilson
Chhan Touch
Christina Prum
Kolab Thou
Linda Sopheap Sou
Liz Claffin
Malis Loeung
Peter Veth
Sarina Choun
Selena Tran
Sochenda Uch
Sue Kim
Tenzin Thoulutsang

22

1

�NANCYL.&amp;
RICHARD K. DONAHUE

In celebration of the Angkor Dance Troupe's 30th
anniversary, we would like to extend sincere gratitude
to NANCY L. &amp; RICHARD K. DONAHUE for their
continuous support, which helps make this event possible.

�GOOD

CELEBRATES

+

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                    <text>Friday, April 7, 2017
Sompao Meas Hall - 450 Chelmsford Street, Lowell, MA
6:00-9:00pm Program, Performances, Raffles
9:00pm-12:00am Dancing and Celebration

' for tickets and sponsorship information, please visit
www.angkordance.org I info@angkordance.org I 978.275.1823

�Founded in 1986 by a group of Cambodian refugees with a passion for Khmer performing arts came
together in Lowell, Massachusetts, with the sole purpose of reviving a culture once almost lost, Angkor
Dance Troupe (ADT) was formed to preserve and develop the traditions of Cambodian performing
arts. Now, 30 years later, what began as an idea in the basement of a home has grown to an organization
of 10 dedicated staff and over 100 volunteers. Nationally recognized as one of the most accomplished
U.S.-based Cambodian traditional arts ensembles, the Troupe is directed by world-renowned master
teachers and performs a body of work developed by the Royal University of Fine Arts in Phnom Penh,
Cambodia. Cambodian culture continues to thrive here in Lowell through the generations of students
who have been enfolded into the journey ADT has travelled.
Each year over 20,000 people enjoy performances by ADT, which also reaches over 1,000 through a
quarterly newsletter, and in the past 30 years ADT has instructed over 4,500 youth in classical Cambodian dance and arts. We continue to receive national attention, including recognition by the National
Endowment of the Arts, a performance at the White House, a major role in the award-winning documentary Monkey Dance, and television segments on the Travel Channel with Andrew Zimmerman,
WGBH's Neighborhood Kitchens, and Chronicle.
The ADT youth of the past have become today's leaders, and they carry with them the legacy of the
magnificent Cambodian culture of performing arts. To celebrate this milestone, ADT's anniversary
celebration on April 7, 2017 will establish an endowment to ensure that today's youth will become future
leaders of the community, overcoming challenges with creativity and innovation.

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!!f"tm~~f

Att5kor Dattce Troupe, lttc.

2orn ANNNERSARY
FUNDRAISING BANQUET
NOVEMBER. 3, 2006

1'ttx11 ~" Hi?Jt!it1 ~ Rt!i:JS
s

&amp;sH11 Hitt) Pl.11~;/,,t1

�0

l!JUfmHRf
Att5kor Datte~ Tro~p~. lttc.

20th

Anniversa~

Fun~raising

Banquet

You are cordially invited to the Angkor Dance Troupe's
2Qth

Anniversary Fundraising Banquet.

With stunning performances from the award-winning
troupe, live band, silent auction, and a five -course meal,
this evening should not be missed!
Date:
Time:
Location:

Cost:

Friday, November 3, 2006
6:00 PM - 12:00 AM
Sunnyda Restaurant
454 Chelmsford Street
Lowell, MA 01851
$45 in advance/$50 at the door

R.S.V.P by October 27, 2006
For tickets and information: (978) 590-5654 or tim@angkordance.org
If you are not able to attend, but would like to forward a tax-deductible

donation, checks can be made payable to:

Angkor Dance Troupe
PO Boxl553
Lowell, MA 01853
Please be sure to check if your organization has a matching gift program
- it's a great way to increase the value of your donation!

�</text>
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&amp;

UMass Lowell,

Thank you for your generous support to the
Angkor Dance Troupe s 25th Anniversary
premier of Apsara Dancing Stones.
1

��</text>
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                    <text>Graduating Into the Wider World
Al&amp;IOI DAICE TIOIPE
PO IOI ISSJ
41 IIEICH STIEET
LOWELL, NA

1115 3

In auditoriums, courtyards and
on street corners, young graduates in their black robes show
their exuberant joy at having
stepped into the next phase of
their lives.
This graduation season
got us thinking. How does learning the delicate hand gestures of
the Apsara dance prepare a person for the rest of their life?
How does mastery of the rollicking rhythms of the coconut dance
help with mastering the art of
making a living?

INSIDE
THIS ISSUE:
Follow the

3

Fibre:
Mip-ating Silk
MerrimackMekong
Bridge is
Strengthened

2

Empowermend South-

We asked people in
their early 20s who had danced
with the Troupe for a number of
years to reflect on how their
time with the Troupe shaped
who they are now. Here is what
one of them said:

Troupe. I am now the Di rector
of Youth Development for the
Lowell Community Health Center. I'm also the Assistant Program Director for Angkor Dance
Troupe. And I am attending full
time graduate school at the
Springfield College School of
Human Services in Boston, studying for a Master of Science in
Human Services.

Old Traditions and New
Technologies prepare Angkor dancers like Linda Sou
for their futures
" I am Sopheap (Linda) Sou.

I'm

24 years of age, 20 of which I
spent with the Angkor Dance

My time with the
Troupe shaped me by supporting
my leadership in both fields . The
dance discipline has taught me
dedication and commitment to
what is near to my heart - culture, dance and community organizing. I am very pleased with
where I am in my life. I would
like to continue the work that I
am doing.

2

Over 2000 Lowell students enjoy NEA-funded workshops

east Asian

Women and
Girls Get a
Boost

NEW
3
Pins and Folds

Rapt faces followed every gesture made by Monica Veth, as
the crowd of over 600 middle
schoolers sat unusually still and
silent, absorbing the graceful
demonstration of Cambodian
dance. Linda Sou spoke with
quiet authority and humor about
dance, how it is learned and her
own experiences as a child, as
she gradually came to master
over I 500 of the 5000 gestures
that make up Cambodian classical
dance.

This compelling workshop was
part of a joint endeavor between
Angkor Dance Troupe and the
middle schools of Lowell, facilitated by a $10,000 grant from
the National Endowment for the
Arts.

More than 2,000 students were
treated to a lesson in Cambodian
culture and a classical or monkey
dance performance by the
Troupe in the spring of 2008.
All students completed a questionnaire about their experience
- I00% positive! - and about 25%
expressed an interest in learning
Cambodian dance. Fifteen students in the Fine Arts Academy
at Lowell High School participated in a 5-day residency where
they learned the history of Cambodia and Cambodian dance.

�PAGE

------------------------- '

2

Merrimacl(-Mel(ong Bridge Strengthened '

I'

,._____' .,
i

-Willi

••
=~r-

.

__ .. ·--·- .

~ Tl
John Burt and Samkhann Khoeun with
framed poster of the
show

The Mekong-Merrimack bridge
becomes more solid, connecting our communities across
many kinds of distances, not
only geographical.
The partners that
put on the Cambodian rockopera Where Elephants Weep
in Lowell last year met this
June for the one-year anniversary of that event. The overwhelmingly enthusiastic response to the opera shocked
even its producers, who
watched the Lowell High
School auditorium fill up night
after night with people from
many parts of New England

and many walks of life.
A year later, at Tep
Thida restaurant on Chelmsford Street, producers, actors,
dancers, and others met to
revisit the wonder of last
year's collaboration, and to
talk about the future. The
Cambodian Arts Alliance unveiled a program of cultural
production goals for the next
three years.
Angkor
Dance
Troupe is delighted to play a
pivotal role in continuing artistic creation, across the Mekong-Merrimack bridge. We

are instrumental in commissioning a new work, the Apsara
Dancing Stones, a dance-drama
that brings the Apsara figure
out of the ancient Cambodian
past, and into the light of our
own time. This new work
shows her relevance today as
an icon that embodies peace
and beauty, harmony between
opposing forces and a respect
for the forces of nature and
humanity alike. We look forward to sharing this creative
process with many of last
year's partners and with new
artists and supporters along
the way.

_____ ,,,,

----------Empowerment for Southeast Asian Women and Girls

·.-,
--•

~, 4

.

' ...
.

ti

-

)

-

'

:

•

:,

~ - --.(
~.

In our drive to support our
young dancers on their own
paths to success, the Angkor
Dance Troupe are participating
in a community-wide effort to
empower Southeast Asian
women and girls. The first
step is a pleasure - working on
a Special Event that draws
professional women not only
with networking opportunities,

but with Asian-fusion beauty
products, design , cuisine and
cocktails. Proceeds benefit a
one-day conference on matching Southeast Asian girls in
Lowell with professional
women mentors as part of
building up job skills, contacts
and readiness. Board President Sophy Suon leads this
exciting initiative

Girls at 2008 New Year Celebration

Sticky Summer Heat Calls for Cambodian Grilling Secrets
Spend This Summer At
Home with Cambodian
Culture
Spend the steamy months of
August learning about the
food , culture, and customs of
this beautiful Southeast Asian
country. After sampling the
tastes, smells, sights and
sounds of Cambodian dishes,

ANGKOR

DANCE

TROUPE

holidays and "at-home" customs, you 'll feel like you 've
traveled I0,000 miles and seen
the wonders of the world.
These workshops are also a
great way for families to spend
time together during the summer, learning skills that you
can share with others.

Chef/owner Sophy Suon of
Modern Catering brings her indepth knowledge of Cambodian ingredients, cooking, culture and customs to you,
through workshops that you
can take a la carte, or as a
prix-fixe menu.
Workshops
will take place in Lowell, location TBA.

I

�VOLUME

I ,

ISSUE

2

PAGE

Follow the Fibre: Migrating Silk
Recent
talks bet ween
Angkor
Dance
Troupe
and
the
American
Textile
History
Museum
reveal
common
threads and bold new designs. The
Troupe and Museum have collaborated in the past and now plan a

joint workshop and exhibit featuring the brilliant golds, blues, purples
and greens of classical and folk
dance cos tu mes.
The beauty and the learning don 't
stop there - the two institutions
will invite audiences to engage with
the dramatic stories behind the
costumes, and with the silken
threads that literally constitute
them. The ATHM deepens our
understanding of how plants and
other fibres become the textiles we
use in our daily lives - this collaboration will be no exception . By
working together, we hope to in-

troduce our audiences to the silk-making villages
that produce the fabrics and the dyes, and to the
people whose technical skill turns them into the
garments you'll recognize in the dramatic legends
brought to life by Khmer dance.

---------------------------- -,
Parents and Friends Learn Ancient Costuming Techniques
...

This spring, parents and friends of
the Troupe took part in our firstever workshops on Cambodian
cloth and costuming techniques.
Knowledgeable instructors, led by
Phousita Huy, rolled and squeezed
the cloth into the shapes that make
up the k'ben, one of the basic elements of the dance costume.
Parents and friends also
learned about different grades of

silk, how to care for the cloth, and
the kinds of performances associated with certain silks and patterns.
In another workshop, our presenters showed many examples of traditional Cambodian clothing and
spoke about cultural meanings of
certain colors and fashions.
Our participants
deepened their knowledge of
Cambodian culture and
spruced up their appearance

at the Cambodian New Year festivities. See page 2 for our next workshop series - this one on Cambodian cuisine. What better way to
bring your family closer to what is
beautiful (and delicious) in Cambodian culture?

'---------------Pins and Folds
Especially
for
parents
and
friends of the
Troupe ,
this
section
keeps
you up to date
on the shows, the events and the
in-house business of the Troupe.
This spring we want to let you
know about the following:

Performances:

Registration:

•

Now is the time to send in your registration for
next session, which starts in August 2008.
Please look for forms sent home with dancers or
write to request one (timthou@yahoo.com). An
annual fee of $25 per dancer should accompany
each registration. These fees cover the costs of
food and drink for dancers during the year's
worth of rehearsals and performances.

August 6th, 11 am, Boot Mill, Lowell
National Historical Park. Open to the
public.

•

August 16th, Water Festival, Lowell.
Portions of the Ramayana epic.
to the public.

Open

3

�I

.,,..

-------------

-------------,

OUk HEARTFELT THANKS...
to our many supporters including the Theodore Edson Parker Foundation, the Massachusetts
Cultural Council, the National Endowment for the Arts, the Lowell National Historical Park,
the City of Lowell, Butler Bank, Enterprise Bank,, the Catalogue of Philanthropy, the Elephant
Walk Restaurant, Minuteman Press, and our Board, Staff and Troupe members.
Last but by no means least, we thank YOU , the Friends of the Angkor Dance Troupe.

11El1BEkSHIP !
The Troupe is delighted to announce t hat as of April 2008, we have a brandnew, thriving and supportive membership network.
The members of the Friends of Angkor Dance Troupe make it possible for our

Angkor Dance Troupe
PO Box 1553

young dancers to keep learning and to keep Cambodian fine arts alive and well in
the 21 st century.
Recent members include: Khanh Dinh, Elaine McKinnon, Toni Shapiro Phim,
Linda and Steven Myers-Tierney, Alison Miller, Steve Katz, Paul and Rosemarie

40 French Street

Krenitsky, Susan McCombs, Eleanor Rizzo and family, Brown and Lois Pulliam,

Tel: (978) 275-1823

Nancy Donahue, Jim and Joan Ross, Charley Todd, Julie Malozzi, Stephen and

Fax: (978) 275-1824
Email: TimThou@yahoo.com
Website: www.angkordance.org

Elizabeth Fitzgerald, Sokhanarith Moeur Tung, Frank and Joan Gendron, Samkhann Khoeun , Nancy Colburn, Kevin, Arthur, Mao and Chet Patton-Hock, Lester Lloyd, Joanne and lain Goddard, Duncan Smith, and Tim Thou and family.
JOIN today. You can strengthen the fine art of Cambodian dance, as it strengthens youth and the wider community in which it flourishes. See enclosed membership materials.

'--------Angkor Dance Troupe

PO Box 1553

40 French Street,
Lowell, MA O1853

------------------

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tf19tmH~t
I ID ~or office use only

Attsltof' DattC4.? Tf'OUp4.?, lttc.
Registration Form

Enrollment fees $25 per year

I

The Angkor Dance Troupe is a non-profit cultural organization dedicated to preserving and promoting
Cambodian culture and providing positive recreational and educational opportunities for youth. Membership in
the Troupe is open to anyone willing to make a commitment to Cambodian dance. The Angkor Dance Troupe
does not discriminate on the basic of gender, age, religion, ethnicity, sexual orientation, or disability.

Information about you (New Student)
Today's Date: ________
Name:

Please print
Social Security Number: _ _

-------------------------------Middle
First
Last

Address:

------------------------------# Street
City/State
Zip-code

Telephone# _ _ _ _ _ _ _ _ Date of Birth _ _ _ _ _ __

Gender: M

F

I Emergency Contact
Name: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _Relationship _ _ _ _ _ _ _ _ __
Telephone Number - - - - - - - - - - - - Cell Phone # - - - - - - - - - - •

•

•
•

I understand I will be participating in the dance rehearsals at the Mogan Cultural Center, 40
French Street, Lowell, Massachusetts, and in public performances and group outings at various
locations throughout the region.
I give permission to be photographed and /or videotaped by.staff, volunteer, visitors, audience
members, professional photographers and /or the news media for the purposes of documenting or
promoting the Angkor Dance Troupe.
I give permission for staff members to use their best judgment in the event that medical treatment
is required in an emergency.
I agree to hold Angkor Dance Troupe staff and volunteers free from liability for any damages.

Please tell us the days you intend to participate. (Please check one, both or all)
Thursday &amp; Friday (3:15 to 5:15PM)
Friday (3: 15 to 5: 15 PM)
Sunday (Noon to 4:00 PM)

Signature: __________________ Date ____________
Do you have any medical conditions: _Yes _No (if Yes, please explain) _ _ _ _ _ __
Health Policy ID # _ _ _ _ _ _ _ _ _Name Company/Card holder _ _ _ _ _ _ __
(If you are not insured, we need to know. This will not exclude you from participating in the program.) Rev. ADT 12-2004

P.O. Box 1553 • Lowell, MA 01853
(978) 275-1823 • FAX: (978) 275-1824

�APPENDIXC
SELF-DECLARATION OF INCOME REPORT
Federal regulations require we obtain this information to document assistance is being provided to low and moderate-income households. The
Participant/Guardian should complete this form indicating all persons residing within their household, regardless of whether or not they are
related. The Grantee should retain this form for monthly reporting requirements as well as for on-site monitoring visits.
INFORMATION PROVIDED ON THIS FORM IS KEPT CONFIDENT/AL AND IS NOT SHARED WITH ANY OTHER AGENCIES

PARTICIPANT INFORMATION

0

PARTICIPANT STATUS:

FAMILY

0

INDIVIDUAL

Participant Name: - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Address: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ City, State, Zip Code: _ _ _ _ _ _ _ _ _ _ _ __

ETHNICITY (please select only one):

D

D

Hispanic or Latino

Not Hispanic or Latino

RACE (olease select only one):

0
D

D
D
D
D

D
D
D
D
D

White
Black/African American
Asian
American Indian/Alaska Native
Native Hawaiian/Other Pacific Islander

American Indian/Alaskan Native and White
Asian and White
Black/African American and White
American Indian/Alaskan Native and Black/African American
Other Multi-Racial:

----------------

HOUSEHOLD INFORMATION
Female Head of Household

1) Circle the number offamily and non-family members living _n your household below.
i
2) Circle the corresponding income level. (FY2007 Median Family Income)
Household Size
1

.

#1
{0%-30%)

#2
(31%- 50%)

#3

#4

(51% - 80%)

(81 % and above)

$0-$17,300

$17,301-$28,850

$28,851-$41,700

$41,701+

$0-$19,750

$19,751-$32,950

$32,951-$47,700

$47,701+

$0-$22,250

$22,251-$3 7,100

$37,101-$53,650

$53,651+

3

.
.
.

4

.

$0-$24,700

$24, 701-$41,200

$41,201-$59,600

$59,601+

5

.
.

$0-$26,700

$26, 701-$44,500

$44,501-$64,3 50

$64,351+

6

.
.

$0-$28,650

$28,651-$4 7,800

$47,801-$69,150

$69,151+

7

.
.

$0-$30,650

$30,651-$51,100

$51, 101-$73,900

$73,901+

8

.

$0-$32,600

$32,601-$54,400

$54,401-$78,650

$78,651+

2

~

I certify the above information is true and correct to the best of my knowledge.
Participant/Guardian: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Date:

(Original signature is required)
City of Lowell, MAIDPD

FY2007-08

�0

1'~~ti1;t~~
Attgltor Dattce Tro~pe, lttc.
Angkor Dance Troupe Policies and Procedures
·1

To : All dancers and staff
Fm : Tim Thou, Phousita Huy and Dr. George Chigos
Re : Contract concerning appropriate behavior during troupe rehearsals and other operations
Dote: October 1, 2002

These rules have been developed for your safety and to ensure that we use our facility
properly and respectfully. All dancers and staff must sign and return this contract .

STAIRWELL-At no time, should any dancers lean over the stairway railing on the second
or third floor stairwell. This is a very important safety rule. If you are seen hanging over the
railing, you will be issued a verbal warning, and a written record will be made in the office .
Repeat offenders will be suspended from the program.
STRANGERS - If you see someone walking through the halls or rehearsal rooms that you
do not recognize os a member or family member of a troupe dancer, notify an adult staff
person at once. Adult staff will inquire about the nature of the visit, and if appropriate. hove
the guest sign in and receive a guest poss.
FIRE ALARMS - If a fire alarm goes off, immediately leave the rehearsal rooms and make
your way down the stairs. Use the buddy system - leave the building with at least one other
person from the troupe. Members will gather in front of the building until we are told it is sate
to return. If the front of the building is also being evacuated, move over to Boarding House
Pork next to the building. Stay together as a group. DO NOT ASSUME IT IS A FALSE ALARM
unless an adult staff member tells you so (Adult staff include Mehmed Ali who works in the
office in the lobby and/or anyone in a Lowell National Park uniform.)
Building Pollcles
FIRE/ELEVATOR ALARMS - Do not tamper with fire or elevator alarms unless there is an
emergency. It is illegal to pull a fire alarm as a prank.
COMMON AREA POLICY - Please be quiet and respectful when using the "common areas "
of the building . These include the lobby, elevator, and stairways. Absolutely no yelling over
the railings to someone upstairs or downstairs. No wrestling, pushing or otherwise rowdy
behavior. There are offices and a museum exhibit on the first and second floor. We must not
disturb our fellow tenants. If you are rehearsing in the third floor lobby, please close the doors
to the stairwell.
CLIMATE CONTROL-Thermostats should be set at 70 degrees at all times. Do not tamper with
thermostats. Please report any concerns about excessive heat or air conditioning to an adult
staff member right away.
Rehearsal Policies
DRESS CODE- All dancers must adhere to our rehearsal dress code: K'ben and An Noy
for girls and sweats for boys . No jeans are permitted.
RESPECT - Be respectful at all times of master teachers and assistant instructors.
LANGUAGE - No profanity (swearing) is allowed. No teasing, arguing, or otherwise
"hurtful" language. Please treat your fellow dancers as you wish to be treated.
DISCRIMINATION - No one will be discriminated against .or in any way harassed on the
basis of race, sex, age, or disability. Report violations at once to an adult staff member. We
have a ZERO tolerance policy concerning discrimination.
NO CELL PHONES - No cell phones are allowed in rehearsal rooms . You must turn off your
cell phone during rehearsal.

•

•

•
•

•

•

•
•
•

•

P.O. Box 1553 • Lowell, MA 01853
(978) 275-1823 • FAX: (978) 275-1824

�0

t=1t;~m~~~~
Attgltor Dattcc Troi-,pc, lttc.
;,

OTHER - You must inform your instructor if you need to leave a rehearsal room during
rehearsal. Please minimize your "comings and goings." It is disruptive to our reheqrsals if
dancers are constantly leaving and re-entering .

ID Cards (Beginning November 2002)

•
•

•

All members and staff will be issued laminated photo ID cards with a breakaway
cord/lanyard to wear around their necks.
Once you are issued an ID card, you must wear it at all times while at the troupe's
headquarters at the Mogan Center and at performances - except when you are
actually rehearsing or performing . Hooks will be installed in all of the rehearsal rooms so
that you can remove your ID card while rehearsing, but you must wear your card
whenever you leave a rehearsal room and use the halls.
It is your responsibility to bring your ID card to every rehearsal. For your convenience , we
will install a rack at the Mogan Center where you can leave your card between
rehearsals . Anyone losing a card w_ be charged $4.00 for a replacement.
ill

Guest Policy (Beginning October 2002)

•

•

•
•

If current members have friends who may be interested in joining the troupe, members
are welcome to bring a friend to a rehearsal as a guest ONE TIME ONLY . If the guest
wishes to return , he or she must enroll.
All guests must report to the office where they will sign in and be issued a guest pass . If
you bring a guest, it is YOUR responsibility to escort your friend to the office to sign them
in . If no staff is present in the office, please bring your guest to Ms. Phousita or one of the
Assistant Instructors.
If you bring a guest, you are responsible for supervising him/her and making sure he/she
complies with all Angkor Dance Troupe policies regarding safety and proper use of our
facility.
If you see someone in the hall or third floor rooms who does not have a guest pass or
member ID card , please inform a staff member or assistant instructor who will approac h
the guest and ask if they have signed in.

Media Policy

•

If a newspaper photographer takes a photo that includes you during a performance or
rehearsal and asks for your name for the photo caption, you must also say that you ore a
performer with the Angkor Dance Troupe .

Contract between member and the Angkor Dance Troupe:
I hove read these policies carefully and agree to abide by them .

Print Name :_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
ID#
Signature : _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Member Signature

P.O. Box 1553 • Lowell, MA 01853
(978) 275-1823 • FAX: (978) 275-1824

Date

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                    <text>Attgkor Dattcc T ro~pc
Cambot&gt;iatt dassical &amp; Folk Dattce

�The Angkor Dance Troupe is a nationally recognized non-profit Cambodian arts agency.
Angkor Dance Troupe, P.O. Box 1553, Lowell, MA 01852 .
Photograph: "The Fan Dance" by Andrew Page

Postage
Required

�</text>
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