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Angkor Dance Troupe, Inc.
Costuming Procedures
*Neang Role
(Female Role)
1) Needs for preparation
a) Needles
b) Thread or yam
c) Safety pins
d) Scissors
*Note: if there is no yam then wrap thread around your feet three times and use with
bee's wax.
2) Start putting on costumes
a) girls should wear shirts ( ow cheang)
b) take cloth & measure length of legs
• knat of one hand horizantal
c) start folding fabric
• big folds then small folds
• small folds 12 times in & out
• dancers must hold the fabric
• wrap around waist (from the back first) and fix the fold
• safety pins on skirt (3)
• fix folds on bottom and pull top
• wrap under legs
• in the middle, let go of 2 sathop and pin
• pin bottom fabric to back skirt inside
• tie and place but after finishing skirt.
3) Sabaiy Procedure
• In the ld generation, elders would put sabaiy first, however, how
we wear skirts first.
a) wrap around left shoulder
b) sew shirt on back right
c) put pin in middle front and back waist
d) let dancer hold back shirt (sabaiy) when sewing
e) put jewelry
sarong karh
kasai cheang onleft shoulder hanging down by right hip
necklace (chee)
hand and ankle bracelets
4) Neang Jewelry names
Wrist first:
Saluk theh
�Vaen pradap
Koul dai
Kan throm
Kong rek
5) Ankle Jewelry
Kongjeaung
Kouljeaung
*-banh pap on right arm
Headpieces
-Tep Monorom
June Pour
Savan Macha
Chhoy Chhay
-Mokot
-Maklow
-Kabung N ah or Maklow
-Kabung nah, keaw & karah gnour
Female Costumes
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Measure the length and height
The skirt, measure 2 inches from ankle
Take both jeey from skirt and fold
Fold from one end to the other to keep in place (plnut)
Fold one end of the skirt into small "tnuk" for 12 times
The 12th, fold it half way
Let the other person hold the top of skirt
Fix the "tnuk" in place called "jbud"
Tie a rubber band to the top of skirt for about 4 1/2 inches
Fix the "tnuk" again
Put skirt around the dancer
Put the "tnuk" on the left side of the waist
"Plea" the end of the skirt 12 times
Put the second "plea" in the middle and "jbud" again
Pin another on the bottom of "jeay"
Hold the bottom and pull the top one by onePut the "plea" between the
dancer's legs
Hold the top skirt and make two dent on both side (plea)
Tuck the top inside the skirt
Tie a string around the waist to put the skirt together
Take out the "plea" from the dancer's legs (take pin out)
Unfold the last 2 "plea"
Pin it inside of "plea" in the middle
Pin the inside skirt to the inside of the shirt
Put the bottom "plea" between dancers leg
�• Put the belt around the waist
• Wear the "sbeay'' on upper body
• Measure the back "sbeay'' to make it level
• Sew "Sbeay'' together
• Pin the "sbeay" in front of shirt together (under chest)
• Pin the back "sbeay" together with shirt
Accessories
• Sarong Kor (collar)
• Si-cheing (body chain)
• Je (necklace)
• Kong rek (plain bracelet)
• Kon trum (ball bracelet)
• Kro vel dai (spring bracelet)
• Van produp ( flower bracelet)
• Sluk the (grape-like bracelet)
• Beyn pup on right upper arm (arm bracelet)
• Kong jung (on bottom ankle)
• Ka vol jung ( plain bracelet)
• Kong jung ( spring bracelet)
• Earring
Costume Session
1) Before putting into skirt, measure length the height of a person from waist to
at least 2 inches far from ankle.
2) Pull the fabric from one end to another fold from back to back until end.
3) Fold about 1 V2 into small pieces 12 times. Hold the 12 pieces together with
them and index finger.
4) Slide fingers into folded pieces one by one to bring out the crease.
5) Tie the top crease with elastic. To 4 Yi in.
6) Now fold the bottom crease. All until the end
7) Measure the waste with the pleah and pin the skirt
8) Pleah the front of the other end (fold inside once)
9) Hold plea and then badt plea, hold on to plea with right hand.
10) Measure the robe straight from back feet
11) Sew robe to robe
12) Sew- (day gah cha-guy)
13) Pin the robe in front of the shirt
14) Pin back to (left side) to shirt
Jewelry
• Kasaiy cheing- body chain
• Chea- necklace
• Kong rhea (bracelet)
• Kon throm- (spring bracelet)
• Kraugh vel dia- (grape bracelet)
• Saluck Theyh( leave bracelet upper right arm
�•
•
•
•
•
•
•
•
•
•
•
Bunge pup( arm bracelet)
Kong Jung( ankle bracelet)
Kraugh vel jung(Spring ankle bracelet)
Badt the plea leaf of the folded plea
Level the top plea push the plea into the dancer leg and hold it with the
leg.
Make a dip of each side of the skirt.
Fold the front plea into the skirt tie string around waste-make knat.
Twist the extra string into the tied string.
Remove the plea from legs unfold at least 2 plea from front plea.
Pin inside front plea in middle
Grab 1st plea at the end onto the inside shirt
Bring second plea into leg then left
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe Costuming Procedures, [2006]
Subject
The topic of the resource
Community organization
Dance--Cambodia
Lowell (Mass.)
Nonprofit organizations
Description
An account of the resource
Angkor Dance Troupe costuming procedures for a female role. Includes listing of clothing and other dress items as well as descriptions on how to put on the costumes.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
[2006]
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
4 p.; 28 x 21.5
Language
A language of the resource
English
Khmer
Type
The nature or genre of the resource
text
Identifier
An unambiguous reference to the resource within a given context
uml5_b04_f06_i001
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodians
Documents
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1db3b0673ec5fab77ac2db2bad9a4ddd
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ANGKOR DANCE TROUPE
CONTENTS
MISSION STATEMENT
BYLAWS
Article 1. Name, Purpose, Location, and Fiscal Year.
1.1 Name and purpose
1.2 Location
1.3 Fiscal Year
Article 2. Membership.
2.1 Membership
Article 3. Board of Directors and Meetings
3 .1 Directors
3.2 Staff
3.3 Regular Meetings
3 .4 Special Meetings
3.5 Quorum
3.6 Annual Meeting
Article 4. Board Elections
4.1 Board size and tenure
4.2 Board Nominations
4.3 Term of Office
4.4 Vacancies
4.5 Removal
4.6 Attendance
4.7 Termination of Appointment
4.8 Quorum of the Board
Article 5. Officers
5 .1 Election
5.2 Officers of the Board
5.3 Chief Officer and Spokesperson
5 .4 Duties of the President.
5.5 Duties of the Vice-President
5.6. Duties of the Treasurer
5.7 Duties of the Secretary
Article 6. Amendments
6.1 Amendments
Article 7. Personnel Policies
7.1 Personnel Policies
�Article 8. Use of Earnings
8.1 Use of Earnings
8.2 Political Activities
Article 9. Compensation.
9 .1 Directors and Members
Article 10. Personal Liability.
10.1 Members, Directors and Officers
Article 11. Dissolution of the Organization.
11 .1 Liabilities and Assets
�ANGKOR DANCE TROUPE
MISSION STATEMENT
The MISSION of the Angkor Dance Troupe is:
•
to conserve Cambodian performing arts and traditions;
•
to develop Cambodian performing arts and traditions;
•
to maintain the integrity of Cambodian performing arts and traditions while adapting to the changing
cultural orientation of its members;
•
to celebrate and promote awareness of Cambodian dance, culture, and history through public
performances and workshops;
•
to provide its members a context for positive recreational activities; and
•
to guide the personal growth of its members through positive peer role models and adult mentors.
BYLAWS
The Angkor Dance Troupe is organized and will operate according to the following BYLAWS.
Article 1. Name, Purpose, Location, and Fiscal Year.
1. 1 Name and plll])ose
The name of the Organization shall be The Angkor Dance Troupe, Inc and the purpose as set forth in the Mission
Statement.
1.2 Location
The principal office of the Organization is to be located in the City of Lowell.
1.3 Fiscal Year
The Fiscal Year of the Organization, unless otherwise decided by the directors, shall end on June 30 of each year.
(Amended 2001)
Article 2. Membership .
2.1 Membership
The membership of this Organization shall consist of active regular members. Active, regular, annual membership in
the Organization shall be open to all persons who support the non-profit, artistic goals, purposes, objectives and policies of the
Organization.
�Article 3. Board of Directors and Meetings
3 .1 Directors
The Board of Directors shall consist ofat least seven Members as approved through voting by a majority of the Board
of Directors.
3 .11 At lease one of the members of the Board may be a dancer selected by the members of the Organization.
3.2 Staff
The Board of Directors shall have the authority to hire an Executive Director who in turn shall hire other staff
members, with the approval of the Board.
3.3 Regular Meetings
Regular meetings of the Directors shall be no less than quarterly.
3.4 Special Meetings
Special meetings shall be called by the Secretary of the Board of Directors at the direction of the President or VicePresident of the Organization.
3.5 Quorum
A quorum is defined by members present, providing:
•
all directors received written notice of the meeting no less· than 10 days prior; and
•
at least one member of the Executive Committee is present.
3.6 Annual Meeting
The Organization shall hold an annual meeting for the election of the Board of Directors. The annual meeting shall be
during the last month of each fiscal year. All members shall be notified at least three weeks in advance of the date of the annual
meeting.
Article 4. Board Elections
4.1 Board size an tenure
The Board of Directors shall consist of at least 7 members. A Board Member can serve for two consecutive terms.
However, after serving for six (6) years, the Board Member shall be placed on Sabbatical for one year before serving again.
4.2 Board Nominations
All members of the Board shall be elected by the General Membership. The Board may, from time to time, fill
vacancies of elected members who resign or for some reason are unable to complete their term, to serve the balance of the
unexpired term until the next general elections. Nominations shall be submitted to the General Membership one week prior to
the Annual Meeting.
4.3 Term of Office
Reccommended terms are as follows:
One third of the current elected Board Members will serve a three-year term; one third will serve a two-year term; and
one third will serve a one-year term effective with the current Board (1993). Subsequently, elections will be held annually for
one third of the elected members for a three year term. A Board Member can serve for a maximum of two consecutive terms
and may be re-elected after a one year absence. These term limits can be overturned by a majority vote of the board.
�4.4 Vacancies
Vacancies shall be filled subject to the approval ofa majority of the Board of Directors until the next regular election.
4.5 Removal
Removal or revocation of any Board Member shall be determined by a majority of the Board of Directors for just
cause. The Board will arrange a hearing before any such action is taken not later than the next regular meeting.
4.6 Attendance
Members who are unable to attend regularly scheduled Board meetings must notify the Secretary of their absence
prior to the meeting.
4.7 Termination of Appointment
Absences from three consecutive meetings of the Board of Directors without previous notification or a valid reason
shall be considered resignation. The Board of Directors shall be vested with the authority to remove any Director from office,
upon one week's written notice of the meeting, and providing a majority of the Directors are present. A majority vote in favor
ofremoval shall effectuate removal of such Director.
4.8 Quorum of the Board
At any meeting of the Board of Directors, a majority of the Directors currently serving on the Board shall constitute a
quorum for the transaction of business. There shall not be voting by proxy at any meeting held by the Organization.
Article 5. Officers
5 .1 Election
Officers shall be elected by a majority vote of the Board of Directors. The term of any one office shall be for one
year, or until successors have been elected, and shall begin immediately following the annual election.
5.2 Officers of the Board
The Officers of the Board shall be: President, Vice-President, Treasurer, Secretary. The Treasurer may not hold two
officer positions simultaneously. All officers shall be elected by the Board from among its members by a majority vote.
5.3 Chief Officer and Spokesperson
The President, as chief officer and spokesperson for the Board, shall, in addition to fulfilling normal duties of the
position, appoint such committees as may be needed. All such appointments shall be approved by a majority vote of the Board
of Directors. In addition, the President, or the President's authorized representative shall sign, on behalf of the Organization, all
deed, contracts, and other formal instruments unless a majority of the Board votes the responsibility to the Artistic Director.
5.4 Duties of the President.
The President shall be the chief elected official of the Organization and shall have, subject to the control of the
Directors, general charge of the affairs of the Organization. The President shall preside at all meetings of the Board.
5.5 Duties of the Vice-President
The Vice-President shall assist the President in the performance of his duties and shall perform the duties of the
President when the latter is unable to perform his duties.
5.6. Duties of the Treasurer
The Treasurer shall be the Chief Accounting Offers of the Organization. He/She shall be in charge of recording its
financial affairs, funds, securities and valuable papers and shall keep full and accurate records thereof. He/ She shall have other
duties and powers as designated by the Members. He/ She shall also be in charge of its books and its accounting procedures
with close contact with the Artistic Director and/or staff member responsible for the Organization's financial accounting.
5.7 Duties of the Secretary
The Secretary shall record and maintain records of all proceedings of the Members and Directors in a book or series
of books kept for that purpose which shall be available at all reasonable times to inspection by any Members. Such book or
books shall also contain records of all meetings of the Organization, By-Laws, names of all Members and Directors, and the
address of each. If the Secretary is absent from any meeting, a temporary Secretary shall be appointed to exercise the duties of
Secretary at the meeting.
�Article 6. Amendments
6.1 Amendments
Amendments to this constitution and By-Laws may be made at any meeting of the Board of Directors by a majority
vote.
Article 7. Personnel Policies
7 .1 Personnel Policies
Amendments and/or revisions to Personnel Policies shall be made by action of the Board and will become effective
upon such action. The Artistic Director shall be responsible for the implementation of Personnel Policies to engage, train and
supervise all personnel subject to Personnel Policies established by the Board of Directors.
Article 8. Use of Earnings
8.1 Use of Earnings
No part of the earnings (net earnings after salaries and expenses) of the Organization shall insure the benefit of, or be
distributed to its Members, Officers, or other private persons, except that the Organization shall be authorized and empowered
to pay reasonable compensation for services rendered by its Members, Officers, or other private persons, and to make
payments and distributions in furtherance of the purposes set forth in the Articles of Organization.
8.2 Political Activities
The Organization shall not participate in or intervene in any political campaign on behalf of any candidate for public
office. Notwithstanding, any other activities are permitted to be carried on as befits:
a) a corporation exempt from federal income tax under section 501 (c) (3) of the Internal Revenue Code of 1954 (or
the corresponding provision of any future United States Internal Revenue Law); or
b) a corporation, contributions to which are deductible under section 170 ( c) (2) of the Internal Revenue Code of
1954 (or the corresponding provisions of any future United States Internal Revenue Law.)
�Article 9. Compensation.
9.1 Directors and Members
Directors and Members shall not be entitled to receive for their services any compensation unless the Directors
determine that such compensation is warranted due to their expenditure of time or money which is not ordinary and usual in the
course of the duties of Directors.
Directors shall not be precluded from serving the Organization in any other capacity and receiving compensation for
any such services.
Article 10. Personal Liability.
10.1 Members, Directors and Officers
The Members, Directors, and Officers of the Organization shall not be personally liable for any debt, liability,
obligation of the Organization. All persons, corporations or other entities extending credit to, contracting with, or having any
claim against the Organization may look to any of the funds and property of the Organization for the payment of any such
contract or claim, or for the payment of debt, damages, judgement or decree, or of any money that may otherwise become due
or payable from the Organization.
Article 11. Dissolution of the Organization.
11.1 Liabilities and Assets
Upon dissolution of the Organization, the Board of Directors shall, after paying or making provisions for payment of
all of the liabilities of the Organization, dispose of all of the assets of the Organization in such manner, or to such
Organizations organized and operated exclusively for charitable, educational religious or scientific purposes as shall at the time
qualify as an exempt Organization or Organizations under 501 (c) (3) of the Internal Revenue Code of 1954 (or corresponding
portion of any future United States Internal Revenue Law), as the Board of Directors shall determine. Any such assets not so
disposed of shall be disposed ofby the court of jurisdiction in which the Organization is then located, exclusively for such
purposes or to such Organization or Organizations, as said court shall determine, which are organized and operated exclusively
for such purposes.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe board of directors governing documents, [2002]
Subject
The topic of the resource
Community organization
Dance--Cambodia
Lowell (Mass.)
Nonprofit organizations--Management
Description
An account of the resource
Angkor Dance Troupe board of directors governing documents. Includes mission statement and bylaws.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
[2002]
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
7 p.; 28 x 21.5
Language
A language of the resource
English
Type
The nature or genre of the resource
text
Identifier
An unambiguous reference to the resource within a given context
uml3_b03_f10_i001
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodians
Documents
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Text
D
:!l r1 ~§51 ~1 J 1-1 ~ 1
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D ~ n ".:., e. ~f I p e.
ci \J
Khmet' C:la>>ical and Folk Dance
�Like all traditional arts, Cambodian classical and folk dance has been handed from one
generation to the next. Since the Angkor Era, Cambodian dancers have preserved,
cherished, and celebrated their art.
The Angkor Dance Troupe develops and teaches the traditions of Cambodian performing
arts, promotes an understanding and appreciation of Cambodian culture, and provides a
positive social and educational outlet for Cambodian youth.
The Troupe was founded in Lowell, MA, in 1986, by
8
incethe
two teachers and a handful of dancers who learned
Angkor Era,
traditional dance in refugee camps along the Thai-
Cambodian dancers
Cambodian border. Between 1975 and 1979, when Pol
have preserved,
Pot and the Khmer Rouge controlled Cambodia, most
cherished, and
artists perished or fled the country. It was in the camps
celebrated their art.
and later in places like Lowell that Cambodian dance
was painstakingly resurrected.
Today, dance is one of the primary ways that Cambodian-Americans,
split by politics and war, identify a common culture. For the
people of Cambodia, art is the core of life, combining
entertainment, tradition, religion, and social cohesion.
�C
lassical dance has
been connected to the
sacred rituals of Cambodia
for more than 1000 years.
During the great Angkor civilization, dancers performed blessing ceremonies in
temples to bring prosperity to the kingdom. Once the exclusive domain of royalty,
classical dance is now performed for audiences everywhere and has taken on new
meaning for postwar Cambodians as they work to reclaim a treasured heritage.
In classical dance, we see highly-stylized gestures
in concert with gentle movements. Dancers spend
countless hours perfecting the intricate hand
positions and controlled postures that create the
elegant Khmer classical dance aesthetic.
�F
olk dance is rooted in rural Cambodia and reflects the life and spirit of peasants.
Throughout Cambodia, after the harvest, it is time for music, song, and dance.
Dance motifs, commonly based
· G!'..OR l )A
r r r(
&
\: TROUPE
Foll Dane<'
on local legends, are inspired
by themes of nature and the
rituals of everyday village life.
Distinctive, colorful costumes
represent the traditional dress
of peoples from the various
regions within Cambodia.
Just as Court Dance is ruled by a strict form and a prescribed
language of movement, folk dance is lively and 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
L
.r
JL
collected dances and music
from the countryside and
choreographed dances
that were suited to
stage performances.
�History and culture come alive through modern
interpretations of lively folk dance from rural Cambodia
and dazzling renditions of classical court dance, an
ancient tradition dating to the ninth century A.D.
Based in Massachusetts, the Angkor Dance Troupe is
recognized throughout New England as a leading
Cambodian traditional arts ensemble.
The organization comprises
several master teachers and
more than forty students. The
Troupe's repertoire is drawn from a body of work developed at
the University of Fine Arts in Phnom Penh, Cambodia, considered
the artistic standard bearer of Cambodian performing arts.
The Troupe owns an extensive collection of richly-detailed,
authentic costumes and dance materials. Angkor Dance has
participated in workshops at Jacob's Pillow and has performed
at numerous venues including First Night Boston, the Peabody
Museum, and the National Folk Festival.
�The Angkor Dance Troupe
P.O. Box 1553
Lowell, MA 01853
The Angkor Dance Troupe receives the generous support of the:
Theodore Edson Parker
Foundation
liill
Lowell Cultural Council
NEW ENGLAND
with funds from the
Massachusetts Cultural Council
f o u n d a t i o n for th e
A state agency that supports public programs
in the arts , humanities, and sciences
Design: Page One Productions • Photography: Toni Shapiro, Eileen Blumenthal, Eleanor Briggs, Ann Bartholomew, Ruth Page, Tim Chan Thou
Sources: Khmer Folk Dance, Sam-Ang Sam & Chan Moly Sam, Khmer Studies Institute, Inc., 1987; "The Dancer in Cambodia," Toni Shapiro, Asian Art & Culture,
Winter 1995; "An Introduction to Khmer Traditional Dance," Phousita S. Huy, Seoul, 1995; "Cambodia's Royal Dance" E
ileen Blumenthal, Natural History, 4/89;
Khmer Songbook, Foreward by Sophiline Cheam Shapiro, 1992; DanceandtheSpirit ofCambodia, Toni Shapiro, Ph.D. diss., Cornell University, 1994
arts
�
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Title
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Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
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Angkor Dance Troupe, Inc.
Source
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Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
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The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
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Title
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Angkor Dance Troupe brochure, 2000?
Subject
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Community organization
Dance--Cambodia
Lowell (Mass.)
Nonprofit organizations
Description
An account of the resource
Angkor Dance Troupe brochure.
Source
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Angkor Dance Troupe, Inc. Collection
Publisher
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Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2000?
Rights
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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.
Format
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6 p.; 17.8 x 17.8
Language
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English
Type
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text
Identifier
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uml5_b03_f04_i001
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodians
Ephemera
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18e3f1e195296a8a7d907944269c843f
PDF Text
Text
Angkor Dance Trope, Inc.
The Angkor Dance Troupe-Company Biography
The Angkor Dance Troupe is nationally recognized as one of the most experienced and
accomplished Cambodian dance ensembles performing today. The Troupe was formed in 1986 by
refugees of the Khmer Rouge holocaust who resettled in Lowell, Massachusetts. The 70-member
ensemble performs a diverse repertoire of elegant and courtship rituals from rural Cambodian.
The Troupe has a appeared at venues including First Night Boston, Yale University, The national
Folk Festival, The White house, JFK Boston, Long Island New York, Johnson State College, and
Quick Center for the arts in Connecticut.
The company takes its name from the great Angkor civilization, between 802 and 1432Ad, when
Cambodia was a dominant empire in Southeast Asia. Dance, music, and drama have always
prominent in Khmer society, but these ancient traditions were nearly eliminated when the Khmer
Rough controlled Cambodian in the 1970's. Artists were among deliberated targeted for
execution, it is estimated that close to 90% of the country's tradition bearers perished.
Angkor teachers and performs a body of work developed at the Royal University of Fine Arts
(RUF A) in Phnom Penh, Cambodia, considered the world's cultural source and standard bearer
for traditional Cambodian arts. Angkor Artistic Director Mrs. Phousita Huy is master teacher and
former faculty member of the Royal University of Cambodia and toured internationally as a
principal dancer with the Classical Dance Company of Cambodia. Angkor is hosting two masters
from RUF A, Mr. Sophea Sek and Mrs. Y om Peng, for extended residencies in 2001. These
important teachers will appear with the Angkor Dance Troupe at performances throughout the
year.
In 1999, the Angkor Dance Troupe was among a select group of 10 organizations from across the
country to receive the prestigious" Coming Up Taller" award from the President's Committee on
the Arts and Humanities and the National Endowment for the Arts. The award is the nation's top
honor for exemplary arts programs that serve at-risk youth. Angkor's artistic excellence was
again recognized by the NEA in 2000 with a grant from the" Creative Links: Positive Alternative
for Youth" initiative.
Cambodian Classical 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.
Cambodian Folk Dance
Cambodian folk dance is rooted Cambodian and depicts rituals of everyday village life. The
dancers honor skills are typically undervalued in the rush to westernization, such as fishing and
rice farming. Dance motifs are commonly based on local legends and inspired by themes of
natures as well as ceremonies and customs that shape the lives of the Khmer people. Just as
classical dance is rules 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 dance s
originate.
�Angkor Dance Troupe, Inc.
The Angkor Dance Troupe provides an essential service to the community not met by any other
organizations. The Troupe is the only nonprofit cultural group in Lowell, MA, whose soul 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.
The Drive to Preserve Traditions
The Angkor Dance Troupe was formed in 1986, in Lowell, MA, by Mr. Tim Chan Thou, Angkor's
Program Director, along with a small group of dancers who learned traditional Cambodian dance in
refugee camps along the Thai-Cambodian border. They brought with them to the United States a
strong desire to practice and perform Cambodian dance and a passion to teach others.
Dance and its associated rituals and beliefs have become a way for Cambodian people to
reconstruct a sense of community and culture, particularly for refugees who have resettled in other
countries. Between 1975 and 1979, when Pol Pot and the Khmer Rouge controlled Cambodia, more
than 90% of the country's artists perished or fled. Today as Cambodia struggles to emerge from
decades of war and poverty, the people look to the rebirth and recreation of dance as testimony to
the endurance of their culture.
Classical Dance - A Treasured Symbol of Cambodian Culture
Classical or court dance is considered by many to be a universal symbol of Cambodian culture. It is
a source of national pride for Cambodians, representing the beauty and spirituality of Cambodian
people. The dance form is particularly meaningful for postwar Cambodians as they work to reclaim
and rebuild a treasured heritage. Many first practiced or saw the art form in the refugee camps. For
children born and raised in the camps or in other countries, it has become a connection to the past
and a way to experience revered ancient traditions.
Folk Dance - A Celebration of Traditional Ways of Life
Folk dances are a way for displaced Cambodians to remember their homeland and to teach their
children about the regional, agricultural, and social forces that shape the lives of Cambodia s rural
population. From folk dances, young Cambodian-Americans learn about geography and a daily life
�in Cambodia that they have never experienced.
Carrying on the Tradition: Engaging our young people
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
assistance from teachers to achieve the correct postures and movement.
Cambodian tradition prescribes a particular relationship between student and teacher, a relationship
that is repeated between children and parents, young people and 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.
The young people in the Dance Troupe, most of whom were born here in the U.S., have
increasingly been asking for background on the dances and the history of Cambodia. In the
recently-published book Fractured Identities, Cambodia s Children of War, a young CambodianAmerican man from Lowell suggests his primary source of information about Southeast Asia has
been popular movies:
"I saw Good Morning Vietnam with my uncle two or three times. We don't learn anything about
the history of Cambodia in school here. Just Columbus ... who discovered America ... stuff like that
it just doesn't go in my head."
In response to the clear need for meaningful educational opportunities Angkor's Artistic Director,
Phousita Huy, develops and presents workshops on Cambodian culture as part of her ongoing
instruction. To encourage attendance and participation by the Cambodian community, these
workshops will take place at sites within Lowell's Cambodian-American community. They are
publicized via Khmer-language materials and media as well as through traditional forms of
promotion.
The Need for Master Teachers
The technical mastery involved in Cambodian dance is considerable. Students must perfect an
estimated forty-five hundred basic gestures and movements to perform certain dance pieces.
Because of the losses suffered during the Khmer Rouge, the transmission of traditional knowledge
is a crucial yet challenging process, particularly in communities that have resettled far from their
homeland.
�Dr. Sam-Ang Sam, a master musician and director of the Apsara Ensemble in Arlington, VA,
writes:
"The break in oral tradition has resulted in the loss of more than half of the oldest pieces that had
previously been passed from generation to generation. In the US today there is a shortage of
professional and knowledgeable artists ... this has endangered the preservation of technique, style,
and repertory."
Masters of Cambodian Dance - A Way to Build on Past Successes
Phousita Huy and the other dance masters who work with the Troupe have specialties that allow the
Troupe to develop dance forms not currently being taught to performance level. Say Seuar, for
example, a professor at the University of Fine Arts, is considered one of the best instructors of the
Monkey Dance in the world. The Monkey is a role in the Riemkee, Cambodia's version of the epic
Indian tale, the Ramayana, from which many dances are derived. There is one particular dance
called Swva Pol, which is performed by young boys. Because of its lively acrobatic style, it is a
hugely popular dance at performances. However the lack of students skilled in the dance precludes
its inclusion in many of the Troupes performances. As part of his master residency, Mr. Soy has
held a series of classes on the monkey dance.
Training by dance master Phousita Huy has greatly expanded the Troupe' s technical abilities as
well as the dancers' understanding of the spiritual and ritual functions of dance in Cambodian
culture. The power of the dance is in its cultural connection and the meaning behind the movement
fundamental aspects of the art form which are not always comprehensively taught here in the U.S.
Through her years of experience at the University of Fine Arts, Ms. Huy developed high standards
of training and performance, as well as extensive knowledge ofrepertory, dance history, and
cultural context.
The Angkor Dance Troupe performed in April 1997 for a large multi-ethnic audience at a
Cambodian New Year celebration at the Sheraton in Lowell. Because of the special expertise and
teaching of Phousita Huy, the Troupe was able, for the first time, to present a performance of the
Apsara Dance. The Apsara is a revered classical dance steeped in spiritual tradition and based on
the sculptures that adorn the walls of Angkor Wat. After the performance, Cambodians in the
audience approached members of the Troupe to express how deeply moved and impressed they
were by the Apsara Dance and how grateful they were to be able to experience this type and caliber
�of traditional Cambodian dance.
The responsiveness of the community to the idea of partnering with master dancers is evident in the
reaction to a major public event sponsored by the Lowell Cultural Council presented by the Troupe
in May 1997. The Troupe hosted dance masters from around the U.S. who joined members of
Angkor Dance in an elaborate public performance. The event was enthusiastically received by the
community and is still being re-broadcast on Cambodian cable stations around eastern
Massachusetts. The Troupe experienced a surge in membership after the performance and, for the
first time in its history, had to create a waiting list of young people interested in learning to dance.
For several years, The Angkor Dance Troupe has been selected for inclusion on the New England
States Touring Roster, administered by the New England Foundation for the Arts to help build
support for New England s best performing artists. Additionally, the Troupe was selected for
participation in NEF A's Ford Foundation-funded Newcomers Project on the basis of its artistic
excellence and its potential for acting as a key Cambodian arts organization among the network of
Cambodian communities throughout the region.
Sources
"The Dancer in Cambodia", Toni Shapiro, Ph.D., Asian Art & Culture, Winter 1995.
Fractured Identities, Cambodia 's Children of War, James Higgins and Joan Ross, Loom Press,
Lowell, MA 1997.
"Cambodian Culture and Community in America", Sam-Ang Sam, House Island Project, Portland
Performing Arts, Portland, ME, 1996.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
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Angkor Dance Troupe, Inc.
Source
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Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
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Title
A name given to the resource
Angkor Dance Troupe biography, [2000]
Subject
The topic of the resource
Community organization
Dance--Cambodia
Lowell (Mass.)
Nonprofit organizations
Description
An account of the resource
Information about Angkor Dance Troupe, Inc. Includes brief histories of organization, Cambodian Classical Dance, and Cambodian Folk Dance.
Source
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Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
[2000]
Rights
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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.
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5 p.; 28 x 21.5
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English
Type
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text
Identifier
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uml1_b01_f05_i001
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodian Classical Dance
Cambodian Folk Dance
Cambodians
Documents
-
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db822b16ec5ae97c3c858156231b0b51
PDF Text
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 & Sovann Macha or “The White Monkey and the Golden
Mermaid”
classical Dance
Our next dance is a classical dance called: Hanuman & 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 & 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 & 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 & 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 & 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
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Document describing various Khmer dances and performances, 2018-12-07
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
An account of the resource
A document listing and describing various Khmer folk and classical dances and other performances Angkor Dance Troupe has performed.
Creator
An entity primarily responsible for making the resource
Huy, Phousita Serey
Meas, Kimhan
Thou, Tim Chan
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-12-07
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
16 p.; 21.6 x 28
Language
A language of the resource
English
Khmer
Type
The nature or genre of the resource
Text
Identifier
An unambiguous reference to the resource within a given context
history of Folk and Classical Dance
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2010-2019
Apsara Dance
Blessing Dance
Bopha Lokey Dance
Boung Soung Dance
Butterfly Dance
Cambodian Classical Dance
Cambodian Folk Dance
Cambodians
Cha Bachos
Chhoy Chhay Dance
Coconut Dance
Fan Dance
Fishing Dance
Flowers of the World Dance
Good Crops Dance
Hanuman and Sovann Macha
Harvest Dance
Ka-ngaok Pailin
Khen Dance
Komrong Phka Dance
Krama Dance
Magic Scarf Dance
Mokor Dance
Moni Mekhala and Ream Eyso Dance
Monkey Dance
Neang Neak Dance
Neary Chea Chour Dance
Peacock of Pailin Dance
Peacock of Porsat Dance
Phloy Souy Dance
Phuong Neary Dance
Picking Krovann Dance
Ream Lak and Chup Lak Story
Reamker
Rice Harvesting Dance
Sakuta
Sentimental Expression Dance
Swva Pol Dance
Tbal Kdoeung
Tep Monorom Dance
Tiva Propey Dance
White Bird Dance
White Monkey and the Golden Mermaid
Yorkorn Dance
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A photograph of Angkor Dance Troupe members performing the Blessing Dance, 2006-05-21
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
An account of the resource
A photograph of Angkor Dance Troupe members performing the Blessing Dance.
Creator
An entity primarily responsible for making the resource
Higgins, James
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-05-21
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
1 photograph; image/jpg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
Blessing dance-2
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Blessing Dance
Cambodian Classical Dance
Cambodians
Photographs
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A photograph of Angkor Dance Troupe members posing in classical dance costumes, 2006-05-21
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
An account of the resource
A photograph of Angkor Dance Troupe members posing in classical dance costumes.
Creator
An entity primarily responsible for making the resource
Higgins, James
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-05-21
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
1 photograph; image/jpg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
Angkor Dance2 (347)
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodian Classical Dance
Cambodians
Photographs
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A photograph of Angkor Dance Troupe members performing the classical dance Tep Monorom Dance, 2006-05-21
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
An account of the resource
A photograph of Angkor Dance Troupe members performing the classical dance Tep Monorom Dance or The Happiness of God and Goddess Dance.
Creator
An entity primarily responsible for making the resource
Higgins, James
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-05-21
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
1 photograph; image/jpg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
Angkor Dance2 (224)- Tep Monorom Dance
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodian Classical Dance
Cambodians
Happiness of the Gods
Photographs
Tep Monorom Dance
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A photograph of Angkor Dance Troupe members posing in classical dance costumes, 2006-05-21
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
An account of the resource
A photograph of Angkor Dance Troupe members posing in classical dance costumes.
Creator
An entity primarily responsible for making the resource
Higgins, James
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-05-21
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
1 photograph; image/jpg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
Angkor Dance2 (184)
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodian Classical Dance
Cambodians
Photographs
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A photograph of Angkor Dance Troupe members posing in classical dance costumes, 2006-05-21
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
An account of the resource
A photograph of Angkor Dance Troupe members posing in classical dance costumes.
Creator
An entity primarily responsible for making the resource
Higgins, James
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
An entity responsible for making the resource available
Angkor Dance Troupe, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-05-21
Rights
Information about rights held in and over the resource
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.
Format
The file format, physical medium, or dimensions of the resource
1 photograph; image/jpg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
Angkor Dance (274)
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lowell, Massachusetts
2000-2009
Cambodian Classical Dance
Cambodians
Photographs
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Angkor Dance Troupe, Inc. Collection, 1991-2017
Creator
An entity primarily responsible for making the resource
Angkor Dance Troupe, Inc.
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection, 1991-2017. UML 5. Center for Lowell History, University of Massachusetts Lowell, Lowell, MA.
Description
An account of the resource
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. <br /><br />View the collection finding aid for more information, <a href="https://libguides.uml.edu/uml5">https://libguides.uml.edu/uml5</a>.<br /><br />Part of the collection is accessible on this site. <br /><br />-------------------- <br />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. <br /><br />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.
Relation
A related resource
The collection finding aid, <a href="https://libguides.uml.edu/uml5" target="_blank" rel="noreferrer noopener">https://libguides.uml.edu/uml5</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A photograph of Angkor Dance Troupe members performing Moni Mekhala and Ream Eyso, 2006-05-21
Subject
The topic of the resource
Community organization
Dance--Cambodia
Nonprofit organizations
Description
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A photograph of Angkor Dance Troupe members performing Moni Mekhala and Ream Eyso, the age-old Cambodian fable of thunder and lightning.
Creator
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Higgins, James
Source
A related resource from which the described resource is derived
Angkor Dance Troupe, Inc. Collection
Publisher
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Angkor Dance Troupe, Inc.
Date
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2006-05-21
Rights
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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.
Format
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1 photograph; image/jpg
Type
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Image
Identifier
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Angkor Dance2 (379)-Moni Mekhala & Giant dance
Coverage
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Lowell, Massachusetts
2000-2009
Cambodian Classical Dance
Cambodians
Moni Mekhala and Ream Eyso Dance
Photographs