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KHMER FOLK DANCE

Khmer Folk Dance$dm

Sam-4ng /'Chnn h h l v Ssm

*CAM.I 82.00*WlhlTER 3Xl3

KHMER FOLK DANCE

KHMER FOLK DANCE

SAh4-ANG SAh1 CHAN MOLY SAM

KHMER STUI)ILLi I?ISl1ITC'TE. IKCPost 7 C

Copyright @ 1987. Sam-Ang Sam Music kpartment \VcsIrydn I!nivzrsity Middlc-tuwm. CT 06457

USA

All righ~sreserved

This book must not k reprtntuced in full or in pan uithout prmission in %riling from the authors.LIBRARY OF CONGRESS CATA WGING-IN-PUBLICATION DATA Sam-Ang Sam. 1950Khmer Folk Dance

Bibliography: p.Includes index. I . Folk dancing--CamMia. 2. Folk dance music--Cambodia. 1. Chan Moly Sam. 1953. 11. Title. GV 1703.C3S25 1987 793.3'19596 87-3683 ISBN 0-94 1785-02 -5 ( d l

Pitd rnc

in the United Statcs of Arncnw

To

C Y Thun H3k Hang. Mr. Phon Chhrng. u. And our lzacheri and tricnds at the I + : ~ C T ~ I ! ; k.i H r i ~ r .+*-:>. l'hnum PCI~ h

.

CamMia.

ACKNOWLEDGEMENTWe arr very grateful to Pmfcswr Mark Slobin md Mr. Yang Sam for thcir kindness and timc in reading our drafts. and giving us srilicism and suggestions for the irnprol-emenf o this book. \h;r alw would Iikc ru thank C M i s s Judith Klein fur hcr linal editing. and his. &,nnic Pcrialc: Cc~r h ~ wonderful work un the photograph printing.

Our zpc~ial thank i s extrndcd to Mr. ChmphaI Ng_v irlr his continuous s u p p ~ nand snmuragemeni hc has given us to wntc and publish this hook-

PREFACEThc tollc~wingwr~rhis bawd on a wries vl- c u l l t . d d Jata frt~rn a wr! few= and dcscriptivc. sourccs. Sumc arc svcn rr,ntrc>vcrsial i : in somc c a r s u wrces r,C information on u r ~ rdance have many ditferent \-arialions. which can be attributed t o ihe r v o l u ~ i r ~ nm d l-hanges prm-alent in the oral folk s tradition. The grcatcr part of thc ddta prcscntcd in rhis h k is drawn from our o\\n expxiencu.s and memorics gain~ulfrom longtimc invultrrnent in the dumain of his anThe prescnt lihrncr folk h t ~ c r repertoire. which i s h~ h r the largest ever. has sprung I I ~ cr~mparatiwl>- ~ ~ n t l ! .within thc Isst two d ~ 3 d r : sor w. as w a result 01- Iht. I.*t~n.t~n-croirt, :V(rtionul dr.r .Tprr-mt-l~.r I National Conservatr~ry of Pcdormin: Arts] md thc lltlitrnirt! rlcs Rt-nu. . ~ T I . T(Univcrsiry of Fine Arts). T k rnsjority of attrihutcs. thoughts. m d fulk clancr lives Jiscusscul in Ihr: h k arc prcscnf~ulwithin his p a r m r r r r . We intend to prm-ide waders with neilhcr a lola1 analysi> nor exhaustive information. I7athc.r. we tr\- to hightighr ~lir d m r ~ itseli as u-ell as its origin and h i s r o ~in rcspccr to its prac?icc. and dcvclupmcnt. Thl: currcnl repenoire i s draw-11 up to the early 1970's. the majority of which are the r a n t creations r ) f the National Conservator). nC Performing Arts and ~ h r Uriivrrriity of Fine Ans. l l c descriptions ~wntaincd here are morr. t.lsIwratc than thrbrc in prcviuus publicillions un Khmrr folk &nw. W e aIso inrludc 1yk-r and rranscripticms uf musical p i s c ~ suscd in cvch dm~'r:. hoping to hclp waders. parlic-ularl_v d;in~-ers and musicians. to he ahle to rcvunsrruut ~hosc Janccs Itrat ha\-? not heen realized outside o f Camhndia. H o w a e r . we also lcavc out wmu transcriptions ot songs. -lhu clrhavm Ichai);"Zml. for raamplc. hlls a rccitativc stylt. and simply dwells on a single

pitch which conaitutcs rhc rncludic line. The varialiot~sof this piscc dcpcnd on thc individual p r i o m c r arad rhercftirt. arc ten) rlllrrlemus l o lisl. Thc peo~-wf o!. /'ingli: pitch. crcarinp a linc which could he inlrrprctrd ditTerentl?- h diffcrcnt listencrs. ! ,211 of the I\.ri~-s and tr~nsuriptions that appcar i r ~ 1hi5 hook arc our interpretations of thc original purformancr?i by rhr mwsnhles of Uniwrriry ofFine Arts. thc t a p s of \\-hit-h arc in ~ u i r r ~ l'l o n s . cull -

-

S m - A r t Sani Chan Xioly Sam

TABLE OF CONTENTSAC:liNOWLEDC;EMENTPREFACE

INTRODUCTION

CHAPTER ONE:UNIVERSIIT OF FINE ARTS FOLK DANCE PRESERVA-I'ION FOLK DANCE FORMATION PROFESSIONALISh4 CHANGES IN IiHMER FOLh DANCE

CHAPTER TIVO:

MOVEMENT A N D GESTURECOSTUME

CHAPTER THREE:MUSIC Traditional Drum Pattern Drum Pattern of the Krib D-dnrr Dn~m Pattern of the Magic Scarf Dance SONG

TROD DAKCE PEACOCK O f PURSAT DANCE WILD OX DtIFiCECAYDLE DANCli

COCONUT SHELL DANCEFIStIING DAXCE FROG DAYCYE HARVEST DANCE PESTLE DANCE hRAB DANCE C H H A Y A Y DANCE

MOU-I-H ORGXN DANCCi BlRD WEIlDl KG D.45CE CROSSBOW DANCE GUM 1-AC PC)1!NDI?iC DANCEGDOD CROPS DANCE SACRIFICE OF: BUFFALO DANCE KUOY DANCE MAGIC SCARF DANCE PEACOCK 0 : 1 PAIIJN DANCE

7

COKCLUSION SELECTED BIBLIOGRAPHY INDEX

1 0 II 12 14

mCAMBODIA

TRANSCRIPTIOKS:1 9 21

TROD PEACOCK OF PURSAT WILD OX CANDLESAMPONG COCONUT SHELL FISHING FROG KHMER STRINGS FLOWERS THE HARVEST LWTl A N DANCE RICE ItI.SKiSG

THE TURTLE EATS WATER CONVOLV1ILUS I.AIY1'IBX CATCHES FlSH I.AOTI,\?i DAYCE BIRD WEDDING HOM RONGBOAT ROWING GIJ51-LAC W U L D l Y C GOOD CROPS MAGIC SCARF

INTRODUCTIONFolk h n c c p l a ~ sm essential part in social lik. I t sewes not only as a n ~ ~ c i t i o n e l cr~tcnainingrcsuurcc. ~III and alst~as a psychological dyndmic of !he many-fold sidcr nf life. I t rclltxts custom. tradition. and ~ u l t u r e . mtl umdergws rnetarnorpht>.ws x Ihr' siwial life does. Folk danc-e i s therefore a s fundamental Jc-r-ir-c l o help u s understand socir~x. k m s e Colk dancc is thc rcfc~tionof its living signiticm~v. I t i s a walistic an which is prrtimncd in a Familiar setling.Amor~g the tribal groups. h n c i r ~ g i s a serious a d \ - i t y and cannot be dispenwd with. k i r at a hirth. during a marriage. at a death. during . planting md hswcsring. during t ~ u n ~ i n gst war. or at a feast. a dance is IK*~. The dmcv ha-omcs a sacrificial rite. a p r a y . and a prophrlic isi ion. It surnmt~ns and dispels thr forcru: u l nature a well as healing the s sick. I 1 asurneh luck in a chase and victory in hattic. I t blcsscs the fields and he mtirc t n k .Animism i s an elemental pan of the way o ! life of most rural Khmer. Almost wcry Kltrner peasant's a~-tivi~>!takes place in social contcxt. Fears of cataurophe d a c l u p into c-cnain arl fonns associatd with music. dance. drama. and folk tranw. Thcse an forms scn=c to increare the communal m e of sccuriry. They g i w rmr~tional xlc-ax. They salisfy the desire to c m u n i c a t c ancestors and othcr spirits. They provide spiritual satisfaction. n ) bring gutxi luck slid prct-cnt disaster. s;

lihrnsr lraditinnal s ~ i c t ycpitomizr\ ~ h r indispensthle 'oncum-ncr: o f man. nature. and g d . tihrncr folk dance exemplifcs this cvnccpt through ils themes. which sru acwnlrd on the one hand hy religion and k l i e f and on t k other by thc n;llural world in which thc khrnsr l i w . Khrncr folk h n c c i s solcly of pasant origin and use. and i s m n s i d c d to be s. part of the peasants' livc.5. 11 i s in rural C m b J i a whcrc folk clancr has r a k n and h rctaincul ils rlr'rllcst root. Ptvple Jdrrce arorlnil the village & p n or upon s rough sragc built under spreading rrces or leave!. and shieldcd by a prxicl~tsshade which lends thr wrtirlg m d the site a beauty all of its own. In the villapc.9 therc grnws a s p i r i ~o i intimale understanding a d candvr amorlpst p c r f r ~ m c r and spectators. j kttmzr folk &ncv has a 5rca1 advantage r1xi.r other a n form?; in that it originalid in the 1-illagc. I t i s prrfrmned by and for thc p p l c oi the wll;lgr.. The acll~ltsmd chili1n.n all rnme l o undcrsmnd and appnxiale every nuance of this highly spirilrd dance form that follows popular themes with liirly movements and gusturcs that s~imulart: perfat sympathy and pride. All owr Carnhcdia afier the harvva is over. i~ is time tor music. song. ~ ' t : sin mimy rcgions of the country where men, women. boys. and girls gather in thc village f i r an ewning and dance lor sheer joy. Thu d ~ motifs ~ n art. ~ uswall>- hsud on I ~ a legends and the l

md d m ~ Thcrc arc attrac~it-e . h

1

life of the people. Danmrs dance with easy. improt-iscd and cwmpobed rnovcrnents and gestures that arc designed to invite humor and laughter.

This communily d a n a is part of thc ptwple's sw-ial lire and. therefore, b important for the ScJciological and group systems. As one of thc crrative f expressions o the p p l c . dancr: i c-lowl- tied to the land and with living f s i n diverse regions o f different environments and backgrounds. Dance still ; bears an i n d e s r m i b l e link to tradition and t ~ n d s thought. of Nature is always the strongrsr inspiration of all dances. mupled with; customs. traditions. and beliefs. all of which have much in common. Dance i not merely an optional luxury: it is a way of life. Music. song. poetry. ! s and dance are all integral parts of Khmer life. The subject of Khmer fdk dance is comprehensive and full of variety. indicating how impurtanr a role I danct pla)=s in the social. religious. and miological lifc of the p p l e . :

:

Throughout the years. puplc's opinions towards dance haw oscillared between favor and disfavor. Finally. dancr ends up a an art that has : s bccornl: confined to a parficular group of people who pass i t on to posterity : as an hrmiitar). art. After dance has h m m e traditional. indued. after it har f begun the prwess of its nation-wide dcr-line into the hackground of cultural 1 imprtance. most of the old an forms are forgotten. except for the few ; families who preserve them.

There are various types of folk dance to salisfy the social need for the . securiry of happinas and welfare. dances which arc normally related to belief. tradition. and recreation. The first type is naes