People & Culture - Cambodia - page 656

SIHANOUK & THE SILVER SCREEN
Between 1965 and 1969 Sihanouk (former king and head of state of Cambodia) wrote, directed and
produced nine feature films, a figure that would put the average workaholic Hollywood director to
shame. Sihanouk took the business of making films very seriously, and family and officials were
called upon to play their part: the minister of foreign affairs acted as the male lead in Sihanouk's first
feature, Apsara (1965), and his daughter Princess Bopha Devi, the female lead. When, in the same
movie, a show of military hardware was required, the air force was brought into action, as was the
army's fleet of helicopters.
Sihanouk often took on the leading role himself. Notable performances saw him as a spirit of the
forest and as a victorious general. Perhaps it was no surprise, given the king's apparent addiction to
the world of celluloid dreams, that Cambodia should challenge Cannes with its Phnom Penh Interna-
tional Film Festival. The festival was held twice, in 1968 and 1969. Perhaps unsurprisingly, Sihanouk
won the grand prize on both occasions. He continued to make movies in later life and made around 30
films during his remarkable career. For more on the films of Sihanouk, visit the website
www.norodomsihanouk.org .
Dance
More than any of the other traditional arts, Cambodia's royal ballet is a tangible link with
the glory of Angkor. Its traditions stretch long into the past, when the art of the apsara
(nymph) resounded to the glory of the divine king. Early in his reign, King Sihanouk re-
leased the traditional harem of royal apsara that went with the crown.
Dance fared particularly badly during the Pol Pot years. Very few dancers and teachers
survived. In 1981, with a handful of teachers, the University of Fine Arts was reopened
and the training of dance students resumed.
Amrita Performing Arts ( Click here ) has worked on a number of ground-breaking dance and
theatre projects in Cambodia, including collaborations with French and Japanese performers.
Much of Cambodian royal dance resembles that of India and Thailand (the same styl-
ised hand movements, the same sequined, lamé costumes and the same opulent stupa-like
headwear), as the Thais incorporated techniques from the Khmers after sacking Angkor in
the 15th century. Although royal dance was traditionally an all-female affair (with the ex-
ception of the role of the monkey), more male dancers are now featured. Known as robam
preah reachtrop in Khmer, the most popular classical dances are the Apsara dance and the
Wishing dance.