There’s an old Cambodian proverb that says: “He who controls the dance controls the nation.” The bewitching movements of classical dancers were considered to have almost magical powers over men, powers that no leader could afford to be without.
In Shakespeare’s “Othello,” a mighty leader loses his strength by allowing himself to become bewitched and controlled by the woman he loves. Described as “the master’s master,” Desdemona has the power to sap Othello of his celebrated strength.
Issues of feminine strength and power are just one of the ways that choreographer Sophiline Cheam Shapiro sees traditional dance tying in with “Othello.” She has fused the two genres to form “Samritechak,” or “Dark Prince,” a classical dance interpretation of Shakepeare’s tragic play.
First performed in Phnom Penh in March 2000, “Samritechak” will be showcased this weekend at the Hong Kong Arts Festival. It is the first time Cambodian arts have been featured at the festival—a source of much pride for Shapiro, who hopes that by touring Khmer dance internationally, using a narrative familiar to foreign audiences, the art form will be given new momentum.
During a break in rehearsals at the Royal University of Fine Arts last week, Shapiro paused to discuss the cultural fusion her work represents.
“My vision in presenting Cambodian traditional dance is to keep it alive by expanding its vocabulary, its repertory,” she said. “Just as Cambodia is reaching out to connect with the rest of the world at the moment, I feel like I’m building a kind of bridge between Cambodian and world culture.”
“Samritechak” was chosen for the Hong Kong festival because of its cross-cultural take on a traditional Asian art form. It’s the first time a European story has been adapted into Cambodian classical dance, making the performance a unique feature of the festival’s program.
“The Hong Kong festival had wanted to incorporate Cambodian arts into their playbill for a long time, but had been waiting for something that would be appropriate to their program,” said Fred Frumberg, the tour’s producer. “I think ‘Samritechak’s’ combination of traditional and cutting edge ideas was exactly what they were looking for.”
The troupe of 15 dancers and 11 musicians will put on three performances of ‘Samritechak’ this weekend. In addition, Shapiro will conduct a series of classical dance workshops. The trip to Hong Kong is being funded by the festival, while preparations in Phnom Penh were supported by the UN Educational, Scientific and Cultural Organization.
Classical dance is perfect for interpreting works from diverse cultural sources, according to Shapiro. There are literally thousands of hand movements in its repertoire, and just like an aesthetic sign language, each twist and turn has an exact meaning. “The movements can be used to express anything, from the very ordinary to the abstract, from personal to political,” Shapiro said.
“During the 1980s, when I was studying in Phnom Penh, we would have to perform dances about our obedience to Lenin. The same movements could be used to express obedience to a father, or to a king, or a husband. The meaning of the dance can change, but its form stays the same.”
It was this realization that made Shapiro think of interpreting “Othello” using the dance form she grew up with. While studying drama in the US, where she is now based, she read the Shakespearean tragedy and was struck by the play’s powerful themes and their relevance to Cambodia.
“I liked the story of ‘Othello’ right away,” she said. “There was something about its complexity that made it stand out.”
But adapting Shakepeare’s celebrated verse into movement presented the choreographer with a daunting challenge. “To take something that is almost completely verbal and express it as a movement, and make it a Cambodian movement, that was very hard,” Shapiro said. “I had to try to visualize the emotions of each scene.”
The stormy sentiments of “Othello” become heavily stylized when transposed into dance in “Samritechak.” In the original play, a central scene describes a sexually charged encounter in which Desdemona is given a handkerchief by the villainous Iago. The handkerchief is used later as a symbol of her supposed infidelity. This scene is translated in “Samritechak” as the giving of a single flower.
Tensions between the sexes are powerfully expressed in “Samritechak.” The female dancer’s disciplined, refined movements contrast with the often more aggressive routines of the male characters. Where the male performance is often open and gesticular, the women’s delicate poise is a tight balance of strength and control.
Shapiro felt that in highlighting “Othello’s” themes of gender tension and discrimination of all kinds, she was raising themes pertinent to Cambodia and its people.
“‘Othello’ raises gender issues, issues of racism, discrimination,” Shapiro said. “It has a lot to say to people here. There is so much discrimination in Cambodia: political, philosophical, between rich and poor, city and village. The play deals with issues that are relevant to us today.”
The story of “Othello” also raises issues that have particular relevance to Cambodia’s past, Shapiro said. Othello eventually murders his wife Desdemona, having been driven wild with jealousy and doubts about her loyalty. For this crime of passion
