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Seasons of Migration
Sophiline Cheam Shapiro
Percussive classical Cambodian music.
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
Euphoria | 8:09 | Play |
| 2 |
|
Rejection | 9:50 | Play |
| 3 |
|
Adjustment | 10:44 | Play |
| 4 |
|
Equilibrium | 8:48 | Play |
| 37:31 | ||||
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Description
SEASONS OF MIGRATION
Choreography, lyrics & traditional music arrangement by Sophiline Cheam Shapiro
Musicians
Seang Ngornly (roneat ek), Ep Theary (roneat thong),
Se Phalla (gong thom), San Kim Suar (gong tuch), Pum Bun Chanrath (skar thom)
Chem Sok (sampho), Nol Kol (sralai)
Vocalists
Doung Marey, Sim Chanmoly
Every year, millions of migrants abandon their homelands in search of a more promising future. And while the reasons and circumstances why people choose this path are
numerous, the process through which they acculturate themselves to their new environments is remarkably similar. Structured around the four stages of culture shock first described by anthropologist Kalvero Oberg, Seasons of Migration follows the transformation of identity of heavenly spirits who have come to earth to live among humans. Seasons of Migration explores the expressive boundaries of classical dance, rendering contemporary ideas timeless and the ancient utterly modern.
Section 1 Euphoria
As the divinities arrive on earth, they are full of excitement. Everything around them seems wonderful and exotic. They move about the human world like soldiers marching off to war, full of barely contained enthusiasm and unrealistic expectations.
Section 2 Rejection
After a while, the exoticism of earth wears off, and the divinities find themselves withdrawing from their new surroundings. This section portrays the mythological serpent Neang Neak as she becomes uncomfortably aware of her tail, which follows her wherever she goes, and makes her different. Out of frustration, she tries to tear it off. But she cannot, for it is part of her.
Section 3 Adjustment
When the divinities finally grow tired of being angry at the world around them, they begin to venture out into it. The choreography of this section is based on the interplay of shadow and light or past and future. Neang Amari, who represents the Spirit of the Present, eagerly tries to avoid her shadow by moving toward the light. When this fails, she comes to understand that her shadow and light (past and future) are equal parts of who she is and that she can only move forward with both.
Section 4 Equilibrium
As the divinities adjust to life on earth, they gain a sense of balance in which they feel comfortable with who they are in this new place. The choreography for this section depicts the pre-Angkorian deity Harihara, who combines the attributes of Shiva and Vishnu and that is why the dance is performed in pairs. Although little is known about Harihara, his creation seems to symbolize the middle path, which leads to harmony.