By Carolyn Kelemen
Posted: May 3, 2010
Why the current fascination with Cambodia? What is it about the mysterious country that borders Thailand, Vietnam, and Laos that we find so fascinating?
These were my thoughts last weekend when I interviewed Anne Bass, philanthropist, and American “mom” to a Cambodian dancer named Sokvanara Sar (known by his nickname “Sy” and pronounced “C”).
Her documentary, “Dancing Across Borders,” may be her first attempt as a filmmaker, but Bass assured this writer it will not be her last. Talking with the arts patron at the Mandarin Oriental Hotel in DC last Friday, Bass said she plans to follow up with a documentary on the terrible effects of the Khmer Rouge which destroyed the culture, the arts, and so many of the people in this faraway land.
Was it karma or coincidence that the night before at the Kennedy Center, Shen Wei Dance Arts performed a haunting work with a Cambodian theme? Angkor Wat is the backdrop for “Re-(Part II),” set to jungle sounds and exotic compositions by Cambodian musicians. With their bodies painted white, the dancers appeared to be living statues pulled off the ancient walls of the temples.
Even stranger, this week marks the 40th anniversary of the Kent State riots which took place two days after President Nixon announced the invasion of Cambodia in the midst of the Vietnam war. But I digress.
Back to the story of the filmmaker and her project of turning a Khmer folk dancer into a classical ballet danseur. With her camcorder and eye for talent, Bass captured Sy’s soaring jumps and soft landings at a 2000 temple performance. She was smitten.
“The first time I came to Cambodia, Sy was performing the fisherman’s dance – a flirtatious duet filled with joy – I felt his musicality was perfect for ballet,” says Bass during the interview.
“Once I had returned to the U.S. I kept thinking about how sad it would be to leave this talent unrealized.”
It didn’t take long for the School of American Ballet board member to convince his parents and teachers to send him off to the Big Apple. Bass found ballet coaches to work with the teenager, even though he spoke no English and expressed little knowledge of the art form.
Sy’s teachers included two of the New York City Ballet’s principal male dancers, Peter Boal and Jock Soto, both skeptical that he was too old to begin ballet training. Enter Madame Kostritzky, a Russian ballet coach who believes him and recognizes his raw talent almost as much as Anne Bass. For balletomanes, the film offers clips from the world famous Varna ballet competition - Sy did not win - and behind-the-scenes of the Pacific Northwest Ballet in Seattle where Sy danced until just a few months ago.
So what’s ahead for the now 27-year-old dancer? I caught up with him in the outdoor courtyard of the hotel before the interview with Bass. He mentioned that he is actively looking for gigs with ballet companies. And he was particularly interested in learning more about Shen Wei and the aforementioned Cambodian dance.
“Dancing Across Borders,” can be seen at Washington DC’s Landmark E Street Theatre (555 11th St NW, 202-452-7672) through May 6.
Posted: May 3, 2010
Why the current fascination with Cambodia? What is it about the mysterious country that borders Thailand, Vietnam, and Laos that we find so fascinating?
These were my thoughts last weekend when I interviewed Anne Bass, philanthropist, and American “mom” to a Cambodian dancer named Sokvanara Sar (known by his nickname “Sy” and pronounced “C”).
Her documentary, “Dancing Across Borders,” may be her first attempt as a filmmaker, but Bass assured this writer it will not be her last. Talking with the arts patron at the Mandarin Oriental Hotel in DC last Friday, Bass said she plans to follow up with a documentary on the terrible effects of the Khmer Rouge which destroyed the culture, the arts, and so many of the people in this faraway land.
Was it karma or coincidence that the night before at the Kennedy Center, Shen Wei Dance Arts performed a haunting work with a Cambodian theme? Angkor Wat is the backdrop for “Re-(Part II),” set to jungle sounds and exotic compositions by Cambodian musicians. With their bodies painted white, the dancers appeared to be living statues pulled off the ancient walls of the temples.
Even stranger, this week marks the 40th anniversary of the Kent State riots which took place two days after President Nixon announced the invasion of Cambodia in the midst of the Vietnam war. But I digress.
Back to the story of the filmmaker and her project of turning a Khmer folk dancer into a classical ballet danseur. With her camcorder and eye for talent, Bass captured Sy’s soaring jumps and soft landings at a 2000 temple performance. She was smitten.
“The first time I came to Cambodia, Sy was performing the fisherman’s dance – a flirtatious duet filled with joy – I felt his musicality was perfect for ballet,” says Bass during the interview.
“Once I had returned to the U.S. I kept thinking about how sad it would be to leave this talent unrealized.”
It didn’t take long for the School of American Ballet board member to convince his parents and teachers to send him off to the Big Apple. Bass found ballet coaches to work with the teenager, even though he spoke no English and expressed little knowledge of the art form.
Sy’s teachers included two of the New York City Ballet’s principal male dancers, Peter Boal and Jock Soto, both skeptical that he was too old to begin ballet training. Enter Madame Kostritzky, a Russian ballet coach who believes him and recognizes his raw talent almost as much as Anne Bass. For balletomanes, the film offers clips from the world famous Varna ballet competition - Sy did not win - and behind-the-scenes of the Pacific Northwest Ballet in Seattle where Sy danced until just a few months ago.
So what’s ahead for the now 27-year-old dancer? I caught up with him in the outdoor courtyard of the hotel before the interview with Bass. He mentioned that he is actively looking for gigs with ballet companies. And he was particularly interested in learning more about Shen Wei and the aforementioned Cambodian dance.
“Dancing Across Borders,” can be seen at Washington DC’s Landmark E Street Theatre (555 11th St NW, 202-452-7672) through May 6.
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