Classical Repertory
Charya Burt in full Apsara costume after a performance at Chan Chaya Pavilion in The Royal Palace, Phnom Penh, Cambodia, 1991.
Work Samples from The Classical Repertory:
Here are performance excerpts from Robam Monosenchetna, Robam Tep Monorom, Robam Boung Soung, Robam Apsara, and Robam Chhouy Chhay. For many years Charya had the opportunity to perform with her sister and renowned dancer, teacher, educator and choreographer, Sophiline Cheam Shapiro, artistic director of Sophiline Arts Ensemble, formerly Khmer Arts Ensemble.
With Deep Appreciation
Charya is honored to have had the opportunity to dance with Sophiline Cheam Shapiro for so many years in different venues across the United States. Sophiline’s teaching and artistry continue to inspired Charya each and every day.
With over 30 years of professional experience, Charya has performed and documented many classical dance pieces from the classical repertory including the following:
Robam Apsara:
The Apsara, a heavenly dancer, is a symbol of Cambodian culture. According to legend, the Apsaras were born when the gods and demons churned a sea of milk by pulling at opposite ends of a divine serpent who was coiled around a submerged mountain. When one of Apsaras, Mera, made love with the hermit, Kampu, the nation of Kampu-Mera or Kampuchea (Cambodia) was born. Thousands of bas-relief grace the walls of Cambodia’s nation treasure, the Temples of Angkor Wat.
Robam Apsara (The Apsara Dance), based on the sculptures at Angkor Wat, was created earlier this century. It portrays Mera, dressed in white for purity, dancing in a garden with her maids. The golden flowers she carries symbolize the happiness and well being of the Cambodian people.
Robam Chun Por:
Robam Chun Por is traditionally performed as a prayer to give blessing to the audience. The flower pedals are tossed to offer everyone happiness and prosperity.
Robam Tep Monorom: (Heavenly Bliss)
Robam Tep Monorom is often considered the most beautiful dance in the classical repertory. It embodies the friendship, prosperity, and well-being of Cambodian people. Male and female devadas (heavenly beings) move in and out of formation around and across the stage, expressing heavenly bliss.
Robam Buong Suong Tayay:
Robam Buong Suong Tayay represents the climax of an ancient Cambodian ritual prayer, traditionally performed to ask the heavens to protect the kingdom from war, drought, or other suffering. By bringing peace, rain, and fertility to the rice fields, the dancers unify the heavens with absolute beauty.
Robam Buong Soung Pream:
Robam Buong Suong Pream is a prayer dance traditionally performed for ritual ceremonies with dancers dressed as divine beings conveying to the gods the need for peace and prosperity for all.
Robam Monosenchetna (Sentimental Dance)
In Robam Monosenchetna, a prince and princess fall in love after meeting in a garden. Sadly, they must separate in the end. The purpose of this dance is to demonstrate the gestural vocabulary and the emotional potency of Khmer Classical Dance.
Robam Chhouy Chhay:
Robam Chhouy Chhay is a lyrical solo piece representing the spirit, character, and composed demeanor of a young Cambodian woman’s blossoming physical beauty. It praises the immense beauty of the young princess for whom the dance was choreographed.
Robam Chhouy Chhay Chhmar:
Robam Chhouy Chhay Chhmar is a ritual prayer dance. The dancers gracefully make an offering to spiritual beings for their protection through beautiful movements, gestures, and a sublime attitude.
Reamker (Hanuman and Sovan Mecha):
Sovann Maccha and Hanuman are depicted from a scene from the Reamker (Khmer’s version of the Indian epic of Ramayana). The white monkey (Hanuman) tries to build a bridge to the island of Lanka. As he tries to pile up stones for the bridge, Sovann Maccha, a mermaid, carries off the stones which makes it hard for Hanuman to complete. To complete his project, Hanuman courts the beautiful mermaid and wins her as an ally.