Amrita Performing Arts is an international NGO based in Phnom Penh, with US non-profit status. Its mission is to promote, preserve and sustainCambodia’s ancient heritage of dance and theatre, while encouraging contemporary creativity. It also emphasises national capacity-building in production and administration. Amrita collaborates with the Royal Cambodian Ministry of Culture and freelance artists in researching and mounting professionally staged performance of traditional classical work both locally and internationally, while developing contemporary creative expression in music, dance and theatre through regional workshops, exchange programmes and international tours. Amrita has contributed significantly to transforming Cambodia’s performing arts scene as part of a community-driven process which has proven the country‘s propensity for cultural regeneration.
Fred Frumberg
Fred Frumberg is the executive director of Amrita Performing Arts. He moved to Cambodia in 1997 as a consultant with UNESCO, to assist in the revival and preservation of Cambodian traditional and contemporary performing arts. His task was to build capacity in all aspects of theatre management, from staging public performances to research and documentation, and organising international tours and exchange programmes. In July 2003, Frumberg founded Amrita to continue these efforts and introduce an element of contemporary creativity. Prior to Cambodia, he spent 15 years working in opera houses and theatres throughout the USA and Europe, assisting stage directors such as Peter Sellers, Francesca Zambello and Deborah Warner. His previous positions included staff stage director for the Netherlands Opera and head of production at the Paris Opera.
Personally Speaking..
What do you consider as Amrita’s single greatest achievement?
I would like to think we have made a substantial contribution to the community-driven efforts to revive and preserve Cambodia’s great performing arts legacy. However in our current evolution, our greatest contribution is in helping young Cambodians find the tools needed to develop their own contemporary dance vocabulary as to how it relates to the years of effort to revive the nearly lost traditional dance forms.
How do you think the arts have helped in rebuilding Cambodian society?
Cambodia had one of the greatest performing arts heritages in the world; the performing arts are not limited to the great classical court dances but rather there are twenty forms of performing arts that are part of daily life in Cambodia. No holiday, wedding, funeral, etc takes place without being accompanied by some form of performing arts. I have never known a society for whom the arts play such a crucial role. To that end, the arts have made a profound influence on the rebuilding of Cambodian society and have proved without a doubt the role the arts can play in social reconciliation.
There have been many artists from around the world showing keen interest in Cambodian classical arts, in particular dance. Why do you think this is the case?
I think artists from around the world have been deeply moved by Cambodian performing arts and what the artists who have been rebuilding it from ground zero have achieved. It’s a real testimony of what the performing arts can be all about so people really want to play with us. Some seem to want to be ‘re-inspired’ and get back in touch with their original rationale behind getting involved with the arts.
Emmanuele Phuon
Brussels-based, French-Canadian choreographer Emmanuele Phuon is trained in traditional Cambodian dance as well as contemporary dance. She started her training with the Royal Ballet of Cambodia when she was five and later moved to Bangkok in her youth. At age 16, she left for Avignon, France where she studied and graduated from the Conservatoire National de Danse in 1986, before heading to New York. She performed with the Elisa Monte Dance Company from 1989 till 1994, the Baryshnikov White Oak Dance Project from 1995 till 2001 and has worked with Martha Clarke, Joachim Schloemer, Yvonne Rainer among others.
Personally Speaking..
How would you describe your philosophy in art making?
I try to share my experience as a contemporary dancer with Khmer dancers.
Their knowledge combined with mine creates a sort of dialogue, which in turn becomes a language of its own.
Who or what was the biggest influence on your decision to become an artist and subsequent artistic development?
As far as I remember, I have been dancing. I started training in Cambodia in classical Khmer dance at the Royal Palace. And went on to study ballet, Graham, Horton, Limon and jazz techniques later. I made the decision to become a dancer at age 16, but it was not really a decision, it was just a continuation of something I had always loved and was already doing. I was also lucky to have a mother who believed in passions, and who understood that having such a passion was more important than money or social status. The John le Carré book (and later movie), “The Constant Gardener”, was based on her character. She was a big influence in my life, giving me the example of someone engaged in humanitarian work, someone who lived her life with integrity and always caring for others.
What inspires or motivates you in your creative pursuits?
Working with others is the primary source of inspiration. I don’t choreograph solos for myself, so if I can do a step but the dancer in front of me can’t do it, than the step has little interest. The goal is to draw the best out of what they have, and do something with that. Having a goal that goes beyond my individual self also helps: what we share will, without any doubt, make its way into something else. The Cambodian choreographers who will take these ideas and explore them will go further than I can imagine, or in directions that I cannot anticipate. In the meantime, the interest that our work is getting gives (some) work to four dancers. I think that it is great! Otherwise, inspiration comes from anything ranging from a conversation with a friend to the reading of books or listening to music. There is no formula…
What do you love most about creating art?
It is thrilling to be in a room with other people and see what can come out concretely out of work, fun and talk. It is something different from the everyday life but so connected to that life.
What is your favourite quote?
Speaking about art: “Less is more.”
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