Seaton Sok, Brandon Holl, Stephen Chum, Christopher Chum, Sean Tet, Zachary Kang

Guest Speaker: Mr. Meng Eang Nay Deputy Chief of Mission of Royal Embassy of Cambodia

Cambodia is a Southeast Asian country rich of culture and heritage. The best way to know and learn about Cambodian culture is to visit Cambodia . However the CCD team would like to invite all people from all walk of lives to come to our event and "Discover Cambodia" and her culture, heritage, traditions and values.

With "Discover Cambodia " in mind, the CCD is proud to present the follow programs. Business, organization, and interested individual may sponsor one or more components. If you are interested, please contact us or send an email to ccdteam@cambodiancommunityday.org.

A show case of Phleng Mohoree will be performed by Mohori Phirum group. The performance will be on stage from 11:00 to 12:00 AM. After that, the group will gather at Tent #1 (Phleng Khmer Tent) to demo few samples of Phleng Kar and Pinpeat.

Classical dance and folklore dances will be performed by Cambodian American Heritage, Inc (CAHI). The performance will be on stage form 1:30 PM to 2:30 PM. CAHI group will gather at Tent #2 (Classical/Folklore Dance) before and after the stage performance. CAHI will perform four classical royal court dances and one folklore dance. They will also demo dance footsteps and technique on how to teach young Cambodian to performance the classical dance. CAHI also will exhibits dance costumes and other cultural art and craft for public's view.

Activities at this tent are made possible by the participation from The Cambodian Buddhist Society Cultural Group of Maryland and the CCD volunteers from the Washington DC metro area.

We will showcase, at Tent #4, some educational materials and activities such poem recital, short story telling by a Wiseman, flower arrangement, Cambodian style, etc. Other cultural, tourist, business and investment materials will be exhibited as well. Activities at this tent are made possible by the participation from The Royal Embassy of Cambodia and the CCD volunteers from the Washington DC metro area.

The traditional games are played in an open field and mostly by children at any time. Leaders and players can use Tent #5 to keep the gaming materials or to leaders may use the tent to instruct young players how to play a particular game. We will showcase two popular games in an open field with the participation from the public and the live band on stage. Activities at this tent are made possible by the participation from the CCD volunteers from the Washington DC metro area and the public.

Every year, people who come to the CCD event have enjoyed the performance of the live band. The band will play contemporary music suitable for all social events. We invite all event goers to participate in social dances. Cambodian social dances are mostly slow dance in a circular line dancing style. Woman partner is always in front of the man who follows her with the same footsteps according to the rhythms and beat of the music.

CCD is a family type of event. The children who come to the CCD event enjoy many learning experiences about their culture and heritage. At the same time they will have fund with moon bounce, face paintings, balloons and games. Children are one of the main reasons why we celebrate CCD. We want them to get exposed to the Cambodian culture and remember their root.

Art and Craft exhibition is one the important component of CCD celebration. We will feature the exhibition of sculptures, painting, silverware, and many other hand crafts.

The souvenir book will feature facts about

Cambodia

, including geography, climate, agriculture, economy, and tourism. We will also profile history and characteristic of Cambodian monuments and Cambodian traditions that are widely practiced in Cambodia nowadays.

Organizations, businesses, and individual may place an advertisement with us for a fee. The rate is as follow:

The word "phleng" is a literal translation of the English word 'music". The word "Khmer" is used interchangeably with the word "Cambodian" to mean people of Cambodia or Cambodian language.

Just like every country in the world, music is part its culture and Cambodia is no different. We can divide the Cambodian music into two categories: modern/contemporary music and traditional music. "Phleng Khmer" refers to the Cambodian traditional music. All instruments are made according the Cambodian traditions. Some may resemble instruments of other nations, but that may be coincidental.

Phleng Khmer can be divided into three sub-categories, each of which is suitable for a particular social and traditional event.

Mohoree musicians use different type of fiddles, recorder (Khloy), dulcimer and banjo, Roneat and drums. The music is suitable for an entertainment in social and traditional events. It normally has an upbeat, happy-going style of music. Songs and lyrics of Mohoree music normally depict the beauty and admiration of nature, the confession of love or the teasing between man and woman.

Cambodian uses Phleng Kar as one of the major components to perform all rituals in the wedding ceremony. It is a must have component. Unlike the Phleng Mohoree theme, which is always an offbeat and happy tune, the Phleng Kar is much sober, much more emotional. It is the time for the bride and the groom to reflect about their lives, form the day they were born, how they have been raised, the good deeds of their parents, and the adventure ahead as a married person. The Phleng kar is played from the early morning of the wedding day to the conclusion of the ceremony (the thread-tying and the blessing) on the early of the next day.

There are six musicians in the ensemble. They use two types of fiddles (a melodic fiddle that leads the whole ensemble and the bass fiddled), one dulcimer, one Takhe (two-string dulcimer), one drum and a singer.

Phleng Pinpeat is performed at different events ranging from praying Buddha god to classical dances to funeral procession. The songs and lyrics vary according to the event type. The praying music is a music-to-the-ear and is simply to enhance the praying services. The classical dance Pinpeat emphasizes the drum beat that coordinates and synchronizes the dancers' footsteps. The funeral type has a sad tone and lyric that may cause one to cry.

Cambodian classical dance was one of the many forms of art in Cambodian civilization rooted many centuries ago. It is often referred to as royal court dance. Historically, the royal court dance was performed at the court for royal families' pleasure. Nowadays, they were not just a source of entertainment for the royal families. The dances are performed at various social occasions such as at foreign diplomat guest reception, at a festival for public leisure, or event at a religious ceremony. In America these expressive forms of art are kept alive by many interest groups.

The classical dance depicts a relationship between gods that dwells around all mankind and the mortals, the king, his people, and his kingdom. The costumes used in the dance reflect the civilization of the era. Normally, the male character is performed by a female dancer wearing a distinctive, masculine characteristic costume.

In cooperation with the Cambodian American Heritages, Inc (CAHI), the CCD of 2008 has a pleasure to present the following classical dances:

Robaim Buong Soung is performed to pay respects to the heavenly deities when there was a drought, poor harvest season, war or social unrest in the nation. Hand movements and footsteps are in a form to induce rain for plentiful crops better harvest, fertility to the land, peace and prosperity for the whole kingdom. Historically, it was a part of sacred ritual intended to please the ancient Cambodian gods and their earthly representative, the ancient kings. In the modern time, it is more a ceremonial in nature like welcoming foreign dignitaries during their visits.

The dance may belong to a folklore type. It features a group of young girls through a series of intrinsic, exercise-like, synchronized movements and footsteps as if they are playing in a park.

This is one of the popular Cambodian folk dances. It is choreographed to feature the Pursat peacock. Cambodia is renowned for a rich cornucopia of natural resources and wildlife refuges including peacocks. Pursat is one of the Cambodian provinces where peacocks are abundant. This dance is created or choreographed by the Royal University of Fine Arts (RUFA) in Phnom Penh , Cambodia

This dance is a symbolic replication of colors of flowers to be found in Cambodian landscape. This dance is created by Somaly and Khandarith Hay with the cooperation with RUFA in Phnom Penh , Cambodia .

An episode of Or-Phtey Srok Khmer (a livelihood of Cambodian village) is a remaking of the CCD short performance of 2007. This year, we use a brief episode of the show to start up activities at the cultural tent. Or-Phtey Srok Khmer is a Cambodian dance performed during the harvest season at the village, normally under the full moon. It depicts the scenery of the countryside and livelihood of the Cambodian villagers in their daily lives in the old days. The dance includes a scene of carpentry that signifies the importance of the house building and the furniture making; the rice mill process which is a tedious process called Bok Srov, but yet very important job for the Cambodian live; a scene sculptor's art works; a scene of palm sugar making; and a scene of a group of young beautiful women weaving silk clothes.

After the scenery of typical daily activities, Cambodian villagers gather at the market place. This part is a component of a Mak-Theung short show, a re-enacting performance of CCD 2006. In this episode, a busy street in market place where merchants in the old day sell grocery, clothing, medicine, and make-up products, etc will be shown.

it is a dry fruit from the trees in

Cambodia

. This game is played during the occasion Cambodian New Year. There are two groups, men and women. They tossed of the angkonh to the angkonh of the other group until all the angkonh fall down, and then the other groups will sing a song or the winning group will knock the other group knees with the angkonh.

Children sit on the ground forming a circle. One kid (the thrower) with a towel walks around the circle, while others sing,. He/she will find an opportunity to drop the towel behind someone’s back (the sitter). If the sitter realizes that the towel is behind his/her back, he/she has to get up and chases the thrower who will then run to avoid being hit by the towel. He/she then will take the sitting place being vacant by the sitter. The sitting becomes a thrower and the thrower becomes the sitter and this will go on and on. There is no winner or looser.

The angkunh is a fruit that grows on trees found in the provinces of Stung Treng and Kratie. It is round with two flat sides and a diameter of about six centimeters. When ripe, it has a hard skin and turns the color of mahogany.
The game of angkunh requires several players with two mixed teams of young boys and girls. Each participant takes turn to throw the fruit, frizbee or free style, into the opponent's area- a triangle made from three angkunh stuck into the ground. A goal is scored when a player knocks over all the angkunhs or when an angkunh lands in the triangle. The victor wins the right to gently tap the loser's bent knee with the two flat sides of the fruit-the sound of which is a source of much amusement.
Source From: http://www.khmerkampongspeu.org/index.htm

Usually, it is a man game. Men form a circle. One person throws the Seiy and the other returns it using foot. The Seiy could be bouncing up in air for while before somebody misses it. There is no winner or looser.

Participants put both feet in the sack and begin hopping toward the finish line.

The Boy:
I throw the Chhoung and I aim at my lover. Be very careful, my dear that my Chhoung doesn't touch the ground.
The Girl
Throw it to me and don't worry. If the Chhoung touches the ground, I will sing a song for you.
The Boy
Here is the Chhoun. Be careful or you will sing even twice. If you catch the Chhoung, wait for a while. To throw it back, wait for our union consummated.
I look to the South and I see banana trees in flower. Escorted with thirty of his friends, he comes to ask for the young girl's hand.

Participants make up two teams and form two opposing lines. A long rope is used which each team member holds on to. A line is drawn on the ground or a stake is placed to indicate the midpoint. The middle of the rope is placed across the line or at the stake. One team tries to "tug" the opposing team across the line or beyond the stake.

The Cambodian clothing is very eloquent and unique. It blends the color, style and tradition together to suit for an occasion. Traditionally, the color goes by the day of the week. This has been the Cambodian tradition. Moreover, the King and Queen expect all Cambodian citizens and government officials to adhere to proper attire while attending Royal ceremonies.

Most clothes are made from silk and cotton, usually hand-crafted. Men wear Av-kod, a plain color, round neck, long or short sleeve shirt without collar with big round buttons. Women wear Av-Pak, a laced blouse. Men wear loose trouser and women wear Sampot or Sarong , a skirt of different styles and colors. Sarong is a casual skirt. Sampot (houl, phamuong) is a formal wear for women. Both men and women wear Sampot Khbenn for a formal or traditional gathering or when attending the royal court.

Today in general, we hardly follow our customs and traditions of dressing when attending the nationals and traditional ceremonies. People wear houl, phamuong and lace blouse of various color according to their taste and liking.

In the golden days, men wear dress shirt (Av-Kod) with the Khbenn. Women wear Kbenn or shirts made of Phamuong according to the color of the seven days of the week. To conform to the above traditions, even the royal umbrella must adhere to the color code of the day.

In the old day, the Cambodian wedding lasts for three. It takes longer to prepare for such a special occasion. The courtship is not done by the boy and girl themselves. It is a pre-arranged marriage by both sides. It starts with the boy parents to ask for an honor to marry a girl of another family. The girl parents, using wisdom and common sense, will judge the boy moral characters, family history, and most importantly the boy abilities to make a living and prosper. They may decide on these matters without asking their own daughter opinion. It was then believed that love comes next after living together. The boy have to prove a lot to girl family by going to live with them as a slave, usually for a period of one to three years.

In the modern time, the courtship tradition has changed to a much moderate style. It is much more based on love. The parents are still involved the decision making, but they seem to understand a lot more about their children love life. The boy and girl are mutually agreed to get married after they fall in love. The boy still has to ask his parents to go and ask permission from the girl's parent. This is nowadays a symbolic in nature. It has been a stigma since the old day in Cambodian society for a girl to have a child out of wedlock.

In any cases, once both parties agree, the traditional ceremony must be followed. Both sides take pride in their children traditional wedding. They treat is as an honor that children whom they have raised in good times and bad times have finally paid gratitude to them.

Every country and culture has its own traditional wedding gown. In Cambodia , wedding is an important ceremony in every Khmer’s life. In this joyous event, various rituals are organized throughout the days, including the groom procession, wedding quarter blessing, hair cutting, prostration and thread-tying, and holding the scarf to enter the room. The bride and groom are dressed with different outfits, embroidery, and jewelry, as seen in the rituals of nuptial prosperities. The outfits are very elaborated and unique. They are mostly made of filigreed silk and are much vibrantly colored. The traditional ceremony is always performed at the resident of the bride’s parent. When the bride comes out of her room (or come back in after a ritual is done), the bridesmaid walks behind and holds the scarf. It is rituals of nuptial prosperities. The Cambodian wedding outfits are very elaborated and unique. They are mostly made of filigreed silk and are much vibrantly colored.

The following is a tentative schedule. We reserve the right to change it when and where appropriate.

PROGRAM

Masters of Ceremony: Schanley Kuch and Kesar Rainya

Attended By Seneca Sok, Siton Sok, Brandon Holl, Malis Ek, Sanara Ek, Steven Chum, Christopher Chum, Regina Yap, Erika Yap, Sean Tet, Zachary Kang, and Smantha Lushinsky.

Welcome remarks by Cheryl Lawrence
Special Events Supervisor, Alexandria Dept of Recreation, Parks and Cultural Activities

CCD 2007 Proclamation Presentation by Vice-Mayor Del Pepper/Councilman Justin Wilson

An afternoon of Cambodian Classical Dances and Shows

Dace 1: Robaim Chun Por (The Blessing Dance)
Performed by Bopha Suy, Vathany Say, Bunnida Cheng-Sek, Manida Samketh, and Anong Phann.

Dace 2: Robam Sek Sarika (The Parrots Dance)
Performed by Danita Mani, Thida Sam, Allysa Thao, Evelyn Thao, Tiffany Tea, and Samantha Koy.

Dance 3: Or Phtey Srok Khmer and Robam Angre
(The livelihood of Cambodian peasants and Stick Dance)
Performed by CCD Volunteers: Sinara Ly, Sophia Tep, Somony Yann, Saody Sok, Salang bao, Sovannroth Tum, Sakan, Sophea Suong, Rivann Suong, Harn, Thal Ngin,and Sophorn Tet.

Dance 5: Robaim Nae Sart (The fishing Dance)
Performed by Vathana Say, Bopharath Rithipol, Lena Ouk, Puthyrith Sek, Khanphypor Chhim, and Janbott Voey.

Dace 6: Robaim Tivea ProPey (Garland Girls Dance)
Performed by Sabre Seang, Sakura Seang, Brittany Tea, Sabrina Keo, Lena Roberts-Way, and Anna Mosher.

Children Group Singing in Khmer: Chun Cheat Khmer (Native Cambodians)
Performed by Cambodian Development Foundation, Inc (CDFI)
Stephanie Lay, Richard Lay, Jonathan Lay, Odommoni Nginn, Paulette Nginn, and Horn Yim.

Closing remarks, Presenting CCD Committee members and Volunteers, By Ben Bao

The Cambodian Buddhist Society, Cultural Group in Maryland , and Cambodian American Heritage, Inc (CAHI) in Virginia are proud to present the following classical and folklore dances at the Cambodian Community Day on August 26, 2007 according to the schedule above.

Robaim Choun Por, also known as the Wishing Dance is a traditional Khmer (Cambodian) dance. Performed on special occasions, this dance reflects the universal ideals of unity, harmony, and compassion. From the heavenly gates, the celestial dancers, adorned in intricately designed costumes and gold headpieces, graces the audience carrying golden trays filled with fresh flower petals. Before returning to heaven, they bless the audience with these petals, a gesture of offering good wishes, peace, happiness, and prosperity to the audience and the world. All the while, singing:

"We gather here united as a whole"
"Together we find a brilliant future and flowering prosperity"
"With our flowers, we wish you eternal happiness"
"May you flourish and grow with everlasting peace

This children's dance appeals to the spirit of prosperity. It celebrates the purity and happiness in young children as merrily dance together. This dance is taught to girls 4 to 8 years old to learn rudimentary arm and leg movements, an essential foundation for higher levels of classical dance.

White Dove is a symbol of peace. Peace is a symbol of purity and prosperity. Since Cambodia has been going through a long period of warfare and destruction, this dance appeals to all human races in the world to help to bring peace to

Cambodia

and to every part of the world. May peace last forever!

Suvann Machha is an excerpt from the Ramayana story depicting Hanuman (a white monkey) and Suvann Machcha (a mermaid).

In this scene, Hanuma and his army of monkeys construct and enormous causeway with rocks and stones across the sea to the island of Lanka . The purpose is to launch a military attack on the Kingdom of Ravana (King of giants) in order to secure Sita (Rama’s wife) who has been abducted by Ravan.

The mermaid Suvann Machcha and her army of fish constantly destroy the causeway. Finally, Hanuman intervenes and is successful in courting the mermaid.

While most pieces in the Khmer court dance repertoire are for adults, there are a few which are designed for children. Robaim Bopha Lokey or Flowers of the World Dance is one of those children’s pieces. This dance is designed specially for young dancers and beginners to gain experience in moving, swinging, and swaying their whole body such as head shoulders, arms, hands, fingers, waists, legs and toes. The dancers will dance to the lyric and music accompaniment of the Pinpeat Ensemble.

The robaim Nae Sart is a perfect example of the Khmer sentiments towards the natural world in which they live. The majority of Khmer's are peasant farmers, and fisherman. For in Cambodia earth and water are heavenly blessed, giving rise to a saying "where there is water there are fish". During the rainy season the great Lake Tonle Sap swells and spreads its excess water to inundate nearby lakes, ponds and rivers bringing along many variety of fish. When the water recedes the fish remains providing their people with a year-round supply of food. Because they are so plentiful, fishing is the occupation of many Khmer.

Fishing equipment includes the Ong-Rut braided bell-like bamboo trap and the Chneang braided bamboo basket. Besides relying on fishing as a means of sustenance young couples use the fishing quarter as their meeting place where sometimes meeting ends in courtship. Robam Nae Sart was inspired by this situation.

This song and dance depicts parrots joyfully frolicking with one another. This dance is used to train young children age 8-12 and features basic choreography and movements of classical dancing.

Robaim Sva Prathum (The Monkey Dance)

The Monkey character is one of the major roles found in Khmer classical dance along with the male, the female, and the giant characters. This particular monkey dance is taught to young boys as they begin to learn basic monkey dance movements. This dance is the foundation that later will develop into more intricate and advance level of dancing. It provides core movements and techniques for the Monkey character, and prepares young male performers with the strength, agility, and playfulness needed to portray the Monkey. Choreography and movements from this style are used for dance performances featuring Hanuman (the White Monkey King), who is the head of Rama's army in the battle between Rama and Ravana as told in the Ramayana story.

Robaim Or Phtey Srok Khmer and Robam Angre ( The Cambodian folklife and Stick Dance)

The show is short story telling about a livelihood of the Cambodian population in the countryside. After a long day of hard works to raise the family, the villagers gather at night, usually under the full moon, to perform an act describing what jobs they do during the day. The scene depicts a job as a carpenters, sculptures, palm sugar producers, weavers of silk clothes, rice crop preparer. Adding to the fun, they perform a folklore dance, called Robam AngRe.

They use two sticks held by two young people, one person at each end. They strike the sticks against a floor or ground according the rhythm of the music. One beat the sticks are in together, another beat the sticks are out apart. There are one young boy and one young girl hopping in and out between the movement of the sticks.

Pleng Mohori is an orchestra. Mohori musicians use different type of fiddles, recorder (Khloy), dulcimer and banjo, Roneat and drums. The music is suitable for an entertainment in social and traditional events. Songs and lyrics of Mhoree music normally depict the beauty of nature, the confession of love or the teasing between man and woman.

Angkonh – it is a dry fruit from the trees in Cambodia. This game is played during the occasion Cambodian New Year.

There are two groups, men and women. They tossed of the angkonh to the angkonh of the other group until all the angkonh fall down, and then the other groups will sing a song or the winning group will knock the other group knees with the angkonh.

Chhoung – It is a round ball made out from the clothing material or tissues.
They gathered into two groups, men and women. The men group tosses the choung to the women group. When the women group catches the choung, the men group will sing a love song and dance. After finishing one song and dance, it will be women turn to toss a choung. The women will sing a song and dance when men caught the choung.
There is variety of kinds for playing the choung. They can be played by hiding behind the other and run around in the circle, etc.