Consequences And Impacts Of The Khmer Rouge On The Royal Ballet

The corps de ballet should be used for plot development and as a means of expression.

The main topic of my research paper is comparing and contrasting the difference between Chinese Classical dance and European Classical ballet. The questions I will develop in the paper included as follows.

April 17th, 1975; the day that Loung Ung’s life changed forever. The Khmer Rouge marched through the city of Phnom Penh, ordering the evacuation of all those they believed to be “corrupted”. Loung and her family fled when she was only five years old, and thus their new life of terror, starvation, and hard labor began. It would have been easy for her to give in to the fear and despair, yet even as a young girl she showed great resilience. While planting rice in the fields of a child labor camp, Loung feels leeches crawling between her toes.

Ballet was rooted in court life, and it was not as widely available to the common people. As such, it had to adapt in order to survive this particularly deadly and brutal period in time. The ballet’s that the court was accustomed to seeing were disconnected from the lower class, just like the actual courtiers themselves. Ballet is just one example of why exactly the French people rose up against their government. They spent massive amounts of money on an opulent lifestyle while the peasants could not even afford bread.

While observing this dance ballet, there were many things that caught my attention. First, the theater itself was extremely large, and the stage itself was big, and the dancers had plenty of room to move across the stage and perform their routines. There were many dancers, and they all played various roles that ranged from Clara, Fritz, Herr Drosselmeyer, the Rat King, the Nutcracker, the Sugar Plum Fairy and her Cavalier, and many more. All of the performers wore vivid costumes

Whether we look at a romantic ballet like La Sylphide or a classical ballet such as Sleeping Beauty, audiences are constantly mesmerized by the gracefulness and weightlessness of the ballet dancers. They seem to defy the laws of physics, which is greatly possible due to the use of the pointe shoe. However, many masterworks that were created in the Romantic era did not solely rely on the pointe shoe to help convey messages. Instead, the choreography, dancers, scenic elements, subject matter, and music all helped shaped masterworks such as La Sylphide, Napoli, and Giselle. Similarly, in the Classical era, these elements all played a role in shaping famous ballets like La Bayadere, Sleeping Beauty, and Swan Lake. But once we take a closer look at these ballets from the Classical era, we can see how much ballet evolved. Nevertheless, it is important to note that the Romantic era was the stepping stone for this pure art form that we have been able to preserve for more than 160 years.

The 20th century saw a shift in dance as new forms were created and artists began entertaining audiences in new ways. The rise of Jazz music and the swing era allowed a couple of tap dancers, commonly known as the Nicholas Brothers, to gain fame. The Nicholas Brothers questioned what dance could be by pushing the human body to the limits the likes of which had not been seen before. Other innovations in their dance such as their vernacular style, informal training, and unique musicality directly opposed many of the virtues of classical ballet. Through my own interpretations of their work as well as through the use of primary and secondary sources it is clear to see that the Nicholas Brothers opposed classical ballet through their style, musicality,

In “Stripping the Emperor: The Africanist Presence in American Concert Dance”, Gottschild begins by introducing unique aspects of the Africanist aesthetic including how it embraces differences and instead of the traditional European idea of resolving conflict, Africanist aesthetic presents a question and demonstrates the beauty in accepting conflict. One way in which the Africanist aesthetic differs from European ballet is how they utilize polycentrism, having multiple centers of movement, and polyrhythm, when different body parts keep multiple rhythms. Other ways include the high-affect juxtaposition, changes in mood, movement, or tempo, to the drastically contrasting sharpness and intensity in the movements. Gottschild’s main point in her article is to describe how the Africanist aesthetic is much less strict

Tchaikovsky’s “The Nutcracker” and Stravinsky’s “Rite of Spring “ are two of the most influential ballets to ever be recorded. Their ballets have been played and duplicated for many years. I will start this paper with a summary of each composer which will include where they are from culturally, geographically and musically. Then I talk about each ballet. Where it was written, the story behind each piece, and its reception now and its reception at the time it was published. I will also include the popularity of each ballet in other forms such as Disney. Finally, I will provide a detailed concert report of each ballet.

Listening to Music class has taught me a new way to listen and enjoy music. I have learned how to differentiate the melodies, rhythms, and instruments in a song. It has also introduced me to different genres in the music world, aside from what is usually played on the radio. I can now attend any concert, listen to any genre, or watch any ballet and easily recognize the many specific aspects the music being played has. Ballets are very interesting to me. The audience is able to enjoy the music being played as it is telling a story, and being acted out through the performer’s body language. In the two ballets, The Rite of Spring and The Nutcracker, a great story is told in both referencing the many great dynamics music has. These two specific ballets are written by different composers, and each one of them have certain conditions they were written under. As well as different receptions, popularity, and development. The Rite of Spring and The Nutcracker’s differences has made some sort of an impact in the performing world back then as well as now.

Mrs. Farrell’s book is quite technical when it comes to the lengthy descriptions of the dances she rehearses and performs; from a dancer’s view these varied conclusions of the types of movements she was dancing is quite astonishing. In fact, it adds a whole new level to the imagination that can come alive in a person’s thoughts when they read an expressive book. Although the technical explanations will excited, astound, and reveal how much passion and deep meaning ballet had in Suzanne Farrell’s life, but a reader, who may not be involved in the arts will be unfamiliar with the ballet and musical terms in

The underlying foundations of the Cambodian genocide are found in the Maoist political and economic beliefs of the Khmer Rouge administration. The most important leaders, all of whom studied in Paris in the 1950s and became active in the communist movement together, were Saloth Sar (who would later re-brand himself as Pol Pot), Ieng Sary, and Khieu Samphan. 30 The significance of their time together in France is that they developed what to them seemed a coherent political and economic model for the future of their home country, Cambodia.31 The last real stage in transforming

The history of ballet is rich, complex and full of powerful meanings depending on the time period. Ballet in the 15th century was seen as something that only select individuals could do, whereas, the 20th century ballet can be preformed by anyone. By thinking about how ballet performers have changed, a question may be thought is, have the people attending these ballet performances changed as well as the performers themselves? Today, children from ages two and up start taking ballet and family members come and watch their final recitals. National ballet companies are also an event and often draw attention to the higher-class individuals who have a taste for ballet. The ballet world could be seen as to having a quite array of attendees, events and functions, but that might not have always been the

French Ballet began in the 17th century. It was a flamboyant entertainment presented in front of the aristocracy and royalty in the courts. French Ballet was also performed when they were celebrating marriages and showing off the wealth and power of the ruler. Besides, Ballet was called “la belle danse”, and it means “the beautiful dance.” In order to help the audience to recognize the characters in the story, dancers usually wore extravagant costumes. Moreover, the idea of different ballet movements was based on the social dance of royal courts, like beautiful arm and upper body movements and floor patterns were included. Also, in the beginning, only men were allowed to dance ballet, and women played the first ballet with parts until 1681.

In 1976, after massacring hundreds of thousands of former government officials and supporters of the previous government, the Khmer Rouge began purging their own ranks. They utilized brutal tactics such as, “’the victory pole’ where four people would be tied together, their backs to the pole, facing opposite directions. Then a guard would shoot one in the head covering the others in blood and brains.” (Dunlop 87). They converted city schools into prisons and arrested people for any slight charge perceived against the revolution. Distrust with each other became so rampant among members inside the party that “vanquishing the enemies” became the most important task of the Khmer Rouge Regime. Food shortages occurred, electricity became scarce, and disease became a major problem for the population. Even the most useful resource for the Khmer Rouge executioners became scarce; they sometimes ran out of bullets after a heavy night of prison executions.