Cambodia is going to be fine

The longer I stay in Cambodia, the more I understand about what it is to live here, especially in the energy. I believe whole-heartedly in ghosts, because energy is powerful. Walls, rocks, places, hold energies and history, and I think that at some times there is such a flash of energy that it remains -- perhaps why violent deaths sometimes result in ghost sightings and stories.

There is an energy in Cambodia, and I didn't really even understand that until a friend and I were talking about it. She was in Thailand for a week and said now she thinks it's important to get out of the country at least once every few months because the energy here is heavy.

She's right -- there is a heavy energy here. Going to Sihanoukville or the islands, while relaxing, doesn't cut it, because it's still Cambodia and it still carries the weight of the genocide.

At the immigration office we're working on a separated family case, and between the sisters who have grown up in America and the sister left in Cambodia (born some years before the Khmer Rouge), the difference in their faces and eyes are incredibly striking. The one in Cambodia has years and  years of care and worry and hard work etched into her face, very little education and far too much hurt for her time. Those in America have wide, lively eyes and smooth foreheads.

Sometimes it gets frustrating -- actually, a lot. Corruption has been built into this country's government from the beginning and it is so entrenched now that it's hard to see even the start of the path out. Poverty and corruption are institutions and it affects all daily life. With the recent political stalemates, it highlights the problem even more.

One of my friends said it best -- more often than not, instead of being the "Kingdom of Wonder", Cambodia is the "Kingdom of Wondering What The Hell is Going On."

And yet.

Today I went to go see the circus. If you believe the internet, there is no circus school in Phnom Penh, only in Battambang, but there is a circus, a program of the Royal University of Fine Arts. Circus apparently dates back to the Angkorian times as there are bas-reliefs in Angkor Wat showing people tightrope walking and juggling.

The maybe ten performers were aged somewhere between ten or twelve to maybe late teens or early twenties, all but two male, and they were good. They attacked their work with focus and determination, with all the panache, showboating, and theatricality required for circus. They were choreographed, decently rehearsed, and actually very impressive.

When I left, I had this thought: Cambodia is going to be fine. It's going to be fine because there is a whole younger generation of people who are passionate about what they do and willing to take the time to invest themselves in it.

My brain afterwards was trying to be a cynic about it, saying that the system is so skewed that all that optimism and passion could get squashed -- a very specific google search that finally admits the existence of the school is full of how it might get shut soon and how the artists are not sure if they can actually make a living doing this.

But I can never shake that feeling, whether with these young performers or other dancers and artists I've met. They are not sure, but they are passionate and willing -- so it seems at least -- to take the risk. When they talk afterwards their words are unsure, but when they are performing their eyes are on fire.

It is not now, and change is a very, very slow, ardous, and ugly process. My mind can think of a thousand ways for things to go wrong and very few for them to go right. The passion of youth to be stamped out by the status quo and the old entrenched institutions and all that.

But whatever my mind thinks, my heart sees these young artists and believes unshakeably that in their hands, Cambodia is going to be fine.

Violence is not the answer

There's been some crazy things going on in Phnom Penh. Demonstrations and protests against the total sham of free and fair elections have turned dangerous with police brutally dispersing, or unnecessarily blocking key arteries to keep people from going home, or, in the case last night, standing by as a number of masked thugs slingshot marbles and beat sticks on peaceful protesters.

I don't much like politics, and I don't really like talking about them. Any conversation descends into an us vs them dichotomy, thems is wrong and us is right. So I'm not going to say much more about it and won't spend on long this post either.

Today the new Cambodian "government" was sworn in, 68 seats of the ruling party with the opposition boycotting in protest of the unfair elections. The King was there and read some statement that mentioned none of the violence or the strange fact that half the seats remain painfully empty.

Even worse, a number of major countries -- including the US and France -- sent representatives to the farce of opening a democracy. The US Ambassador to Cambodia was there, smiling, putting a rubber stamp of approval on a government that uses corruption as a way of life and cares about power well before the needs or desires of its own people. Someone said on Twitter, and I couldn't agree more -- those who sent representatives today are a disgrace.

It's not just Cambodia, though. In my own country, the government is raring at the bit to start another war. The two parties refuse pointblank to have anything to do with each other, including discussions or, perish the thought, try some attempt at compromise. And in the meantime, America sickens -- and literally, considering the utter catastrophe of a healthcare system.

There is even a well-respected (by some) American institution with widespread membership whose explanation for the fact that thirteen people were shot in a military base is that "there weren't enough good guys with guns."

While here, armed thugs shoot people with marbles and beat them with sticks while the police passively look on, and in response to the incident, explain "they were trying to do something, but we stopped them, we didn't do anything wrong."

I will say this once, and I'm not going to change my mind: violence is not the answer. It was never the solution to begin with, and trying to stop violence with violence only perpetuates the bloody cycle. Any rhetoric, religious or political or otherwise, that ultimately leads and endorses a violent conclusion, is not the answer either.

Violence has become the rhetoric of everyday life. Hurt them before they hurt you. It's in our games, our media, our politics, our religions, and the result is a rotten fruit.

It is not the answer. Not then, not now, and will never be.

Protection from the overbearing west, or covering your eyes?: Why I'm teaching ballet here

There is an ongoing debate going on in Cambodia right now about arts and culture -- to evolve or to preserve. And on the side of evolve, there's another split as to how. They agree that it's okay to change and move forward, but as to how -- with what influences, etc -- is the question.

Essentially it all boils down to the question, how much of the west is too much? For the preservation side, any is too much, but even on the evolve side that can be true. The west has done enough. Cambodians should evolve from their own culture, and the west should stay in its own place. 

This week I found myself in the middle of this debate as a result of my decision to teach western dance history in a workshop at Cambodian Living Arts. I prefer not to say who the debate was with or how it came up, but the basic question was this: if we're encouraging contemporary Cambodian dance that is still based very much on Cambodian culture, then we should be careful about showing/exposing the dancers to too much western dance so they don't get a certain idea fixed in their head. 

Now here I have to say, I have no idea what the best way is, obviously. I have only what I think, and while I do feel pretty strongly about it, I can't say I'm right and end of discussion, as no doubt the truth is more complicated. 

But what I think is that there is nothing more important than education. There is nothing more important than being exposed to as many things as possible, ideas that challenge what you feel, what you think you believe. Personally, I've watched a lot of dance. I like maybe 10%, and I really love maybe 5%. But the more I watch, the more I understand what it is I respond to, the ideas I really appreciate. 

Now, if it were to be the sort of thing where someone comes in and says, "This is Martha Graham. This is what dance should be. The end," that would be a different story. But I can never say, this is what dance is, this is what it should be. Those ideas are constantly being challenged, and the most revered characters in dance history are those that broke the rules, that did things completely different from those that came before. 

Why is it that we westerners are allowed to steal from every other culture, and yet when it comes to Cambodians learning about the western forms, suddenly it's seen as the overbearing west? 

Isn't it true that looking at the western forms -- and any other cultural forms and dances -- that they might understand what makes Cambodian forms unique and special, and being able to really exploit those areas? 

Besides education -- learning history, context, seeing what ideas other choreographers are playing with -- what about teaching other techniques? This has been a different side of the debate in the past. I am planning, as part of my dancers' training, to teach basic ballet and basic contemporary techniques. I want to do this because I think there are certain tools of movement -- like strength, flexibility, and balance -- that ballet is really good at offering. Graham technique is excellent for core strength, another useful tool, and other techniques I've learned are really good for strengthening and learning to use the back, yet another useful tool. 

But in doing this, am I squashing the Cambodian side? Even if we never actually perform a lick of ballet onstage. Pilates might be okay, but ballet? Too western? Of course I don't know the answer to it, but I do believe that as a dancer, the more tools you have in your pocket to help you move in different ways and adjust to different styles or think of different ways to move, the better. What I know is ballet and contemporary and that's what I can teach. 

Does all of this make me a blind, overbearing westerner? 

I know that sounds like a sarcastic question, but I mean it honestly, and the answer is, I don't know. Maybe it does. But I just can't let go of the idea that it's important to know what's out there, what other people are doing and why, because I'm quite convinced that the more you understand the other, the more you understand yourself. 

It has to be done tactfully, in the sense of showing -- this is this choreographer, they were trying to do this -- and not lecturing. But there is no need to shelter these dancers. Let them look, let them learn, and let them decide for themselves what it means to be Cambodian. With the education behind them, it will be a much more informed decision. 

I don't know all the answers, but I just think that covering your eyes does not help you see. 

Losing the thread, or rather the words

I wonder if there is a moment in any new experience or immersion such as this -- such as Paris before it -- where words become completely inappropriate. When taking the time to find them, to place them together in strings of meaning that may or may not encapture that which you are living, is too long and cumbersome and in the end it doesn't say what you wanted anyway.

Maybe it's just the busyness -- that around a year of building, of negotiation, the seeds that were planted and watered and cared for are suddenly exploding out of the ground with the sheer joy of being free. Or maybe it's the craziness of someone working too many jobs and adding too many projects, and when I do have a moment to breathe, I spend it mostly playing silly games that do not require thought, or analysis, or negotiation.

Either way I've noticed the weeks flashing by and I think about the blog, but often find I have very little to say. Are there still cultural differences to be noted and learned from? Of course. Daily, hourly. Each moment of being here is a negotiation. But it's hard to put those into words, because they must be lived, and breathed.

It's funny, this blog has mostly been about life, about the fact of living here. Dance is referenced and mentioned -- as it would be impossible not to -- but often in the context of a job, like CTN, or a mention that it happens. But there is very little here about the conversations I have very regularly about dance, about my vision of it, the negotiations that take place around that subject.

In some ways I guess I feel like the blog was intended to track the cultural side of things, the adventures and challenges related to that, life as it tumbles along and my thoughts from the wake of it, and maybe dance philosophy wasn't exactly part of that.

I guess what I'm saying is, lost inside this existence where words seem very clumsy and time-consuming, I wonder what this blog is for -- it's certainly not written for a wide public audience, maybe just more for myself to keep a record of this time as it was happening. Looking back to things is cheating because then you have hindsight, and perspective that now lacks, and sometimes I like to look back at previous posts -- to find solace in the fact that SHE didn't know what she was doing either, or to see how far I've come, or just marvel at this crazy journey I've been on.

But there are things to be said. There are remarks to be made, things that have struck me as beautiful or profound. I suppose I'll try taking the Pixie Dust Chronicle into a new direction -- not just long, in-depth studies, but remarks, things I notice, short posts about one thought or conversation.

I'll wrap up this mostly useless post with a story: I met someone the other day who is doing some very beautiful dance/theater work in Siem Reap with three Cambodian girls (www.newcambodianartists.com). He was telling me about one day when the girls were doing an improvisation, and one surprised him with this kind of feral, tigress kind of thing, low and open and very, very daring especially for a Cambodian girl. They took a long time to get back to it the next day, but when she at last got there, he asked her how she felt in that moment.

She said this: "I felt very alone, and I felt like I could dance very well."

I thought it was one of the most beautiful and perfect things anyone has ever said about a performance.