Cambodian Dance & the Met
I was not thrilled with Pamina Devi: A Cambodian Magic Flute. I was utterly bored, found myself randomly jerking awake (I hadn’t realized I fell asleep), and I could not help but check the time on my cell phone every so often. I was more impressed by and interested in the video we had watched in class about Cambodian dance rather than this live performance. That’s not to say that I think all Cambodian dance is boring and unbearable. I feel that if I was exposed to more conventional Cambodian dances and if I had a greater understanding of this art form, I would have appreciated the performance. What further turned me off were the indecipherable subtitles and the incomprehensible shrill vocals (yes, I do realize the music was in another language). However, in hindsight, there were some aspects of Pamina Devi: A Cambodian Magic Flute that I appreciated. I found the costumes elaborate and visually appealing, and the control of movement and precision of hand and foot positions admirable. Despite these commendable aspects, I feel that Pamina Devi: A Cambodian Magic Flute was a performance that I would have benefited from not seeing, for now I am less inclined to want to endure another performance of Cambodian dance.
Pamina Devi: A Cambodian Magic Flute embodies more of its traditional forms and ideas rather than submitting to new artistic models in comparison to Zhang Huan’s artwork. The dance forms and meanings behind the Cambodian dance movements were retained and loosely adapted for the original “The Magic Flute” (the plot was not entirely the same). By use of the same dance techniques for the “Cambodian Magic Flute,” Pamina Devi did not lose any of the elements of Cambodian classical dance while reshaped into the mold of Mozart’s The Magic Flute. As for Zhang Huan, his artwork has completely strayed from the traditional in terms of Chinese art, in that he uses his body and the bodies of others as his medium in such works as “To Add One Meter to an Anonymous Mountain.” In a sense, Zhang Huan’s unconventional performance art, although straying from Buddhist art traditions, starts to resemble Cambodian classical dance in the use of body language to convey meaning.
Unlike Pamina Devi: A Cambodian Magic Flute, I was interested in the Rembrandt’s prints that Curator Orenstein had showed the class. I had never considered printing as a serious art, and I did not expect Rembrandt who is better known for his paintings to have privately practiced such an art form. Curator Orenstein was able to capture the attention of the modern audience by not only providing interesting and relevant historical facts as to the printing process, but by also providing excellent examples to be displayed. In addition, she provided some insight as to the symbolism behind some of the prints on display in the exhibit. Her preservation work is similar to those of Sophiline’s and Em Thea in that they all rely on drawing the interests of the modern audience to help keep these art forms alive.
October 17th, 2007 at 9:24 am
I agree with you about Pamina Devi. While the skill of the dancers was awe-inspiring, too often I found myself wishing I could leave already. I also agree about the prints at the Met. I had never really considered printing when I thought of art. I had seen the method before, but it was just never in the same realm of painting, drawing and other well known art techniques in my mind. However, after the exhibit I have a better understanding and appreciation for that kind of artwork. The skill it takes to carve a piece of copper in a way that will make a comprehensible and attractive picture on paper is hard for me to even imagine. I think I’d just get too frustrated and choose another career.