Entrenched in Cambodian tradition, Cambodian Classical Ballet originated over a thousand years ago in Southeast Asia. This sacred dance form was nearly erased after the Khmer Rouge killed a quarter of Cambodia’s population, often targeting master dancers and musicians. Now protected by UNESCO as an Intangible Cultural Heritage, it has reemerged as a powerful symbol of Cambodian culture.
Outside cities like Phnom Penh and Siem Reap, few possess the skill and knowledge required to pass on these graceful storytelling dances, known for their spirituality and distinctly upturned fingers and toes. Yet Cambodian culture thrives in Lowell, Massachusetts, where waves of refugees fleeing the Cambodian genocide made a new home. Here, Peter Veth, co-director of Urban Khmer Ballet and collaborator with Angkor Dance Troupe, shares his heritage as both a performer and teacher of this highly nuanced movement style.
Veth was introduced to Cambodian Classical Ballet at his middle school’s Cambodian New Year celebration. “I fell in love with this style of dance in sixth grade,” he shares. “At this event, I learned of a local dance company that offered classes. After figuring out where they were located, I walked there, asked for a permission slip to attend, and forged my parents’ signatures.” The company quickly embraced him, and his parents unknowingly assumed he was at an after-school program.
Around this time, it started to become clear Veth had a knack for physical movement. Alongside his studies of this Khmer tradition, he would also learn hip-hop dances off VHS tapes and share them with his friends.
Reflecting on this, Veth notes: “Prior to becoming an instructor with the Angkor Dance Troupe, I wasn’t really aware of my teaching skills. In both Cambodian Classical Ballet and hip hop, we teach fundamentals by sharing dances instead of through formal technique classes. Sometimes, I felt as if I was learning on my own because I wasn’t born in Cambodia and hadn’t taken class there.”
Even without visiting Cambodia to train, Veth studied with visiting masters who recognized his abilities. “I have been lucky to have access to masters when they pass through Lowell. They assist me in maintaining the tradition of the dances,” Veth says. “But they ensure it is informed by it, too.”
With the support of these masters and the progress of his students, Veth came to recognize his ability to carry forward the Cambodian American diaspora.
Today, Veth continues to serve as a vessel of his community’s culture and history. He imparts: “Cambodian traditional ballet is about preservation, and I respect that. But I am also a rebel. I always try to maintain the essence of Cambodian Classical Ballet, but I am torn between two cultures. In American culture, we have so much freedom. But in Cambodian culture, while quite humble, there is a certain level of control and discipline. As a Cambodian American who is also a performer and teacher of Cambodian tradition, I am always balancing these two parts of me within the art form.”
Regardless of any views that one must have trained in Cambodia to become a transmitter of Cambodian Classical Ballet, Veth is making his mark beyond his community. He is now being called upon to consult on Cambodian traditional dance worldwide. “Not having trained in Cambodia, I may never be considered a master of the art form,” he states. “But regardless of this, I feel it is necessary for younger generations to know and experience Khmer culture.”
A typical class: “We hold four hours of class on Sundays. The first 10 minutes is a warm-up called Mother Exercise, then we break off to learn dances in our repertoire.”
Most influential teacher: “Master Pen Yom [of the Royal University of Fine Arts, Cambodia]. She is one of the last few giant masters in Cambodia who danced in the Royal Palace. She taught me much of the Ogre role and was one of the first to believe in my work.”
Hands-on: “In Cambodian Classical Ballet, we communicate with our body, but especially with our hands. They are our universal language, like sign language. When you add the movement together, it becomes its own form of conversation.”
Breaking tradition: “There are traditionally only four roles in our repertoire, which are most often played by women. Men are rarely portrayed in Cambodian Classical Dance. But as a gay artist, I have enjoyed pushing boundaries and have become one of the first figures to play nontraditional roles.”
Secret classroom tip: “I always encourage my students to learn and understand the lyrics of songs. You learn faster and embody the lyrics better when you know the words.”
Favorite gesture: “I love the gesture of anger, where you stomp hard then take your left hand and brush it across your chest. It is both simple and hard because it comes from within.”
Fun fact: “I competed on Season 5 of “America’s Best Dance Crew” with the group Static Noyze.”
