AMERICAN SOCIAL DANCE Sharing Common Ground: Social Dancing in the U.S.A.

Vivien Chen with Magaly E. Jarrad and Chan Moly Sam

Dancing is sheer pleasure for socializing, cultures of nations across the world. The dance exercise, and self-expression. Dancing means cel­ program at this year's Festival explores social ebration- people gathering together, with food dancing traditions in five communities - an and drink, at weddings, birthdays, graduations, Appalachian community in southwest Virginia, anniversaries, holidays, block parties, for Iroquois communities in upstate New York, and fundraisers, or just at end-of-the-week get-togeth­ Mrican American, Bolivian, and Cambodian er parties. These social events take place in a vari­ American communities ofWashington, D.C. Tra­ ety of settings, from private homes to public dition-bearers will teach dances in workshops, parks. Dancing brings people together and con­ participate in conversations on a variety of tinues to play a role in courtship. themes, and demonstrate skills, repertoires, and Most of us learned to dance by going to par­ performance styles from their communities. In ties, by observing our elders or peers, or by study­ each of these communities, dance is centrally ing the technique of particularly good dancers. important in the expression of cultural identity. More recently, young people get a lot of their Consider the interplay of dance, community, and "moves" from videos and television. From these identity among two Washington area communi­ resources and experiences, we each develop our ties, Bolivian and Cambodian Americans. own style. Music is almost inseparable from social dancing and, for most of us, provides the inspira­ Bolivian Dance in Washington, D.C. tion to dance. For recent immigrant communities such as As an open and adaptive communicative sys­ Bolivians in Washington, D.C., dance sustains an tem, social dance is always up-to-date and reflec­ important part of their cultural heritage, reaf­ tive of its times. Looking closer, one finds that firming shared values in a new and rapidly chang­ dances are also strongly shaped by their commu­ ing environment. Music and dance also bring nity expressive traditions and social structures. reminiscences ofyouth, courtship, and the cultur­ Most dance steps and styles derive their moves ally familiar. When away from "home," people from those of earlier dances and movement develop an increased awareness of cultural dis­ repertoires. tinctiveness, and actively embrace what was once Dancing brings members of a community taken for granted. Cultural activities may become together and strengthens cohesiveness by empha­ crucial in expressing one's group identity and in sizing shared ethical and aesthetic values. Per­ presenting it to the greater American public. forming a common vocabulary of movement, in The Bolivian community is one of the largest time to a shared repertoire of music, one partici­ Latino communities in the Washington, D.C. pates in a culture. area. A majority of the community came from the The United States is blessed with a diversity cities of La Paz, Cochabamba, Santa Cruz, and of community dance traditions and new dance Oruro, and are of middle class mestizo back­ forms that have developed from interactions ground. In Bolivia, the population is comprised between communities. This exciting American of 60% indigenous Aymara and Quechua peo­ mix has had a profound impact on the popular ples, 30% mixed Indian and Spanish (mestizo), and 10% European (primarily Spanish). Bolivia ''American Social Dance" has been made possible with sup­ was under Spanish colonial rule from 1544 to port from the recording industries Music Performance Trust 1824 when a republic was established. Bolivia Funds. became a democratic republic with a constitution

AMERICAN SOCIAL DANCE 63 Men perform the caporales dance at Elena and Andres Puna's wedding in Virginia. Photo by Marlon Vasquez

in 1967. There has been ongoing immigration to cultural organization, observes how social life was the U.S. for more than 30 years, as well as fre­ a few decades ago: quent communication between Washington, D.C. and Bolivia as hundreds of families return each Growing up in Bolivia I loved to watch February to take part in two-week long Carnival my father doing the cueca, but I wasn't celebrations in Oruro. allowed to dance it. These dances were Cultural organizations in the Washington looked down upon because they community engage Bolivian youth and families in belonged to the middle and lower class­ folkloric dances and other social activities es. The upper class would go to the balls throughout the year. Weekend practice sessions and dance to music from outside the provide opportunities for socializing, and July country, from the United States, like 4th, Hispanic, and Cherry Blossom parades down waltzes and rock-and-roll. Constitution Avenue provide public recognition of the Bolivian community and its culture. As a result of the nationalization of mines in During the past 20 years Washington's Boli­ 1952 and agrarian reform in 1953, indigenous vian community has come to include "revived" communities that were previously kept immobile folk traditions as part of its social dance reper­ by a feudal-like political economy migrated to toire to a greater extent than before. Dora Castel­ cities and abroad. They introduced their music lon, president of Comite Pro Bolivia, an umbrella and dance traditions to a wider society, and indigenous styles of dances such as the huayiio were infused into the social dance repertoire. Vivien T. Y. Chen, curator of the American Social Dance pro­ Huayiio and other mestizo dances have since gram at the Festival of American Folklife, has researched, per­ become part of the repertoire in the Washington, formed, and taught dance for several years. She received a Masters degree in Dance and Dance Education from New D.C. community. York University. Sixteen-year-old Andy Lopez participates in dancing as a way of maintaining his Bolivian Magaly E. Jarrad is a dancer, choreographer, scholar, and roots: teacher from Oruro, Bolivia. She has received prizes for her choreographies at the Carnival in Oruro. Ms. Jarrad currently directs a children's ballet theater in Glen Burnie, Maryland. In the United States, there are so many dif­ ferent cultures, and everybody seems to Chan Moly Sam is a Cambodian master dancer, choreograph­ er, and scholar. H er publications include Khmer Folk know where they come from. So since Dance ( 1987), Khmer Court Dance: A Comprehensive school doesn't deal with any part of our Study of Movements, Gestures, and Postures as Applied culture, the only way for us to really find Techniques ( 1987), and Khmer Court Dance: A Perfor­ out what our culture is, or just keep our mance Manual (1989). culture, is for us to dance and stick with it.

64 AMERICAN SOCIAL DANCE Angel Quinteros, who devotes his Sundays to Virgin Mary and Archangel Michael to keep the performing and teaching Bolivian dance, devils in their place and to prevent them from explains, "I love doing dances like caporales; it harming its miners. The diablada features a tune makes me feel very powerful." in 2/ 4 marching time and bouncy steps, jumps, For many members of the Bolivian communi­ and kicks while the dancer turns from side to ty, dancing is a passion and an essential ingredi­ side. ent at weddings, birthday parties, sweet 15 parties Two dances recall the exploitation of (quinceaiiera), baptisms, Carnival, and Virgin Mary enslaved Mricans brought by Spaniards to work celebrations. At house parties all generations par­ in the mines and plantations during the colonial ticipate. Seniors are often energetic and talented period. According to some, the morenada repre­ dancers, while children experience dance sents the forced march of slaves toward the mines rhythms from infancy. Three clubs in northern of Potosi in the Andes. According to others, it Virginia feature live bands, while social dancing represents the movements of slaves crushing at smaller parties is inspired by record-playing grapes in vineyards in the Xingas tropical planta­ deejays. tion area. The dance is said to have been first per­ Dancing at social functions includes couple formed by the descendants of slaves. Morenada is and group dances: the cumbia, cueca, morenada, often danced in a circle, with small, slow, side caporales, diablada, taquirari, huayiio, carnivalito, steps and occasional turns, and is accompanied salsa, merengue, disco, and slow dances. This musically by the matracas, which simulate the dance repertoire is an artifact of the complex cul­ sound of chains or of cranks turning the wine tural and social interactions that have taken place presses. over the past 500 years in Bolivia and now in Boli­ The caporales, a dance created within the last vian communities in the U.S. It is a record of the 20 years, borrows features from the indigenous inter-relationship of indigenous communities, Aymaran cullaguada (turning steps from one side European immigrants (Spanish, English, French, to the other with frontal jumps and kicks), has a and Germans), enslaved Mricans (brought to driving rhythm from negritos del patador (an Mro­ work in mines and plantations), nationals of Bolivian regional dance), and combines shoulder neighboring countries and of the United States, movements from the Brazilian samba. Borrowing and the international entertainment industry. a personage from the morenada dance, the Traditionally, indigenous dances such as dance depicts the harsh treatment of slaves by the those of the Aymara and Quechua feature sepa­ caporale (foreman) and his wife on plantations rate lines and circles of women and men, and during the colonial period. Caporales has gained small running steps moving from side to side that enormous popularity in recent years and is espe­ trace small semicircles, recalling agricultural cially attractive to teenagers, who enjoy the chal­ planting movements. Mestizo dances have been lenge of learning and performing it. Gender influenced by European spatial patterns, dance roles are very defined in this dynamic dance. Boys steps such as skips, hops, and jumps, and the phe­ and men perform stomping, strong, percussive nomenon of dancing in couples. movements while girls and women perform small­ Most Bolivian parties start with a pan-Latin er, flirtatious, and swinging hip movements. dance like the cumbia, a Colombian dance with a The cueca is a popular courting dance for strong Mrican-derived rhythm. In cumbia, couples. Influenced by the Spanish sevillanes in its dancers turn waists, hips, and shoulders as they spatial pattern, the cueca is done with a polka-like step from side to side. Next come livelier dances step. It has four parts. Mter an introduction and - morenada, diablada, and caporales - that are salute, the man dances behind the woman as they featured at the pre-Lenten festivity of Carnival. travel in a small circle, he pursuing, she teasing, Although dances for the actual Carnival proces­ both twirling handkerchiefs. They meet and sion require much practice, their basic steps can dance side by side in the qui mba section, and fin­ be fairly easily done as social dances. ish together in the zapateo with fast tapping foot­ The diablada dance represents the symbolic work. Drinks are often offered to the dancers struggle between good and evil. According to tra­ before the dance is repeated. ditional belief, the mines in cities like Oruro and In internationally popular dances such as Potosi, where much of the population earns a liv­ merengue and lambada, couples dance apart or ing, are inhabited by Supay, owner of the miner­ in a closed position. Originally from the Domini­ als. Supay was later interpreted by Europeans as can Republic, the merengue seems to have result­ the diablo, or devil. The community prays to the ed from a confluence of European contra dance

AMERICAN SOCIAL DANCE 65 and an Mrican style of movement. Its rhythm is hand movements, two of the four basic gestures fast, and when danced in a closed position, part­ of classical dance: tendril ( chanol), leaf (lear), ners move as one by taking little side steps as they flower (chip), and fruit (kuong). These represent turn. the cycle of fertility and were performed ritually Mter a few slow dances like bolero, parties to visualize the creative spirit of plants and flow­ traditionally close with a carnivalito or huayiio, ers. Vuthy Kheav, 30, who grew up on a farm in during which everyone joins in or is pulled from Siem Reap province, remembers dancing the ram their seats. These are joyous dances in fast, 2/ 4 vong, ram kbach, and lam leav in the rice fields at time featuring small running, stomping, hopping, the completion of planting and harvest, to the and jumping movements. The huayiio begins as a accompaniment of the tro, a two-string fiddle, and couple dance with partners holding hands or skor dai, a hand drum. Sochietah Ung, 35, learned linking arms. As momentum gathers lines are to dance at seasonal festivals that featured free formed, and dancers wind around the room in movies and social dancing in the evenings. Chan circular, zig-zag, or intersecting patterns. Often Moly Sam recalls that "Every New Year celebra­ the bandleader or deejay will give directions such tion in Phnom Penh, you heard the pattern of as "pull the ears" or "hands on hips," "do turns," the drum from dust to dawn, or sometimes "dance on one foot," or "slow down." It is not throughout the night, for three days." uncommon for women to dance with each other Ram vong is always the first dance at any in these dances. Using a variety of cultural social event, often followed by ram kbach and resources, Bolivians in the D.C. area enjoy each lam leav. These are all circle dances done in cou­ other's company and dance out rich identities to ples in a counterclockwise direction in 4/ 4 time. themselves, to each other, and to their neighbors. In ram vong the female leads while the male pur­ sues her, traveling from side to side, seeking eye Cambodian American Dance contact. Ram kbach, a slow, graceful dance that in Washington, D.C. conveys harmony, is performed with one leg Among the Cambodian community in the crossing in front of the other as the body inclines Washington area, social dancing helps to bring diagonally from one side to the other. In lam individuals and families together at weddings, leav, a courtship dance from Stung Treng New Year's, birthdays, graduations, and fundrais­ province, the partners move in interwoven pat­ ers. The selection of dances and the way they are terns. Khmer leu, from the northern provinces, danced at parties reflect distinctive cultural histo­ features a three-count wrist movement. In sara­ ry, aesthetics, and ethical ideas as well as recent vann, partners face each other, moving their arms influences of an American context. rhythmically, raising and lowering them, opening The roots of Cambodian dance span millenia and closing them like the wings of a bird. The in Southeast Asia. Throughout its 2,000-year his­ dances allow participants the freedom to do varia­ tory, Cambodian culture has had a fertile inter­ tions and improvisations. For example, in time to change with the cultures of India, China, and the rhythmic pattern of saravann music, a skillful Indonesia. From the 9th to the 15th centuries, couple can travel forwards, backwards, or side­ the Angkor Empire fostered a subtle intermin­ wards to elaborate on the image of a bird rising gling of Indian and indigenous elements to pro­ into the air, soaring, and landing. These dances duce a culture regarded by many scholars as embody the value of attentiveness in male and among the richest and most creative in Southeast female relationships, and they are an important Asia. At its largest, the Khmer Empire ranged part of courtship. from the border of China into present-day Thai­ The dances also express the value of balance land, Laos, and southern Vietnam. Cambodia and harmony. Dancers cultivate internal balance became a French protectorate in 1863 and as their gestures flow rhythmically with the music. gained independence in 1953. Since 1975, after Symmetrical movements alternate from one side the fall of Cambodia to Khmer Rouge forces, the to the other. Moderation is valued; one should Cambodian community in Washington, D.C. has not overdo or neglect movements. steadily grown to about 15,000. While many immi­ Many Cambodians are equally at ease with grated from urban Phnom Penh, a significant European-derived dances. Popular western music number also came from more rural areas in the and social dances were introduced to Cambodi­ provinces of Battambang, Siem Reap, and Kam­ ans by Filipinos and the French. In the early pongThom. 1900s, the Cambodian court received the gift of a Cambodian social dance uses leaf and flower large band in residence from the Philippines.

66 AMERICAN SOCIAL DANCE Nara and Sambonn Lek and friends dance the ram vong, a traditional Cambodian circle dance. Photo by Sambonn Lek

The Filipino musicians taught marching music to steps. Dances like the cha-cha-cha and madison Cambodian royal and symphonic bands, partici­ are interpreted with deft and subtle hip, back, pated in court ensembles, and performed in jazz and foot movements. bands at nightclubs. The musicians introduced At social events in Cambodia, dance Latin rhythms into Cambodian dance, founding expressed social relationships and values, and the big bands that played at ballroom dances. They dance floor often became an arena of gestural developed a kind of music that came to be called eloquence. Traditionally, young men and women phleng manila, or Filipino ensemble music. This were only allowed to socialize with each other at musical innovation greatly expanded the Cambo­ New Year's, which provided a rare and important dian repertoire. opportunity to meet, dance, and talk. Women Mr. Lek Chhan, a distinguished dancer now would sit together on one side of the room while in his seventies, learned European dances - the the men sat on the other. A man would offer sam­ tango, Boston, cha-cha-cha, rumba, foxtrot, waltz peak, a greeting of respect performed to invite a - from his French professor in Phnom Penh. young woman to dance and to take his leave on Fellow students also taught each other with parting. There was no physical contact in tradi­ recordings and attended nightclubs and bars. tional Cambodian dances. Western music was also disseminated by French Traditionally, young women were kept close high school teachers; and in some military acade­ to the family. As they reached their middle teens mies, high ranking officers received formal train­ they entered chaul mlob, or "went into shadow," ing in European-derived dances. The madison meaning they were not to be seen in public, espe­ was in vogue by the 1950s, and the twist intro­ cially by young men. Young men were freer in duced by the popular entertainer Chum Kern comparison and were encouraged to explore the upon his return from France in the early 1960s. outside world and society. At parties in the Washington area, musicians While women were encouraged to show usually play dances in pairs, juxtaposing fast and interest in the court dance traditions, men were slow tempos. Contemporary bands usually feature groomed to be good social dancers. In an older male and female vocalists, lead, rhythm, and bass generation, men danced a flamboyant expressive guitars, and a drum set or synthesizer. In adopt­ role compared with women's modest one. Her ing European-derived dance music such as cha­ execution of social dances was not expected to be cha-cha or tango, Cambodians retained the as creative or as varied as her partner's. Members rhythms and composed Khmer melodies and of older generations expected that at social lyrics to each song; they simplified the dance events, behavior was performed and evaluated

AMERICAN SOCIAL DANCE 67 and everyone was watching. A young man seeking by relatives, friends, and home videos. Marco a young lady chose his movements carefully, with Castellon added some football moves to caporales an eye to impressing her family members present and brought it down to Oruro, Bolivia, where he at the event. Moderation and attentiveness were traded steps and videos with students there. highly valued, while wild and self-involved move­ (They showed him a new version of caporales ments were looked upon with disfavor. While the that incorporates a freeze, taking inspiration separation of the sexes is no longer practiced in from hip-hop.) Lashmi Sam brought the newest the American context, the connotations of move­ Cambodian American dance "Harvesting the ment still persist. Shrimp" from Seattle and is teaching it to neigh­ At wedding receptions, the bride and groom bors in Reston. and their parents initiate the celebration with the The authors want to thank many dancers from the Bolivian and As ram vong. revered elders, the parents are the Cambodian communities for sharing their knowledge and wisdom first to give blessings to the new couple through with us, including Adela Baldarrama, Hugo Carillo, Phavann and dance. At other functions, the host or another Natalie Chhuan, Gonzalo Gutierrez, Katherine Guzman, jhanina prominent person leads the circle dances. Herbas, Vuthy Kheav, Lek Chhan, Sambonn and Nara Lek, Andy In the Washington community, seniors par­ Lopez, Maria Lopez, Melina Mendez, jhonny Meneses, Sesane Ouk, Shirley Peiia, Nelson Perez, Angel Quinteros, Sam-Ang Sam, Rithy ticipate in social dancing but only minimally in Sok, Sokhon Soum, Samnang Sun, Sody Tek, Rady and Saroeum fast genres like the twist, disco, and rock. Young­ Tes, Sochietah Ung, Chi nary Ung, Jugo and Alex Urresty, Luis sters have free range of the floor, often dancing Villarroel, Maria Villegas, and Danett Zepeda. in separate groupings of boys and of girls. Community members note that while dance movements have remained essentially the same, Further Readings there have been changes in gender roles. Influ­ enced by the role of women in American society, Heredia, Augusto Beltran. 1962. The History of the Cambodian women have become less confined, Carnivale. Oruro, Bolivia: The Department of more assertive, and more nearly equal as dance Folklore. partners. Many people feel that the dancing is Nash, June. 1979. We Eat the Mines and the Mines better now with opportunity for more fun. Eat Us: Dependency and Exploitation in Bolivian Phavann Chhuan talks about the importance Tin Mines. New York: Columbia University of dance and community for young people sort­ Press. ing out their identity: Pin, Chap. 1962. Danses Populaire au Cambodge. Phnom Penh: Institut Bouddhique. We get the kids to social functions as often as we can, to expose them to Prado, Benjamin Torrico. 1971. Indigenous in the Khmer culture, to give them both views. Heart of America. La Paz, Bolivia: Los Amigos Maybe through peer pressure or group del Libro. participation they'll see that it's accept­ Sam, Sam-Ang, and Patricia Campbell. 1991. able to do Cambodian dance as well as Silent Temples, Songful Hearts: Traditional Music include other dances with it. We want to of Cambodia. Danbury, Connecticut: World bring them up in an environment where Music Press. people accept different cultures, where the kids will not forget their heritage. Suggested Listening Cambodian Traditional Music, Vol. 1. Shaped by traditional ideas of beauty, order, Smithsonian I Folkways 4081. and the individual, social dance is a rich and deep language for communicating ideas and Cambodian Traditional Music, Vol. 2. identities. Like a language it is a formal set of cat­ Smithsonian/ Folkways 4082. egories and transformations that keeps us in Instruments and Music of Bolivia. touch with centuries of meaning. Yet it is always Smithsonian/ Folkways 4012. open to change to serve the needs of the Word of Love. Sann Huy Film Video Production, moment. It is a tool for living that enables us to CD 2. comprehend the voices and actions of others, respond to them, and make them our own. Souvenirs Khmer Air Lines. Chlangden Productions, Washington social dance repertoires contin­ CD 034. ue to evolve and grow as new dances are taught Dream of You. Preah Vihear Production, CD 2.

68 AM E R I CAN S 0 CIA l DAN C E