Cambodian-American Khmer classical dancer and choreographer Charya Burt has brought Rebirth of Apsara back to Cambodia to mark the closing of the 50th anniversary of the Khmer Rouge genocide, deliberately ending the year-long commemoration in the country where Khmer arts were painstakingly revived after 1979.
Originally developed to honour genocide survivors and reflect on the near destruction of Cambodian culture, the 2025 adaptation places Cambodia — not the diaspora — at the centre of the narrative.
Burt said presenting the work in her homeland carries deep personal and historical meaning, as the rebirth of the arts in the 1980s shaped both her identity and her artistic path.
“I wanted to end the observance of the 50th Anniversary in Cambodia since this is where the rebirth of the arts took place,” she said. “The rebirth in the 1980s is the defining feature of who I am as a person.”
Rebirth of Apsara traces the journey of Khmer classical dance from its mythological origins through devastation under the Khmer Rouge to its revival and present-day vitality in Cambodia and across the Cambodian diaspora in the US. Central to the production is the apsara, the enduring symbol of Cambodian dance and cultural identity.
“What other symbol would I use?” Burt told The Post. “The Apsara is the symbol of Cambodian dance and a central symbol of our culture.”
The production also serves as a tribute to the small group of surviving master artists who led the post-genocide revival of Khmer arts.
Burt said the work honours figures such as her uncle, the late cultural leader Chheng Phon, and her master teacher Soth Sam On, whose efforts helped rescue classical dance from near extinction.
“I want to make sure people do not forget the amazing contributions a handful of surviving master artists made to bringing our dance and culture back from nearly being lost,” she said. “My story is just one of many.”
Unlike the touring versions staged in the US, where Burt integrated Cambodian community dancers in each city, the Cambodia production places local dancers at the core of the performance.
Many of them were involved in developing the original Rebirth of Apsara during Burt’s visits to Cambodia between 2022 and 2023.
“They are the foundation of the work here,” she said. “The entire production feels more professional with their involvement because of the wonderful skills they bring.”
The dancers were trained by renowned choreographer Sophiline Cheam Shapiro, giving the production a strong classical foundation.
Burt said seeing her choreography performed by highly trained Cambodian dancers has been particularly meaningful.
Musically, the production blends Western composition with Khmer sensibility.
The score, written by composer Chinary Ung, is performed alongside traditional influences, including contributions from Royal University of Fine Arts lecturer Dorivan Keo, creating what Burt described as a distinctly Khmer feel without altering the complexity of the original composition.
Beyond commemoration, Rebirth of Apsara looks forward. Burt said the work is not only about preservation, but about allowing Khmer arts to grow, just as they did during the cultural Golden Age of the 1960s.
“Culture and my art form is like any living organism,” she said. “It must be protected, but it must also be allowed to grow.”
For younger Cambodians, Burt hopes the performance demonstrates how traditional art can speak to contemporary realities while remaining rooted in classical foundations.
“I want young people to see the possibilities of how art can be used to tell stories that have both cultural and contemporary meaning,” she said.
As Cambodia closes the 50th anniversary of the genocide, Burt said the timing is intentional — a moment to remember the past while looking firmly toward the future.
“We can never forget how far we have come,” she said. “But now is such an important time to look to the future for new hope and new artistic possibilities that embrace both past and present.”
She added that when the curtain falls, she hopes audiences leave with pride, admiration and a renewed sense of hope.
“I want everyone to feel hope,” Burt said. “To rejoice in how we have overcome our past to now be thriving in the here and now.”