AsiaLIFE

Cambodian Living Arts is working with young and old alike to keep cultural traditions alive and revive art forms that were almost wiped out during the Khmer Rouge. Following the launch of a new season of dance shows at the National Museum, Seth Emmanuel Rinoza talks to its director Phloeun Prim. Photography by Conor Wall.

The Khmer Rouge not only killed millions of people during its bloody regime, but almost destroyed cornerstones of Cambodian culture. Dancers and musicians practicing arts that had evolved over hundreds of years were eradicated. Cambodian Living Arts (CLA) was built with the vision of resurrecting such skills by encouraging young Cambodians to learn traditional arts, ensuring their survival for future generations.

Where did it all begin?

Cambodian Living Arts was started by a friend of mine, Arn Chorn-Pond, who is American-Cambodian. When he came back in the early ’90s, he found a country where artists could not express themselves. This was not only because of political reasons but also due to economic-related reasons. To live as an artist during the early ‘90s was extremely challenging and difficult.

Arn, who survived the Khmer Rouge as a young flutist, found the master who had taught him in a dire state and suddenly realised that the future of traditional arts was in an emergency situation. If we did not take steps to preserve them, Cambodian culture and identity would be completely lost.

The main issue was the masters that survived the Khmer Rouge – who were very few in number – were very old. It implied that we needed to accelerate the process of teaching traditional arts to the younger generations, to ensure that they were able to pass it on.

How did the classes start and what issues did you encounter?

We started with one class, which I think was related to traditional wedding music, after which flute classes were led by a flute master. He found the other masters and over time we have worked with 20 masters of traditional arts. Five of them have passed away in the last 10 to 15 years.

Arn found a few people who were willing to financially assist him in restoring traditional arts that not even the School of Fine Arts or the Ministry of Culture were much interested in. Because of this, we have some really interesting art forms such as funeral and wedding music and Buddhist chants. We work with traditional musical instruments in Rattanakiri, called mem. Some of these practices were about to disappear.

How are classes arranged?

Classes are arranged based on the masters who we locate and take in. We also appoint assistant masters or apprentices to help as they are generally very old. We do not offer a curriculum because the traditional arts should be taught in traditional ways that have been handed down generation after generation. What we do is help them have the infrastructure and resources to make the learning process easier and more comfortable.

We also provide masters with stipends, so that they are not obliged to work outside our organisation in order to make a living, and we also help them become self-sustainable. The shadow puppetry team, for example, is now closely connected with the Amansara Resort in Siem Reap, where they perform regularly while generating income of their own. Right now we have about 15 classes all over the country in eight provinces.

The fact that the masters are growing old is a major issue. How is this being addressed?

Because we fear that the masters will soon be incapable of teaching, we created a recording studio. With the help of some volunteers in the United States and Peter Gabriel, we were able to set it up and are able to produce CDs and archive recorded music. We also create video documentaries about the forms of traditional arts, in order to keep them existing.

We are now faced with the issue of how to ensure their sustainability. One of the key focuses is working with young student artists and teachers. We started a peer-teaching programme that focuses not on the masters that are growing older and older, but on their apprentices and lead students. We are now investing on them to be the future teachers and masters of tomorrow.

How is CLA impacting youth?

You can destroy people but you can never really take away what you are made of. It feels amazing to see the youth of today, who are inevitably influenced by other cultures, still show their love for their own culture and traditions. You see in Cambodia, the day you are born you will already be submerged in ceremonial practices and rituals - weddings, festivals, Buddhist rites. It still proves that our traditions are in our blood.

What is the organisation’s ultimate goal?

People still identify Cambodia through the great temples of Angkor, which is a positive thing, but it is a tangible treasure that cannot possibly last forever. Some see Cambodia through the tragic events during the Khmer Rouge. I personally think that it is more important to regain the living arts of Cambodia. I think that the term “living arts” is beautiful. It implies something that is living, intangible and part of our lives - part of our present and shaping our future.