Deadly sins

Be warned, commit a deadly sin and this may happen to you

I have a stack of photos and stories from my recent visit to Kompong Cham and simply not enough hours in the day! I will post more in the next few days, I promise. In the meantime, here are a couple of photos. The painted wall above, at Phnom Theat Srei, 30kms northwest of Kompong Cham, hosts a scene showing what will happen to you in hell if you commit deadly sins such as adultery, stealing land, talking behind someone's back, even breastfeeding your baby in the pagoda! You can find similar examples in some of the older pagoda's - take time to look at the wall paintings inside as well as outside the viharas. In the picture below, I was joined by three young boys as I watched the sun set from a small hill next to the disused airfield just outside Kompong Cham. They were sat on the wall of an old army lookout post.

Lazy days and sunset views

Teaching Genocide

Khamboly Dy, who published A History of Democratic Kampuchea (1975-1979) through DC-Cam in Phnom Penh, argues that its time to teach the schoolchildren of Cambodia the facts about the Khmer Rouge period. Until now, the Khmer Rouge regime is scantily covered in textbooks and many children simply don't believe the stories of their parents and grandparents, or don't care. However, with the KR Tribunal progressing, the topic has never been so hot, so its a good time to press the Education Ministry to get it sorted. It's not just the addition of a new textbook that will do the trick as Dy argues but curriculum reform, teacher training and much more besides will be required. I can't agree more. Read Dy's assessment here.

Here's my April 2007 post on the publication of Khamboly Dy's book:
On Wednesday of this week, the first history book written by a Cambodian about the Khmer Rouge was published by DC-Cam in Cambodia. A History of Democratic Kampuchea was written by Khamboly Dy and will be avalable free to high school teachers and students as a core reference book. Cambodian schools teach little about the Khmer Rouge, largely because the subject is sensitive among political groups and high-profile individuals once associated with the guerrilla movement. And previous books about Cambodian history have been written almost exclusively by foreigners. Dy has worked with DC-Cam since 2003 and published a lot of articles in the Center's magazine, Searching for the Truth, as well as leading its Genocide Education project. He holds a bachelor's degree in English from the Royal University of Phnom Penh and is a Bachelor of Business Administration from Cambodia's National Institute of Management. Link.

Rattana Pok's life story

How did I miss this book when it was published last October? With a title this long, I must've been looking the other way! Rattana Pok's memoir When Slaves Became Masters: A true-life story of a little boy before, during, and after the unfathomable evil of Pol Pot’s regime, is a self-published real-life narrative of his experiences growing up in Cambodia. Pok was born in the southwest of Cambodia, in Kampot province, in 1964. He managed to get to the United States in 1981 and has been an interpreter since 1993, currently working for the US Dept. of State, interpreting for numerous Khmer delegates and dignitaries on tours, conferences and training sessions throughout the US. and abroad. His life story is available through Amazon.

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My apologies to Sarith (the groom) and Sreyla (the bride) for forgetting to post a picture of the happy couple during their wedding party celebrations on Saturday 16th. I even had my hair cut especially. It was my eighth wedding party in the few months that I've been living in Phnom Penh and this one was held at their home in Prekreang village, miles out in the Takhmau countryside. It was the usual riotous affair, especially weddings out in the sticks, but surprisingly, I wasn't the only westerner present. In fact, I felt affronted that other foreigners were invited - just kidding. Anyways, here's the happy couple.

The happy couple: Sarith (left) and Sreyla

Closure on classical dance

Sam Sathya has been Cambodia’s prima ballerina for more than a decade. She's also a teacher at RUFA

In this my final post from yesterday's introduction to the highest-level of classical Cambodian dance, I hope my posts have given you a thirst for more of this unique art-form and I sign-off with a few remaining photos from the morning's performance. I was able to gain some backstage access though all in the troupe were so friendly and accommodating that everyone was welcome. And the truth be told, I think the girls simply love having their picture taken.

A scene from the performance involving Vicheaka, Limsothea and Mony
The pinpeat orchestra musicians take their bow
All smiles from Vuth Chanmoly (left) and Topla
Thanks to Savin for my invite to the performance

UNTAC unveiled

The UNTAC years' panel: LtoR: Dina Nay, Tom Fawthrop, Andrew Thompson

The latest in a series of forums reviewing the Legacy of the Khmer Rouge took place at the Pannasastra University tonight in Phnom Penh and focused on the UNTAC period, from the signing of the Paris Peace Accords to the election in 1993. Author and journalist Tom Fawthrop again took the moderator's chair and enlightened the audience with his in-depth knowledge of the period. He was supported by panelists Dina Nay, who spent the UNTAC period as an assistant to the force's military commander General John Sanderson, while doctor Andrew Thompson worked for the UN's human rights component. Both speakers provided the audience with their own perspectives on the period and encouraged questions from the floor. One of the points that became clear in the discussion, was the UN's refusal to acknowledge the crimes committed by the Khmer Rouge, and instead to focus on reconciliation and the elections, even though the KR eventually refused to take part. Miraculously, election day went off without a hitch - that can't be said for the UNTAC operation itself or the messy political aftermath. Next Monday's (25th Feb) panel will be on Cambodia after UNTAC (in the 1990s) and will include author and former UN staffer Benny Widyono. This series of panel discussions is hosted by Meta House and Konrad-Adenauer Foundation.

Three faces

Savin's public face as a top-class classical dancer, wearing her single-spired mokot crown
Savin's private face, when not in the public arena

She'll hate me for this but here are three faces, two of them natural, the other an artistic impression, of one of the Royal Ballet of Cambodia's leading classical dancers, Sam Savin. She first toured abroad at the age of fourteen and will soon go to France for the fifth time in her professional career. She has also toured the United States a few times, as well as Europe and Japan amongst other countries, helping to promote Cambodia's art around the world. As an artist, you really don't need to guess where she lives - yes, that's right in the Bassac, which is traditionally home to Phnom Penh's community of performing artists from musicians and singers to dancers. Now twenty-eight, she is a teacher at the Royal University of Fine Arts (RUFA), though with such a busy calendar of performances and a hectic touring schedule, she regrets that she doesn't have enough time to devote to her students. Keeping Cambodia's traditions alive is a tough task because of the small number of artists accomplished enough to perform at the highest level. Savin has performed at the top level now for fourteen years and shows no sign of taking it easy. An artistic impression of Savin's classical dance face and crown

Ethereal and full of grace

Four different costumes from this morning's classical dance performance. LtoR: Sopheap, Limsothea, Chanmoly & Bunnavy

Here are some more photos from this morning's classical dance performance hosted by Amrita Performing Arts in the company of the Culture Minister. The costumes and stylized movement of the dancers were ethereal and gracefulness personified throughout and told a story much like a mime. The kbach hand gestures and accompanying foot movements require years of practice and stretching at a young age so the limbs become very flexible. The cast was all-female and they played all the roles, neay rong (men), neang (maidens/heavenly creatures) and yeak (giants). I'm kicking myself for not finding out the full story of this morning's performance but Savin was busy as you can see from the photos and I was busy taking pictures! As far as I could make out the main story-line was centred around a male character (the King) rescuing a damsel (the Princess) in distress, but don't quote me on that. Savin's costume was very ornate and embroidered with sequins and she wore a mokot headpiece to denote her status as a divinity with its tall single-spired crown. On her right ear was a rose and a phuong (flower tassel made from jasmine and michelia blossoms) on the left side of the crown. I will find out more and post the result of my findings in the comments section in due course. For now I will let the pictures speak for themselves.

Onstage and 'in the moment' - Vicheaka is the dancer

The main performers and orchestra take their bow at the end of the show

Two of the lead characters pose after the performance, Vicheaka and Mony

Savin (left) and two of her heavenly half bird, half human colleagues, Vichary & Sopheap pose after the show

A taste of Khmer dance

Principal Royal Ballet classical dancer Sam Savin

This morning I gate-crashed a performance by members of the Royal Ballet of Cambodia and the Royal University of Fine Arts performing as part of an event organised by Amrita Performing Arts and presided over by the Culture Minister, Veng Sereyvuth. Hard to believe but this was my first-ever viewing of the top-level of classical dance performers in Cambodia and my inside contact was one of the troupe's best dancers, Sam Savin. Today's performance was a break from the rigours of daily practice for the troupe, of which twenty will be off to perform in France for a month very soon. Savin has been dancing since she was twelve, she's now 28 and has performed abroad many times in major performances and tours such as Dance - The Spirit of Cambodia, Seasons of Migration, she starred as Pamina Devi in the dance of the same name and recently performed in L'Nuits d'Angkor Festival at Angkor Wat. We are talking the very pinnacle of classical Cambodian dance. I managed to grab a few photos before, during and after the performance, which I'll post here. As for the details of the dance itself, Savin tried her best to explain but I need to do some more research before I commit myself to print! More later.

The beauty and the beast (the beauty has wings, the beast is wearing the trousers!)

Some of the leading dance performers and their teachersSavin takes center stage during this morning's dance performance
Savin and her fellow heavenly creatures pose for the camera after the performance. LtoR: Savin, Vichary, Sopheap & Sakada

Rarely-visited Prasat Srah Keo

Head monk Touch Seam Lean poses proudly in the main vihara of Wat Srah Keo

On my return journey from Phnom Chisor a couple of weeks ago, I decided to trek across country from Route 2 to Route 3 on the hunt for an ancient prasat by the name of Prasat Srah Keo. As it turned out, my findings didn't exactly set the world alight but it made for a pleasant way to end my day's exploration. Prasat Srah Keo lies fifty kilometres south of Phnom Penh and about a kilometre from Route 3. Nearby is a large expanse of water called Thnal Dak Baray, and the shouts of the boys jumping into the cooling water was ringing in my ears as I entered the grounds of the pagoda, Wat Srah Keo. My arrival sparked the interest of the wat's head monk, Touch Seam Lean, who literally skipped over to meet me. We talked about the prasat we stood next to, which retained brick foundations and two colonettes but little else. He said that the prasat had been broken during the Khmer Rouge era, when the main vihara had been used as a prison. I told him about my own interest in genocide memorials and he asked if he could join me on my next foray into his province to visit them. He was very interested in Khmer Rouge history. He unlocked the door to the prasat to reveal a worn lintel very similar to one at Phnom Chisor. It was an image of Krishna lifting Mount Govardhana flanked by two worshippers, above a grinning kala, though it was difficult to see clearly and the monk warned me that a snake was thought to live in the dark recesses of the prasat. I exited pretty smartish. He then guided me into the main vihara for some photos with him and the younger monks before we visited some of the laterite foundations on which the vihara is built and spotted a large lotus flower which would've been mounted on the top of the prasat. In his time at the pagoda, I was one of just a handful of visitors who'd come looking for the prasat, and most of the others had been with the fine arts department. We parted with friendly handshakes and an exchange of mobile numbers.

The sandstone doorway to the prasat with two colonettes in place

This lintel shows Krishna lifting Mount Govardhana above a grinning kala

A sandstone lotus bud which would've adorned the summit of the prasat. Note the laterite foundation blocks

These children were fishing in Thnal Dak Baray, next to Wat Srah Keo

Neang Khmau continued

The two remaining towers at Prasat Neang Khmau

The two brick towers of Prasat Neang Khmau are a popular stop along Route 2, approximately 50kms south of Phnom Penh and usually incorporated into a visit to nearby Phnom Chisor. From Neang Khmau I took the back roads to Chisor through dusty villages rarely seen by travellers and recommend the route if you prefer avoiding the main highway. The only downside were the trucks shifting slate and rocks from the quarries at Chisor kicking up dust through the villages en route. Back at Neang Khmau, the north tower is less well-preserved and its lintel is in complete comparison to the one in place on the south tower. It's been completely eroded or hacked away by thieves or vandals and the altar inside is a pedestal covered in bat droppings. Wooden supports hold up the load-bearing and decorative lintels. Chea Chhang, the old man with the key to the south tower recalled that two statues found at the site were now in the museum at Phnom Penh and that if I could arrange it, could they be returned to attract more visitors to his prasat. I said I would ask! The statues in question are a headless female figure with pleated skirt and a Vajimukha, with the body of a man and the head of a horse, both from the early 10th century Bakheng style. Stop by Prasat Neang Khmau and say hello to Chea Chhang if you get the chance - tell him the museum was unwilling to release the statues!

80 year old Chea Chhang, the man with the key
The less-preserved north tower and a stupa where the 3rd tower would've stood
The lintel of the north tower has been destroyed beyond recognition The doorway to the north tower with its colonettes in reasonable condition flanked by wooden supports