List of DK Films
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Performance and Its Documentation in Visual Art in Cambodia
UDAYA, Journal of 12, 2014 UDAYA, Khmer Studies, “Performance is Contemporary:” Performance and its Documentation in Visual Art in Cambodia “PERFORMANCE IS CONTEMPORARY:” PERFORMANCE AND ITS DOCUMENTATION IN VISUAL ART IN CAMBODIA Roger Nelson University of Melbourne At a “live painting” and “performance” event in Battambang on March 30, 2014 (titled Selpak Kandia and collaboratively organized by a group of artists including Roeun សិល្បៈកណ䮏ៀ Sokhom [រឿន សុខុម] and Pen Robit [ប៉្ន រ៉ូប៊ីត]), one artist inadvertently flung paint onto an expensive DSLR camera (the photographer happened to poke the lens around the edge of a canvas just as the painter was expressively hurling paint with his hands). Clearly, photographic and video recording was not a key consideration in the planning of this event. Rather, Selpak Kandia —like many other “live painting” and “performance” events organized by this group of artists over recent years in Battambang— was intended to gather and engage a large, live audience of passersby (Figure 1).1 By contrast, when Khvay Samnang ) covered his face and bare body in newspaper (ខ䮜្ សំ㮶ង clippings and stumbled blindly for several minutes over the newly sand-filled Boeung Kak Lake on March 7, 2011, there was no live audience other than fellow artist Lim Sokchanlina ( លីម សុខាន់លី㮶), who assisted with filming. Indeed, the timing and precise location of this action was I acknowledge the continuing sovereignty of the Wurundjeri people of the Kulin Nations as the Indigenous owners of the land, in Melbourne, Australia, where sections of this essay were written, including at The University of Melbourne. As is customary, I offer my respects to the Wurundjeri elders, past and present. -
CAAM Spotlights the Survivors of Cambodia's Fall To
FOR IMMEDIATE RELEASE Media contact: Larsen Associates at (415) 957-1205 or [email protected]. This is not the public information number. Please do not publish it. CAAM Spotlights the Survivors of Cambodia’s Fall to the Khmer Rouge SAN FRANCISCO, Feb. 12, 2015 — The Center for Asian American Media (CAAM) is mindful of the moments that define Asian and Asian American history and as the 40th anniversary of Cambodia’s fall to the Khmer Rouge approaches, CAAMFest is honored to present a collection of stories from this tragic period. Through the eyes of Dr. Haing S. Ngor, Kuoy Loch and a number of Cambodian musicians, their tales of survival and resiliency resonate throughout this year’s powerful Cambodian selections. Part of the Spotlight feature on acclaimed filmmaker Arthur Dong, CAAMFest presents the world premiere of Dong’s new documentary THE KILLING FIELDS OF DR. HAING S. NGOR. THE KILLING FIELDS OF DR. HAING S. NGOR chronicles the years encapsulating the Khmer Rouge’s tyrannical rule over Cambodia as seen through the eyes of Dr. Haing S. Ngor, who escaped to America and recreated his eXperiences in the film THE KILLING FIELDS, for which he won an Oscar®. Winner of the Golden Gate Award for Best Bay Area Documentary, local San Francisco director Sara Dosa showcases THE LAST SEASON, a poetic film about a Cambodian freedom fighter, Kuoy Loch, and his friendship with an ailing Vietnam veteran and his wife. Sharing their eXperiences of war in Southeast Asia, the three form a new family in their search for the rare matsutake mushroom. -
Le Sommeil D'or
Le sommeil d’or Golden Slumbers Davy Chou A nocturnal drive along a rural highway into a city at dawn Die Autofahrt über eine nächtliche Landstraße in den Morgen der that is somehow moving in the wrong direction. It is only Stadt läuft in die „falsche“ Richtung. Erst nach einer Weile bemerkt after a while that you notice that the cars are travelling man, dass alle rückwärts fahren, ins Dunkel der Wirklichkeit. Mit dieser backwards, receding back into the dusk of reality. This rätselhaften Metapher beginnt eine Reise in Kambodschas unbekannte mysterious metaphor forms the starting point for a journey Filmgeschichte. Zwischen 1960 und 1975 entstanden fast 400 Filme in into the unknown history of Cambodian film. Nearly 400 films Phnom Penh, von denen nur noch 30 existieren. Die Khmer Rouge haben were made in Phnom Penh between 1960 and 1975, only 30 of sie verbrannt und verrotten lassen, genauso wie viele der Studios und which survive today. The Khmer Rouge burnt them or allowed Kinos. Die meisten Filmschaffenden wurden Opfer des Genozids. Der them to decay along with many of the country’s studios and Regisseur Davy Chou, Enkel eines der wichtigsten Produzenten der cinemas. Most of those involved in the film industry became „Goldenen Zeit“, rekonstruiert in seinem Film das kinematografische Erbe victims of the genocide. Director Davy Chou, the grandson des Landes. Wie ein Archäologe geht er dabei vor, wissend, wie unmöglich of one of the most important film producers of the “Golden es eigentlich ist, mit Überlebenden über Lebenswerke zu sprechen, die Age” of Cambodian cinema, uses his film to reconstruct the zwar zerstört wurden – aber nicht vergessen. -
Witness and Recuperation: Cambodia's New Documentary Cinema
Concentric: Literary and Cultural Studies 39.1 March 2013: 7-30 Witness and Recuperation: Cambodia’s New Documentary Cinema Annette Hamilton School of Arts and Media University of New South Wales, Australia Abstract The documentary cinema of Rithy Panh has played a significant role in the effort to overcome the traumatic heritage of the Khmer Rouge era in Cambodia (1975-79). His cinema of witness advances claims for the restoration of memory as an ethical imperative, and his films have provided encouragement for the claims of justice for survivors. Witness and re- enactment are central to his mode of address. A new movement has emerged in recent years from a younger generation whose work continues to explore the value of documentary in challenging the prevailing cultural amnesia and seeks to recuperate the connection between the present and the past. This paper discusses the work of some of the emerging documentary makers, highlighting their distinctive voices and visions, their debt to the style and framework of Rithy Panh’s cinema, as well as new perspectives which seek to build on the past through the exploration of the value of the artists and intellectuals who preceded them. Keywords documentary, Cambodia, witness, cultural amnesia, memory, trauma, Genocide Studies 8 Concentric 39.1 March 2013 We have art so we are not defeated by the truth. —Friedrich Nietzsche Kritische Studienausgabe Cambodia’s struggle to overcome the traumatic heritage of the Khmer Rouge era (1975-79) has been waged on many fronts. Rithy Panh’s confronting documentary cinema has been highly influential in the exploration of this almost unimaginable tragedy. -
Gender and the Nation in Popular Cambodian Heritage Cinema
Gender and the Nation in Popular Cambodian Heritage Cinema A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MAY 2014 by: Jessica Austin Thesis Committee: Miriam Sharma, Chairperson Barbara Watson-Andaya Jonathan Padwe Jonna Eagle Keywords: Cambodia, Cinema, Gender, Nation, Popular Culture, Sihanouk ii Dedicated to: My families, both near and far. iii Acknowledgements In researching this project for two years, I have been incredibly fortunate to receive the help, guidance, and friendship of a vast network of people living and working in Cambodia, Hawai'i, and the United States. None of this would have been possible without the support of the Center for Southeast Asian Studies at the University of Hawai'i-Manoa, and generous grants from the Moscotti Foundation. I am also indebted to Severine Wemaerae, Gilles Duval, Rithy Panh, and Davy Chou for allowing me to naively interrupt many proceedings of the Memory! International Film Heritage Festival 1st Edition so that I could dive head first into the world of film archives, preservation, and filmmaking in Cambodia. The employees of the Bophana Audio-Visual Archive in Phnom Penh were extremely patient with me while I watched films and asked them incessant questions about film heritage, for which I am so very grateful. The youth organizations I worked with, Kon Khmer Koun Khmer and Preah Soriya student group at RUPP, were extremely generous with their time, and I extend my gratitude to all of the members of those groups. -
The Oregon Shakespeare Festival Production Of
The Artistic Director’s Circle Season Sponsors Gail & Ralph Bryan Una K. Davis Brian & Silvija Devine Joan & Irwin Jacobs Sheri L. Jamieson Frank Marshall & Kathy Kennedy Becky Moores Jordan Ressler Charitable Fund of the The William Hall Tippett and Ruth Rathell Tippett Foundation, Jewish Community Foundation David C. Copley Foundation, Mandell Weiss Charitable Trust, Gary & Marlene Cohen, The Rich Family Foundation The Dow Divas, Foster Family Fund of the Jewish Community Foundation, The Fredman Family, Wendy Gillespie & Karen Tanz, Lynn Gorguze & The Honorable Dr. Seuss Fund at The San Diego Scott Peters, Kay & Bill Gurtin, Debby & Hal Jacobs, Lynelle & William Lynch, Foundation and Molli Wagner Steven Strauss & Lise Wilson THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF PRODUCTION SPONSORS Una K. Davis Brian & Silvija Devine The Paula Marie Black Endowment for Women’s Voices in the Art of Theatre Dear Friends, LA JOLLA PLAYHOUSE PRESENTS Christopher Ashley Debby Buchholz Like many of you, just the mere The Rich Family Artistic Director of La Jolla Playhouse Managing Director of La Jolla Playhouse snippet of a song can instantly and viscerally transport me back to a THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF particular moment of my life. I can’t MISSION STATEMENT: hear the opening phrase of Bob Dylan’s “Tangled Up in Blue” without La Jolla Playhouse advances remembering road trips spent in the theatre as an art form and as a vital backseat of my family’s Oldsmobile Vista Cruiser, listening social, moral and political platform to our eight track tape player. Such is the power of music to by providing unfettered creative intertwine with our personal histories. -
1 Gendered Modernity in Cambodia: the Rise of Women in the Music
Gendered Modernity in Cambodia: The Rise of Women in the Music Industry LinDa Saphan, Ph.D Assistant Professor of Sociology College of Mount Saint Vincent, New York, New York Abstract Cambodian popular music from 1950 on is closely linked to the social and political situation of the times. In the second half of the 20th century Cambodia went through many radical political changes in a very short period of time. Those changes are reflected in the changing nature and role of popular music and rock and roll in Cambodia. Modernity in Cambodia was seen as both Western and the prerogative of men (Berman 1988). But in the 1960s women took center stage in Cambodian popular music, displaying a new type of womanhood and creating their own path to modernity. Thus the music of the prewar era sheds light on the Cambodian process of modernization, as well as the changing role for modern Khmer women. This article will highlight two women who were among the most revered and remain popular icons in Cambodia today: Ros Serey Sothea and Pen Ran. In these two women we find two divergent ways of articulating modernity, the first more hegemonic, traditional, and idealized; the second a new conception of womanhood, influenced by notions of modernity adapted from the West. They each in their own way maneuvered their identity as modern women and reinterpreted the prevailing notion of Khmer womanhood. 1 Introduction In the second half of the twentieth century Cambodia went through many political and social changes in a short period of time. The country had been under the French Protectorate, established in 1867 to protect Cambodia from invasion by Thailand (then called Siam), for almost a century. -
Cambodian Rock Band
SC 54th Season • 516th Production JULIANNE ARGYROS STAGE / MARCH 4-25, 2018 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents CAMBODIAN ROCK BAND by Lauren Yee featuring songs by Dengue Fever Takeshi Kata Sara Ryung Clement David Weiner Mikhail Fiksel Se Hyun Oh COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN SCENIC DESIGN Andy Knight Joshua Marchesi Joanne DeNaut, CSa Bryan Sommer DRAMATURG PRODUCTION MANAGER CASTING STAGE MANAGER Music Director Matthew MacNelly Directed by Chay Yew Carolyn & Bill Klein Samuel & Tammy Tang Honorary Producer Honorary Producer CAMBODIAN ROCK BAND was commissioned by South Coast Repertory as part of SCR’s CrossRoads Initiative, with funding from the Time Warner Foundation. This play is a recipient of an Edgerton Foundation New American Play Award. Developed with support from The Ground Floor at Berkeley Repertory Theatre, Berkeley, CA. Cambodian Rock Band • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Duch ................................................................................................................... Daisuke Tsuji Chum ............................................................................................................................ Joe Ngo Neary/Sothea ................................................................................................ Brooke Ishibashi Ted/Leng ........................................................................................................... -
Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
PRESENTS DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL Directed by John Pirozzi, USA/Cambodia, 2014, 106 minutes, In English, Khmer, and French with English Subtitles Bookings & Press: Jim Browne Argot Pictures 646-732-3725 [email protected] DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL Through the eyes, words and songs of its popular music stars of the 50’s, 60’s, and 70’s, DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL examines and unravels Cambodia’s tragic past. Combining interviews with surviving musicians and never-before-seen archival material and rare songs, the film tracks the winding course of Cambodian music as it morphs into a unique style of rock and roll. A vibrant musical culture that was nearly lost forever under the brutal Khmer Rouge regime is revived and celebrated. ABOUT THE FILM: During the 60’s and early 70’s, as the war in Vietnam threatened its borders, a new music scene emerged in Cambodia that took Western rock and roll and stood it on its head – creating a sound like no other. Cambodian musicians crafted this sound from the various rock music styles sweeping America, England, and France, adding the unique melodies and hypnotic rhythms of their traditional mu- sic. The beautiful singing of their renowned female vocalists became the final touch that made this mix so enticing. But as Cambodian society - young creative musicians in particular - embraced western culture and flourished under its influence, the rest of the country was rapidly moving to war. -
Writing the Postcolonial City: Phnom Penh and Modernity During Sangkum Reastr Niyum, 1955-1970
Writing the Postcolonial City: Phnom Penh and Modernity during Sangkum Reastr Niyum, 1955-1970 by Siti Galang Keo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter B. Zinoman, Chair Professor Kerwin Klein Professor Penelope Edwards Summer 2019 Abstract Writing the Postcolonial City: Phnom Penh and Modernity during Sangkum Reastr Niyum, 1955-1970 by Siti Galang Keo Doctor of Philosophy in History University of California, Berkeley Professor Peter B. Zinoman, Chair This dissertation examines novels, essays, films and songs of the Sangkum Reastr Niyum period, 1955-1970, to explore the layers of meanings Cambodians held of Phnom Penh. After the Geneva Accords in 1954, Phnom Penh emerged as the capital city of a newly independent nation-state, the Kingdom of Cambodia. The city under French colonial rule was secondary to Hanoi and Saigon, but once Indochina dissolved, its population exponentially increased. Phnom Penh was at the center of Cambodia’s road networks, its banking system, and was home to the best universities and schools. The many jobs and opportunities attracted rural migrants to the city. The population boom was one of the many ways Phnom Penh transformed. Norodom Sihanouk, then the head of state, made Phnom Penh the epicenter of government modernization projects. Under his watch, the capital transformed from being a marshy, provincial hub into an exciting scene of cosmopolitan innovation. Urban Cambodians combined ideas from Le Corbusier with traditional Khmer architectural details to design their “modern” buildings. -
Expression De Soi Et Subjectivité Bouddhiste Chez Des Artistes En Arts Visuels Contemporains De Battambang Au Cambodge
Expression de soi et subjectivité bouddhiste chez des artistes en arts visuels contemporains de Battambang au Cambodge Mémoire Marie-Ève Samson Maîtrise en anthropologie Maître ès arts (M.A.) Québec, Canada © Marie-Ève Samson, 2014 Résumé Ce mémoire vise à mieux comprendre comment des artistes du Cambodge, basés dans la ville de Battambang, font sens de leur subjectivité à travers leur démarche en arts visuels contemporains. Dans un contexte où les arts traditionnels au Cambodge étaient autrefois consacrés à une vocation religieuse ou utilitaire, il est pertinent de s’attarder aux changements qui ont permis à ce que « l’expression de soi » devienne une préoccupation fondamentale pour les artistes contemporains au Cambodge. En 2012, j’ai mené un terrain ethnographique auprès d’artistes visuels contemporains nés et vivants à Battambang. Mes résultats montrent que la subjectivité de l’artiste est signifiée à travers des rôles et des valeurs (humilité, équanimité, compassion, discernement) teintés par le bouddhisme, et plus particulièrement le bouddhisme moderniste cambodgien; ce qui entraîne parfois pour les personnes rencontrées une hésitation ou un refus de s’identifier comme selpakor (artiste). De plus, mes résultats soulignent que ces arts contemporains ne se posent pas en rupture complète avec l’héritage artistique cambodgien. Plus généralement, ma recherche développe divers enjeux concernant l’inscription des arts visuels contemporains de Battambang à la scène artistique globale. iii Abstract The aim of this thesis is to better understand how contemporary visual artists, based in Battambang, Cambodia, express their subjectivity through their artistic process. In a context where traditional arts have been dedicated to religious and utilitarian purposes, it is relevant to reflect on the changes that have allowed “self-expression” to become a central concern for contemporary artists in present day Cambodia. -
Revival of the Cambodia's Music As a Form to Sustain National Identity
Revival of the Cambodia’s music as a form to sustain national identity A case study of SmallWorld SmallBand in producing authentic songs Author: Sophornna Chea Supervisor: Deniz Neriman Duru Examiner: Gustav Persson Department of Communication and Media MSc in Media and Communication Lund University, 2020 Abstract This thesis critically examines the experiences of young artists in Cambodia’s music industry with regard to their experiences of incorporating traditional instruments and genres into music- making processes. The investigation is based on a case study of an original music band known as SmallWorld SmallBand, which is one of the leading bands in Cambodia. Most songs produced by this band are contemporary genres, which combines traditional and modern musical instruments. The combination of these instruments and genres, selected from storytelling, literature, poems and real lives, is a sign of revival of national identity in an era of digital media. Additionally, this work also focuses on the values of originality and authenticity, which contribute to maintaining a sense of national identity. Although Cambodia’s contemporary music had reached a peak in the 1960s, the music industry was completely abolished during the Khmer Rouge between 1975 to 1979; only revolutionary songs were allowed to perform. The music industry marginally emerged after the war, and most songs were copied from the Western and Asian countries; making the originality and authenticity have been forgotten. Because of this phenomenon, the band composes music by introducing Khmer national identity, making their songs original and authentic. This thesis is adopted a qualitative multi-method which are genre analysis in supplementary with a data set of visual semiotic analysis and textual analysis of lyrics and an exclusive interview with the vocalist of the band.