A study of shapes. Shapes in Cambodian statuary are not accentuated but rather suggested by the play of shadow and light.
Under the vigorous impulsion given by Prince Norodom Sihanouk, Head of State, steps have recently been taken which should lead to a revival in Cambodia’s traditional arts and handicrafts. These involve drastic structural changes designed to improve, and co-ordinated training methods and instruction in the following branches: dramatic art, choreography, plastic arts, architecture and archaeology.
This was the more necessary as — for some decades past — Khmer artists and artisans have revealed little ability to renew traditional art-forms or to create works of an original nature: a failure probably to be ascribed to a complex created by the greatness of Khmer classical art, which led Khmer artists and artisans to reproduce pale copies of masterpieces dating from the XLLth century. Thus, wood carvings were turned out by the hundred representing some <<Apsara>> or some Buddha seated on a Naga — hack work which revealed no trace of artist’s personality, or creative imagination — by artisans oppressed by this heavy heritage, and by teaching methods which encouraged subservience to, and nostalgia for, an art-style which defied imitation.
Although no works of art in stone or bronze have been produced since the Angkor period, Cambodians retained their innate artistic abilities: a fact proved by the surviving examples of sculptures in wood made during the centuries of decline, the rarity of which is to be accounted for by the perishable nature of the medium. Nevertheless, the ability to create original works was slowly impaired due to the social conditions then obtaining.
Although an attempt was made to arrest this process in 1915, when an Art School was founded, and entrusted with the mission of revitalizing the artistic instincts and sensibility required of the sculptor, the standard of teaching tended to decline, while the necessary stimulus was not forthcoming, due to the failure to provide for the infusion of new blood needed today for artistic creation.
With these circumstances in mind, the Head of State recently issued directions for the existing facilities for training and research into the arts to be completely reorganize, with a view to arresting the decline and disappearance of traditional techniques — sandstone is no longer worked, while the art of sculpting in stone has likewise been consigned to oblivion — and of combatting the signs of degeneration apparent in Khmer art, due to the growing and damaging influence of other oriental national art-forms.
A plan designed to attain these objectives was soon drawn up with the accent placed on providing students with a sound grounding in Khmer classic art in the belief that, once they were impregnated with these principles, students would be able to strike out in new directions. For it was considered that the budding artist, who has assimilated the art of the past, and has become acquainted with modern ideas and techniques, would be well-equipped, and psychologically liberated and suitably inspired to produce original works, which would be Cambodian in inspiration, and thus contribute to the creation of a modern national art.
The efforts being made are principally axed on the plastic arts, and students are being encouraged to evolve new, and personal styles, derived from traditional conceptions. The objective aimed at is the renewal of that artistic inspiration, which was responsible for the creation of classic art-forms. The method adopted is to introduce the student to examples of classic art, and to instruct him in the conventions observed in their production, while opportunities are given him — concurrently — to familiarize himself with modern research methods. Thus, the forms evolved by the potter and metal-worker in ancient times are examined by the student with a view to releasing his creative instinct, and enabling him to devise forms of his own invention. Furthermore, he is provided with facilities to acquire the required skill and technical virtuosity in handing the tools, and instruments special to his craft. Although a close study of national art-forms forms the basis of his training, foreign arts are not entirely neglected (Greek and Roman art for example), but the analysis of these forms is reversed broadly speaking for students who are nearing the end of their course.
The only traditional Cambodian art, which has hitherto adopted modern techniques without loss of vitality, is that of the dance in its classic form as displayed at performances by the Royal Ballet. We are indebted for this transformation to Her Majesty The Queen, who has devoted great care and attention to the slow regeneration of classical dance techniques. Thus, ballets with new theme have been introduced into repertory, the choreography of traditional ballets has been brought up to date, while stage-sets and lighting have been tactfully introduce.
Furthermore, the replacement of dancers who have reached the age retirement had been provided for by the opening of a school within the purlieus of the Palace, where children of both sexes are trained in dance techniques, and conceive the ambition of becoming future <<stars>> in the Royal Corps de Ballet. These innovations have been made with due respect being paid to the traditions maintained by this Corps de Ballet, which date back more than a thousand years. These traditions, established at the time when Khmer Kings held their Court at Angkor, bear witness not only to the Royal original of the Ballet but, also, to its sacred character: the dances the Ballet perform being ritual ceremonies, subject to rigid conventions.
A new Troupe of Dancers has been formed recently, and is attached to the Ballet in an ancillary capacity. This troupe specializes in the performance of the dances of the ethnic minorities: these minorities, long subject to Khmer cultural influence, and in the process of being absorbed into the national community, were neglecting to perform these dances, which were in danger of being forgotten.
These dances, which are performed as magic ritual, merit attentive study. In many cases, the dancers mime animal behaviour, and the dances themselves are fraught with a strange exotic grace and beauty. As a result of the creation of this troupe of dancers, the danger that all memory of this part of the cultural inheritage(sic) of Cambodia’s ethnic minorities has been avoided. But many years’ work will be required before the choreography of all these dances can be recorded, together with the music which accompanies them. The latter commitment will be entrusted to two orchestras, composed of musicians, trained to play traditional musical instruments, which are at present being formed, and will be attached to the National Dance Trouped in question. These orchestras will, also have the task of making an inventory of the traditional music performed in the different provinces which go to make up the Kingdom.
At the same time, research is being conducted into the origins, and significance of the Cambodian puppet show, which is still frequently performed in two provinces — that of Battambang and Siem Reap — where this popular form of entertainment is till much alive. Puppet shows can be of two sorts : one variety is performed on a small stage with puppets made of hide, whose joints are moved by strings, while the effect sought is satirical : in the second variety, the show takes place behind a screen. But versions have features in common with the well-known Javanese classic puppet show — The Wayang. But much further research is still required to be done, into the origin of these shows, which are to be found everywhere in Asia, before an attempt can be made to ensure their perpetuation.
In regard to the theatre, plans are in hand to produce a number of stage plays. These will be put on in similar fashion to those produced by the People’s National Theatre in Paris, and the People’s Theatre in French provinces. The National Theatre troupe has the brief to stage suitable plays by budding Cambodian dramatists, and to adapt world famous plays for the Cambodian stage — Molière has already been performed, and a play by Shakespeare is to be performed shortly. The National Theatre has likewise the task of contributing to the education of popular taste in this art-form, and of giving young players, who are still being trained for their profession, a chance to appear before their future audiences. Thus, after devoting two years to the study of dramatic art, students will be able to obtain practical experience, and will profit from their contacts with established actors.
An Institute of Music and a Faculty of Music, with a status equivalent to that of an Academy of Music have likewise been founded to train those young musicians who will enable Cambodia to keep abreast, and to make its mark in an art which is tending to assume increasing importance in the world. And original method has been hit upon to train students aurally, and to teach them the solfeggio : this is done through the medium of traditional Cambodian music, and by the use of oriental scales. In this way, they acquire some grounding in oriental music before they study western music. The adherence to this guiding principle in the promotion of the arts, will enable our future composers to infuse into their works the authentic spirit of our national music. A string orchestra for the performance of chamber music has already been formed, and has given a number of performer in the presence of official foreign guests.
The Institution of Music also includes a section, which specializes in traditional music. This is divided into two sub-sections, of which one devotes itself to research, while the other is responsible for teaching. The two orchestras now being formed represent the first-fruits of its labours.
Cambodian music is the music evolved by an advanced culture : it is impersonal and objective, and designed to be played on ritual occasions and — now and again — for some evocatory purpose. It is transmitted by ear, and not written down. It is, therefore, a music fixed for all time, with a structure with assumed its present from in the dim past. In consequence, it is almost impervious to outside influence. Both the so-called classic music (Palace music) and popular music is tonal, and possesses a certain regularity of rhythm, while the orchestral structure is uniform.
Research is at present being conducted into wind-instruments, their structure and forms, together with the ritual which accompanies a performance.
This research likewise includes tape-recording of this type of music : the tapes then being consigned to a library which is to be built up of traditional Cambodian music.
A Faculty of Archeology and a Faculty of Architecture are likewise provided for in the re-organization programmed. The foundation of these Faculties is designed to meet with future requirements for specialists of this sort in view of the exceptional rich and important architectural, and archeological heritage with which Cambodia is endowed.
Among other plans, provision is being made for a Chair of Traditional Khmer Architecture to be established to ensure the maintenance of traditional styles, and standards in the construction of monasteries, houses in this style and stupas etc ..
The lectures to be given by the occupant of this Chair will be devoted to Khmer history, art and architecture and, also, lectures of a more general nature designed to provide more advanced students with a general appreciation of other art movements in the world.
A Research Institute — the services of which will be at the disposal of the Faculties in question — will devote its activities in the main to the study of traditional arts and techniques. Research teams are at present being sent into the provinces for the purpose of taking photographs, films and tape-recordings of everything of artistic interest, with priority accorded to that part of the Khmer artistic heritage which is in danger of being lost. This accounts for the fact that the Institution’s initial activities have been directed more especially to the study of dances of the ethnic minorities living in less accessible parts of the Country : dances which no longer play a part in the life of these communities. Further research projects into the cultural heritage of these minorities will shortly be implemented. There are likewise plans to study mural paintings in bad condition in Buddhist monasteries, certain arts and crafts threatened with extinction, and to record traditional stories and legends hitherto passed down by word of mouth etc…
The importance of the task, which the Royal University of Fine Arts is facing, is only exceeded by its urgency. The program broadly outlined above is an ambitious one, and can only be implemented by stages. We are thus faced with the prospect of sustained efforts in a field, which is an extremely rich one.
The good-will and sympathy extended to us hitherto have sufficed to convince us that we are heading in the right direction. Moreover, the objective we have set before us is sufficiently worth-while to encourage us to put our best foot forward : that of restoring to its rightful place, and ensuring the preservation of an artistic heritage of unparalleled richness.
VANN MOLYVANN
