Welcome to the latest installment of an ongoing mixtape series in which we highlight some of my favorite voices online and beyond. This week we take a trip to sixties Cambodia catching up with Dengue Fever who are set to drop their fifth LP, Cannibal Courtship, April 19th. Below, Dengue Fever's Ethan Holtzman discusses the Khmer Rouge history behind his playlist:
"These songs are important, not only because they sound great, but because the singers and songwriters were killed during the Khmer Rouge genocide for being musicians and free thinking artists. I want to raise the consciousness of our listeners so we can ultimately end this brutal cycle of violence. History has a way of repeating itself, and we must remember those who perished for the freedom of others. It was not that long ago that such atrocities occurred. They happened in Africa even more recently and we have to be aware and vigilant to prevent this from occurring again. There is one song at the end of the play list by Loak Klang which is a newer hip hop track that infused traditional Khmer musical elements mixed in a modern way. I included it to show that the influence from these great musicians is living on and is still felt today."
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The Khmer Dance Project is especially valuable because of the breadth of perspectives it brings to documenting Cambodian dance. In multiple, extended oral histories, older interviewees talk in depth about their experiences studying and performing in the Royal Ballet before the Khmer Rouge period. They talk in detail about the roles and gestures they specialized in; they discuss their experiences under the Khmer Rouge, often revealing painful and moving stories about suffering and survival. They speak about how they returned to dance or music after the fall of the Khmer Rouge and how they worked to revive Cambodian culture. The recordings include demonstrations of song, dance, musical instruments, and the materials and processes of creating the lavish costumes for the Royal Ballet.
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Kun Khmer is administered in Cambodia by the Cambodian Boxing Federation (CBF), formerly the Cambodian Amateur Boxing Federation (CABF), which was established in 1961. All referees, judges and fighters must be licensed by the CABF. Television stations which hold Khmer boxing tournaments do so under the supervision of the CBF. The individual stations are responsible for organizing boxers, trainers, medical staff and musicians. The CBF supplies the match referees, judges and time-keepers. The current president of the CBF is Major-General Tem Moeun.[18][19][20] Abroad, Cambodian boxing is promoted by four organizations. These organizations include the European Khmer Boxing Federation based in Germany, the Fdration des Arts Martiaux Khmers also called FAMK, based in France, the Anh Binh Minh Khmer Martial Arts Association in Vietnam and Kun Khmer Australia based in Australia. Other newly created organizations can be found in Spain and Italy, while Belgium is in the process of forming its own Khmer boxing organization.[21] The International Sport Kickboxing Association based in the United Kingdom have held matches involving Cambodian boxers. Khmer boxers have fought abroad in countries such as South Korea.[22]
A match consists of five three-minute rounds and takes place in a 6.1 meter square boxing ring. A one-and-a-half or two-minute break occurs between each round. In olden times, ancient Khmer people would do praying rituals before going to the battlefield or war.[42] At the beginning of each match the boxers practice the praying rituals known as the kun kru or thvayobangkoum krou. There are different variations of the thvayobangkoum krou ritual with different names such as "Hanuman ties the bridge to Sita".[43] There are 17 different variations of the ritual. Most are based on the main characters of the Reamker story and believe to have occurred when Cambodia had a strong belief in Hinduism.[44] The pre-competition teacher offering ritual also serves to warm the muscle and increase blood flow.[45]The praying ritual at the preliminaries of the boxing match is considered a real dance.[46] Traditional Cambodian music performed with the instruments of the sampho (a type of drum), the sralai klang khek (oboe) and the chhing is played during the match. The music of Khmer boxing is called vung phleng pradall or vung phleng klang khek. The music is made up of two sections. The first section is for the boxer's teachers while the second section is the fight music.[47] The first part uses a spirit(teacher) to help the boxers concentrate their minds and have confidence. The first part of the music is played slowly in a rubato style. The melody is played by the sralai(oboe) and the sampho(drum) plays strokes at important points of the melody. The second part which is the fight music is played much faster and in meter. The music accelerates with the progression of the round. It stops at the end of the round or when someone is knocked out. When the fight is exciting, the audience claps in rhythm with the beat of the sampho(drum).[48] Modern boxers wear leather gloves and nylon shorts.[49]
While the play centers around the intergenerational trauma of the Cambodian genocide, it also highlights the thriving music scene of the 1960s and 1970s, just before the communist regime of the Khmer Rouge cracked down. Artists mixed Khmer lyrics and sounds with guitar riffs straight from American rock and roll.
"Khmer folks have been in the U.S. for at least 40 years," Ung said. "And not many people know what Khmer music or Khmer culture is, so I think Cambodian Rock Band can actually serve as a stepping stone to give folks a taste of what our culture is like."
Films
Saphan, LinDa (2016). Director: Nate from Lowell, MA. 7:07, Released July 2016. About the importance of archiving memory through the lens of a record collector who preserved Cambodian popular music history.
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Example of content: Don't Think I've Forgotten: Cambodia's Lost Rock and Roll a documentary that traces the evolution of Cambodian rock music before, during, and after the regime of the Khmer Rouge. Digital Public Library of AmericaEVIA: Ethnographic Video for Instruction and Analysis (Digital Archive)EVIA is a joint project by Indiana University and the University of Michigan to host annotated ethnographic field video for educational use. It has extensive ethnomusicological, dance, and folklore related collections.FolkstreamsIntended as a "National Preserve of American Folklore Films," Folkstreams makes hard-to-find, copyrighted documentaries available for free streaming online. The music category has over 100 documentaries on different musical topics.Internet Archive: VideoThis library contains millions of videos uploaded by the archive's users. Many of these files are available for free download. Just as with the audio recordings above, searching WorldCat, the library catalog, by Subject Heading will let you find material that shares a common theme, and from there you can use the limiters on the side menu to filter your results, for example "Held by Library" or "Format" to limit to only videos held by Butler Libraries.
Both Myanmar and Cambodian punk and metal have picked up traction online from US music websites like Noisey, but arguably the most internationally acclaimed genre in Southeast Asia is Viet rap. Spearheaded by its reigning queen, Suboi, the genre is a singular musical force, marked by a poetic flow that carries searing social commentary.
For those of us who grew up here, the many melodies of Southeast Asia are difficult to shake. Whether sung by princes or punks, they tell the modern history of a mysterious and evocative region. Many years after that pool party, I heard that one of the Nopdogs had become an R&B star in South Korea. I wonder if he, too, sometimes thinks back to our shared time in Hong Kong, and finds himself humming an old song. Maybe he even takes out a guitar, hitting the strings to form the power-chords of his youth. The echoes of those chords are in every piece of music I write. I know they will return one day, freshly reborn in the hands of a new generation. 0852c4b9a8
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