Above: book seller at Phnom Penh’s Psar O’Russey.

Some thoughts following on from Jason Dittmer and Katherine Brickell’s commentary on Cambodian comics copyright.

(You might want to read these links first.)

http://siewphewyeung.org.kh/newsprint-comics-at-psar-orussey/

http://mediageography.wordpress.com/2012/09/24/comic-books-and-copyright-cambodian-artistic-heritage-at-risk/

In Cambodia’s 1980s, the boom in narrative comics unfolded in an informal economy. That meant some artists printed and published themselves (perhaps one of the purest exemplars of the DIY ethos). Others made different choices. Some would draw and produce their comics with ad-hoc screenprinters. This gray area was accepted so long as the material was approved by the Ministry of Information.

• Some authors, such as Sin Yang Pirom and her original teacher, Uth Roeun, never authorized reprinting.  (Uth Roeun’s works currently on sale definitely qualify as ‘pirated’.)
• Some creators would (after several editions) sell their originals to a middleman.
• And some would produce directly for a middleman/publisher.

When speaking to Em Satya during the production of ‘Flower of Battambang’, he noted with a hint of chagrin that after 2 or 3 printings, he had sold his earlier work to middlemen. This was a handshake deal. Did this grant the middleman right to own and reproduce the comics in perpetuity?

As for the cartoonists who produced their works directly for middlemen/publication (Im Sokha, Or Yuthea, Hul Sophon), it resembles a work-for-hire situation – minus the contract. In a ‘socialist’ economy, articulation of intellectual property rights existed in law, but were not geared towards addressing the hothouse flower that was the 80’s comics market.

Once the bubble popped, authors found that their works were being reprinted – in volume and being sold to a new generation of young readers. Individual creators could not compete with printing of comics on an industrial scale. And so comics were reprinted again and again, with the strongest sellers slowly being winnowed out as readers gravitated towards more professionally printed materials such as color storybooks and translated color Thai comics.

I’ve interviewed comic artists, conferred with booksellers, and participated in numerous conversations with publishers, printers and librarians. But one voice missing from this evolving, intermittent conversation is that of the ‘middleman’.

It’s not been for lack of trying. Lim Santepheap, co-founder of Our Books, has tried several times to learn about the operations of comics printers. I’ve asked booksellers and politely been turned away.

What can we speculate? They are probably in it for their own enthusiasm, they’re surely not in it for the slim profits. They are likely continuing to operate simply because they’ve never had competing editions. The reprints provided by middlemen have been a boon for archivists, but a bane for the production of new independent work.

Are they ‘pirates’ as Dittmer and Brickell suggest? I doubt they consider themselves to be such.

Hopefully, the cartoonists of the 1980s bubble can reclaim copyright to their comics under Cambodia’s expanding definitions (and enforcement) of intellectual property. Until then, there’s a fascinating page of comics history that remains undrawn, waiting for a proper, nuanced delineation.

A brief response to the frequent assertion that there isn’t much choice in places to go, things to do or people to meet in Phnom Penh.

I began blogging about things Cambodian in 2002, initially from Siem Reap.

I wrote about nearly everything that took my interest because if I didn’t get it on the web, few else would at the time.* I noticed something after a while: my blog was getting clogged with art and event announcements.

In 2005 I started a simple ‘What’s On’ blog* where I could zap the info directly from email-to-blog. I add tidbits to it as I see fit to this day. As of 2012 there are heaps of gig guides competing for your eyeballs and advertising dollars.

So off the top of my head, here is a list of things you can do besides hanging out in dive bars with ‘crispy’ expats.

Arty Things:

Java Gallery
http://javaarts.org/

SaSaBassac Exhibitions
http://sasabassac.com/

Cambodian Living Arts (check out their ‘Children of the Bassac’ performances)
http://www.facebook.com/Cambodianlivingarts

Sovanna Phum
http://shadow-puppets.org/

Romeet Gallery
http://www.facebook.com/pages/Romeet-Gallery/234387659945905

Tiny Toones
http://www.tinytoones.org/

Bophana Center
http://bophana.org

Meta-House
http://www.meta-house.com/

French Cultural Centre
http://www.meta-house.com/

Smarty Things:

Human Sciences Happy Hours in Phnom Penh
http://hshhpp.pbworks.com/w/page/19665521/Home

TedxPhnomPenh
http://tedxphnompenh.com

BarCamp Phnom Penh
http://2011.barcampphnompenh.org

Nerd Night Phnom Penh
http://www.facebook.com/nerdnightphnompenh

Meetups:

Digital Drinks
http://www.facebook.com/DigitalDrinksPP

Drinks by Design
http://www.facebook.com/pages/Drinks-By-Design/256108197769622

Green Drinks
http://www.greendrinks.org/–/Phnom%20Penh

Phnom Penh Swings (Dance, not partner swapping.)
http://www.pppswings.com

Hash House Harriers
http://www.p2h3.com

Gig Guides

AsiaLife
http://www.asialifeguide.com/

Pocket Guide
http://www.cambodiapocketguide.com/

Expat-Advisory
http://Expat-Advisory.com

Lady Penh
http://ladypenh.com

Leng Pleng
http://www.lengpleng.com

What’s On
http://www.sangsalapak.org.kh/whatson

A very old list of Cambodia-centric sites
http://www.delicious.com/slugdog/forum

As said before, this is a very rough list, there’s a gajillion more. Please to explore and enjoy.

—————————————

*This ‘web up everything’ role has been largely taken by friend Andy Brouwer. http://blog.andybrouwer.co.uk/ It’s made me feel more free to be less of a generalist. (For example, last year made a commitment to draw one comic a day at QuickDraw.Me. I highly recommend checking out his blog for a much more accurate view of the cultural landscape.

*Quite possibly the first in-Cambodia ‘What’s On’ blog. Glad to see other folks taking on the challenge.

>Book launch and exhibition opening: 6-9pm Wednesday, August 18, 2010

>Artist talk: “50 Years of Cambodian Comics,” 6:30pm Tuesday, August 24, 2010

Java Café & Gallery – 56 Sihanouk Blvd, Phnom Penh, Cambodia

Java Arts’ new exhibition ‘QuickDraw’ is exactly that: a collection of short comic art vignettes by ‘Jinja’ (AKA John Weeks) in English and Khmer. You’ll see observations on daily life as well as musings on larger issues of living in the Kingdom, garnered over a period of 10 years. Copies of a 30 page color comic (also bilingual) will be available for sale and signing by the author. The opening is Wednesday the 18th, 6:30 pm.

In addition to the exhibition, an artist talk on Cambodian comics history (’50 Years of Cambodian Comics’) will take place on the 24th (in English) with emcee John Berkavitch. All are welcome to learn about this little known chapter of Cambodian art history.

Tags: cambodia,comics,exhibition

IN-FORM

Royal University of Fine Arts – Phnom Penh May 28th – June 6th

Hotel de la Paix – Siem Reap June 8th
- August 8th

The start of an exciting phase for Cambodian Stone sculpture.

Background of the Contemporary Stone Carving Project

This project was implemented by British artist Sasha Constable and
made possible through the support of FOKCI – Friends of Khmer Culture.
Over the past months young Cambodian artists and sculpture students
from the Royal University of Fine Arts have been learning about the
development of Stone, from different ancient traditions through to our
contemporary world.

Stone is the material which encapsulates the legacy of the Ancient
Angkor Empire yet there is no contemporary stone carving. In modern
day Cambodia we can admire the technical ability of the stone carvers
that replicate images from that magnificent bygone era, however this
exhibition showcases the new beginning of a contemporary era of stone
carvings, reflecting modern day Cambodia.

A percentage of sales from the stone carvings by RUFA students will go
towards purchasing equipment and materials for the sculpture
department.

Background of The Royal University of Fine Arts

The School of Fine Arts traces back its origins to the Ecoles des Arts
Cambodgiens, founded in Phnom Penh by the Cambodian Royal Family in
1918 under the directorship of George Groslier. RUFA originally
incorporated faculties of traditional drawing, sculptural modeling,
bronze casting, silversmithing, furniture making and weaving and was
principally a workshop assigned to the Royal family for producing
copies of traditional Khmer art, mostly from the extensive Angkorian
temple complexes.

In the late 1940’s a section of so-called ‘Modern Painting’
(representational painting) was founded. By the late 1950’s
representational drawing, painting and sculpture formed a substantial
portion of the curriculum of the school, while traditional painting,
mask making, silversmithing and weaving continued to be taught in
individual sections.

In 1965 this institution was merged with the national theatre school
to form the Royal University of Fine Arts. Thereafter its programme
embraced archaeology, architecture and urban planning and design.
Prior to 1975 all of the Universities teaching took place on the
original campus in the centre of the city. From 1975-1980 all teaching
ceased. It reopened in 1980 as the School of Fine Arts. University
status was restored in 1989 with the suffix ‘Royal’ once more being
added.

‘Art is the soul of a country’ (quote Preoung Chhieng – Dean at RUFA).

RUFA currently has 5 faculties, Archaeology, Architecture and Urbanism
and Plastic Arts can be found behind the museum on street 178 and
Street 19, whilst Choreographic Arts and Music are several miles away
from the city. The faculty of Fine Art still echoes its founding
principles, instructing students in traditional Khmer artistic styles,
techniques, history and also introduce them to modern western styles
and techniques. Progress on the latter element is greatly hampered by
an almost complete lack of resources.

(Reference taken from Visiting Arts website)

The Artists

OU Vanndy

Ou Vanndy graduated from RUFA in 2005 with a degree in Sculpture. He
went on to do a teacher training course at the National Institute of
Education (NIE) and has been teaching drawing at NIE for the past 3
years.

‘Water is Life’

This stone carving signifies the link between women, water and life.
Water is necessary for life; women give birth to new life.

‘The Dance’

Depicting the unity of man and a woman through the beautiful hand
movements learnt through traditional Cambodian dance.

KEO Neathmony

Mony graduated from RUFA in 2004, majoring in Interior Design. He is
now a Government official in the anti-corruption unit.

‘Incomplete’

Although Jayavarman VII is the most famous king in Cambodian history,
when all the people are not united together the country fell.

KIM Samdy

Samdy graduated from RUFA in 2006 with a degree in Interior Design. He
now teaches at the Royal University of Fine Arts secondary school.

‘Firm’

This carving is about the good side of human nature. In our modern
world we must listen carefully to the goodness inside us and combat
the negative side of life.

‘Sensing’

Dolphins are intelligent creatures who share similar emotions to human
beings. This sculpture is about the sensing of these emotions.

‘Mentor’

Is about those with experience taking care of the younger generation,
like a teacher mentoring a student or the leader of the country
looking after his people.

‘Freedom’

This is about freedom of speech. A functional piece of furniture that
combines materials signifying different parts of society linked
together to create freedom.

‘Endless smile’

Although the Angkorian apsaras were hidden by the jungle for centuries
with no one taking care of them, they still continued to smile.

‘Mother of the World’

Women are the givers of new life, mothers of the world. Her hand cups
her pregnant belly, anticipating a new birth.

OUK Chimvichet

Vichet completed a degree in sculpture from RUFA, graduating in 2006.
He is currently teaching model making in the faculty of architecture
at RUFA.

‘Wonder’

This relief carving is about people’s sexual preference. Why are some
people gay and some people not?

‘Risk Taker’

Is about the concept of beauty. Some people will risk their health
through skin whitening products or plastic surgery to (in their mind)
become more beautiful.

‘Hope’

This is about the sculptures that remain in Angkor and how their
brilliance attracts tourism and conservationists to protect our
Cambodian heritage.

‘Begging’

Some people destroy or loot Angkorian sculptures, they do not
understand the importance of our heritage and just think about short
term personal benefit.

‘River Dolphin’

There is an old Khmer story that the river dolphin was born from
human. This dolphin feeds from its mother’s milk and is now a big
tourist attraction in Kratie province.

CHHEA Bunna

Graduating from the sculpture department at RUFA in 2006 Chhea Bunna
currently teaches at the Hun Sen Ta Kmao High School and the Cambodian
Mekong University where he instructs in drawing and watercolour
painting.

‘Gentle Mother’

Bunna’s first stone sculpture learning the techniques of carving. A
mother nurtures her child.

‘3-Places’

Depicting the heavens, earth and hell, parts connected by the broken pillar.

‘Save I’

This is about growth and continuity and the importance of passing on
knowledge from one generation to the next.

‘Save II’

A parent and child symbolizing the need for us to protect our young as
well as our surrounding environment.

‘Partners’

Symbolizes 2 people who make a whole but are separate, the connection
between man and woman.

‘Feeling’

Symbolizes a monk encompassing the 5 feelings but it also includes a
6th feeling to connect our being.

‘The Thinker’

An interpretation of Rodin’s sculpture titled The Thinker. The
piercing hole becomes as important as the solid sculpture and the
textural contrast.

Sculpture students at RUFA

HOUT Chansambath

‘Smiling with the Right to Freedom and Independence’

The simplified image of a dove protects people from oppression and
exploitation. The two sides of the face and the big smile signify
independence and freedom.

MEAS Sovannara

‘Unity’

The shape of the carving is reminiscent of a Naga which is powerful
and protects us, it calms us like water. The clasping hands signify
strength and unity.

LENG Sokeng

‘Race’

Is about male and female species mating to create new life.

BUN Sopanha

‘Cycle of Life’

From the front we see the baby being born and the other side is the
old man. From the top the carving has the appearance of a skull. The
Cycle of Life.

ROEUN Phyrom

‘Non Frontier’

No small tree can grow under the bigger tree. When there is a famous
artist, it is difficult to surpass them, sometimes you need to break
away on your own individual path.

OUCH Sambath

‘Volleyball’

Volleyball is a much loved sport in Cambodia. Now it is played at an
international level and has become popular and empowered sportsmen
with disabilities.

CHHOEUNG Vicheka

‘Partner’

There are two kinds of partners, the first leads us on the right path,
helping us improve ourselves, the second leads us down the wrong path
introducing us to drugs and other evils.

MOUN Kosal

‘Road Safety’

We must wear helmets when we are traveling on our motorbikes if we
wish to be safe. In case of an accident helmets protect our life.

YONG Chankroeusna

‘Compassion, Pity, Joy and Sincerity’

These are four attributes that are part of Buddhist faith. If people
live and understand these they will be better people and enjoy a more
fulfilling life.

Sasha Constable

British artist Sasha Constable is a sculptor and printmaker who
specialized in stone sculpture at Wimbledon Art School, London in the
early 1990’s.

Arriving in Cambodia in November 2000 initially as artist in residence
and then as design consultant for the World Monuments Fund, she then
moved into the education of young Khmer artists.

Sasha is an active participator and promoter of the Cambodian
contemporary art scene. For two years she managed a gallery in Siem
Reap which served as a platform for upcoming Khmer artists, many of
whom are now well established in the contemporary art scene.

She has exhibited her own work (sculpture, prints and photographs) in
over forty group exhibitions and had seven solo shows. Much of her
work has been inspired by travel abroad. She has traveled extensively
in Asia. Her art is in private collections worldwide and she has
completed numerous commissions in sculpture, printmaking and mural
painting.

sashaconstable.co.uk

Tags: cambodian,visual art,khmer,exhibition

In your kind home you taught me / To chant Pali reverently,
Treat books with care, so gently, And to daily humbly pray

To the Three Jewels, our teachers / And all creatures, ’til the day
You and I must fade away, Die and decay, chasing peace.

Above: Khmer Arts Academy Performance, April 2009.

Last year when Trent Walker’s teacher (Prum Uth of Cambodian Living Arts) passed away, Trent was moved to write a song in English, sung in the meter of Smot chanting.

Smot is sung in Pali and Khmer, and an English approach demonstrates its vernacular utility. (Trent will be the first to admit that he’s not the world’s premiere Smot singer. However, in terms of innovation, he’s demonstrating some really interesting things about how we percieve this art form.)

Commonly, Smot is associated with funerals, but more broadly speaking it’s religious music, used for ceremonies, consecrations, healing, gift giving ceremonies and more. Get the full details on Trent’s blog.
http://ttwalker.blogspot.com/2010/02/lectureperformance-on-cambodian-dharma.html

Tags: cambodian,dance,khmer,smot