TANAKA STUDENT RESEARCH GRANT

Cambodia: Living Art LIVING ART AS FESTIVAL PERFORMANCE: Ramayana Reenactments in Cambodia through Shadow Puppets

Jean Ahn ‘09

The Ramayana, an ancient Hindu epic from India, has been printed in multiple languages and illustrated in many paintings. Depictions of this story as visually performed in reenactments vary from human drama, to dance and puppetry; I have seen in Trinidad, Ramleela, a multi-night play cycle, and in Cambodia, shadow puppets that narrate the Ramayana story. This examination of the Ramayana performance tradition pertains to ‘living art,’ which is defined by UNESCO as the intangible, transient heritage that is performed by human beings; but that represents part of a cultural legacy of more tangible heritages. In developing a comparative study, I was able to link performances preserved in Cambodia to the traditions of the Indo-Trinidadian Diaspora, and finally back to Ramleela, as performed in Ramnagar, India. The Ramayana was introduced to Southeast Asia from India around the sixth century when there was a great exchange of trade. The Ramayana used in Trinidad was not written until the sixteenth century by Goswami Tulsidas, who translated the Ramayana written by Valmiki, from Sanskrit to Avadhi, respectively. Although Avadhi is sometimes regarded as a form of Hindi, it is instead a more popular and accessible tongue than Sanskrit. Thus, the Ramayana that came to Southeast Asia is the one written by Valmiki. In Cambodia, the Ramayana is currently identified as the Reamker, which is the Khmer adaptation. Although the Reamker is the spelling common spelling, some sources point to the Khmer Ramayana as the Ramakerti now pronounced /riamkee/ (which is then phonetically written as Reamker). Nonetheless, “ker” means glory, which denotes that the book/story is about Rama’s (or as Khmers know him, “Preah Ream’s”) fame and glory. This differs from India’s Ramayana, which emphasizes the hero’s divine mission. It is natural for a story to adapt to each country and the Reamker illustrates a humanized picture of the characters, where base wants and weaknesses overtake them. In that sense, the Reamker is seen as a guide for the Khmer people not necessarily to become more divine but rather to illustrate the humanity of Preah Rama, as he undergoes tribulations and bouts of jealousy. The Reamker is regarded as “a classic of Khmer literature and a constant source of artistic inspiration in Cambodia.” Unlike Valmiki’s Ramayana, which consists of seven books, the Reamker has three parts as well as an epilogue. Many shadow puppet troupes do not

perform the whole story but rather select episodes. The loss of how to perform several episodes is also attributed to the gross extermination of the arts and artists under Pol Pot’s regime. Although, I primarily focused on shadow puppets, reenactments of the Reamker are more prevalent in Cambodia in the tableau of masked dance, complete with costumes. The particular shadow puppets that I investigated are known as Sbaek Thom in Cambodia. Sbaek Thom, or “large leather hide” is actually more of a large puppet than the traditional definition thereof, due to the fact that it has no moving parts. Above: the materials behind the staging are a key part of Besides the Sbaek thom, there are also sbaek thom “authentic” performance practice. mothium, which are medium sized figures, and sbaek touch, which are small sized puppets with movable parts, and thus more of a “true” puppet. The sbaek touch can be seen below in the second photo with Sophan Chien. Having received the Tanaka Grant for the summer of 2008, I conducted preliminary research at Trinity before I embarked to Cambodia, where I was able to continue research at both the Cambodia National Library in Phnom Penh and the Center for Khmer Studies in Wat Damnak, Siem Reap. While the Cambodia National Library contained some information about shadow puppets, the Center for Khmer Studies had s better selection of sources. Both libraries were able to photocopy relevant sections of their texts. While many of the sources on shadow puppetry in Cambodia were written in French – Cambodia was once a protectorate of Imperial France - I will still able to find a few sources written in English. Initially I was to serve as an intern to Cambodian Living Arts, (see inset), a World Education project, but after some discussion with this organization, it was decided that my work would benefit if I was designated an “artist-in-residence.” As an artist-in-residence, I was given greater independence and had better access to the arts community. Accordingly, I was able to meet with three shadow puppet troupes: Ty Chien, Wat Bo, and Sovanna Phum. Despite being in Cambodia during the rainy season, when there is a drop in the number of performances of traditional outdoor shows, I was able to attend what amounted to several staging. In particular, I witnessed three performances by the Wat Bo troupe: two were held at the Wat Bo Above: Cambodian Living Arts Temple, and one took place in Amansara. I was able to film all three of these shows, and found an interesting contrast in performance practice between the two locations. At the Wat Bo Temple, I witnessed a decidedly modern approach placing an electric light bulb behind a screen to create the shadow effect – which seemed out of place in the traditional surroundings of the Temple; and at Amansara - one of the most expensive resorts in Cambodia - a traditional tableau was used – as coconut-husk fire was used as it has been for generations.

Though shadow puppets were historically performed either in villages or in temples as religious services, shadow puppets are generally reserved for tourists today. Only when the performances take place in the pagodas outdoors, are Khmer people able to witness the performances. This irony is further realized since the shadow puppet is narrated in Khmer—which is a language not readily available to foreigners—and since the story of Preah Ream has a personal dimension to the people of Cambodia since it is entwined with their own history. In addition, I was able to see Sovanna Phum’s process of preparing the cowhide after it is brought from the market. First, the leather is stretched onto a wooden by inserting various strands of rope into the punctured leather. I also saw the stripping of leather, stretching, and laying it out in the sun by the street to dry. Shortly after it is Sbaek thom being prepared… put out in the sun, a dye is brought over and applied so that the leather will have a particular color to it. I was not able to film the performances at Sovanna Phum, despite having visited the site a few times in advance to make sure that I had permission to film the production. This last minute change was what gave me the opportunity to film the process of preparing the cowhide before it is cut). The Public Relations manager at Sovanna Phum apparently believed that I was attempting to film this show for profit. He explained that were he to allow public filming of these events, attendance would suffer if prospective audiences were instead content to view the production on black-market media. Despite my fervent objections that I was a student, he would not waver. I Light, shadow, color: Reamker tradition is defined by change: audiences have for was previously warned about this centuries expected the unexpected. Tourism, some fear, may sterilize performances. policy, and this individual. He countered with accounts of prior instances of illegal videotaping, even by those who had furnished credentials. In the end, the performance coordinator/choreographer/manager actually apologized and expressed the hope that we would be able to keep in touch, hoping that I would visit again. He also gave me some information regarding their combination of shadow puppetry and other performance practices, such as dance. He stressed the importance of maintaining an open mind when considering new ways in which this work might be staged in light of the fact that the vitality of this tradition would be lost if only traditional staging were permitted. Such shows would appeal to tourists, but the “living art” that has characterized the Reamker throughout its history.

Above: Artistic process transcends drama and places great weight in ascetic qualities of the materials being crafted above.

This view was not only idealistic, it was practical, for Sovanna Phum wanted to make sure that they could survive on a weekly basis, instead of just waiting for the tourist season. To this end, the troupe constructed an outdoor stage with a roof that covered the audience section so rain would not hamper performances, particularly during the summer months which are quite wet. In response to criticisms that current performances of shadow puppetry are inorganic, disconnected from a past by the bloody interregnum of the Khmer Rouge and therefore, inauthentic, he expressed regret at the disruption of these performances, but maintained that the living legacy of shadow puppetry would have continued, had Pol Pot’s regime never taken power. Moreover, there would be evolution evident in variations that are lost to history. This break from the past is significant and has impacted opinions about the authenticity of the medium since it was revived. The Ty Chien troupe does not perform during the rainy season but I was able to film Sophan Chien through the process of making various shadow puppets. Although the filming did not follow the order in which Sophan Chien actually made these puppets, I was able to see the leather stretched with wooden spokes in a lot, the chiseling of the puppet, the cutting of leather, and the drawing of the design, among other processes.

Engravings at the Angkor Wat

Furthermore, with the assistance of a translator (Mr. Reth), I was able to film interviews with masters and performers. One such interview was with Sophan Chien, the grandson of the late Ty Chien, with whom I spoke on two occasions. He is currently the master of the troupe, but also serves as the sole puppet craftsman, narrator of the shows, and teacher of aspiring puppeteers. Now thirty-one years old, Sophan Chien began his career at the age of fifteen, under the tutelage of his grandfather. His regimen included waking up at four in the morning. When he started, there was only one sbaek thom in their province. His success and the expansion of the popularity of the art might be attributed to the regimentation that was instilled in young Sophan Chien. I was also able to conduct two interviews with Vann Sopheavuth, the director of the Wat Bo Shadow Puppet Troupe. The first time I met him at the Wat Bo temple and the subsequent interview took place by his outdoor classroom, where he is also a teacher. While shadow puppetry has seen effects of tourism through the preservation of the “traditional,” it has also been a conduit with Cambodia’s ancient past, as evidenced by the carvings of the Ramayana - visible on various temples. Conversely, through Ramleela, Indo-Trinidadians link Trinidad to their homeland and relate the story of Lord Rama's exile to their own ‘exile’ as indentured laborers. Khmer people are especially proud of their history, citing the magnificence of the Angkor Wat, which features the rich ornamentation of wall engravings depicting the tradition of the Ramayana all along its west corridor wall. For many, shadow puppets have also become a method in remembering the legacy of the Angkor Wat.

Some even attribute the beginning or origins of shadow puppets to when the leather templates for the stone carvings were at an angle with the sunlight and shadow were cast onto the walls of Angkor Wat.

Above: The Banteay Srey

Furthermore, the Ramayana story is also present in temples that predate Angkor Wat such as Koh Keh, Ba Puon, and Banteay Srey. The Reamker is also painted on the walls of the Silver Pagoda gallery in the Royal Palace in Phnom Penh. Thus, the imagery that narrate the story of the Ramayana are preserved in various and important structures in Cambodia. While the Ramayana is Hindu, the Reamker is prevalent in the culture of Cambodia, which is a country that is predominantly Buddhist. Some attribute this to the fact that Hinduism existed in Cambodia before Buddhism; but it is clear, nonetheless, that the two coexist.

I was able to investigate the effects of tourism of what is defined as “traditional.” Compounding the integrity of this form of “Living Art” was the interruption of performances and therefore evolution of the art that was but another casualty of the Khmer Rouge. Although questions regarding authenticity abound, the revivalist troupes offer some bridge between the horrors of the Khmer Rouge and their treasured past. I also returned to Trinidad in October to view and film Ramleela for a second time. This helped to strengthen my comparison in how the Ramayana is depicted in Cambodia and Trinidad. The trip clarified Cambodia’s use of shadow puppets (and the effects of tourism). I have now finished an English thesis, which analyzes how Rama’s story, in its translation into a public performance tradition in sugar cane fields of Trinidad, has come to facilitate a central “cultural process”—a coming to terms with exile on the part of Indo-Trinidadians. For Khmer people, the Ramayana narrated by shadow puppets illustrates an exile not from India but from their own turbulent past, which they attempt to negotiate through reviving their arts and forging a new identity. Not only has the Tanaka Grant made it possible for me to travel Above: An announcement for a performance in to Cambodia (since there would have been no way that I would Trinidad have been able to sponsor such a trip), but it has also greatly contributed to my academic studies in college as well as my intellectual development in life.