Portland actress seeks to rescue ancient Cambodian opera by launching Save World Art

Helena de Crespo holds a Cambodian mask used in the ancient theatre art of Bassac

Members of the Reasmey Ankgor Bassac Theatre Troupe perform to large audiences.

The ancient art of Bassac theatre struggles to stay afloat in Cambodia.

http://www.youtube.com/watch?v=GK-Ksnj_LRw

July 3, 2012
By Holly Johnson
Oregon Music News

Portland actress Helena de Crespo was travelling through Cambodia about four years ago, when an accidental encounter changed her life.

After visiting the famed temples of Angkor Wat in that battle-scarred country near Siem Reap, she headed down a road with her interpreter. There on the side of the road was an ornate traveling theater. De Crespo, born in Spain and raised in Britain, was familiar with outdoor theatre, as years ago she had traveled in South America, performing with a troupe that mounted shows in various venues, some of them outdoors.

But she hadn’t seen anything like this, especially amid the poverty of the land.

“I told my interpreter ‘Stop the car, I want to meet them,” de Crespo recalled. The Cambodians along the roadside accepted her visit calmly. She urged her interpreter to ask them who they were and what they did, and in turn, to tell them that she was an actress. When they found out she was involved in theater, they welcomed her openly. They offered her what little food they had, and invited her to take photographs.

Canton woman dances with Cambodian dance troupe

Submitted photo. Chris Brown, at rear, danced April 18 with Cambodian dance group The Children of Bassac at The Watkinson School, in Hartford.

Sunday, April 24, 2011
The Canton News (Canton, Connecticut, USA)

HARTFORD — Watkinson School teacher Chris Brown, of Canton, danced with members of the Cambodian dance troupe The Children of Bassac in its premiere performance in Connecticut, April 17 and 18. The group, an emerging traditional Cambodian Dance group that has been supported by Cambodian Living Arts since 2003, gave a sold-out performance to the public April 17, and Brown danced with them in a performance just for the students and staff of Watkinson April 18. The tour featured ten highly-talented young Cambodian dancers who perform a combination of ancient, classical and lively folk dances.

While in Hartford, the dancers stayed with Watkinson families. All funds raised benefited Cambodian Living Arts and its important work of restoring Cambodia’s folk arts following their decimation by the Khmer Rouge.

Master Leads Emerging Students in US Dance Tour

The Children of Bassac Classical and Folk Dance group perform in front of the National Museum in Phnom Penh, Cambodia. (Photo: Courtesy of Long Chean)

Poch Reasey, VOA Khmer
Washington Monday, 18 April 2011

“I was so moved. Tears almost came to my eyes. It was such an amazing crowd.”

“The Children of Bassac,” a troupe of emerging Cambodian classic and folk dancers, is touring the US through May 10.

The performance is led by master artist Ieng Sithul, who told “Hello VOA” on Thursday he wants to see Khmer dance showcased internationally.

“We put on several performances a day,” he said. “We are all tired, but we have a mission and that is to promote and explain Khmer culture.”

Watkinson School Presents The Children of Bassac, A Traditional Cambodian Dance Group

2011-04-11
On Campus
Submitted by Stacy Routhier, Watkinson School
Hartford Courant

Watkinson School in Hartford presents The Children of Bassac, led by Master Artist Ieng Sithul for one show only on April 17.

The performance of traditional Cambodian dance will start at 7 p.m. and will be held at Watkinson School

The Children of Bassac are an emerging traditional Cambodian Dance group that has been supported by Cambodian Living Arts (CLA) since 2003. This tour features ten highly talented young Cambodian dancers who perform a combination of ancient classical and lively folk dances. Tickets are also available to a preconcert reception that features Khmer cuisine, a chance to meet both the Cambodian dancers and CLA Founder Arn Chorn-Pond, as well as purchase some lovely Cambodian textiles and products. The pre-reception starts at 5:00pm at Watkinson School followed by the show at 7 p.m.

While in Hartford, the dancers will stay with Watkinson families. The day after the benefit, they'll perform for the school, and also lead a participatory dance workshop for Watkinson's Creative Arts Program and Global Studies Program students. All funds raised will benefit Cambodian Living Arts and its important work of restoring Cambodia's folk arts following their decimaton by the Khmer Rouge.

Performances by Bassac Children Group during tourist season

Child Dance Troupe Aims for Paid Theater

By Nuch Sarita, VOA Khmer
Washington
30 March 2010

Two groups, Cambodian Living Arts and the Editions du Mekong, hope to introduce national and international tourists to a traditional folk dance through performances by the Children of Bassac at the Phnom Penh National Museum, representatives of the groups said on “Hello VOA” Monday.

Children of Bassac performed for National Cultural Day March 25 and plan another performance for Khmer New Year April 1. Both shows are preludes to planned weekly performances in November and December.

Soeur Vuthy, assistant master of Children of Bassac, told “Hello VOA” the company has 24 dancers, all between the ages of 16 and 21, and was created in 2003 by master Ieng Sithul, a traditional theater singer.

Cambodia Living Arts offers children from disadvantaged backgrounds a chance to tap into Cambodian culture, Soeur Vuthy said.

“The youth from the Children of Bassac Company all live on the Bassac community,” Soeur Vuthy said. “CLA would like to promote them to the general public and help them earn a living from their art.”

Student Neang Kavich has been studying traditional folk dance and music in Ieng Sithul’s classes for six years and is now attending film school at Limkokwing University with the support of CLA’s Arts Scholarship.

Another student, Cham Roun Sophear, began dance classes at age 13. Now she stands out among her peers, and sometime advises younger classmates. She continues to develop her skills in dance and song at the Royal University of Fine Arts, with the support of CLA’s Arts Scholarship.

The performances at the National Museum represent eight types of classical and folk dances: Sampeah Kru, a blessing ceremony; Apsara, or celestial dancers; Beh Krawanh, picking cardamom; Sovann Machha, golden mermaid; Kroma, the scarf dance; Kuoh Angre, clapping the pestles; Chhayam, a popular folk dance usually performed at the annual Kathen religious ceremony; and Phloy Suoy, a wind instrument performance with bamboo, typically played by Cambodia’s minority tribes.

Problem with the swapping of the Bassac Theater

04 September 2007
By Sophorn
Radio Free Asia
Translated from Khmer by Socheata

An official from the Ministry of Culture and Fine Arts declared on 03 September that his ministry will provide $400 to each artist as a compensation for the swapping of the Bassac Theater to a private company.

On 03 September, at the Chaktokmouk conference center, Khim Sarith, the secretary of state of the Ministry of Culture (MoC), clarified to all the artists that the Bassac Theater was not sold by the MoC, but that the MoC rented it to a private company, and that this allows the MoC to pay each artist $300 each. Furthermore, Hun Sen is adding another $100 to the amount to bring the total to $400.

Khim Sarith said: “I want to stress to a number who people who are still insisting on saying that the theater was sold to Okhna Kith Meng, I am confirming that my position still remains the same: this theater was not sold, if it were to be sold, Oknha Kith Meng can consider himself as the winner of the lottery jackpot. He must spend $400,000 right now, in addition to the construction cost and the $300 paid to each of you.”

Ieng Sithol, president of the Association of Artists in Cambodia which represents 315 members from the Bassac Theater, said during the conference at the Chaktokmouk center on the same day, that in the name of all the protesting artists, he accepted the $400 offer.

Ieng Sithol said: “I don’t have any idea of opposing the government, or acting as the demonstration leader, or the opposition leader, I am not, but I support all these actions, however, now we must accept the arrangement.”

Even though Ieng Sitol accepted the $400 offer, a number of other artists are still undecided about whether to accept this offer or not, and they are still deciding on what to do next because they want up $700 in compensation each: “I will follow up on the thumb printing to see how it goes. I want to know for sure whether (it was actually) the recommendation of the prime minister (Hun Sen) telling us to accept the $400 or not. I don’t trust it, now they (protesting artists) still follow up (on this case).”

Khim Sarith also indicated that those artists who had already retired, the MoC will not pay them any compensation, and the MoC will only pay to 315 artists.

On 31 August, the Bassac Theater artists have demonstrated by burning tires in front of the theater, to demand that the MoC pay them $700 each in compensation for the swapping of the theater which took place in July. These artists claimed that the MoC sold the theater to Kith Meng’s company.

Last act for Bassac Theater

By Dan Poynton and Cheang Sokha
Phnom Penh Post, Issue 16 / 17, August 24 - September 6, 2007

The death knell has sounded for the crumbling Bassac Theater - an architectural gem of Cambodia's Golden Era of the '60s and the favorite creation of its revered architect, Vann Molyvann.

The 315 musicians, dancers and singers, who use the shell of the Preah Suramarit National Theatre to rehearse and who live in the Dey Krahorm squatters community nearby, were told by Ministry of Culture officials to leave by the end of the month.

They will be relocated to a building on Mao Tse Tung Blvd, but the performers say the new site is too far away and inadequate for their dramatic artistic performances.

Like Angkor Wat's Ta Prohm Temple, much of the theater has been swallowed up by jungle. It survived the war, but was gutted by fire in 1994. Still, it is much loved by the performers and its architect holds no hope that it will escape demolition.

"I regret losing this building very much," Molyvann said in an interview. "When the artists leave it'll be declared off limits and they'll destroy the building."

"I don't want the company to destroy it because it's a fresh, open place for performing and training," Molyvann said. "They didn't consult [me] about the design of the new building. I don't think it will be up to standard and a building people cannot use is a waste of money."

The structure officially known as the Preah Suramarit National Theatre, inaugurated in 1968, is said to be the favorite work of the architect who also designed Chaktomuk Conference Hall and the National Sports Complex. The building's peaked pyramid roof over the main stage and flat split level design for seating were inspired by American architect Frank Lloyd Wright.

The 81-year-old architect on August 16 made an emotional visit to the building - located in the Tonle Bassac squatters area, near the Phnom Penh Center. "Molyvann couldn't say anything," said one of the building's caretakers who asked not to be identified. "He just wandered around the place, watched some rehearsals, and left."

According to newspaper reports, the Ministry of Culture agreed in 2005 to have tycoon Kith Meng renovate the theatre in exchange for land around the building. Meng - who owns the Cambodiana Hotel and is partners in many ventures including ANZ Royal Bank - would return the building after an unspecified period of time. The type of renovation was not disclosed by the Ministry of Culture.

Kith Meng refused to comment, saying all questions should be directed to the ministry.

Since it was ravaged by accidental fire in 1994, time has been running out for the building. Much of the theater now lacks a roof.

"The building is old and dilapidated, and we are afraid that it will collapse sometime soon," said Ouk Socheat, under secretary of state for the Ministry.

"I don't think renovation has been on the table for years," said Darryl Collins, co-author of the recently published Building Cambodia: New Khmer Architecture 1953-1970.

Just before the ministry made the deal with Meng in 2005, Amrita Performing Arts led a petition to the King to save the building.

"We met the King and tried to find a way to restore the theatre," said Suon Bunrith, cultural coordinator for Amrita. "We were surprised to hear two months after this that the theatre had been sold. There is no guarantee about its restoration from Meng. We couldn't get any concrete information about that, and I'm sure even the director of the national theater had nothing concrete."

Whatever the fate of the building, the artists are unhappy to be losing their open air rehearsal stage.

"We have not been allowed to see [the new building]," another of the building's caretakers said. "We heard the ceiling is much lower, there'll only be one place to rehearse, and the building is not up to standard for performing. We have many separate places here, because we have many kinds of performance - like Yike and L'khoan Bassac [traditional forms of theater and dance]. The new place will be too small and noisy - they're making us live in a mouse-hole."

"We know the new place is not as large as the old one," said the ministry's Socheat. "But they will be able to perform for the public in this new place. If we can, we will build other buildings for them in the future. We know they have specific performing groups so they need different places, but we cannot exceed our limits."

The ministry has offered $300 in compensation to each artist. The artists say they should each receive $700, as was offered to Royal University of Fine Arts (RUFA) staff when its northern premises were moved from Tuol Kork in 2005. The new building's location on Mao Tse Tung Boulevard would incur high travel costs, they said.

"It's not fair, as we have worked here since 1979," said one of the caretakers. "We are just asking for money to support our families. All 315 of us sent a letter to Prime Minister Hun Sen a month ago, but we've had no intervention yet."

The artists said 55 musicians from the theatre are supposed to go to Gyeongju, South Korea to perform in September. "They were forced to sign for the $300 compensation, otherwise they couldn't go," the caretaker said.

"This $300 is the limit of the ministry's budget," said Socheat. "We have sympathy for them, but we cannot help them any more than that."

Heavy emotion surrounds what looks like the Bassac Theater's last curtain call. A stone's throw from the theater is another Molyvann masterpiece whose fate is also uncertain - Bo Ding, the avant-garde apartments from the same era.

Molyvann said when he was at Bassac Theater he met some of his former architecture students who were forced to move out of the old RUFA site at Tuol Kork to a new center in Russei Keo.

"The new site is too far away so they have now come to study at the Bassac Theater. But now they'll have to move again. They have no proper place - they're just like street kids."

Vann Molyvann: "Heritage cannot be sold, changed or denied-now they are destroying it. Now they've sold our national heritage to a famed businessman"

Monday, July 16, 2007
Curtain call for an icon of Cambodia's artistic recuperation

Phnom Penh's Bassac Theatre has been drummer Nop Sambona's home since the Khmer Rouge were pushed from power 28 years ago, leaving behind a ruined country, its singers, dancers and musicians among the 1.7 million people murdered by the regime.

Cambodian artists training at the burnt-out Basac theather in Phnom Penh (AFP/File Tang Chhin Sothy)

PHNOM PENH (AFP) - Those who survived the apocalypse unleashed by the Khmer Rouge, which was particularly brutal in pursuing of Cambodia's artists, trickled back into the city and began trying to rebuild their lives.

The theatre became the soul of this battered community, a bright spot in an otherwise dead world that evoked a cultural richness which would never be fully revived.

Nearly three decades on that bright spot is dimming as the site on which Cambodia's national theatre sits has been leased to a private developer and the building doomed to be razed.

Its artists, who have soldiered on against darkness, wet and neglect since a fire gutted the auditorium and stage area in 1994, were offered 300 dollars each and told last month to leave.

"This place has produced hundreds of artists. The theatre produced the nation's great culture," says Nop Sambona, taking a break from what will be one of the last rehearsals to resonate through the Bassac's now derelict performance hall.

Cambodian artists training at the burnt-out Basac theather in Phnom Penh (AFP/File Tang Chhin Sothy)

"It's a landmark. We're so sorry that we've lost it," he says, gesturing over his shoulder at the Bassac's flame-blackened foyer.

Constructed in 1966, the 1,200-seat Bassac was designed by Vann Molyvann, Cambodia's most famous modern architect, as a monument to Cambodia's thriving performing arts scene.

It is not hard to imagine the capital's elite, dressed in elegant evening wear, gliding through the Bassac's imposing triangular foyer and up the cantilevered staircases suspended over shallow pools of water, about to view a performance of the Royal Ballet.

The Bassac was one of dozens of gems built by Vann Molyvann, whose wide boulevards and stunning public buildings transformed Phnom Penh from a tiny backwater into a graceful capital during Cambodia's short period of prosperity in the 1950s and 1960s.

The era, known as the Sangkum Reastr Niyum, or Cambodia's "golden age," also spurred on a strong revival in performing arts, with the Bassac at its heart.

"During the Sangkum Reastr Niyum, the government considered the theatre a part of our national heritage," an angry Vann Molyvann says. "Heritage cannot be sold, changed or denied -- now they are destroying it. Now they've sold our national heritage to a famed businessman."

A man rides past the Basac theather in Phnom Penh (AFP/File Tang Chhin Sothy)

Khim Sarith, secretary of state at the Ministry of Culture, says the site had been leased to Cambodian tycoon Kith Meng, who plans to develop a "cultural building".

In an earlier deal struck in 2005, Cambodia's culture ministry ceded land around the Bassac on the condition that the theatre be renovated, retaining its original name and architecture.

Kith Meng was to get an undisclosed amount of property around the theatre in exchange for building a conference centre and office blocks.

But Khim Sarith explains that the government is unable to afford the "millions of dollars" it would cost to restore the Bassac.

"The theatre will be knocked down because it is burned and is old," he says.

"There is nothing there," he says, adding the new theatre that Kith Meng has agreed to build elsewhere in exchange for the property "will be better than the old one".

Buth Choeun, chief of administration at the culture ministry's performing art department, says the theatre's state of decay has made it increasingly dangerous to work in.

"If we stay here it will be difficult for us -- we fear the old walls will fall on us," he says.

Vann Molyvann is not satisfied by the deal.

"They do not care about heritage," he says. "I am very worried. I have no hope that Cambodian artists can spread our culture anymore -- Cambodian culture will die.

"The land prices at that site have reached more than 1,000 dollars per square metre (yard). So it's no longer about national heritage."

Ieng Sithul, director of the Khmer Actress Association, says the proposed site for the new theatre is "not suitable," suggesting instead that the Bassac be restored.

"If the old site has a beautiful theatre, it will help add value to our culture," he says.

But like all of those facing eviction, he is heartbroken about the end of the Bassac.

"We have nothing but regret. We have only sympathy for the theatre and can only say goodbye to our poor home."

In the background Nop Sambona has begun rehearsing again, his drumming heard from behind a glass window on which someone in a desperate effort to stave off the inevitable has scrawled" "Please help to preserve, don't destroy."