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Ma Phoeung, Heroic Cambodian Artist
01-Jul-2008

Sitting on a chair, tremblingly, the heroic artist bends low to write. It is the final challenge of a brave and enchanting quest.

The old man speaks hoarsely and humbly. In his arms, he lovingly cradles a book. “This is very important for my life,” Mr Ma Phoeung says. “I love the soul of culture and I am committed to be a real Khmer who loves culture. Culture is my national soul.”

Diabetes and old age have stolen one of his legs and most of his eyesight. “In my life, there are two things I have sacrificed for, spiritually and physically,” he says. “The first is the field of art and the second is Buddhism.” Although he is very old, he is determined to complete a second book on Cambodian traditional instruments, carefully detailing how to play each one and the meaning behind them. The book will be the culmination of his life’s passion. “This book is not only very important for my life but it is also very significant for our Cambodian society,” he explains. “It is a very useful document for the youngsters.”

Now 81 years old, father time has sadly reduced the scholar to crawling like a new born baby when his condition is bad. “I lose some memory and some times I don’t know who I am too,” he sadly admits. He is unable to walk to the University to teach his students anymore. And worse, he can no longer play his heartfelt music at the Royal Palace. He still manages, however, to teach some students at home. “All of them really love and obey me, that’s why they come to study at my house,” he proudly comments.

His book focuses on the meaning, benefits and methods of playing each instrument. His investigations have taken him to France, Vietnam, Australia and Belgium and he has been researching since 1995. He is trying hard to finish the book in 2008 so it can be published by UNESCO. A thousand copies of his first book, designed primarily for school children, were published in 2005. The second edition is being prepared for University students. “I hope the book will be printed before I die,” he says wishfully.

Mr Moa Phoeung originated from Sophy village in the Bati district of Takeo. He was educated at the Somroung Pagoda, where he lived till he was 23. While at the Pagoda he studied Khmer literature and Pin Peat music (more than a thousand years old, Pin Peat is used in many Khmer ceremonies.) His ability soon proved so strong he could play at the traditional services of the village. His playing wasn’t just limited to the Pin Peat style but encompassed all kinds of Khmer instruments. “As I was playing those instruments, I always conducted research to record in my diary,” he says. “That is why I can compile this book today.”

In gratitude to his teachers at Samroung Pagoda for introducing him to the love of his life, he built a shrine at the Pagoda to keep his ashes when he dies. It came time to leave his hometown but wherever he went playing traditional Khmer music, he always asked well known professors to be his teachers. He went to work as a secretary at the Ministry of Post and Telecoms in Phnom Penh but still religiously maintained his research into Cambodian culture and music.

When the Pol Pot era arrived, most people were forced out their homes, leaving all their possessions behind. Mr Phoeung refused to leave without his Khem (Cambodian musical instrument.) “At the time, if they wanted me to abandon art; I would let them kill me instead,” he says adamantly. “Pol Pot’s soldiers knew I could play music so they allowed me to play for them,” he remembers. “And because I played very well they ordered me to play their revolution songs.” He could perform them with such talent, he was ordered to instruct the revolution dancing teachers at Moung hall, a district of Battambong province. The beauty of the Ah Reak music (traditional music, played to invite spirits to save villagers from danger and illness) wedding music and Ah Yay music [rhythmic, conversational style music, played for entertainment] has never left him. “Whenever I listen to them, it makes me [feel] very sweet,” he says.

“Khmers should not forsake what is ours,” he asserts. “We have to love and protect [our culture] for a long future because we have to honour our ancestors.” Even though some countries are very poor, they still have culture or traditions to support their national identity, he continues, and Cambodia must support ours. He desperately wants to safeguard the legacy of his ancestors and preserve their talent and knowledge for the younger generation. While Pin Peat is recorded on the walls of Angkor Wat, there is very little written information available. Pin Peat was previously passed down by imitation and repetition, from teacher to student, until this timeless link was broken by the Khmer Rouge. Mr Phoeung considers reforging a succession with his ancestors as his spiritual duty. Youth can easily catch up, he argues. First you study hard and then you can play.

After the collapse of the Cambodian Democratic regime in 1979, a lot of artists worked in the Ministry of Culture, desperately trying to save the old Cambodian customs. With his great knowledge and ability, Mr. Pheoung was soon employed as a professor of Cambodian traditional music at the Royal University of Fine Arts. In 1997, he got an honorable and richly deserved certificate from the former King Norodom Sihanouk as the “Cambodian Artist Hero.”

He got married in 1951 and he has four children. Two of his children are following his footstep as artists. One is a professor of traditional art, and one is a professor of modern music at the Royal University of Fine Arts. Ma Pheoung has dedicated his entire life to art since he was 7 years old. Even though he cannot walk and his eyesight has deteriorated, the heroic artist still tries to finish his second book for his beloved Cambodia. “Nowadays I can not order my hands, so I can not play those musical instruments anymore,” he laments. “Even my writing is difficult.” But these complications and obstacles cannot break Mr. Phoeung’s spirit.

“I still try to completely finish it before I die,” he promises.

Words by: May Titthara
Photos by: Heng Chivoin

Ma Phoeung, Heroic Cambodian Artist01-Jul-2008

Sitting on a chair, tremblingly, the heroic artist bends low to write. It is the final challenge of a brave and enchanting quest.

Ma Phoeung, Heroic Cambodian Artist
01-Jul-2008