The government is aiming to have the ancient martial art of bokator added to Unesco’s List of Intangible Cultural Heritage of Humanity, a goal that was the focus of a two-day seminar on preserving and developing the sport that concluded on Tuesday.
Some 100 delegates from 20 countries gathered in Phnom Penh this week to discuss the role and future of the arts in the region.
Kong Vollak expects to be tangled in steel wires and wrestling with plaster as he spends the next month working on his newest installation, “Silhouettes of Tomorrowland.”
Phnom Penh’s floating art project, “The Boat,” saw its first public visitors on Saturday afternoon, when 24 people joined project co-founders Dana Langlois and Alexis de Suremain aboard the 6,000-square-meter structure.
Work was underway on Friday to erect the big top of Phare, The Cambodian Circus, at its new location on the outskirts of Siem Reap City.
When French painter Thomas-Pierre arrived in Cambodia six years ago “to paint Angkor’s temples,” as he puts it, he was primarily an abstract painter.
With woven whirlpool-shaped straw sculptures and intricately designed rice-field labyrinths, the flatlands of Banteay Meanchey province have taken on a bizarre, nearly science-fiction aesthetic during the three-day Bale and Paddy Art Festival, which started on Sunday.
As Cambodia was struggling to pick up the pieces in the years following the defeat of the Khmer Rouge, Ma Channat was selected by Phnom Penh’s socialist government to travel to East Germany in 1980 for a three-year vocational training program.
Award-winning Turkish pianist Selen Gulun played at Doors restaurant in Phnom Penh on Wednesday, where she wowed the audience with her original jazz melodies on the first night of a two-day tour.
The 11th annual Angkor Photo Festival, which starts this Saturday, will show work by more than 130 photographers from 45 countries.
As French architectural historian Bruno Bruguier was revisiting Prasat Ta Moan Thom in Oddar Meanchey province earlier this year, he noticed that the road next to the 11th-century Hindu temple had been built on rough terrain in the Dangreb Mountains.
The 6th annual Cambodia International Film Festival, which begins Saturday, continues to assert itself as a significant event for film lovers in Cambodia and lovers of Cambodian films alike.
A yearlong multimedia project documents life along the Mekong and the effects of development
A few years ago, Benedicte du Cheyron Monroe read a book on Cambodia that so intrigued her that she immediately wanted to translate it into French.
Chef Yasuda Daiki named his Phnom Penh restaurant Dashi after what he considers the fundamental component of Japanese cuisine. “The most important element of Japanese food, the basis of the cuisine, is dashi,” he said.
As far back as he can remember, artist Nget Chanpenh has been aware that everyone is profoundly alone in life. “I’ve always known that being surrounded by people does not mean you’re filled with joy and happiness,” he said.
Em Theay does not know exactly when she was born. All she remembers is that she was a little girl living at the Royal Palace when King Norodom Sihanouk was crowned in 1941. Her father was a servant to the royal family, and her mother was a cook at the palace. Fascinated by the Royal Ballet dancers, she was allowed to join the palace’s Khmer classical dance class when she was around 6 years old.
In the late 9th century, King Yasovarman I ascended to the throne of the Khmer kingdom with ambitious plans for his realm. First, he moved his capital from Roluos, east of what is now Siem Reap City, to a site dominated by a hill. On top of it, he built the temple of Phnom Bakheng, founding the city that would serve as the capital of the Khmer empire for the next 500 years. He called it Yasodharapura—the city of Yasovarman. It is known today as Angkor.
Loven Ramos, a Filipino painter, photographer, designer and poet based in Siem Reap City, wants viewers to imagine themselves as archaeologists a thousand years from now when confronting the objects in his latest exhibition.
Over the past few years, Leang Seckon has been using his art to explore the turmoil that engulfed every Cambodian in the 1970s and ’80s. Now, with the mural-size works he created for his first New York exhibition next week at the Sundaram Tagore Galleries, Mr. Seckon will seek to bring artistic closure to those decades of misery, using the recent repatriation of a looted Cambodian antiquity to symbolize the spiritual end of decades of civil war.