Eight years ago, one of playwright Lauren Yee's friends took her to see indie-rock band Dengue Fever.
In an auditorium off Mao Tse Toung Boulevard, dozens have gathered from countries all over the region. Some have been working together for years, others for mere days. On the corner of the stage are nine musicians with traditional Cambodian instruments, like the roneat and trom, and in front of them is an orchestra – from the Ho Chi Minh Conservatory of Music – with four adopted Cambodian players among their ranks.
In sheer size, variety and star power, little in the Kingdom compares to the Cambodia International Film Festival, now in its eighth year.
Trying to figure out when the seed for Lauren Yee’s play “Cambodian Rock Band” was actually planted is a tricky thing.
Phnom Penh railway station radiates the ghosts of passengers past. It’s a gigantic white wedding cake where signs point commuters to “consignes” and “toilettes”. The destinations listed above most of the ticket counters are optimistic.
Leave the crowds at Angkor Wat and head 100 miles away to have the temples to yourself
During the 21 months he spent imprisoned in the secret Khmer Rouge prison code-named S-21, Bou Meng found a strange comfort in his prison uniform: black cotton shorts and sometimes, when he was lucky, a shirt.
If one piece had to be picked to encapsulate the latest exhibition from artist Leang Seckon, it would be his work titled “Dead and Reborn Again.”
A man dressed in red boxing shorts sits on the forest floor, his face grimacing in pain as the wire of a poaching snare winds tightly around his bloodied ankle, biting into his skin.
Archaeologists are typically happy to find pottery shards when they excavate a site in Angkor Archaeological Park as too many centuries have passed and too many cities have risen and collapsed for them to expect to find major objects in the ground.
When visitors walk into the opening show at the latest art space in Siem Reap, they should feel as if they are looking at life in a Cambodian community reflected back at them like a mirror.
On his way home from work in Siem Reap province several years ago, Riem Monisilong started choking and wheezing from a neighbor’s garbage fire. That was the last straw for the 35-year-old artist, who goes by Silong.
For a person obsessed with taking selfies, having his or her arms forever stretched to get one’s own portrait, what would be the ultimate nightmare?
Since last September, Jessica Austin has been crisscrossing the country in search of buildings that, half a century ago, were part of what made Cambodia magical: the country’s cinemas.
Street art can come in many different forms. In Battambang this weekend, it will take on a more literal meaning with an outdoor art fair allowing visitors to stroll in the open air and enjoy artworks on display.
The theater director, staging a performance of the story of “Kakei” in musical theater yike on Sunday night in Phnom Penh, hopes to challenge the centuries-old notion that the protagonist is a “bad girl.”
Opening tonight at the Institut Francais is the exhibition “Studio Images: Music” featuring works by students of the institute’s photography classes.
Kong Nay, a master of Cambodia’s centuries-old art form of chapei dang veng, has been named this year’s recipient of Japan’s Fukuoka Arts and Culture Prize.
Sunday’s commune elections have already become part of the nation’s history. But beyond what observers and journalists will say or write about it, and the analyses historians and researchers will make in the years to come, the story of what happened and its effect on the country will soon be part of Cambodia’s “social memory.”
Visitors to the Institut Francais tonight will be met by life-size cardboard characters inspired by the 2D animations and illustrations of Phare Creative Studio, a new social enterprise that helps fund NGO Phare Ponleu Selpak in Battambang City.