"التشابي دانغ وينغ"

    

مسجل في 2016 (11.COM) على قائمة التراث الثقافي غير المادي الذي يحتاج إلى صون عاجل

“التشابي دانغ وينغ” هو تقليد موسيقي كمبودي يرتبط ارتباطاً وثيقاً بحياة الشعب الكمبودي وعاداته ومعتقداته. وهو عبارة عن عزف على “التشابي” (نوع من أنواع العود يُستخدَم في المهرجانات الثقافية) يرافقه الغناء. وقد تكون كلمات الأغاني تربوية ذات جانب اجتماعي أو ساخرة، وتشتمل في الوقت نفسه على قصائد تراثية أو حكايات شعبية أو قصص بوذية. وينطوي هذا التقليد على وظائف متعددة داخل المجتمعات المحلية الكمبودية، مثل صون الطقوس التقليدية، ونقل المعارف والقيم الاجتماعية والثقافية والدينية، والاطلاع على لغة الخمير القديمة، وتوفير حيز لإبداء الآراء الاجتماعية والسياسية، والتسلية، والتقريب بين الأجيال، وتوثيق الروابط الاجتماعية. ولا يكفي أن يمتلك لاعب “التشابي” الموهبة الموسيقية فحسب، بل عليه أيضاً أن يكون فطيناً وماهراً في الارتجال ورواية الحكايات. ومع أن الرجال هم الذين يعزفون “التشابي” بوجه عام، فإن العزف على هذه الآلة غير مقيَّد بالاعتبارات الجنسانية. وإذ يجري نقل هذا التقليد شفهياً داخل العائلات وبطريقة غير رسمية من المعلمين إلى المتدربين، فلم يبق في يومنا هذا غير قلة قليلة من المؤدّين الذين يمارسون هذا التقليد وحفنة أقل من المعلمين الذين ما زالوا على قيد الحياة. وتضرر السكان أصحاب هذا التقليد بشدة من نظام الخمير الحمر الذي قطع سلسلة نقل هذه الممارسة تاركاً تبعات سلبية طويلة الأجل قد تؤدي إلى زوال هذا التقليد.

التقارير الدورية

Periodic Report (USL)

A. Cover sheet

A.1.

State Party

Name of State Party

Cambodia

A.2.

Date of deposit of the instrument of ratification, acceptance, approval or accession

This information is available online.

2006-06-13

A.3.

Element inscribed on the Urgent Safeguarding List that is the subject of this report

Name of element

Chapei Dang Veng

Inscribed in

2016

Submitting State(s)

Cambodia

A.4.

Reporting period covered by this report

Please indicate the period covered by this report.

15-07-2016 - 15-12-2020

A.5.

Other elements inscribed on the Urgent Safeguarding List, if any

Please list all other elements from your country inscribed on the Urgent Safeguarding List, together with the year of inscription; for multinational elements, please indicate the other States concerned.

Lkhon Khol Wat Svay Andet (2018)

A.6.

Executive summary of the report

Please provide an executive summary of the report that will allow general readers to understand the current status of the element, any positive or negative impacts of inscription, the implementation of safeguarding measures during the reporting period and their possible update for the following years.

Chapei Dang Veng is a popular music tradition among the Cambodian population, whereby it is performed accompanied with a long necked lute called “Chapei”. Both male and female players perform Chapei in various social and religious occasions. Its dynamic range of performance from usage in religious events to a more relaxed and fun performance allows Chapei to be enjoyed by Cambodians of all ages and class.
Chapei Dang Veng has gone through times of uncertainty of whether the element will survive or not. Chapei Dang Veng along with other art elements of Cambodia, has almost met with complete disappearance and extinction due to the Pol Pot regime. During this time the social situation hindered completely any growth, preservation and transmission of Cambodian art elements and Chapei was not an exception from this unfortunate series of events. Nonetheless, after the regime fell, Chapei gradually became alive again, thanks to effort from various shareholders responsible in the preservation and protection of Chapei. After the fall of Pol Pot, only a few grandmasters remained alive, however they were very old and had underlying health conditions. Assessing the condition of the element, the element was in the urgency needed stronger support for its viability and vitality. The inscription along with International Assistance from ICH Fund of UNESCO, the element has been reinvigorated and gained popularity among Cambodians both in country and abroad as well as the foreign audience. Th inscription have brought dedicated communities, individuals and both public and private sectors both foreign and local to invested their time, money and efforts to revive the almost disappearing element of Chapei. As time goes on and the visibility of Chapei becomes clearer to the public, different civil societies and communities find ways to transmit the knowledge of Chapei. Even though Chapei is mainly transmitted orally from generations to generations, the shareholders who participate in the transmission and preservation of Chapei finds solution to make sure Chapei is being thought at maximum effectiveness. On par with the efforts from these communities, Chapei practitioners, and the Ministry of Culture and Fine Arts also have created various programs and initiatives in order to amplify the visibility of Chapei to the public along with the transmission and preservation of Chapei. With our future safeguarding plan proposed we hope in 2025, Chapei will be once again a living heritage and one of the most welcome art forms known both in Cambodia and abroad.

A.7.

Contact person for correspondence

Provide the name, address and other contact information of the person responsible for correspondence concerning the report.

Title (Ms/Mr, etc.)

Mr

Family name

SIYONN

Given name

Sophearith

Institution/position

Ministry of culture and Fine Arts/Director General

Address

#277, Preah Norodom Blvd., Phnom Penh, Kingdom of Cambodia

Telephone number

+85517674905

E-mail address

sophearith@yahoo.com

Other relevant information

N/A

B. Status of element inscribed on the Urgent Safeguarding List

Refer to the nomination file or to previous reports, if any, as the basis for reporting on the current status of the element, and report only on relevant changes since the date of inscription on the List or since the previous report. Nomination files, specific timetables and earlier reports, if any, are available at https://ich.unesco.org or from the Secretariat, upon request.

The State Party shall pay special attention to the role of gender and shall endeavour to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparing this report, and is asked to describe how it has done so in point D below.

B.1.

Social and cultural functions

Please explain the social and cultural functions and meanings of the element today, within and for its community, the characteristics of the bearers and practitioners, and any specific roles or categories of persons with special responsibilities towards the element, among others. Attention should be given to any relevant changes related to inscription criterion U.1 (‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’).

Chapei Dang Veng (hereafter Chapei) is a popular musical tradition found in Cambodian society. Chapei from which the tradition takes its name is played with the company of signings by the player him or herself. Chapei is closely interwoven with the life, traditional customs and beliefs of the Cambodian people. The instrument itself is used in three eminent ancient ensembles, “Pleng Araek” (Spirit Music), “Pleng Kar Boran” (Classical Wedding Music) and ‘Pleng Mahori Preah Reach Trop’ (Royal Traditional Leisure Music).
Chapei is used as a social medium, often accompanied by satire, very much appreciated and identified with by the larger public. The repertoire of the lyrics sung in Khmer is quite diverse. The content can range from education to social commentary, to satire. Chapei repertoire includes traditional didactic poems, folk tales, and Buddhist stories. The performances are often comic in nature with the lyrics aiming to amuse the audience. There is a variation of the tradition called "Chhlong Chhloey" (Call and Response), in which two performers or more play. Chapei is also used to accompany traditional ceremonies and festivals, e.g. Bon Kathin (Buddhist Robe Offering Ceremony) and Pithi Bombous Neak (Buddhist Ordination Ceremony).
Chapei performers are mostly male, although there are no restrictions regarding gender or social class. Chapei players are not only musically adept, but also witty, intelligent, and quick to adapt and improvise. They should be well-versed in language, literature, and poetry, and a good story teller. The Buddhist monks and pagodas also play a special role in Chapei, as historically they have played a role in the preservation of traditional Chapei repertoire. The monks are the bearers of much of the cultural, religious and historical knowledge contained in the art form. Traditionally the art of performing Chapei is transmitted orally within the family, and through apprenticeship system. Performers have historically learned their skills through informal, master to disciple relationships. Chapei inspires its lovers; traditionally where there have been well known masters of Chapei, there have been more students who learn the art form. A Chapei student who has the future ambition to be a professional Chapei performer will take the initiative to constantly seek out well known masters to learn from; this initiative is one of the unique features of the art form.

B.2.

Assessment of its viability and current risks

Please describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability. Please also identify and describe the threats, if any, to the element's continued transmission and enactment and describe the severity and immediacy of such threats, giving particular attention to any strengthening or weakening of the element’s viability subsequent to inscription.

Current Level of Viability of the Elements:
Chapei is alive due to practitioners around the countries, as well as communities both in city and in the countries who are the patrons and ardent audience of Chapei. A few surviving masters of Khmer Rouge Regime who have played a critical role in the transmission of the element, even before and after the inscription. Some of them now are either very ill or had passed away. Thanks to their steadfast efforts, there are emerging young masters who are actively engaged in the transmission of the element. Besides individual masters identified, “The Community of Living Chapei (CLC)” comprising of 7 active members, played a very important role in transmission and raising awareness of the element within Phnom Penh and other five provinces. Since its creation in 2013, CLC has trained young about 140 apprentices (10 female apprentices); 20 of them skilfully mastered the Chapei. The number of practitioners around the country as documented in December 2020 have increased from 126 documented 2017 to 328 practitioners, although majority of them are very skilful and being able to train others.
The training is still preserved the Master-apprentice relationship.
Government Special Recognition:
In 2017 one year after, Chapei was inscribed, Master Kong Nay, one of the surviving Masters of Khmer Rouge, was awarded with FUKUOKA Prize of Arts and Culture in Japan. To applaud the celebrated Master Kong Nay, Samdech Akka Moha Sena Padei Techo Hun Sen, Prime Minister of the Kingdom of Cambodia, welcome all the generations of Chapei artists in his office as a part of appreciation, recognition, and celebration.

Frequency of the Practices:
Thanks to the inscription of the element and UNESCO’s international assistance from the Intangible Cultural Heritage Fund, as well as support from the Ministry of Culture and Fine Arts (MCFA) and civil society organizations, especially The Cambodian Living Arts (CLA), the element thrived and well-received by the community in Cambodia and abroad. It is observable of the increasing performance frequency of Chapei to the public through various media including mainstream TV channels, radio stations as well as live performance. Master Peng Py, one of the 2015 Chapei Laureate from Banteay Meanchey notices from 2017 to 2019 of steady increase of Chapei performance hired by communities from different provinces from about 20 to 30 performances per year. However, in 2020, 25 of 30 of booked performances were cancelled especially in faraway provinces such as Prei Veng, Svay Rieng and Ta Keo due to the Covid-19 pandemic. The case is somewhat similar to other Chapei artists.
Besides Chapei is also played by various Chapei artists to raise awareness for annual celebration of Chapei inscription besides regular performance by each individual artists. In addition, in 2017 MCFA organized a Chapei competition in order to select the best Chapei players. There were 31 Chapei artists from 16 different provinces and 800 audiences. Furthermore, with the support from the MCFA, CLA, CLC and financial support from the UNESCO Intangible Cultural Heritage Fund 3 Chapei festivals were organized to raise awareness about the element:
• In 2018, it was organized in Siem Reap of the Kingdom’s provinces with participation of 25 Chapei artists and 1162 audiences.
• In 2019, it was organized in Phnom Penh, the Kingdom’s capital with participation of 42 Chapei artists and 2048 audiences.
• 2020, while the COVID-19 pandemic was raging, the Chapei festival was successfully organized online via social media with participation of 18 chapei artists (9 Masters and 9 apprentices) an accumulated view count of approximately 300,000.
These three festivals demonstrate 4 generations of Chapei players, with a total participation of 85 Chapei players from 11 provinces.

A New Creation in time of Covid-19 Pandamic:
During the Covid-19 Pandemic in 2020, with assistance/facilitation of two artists from the performing art Department and Royal University of Fine Arts, 5 artists from 4 provinces jointly created two pieces of “Chapei theatrical performance.” These two pieces are the Buddhist stories of Sovanna Sam and Soben Koma. The Chapei players play Chapei and melodically narrate the story with the company of theatrical performance of the story by other artists. This newly created performance demonstrates a new method in preserving the tradition with new creation in order to attract the audiences. The two pieces were very well received through online media with accumulated view of about 500000.

Challenges:
There are challenges for Chapei to thrive healthily in the society due to a combination of factors such as:
• Economic factor: limited markets make Chapei players difficult to survive with the professions due to rising costs of living and globalization. This eventually makes the younger generation hesitant to take Chapei as a career. The Covid-19 pandemic poses serious threats to the Chapei viability.
• Economic Challenges:
o Lack of Market for Chapei: Nowadays, Chapei is not popular among the young people. Chapei artist is not often hired for performance in events or ceremony. Moreover, it is hard to compete with other forms of entertainment especially the dance with loudspeakers during religious ceremonies or festivals attracted many young people.
o To survive many Chapei artists started new careers such as being a singers or traditional music players for wedding ceremony. Some artists just become a rice farmer.

• Lack of Interests:
o Transmission of knowledge is in jeopardy. Except for the secondary school of Fine Arts where recently the Chapei is integrated into its curriculum for training, young people do not want to learn Chapei first because it is not career which one can earn enough money.
o Secondly, it is still widely believed that the apprentice will be blind one master the skill (There are widely propaganda against this by many artists)
o There is a lack of encouragement from parents.
o Chapei nowadays is an uncertain career.

• Cost of Instruments:
There are a few workshops where Chapei is made. To our knowledge, they are three workshop in Phnom Penh and one in Kampong Thom.
o Low demand for Chapei
o High Cost of materials
• Other Challenges:
o Lack of publication about Chapei
o Lack of interest in traditional Khmer forms of entertainment. Young people tends to adopt western form of entertainment

• Modernity and modern technology distract people especially the young from being interested in the Chapei.

B.3.

Implementation of safeguarding measures

Please report on the safeguarding measures described in the nomination file, and previous report, if any. Describe how they have been implemented and how they have substantially contributed to the safeguarding of the element during the reporting period, taking note of external or internal constraints such as limited resources. Include, in particular, information on the measures taken to ensure the viability of the element by enabling the community to continue to practise and transmit it. Include the following detailed information concerning the implementation of the set of safeguarding measures or safeguarding plan:

B.3.a. Objectives and results

Indicate what primary objective(s) were addressed and what concrete results were attained during the reporting period.

The objectives and results of proposed safeguarding measures described in the nomination file have been implemented in close collaboration with the practitioners, civil society such as CLA, CLC, MCFA as well as other relevant stakeholders. Thanks to the support from the UNESCO’s ICH Fund, the proposed safeguarding measures have been met. Below are the proposed safeguarding measures, their objectives and expected results:

1. A clear picture of the practice and practitioners of Chapei in Cambodia today is developed

During the implementation of the safeguarding plan of the project, the results attained have been largely as identified in the request for the ICH Fund. The MCFA, through the Provincial Departments of Culture and Fine Arts conducted a survey and a series of interviews to provide the data for a mapping of Chapei in order to obtain a comprehensive overview of Chapei resources – number and distribution of practitioners, frequency of performances, strengths and weaknesses – all over Cambodia today. A concrete data obtained from the survey was developed into a comprehensive report providing a better understanding of true level of viability and vitality of the element which will be used for future strategic developments. We are also now able to access to all artists and planning for future artist promotion activity.
2. To explore and develop a more effective strategy and method of transmission that fits the current situation for developing and educating the art of Chapei

Despite the impact of globalization, which has both positive and negative effects on traditional art forms like Chapei, Cambodia is developing effective strategies for safeguarding and transmission to future generations. Formal and informal training of Chapei are increased by Secondary School of Fine Arts and by Masters within their local communities. While maintaining the traditional modes of transmission which masters and apprentices are present in person, an online training and recorded training are considered important options especially in the time of Covid-19 pandemic. These methods were executed by some Masters to their distanced apprentices. We consider the importance of harmonization between modern creativity and the traditional form so that Chapei can be played with other art forms. Two pieces of Chapei theatrical performance were created by 5 celebrated Masters. The performance, although were online, obtained some 500000 views. There were ardent Chapei supporters whose comments requested for live performance.

3. Popularity and public awareness of Chapei is increased

The "Community of Living Chapei (CLC)" has formed a group of young artists who were trained by a student of Grand Master Kong Nay who is the sole surviving National Living Human Treasure in Chapei. These young artists are trained skilled performers through practicing the technique of this traditional form, and eventually hope to be recognized as Grand Masters themselves. Besides publics and private events at the national and local levels where Chapei artists are specifically invited to perform for instance to celebrate annual celebration of the inscription of Chapei, CLC constructed 168 Chapei awareness raisings within Phnom Penh and 5 provinces by performing for school children as well as the public alike. Our survey shows that the popularity and public awareness of Chapei is increasing as a living culture of Cambodia, creating a positive environment for the artists, and offering greater visibility of the art form throughout the media.

4. The Chapei art form is artistically developed

Through three Chapei festivals organized, we can see new emerging “Master” artists whose creativities is appraisable. One Chapei artist Mr. Kong Nhe, who happens to be also a soldier, plays Chapei and sing it in English. His performance attracts quite a number of not only among the Khmer but also international audience. The creation such as Chapei theatrical performance or the like is to be encouraged; this way, through previous experience, attracts more audience and Chapei players can gain wider markets and celebrity.

5. Systems are established to honour and develop talent in the field

MCAF, as the government agency responsible for the arts and culture, has honored Grand Master through the Living Human Treasure System. A concrete recognition is to be provided as a future plan. The Chapei laureates are often invited for special ministry’s event as a performer or participants as a part of the recognition such as on the National Culture Day. Chapei Laureate competition is scheduled by the Ministry to be held annually.

B.3.b. Safeguarding activities

List the key activities that were carried out during this reporting period in order to achieve these expected results. Please describe the activities in detail and note their effectiveness or any problems encountered in implementing them.

Nine major activities have been proposed for as the safeguarding activities. Although many activities were fully or partly implemented since the inception of the project, due to limited human resources not only in MCFA but also in Cambodia, some activities need to be expedited to match the timelines given for the implementation. Thus, these activities were rescheduled:

1. MAPPING:
To fully understand the current situation of Chapei and create database of Chapei artists in Cambodia, MoCFA team developed a research questionnaire aiming to cover the following aspects:
• Chapei artists and students and their whereabouts and profiles (age, gender…);
• Conditions of performances (place, income, audiences, supporters, etc.);
• Types of ceremonies and events they perform at;
• Repertoire (contents, lyrics, stories, melody…);
• Level of ability and knowledge of performers (educational background, skills…);
• Community awareness of Chapei (participation, safeguarding, promotion).

Activities and Outputs:
• Development of an updating date of Chapei artists:
By reviewing existing data of MCFA’s Chapei inventory forms, lists of Chapei performers of CLA and CLC, the list of Chapei performers participated in the Chapei and Khsae Deav Festivals, organized by MCFA, we are able to identify 116 Chapei artists (8 artists who died before the preparation of this report are not included) coming from 18 out of 25 provinces of Cambodia. Among them, there are 4 female Chapei artists.
• Interviewing the selected artists:
The selection of Chapei artists is mainly based on their active involvement in Chapei performance and their availability for interview in regard to specially their health. Our team also developed a priority for the interviews by looking into whether the interviewees are:
- women Chapei artists
- disable artists
- aged between 40 to 80
- members of Living Human Treasure or Esteemed artists
- famous Chapei artists or Chapei performance winners
- artists who have been trained with famous Masters or from their parents
- artists who have been trained for many years
- only one or two artists in a province

Out of 116 identified Chapei Artists, we selected and interviewed 53 artists from 18 provinces, namely Phnom Penh, Siem Reap, Kampong Speu, Thbong Khmum, Prey Veng, Svay Rieng, Banteay Meanchey, Battambong, Posat, Takeo, Kampot, Kep, Steung Treng, Kampong Thom, Kampong Cham, Oudor Meanchey, Kampong chnang, and Kandal. The rests were requested to answers questions of a prepared questionnaire. Through a close collaboration with Provincial Departments of Culture and Fine Arts, 12 out of 54 artists returned the questionnaire to us.
The interviews were documented by using video and still cameras as well as audio recorders. Completed questionnaires have been collected. Our team organized data according to provinces from where artists are. Data are transcribed, consolidated and analysed. Final documentation and a final reporting of the mapping was prepared.

2. RESEARCH & DOCUMENTATION:
Research team of CLA, as requested by MCFA, implemented its research work and reported to MCFA its progress from the period of September 2018 to February 2020. Research team of CLA lead by Musicologist Patrick Kersalé completed all the work including:
a. Written research document covering:
- Origin of the term Chapei
- Different names of Chapei
- Research on the origin Chapei
- Manufacturing and organology
- Gender of Chapei players throughout history
- Chapei and its relatives in Cambodia
b. Video focusing on:
- Kong Nay & Amund Maarud: a new path for Chapei
- Keo Samnang, a street singer: repertoire pieces and translation
- Chapei and the three-string lesson: Buddhist iconography in Cambodia'
- Restoration and colonization of high definition pictures of the 19th century'
- Kong Nay, the master: repertoire pieces and improvisation with English translations
- Kong Boran, the new generation: repertoire pieces and improvisation with English translations'
- Chapei and the Buddhist iconography outside Cambodia
- Chapei in contemporary Cambodian society
- Making a Chapei
- A documentary film about Chapei
Aiming to wider diffusion of the report and visual documents, an English-Khmer website was launched and updated with new information. YouTube channel dedicated to the Chapei videos will also become soon available.
Moreover, MCFA in collaboration with CLC produced a book entitled "LIVING HERITAGE: The Artists of Cambodian Chapei" to celebrate, promote, and safeguard the tradition. This publication is proudly supported by: UNESCO; Queensland Conservatorium Research Centre and Griffith Centre for Creative Arts Research, Griffith University; MCFA; and CLA.

3. BROADCAST AND MEDIA OUTREACH:
At the outset, MCFA Chapei Project team invited the Cambodian Broadcasting Service (CBS) to discuss a new high quality production of Chapei performance. MCFA also asked CLC to assist in facilitating Chapei masters and community leaders to participate in the program from November 2018 to March 2019. The meeting discussed about:
- how to develop a short broadcasting program
- best way to deliver the Chapei to the audience
- Integration of Chapei masters' opinion on the plan;
- how to evaluate the impact of the program.
However, its execution was not happened. To expedite the work, MoCFA contracted Mr. Pok Borak in February 2020 to do the work. He started the work from March 2020-October 2020. He and his team produced the content as well as do the marketing and promotion of Chapei broadcasting programs. Through his supervision, Chapei artists with assistance and coordination from two artists of the Ministry’s Department of performing arts and the Royal University of Fine Arts jointly created two pieces of “Chapei Theatrical Performance.” The two pieces are from the two Buddhist stories, “Sovanna Sam” and “Soben Koma.” The newly created form is a new proposed strategy to make Chapei a living heritage. The Chapei player still and strongly preserve their original form by adding the living performance along with the narration of the Chapei. These shows although, was live online via MCFA’s facebook page, has gained tremendous popularity with roughly around 500000 views.

4. EDUCATION & TRAINING:
The activities have been delayed and rescheduled. We proposed a new Education and Training schedule from April 2021. Through our mapping project, what we discovered was that the many Chapei winners in Chapei competitions either in the first, second or third place are ignored and they are potential trainers. In the Education and Training, MCFA interviewed and select those winners to join a workshop in Phnom Penh with Grand Master Kong Nay and others for a week. These Masters upon returning to their locales trained young school children and people at nearby secondary schools and at their hometown to stimulate the young to engage in the training. Their training is paid through the projects. In the near future, as a part of MCFA and Ministry of Education, Youth and Sports’ “Education for Culture and Culture for Education” project, some of them will be recruited as a fulltime or part time staff of either ministry of Education or MCFA. Furthermore, Chapei instruments have also been provided to their training place. Those Masters would not be able to afford the Chapei for the training and without Chapei instruments, the training is difficult.

5. SECONDARY SCHOOL OF FINE ARTS (STATE SCHOOL):
In the curriculum of the Secondary School of Fine Arts, which is under the patronage of MCFA, a formal education in Chapei is already included and is obligatory for students. A concrete Chapei curriculum was developed by a few experts.

6. CHAPEI FESTIVAL:
Three Chapei Festival were planned in different places in Cambodia.
The first was organized by CLA’s Heritage Hub team in Siem Reap from 30 November-2 December 2018 at the Heritage Hub office in Wat Bo Pagoda. The Festival was participated by 25 Chapei Masters and Students, local two groups of public school students, 15 volunteers, local art communities including Sounds of Angkor, Wat Bo Puppet Troupe, TukTukTV, Phare Social Enterprise, Bamboo Stage, Silong Original, Small Art School and American Corner.
- The second was organized in Phnom Penh by Cambodian Living Chapei under the patronage of CLA. The event was taken place from 28 to 30 of November 2019 with participation of Chapei Masters, Chapei Students, University students and as well as the general public with the total participation of 2048 people.
- Firstly aimed to organize in Kandal Province by linking Chapei to the community of Wat Svay Andet where another USL was inscribed. Unfortunately due to the Covid-19 Pandamic causing the restriction to public gathering, the Chapei festival was organized online in Phnom Penh with limited number of participations only a few organizers and dozen of Chapei artists were taken part. This first time online Chapei festival also gained tremendous support from the public.

7. INSTRUMENT COST
The high cost of Chapei instruments is hindering students from studying Chapei as well as for art schools to maintain Chapei classes. The grant from UNESCO for purchasing Chapei instruments helped artists to reduce their financial burden. Based on our survey conducted in 2018, we found only two Chapei manufacturers in Phnom Penh due to low demand. Long Borarith's Chapei shop and Chum Prasoeur's Chapei shop are the only shops today that produce Chapei at a reasonable price and quality. The distribution of Chapei instruments to public schools was a part of the project and MoCFA invited Chapei masters and other artists for consultation prior to the purchases. Based on these comments in the first year MCFA purchased 10 Chapei instruments and distributed them as follows: 4 for Secondary School of Fine Arts, 1 Chhouk Va High School, 2 for Kampot Traditional Music School for Orphaned and Disabled Children, and 3 for CLC.

8. CHAPEI LAUREATE
Although planned for an annual Chapei competition, MCFA Chapei team has not developed a concrete plan yet. However, we wish provide ranks and honorarium for winners in previous completion and sustain them in training at schools or in their villages. This will be conducted in the near future when the Covid-19 pandemic is better.

9. MONITORING and EVALUATION:
Our team with kind assistance from UNESCO Phnom Penh Office, we are able to identify Mr. Rahul GOSWAMI as an international evaluator for Chapei Project as stated to Activity 9 “Monitoring and Evaluation.” Mr. GOSWAMI agreed to be an International Evaluator. A TOR for Mr. GOSWAMI was prepared. The contract will be signed early April 2020.

B.3.c. Participation of communities, groups or individuals in the safeguarding activities

Describe how communities, groups or, if appropriate, individuals as well as relevant non-governmental organizations have effectively participated, including in terms of gender roles, in the safeguarding measures. Describe the role of the implementing organization or body (name, background, etc.) and the human resources that were available for implementing safeguarding activities.

Within the years’ report, there are a few new and upcoming Chapei practitioners who have carried on the Chapei tradition as their professions. They either perform the Chapei for their communities or formulate a team to transmit their knowledge and experience to the new and younger Chapei apprentices. Below is the list of individual artists who actively participate in practicing, transmitting, and getting involve in their Chapei communities and more.
• Peang Pi a talented Chapei player who has performed in numerous of shows and events in his hometown. He recently offers Chapei class to those who interested in learning the art form. In early 2020, he was invited to take part in creating new Chapei plays, ‘Sovana sam’ and ‘Soban Kauma’ which produced by MCFA and broadcasting facebook livestream.
• Pich Sarath devotes his time teaching and promoting Chapei to the next generation in Phnom Penh area. He is the founder of “Community of Living Chapei” which has cultivated many young city youths. Sarath actively contributes to keep the tradition alive through teaching and spreading out the Chapei’s wisdom and value to his community and beyond. Together with his team, Sarath perform for the public in and outside of the city of Phnom Penh.
• Meour Mourn received his diploma in Chapei from the only formal Chapei training in the country that conducted at Secondary School of Fine Arts. After his graduation, Mourn pursues his career as Chapei player in his hometown in Siem Riep province. Different from his colleagues, Mourn offers online Chapei class across the country. His advancement in technology and English language permits him to share his knowledge both in and outside of his community and reach out to a large and diverse student bodies.
• In mid-2020, MCFA helped producing two new “Chapei theatrical performance”, “Sovanna Sam” and “Soban Koma” with the purpose of promoting and sustaining the practice of the Chapei Doung Veng. The plays were launched virtually on social media which received a huge and positive respond from local audiences. What make the projects a huge success was how Chapei Doung Veng presented in a very new refreshing way. Narim Nam and Chankethya Chey, dancers and choreographers by profession were invited to take part in the last two mentioned projects as the project facilitators. Together with the two facilitators, 5 invited Chapei masters, who came from across the country, established a performance structure that provided room for the Chapei form to integrate beautifully with other Cambodian traditional art forms such as Cambodian classical dance, small shadow puppet, chanting, and more. The pieces were rich and diverse while the Chapei essence still pronounced exquisitely.
To carry out the task, the two facilitators required to fully understand the aesthetic element and the traditional component of the form. The process allowed them to gain a deep appreciation and respect toward the Chapei form as well as the practitioners themselves. The outcome of the collaborative work between Chapei masters and the two facilitators/choreographers manifested a prominent approach in safeguarding Chapei form in today context for a wide range of audiences.Through the two performance projects, the MCFA has initiated a fruitful platform in promoting the art form while offering opportunity for artists from different generations and diverse background to join force in implementing safeguarding activities of Chapei Doung Veng.


• Cambodia living arts (CLA) is non-government organization that aim to promote creativity and innovation in the arts sector, and to build links with the neighbours in the Greater Mekong region and further afield in Asia. It is also working to get more arts and culture education into Cambodian public schools, and to increase performance opportunities for Cambodian artists. CLA‘s goal was to keep Cambodia’s endangered intangible heritage alive. In 2003, CLA began running Chapei Dang Veng classes, which were taught by Master Kong Nay to ensure the continuous transmission of the art form. Master Kong Nay taught two generations of students through these classes until he retired in 2009.In the same year, CLA also supported one of Master Kong Nay’s first-generation students, Mr. Pich Sarath, to continue his legacy as teacher. Sarath taught for CLA until 2015, and during that period, CLA helped develop the Chapei class ino a professional troupe, providing professional development training to equip the Chapei class with necessary skills and resources to achieve independence and stability. The Class later developed into the Community of Living Chapei (CLC) was led by Sarath and another 6 different technical and then became independent from CLA in 2016. CLC currently has over 138 students. CLC ‘goal was continuous to promote education, written a documentary and raise awareness of Chapei Dang Veng until now. Moreover, CLA prepared the project program of Chapei Dang Veng Festival in the purpose of promoting the Khmer intangible cultural heritage such as: Performance (Chapei dang veng performance), workshops (Chapei dang Veng storytelling, Classical Wedding Music and Areak Music), panel discussion (Master Kaosal Voha KONG Nay,Master El Bien “aka Kampoul Pich”, Master SAO Ien, Master KONG Hing, Master KEO Hoeun), Talk about the Ethnomusicologist and Researcher, Exhibition (Photo exhibition about the history of Chapei Dang Veng) in order to acknowledge Cambodia Artists and Student.

• Phare Ponleu Selpak (PPS) is a non-profit Cambodian association improving the lives of children, young adults, and their families with art schools, educational programs, and social support since 1994. PPS offers multidisciplinary schooling to young people, which gives them a perspective to make a living in art. Those taught typically come from poor backgrounds. The education is focused pm self-realization and durability. Classes are given in subjects like theatre, acrobatics, music and a variety of art disciplines. There have a training course program of Khmer traditional music including Chapei Dong Veng in order to transmit of the art.

B.3.d. Timetable

Indicate in a timetable when each activity was implemented.

This activities proposed was executed from 2017-2020

B.3.e. Budget expenditures

Provide the detailed amounts of the funds used for the implementation of each activity (if possible, in US dollars), identifying the funding source for each (governmental sources, in-kind community inputs, etc.).

B.3.f. Overall effectiveness of the safeguarding activities

Provide an overall assessment of the effectiveness of the activities undertaken to achieve the expected results and of the efficiency of the use of funds for implementing the activities. Please indicate how the activities contributed to achieving the results and whether other activities could have contributed better to achieving the same results. Also indicate whether the same results could have been achieved with less funding, whether the human resources available were appropriate and whether communities, groups and individuals could have been better involved.


C. Update of the safeguarding measures

C.1.

Updated safeguarding plan

Please provide an update of the safeguarding plan included in the nomination file or in the previous report. In particular provide detailed information as follows:

  1. a. What primary objective(s) will be addressed and what concrete results will be expected?
  2. b. What are the key activities to be carried out in order to achieve these expected results? Describe the activities in detail and in their best sequence, addressing their feasibility.
  3. c. How will the State(s) Party(ies) concerned support the implementation of the updated safeguarding plan?

C.2.

Timetable for future actitivies

Provide a timetable for the updated safeguarding plan (within a time-frame of approximately four years).

C.3.

Budget for future activities

Provide the estimates of the funds required for implementing the updated safeguarding plan (if possible, in US dollars), identifying any available resources (governmental sources, in-kind community inputs, etc.).

C.4.

Community participation

Please describe how communities, groups and individuals, as well as relevant non-governmental organizations have been involved, including in terms of gender roles, in updating the safeguarding plan, and how they will be involved in its implementation.

C.5.

Institutional context

Please report on the institutional context for the local management and safeguarding of the element inscribed on the Urgent Safeguarding List, including:

  1. a. the competent body(ies) involved in its management and/or safeguarding;
  2. b. the organization(s) of the community or group concerned with the element and its safeguarding.


D. Participation of communities in preparing this report

Describe the measures taken to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparing this report.


E. Signature on behalf of the State Party

The report should be signed by an official empowered to do so on behalf of the State, and should include his or her name, title and the date of submission.

Name

Phoeurng Sackona

Title

Minister

Date

12-03-2021

Signature

Upload signed version in PDF


Top