People celebrate the 7th anniversary of Chapei Dang Veng’s inscription on UNESCO’s List of Intangible Cultural Heritage in Need of Urgent Safeguarding, last month. COMMUNITY OF LIVING CHAPEI
Chapei Dang Veng represents a beloved Cambodian musical tradition closely entwined with the life, customs and beliefs of the people. This melodic art form graces a wide range of occasions from religious ceremonies to casual entertainment, holding a special place in the hearts of the majority of Cambodians.
The allure of this specific musical and storytelling style as a performing art had experienced a decline with the advent of contemporary music. However, its inscription on the UNESCO List of Intangible Cultural Heritage in 2016 has breathed new life into this tradition, rekindling the interest of younger generations. An increasing number of the young are now embracing and learning to play the long-necked lute, also colloquially referred to as chapei, from which this musical legacy takes its name.
Pech Sarath, president of the Community of Living Chapei (CLC), notes that while the traditional performances by Chapei Dang Veng elders are highly regarded, the size of their audience remains minimal, typically around 10 individuals who gather to appreciate their artistry.
Conversely, contemporary concerts featuring Chapei Dang Veng garner substantial backing. This support propels the rejuvenation of the art form, as it integrates modern musical elements while preserving the essence of this cultural treasure, ensuring its lasting legacy.
Perhaps the most vocal example in recent memory is the collaboration between young Cambodian rapper VannDa and Chapei Dang Veng master Kong Nai in “Time to Rise”, a smash hit music video which has garnered over 116 million views on YouTube since its release in 2019. VannDa and master Kong Nai also performed at the closing ceremony of the Cambodia Games 2023, then getting the roaring audience on their feet in a mega-event presided over by former Prime Minister Hun Sen.
“For the sake of conservation and progress, without embracing modernisation, there is a risk of our cultural heritage fading away in the years to come,” says Sarath.
He says the revival of this tradition has ushered in a fresh narrative framework for performances. This contemporary approach necessitates that each performer possesses the ability to both play the lute and sing independently. It deviates from the traditional convention where a single singer would assume all character roles.
Another aspect of contemporisation involves the advent of ensembles who fuse Khmer and Western instruments. This fusion has piqued the interest and enthusiasm of younger generations, inspiring them to carry forward the legacy, promoting and sharing it with a broader audience.
“We’ve formed a professional Chapei Dang Veng troupe, melding drums and flutes with multiple long-necked lutes and a variety of instruments that harmonise with our chosen themes,” he says.
Growing enthusiasm
Sarath says the CLC currently counts 250 members from around Cambodia and overseas. This marks a notable uptick of members from the previous year’s count of 200. When the NGO first took shape in 2013, he recalls, it comprised only a solitary member.
This increase in membership signifies a steady resurgence of Chapei Dang Veng, particularly in light of prior scant support and limited dissemination. Historically, the journey of mastering chapei was obstructed by significant hurdles to the advancement of this art.
The absence of support for the instrument in the past can be attributed, in part, to negative perceptions associated with it. This includes the notion that learning it lacks commercial viability and is perceived as futile. Consequently, numerous families dissuade their children from embarking on the path of chapei performance.
Sarath reveals that the growing enthusiasm for this unique musical and narrative form has prompted a shift towards endorsing this artistic discipline. Families are now increasingly receptive to permitting their children to acquire the skills for musical performance, and the Ministry of Culture and Fine Arts has undertaken measures to integrate it into educational establishments like the Secondary School of Fine Arts (SSFA) and the Royal University of Fine Arts (RUFA).
SSFA acting director Heng Komsan says that after Chapei Dang Veng earned a place on UNESCO’s Intangible Cultural Heritage List, a clear upswing in its popularity was observed. However, during the Covid-19 pandemic, this form of live artistic performance faced a lull in activity compared to other domains.
On the occasion of the recent celebrations of Cambodia-Japan diplomatic ties at the SSFA, a concert was conducted, showcasing a performance by seven Chapei Dang Veng artists accompanied by an orchestra. The fusion of traditional and contemporary music resonated strongly with the Japanese audience, who were surprised by the adaptability of the two-stringed instrument, known for its distinctive sound, in harmonising with modern musical instruments.
He believes that if practitioners of this specific musical and narrative style are to exclusively rely on traditional performances, where the singer both plays and sings along with poetic verses, performances might struggle to resonate in the current era.
Innovative dimensions
“In this digital age, it’s imperative to blend with at least a few traditional instruments or other forms of traditional music to craft fresh and engaging sounds. Solo presentations may not hold the same allure as they once did. Introducing these innovative dimensions doesn’t erode the essence of the genre or cultural heritage; rather, it pioneers something innovative while preserving the original form,” he says.
Siyonn Sophearith, director-general of Techniques for Cultural Affairs, notes that following Chapei Dang Veng’s inscription in the World Heritage List, the culture ministry undertook a census of its performers. This survey unveiled that in 2017 there were slightly over 100 individuals proficient in playing the long-necked lute in Cambodia.
By 2020, the tally had surged beyond 300 individuals, comprising a spectrum of skill levels, including those with moderate expertise and ardent learners. This figure remains fluid, susceptible to shifts influenced by factors such as personal enthusiasm, dedication and the choice to collaborate in the preservation of this form of theatrical presentation.
Sophearith adds that there is a need for clear distinction when it comes to the contemporary adaptation of the art form. Firstly, maintaining its traditional essence is essential, and secondly, it entails welcoming innovations. These principles align with UNESCO conventions and are vital for safeguarding the art.
“The 2003 UNESCO Intangible Cultural Heritage Convention holds substantial significance as it advocates for the protection of practices, representations, expressions, knowledge and skills acknowledged by communities as their cultural heritage. This convention underscores the significance of diversity and the value of innovation within cultural norms,” he says.
Sophearith explains that the ministry’s policy is divided into two parts: the preservation and the advancement of culture. The progress of culture does not entail enhancing existing traditions but rather involves crafting fresh creations rooted in tradition, nurturing innovation.
Lasting influence
Heng Thyda, a fourth-year composition student at RUFA, notes that the promotion of Chapei Dang Veng has not yet reached wide acclaim. In response, she is resolute in her commitment to propelling this creative practice through her musical compositions.
Her objective is to create pieces that capture the interest of the current generation and kindle their interest in traditional artistic expression, thereby encouraging their active involvement in conserving their cultural heritage.
“It could involve crafting a brief story or even a narrative interwoven with traditional dance. Through the creation of engaging scenarios, we can offer an introduction to Chapei Dang Veng, enabling individuals to acquaint themselves with its core principles before delving deeper. Given the limited chances for direct exposure, this gradual integration holds the potential for a lasting influence over time,” she said.
Thyda points out that in today’s era, many young people are inclined towards playing the guitar, while lute performances remain unfamiliar to them. On occasion, the instrument might be glimpsed on the streets, creating confusion among the youth, who may mistake it for something else.
She says that despite the initial challenges of mastering the two-stringed lute, once musicians become proficient, they can discern its unique rhythmic patterns, enriching their overall musical knowledge more than just listening to songs.
Vong Phanith, another fourth-year composition student at RUFA, says he dedicates a day each week to the study of the instrument. His motivation to learn this cultural discipline is two-fold: To uphold Khmer heritage and deepen his comprehension of musical tradition. Beyond its educational value, this pursuit also serves as his preferred pastime.
“When it comes to my desire for learning, I want to learn so much, not only Khmer instruments and performing arts, I want to know everything about the nation’s arts and culture. If I knew how to play even moderately well, I would play every day,” he says.
Similar to Thyda, Phanith shares a dream of crafting educational narratives revolving around the cultural patrimony of the Kingdom, with a special emphasis on Chapei Dang Veng.
He intends to share these stories on social media platforms to capture the attention of contemporary youth. His strategy involves developing imaginative concepts that engage the audience by seamlessly weaving the art form into the plotlines. His resolve is to impart his passion and knowledge to the younger generation.
