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By
: Suy Se, Picture by : Jon Bugge.
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Some of the vast array of masks that
are produced at the workshop,
within the Royal University of Fine Arts.
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To don a mask,
is to change characters: the art of masquerade. To make
a mask, is to create a character: the art of genesis.
This concept certainly did not escape the attention of
the ancient Khmer people. Masked performance art traditionally
depicted the Ream Ke - the Khmer version of the Indian
epic. During the ceremonies the performers wear the masks
and this symbolizes them becoming the characters. This
is no more important when the characters are gods. Hanuman
is often depicted and a performer, wearing the mask of
Hanuman, has the task of acting like a god. The word in
Khmer for mask is: "Khmok" and for mask maker
is: "Cheang Khmok."
Orn Sitha is a teacher of mask making and lives in Phnom
Penh. He gave an unclear description of the history of
Khmer masks, saying: "We didn't know exactly yet
where and when those masks appeared. It depends on the
history of the Khmers: however we know that during the
era of Angkor these masks were manufactured." Sitha
surmised that they might have copied the masks that they
had seen in the ancient royal palaces.
Orn Sitha is not only a mask teacher, but also a well-known
mask maker of the Royal University of Fine Arts. Moreover,
this teacher was born into a family of mask makers. It
was a family that had prided itself on becoming the best
mask makers in the kingdom. This legacy was passed on
to him from his father , who was a highly skilled artisan.
His father was commissioned to |
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The masks at different stages
of production, with the fine head dresses above.
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produce
the finest examples of masks that were used exclusively
by the Royal Palace.
Sitha recalls first being aware of this artistic
family craft: "Once when I was eight years
old I saw my parents creating these kinds of things,
then I began taking the resin of Marak to shape
into animal statues."
It was in 1981 that he enrolled in the Royal University
of Fine Arts, here he honed his inherited skills
and perfected his art form.
Traditionally the masks were made from the resin
of Marak, which was extracted from a kind of tree
called Kreuol. This resin, as well as serving the
purpose of mask producing was also an important
commodity. Its uses were varied and included the
waterproofing of boats.
In the clouded history of making masks, there is
not a single source that gives the information of
the origins clearly. However, Orn Sitha claimed
that the usage of Marak resin did not signify the
start of mask making. It had existed before and
as he puts it: "it could be before the Angkorian
period or during that we first began to create these
things."
In order to prolong the life of a mask, the Khmers
would use the resin of Marak in making these masks.
This was because this resin can protect the mask
from water and insects; thus increasing its longevity.
Nowadays, in his studio, Orn Sitha uses cotton paper,
rather than pure Marak resin. The resin is from
the jungle and is not as common as it used to be.
On average a mask will take between three to five
weeks to produce. This delicate and intricate work
demands all the skills and patience of this master.
First a clay mask is made and then a cement mould
taken from it. Layer upon layer of cotton paper
- soaked in glue - is placed to line in the mould.
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There are ten
layers, at least, that are used in this part of the process.
The mask is removed and allowed to dry before the resin
and the lacquer is applied. This process is to complete
the adornments and headdresses of the masks. Then painstakingly
painted with vivid colors and copious amounts of gold
leaf - giving each its identity and character. Only then
when the process is complete do the masks seem to come
alive.
Regarding the production Orn Sitha stressed that: "it
is not so difficult, but we need much patience and talent.
The work is often laborious and makes us dirty."
Most of the masks are produced according to the story
of Ram Ke and they were used to enact every scene of each
story. One mask could be used in different stories, but
still represent the same character.
At the same time that Angkor Wat is heralded as part of
the great Khmer culture, so mask making deserves recognition
of its place in this cultural legacy.
"These masks could certify that Khmers really have
their own culture. When they have just seen the mask of
a giant or a monkey then they know that it is Khmer,"
said the mask-making teacher.
However Orn Sintha foresees problems within Asia, nations
such as Thailand, have similar masks to Cambodia. It is
this reason that could cause tourists to misunderstand
that Thai and Khmer are both the same. In fact, it is
not like that, they are essentially very different in
performance. They have different names: the the Ramayana,
in Khmer it is called Ream Ke but the Thai side calls
it the Ramayanak. |
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As a teacher,
he sees this as an important part of his work: to
ensure that Khmer traditions do not die out. He
teaches his students the Khmer artworks and to cherish
what has been Cambodian for so long. He emphasizes
pride in their cultures rich history - that is so
steeped in tradition.
Sintha illustrates that a student can be good at
mask making either, because they have great patience
and will try and try again, or, because they truly
understand the mask making process and its representation
of traditional art form in a contemporary context.
The contemporary context in this sense is tourism.
Now the masks, which were so valued by the performers
and provided the means for their performance, are
more often than not sold to tourists. A finished
mask will fetch anywhere between 150 -300 dollars.
Orn Sintha is confident that this is how mask making
will survive into the twenty first century. Tourism
and its growth, |
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The fierce-some face of one
of Orn Sintha’s creations
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will provide
a crucial market and financial viability for this
most ancient of crafts.
Finally he predicts that, "in the future I
will create these masks in numerous amounts, if
it is like the situation now in Cambodia, there
will be a lot of tourists coming to visit Cambodia."
According to Ministry of Tourism, the number of
tourists would increase up to 800,000 in the next
year of 2003. Some of these masses will end up buying
a traditional mask as a souvenir of their visit.
Orn Sintha is positive about the demand for masks
from the tourist sector.
Thus an ancient craft must find its future in modern
tourism. Originally used to create illusion and
hide the performers identity. It can now be seen
as defining Khmer identity, whilst still creating
the suspension of disbelief that this art form and
its performers strive to achieve. This craft provides
a working example of how tradition must look to
trade to survive.
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Suite
B8, Regency Square, InterContinental Hotel, 294 Mao Tse Toung
Boulevard,
Phnom Penh, Kingdom of Cambodia.
Tel: (855) 23 213 133 Fax: (855) 23 213 033
E-mail:
editor@leisurecambodia.com |
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