CENTRE OF IT ALL
Bandaul with a piece
from
Digestion
, now
on show in London;
(right)an installation
byPharegraduate
BoRithy
38
FAHTHAI
professional art school and hope to be officially accredited by
the government soon.”
Indeed, the organisation is timing its 20th birthday
celebrations – a large-scale performance in Phnom Penh and a
series of shows and events in Batttambang – with the opening of
a slick, two-level Visual and Applied Arts building in December.
Another tangible symbol of Phare’s transition into a serious
art school is Romeet, a contemporary gallery in the capital that
serves as a platform for the centre’s emerging and established
visual artists to showcase their work. There’s also a graphic design
studio that employs Phare’s young illustrators and designers.
Last year, the organisation moved their more experienced
circus performers to a brand new big top in Siem Reap and
formed Phare Social Enterprise. It’s been successful, playing to
full houses and even giving private performances commissioned
by some of the bigger hotels and private enterprises.
After the performance, I talk to Phare co-founder and acting
director Khuon Det, whose commanding presence and steely
demeanour belie his past training as a child soldier. Still, there
are bursts of warmth when a student or performer drops by
to say hello and they clearly adore him. Stress is etched on his
face and he confirms that he’s under pressure: “I’m working
across multiple roles and funding is always an issue.” When the
school started, it was Det’s idea to create the circus – he was
inspired by the strength and determination typical of martial
artists and gymnasts and the beauty he saw in the bas reliefs
of circus troupes at Angkor. “You know, circus does have
Ankorian roots, but the European-style, advanced acrobatics
we’ve introduced were not looked upon favourably by locals,”
he says. “Cambodia is a traditional country and this idea of
spreading legs, flipping, a lot of physical touching – especially
for women – was frowned upon. That’s pretty much completely
changed. I’m proud that we’ve broken down some barriers.”
One of his most experienced performers, the contortionist
Phunan Pin, joins us. She’s just returned from a stint in France
and, as the leading lady of the
Sokha
performance, is heading
to the Siem Reap big top the next day for several months of
performances. She’ll also visit New York in the near future, where
a documentary on her life will be screened. She joined Phare at
age seven and came from a family with a history of violence.
MAIN PHOTO: ALEXANDER CROOK
