Lakhaon Bassac Remains Popular Among Cambodians

By Buth Reaksmey Kongkea

Despite the growth in the cinema and video industry, Lakhaon Bassac, a form of theatre that dramatizes subjects of a folkloric nature, remains popular among Cambodian people in provinces throughout the country. As a measure of the influence of fine traditions on modern life, Cambodians are as happy to watch a Lakhaon Bassac performance as they are to watch the latest blockbusting production from Hollywood.

According to Sek Savuth, Vice Director of the Theatre Department at the Royal University of Fine Arts, Lakhaon Bassac continues to attract the affectionate attention of the nation because it deals with subjects that speak directly to the heart of the populace.

Savuth, a former Lakhaon Bassac actor who, since 1982 has created a “Giant” reputation as both actor and teacher, said, “The source of these dramas is often found in Khmer history and the culture of the past. Often, the plays are chosen for their emotional content, sad stories proving popular with the audience.”

“Through the medium of dramatic performance, those who are not familiar with Khmer history can learn about the nation’s kings, understand traditional ways and culture and enhance their sense of national identity,” said Savuth, who is also a Lakhaon Bassac Trainer. “The players educate the people about morality and civic education, through the corrective lens of Dharma. The Theatre is an excellent place and plays are an enjoyable way to learn about the subtle balances between good and evil. It also educates the people how to be good people, about the benefits of solidarity and hard work in developing the country.”

Yin Yean, Deputy Chief of the Office and Study (?) at the Ministry of Culture and Fine Arts, said that the Lakhaon Bassac tradition was at its strongest during the time of Sangkum Reastr Niyum and Lon Nol’s regimes.

Yean, who used to perform as a “model actor” within the Lakhaon Bassac tradition as far back as 1979, said that the majority of the veteran play actors fell victim to the Khmer Rouge regime (1975-1979).

He said that from 1979 to 1993, the Lakhaon Bassac tradition was able to pick herself up, brush the mud of the Killing Fields from her skirts and then attempt to regain her former popularity in the hearts of Cambodians. However, he said that due to the rapid growth of the movie industry in Cambodia, the art-form had, and continues to face some very stiff challenges.

“When I played as a model actor in the 1980s, there were hundreds of thousands of people coming to see my performance every night in Phnom Penh as well as in other provinces. Lakhaon Bassac was very interesting for the people at that time,” he said. “But now, audience numbers continue to decline compared to the 1980s.”

According to his observations, Lakhaon Bassac is no longer as attractive as it was in the past because there are fewer opportunities to present regular Lakhaon Bassac performances, compared to other types of theatrical entertainment. However, he said that till today, lower audience figures should not be interpreted as a complete lack of interest in the art form amongst Cambodian people.

Moeung Vutha, 53, living in Russey Keo district, Phnom Penh, said that even though there are fewer Lakhaon Bassac performances, he still likes watching it.

Vutha said, “My family and I watch Lakhaon Bassac whenever it is televised on TVK and Apsara. It is still very interesting for us.”

“I like watching Lakhaon Bassac because it concentrates on the sad stories of old Khmer history and culture. In addition, the actors sing beautifully,” he said.

Yeang Sarun, 34, of Kampong Speu province, said she also watched Lakhaon Bassac and had done since she was a child.

“I like watching Lakhaon Bassac because I want to see the actors who perform comedy roles and the “giant” actors are quite simply fantastic. Their dresses are so colorful and they always have an interesting comment to make and a belly-laugh to create with an old but always amusing joke or comic routine,” she said.

According to Sek Savuth, Lakhaon Bassac originated with the itinerant river-borne theatre groups of Cambodia and southern Vietnam in the early years of the 20th century—traveling up and down the Bassac-Hậu Giang River in large sailing boats, these troupes would pull in to give performances at major centers of population.

He said that currently, there are about 100 Lakhaon Bassac groups throughout Cambodia, and this year, about 300 students are being trained in the Lakhaon Bassac tradition.