Cambodia & History: The Khmer Rouge and the destruction of cultural heritage

The Khmer Rouge regime (1975–1979) had a devastating impact on Cambodian music and culture. The leaders sought to erase all traces of the former society, targeting intellectuals, artists, musicians, dancers, and anyone associated with Cambodia's rich cultural traditions.

Work camp. DC Cam

It is estimated that 80 to 90% of the members of the Royal Ballet of Cambodia were killed and that nearly 90% of musicians perished during the genocide. Many art forms, particularly those transmitted orally, were almost entirely destroyed, as the regime systematically executed or repressed artists and destroyed musical recordings and instruments.

Repression and manipulation of the arts

The Khmer Rouge banned all music and dance that did not conform to their revolutionary ideals. Only songs and performances that served the regime's propaganda were allowed, often accompanied by traditional instruments but with lyrics extolling socialist values and loyalty to the ‘Angkar’, the organisation. This led to the near eradication of pre-revolutionary music, including Cambodia's vibrant rock and pop scene of the 1960s and early 1970s, which was considered decadent and influenced by the West.

Loss and survival

The cultural destruction was not limited to the loss of human life. Much of Cambodia's musical and artistic heritage was lost, with recordings and sheet music destroyed and oral traditions broken. Survivors often had to hide their artistic identities to avoid execution, with some posing as peasants or destroying their own instruments out of fear. After the regime fell, most artists were dead, in exile or too traumatised to practise their art, leading to the decline or disappearance of many lesser-known art forms.

Many musicians survived by hiding their true identities or posing as ordinary workers. Renowned artists and singers, such as Sinn Sisamouth and Ros Serey Sothea, were targeted and could not easily hide their identities, but lesser-known musicians sometimes managed to escape detection by posing as peasants or accepting menial jobs. For example, Touch Seang Tana, a member of the band Drakkar, survived for years in a labour camp by posing as a simple farmer.

Compliance and propaganda

Some musicians were spared because they played music that served the propaganda needs of the Khmer Rouge. The regime banned most forms of music but allowed certain traditional instruments and revolutionary songs. Musicians such as Arn Chorn-Pond survived by learning and performing these propaganda pieces for the regime, sometimes selected from among other children for their musical talents. Those who did not learn quickly enough were often killed. Similarly, Kong Nay, a master of chapei dong veng, was forced to play music approved by the regime and was spared forced labour for a time, but he was eventually separated from his family and sent to work.

Those who did not learn quickly enough were often killed

In rare cases, musicians survived because some Khmer Rouge soldiers appreciated their music. Daran Kravanh, for example, escaped execution because some soldiers liked his accordion playing, a rare case where musical talent saved a life in the killing fields.

Hiding instruments and recordings

Some musicians took great risks to preserve their art by hiding their instruments or recordings. One musician survived by hiding his instruments in a shed, where he went to check on them throughout the years of war and genocide. However, most physical recordings of Cambodian music were destroyed, and only a few survived because a handful of people managed to hide them in their personal collections.

Endurance and oral tradition

A few musicians survived by perpetuating oral traditions, passing on their melodies and skills in secret or through improvisation. After the fall of the regime, surviving musicians, such as Kong Nay, resumed teaching and practising their art, helping to revive Cambodia's musical heritage for future generations.

Some Cambodian musicians therefore survived the Khmer Rouge by combining several strategies: concealing their identity, playing propaganda music, relying on luck or the individual preferences of soldiers, hiding their instruments and preserving oral traditions. Survival often depended on quick thinking, adaptability and, in many cases, pure luck, as the regime systematically targeted artists.

Renaissance and resilience

Despite this devastation, Cambodian culture has shown remarkable resilience. In refugee camps and within the diaspora, survivors began teaching and practising traditional music and dance, seeing these practices as essential to their identity and healing. Efforts to revive and preserve Cambodian arts continue today, thanks to organisations and individuals working to restore lost traditions and pass them on to new generations.