Skip to content

Advisor

Phnom Penh's Arts & Entertainment Weekly

  • Features
  • Music
  • Art
  • Books
  • Food
  • Zeitgeist
  • Guilty Pleasures

Recent Posts

  • Guilty Pleasures
  • Jersey sure
  • Drinkin’ in the rain
  • Branching from the roots
  • Nu metro

Byline: Phoenix Jay

Hell or Rehab?

Hell or Rehab?

Since 1958, tens of thousands of speed freaks, pill poppers, crack addicts, junkies, glue-sniffers and alcoholics have arrived at Thailand’s Wat Thamkrabok to undergo the world’s most extreme drugs detox regime. Set against an idyllic Oriental landscape, this stark Buddhist monastery is a far cry from the usual celebrity-friendly rehab haunts. Every day, patients line up to swallow a bitter herbal brew made from 108 local seeds, leaves and tree barks which leaves them retching and spewing in the gutters as their ‘drug demons’ are exorcised (to this day, only two monks know the recipe – a closely guarded family secret). Known as ‘Junkie Monastery’, it’s considered the world’s toughest rehab: here there are no toilets, air con, telecoms, hot water or private rooms. Wat Thamkrabok, which translates as ‘Cave of the teaching,’ is a lofty temple complex 130km north of Bangkok which was founded in 1957 by Thai nun Luang Paw Yaai. There, perched atop a mountain and in response to then-Prime Minister Sarit Tanat’s campaign against drug addiction, Luang Paw Yaai developed what is today the world’s most notorious detox programme. In 2004, her brutal vomit cure proved too much for self-destructive Libertines’ front man Pete Doherty and the heroin-addicted British musician bolted on day three of what should have been a ten-day purge. Here, one of only a handful of Western women ever to pass through the world’s toughest rehab describes – on condition of anonymity – her own experience as a heroin addict within the walls of Junkie Monastery.

How did you first hear about Wat Thamkrabok?
I’d seen it on the TV show, Taboo: ‘insane remedies’, this was one of the places featured. It looked bad, but it didn’t look horrific. The whole thing was about throwing up to rid yourself of toxins and the whole ritual thing to cleanse your energy. It sounded bizarre to me. The story was about two heroin addicts from England, but all you got to see were the rituals – and you know the standards aren’t like a Western rehab.

There were 45 Thai men, mostly brought in wearing shackles on the police paddy wagon. A lot of them were busted for selling or distributing drugs in Bangkok, a lot of gangsters. Some were as young as 14, but they were already in gangs. Then there were 13 Western men… and me.

You can’t run away. It’s about an hour-and-a-half from Bangkok, but once you’re there it’s like a huge village. There are these big gates with two huge elephants holding the globe, that’s Thamkrabok’s symbol. When you go in it’s like a community: there are houses, roads and cars. Once you’ve done your first five days of vomiting, you’re allowed outside to do chores. We had to wear red nurse’s scrubs – at least, that’s what they looked like – and apparently on the back, in Thai, it says: ‘Winner.’ [Laughs]

Charlie Sheen would appreciate that.
You didn’t feel as if you were a winner; not at least until day ten! Inside the temple, the area for inmates is called The Hey and you’re locked in. As a girl, I was locked in from the outside – padlock on my door and bars at the windows – at 8pm and unlocked at 5am. The Western guys weren’t locked in at all, nor were the Thais.

For your own safety, presumably?
Yeah, but why not lock the guys in and let me out?! What am I going to do? For one, to go through any experience like that alone, knowing you’re not actually alone, is one of the most horrible feelings. Even though you had the safety of knowing everyone there was going through similar things to you, as a female you’re locked away and so you don’t get the time to talk to anyone unless it’s during daylight. For the first five days, because you’re coming off things, you’re so sick you’re not trying to talk to people. At night, you can’t sleep: I didn’t sleep at all, not one minute, in nine days – and that was very common. People would go 14 days without sleep and get delirious. I could feel that I was losing my shit, but I just couldn’t sleep.

At five in the morning the bell rings, this huge fire alarm, and then you get out and grab a broom and start sweeping the compound. The Westerners were all in one building, guys and girls. There were ten steel or wooden cots with little shelves – no drawers – where you could keep snacks and soap. They provide you with a basic sheet, but they advise you to bring your own bed linen. When you’re detoxing, you get really restless and sweaty and you have a fever and it’s hot and there are fans, but you’re freezing. You have all these mixed feelings and you can’t get your body to regulate. There were three other Thai women in there while I was there. One was probably only in her fifties but looked like she was in her seventies: she’d been drinking since she was 11 or 12 years old, daily. She would have seizures: she’d be sitting up, brushing her hair, then she’d look at the light and all of a sudden her neck would spin around like The Exorcist and she’d fall on the ground and have this massive seizure. I knew what to do, luckily, but the other two women were terrified; they thought she was possessed. Imagine you’re locked in and this woman’s having a seizure and these other two women are screaming and you have to wait for somebody to come with the key and unlock you. They’d run in and start sticking things down her throat, trying to stop her from swallowing her tongue. They didn’t know what to do, but this happens a lot – especially with methadone and alcohol. You’re advised to stay clean for two days before you arrive at the temple because those are the most common times for seizures to occur and you can get properly treated for it, because once you’re at the temple, if you’re having a seizure, you’re having it at the temple. Bangkok is an hour-and-a-half away, if you’re lucky, and the monks aren’t going to take you. They actually tell you: ‘We’re not taking you to a hospital. This IS the hospital.’ Then they pointed to this cell – the hospital was the same as the jail. If you went mad while you were in there, they would shackle you up in that room and lock you in from the outside. It was a dark room in a corner with one ceiling fan and a mat, littered with mosquitoes.

You were allowed to bring in reading material, like books, but nothing electronic. I brought 15 pairs of underwear because I wasn’t planning on doing laundry while I was there. When you get there and check in, they give you three bags of soap and your starter uniform. The nun who let me in said: ‘Have you never washed your clothes before? Do you really need this much underwear? Pick your favourite five.’ [Laughs] I think part of it is that they don’t want it to become a trading situation. You can’t bring in your own clothes and you’re not allowed to change out of the uniform at any point. It’s red, it’s oversized: there’s no sex appeal. You’re in a temple at the end of the day and coming off certain drugs, like opiates, the female sex drive is supposed to increase. They don’t want that to play a role in anything that happens at the temple: someone goes to detox and comes back pregnant? Not a good review. That’s the gist of the welcome you get and what you walk into.

What brought you to the point where checking into ‘the world’s toughest rehab’ was something you felt you needed to do?
Watching Taboo and seeing these two junkies, who’d been doing it to themselves their entire life, have to wait for a TV show to straighten them out. I’d been doing drugs for a long, long time. I’m 29 now and would say I’d been doing them daily since I was 13, in some form or other. I’d constantly been on something. I knew it had gotten out of control several times, but I’d just move countries – usually to somewhere with harsher drug laws, because I wanted something to stop that temptation. I’d try not to be in places like Cambodia again, because that’s where it got really bad. I thought: enough’s enough. Just go and do it and if this isn’t going to work – it’s the world’s toughest rehab, plus I mentally want it to work – then nothing is going to work. You don’t go through something like this because you ‘want the experience’. I realised that if I kept going like I was, in six months I’d be dead. Sometimes it takes more than willpower; it takes being in a really disgusting place and having a really bad experience that you can associate with all the things that previously made you feel good about bad things. It’s like you eat something and, even if it’s your favourite food, if you find half a cockroach in it you’re probably never going to eat it again. Negative associations, that’s what I wanted. Here was something that was going to make me feel horrible and I hoped to god I would remember how I felt when I came out of it.

So that was it: I wrote to the monastery and gave them my background. Normally they say seven days is the minimum, but 14 days is the suggested stay. To stay longer than 28 days, you need written permission from the monastery. They said to me: ‘We recommend you stay three months.’ There are blogs by people who’ve been there, but I’d never read anything about anyone being asked by the monks to stay three months. They asked because of the length of time I’d been using drugs and how functional of a person I was when I was on them; I think they understood it was more than just a ‘weekend warrior’ problem. I’m really good at using drugs and living my life ‘normally’, because that’s the only way I had ever lived my adult life. Being sober isn’t an option, because I don’t know how to live that way. They realised what my position was – and, at that time, I was the principal of a school. You become so good at being a regular person, with no visible financial or personal problems; everything seems to be under control, so when does it become a problem? When you wake up and you can’t get to brushing your teeth because all of these other things come first. That’s when I decided I needed to go. I was 28.

How long did you stay at the temple?
Fourteen days, during a national holiday. Two weeks was the longest possible time I could take off school. Three months probably would have been better for my rehabilitation and if I was sitting on a yacht with piles of cash I’d probably have stayed on at the monastery for six months. At day three, I’d taken a walk around the wat and worked out escape plans. The only thing is they keep your passport and your real money. To operate on the inside, once you get registered they take your passport and all of your belongings and they lock them up. The head abbot is the only one who has keys and you’re not going to rob this 90-year-old man. It’s very clever. Nobody’s going to rob this sweet little old man because he’s all the way up a fucking mountain and you’re not climbing up there. They count your money and log it then they give you the same amount in Monopoly money: temple money. They recommend you take 200 baht a day, which is more than enough. On my last night I bought everybody dinner, because I had all this leftover money, and it was less than 400 baht.

Did you make friends while you were there? Was that even possible?
Yes, it was. Being the only female, I think it was good for the guys, too. Being around so much testosterone when people are going through withdrawal – and they don’t see any other women, when probably the people who managed to get them into this clinic were women: aunts, sisters, mothers – and then they’re thrown into this pit, essentially a prison, where you’re sharing a toilet with god knows how many men. Up to 30 can fit in a room; luckily there were only 14 or so foreign men while I was there.

Did it help, having other foreigners with you while you were there?
Because I was the only girl, they would look after me. In the steam baths, you’re all wearing your robes and you exit the prison area and walk out onto a road down to where they have ceramic-tiled steam baths. At the back, they stick wood and a whole bunch of herbs – stuff like cloves, which smelt like it would make a good barbecue – and spices. All of the tea is made from this potion thing that you drink, so everything reminds you of this horror and you have to drink it. Some of the guys told me to surreptitiously pour it away. You have to drink it at least three times a day, but they give it to you six times a day and it’s there, out, the whole day, so you can drink as much as you want. In theory, if you want to get better as fast as possible, you do what they tell you to do when they tell you to do it, but there are so many other things going on in your head than drinking that fucking tea! Drinking tea to get better isn’t something that seems logical at this stage. You’re already going through Hell and you’re, like, ‘What’s another hour?’ Everything merges: you haven’t slept, you haven’t eaten. All you do is you have diarrhoea, you’re shitting yourself, you’re puking all over the place; it’s just a horrible, horrible experience.

How horrible can herbal tea be, really?
When you walk into The Hey, the first thing you see is this door and then behind that is a trough. Behind that is a tree where people stand watching you and banging drums. You have to kneel – you want to get as low as possible. When I got there the first time, one of the monks came over and gave me an elastic band. I thought it was for my hair. ‘No, it’s for your shirt,’ because you’re wearing this oversized jump suit and you’re leaning down. I was wearing a bra but you’re not allowed to wear tank tops or anything else like that, so I guess it was just boobs and these poor 90-year-old monks are going to walk past, banging their drums, and they’re going to see these boobs out. [Laughs] So the monk gives this elastic band to me to tie up my shirt and I’m holding my hair back, thinking: ‘Don’t you have another elastic band?!’

The first day I walked in coming down off heavy drugs. The last time I had taken heavy drugs was two hours before getting on that plane. ‘I know it’s not OK to get to Bangkok high, but at least I’m not doing it in Bangkok,’ so I did my last little hit. When I checked into the temple, I still wasn’t feeling great. The nun gave me a schedule: ‘You’re up from 5am to 8pm and there are a few mandatory things you have to do; puking is at this time; sweeping happens five times a day; in between puking and sweeping, there’s a steam bath…’ Three times a week there’s chanting and you have to go up to the temple with the monks who chant for an hour and you have to kneel again. And this is a broken knee, so I don’t kneel very well; it’s really painful. As if that wasn’t bad enough, there’s meditation, only you can’t meditate because everything hurts and your head’s a mess. You can’t be one with fucking anything! You’re trying not to shit yourself; you’re trying not to vomit; you’re trying not to wipe the sweat that’s running down your face; you’re trying not to scratch the mosquito bite on your face or slap the mosquito that’s buzzing around your ear. This is you ‘meditating’. As a drug addict, coming off all of those things, just being alive for the first day is really, really rough. Being alive and then being told you have to do things, when basically you’ve lived your life in a world where you do all the things you know you’re not supposed to do already… and now you’re being told you don’t have that option.

In the morning, at 5am, you come out and you drink this tea that’s supposed to be good for your kidneys. You have to sweep – and if you can’t walk, you have to use the broom as a walking stick and you lean on it, but you have to go outside and you have to take part in the sweeping. That’s pretty difficult to do at 5am for someone who’s sober and alert and not hungover. Can’t you do anything else? Can’t there be a bell and we can go paint?! Or a bell and we can go dance or write or read or listen to music, anything other than sweep and puke?!

Having seen the documentary, the reality of Wat Thamkrabok still came as a shock?
They don’t show you all this in the documentary. In the documentary, these people get up; they puke; they sit around; they feel like shit; they talk to some people; they go to sleep; they wake up five days later feeling fine; they leave and they’re cured. But when you get there, that’s not what it’s like at all. I didn’t feel as though anything in that documentary was real, apart from the vomiting. Let me tell you about the vomiting.

 Please, do tell us about the vomiting… [Grimaces]    
The first day I walk in, the nun says: ‘Go into your room and get settled. In half an hour, you have to vomit.’ Can I wait until tomorrow? I just got here! ‘No, that’s why we tell you to arrive before this time because that’s the intake and then you vomit right away. Because if you’ve taken something today – and I bet you have…’ [Laughs]

She had you sussed already? 
Yeah! She was kind of like you in that sense. She was a very smart lady and she knew what she was talking about because she’d experienced it all herself. She wasn’t a ‘holy woman’, she was an ex-heroin addict who’d had a boyfriend in a motorcycle gang; spent years on the Rainbow Warrior with Greenpeace; drove her kids through Spain for months at a time and, all this time, was a heroin addict – for 18 years – and no one knew. She originally went to spend two weeks at the monastery but, by the time I met her, she was in her eighth or ninth year there, shaved head and everything. ‘You think we’re just going to let you be high your whole first day? Like the other inmates aren’t going to want to kill you? It’s best if you just do this…’ All the other guys were saying: ‘Ooooh, it’s the new girl! Are you ready to puke?’ And they tried to be funny, but don’t be funny; now’s not good. Be funny in 10 days. So she takes me to this trough, where the monk has a two-litre bottle filled with this sludgy brown liquid. You hear that and think Jagermeister, but it’s not: it’s like vomiting granular bits of herbal tea. There are 108 herbs in this remedy, picked by the first ever nun – the woman who started it all. She’s gone off into the hills and had this vision of all these things she needed to pick to cure the world.

Eye of toad, tongue of newt…  
[Laughs] Pretty much! ‘I’m going to take 108 of the most disgusting things in the world, put them in a bottle and we’ll make them drink THIS!’ This recipe has only been passed down through her family: she had two nephews and taught them how to make it. One of them was the monk looking after me. They bring this potion to you; they walk in and they’re already playing the drums. He does this thing to get all the sludge off the sides and then they give you a shot glass and two litres of tea. All the people who’ve finished the puking, who’ve been there more than five days, are standing opposite, cheering you on. On the first day, the nun said: ‘Pretend it’s a shot of alcohol. Swallow it completely, get it down. Just open your mouth and get as much of it into you as possible as fast as you can because that will make you puke.’ So you drink this tea and you hope it comes back up, otherwise you have to keep guzzling it down until it makes you retch. She said: ‘Don’t stick your two fingers down your throat; you’re not bulimic and trying to puke in the privacy of your bathroom. Take your four fingers and stick them in there; get your fist in the back of your throat. If you don’t make yourself vomit, you’re going to be ill and you’re going to taste it all day.’ I took one shot glass and it tasted horrible, but it’s not the worst thing ever at that point. My eyes were tearing because I was coming down off all these drugs, because I was vomiting and because I was horrified: all these guys weren’t looking at the other guys, there were all looking at the new girl, me. By day two, you know just how horrible it was and what it would be like having to puke it up. It becomes a lot more difficult every time. On day two I went to the front, but they said: ‘No, you’re not new any more.’ Huh? What do you mean? I just got here! ‘No, at this point there are already other new people and they get to go at the top of the trough.’ I had to go to the end of the trough – and there’s a difference being at the end. There’s this guy who walks around with a garden hose to wash stuff down the dry, concrete trough, because when you’re at the end you’re behind 25 other people and all of their vomit. There are some big, massive Thai guys, who right before vomiting would eat as much as they could possibly eat: two, three, four bowls of rice and stuff, so that when they had this liquid all they had to do was stick one dainty finger down their throat and all of this stuff would come up. They just need to puke once or twice and then they’re good to go. It’s much harder on an empty stomach, when you’re relying on just the tea. At the end of the trough, where you can smell and see and hear everyone else, it’s absolutely horrific. Then they start to pull newbie tricks, like they’re the veterans: ‘New girl, you’ve not eaten for four days. Eat water melon!’ It is really good for you – it has sugar in it and it will rehydrate you. What they don’t tell you is that when you eat water melon and then puke, it comes up all stringy, like Silly String. Sometimes it gets stuck in your throat and you have to pull it out. And they’re all watching – because they’ve all told each other you’ve just eaten water melon – like something funny’s going to happen. Is the monk going to not make us puke today? ‘No, the monk’s coming.’ Then you puke and they’re all yelling: ‘Ohhhh, there’s the water melon!’ You arseholes! It doesn’t matter that you’re in a place of worship; you put a bunch of boys together with one girl and they’re going to be boys.

And this is them looking after you?!
They did, like in the steam bath. Each has 30 people and it’s not very big: maybe six feet long and three-and-a-half feet wide, so you’re sitting on each other. Everybody makes themselves the smallest they can be. The guys get to take off their clothes and wear sarongs, but you’re a girl so you have to keep your scrubs on. You’re pouring water on you and it outlines your boobs and some of them men in there haven’t seen a woman in months, but I would go in and some of the big guys would sit around me, so I always felt protected. They were good about that kind of stuff. Even the Thai guys were respectful: I think, above everything, they knew they were in a temple and that’s something they’d grown up with. No matter how bad a guy he was on the outside, they respected that they were in a temple surrounded by holy men and they needed to behave, although you never know what could happen and I suppose something might have happened a long time ago that led to the women being kept in cages.

Some of these women stay on as nuns.
The nun who looked after me swore all the time: ‘If you think you’re going to get out, you’re not going to fucking escape.’ Are you allowed to speak like that? Isn’t there some rule against nuns using the F word in every other sentence?

This is the second week we’ve had a swearing nun in our cover story.
[Laughs] I saw that! She said: ‘Well, I wasn’t fucking born a nun!’ She told me all about her life. Her daughter is going to come see her this summer for the first time in nine years; she was 14 last time her mother saw her.

Did she regret her decision to stay on?
I asked her that and you could see in her eyes that she was sad on a lot of levels, but she was happy on a lot of levels as well. She wasn’t tormented by her decision; she knew that she’d made the right one for herself and her kids. She wanted to be there for her kids, to be sober and healthy for them, but she doesn’t trust herself yet to go back and not fuck it up. Maybe she’ll never be comfortable with that. She said: ‘Maybe, but I’m not ready now.’ Jesus! The monks do this long walk thing, this meditation retreat, and at first she’d thought it was this Woodstock-type party. This one guy said to her: ‘No, it’s not like that. The music is chanting and you can’t dance to it and we’re out here for days. It’s going to be a lot of silence and a lot of praying and that’s it.’ She felt pretty stupid because she’d come in as this wild child thing. She later watched this same guy leave and stay sober – he comes back now, ten years later, to lead meditations – but she knew that couldn’t be her. She knew she couldn’t leave and come back ten years later and still be sober. On my last day, I said: ‘It’s weird. I hate this place, but I don’t know that I’m ready to leave.’ She said: ‘Stay! You could be like me.’ I don’t think I could stay for nine years, but she’s still not at that stage where she’s ready to leave.

What stage are you at?
I’m at the stage where I go back and forth. I managed to do this and come out of it and I was OK for a while, staying away from anything that might tempt me, but then I got to the stage where I had been sober for more than a month and I still wasn’t feeling like myself. They say it takes 21 days to change habits, but by 22, 23, 30, 32, I still felt the exact same. I was waiting for enlightenment to come, but it didn’t. The monks had said that, realistically, it takes three months for your brain to build up serotonin and dopamine and start releasing it normally. I’d got to the stage where now I was this sober person, but I wasn’t able to do the things I was good at before: I didn’t want to be around people; I didn’t want to socialise. I wanted to work, go home, turn on the TV and tune the world out. I’d expected life to become easier and I suppose it would have if I’d stuck it out for a lot longer. I felt as though I didn’t know this sober person, because the last time I’d been sober I was a teenager. I didn’t realise how much of an impact drugs had had on my life; I didn’t know who to be without them. I read somewhere that alcohol is the worst drug for others because it brings out the arsehole in you, but sobriety is the worst drug for you because it brings out the arsehole in your friends. Sober, I realised I didn’t really like these people and the world was a pretty depressing place.

I made a conscious decision to go out and do drugs again. I remember getting them and being really disappointed and then doing the drugs and feeling really disgusted with myself and then I got really sick and threw up all over the place. Straight away, I could smell the temple and that stuff again and it made me feel really bad, which was good. When that first sickness came, all of these associations came with it and then I didn’t do it again for another month. After slipping up that first time, I felt so much better because I knew the drugs were within reach and I’d done them and I didn’t want them any more. That’s kind of where I am now. Never before have I been able to consciously look at it and say: ‘I’m done.’ I make sure I’m not doing it all the time and that it doesn’t become a problem again. Some people are able to stay at the temple for two weeks and be fine. Some people fight with it for the rest of their lives and that’s probably where I’ll be, but it doesn’t feel like a fight right now. It’s me being conscious and knowing what decisions are right for me: knowing what I need, when I need it and when I need to stop.

Having survived two weeks in the world’s toughest rehab – the one Pete Doherty famously quit after just a few days – was it worth it?
Yeah, it was definitely worth it. You can only go once in your life; they won’t allow you back. You take your vow when you arrive, your sajja, promising that you’re not going to use these things again. At the end of your time at the temple you eat this vow, which is on rice paper, and it’s supposed to stay with you; by passing through your body it’s accepted by all of you. Pete Doherty was there for three days then he escaped: he jumped over the fence and had his manager waiting up the road, with a car full of smack. He’d asked online for his fans to donate money so that he could get out and he got an emergency passport somehow. Believe me, I looked for ways out! Even now, in some of his latest interviews, Doherty has said he wants to try again, but you can’t go back to The Hey, no matter what: the monks won’t let you. Sometimes I wish I could have stayed longer because I would have understood more about how my brain works. Because you can’t go back – and you’re not going to make yourself vomit – what you do is try to put your mind back there and remember what it was like, all those negative associations that got you through. A lot of people overdose in Bangkok within hours of leaving the temple because their bodies have been through such a hard detox and when foreigners die, their bodies are brought straight back to the temple and placed at the top of the mountain, where it’s supposed to be super haunted. I knew that was a very real possibility.

Posted on December 26, 2013January 13, 2014Categories FeaturesLeave a comment on Hell or Rehab?
Secret shame

Secret shame

Seventeen years ago, a senior member of Cambodia’s government was asked why the country seemed indifferent to the sexual exploitation of its children by expats. He replied thus: “Do you not think that Cambodians do these things yourself?”

Contrary to its reputation as a haven for Western paedophiles, Cambodia has long harboured a secret shame: the majority of child sex offenders that plague its provinces are not from far-off lands, but native Khmers – a phenomenon not readily admitted by the proud descendants of Angkor.

“Cambodian men are interested in child sex because they believe – and this belief has existed for many years – it can help build or maintain their strength,” said Chin Chanveasna, executive director of End Child Prostitution and Trafficking (Ecpat). “Local demand hasn’t been brought to the ttention of the public because the offenders are rich and powerful.” Ecpat prompted headlines in 2010 when it released a report in which all but one of 43 child sex workers interviewed said their clients were Cambodian. Although Chin Chanveasna described the findings as “surprising”, on closer examination they are anything but.

The misconception that sexual depravity is a foreign problem arose following the arrival of the United Nations Transitional Authority on Cambodia in 1991 (Untac). Such was the sexual appetite of the 22,000 soldiers, police officers and administrators who made up the peacekeeping force that, within two years, the number of prostitutes in Phnom Penh swelled from 6,000 to more than 20,000. As Cambodia struggled to regain stability, the clamour from Cambodian men for underage prostitutes threatened to outpace that of the Untac forces. Between 1992 and 1993, figures from the Cambodian Women’s Development Association suggest, the average age of girls entering commercial sex dropped from 18 years to between 12 and 15.

For the men who offend, the lure is linked inextricably to myths of luck, prosperity, even immortality.  The pursuit of virgins is a distinctly Asian preoccupation, according to the International Office for Migration, which in 2007 reported that only 9% of virginity-seekers in Cambodia were of Western origin.

In The Virginity Trade, a documentary by British film-maker Matthew Watson and screening at Meta House, one such buyer describes the forces that drove him to deflower a child. “Cambodian culture regards virginity as very important. It is most sought after by Cambodian men, so I decided I was ready to pay for the thing men want the most. I was told that if I had sex with a virgin girl, it would increase my powers; enhance my beauty. That is, stay young forever.”

This concept of sexual alchemy can be traced back to Taoism, a web of philosophical and religious traditions that has been shaping Asian beliefs for more than 2,000 years. In Secret Instructions Concerning The Jade Chamber, a fourth-century Taoist text on harmonising male and female energies, the author describes the potential rewards:

‘Now men who wish to obtain great benefits do well in obtaining women who don’t know the Way. They should also initiate virgins [into sex], and their facial colour will come to be like [that of ] virgins. However, [man] is only distressed by [a woman] who is not young. If he gets one above 14 or 15 but below 18 or 19, it is most beneficial… The masters preceding me, who transmitted the Way to each other, lived to be 3,000 years old. Those who combine this with medicines can become immortal.’

Almost 1,000 years later, similar impulses were being etched into the walls of Angkor Wat, seat of the mighty Khmer empire between the 11th and 13th centuries. One inscription describes Jayavarman II’s infatuation with a woman of ‘perfect body; of irreproachable face’ waning when he realised she was ‘already deflowered’. Another speaks of the king being pleasurably aroused by ‘a virginal and enchanting wife, awkward in revealing her charms’.

Within the temple city of Angkor, prepubescent girls were ritually de-flowered by Buddhist priests. Visiting Chinese diplomat Tcheou Ta-Kuan witnessed one such occasion in 1296. Once a year, he wrote, the authorities chose an astrologically auspicious day for the ceremony. Girls aged between seven and 11 would be summoned to a deflowering chamber built by their parents, often deep in the jungle. Here, the priest would spend the night alone with the girl, emerging the following morning with a vessel of bodily fluids believed to possess magical, restorative powers.

The practice, known as chen-t’an by the Chinese, had swept across Asia by the 13th century, but the beliefs at its core would prove even more enduring – and nowhere more so than among the political elite. Reports of the personal life of Mao Zedong, founder of the People’s Republic of China in 1949 and responsible for 70 million deaths, make reference to young virgins being brought to his bed on a regular basis. The chairman believed it “would help to restore and reinvigorate a man’s health and vigour”, a sentiment that would be echoed 25 years later by the ultra-Maoist leaders of the Khmer Rouge, who, despite banning sexual relations between ordinary citizens, retained for themselves the feudal rights to deflower virgins.

Religious prostitution has since ceased, but the pursuit of child sex continues. So cheap is Cambodia’s supply that by 2006 Chinese men accounted for 60% of virginity-seekers in Phnom Penh. So highly prized is virginity in China that, until 2009 when it provoked outrage among conservative lawyers in Egypt, one Chinese company, Gigimo, distributed an Artificial Virginity Hymen Kit. The $30 product, designed to be inserted and then ‘broken’, helps women fool men into believing they are still virgins – culturally important in societies where pre-marital sex is considered illicit. The product has since been withdrawn.

Some believe it can prevent and cure HIV/Aids, a powerful motive in a country where many older prostitutes carry the virus. Although it sounds primitive, it’s a belief that straddles every strata of society – even the moneyed elite, among the most frequent offenders. “Most of the customers who had sex with virgins were Cambodian high-ranking officials,” one prostitute at a beer garden says. “People tried to keep a low profile regarding this problem, so that not many people knew about that.”

The modus operandi of virginity-seekers often involves the promise of marriage, a significant amount of money or both. Within a few days, however, the perpetrator has usually fled. A Singaporean revealed many wealthy Asian businessmen – including offenders from Korea, Japan and Taiwan – tour Cambodia’s provinces, paying up to $4,000 for virgin girls held captive in private homes while potential buyers are brought in. The average age of the girls is 11.1 years. What makes these violent acts of exploitation possible is the desperate plight of a faltering, post-conflict economy erected on the twin pillars of corruption and impunity. This, along with the social conflict that accompanies accelerated modernisation, has created a gender-dysfunctional society in which women are expected to act both as guardians of tradition and economic providers.

“In the past, the role of women was upholding the sovereignty of the nation on the battle field,” says Mu Sochua, opposition lawmaker and former minister for women’s affairs. “You can see on the bas reliefs of Angkor, women holding spears. One of the former leaders on trial, Ieng Thirit, is also a woman – the brains behind the Khmer Rouge.” It was in the wake of the Khmer Rouge’s collapse in 1979 that, for Cambodia’s women, the real battle began. “Most of the men were killed, but women came back and we reformed the land on our own,” Mu Sochua says. “We’re out now in the factories due to economic necessity, but because this is a time of peace, our culture expects us to be the woman in the home.”

In 1993, the new Constitution promised an unprecedented age of gender egalitarianism – a promise it has failed to deliver. Women’s primary role in Khmer society is still to embody purity and those who challenge that expectation are treated harshly. “In many senses of the word, from physical virginity to moral and mental purity, it is carved in stone – and if your culture is carved in stone, it is extremely difficult to change,” says Mu Sochua.

The tenets behind this mentality can be found in the Chbap, moral treatises combining popular custom with Buddhist principles. The rules for girls, Chbap Srey, were adopted as the basis of the new curriculum in 1979 as the few teachers who survived Pol Pot scrambled to rebuild the nation’s education system. According to the Chbap Srey, young women have a duty to remain a virgin out of ‘gratitude’ to their parents, and any girl ‘indecent enough to venture out alone at dawn, noon or twilight’ risks being raped.

The gender imbalance is reinforced in the Khmer proverb ‘Men are gold, women are cloth’, which suggests boys can be washed clean, but once a girl is stained, she’s ruined for life. This sense of jengjom, or ‘filial piety’, helps perpetuate child prostitution to this day. Mothers sell daughters into sexual slavery to repay the debt of raising them; the social stigma attached to being a victim of rape, the act often committed by male relatives or neighbours, drives other girls to seek out sex work voluntarily. Underpinning these decisions is the Buddhist notion of karma, which results in many women simply accepting their fate.

This mother’s tale is typical of many: “My living was desperate and I was in debt. I had to sell my daughter to someone. I sold her for $300. My daughter has to work for the [brothel] owner for one year to pay back the $300 debt. Now I’m thinking of taking my daughter back. I feel so sorry for her. I love her so much.”

In 2010, the US Department of State removed Cambodia from the list of countries not doing enough to combat human trafficking, while acknowledging the relevant laws are at best patchily implemented. The decision met with ire from human rights activists, who pointed to the department’s own Trafficking In Persons report, which notes that police raids on brothels are often linked to non-payment of bribes. Detained prostitutes are regularly raped.

While this climate persists, responsibility for reducing local demand falls primarily to the non-governmental sector. Some advocate education, others condone a more punitive approach. Asked by Ecpat what would change their behaviour, most Cambodian men took a different view. Campaigns that raise awareness and encourage buyers to rethink their role were identified as potentially effective by 78.6% of respondents. Less than 50% listed prosecution. The Cambodian Defender’s Project offers legal representation to victims of trafficking. Executive Director Sok Sam Oeun concedes that changing men’s mindsets will take generations. Until a few years ago, the legal age of consent was not specifically determined in Cambodian legislation, but was widely understood to be 15. “The problem is custom versus modern law,” he says. “In Cambodian custom, when a girl reaches puberty, she is considered an adult. Some police officers don’t even know the legal age is 18.”

Unravelling a cultural phenomenon “set in the mind as much as it is set in stone” requires a seismic shift in gender norms. “All that you can’t change by arguing between preserving culture and advancing human rights,” says Mu Sochua. “It has to be equal: that’s what we need to teach society. That’s why we need to change the proverb to ‘Men are gold, women are precious gems.’”

WHO: The girls of Cambodia
WHAT: The Virginity Trade and Girls Of Phnom Penh screening
WHERE: Meta House, #37 Sothearos Blvd.
WHEN: 7pm December 28
WHY: “It has to be equal: that’s what we need to teach society.” – Mu Sochua

 

Posted on December 25, 2013January 14, 2014Categories ArtLeave a comment on Secret shame
A night at the opera

A night at the opera

‘Opera is the most misunderstood of art forms. Many people enjoy excerpts they might have heard in movies and television programmes (and adverts) but continue to feel that a night at the opera is not for them. Wrong. When it works, opera is quite simply the most dazzling, emotional, visceral experience you will have in a theatre.’ – The Bluffer’s Guide To Your First Night At The Opera

Contrary to popular opinion, you don’t have to be a toff to enjoy the opera. Listening to people singing in foreign languages won’t make your ears bleed. And you don’t need an IQ approaching that of genius to appreciate this ‘most misunderstood of art forms’, which is more often than not centred on just three or four themes: man loves woman, woman loves man, people die (often by their own hand).

Yes, dear reader: opera is for YOU! Think any compelling series you’ve ever watched on Fox Crime, but with more elaborate costumes and a killer live soundtrack. Opera is about sex. And violence. And – somewhat shockingly, to the uninitiated – humour. There’s even a synopsis you can read before it begins (a bit like Wikipedia, but without the plot spoilers). To borrow from American humourist Robert Benchley: “Opera is where a guy gets stabbed in the back and, instead of dying, he sings.”

It may be some time before Phnom Penh is in a position to host an opera in its entirety, which would involve a cast of hundreds, but good news: Gabi Faja, he of The Piano Shop and, separately, GTS Jazz, is hosting an aural appetiser of sorts along with very modern mezzo-soprano Ai Iwasaki, a professional opera singer since 2004. Having completed a postgraduate degree in Opera Musicology at her native Tokyo’s Shouwa University of Music in 2010, Ai moved to Italy and the Conservatorio A Boito in Parma under the tutelage of Master Lucetta Bicci.

Now living in Phnom Penh, Ai cautions that opera isn’t for the faint of heart. “As a teenager in Japan I had always liked to sing, but then I went to an opera performance and was staggered by the power and intensity of this amazing thing,” she says. “Opera isn’t just singing. It’s history, it’s psychology, it’s love. One of my favourite composers is [Claudio] Monteverdi. Monteverdi belongs to an Italian school from three to four hundred years ago, when opera was barely developed. The music is so simple because it was early days, so the singing becomes the most important. Also they had gods who were all having sex with each other and killing each other. It was really full of drama – even more so then because of the shock value at the time.”

And what of this aural appetiser? Says Gabi: “Because we can’t do a fully fledged opera, we take some of the most famous and the most beautiful arias and we do a melange, a collage of arias from different operas. It can be anything from Mozart to Puccini and beyond, so you get the best of the best in a nutshell. Opera can be done in a modern, popular way. You can do it in the streets; you can do Stomp and Puccini, there’s no stopping you!” [Bursts into a jazz rendition of Un Bel Di from Madame Butterfly]

WHO: Ai Iwasaki (mezzo-soprano), Gabi Faja (piano) and Bong Somnang (clarinet)
WHAT: An introductory night at the opera
WHERE: Doors, Street 84 & 47
WHEN: 8:45pm December 26
WHY: Opera is the most misunderstood of art forms

 

Posted on December 24, 2013January 14, 2014Categories MusicLeave a comment on A night at the opera
Giving Death a damn good kicking

Giving Death a damn good kicking

A small girl with a disproportionate grin worthy of Wonderland’s Cheshire Cat pokes out her tongue, pointing at it frantically. One hand clamped firmly in mine, her flowery dress fluttering in the tropical breeze, she turns her extended index finger towards my face – a sign I’m expected to bare tongue, too. Out it pokes, steel tongue stud glistening in the sunlight. My young charge, along with a horde of bug-eyed teenage onlookers, squeals with delight and then dances haphazardly off into the dust, proudly wearing my (relatively) giant flip-flops.

This scenario is repeated at least 20 times, each with a different child and always to a chorus of shocked gasps and ecstatic squeals, during the course of my four-hour visit. We’re at Wat Opot, about 30km south of Phnom Penh on National Highway 2. This five-acre site, once a place of death and despair, is today one of the most alive, energetic and profoundly invigorating places to be in Cambodia – and plays host this weekend to an outdoor music festival starring Laura Mam.

It was not always so. When the United Nations Transitional Authority on Cambodia arrived in Phnom Penh in 1991, the 22,000 soldiers, police officers and administrators who made up this sprawling peacekeeping force brought with them not peace, but death and decay. Such was this force’s sexual appetite that within two years the number of prostitutes in the capital had swelled from 6,000 to more than 20,000, many of them underage. The HIV virus had officially arrived – and its stay would not be a pleasant one.

On Valentine’s Day 1998, just as the virus was beginning to make its presence felt in spiralling death statistics – and several years before antiretroviral (ARV) drugs would arrive in Cambodia to treat it – another, rather more welcome, visitor made land. Wayne Dale Matthysse, a US-born medic and veteran of the Vietnam War, had returned to Southeast Asia to make reparation for the horrors he witnessed during the conflict. Here in Cambodia, he instead found fresh horrors: having set up a clinic at Wat Opot with a former Buddhist monk, he discovered that 90% of the men, women and children who visited them were infected with HIV. For years, the clinic – intended to nurture health – served instead as a place people went to die. That was until the belated arrival of ARVs halted Death in its tracks.

Today, this former hospice is home to 46 children who are HIV positive, have lost their parents to Aids or both. No, you can’t tell who’s who – and the community, rather than being a place of sadness, reverberates round the clock with all the shrieks, giggles, yelps and hollers you’d expect of any group of children this size. As Wat Opot prepares to host its first ever outdoor music festival, intended as a rousing celebration of life and all its promise, The Advisor meets founder Wayne and his business partner Melinda to talk swearing nuns, a godless world & giving Death a damn good kicking.

Take us back to the beginning.
Wayne:
In 1998 we visited a home with one child who was kept in a box. His parents had both died and he was about four years old. He was quite sick and they fed him with a spoon, but they wouldn’t touch him because at that time nobody knew how you caught Aids and so nobody wanted to touch him. We could see people dying underneath the house, but they didn’t want to bring them into the house. We knew that people deserved something better than this: we needed to build a hospice. Our intention was to take care of people. We never thought that those dying people would include children.

I signed on to stay maybe six months or a year, to get the hospice going. Taking care of dying people, you can burn out any time and leave and go somewhere else. I never intended to stay as long as I have and never dreamed of it getting as big as it has. Between 1994 and 1997, we were losing people every week – sometimes two a day. Six months after the medicine started, the dying started to stop. It was evident that people were getting better. It was that hope, too. Before then, there was no hope so people just died. With the medicine, word spread and people began to have hope again.

By 2007 we had one patient who was almost blind, manic depressive and suicidal, with real angry temper tantrums – sometimes uncontrollable. He would wake up at 2am sometimes and he was very paranoid. Because he couldn’t see anything, he would start hitting the beds next to him with the metal pole he used to walk with. Nobody would sleep in the room with him, so I used to sleep under his bed. For six months we took care of him and he would have good days and bad days. Finally I took him to Takeo hospital and told them I couldn’t handle him any more; I was burned out. Three days later they dropped him off at our front gate. They had done nothing with him. He was filthy; he hadn’t had a bath or anything. They threw him at our door and said: ‘He’s yours, not ours.’ He had seven days of ARV medicines left with him. ‘Don’t give them to him if you don’t want to.’ I can’t make that kind of decision! But I think he understood what was going on and he realised that even I had given up on him at this time. On the seventh day I gave him his last dose of medicine and then he died. I almost think he knew there was no point sticking around, so he died before I had to make the decision about whether to continue medicating him. The day he died, he was laying on the bed and the hospital called me and said: ‘We have a lady who’s manic depressive and paralysed from the neck down. She cusses and swears all the time. She wants people to kill her. Will you take her?’ We had never turned anybody down, but I said: ‘Let me think about it overnight. I can’t give you an answer now.’ That night I went to bed and thought: I can’t do this any more. It’s too much.’ The hospital never called me back the next morning, so I called them and said: ‘We aren’t taking any more patients.’

We had three people in beds here. I told them: ’If you want to be sick, there’s a hospital in Takeo. If you don’t want to be sick, get out of bed.’ They’re still here! They help out in the kitchen, stuff like that. So that was the end of the hospice. We had the choice of getting rid of all the children, shipping them out to orphanages, but some of them had been here for six or seven years. We could have closed, but I thought: ‘What else am I going to do?’ I figured out I’d stay on and see what else we could do, which is when we created the children’s community. It has completely changed and become a happy place.

Melinda: At first, even the 16-year-old boys were scared of ‘ghosts’ at night, but now we don’t hear that any more. They’re accepting of this place. We tell them that they’re ‘happy ghosts’: ‘If there are ghosts here, they’re your parents and they’re watching this DVD with you!’ We try to dispel the notion that ghosts are scary, because Khmer culture is very scared of ghosts. But my dad is here – and he died years ago, so now whenever a door bangs the kids will say: ‘Oh, that’s just Melinda’s papa.’

The first time I visited, I left feeling energised. It’s a place where fun rules the roost, or that’s how it feels.
Wayne: [Laughs] Usually. It’s definitely feminine, in that it has its periods.

Have local perceptions of HIV and Aids changed since you arrived?

Wayne: Once in a while the kids will mention that someone in the community said something to them because they’re HIV, but in general this community has grown a lot since we came to this place. I had found a lovely place, which was about nine miles off the road, but it was up in the mountains and had a nice breeze and was surrounded by trees. When we talked to the surrounding people they said: ‘Oh, but all your sewage is going to come into our rice fields. We don’t want you here.’ They were, of course, talking about Aids. When we got to this wat, which was the most rundown at the time, I didn’t like it at all. It was my last choice. The community had one Aids station, right outside the front door here, and one Aids station out back. They already had Aids here, so they said: ‘Come on in! Help us!’ They opened their arms to us and accepted us right away.

Of course, part of the community – and I was a Christian at the time – said: ‘We don’t want this Christian living in our wat,’ because they didn’t know how it would affect things. At the beginning, they would bring their sickest people to us and they would die, sometimes within hours, sometimes within days. The word going around town was that we were killing people! But because we had hired local staff, they would go home at night and say: ‘That’s stupid! Wayne’s taking care of them; he’s doing his best.’

Almost every family around here has been affected by Aids and so knows how it came about. The people we would get here were generally good women: wives and mothers whose husbands had given it to them. This community has become more accepting of it. Our people go to weddings all the time; when we first came, no one would even think of inviting someone with Aids to a wedding because no one would eat at the table with them. ‘You serve people with Aids? We’re not eating this food.’

Similar attitudes exist in the West.  
Wayne: Actually, yes! We have Western people who come here and say: ‘Cambodia is far ahead of the United States.’ There’s one coming here on Christmas Day who’s gay and has been out since he was 14 years old. He’s now 30-something, a successful businessman who’s HIV positive. It’s his tenth anniversary of having been diagnosed with HIV so he wants to spend it here with the kids. Since he got HIV, he says: ‘My mothers, my sisters, my friends, my co-workers, they all say: ‘We still love you; nothing has changed.’ He came here and wanted to help somebody so he picked one of the kids who’s now in high school, wanting to tell him that if you have HIV it’s OK, you can still have a successful life. He was going to give this little pep talk: ‘I want you to know I’m HIV positive, just like you are.’ The kid rushed over to him and gave him this big hug and said: ‘Well then we can be really good friends.’ Rob walked back to me, scratching his head, and said: You know, for many years everybody has said: ‘That’s OK, we still love you.’ I don’t know about that now. When this kid hugged me, it was a hug of love. All of a sudden I have to really think about how people really feel about me. That was a hug of love, not a hug of pity. In the States you get pity, you don’t get love.’

What of the kids in your care today?
Wayne: Now we have three kids who have graduated from university: one with a BA in nursing who’s now working on his Masters; two who have graduated in law. This year, we have one who will graduate with his BA in civil engineering; three kids doing different forms of art; one girl in midwifery school; one boy in an international English school – he’s passing all his tests and he rides his bicycle to school, with all these kids who drive Lexuses. We have another one who just joined the circus arts school in Battambang.

They do seem an energetic bunch…
Wayne:
We’re very happy with the new direction. They’re good kids. We run the place as a commune, so everybody works together and everybody carries their own weight. It’s not like we’re taking care of them; we take care of each other. The emphasis is certainly on education: they have to go to school. We have a volunteer here for a year and she teaches English classes as well. We have music and arts. They have activities but they can’t participate in them until they can show that they’ve done their homework. Education is our main goal.

Most people are shocked when they come here. We had one lady come here who was 60 years old, had never married or had children but wanted to do something with her life. She found our website and saw a picture of someone holding a baby, so she came here with the idea she would be taking care of little starving babies in cribs. Where she got that idea from, we have no idea!

Melinda: She was with a seniors group that was travelling all over Asia, doing the touristy thing, and then she broke away to do something else. ‘Oh, good. I’ll end my vacation holding sick babies.’

Wayne: [Laughs] But then she got here and there were no sick babies!

But what you do have is a lot of rambunctious children who WILL jump up and down on you until you’re exhausted.  

Wayne: She wasn’t prepared for that – and she admitted it. She was very uncomfortable for the first few days. She’d never been around children. She’d never really had a relationship with anybody, is basically what she said.

Melinda: She had a hard time understanding why this child was consistently asking for this or that when you’ve already said no. Well, that’s because he’s a kid! She had a lot of questions, trying to figure out children for the first time.

Wayne: And the kids don’t mind if you’re not that accepting of them; they’ll still jump on you.

Melinda: More! It’s like they sense your fear factor, like an animal: ‘OK, I got this one…’

Wayne: So they treated her just like everybody else! When it was almost her last night and she was feeling like she hadn’t done anything here, one of the little boys was crying and she said: ‘Here’s my opportunity. I can help him.’ She walked over to him and said: ‘Would you like me to help you?’ And he said: ‘No! I can take care of myself.’ She said: ‘All of a sudden it hit me. I’m looking for needy people, but these people don’t need me. They just love me.’ It just clicked in her mind. The kids have experience with all kinds of people, from Western to Asian. It’s almost like group therapy here… [Laughs]

Wayne, you came here as a man of faith, but have since abandoned religion. What happened?
Wayne:
I came here as a Christian missionary with the idea of changing Buddhists to Christians; that’s what I had been doing. In Salt Lake City we changed Mormons to Christians; in New Mexico we changed Indians to Christians; in Honduras we changed Catholics to Christians. Now I had come here and was going to change Buddhists to Christians. That was what my life was: making people see things the way I saw them, which was the way I had been taught. Then I got here and met Beth Goodwin, a Buddhist nun. We were talking and she asked what I was going to do here. ‘I came to bring the love of Jesus to the people of Cambodia.’ She said: “Bullshit!” ‘You can’t say that!’ “Why not?” ‘God will strike you down with lightning!’ “I’m a Jew.” [Laughs] Beth is an outstanding woman who has worked in Palestine and still works in Cambodia with her Aids programme. That got me thinking. She said: “What are you doing here?” I said: ‘I’m a nurse and I want to help people.’ She said: “Well, that sounds a lot more like it.” So we got to know each other and she asked me to redefine what I was saying: “I don’t understand this Christian crap you’re talking about.” Basically, when you’re with Christians, you throw out a Bible verse then someone else throws out another Bible verse and you see if you can trump them with another Bible verse, but you never say ‘Bullshit!’ to anybody, you just throw out another Bible verse. She was the first person to come out and say ‘Bullshit!’ to me and I had to think about that. Maybe it is! And I had to ask, if I take away the Christianity, who am I? I started thinking about that and doing some reading and realised that maybe I had got it wrong. I’m still working on it – I don’t have all the answers – but I pretty much left all religions; I don’t see the value in any religion. I believe that ‘God’ is the problem with the whole world. We are responsible for this world. ‘God’ isn’t going to save us; there’s no Jesus who’s going to come back and rescue us; he’s not going to throw our friends in Hell. It’s our world and if we destroy it, we destroy it. Life will go on in some other form, maybe, but if we can’t take care of this world someone or something else will do it for us. And if we want to change it, we have the power to change it. We are the creator!

WHO: Laura Mam and a lot of very rambunctious children
WHAT: Wat Opot Music Festival, featuring Laura Mam (no booze, though – it’s a kids’ community)
WHERE: Wat Opot, near Chambok town on National Road 2 (47km/30m south of Phnom Penh)
WHEN: 11am – 6pm December 22
WHY: It’s a fun, happy place

 

Posted on December 20, 2013December 19, 2013Categories Features, MusicLeave a comment on Giving Death a damn good kicking
More than words

More than words

He cannot know it, but the resemblance to a young Charlie Chaplin is striking. Sokha, a sinewy 16-year-old with rouged cheeks and stencilled-on moustache, has an uncanny grasp of slapstick. In a quiet classroom, the aspiring comedy actor halts our interview for a moment, seizes my dictaphone and sings into it with theatrical gusto – a sweet, haunting sound that rises and falls like the lilt of a chapei. Not a word has been spoken.

Deaf since birth, Sokha lived in a silent world for the first four years of his life, unable to communicate with his own family. He made sounds, but no one understood them. Now, he communicates at lightning speed, fingers fluttering in fluent Khmer sign language. Twenty years ago, this would have been unthinkable. Today, it’s a testament to how Cambodia – with a little help – is challenging traditional attitudes towards disability.

In 1991, the signing of the Paris Peace Agreement brought an official end to the decades of conflict that had ravaged Vietnam and its smaller neighbours. Tens of thousands of Cambodian refugees, many of them children born in the sprawling camps set up along the Thai border, were finally allowed to go home. At the camp known as Site II, then the second-largest gathering of Cambodians in the world, a small bamboo centre that had sprung up to shelter abandoned children began preparing for the repatriation process. Funds were raised; school uniforms made.

Among the many waifs and strays at the centre, called Krousar Thmey (‘New Family’) – the subject of a documentary screening at Meta House this week – was Wanna, a blind 10-year-old whose parents had abandoned him in a hospital. As the young refugees readied to set foot on Cambodian soil for the first time, Wanna asked why he couldn’t go to school alongside them. “A blind school?” replied Benoit Duchâteau-Arminjon, then a 21-year-old who had relinquished his role as a financial controller with Accor in Bangkok in order to volunteer in the camps. “There’s no such thing in Cambodia.”

“It was not possible for him to go to school because there was no school for the blind and there never had been – ever,” explained Benoit at Krousar Thmey’s rousing 20th anniversary celebrations in 2011. “During the French, they never developed anything. During Sihanouk: never, ever. Nothing existed. When I went to see the Ministry of Education, they said: ‘The blind are not our priority.’ When I went to see Unicef, they said: ‘We do not have enough schools for normal children.’ And I said: ‘Why not the blind?’”

In Cambodia, as in India, attitudes towards disabled people have long been shaped by Buddhist beliefs. Handicaps are the result of bad karma; manifestations of faults committed in a former life. It is not uncommon for aid workers to uncover disabled children who have been hidden in their homes for years. “If I look back, I remember some families not showing or even accepting that they had blind or deaf children,” said Benoit. “We knew they were there in the districts, but the families were saying ‘No, we don’t have’ because it was a source of shame for them.”

Inspired by Wanna, aided by the Ministry of Education and under the tutelage of the Thai Foundation for the Blind, Benoit and his team tasked themselves to reverse generations of prejudice, one child at a time: in short, to create an education system for blind and deaf children where none had previously existed. “When Wanna came with us, we realised what life was like for the blind,” said Benoit. “Neither myself nor the children at the orphanage had ever seen someone who was blind. One put a krama on his eyes to blindfold himself and they started to play. Then they realised how hard it was to be blind, and this…” – the Frenchman clicks his fingers – “was the shock that made the children accept one another.”

Armed with a few progressive individuals, the team set about creating comprehensive local versions of Braille and sign language, hitherto unheard of. The decision to localise Braille was particularly bold: equivalents of the 33 consonants, 21 vowels and punctuation of the Khmer alphabet had to be invented in order for students to comply with all the subtleties of Khmer grammar and spelling rules. Fazed, several linguists suggested using abbreviations instead, but Benoit was resolute: this was not an exercise in creating ‘special education’, but in adapting normal education to meet special needs.

“Everyone was saying: ‘Why have such a difficult system?’ Why? In order for the kids to understand their language, their culture. Language is a vehicle for culture. Using the other [abbreviated] system, they didn’t know what was going on. For us, it was very important they understand what’s going on in order to integrate into normal schools. Today, with our kids having baccalaureates, having graduated from university, having changed the perception of being disabled, we’ve proven the system we chose — the system we created — was the right one,” said Benoit.

In 1994, it took three weeks, a Perkins machine and a perfect knowledge of Braille to produce one book. Today, the Braillo — a much more sophisticated printer — can produce about 600 pages an hour. Page by page, Krousar Thmey is in the process of translating every single book on Cambodia’s national curriculum into Braille. Integrate; don’t separate.

From being a shelter for 35 abandoned kids, the organisation is now instrumental in the care and education of almost 4,000 children, 700 of whom are blind and 300 deaf. In 2009, for the first time in history, two deaf students successfully passed the national High School Exam. In 2011, the first of two volumes of the Khmer Sign Language Dictionary rolled off the press. It’s also online.

Changing perceptions has been the most painstaking part of the process. When the first school was inaugurated in 1994 by the Queen at Chbar Ampov, a woman who had seen the ceremony on TV walked into the office. On realising her son was blind, she told staff, she had wanted to kill him and then commit suicide because she was ‘bringing a lot of shame’ to her family. Today, deaf and blind children are encouraged to do their homework outside, in front of everybody. “In order to integrate children within normal schools, first we must integrate them into their families,” said Benoit.

On arrival at Krousar Thmey, visiting primary school students are handed a book in Braille and asked to read from it. Insisting there is nothing written on the page, they then select a passage from their own printed textbook. A blind child, fingertips expertly interpreting raised paper dots, promptly reads the same passage aloud. Realisation creeps over the children’s faces: reading and writing can be done in more ways than one.

Facilitating such realisation at ministerial level presented rather more of a challenge. Parish Without Borders once wrote that ‘one of the difficulties in Cambodia is knowing which government officials are really interested and concerned about such issues as the disabled, which ones are worth working with and which ones should just be bypassed.’

Had Prime Minister Hun Sen not been blinded in one eye while serving as a guerrilla commander with the Khmer Rouge between 1970 and 1975, Wanna – now in his 30s and teaching music – might still be bereft of an education. Hun Sen, who once balked at being called ah kvak (‘blind’) by his fellow politicians, has publicly called for respect: “We must value people with disabilities.” During the anniversary celebrations, addressing hundreds of assembled dignitaries, teachers and children, the premier, with trademark embellishment, declared: “Being physically disabled does not mean being mentally disabled. Even myself, I am blind in one eye, but I can look so much further than most.”

It took 15 years for Krousar Thmey, now staffed exclusively by Cambodians, to be approved by the Ministry of Interior. Without Hun Sen’s support, one can only speculate on what fate might have befallen their efforts. At the Phnom Penh Thmey school for the deaf and blind, there is an interactive exhibition called Seeing in the Dark. Participants are led into a lightless room and, guided by visually impaired students, asked to perform a few simple day-to-day tasks. The idea is to simulate the kind of sensory conditions experienced by the sightless in order to ‘address integration issues in a tangible way’. Of the dozens of government officials present at the anniversary, only the Minister of Education would enter. The Ministry of Social Affairs asked for the lights to be turned on.

“Reeeaally? Are you suuure?” The drawn-out, teasing tone suggests I should be anything but. In total darkness, it has taken several excruciating minutes, fingertips fumbling over the raised markings on a child’s ruler, to work out that the 3D cardboard shape on the desk before me is a rectangle measuring 10cm long. Only it isn’t. My guides giggle. I start over: slide, count, slide, count. Peals of laughter erupt from the impenetrable gloom. I exercise a climb-down, much to my companions’ amusement: my first guess had been two centimetres short  – and that after stumbling repeatedly, trying to mount a scooter facing backwards and flailing my arms to avoid phantom obstacles.

Outside, in the daylight, 30-year-old Ngoun Chanthon is waiting. How did it feel? Was I afraid? As grillings go, his is tenacious. Blind since birth, he feels scared sometimes, too. Not by things he can’t see, but by his future. Like many former pupils, Nguon wants to stay on as a teacher, but worries what might become of him were it not for Krousar Thmey. In a display of far-sightedness, the organisation is legislating for the long-term. Today’s pupils will become tomorrow’s tutors as it embarks on a plan to train teachers across the country to accept blind and deaf children into mainstream schools. Ultimately, new arrivals at Krousar Thmey will initially be given special education within its walls before joining regular state-run classes. As disabled children are integrated into the standard schooling system, the focus will shift to developing peripatetic teacher training centres. Within a decade, the intention is that Cambodia will offer the best education for deaf and blind children available in the whole of Asia.

Mention equality, however, and Benoit snorts. “You will never be equal. You have to be 150% better than the others. We’re in Cambodia: there aren’t enough chances for everyone, so how will you have jobs for the deaf and blind? If you teach them they have rights, they will believe they have rights. No, they have a duty: a duty to be better than the others in order to be integrated. They have to push society to integrate them.”

Backstage, as children wriggle in and out of ornate traditional costumes (deaf dancers keep time by feeling the vibrations from blind musicians), we sit down to eat. Small brown hands swat the sweat from my face with an improvised cardboard fan. I return the favour, a tiny blind girl, feeling for my wrist, erupting in giggles. Sokha waves me over with an impish grin, gesturing that I’m not to go anywhere before the big show. After all, it is my turn to have my cheeks rouged. He laughs, making the sign for ‘fun’. Integrate; don’t separate.

WHO: Everyone
WHAT: The Children Of Krousar Thmey documentary screening
WHERE: Meta House, #37 Sothearos Blvd.
WHEN: 4pm December 19
WHY: Integrate; don’t separate

Posted on December 17, 2013December 19, 2013Categories Art, UncategorizedLeave a comment on More than words
Let there be light !

Let there be light !

“Sometimes our light goes out but is blown into flame by another human being. Each of us owes deepest thanks to those who have rekindled this light.” – Albert Schweitzer

To the Norsemen of northern Europe, light – specifically sunlight – was the wheel that changed the seasons. The Quran, purportedly God’s own words to the Islamic prophet Muhammad, provides a striking parable of that god as light incarnate. In the aarti ceremony observed by Hindus, a lamp bearing five wicks is passed between believers who pass their hands over the flame and then over their forehead to feel closer to their deity. Genesis, in the Hebrew Bible, declares: ‘Then God commanded “Let there be light” – and light appeared. God was pleased with what he saw. Then he separated light from darkness to make Day and Night.’

From Christmas to Diwali and Hanukkah, via Kwanzaa, Lunar New Year, Santa Lucia Day and the magnificently named Zoroastrian Solstice Celebration, light is central to celebrations spanning the entire spectrum of human spirituality. And for good reason, for as Dutch Renaissance humanist Desiderius Erasmus once observed: “Give light, and the darkness will disappear of itself.”

As the Cambodian capital commences the Christmas countdown, creative arts therapy hub Ragamuffin House is launching its very own festival of light: an evening of song, dance, music, food and other impromptu bursts of creativity that should banish all shadows from even the darkest of existential nooks and crannies. Here, Ragamuffin’s resident light gurus Carrie Herbert and Kit Loring talk coded pictures, mirrors of the soul and how to survive the festive season.

Carrie: Christmas is such a big thing, but we didn’t want to restrict people from other faiths and beliefs – plus we’re in a Buddhist country. We looked at all the festivals from around this time of year: there’s the Jewish light festival, there’s Diwali, there’s the Hindu festival of light. We thought: how can we create something that’s really inclusive and focuses on this theme of light that seems to be present in all of these beliefs; a spiritual focus? It’s a very workshop-based experience, so it’s an event where people can come together and all take part in making creative artwork so that we can share, in a community sense, reflections and thoughts – from the perspective of art and music and poetry and dance – on what this theme means.

Kit: It’s personal. It’s not just ‘light’ per se. It’s what this means to you specifically. Artwork provides some kind of soul mirror to help you appreciate the degree to which you appreciate qualities of light, or whether light is obscured for you. When we say ‘inclusive’, we mean both inclusive of everyone and inclusive of what it is they bring, channelled into this creative work. Everyone’s got a story and it’s not a romanticised, fantasised version of light; it’s earthed in your realities. So it’s not just a neat little celebration, it’s very private and personal. The lovely thing about the artwork is that it codes something; it’s personal to you. People will perhaps see your dance or the picture you made or hear something of the song you wrote and they’re more explicit, a picture that’s coded – even if it’s a literal picture of a house and a tree; especially if it’s an abstract form of art. It’s a code for your truth. People are given the opportunity to sit together and share as much as they want to about what they’ve made, which makes it a very personal as well as collective experience.

Carrie: It’s already begun, because we have a choir here. They’ve been focusing on the theme of light and have written a new song as a result of exploring the word ‘light’ and what it means to people. It was interesting, in the choir, exploring people’s concepts of light. It was so diverse and so rich: the light within us, bringing light into darkness in other people’s lives and into the world and what that means, what it means to be together collectively around the theme of light. There has been a lot of preparation.

Kit: What’s interesting is that when you realise there’s some light within you, however fragile you may feel that is, when it meets someone else’s anguish or aloneness – loneliness is something that can be brought up at this time of year when we’re far away from home – you realise that your light brings light to my life and it shines all the brighter. You put them altogether and it makes a much brighter light. It provides a safe place, a sanctuary in which people can touch base, touch something essential, something meaningful.

Carrie: We’re going to design a little ritual around this theme of light and open up the creative sharing of everyone’s collective works. And we always have yummy food, of course! It’s an opportunity for people to share through food and make connections and network. Some things are already prepared, plus there will be some creative processes that happen on the day. Last year we did lantern making and a live multimedia using a combination of poetry, dance and movement. We created a whole story around the life of a Cambodian woman who’d come to the evening and wanted to create something around what this meant for her and her family and community, and it was all about managing the difficult times. For so many people in the world, this time of year can be very difficult. It’s supposed to be a lovely, happy, very light time, but actually sometimes it’s the very opposite. I was working with some homeless people while I was in the UK one Christmas time and that was the one thing that profoundly touched me: realising how people can so often have the extreme opposite experience of what society’s expectations are. These festivals – whether that’s Khmer New Year or Christmas – it’s about remembering in the ceremonies that, during celebrations, there are always going to be people who are, for whatever reason, not able to celebrate. How can we create opportunities and rituals to really be inclusive and enable those who perhaps don’t feel like celebrating, or don’t feel on Valentine’s Day that they’re in love? They can be held and have an opportunity to know that their voices are as important, perhaps even more important, and to give them a voice through this creative process.

Kit: We want to try our very best to make it an experience where no one feels pressured. Sometimes, people feel that ‘Dance? I can’t dance’ or ‘Draw? I can’t draw!’ But this is for the uninitiated. The more childlike our creation, the more congruent it often is – and you can’t get it wrong and you don’t ‘have’ to do anything.

Carrie: It was really interesting. We started these events and came in very gently with this opportunity for people to respond creatively. We were very gentle last year; we didn’t know if people would feel anxious or whatever, but people looked as though they’d been longing for the opportunity.

Kit: So we said: ‘If you want to, there’s some paper and card here. No pressure.’ Everyone just dived on the paper! There were about 50 people here and they all grabbed paper and everyone was creative. Then we said: ‘If you want to, you can share some of what you made with others.’ And people were really, really animated.
Carrie: There were people there from our community and people we’d never met before.

Kit: We had little ones and big ones.

Carrie: It’s different every time. There are core groups that are involved, but we always have people who have never been here before and that creates an opportunity for community and networking. Someone who came to one of our art events is now going to be working with us.

Kit: Wherever there’s a story of pain and at whatever level that is – sometimes it’s on a grand scale and a whole nation is impacted, as is the case here in Cambodia – it does result in some of the lights going out: the light of hope, the light of faith, the light of love, the light of compassion. But also it ignites those lights, too. There’s something intriguing about this. In the crisis, there are those who identify within them a resource that enables them to be symbols of hope and light to guide others. They then kindle light within those who are brave enough to come toward their light. Part of the issue with the trauma-related stuff that we deal with is that people fear the light, even going anywhere near stuff that’s been really quite overwhelming. Until they feel safe enough, they fabricate an identity that is ‘acceptable’; looks good enough and where they can fulfil the day-to-day tasks and split a little from the more painful aspects of their lives. Light in the context of darkness at those times becomes increasingly meaningful. Light where there’s light is great, but…

Carrie: People can sometimes feel that there is no light; that is has ‘gone out’. We’re working with therapists to look at what causes that and how you can ‘be’ light – embody that which someone else has lost sight of.

Kit: On the path to peace, we’re looking at really deep connections with one another – soul to soul, however we understand that notion. We’re talking about something deep within us, essential to us, almost like a life force within us: a place in which our deepest pains can find sanctuary, but also a place that has a life wish. Acceptance of all that we have suffered ourselves: love is made in these moments, when nothing is excluded or edited out of our story.

Carrie: It’s that sense of universality, even when you think of light as ‘fun’ light: it’s not restricting its borders. No one is putting it into a country and saying: ‘Only we can have it.’ You can’t control that.

Kit: What’s critically important to our work is that this festival of light isn’t going to be calling to those deep agonies. It’s a place of safety, a place where people won’t be rejected. They can bring what they bring but they need not feel alarmed that we’re going to say: ‘OK, tell us about your tragedy.’ With the art we make, people are in charge of what they do.

Carrie: And that reflects very deeply. It’s the kind of place where there’s a lot of permission and no pressure. There’s an ease to it; a naturalness. Maybe this is how communities are in some of the more traditional cultures, where creativity and art-making and storytelling in the community was normalised. It’s a channel through which communities can develop a sense of life. We’ve lost touch with that and there’s this thirst and hunger for it. That’s what we noticed when everyone just dived in.

WHO: Luminescent souls
WHAT: Festival Of Light (contact coordination@nullragamuffinproject.org or call 012 521032 to book tickets, $10 each)
WHERE: Ragamuffin House, #123a Street 12BT
WHEN: 4 – 7pm December 14
WHY: “Darkness cannot drive out darkness. Only light can do that.” – Martin Luther King, Jr.

 

 

 

 

 

Posted on December 11, 2013December 11, 2013Categories FeaturesLeave a comment on Let there be light !
Paraprosdokians, a wandering falsetto & the best God joke ever

Paraprosdokians, a wandering falsetto & the best God joke ever

Lanky Yankee Emo Philips – described by Jay Leno as “the best joke-writer in America”, by British comedian Gary Delaney as “the best joke-writer in the world” and by Weird Al Yankovic as one of the funniest people on the planet – is bringing the ‘idiot savant’ style of stand-up comedy that made him famous right here to the Comedy Club Cambodia.

For a taste of the comedic routine to come, look no further than Emo’s Facebook page, on which this veteran of more than 6,000 stand-up shows declares: “Welcome to my one & only Facebook page. How can you know it’s authentic? Because it’s linked to from my website, www.emophilips.com, which is linked to from here, which is linked to my from my website, which is linked to from here, which is…” (and so on and so forth).

Master of ‘the wisdom of children’ humour, Emo – who made his debut in Chicago in 1976 aged 20, at a time when there were but six comedy clubs in the entire US – is, to borrow from the Boston Globe, ‘admittedly a bit cuckoo, but he’s the king of that stand-up staple, the one-liner’. “I’m not sure exactly when or where I first heard one of Emo’s routines, but once I did I instantly became a fan,” Weird Al Yankovic once told Chicago Magazine. “Emo had the iconic look of somebody who could have been a major star in the era of silent films. His body language was indescribably weird and his material was flat-out brilliant.” And if you were asked at gunpoint to say who’s the funniest guy in the world, Mr Yankovic? “Without question I would have to say Emo Philips, especially if Emo happened to be the one holding the gun.”

Why so funny, you ask? Here’s another shining example: in 1990, approached by Time Out magazine in London for an interview, Emo, rather than leave anything to the gods of journalistic chance, agreed to be interviewed on its hallowed pages… by himself (coincidentally enabling him to pocket the writer’s fee). The results were nothing short of priceless, as this Emo-to-Emo exchange from the article entitled Me, Myself And I demonstrates:

Emo: How old are you?

Emo: 34.

I could see right away his joust of wit would not be for the faint-hearted.

Emo: How tall are you?

Emo: Six feet two.

Emo: How much do you weigh?

Emo: 145 pounds, naked. That is, if that scale outside the drugstore is anything to go by.

This last answer caught me totally off-guard. Laughter – a sweet, helpless laughter – welled up inside me, uncertain at first, and then increasing logarithmically, like the passion within the breasts of a tender young virgin chained to a post in the Coliseum as the baboon trainer approaches her with his lascivious charges.

So, Emo, is this to be that sort of interview? A silly, nonsensical, no-holds-barred affair, comic-take-all? Oh, you monster! You delightfully naughty monster! Well then, so be it! Make me your little whipping boy and toss caution to the breeze!

Emo: Emo, you are very talented.

Emo: Well, that’s not for me to say.

Emo: Darn you, Emo, modesty will get you nowhere! You must learn to blow your own horn in this world! Very well, if you refuse to praise yourself, then I will. I’ll shout it out from the highest mountaintop: Emo is talented! Emo is…

Emo: Please stop. You’re embarrassing me!

Emo: But you just have to learn how good you are!

Emo: I beg you, change the subject.

Emo: You are so wonderful. Very well, I shall soldier on. Now Emo, you are getting to be quite the frequent visitor to our shores, old chap.

Emo: Oh, yes. In fact, they’re getting to know me so well at Heathrow Immigration that this time I was able to completely bypass the six-month rabies quarantine…

In 2005, a joke penned by Emo some 20 years previously was declared by ship-of-fools.com, ‘the magazine of Christian unrest’, to be the world’s greatest religious joke of all time. In case you missed it – and we’re sure Emo wouldn’t mind us sharing it with you on our hallowed pages – here it is again:

Once I saw this guy on a bridge about to jump. I said: ‘Don’t do it!’ He said: “Nobody loves me.” I said: ‘God loves you. Do you believe in God?’ He said: “Yes.” I said: ‘Are you a Christian or a Jew?’ He said: “A Christian.” I said: ‘Me too! Protestant or Catholic?’ He said: “Protestant.” I said: ‘Me too! What franchise?’ He said: “Baptist.” I said: ‘Me too! Northern Baptist or Southern Baptist?’ He said: “Northern Baptist.” I said: ‘Me too! Northern Conservative Baptist or Northern Liberal Baptist?’ He said: “Northern Conservative Baptist.” I said: ‘Me too! Northern Conservative Baptist Great Lakes Region or Northern Conservative Baptist Eastern Region?’ He said: “Northern Conservative Baptist Great Lakes Region.” I said: ‘Me too! Northern Conservative Baptist Great Lakes Region Council of 1879 or Northern Conservative Baptist Great Lakes Region Council of 1912?’ He said: “Northern Conservative Baptist Great Lakes Region Council of 1912.” I said: ‘Die, heretic!’

Now a resident of Los Angeles, Emo – via Comedy Club Cambodia’s very own Dan Riley – told The Advisor: “It’s beautifully situated for living (you can swim in the ocean in the morning and ski in the mountains in the afternoon, I’m told) but, because of its non-central location, it is not at all well-situated for a touring American comedian. This Asian tour is the first time since I played Australia in ’95 that living on the west coast has come in handy (last year I played Jakarta, but the promoter sent me the long way, through Istanbul). I am on the road… well, I guess for you, approximately 75 metric weeks a year.”

After decades of stand-up comedy, what else is left? “I’ve been branching out into the classical music field. Last year I narrated Peter & The Wolf for the Glendale Philharmonic; this January, for the same orchestra, I will be narrating Carnival Of The Animals. Please know, though, that I have not at all changed the nature of my stand-up act; please don’t stay away from my show on the false assumption that it is now ‘good for you’.”

Emo’s appearance at Pontoon on December 10 marks his first time on Cambodian soil – and he has solemnly sworn to perform at least one of his jokes in Khmer (his shortest one, he insists). “Last year at this time I performed three nights in Jakarta and fell so much in love with Indonesia that I stayed an extra three weeks. I would love to spend three weeks in Cambodia as well, but sadly can only spend three days. All I know is that I have never written the number three so many times in a single paragraph in all my life and that, yes, this is actually sentence number three… which means, of course, that I should stop now.” And has he done much by way of preparing for his arrival in Phnom Penh? “To me, a country is like a movie: I try to learn as little about it beforehand as possible, in order to maximise the surprise. All I know is that, from all my friends who have visited, Cambodia has gotten the most glowing reviews.”

Emo will not be alone. Sharing the stage is British-born comedic comet Gina Yashere, who made her name state-side on NBC’s Last Comic Standing and in the guise of Madame Yashere, The Surly Psychic, on The Tonight Show with Jay Leno. ‘One of the best comics in the world,’ gushes The Guardian of this bombastic personality behind sell-out stand-up shows Skinny Bitch and Laughing To America (you may also have spotted her on Mock The Week). MCing for the evening will be Roddy Fraser, Scottish musician-cum-comedian now resident in Phnom Penh.

Says Dan Riley of the show, for which tickets are $10: “I’ve been an Emo Philiac (fan of Emo) for many years now. I even printed out some of his sublime one-liners and stuck them on the wall of my guesthouse in Kampot for guests to enjoy. I’ve never been more eager or excited to see an act than I am about Emo and I’m sure many have been impressed that we’ve managed to get him without having to charge an arm and a leg for tickets. That he’s supported by the amazing Gina Yashere is just incredible.”

WHO: Emo Philips (US) and Gina Yashere (UK)
WHAT:
Comedy Club Cambodia
WHERE:
Pontoon, #80 Street 172
WHEN:
8:30pm December 10
WHY:
The word ‘Emo’ is about more than pale-faced, self-obsessed Goths

 

 

Posted on December 8, 2013December 6, 2013Categories MusicLeave a comment on Paraprosdokians, a wandering falsetto & the best God joke ever
Intelligent energy

Intelligent energy

Just for today, I will not be angry.
Just for today, I will not worry.
Just for today, I will be grateful.
Just for today, I will do my work honestly.
Just for today, I will be kind to every living thing.

– Mikao Usui

The year is 1922. A young Japanese Buddhist, frustrated in his quest to discover the meaning of life through Zen, takes the somewhat drastic decision to instead court death. For 21 days he stood beneath the thunderous waters of a mystic waterfall on Mount Kurama until his body could take it no more and he slid into unconsciousness. Far from waking with the mother of all migraines, this young monk sprang to his feet believing his mind had been penetrated by the high-frequency ‘intelligent’ energy that flows through the universe – energy that can serve as the catalyst for self-healing and existential equilibrium. Mumbo jumbo? Not according to devotees of Mikao Usui, known today as Usui Sensei by reiki students the world over. The Advisor meets reiki master Jane Morrissey to talk intelligent energy, healing highs and why that weight loitering on your hips shouldn’t be considered ‘fat’.

How did you discover reiki healing, or did it discover you?

When I was about 18, I was suffering from depression. I’d lost three grandparents; was suicidal, had no idea what was going on and felt really, really lost. I went to see a psychologist and they just said: ‘Here are some pills.’ They had lots of side effects and I just felt numb. I gained a lot of weight and, because of that, ended up with an eating disorder. I was fortunate to find a massage therapist who specialised in reiki. I started to realise there’s only so much you can talk about things, which can help release it but it becomes a cycle. I struggled because I was around people who were very conventional, very traditional. ‘Why are you crying? What’s wrong with you?’ I was a very sensitive child; I’ve always picked up on spirits and energy. From a young age, I was told: ‘That’s not OK. I’m going to beat that out of you.’ You’re not allowed to feel emotion; to express emotion. By the time I was 18 it wasn’t just grief I was dealing with; it was so many repressed emotions: frustration, hatred. I was adopted as a very young child: by the time I got to my family I was three months old and had been through three sets of hands. I’d never formed a bond with anyone. Eventually I found this girl that I worked with and started doing massage therapy and immediately felt things starting to flow better, but certain things had got stuck. What is this? Why won’t it go away? ‘Would you like to try reiki?’ What, you put your hands on me and it just goes away?! It was through working with her that I was able to stop taking antidepressants and could start to feel again. I saw results I’d never seen before: my body started to function differently, my posture had changed.

I became really passionate about natural healing and energy. I started learning the set hand positions, but over time have developed my own style and now work intuitively. When someone comes to see me it’s about finding out first what’s happening with them and trusting my own intuition. I can actually feel what the other person is feeling, which sometimes is very difficult because with a lot of people there’s a lot of sadness, grief, anger. I’ll see different colours, too; I work a lot with colour therapy. People underestimate the power of colour. The way I was taught was based on tradition: ‘Place hands here, place hands here, place hands here…’ It was very structured. When it came to developing my own method, I found that very frustrating because I felt I had my own natural style, but the teacher kept saying: ‘Jane, what are you doing?! You can’t do this…’ I understand that traditionally things were taught in a certain way, but I also understand people have the intuition to know what their style is and how they’re meant to work with it. My way of teaching is to empower people and get them to learn what’s happening in their body.

 Have you had the chance to work with many Cambodians yet? If ever there was a population in need of healing…

Long term, I want to work with more Khmers. My preferred plan is to work with Westerners as well. People come here and, although it’s a much slower pace, they still adopt the same lifestyle: it’s like they’re still in America or the UK. ‘I’m going to work and I’m not going to have any balance.’ Interestingly, the other day, I read an article saying that Cambodia is one of the Earth’s energy centres. That’s why people are so drawn here – and it works very well with reiki being about natural healing. People have said to me: ‘It’s interesting that I’ve actually had to come to Cambodia to heal.’ Longer term, I would love to go into the provinces, work on a volunteer basis and just give to the people who can’t come to the city. Getting them to relax and feel there’s a different way of doing things. There’s so much black magic here, so much darkness. I feel my purpose here is to increase the light.

Is reiki healing a skill anyone can acquire or are certain people more attuned to it than others?    

I believe anyone can tap into it – we all have the gift – but it depends on intention and practice. When you’re trained, you get attuned to certain levels of energy. What it really comes down to is how much you practice. I practice self-reiki at least one or two hours a day and the more I practice, the more I can attune to others. It’s about discipline. And one of the interesting things about reiki is that you find the people who come to you are dealing with exactly the same things you’ve dealt with. Every time a new client walks in, they’ll mention something and it just resonates because I’ve been there. I’m very open, because I’m proud of the journey I’ve been on and sharing that journey with people makes them realise it’s OK. ‘My God, she really understands. I’m not alone. If she got better, I can get better too.’

How do you train someone?

We start with meditation: helping people get in touch with their own body and feeling what’s happening. Before you can feel what’s happening in someone else, you need to feel what’s happening in your own body. That’s what level one of reiki is about: feeling the energy; doing exercises, learning the different hand positions and practising on yourself. Everyone’s going to feel something different: reiki is a very individual experience. I have my own level of protection. In terms of the body, there are several layers: your physical body, energetic body and your auric body. I’ve built mine up to a level of strength where I can’t really absorb anything from anyone else. I can feel it, but it never actually attaches to me. I have my own practices in terms of managing that energy. One of those is to have my own space.

What do you feel during a session?

Lots of heat; lots of tingling: I can literally feel the energy flowing into my body. I can feel where there’s an imbalance. There’s a tight bit, like a block, that you can feel. A lot of people who start reiki have a lot of weight on them but it isn’t fat, it’s emotion.

I like that: ‘I’m not fat, I’m emotional!’

[Laughs] You can keep that one! Our stomach is our emotional core and all of our energy is attached to that core. Sneezing is another really common one: that’s very much a release. Same with tears – and you might not even know why you’re crying. The best one I ever had was when someone was practising on me and I was in hysterics. He had his foot on my forearm and I was rolling around on the floor in hysterics for a good ten minutes – we both were! It was this beautiful release. There are so many ways the energy can come out: some people giggle, some people twitch… Someone I worked with recently, when they first came in they were very depressed; they didn’t want to go out or do anything. They hated the world. After one session – this is how powerful it can be – I got an email the next day saying: ‘I have never felt so calm and peaceful in all of my life.’ I had another client who’d realised they were in a job they didn’t want to be in. Now she’s going for an interview for a job that she has no experience in but intuitively knows she can do. I’ve even given reiki to someone in a coma. I like to call them miracles, but some people would say: ‘You’re crazy!’ But I actually believe in miracles, so…

Are you religious?

I prefer ‘spiritual’. People often associate religion with reiki, which is unfortunate because people are so tied up in religion. I offered my services to someone in Cambodia with cancer, because reiki can help regenerate the cells in the body, but I was told that what I was doing was ‘demonic’, to which I said: ‘Thank you for your candidness!’ [Laughs] I believe in a higher level of consciousness, a higher being, a spiritual energy. I wouldn’t necessarily say ‘God’.

What should someone new to reiki expect of their first session?

Preparation is key and tells me a lot about what I’m going to be facing. Colour is important, so I have a variety of different colours in my space. Before someone even gets here, by intuitively laying out the colours I know what I’m going to be working with. When they arrive, it’s about making them comfortable and whatever they want to share with me is whatever they want to share. Some people just come and lie down, without talking. Sessions are normally an hour but the first is 90 minutes because I want to get a feel for them and it’s important they get a feel for me. I can pick up what’s happening from a person’s body shape, their language and also the colours they’re wearing. In the first session, I focus exclusively on the head. A lot of things happening in the body actually stem from what’s going on in the mind. After a session, I feel energised because the energy flows through me: it’s a natural high.

WHO: Jane Morrissey
WHAT: Reiki master
WHERE: Phnom Penh (contact holistichealingcambodia@nullgmail.com)
WHEN: Now
WHY: “We are not human beings having a spiritual experience, but spiritual beings having a human experience.” – Pierre Teilhard de Chardin

 

Posted on December 6, 2013Categories ArtLeave a comment on Intelligent energy
Paraprosdokians, a wandering falsetto & the best god joke ever

Paraprosdokians, a wandering falsetto & the best god joke ever

Lanky Yankee Emo Philips – described by Jay Leno as “the best joke-writer in America”, by British comedian Gary Delaney as “the best joke-writer in the world” and by Weird Al Yankovic as one of the funniest people on the planet – is bringing the ‘idiot savant’ style of stand-up comedy that made him famous right here to the Comedy Club Cambodia. 

For a taste of the comedic routine to come, look no further than Emo’s Facebook page, on which this veteran of more than 6,000 stand-up shows declares: “Welcome to my one & only Facebook page. How can you know it’s authentic? Because it’s linked to from my website, www.emophilips.com, which is linked to from here, which is linked to my from my website, which is linked to from here, which is…” (and so on and so forth).

Master of ‘the wisdom of children’ humour, Emo – who made his debut in Chicago in 1976 aged 20, at a time when there were but six comedy clubs in the entire US – is, to borrow from the Boston Globe, ‘admittedly a bit cuckoo, but he’s the king of that stand-up staple, the one-liner’. “I’m not sure exactly when or where I first heard one of Emo’s routines, but once I did I instantly became a fan,” Weird Al Yankovic once told Chicago Magazine. “Emo had the iconic look of somebody who could have been a major star in the era of silent films. His body language was indescribably weird and his material was flat-out brilliant.” And if you were asked at gunpoint to say who’s the funniest guy in the world, Mr Yankovic? “Without question I would have to say Emo Philips, especially if Emo happened to be the one holding the gun.”

Why so funny, you ask? Here’s another shining example: in 1990, approached by Time Out magazine in London for an interview, Emo, rather than leave anything to the gods of journalistic chance, agreed to be interviewed on its hallowed pages… by himself (coincidentally enabling him to pocket the writer’s fee). The results were nothing short of priceless, as this Emo-to-Emo exchange from the article entitled Me, Myself And I demonstrates:

Emo: How old are you?
Emo: 34.
I could see right away his joust of wit would not be for the faint-hearted.
Emo: How tall are you?
Emo: Six feet two.
Emo: How much do you weigh?
Emo: 145 pounds, naked. That is, if that scale outside the drugstore is anything to go by.

This last answer caught me totally off-guard. Laughter – a sweet, helpless laughter – welled up inside me, uncertain at first, and then increasing logarithmically, like the passion within the breasts of a tender young virgin chained to a post in the Coliseum as the baboon trainer approaches her with his lascivious charges.

So, Emo, is this to be that sort of interview? A silly, nonsensical, no-holds-barred affair, comic-take-all? Oh, you monster! You delightfully naughty monster! Well then, so be it! Make me your little whipping boy and toss caution to the breeze!

Emo: Emo, you are very talented.
Emo: Well, that’s not for me to say.
Emo: Darn you, Emo, modesty will get you nowhere! You must learn to blow your own horn in this world! Very well, if you refuse to praise yourself, then I will. I’ll shout it out from the highest mountaintop: Emo is talented! Emo is…
Emo: Please stop. You’re embarrassing me!
Emo: But you just have to learn how good you are!
Emo: I beg you, change the subject.
Emo: You are so wonderful. Very well, I shall soldier on. Now Emo, you are getting to be quite the frequent visitor to our shores, old chap.
Emo: Oh, yes. In fact, they’re getting to know me so well at Heathrow Immigration that this time I was able to completely bypass the six-month rabies quarantine…

In 2005, a joke penned by Emo some 20 years previously was declared by ship-of-fools.com, ‘the magazine of Christian unrest’, to be the world’s greatest religious joke of all time. In case you missed it – and we’re sure Emo wouldn’t mind us sharing it with you on our hallowed pages – here it is again:

Once I saw this guy on a bridge about to jump. I said: ‘Don’t do it!’ He said: “Nobody loves me.” I said: ‘God loves you. Do you believe in God?’ He said: “Yes.” I said: ‘Are you a Christian or a Jew?’ He said: “A Christian.” I said: ‘Me too! Protestant or Catholic?’ He said: “Protestant.” I said: ‘Me too! What franchise?’ He said: “Baptist.” I said: ‘Me too! Northern Baptist or Southern Baptist?’ He said: “Northern Baptist.” I said: ‘Me too! Northern Conservative Baptist or Northern Liberal Baptist?’ He said: “Northern Conservative Baptist.” I said: ‘Me too! Northern Conservative Baptist Great Lakes Region or Northern Conservative Baptist Eastern Region?’ He said: “Northern Conservative Baptist Great Lakes Region.” I said: ‘Me too! Northern Conservative Baptist Great Lakes Region Council of 1879 or Northern Conservative Baptist Great Lakes Region Council of 1912?’ He said: “Northern Conservative Baptist Great Lakes Region Council of 1912.” I said: ‘Die, heretic!’

Now a resident of Los Angeles, Emo – via Comedy Club Cambodia’s very own Dan Riley – told The Advisor: “It’s beautifully situated for living (you can swim in the ocean in the morning and ski in the mountains in the afternoon, I’m told) but, because of its non-central location, it is not at all well-situated for a touring American comedian. This Asian tour is the first time since I played Australia in ’95 that living on the west coast has come in handy (last year I played Jakarta, but the promoter sent me the long way, through Istanbul). I am on the road… well, I guess for you, approximately 75 metric weeks a year.”

After decades of stand-up comedy, what else is left? “I’ve been branching out into the classical music field. Last year I narrated Peter & The Wolf for the Glendale Philharmonic; this January, for the same orchestra, I will be narrating Carnival Of The Animals. Please know, though, that I have not at all changed the nature of my stand-up act; please don’t stay away from my show on the false assumption that it is now ‘good for you’.”

Emo’s appearance at Pontoon on December 10 marks his first time on Cambodian soil – and he has solemnly sworn to perform at least one of his jokes in Khmer (his shortest one, he insists). “Last year at this time I performed three nights in Jakarta and fell so much in love with Indonesia that I stayed an extra three weeks. I would love to spend three weeks in Cambodia as well, but sadly can only spend three days. All I know is that I have never written the number three so many times in a single paragraph in all my life and that, yes, this is actually sentence number three… which means, of course, that I should stop now.” And has he done much by way of preparing for his arrival in Phnom Penh? “To me, a country is like a movie: I try to learn as little about it beforehand as possible, in order to maximise the surprise. All I know is that, from all my friends who have visited, Cambodia has gotten the most glowing reviews.”

Emo will not be alone. Sharing the stage is British-born comedic comet Gina Yashere, who made her name state-side on NBC’s Last Comic Standing and in the guise of Madame Yashere, The Surly Psychic, on The Tonight Show with Jay Leno. ‘One of the best comics in the world,’ gushes The Guardian of this bombastic personality behind sell-out stand-up shows Skinny Bitch and Laughing To America (you may also have spotted her on Mock The Week). MCing for the evening will be Roddy Fraser, Scottish musician-cum-comedian now resident in Phnom Penh.

Says Dan Riley of the show, for which tickets are $10: “I’ve been an Emo Philiac (fan of Emo) for many years now. I even printed out some of his sublime one-liners and stuck them on the wall of my guesthouse in Kampot for guests to enjoy. I’ve never been more eager or excited to see an act than I am about Emo and I’m sure many have been impressed that we’ve managed to get him without having to charge an arm and a leg for tickets. That he’s supported by the amazing Gina Yashere is just incredible.”

 

WHO: Emo Philips (US) and Gina Yashere (UK)
WHAT: Comedy Club Cambodia
WHERE: Pontoon, #80 Street 172
WHEN: 8:30pm December 10
WHY: The word ‘Emo’ is about more than pale-faced, self-obsessed Goths

 

Posted on December 4, 2013December 4, 2013Categories FeaturesLeave a comment on Paraprosdokians, a wandering falsetto & the best god joke ever
Caribbean soul, fantasy and mythology

Caribbean soul, fantasy and mythology

When Marcos Guerra laughs, he does so with great gusto – and he does so often. Born in Santo Domingo, this stocky ever-smiling Dominican immortalises the rich textures of life in the Caribbean using everything from ceramic paint to stuffed crocodiles. His vast, colourful canvases are spread liberally around the world; his lively Caribbean modernism described by critics as bringing to mind elements of primitive African art and Picasso’s cubism. “I’m from the Dominican Republic – in this incarnation,” he declares with the kind of jollity that spreads even quicker than a case of pink eye. Caribbean Soul, Fantasy And Mythology is the title of his first exhibition in Cambodia, opening this week. “The message,” according to a review by Lydia Keck in German newspaper Koelnische Rundschau, “is that there are no barriers between cultures and religion.” The Advisor met Marcos Guerra at Chinese House to talk ancient goddesses, stuffed crocodiles and drinking wine with Amy Winehouse.

Would you describe yourself as religious?
Not really, but I have a lot of faith. I believe in man first and then the creator, but by that I mean the universe. My journey really began because I have a lot of friends all around the world in the artistic community.

What’s your philosophy? Do you have one?
To think about the evolution of man and respect all cultures. For me, one person is linked to another. It’s the only way for the human race to survive, whatever colour we are: yellow, black, white. We’re all the same. If we went to Mars, the entire population would be considered Martians. Here on Earth… [Laughs uproariously]

I sometimes think I belong on Mars. ‘Oops, wrong planet!’ That should be on my tombstone. Tell me about your technique.
Are you recording this?! [Laughs]

Of course! I’m a bloody journalist!
[Still laughing] Why is it when people laugh that others think we are crazy?

Your art seems to celebrate the best of humanity, rather than document the worst of our craziness.
That’s human life: the vision or idea of a wonderful civilisation. Who is the bad guy? It depends which side of the world you’re on.

One man’s terrorist is another man’s freedom fighter?
Yes! It took me a year to prepare this exhibition. We chose very carefully which pictures we wanted to include. I work a lot every day, do a lot of painting. Until now I have painted around 3,000 pictures.

That’s pretty industrious. I thought you Latin American types were supposed to be laidback. No wonder you left. Manana? ‘No, NOW!’
[Still laughing] I like very much this one [approaches painting]. It’s dedicated to Amy Winehouse; the name of this one is Amy And Me Drinking Wine. [Laughs] I was very sad when she died. I understood that people like her, like Janice Joplin, they’re crazy bitches! [Laughs more] In a good way, an amazingly good way. [Laughs hysterically] Artists like Amy Winehouse are passionate; they don’t last for so long because they burn so bright and they suffer a lot.

But look what they leave behind them.
Yes! That’s why I painted this. She was a passionate woman. [Approaches another painting] You see the red? It’s passionate: the Caribbean sun, the beach; everything is very lively and colourful. You can understand why Caribbean people are passionate like this. And you are invited! I have an apartment in front of the sea and you are invited.

Done! So, lively and warm…
I like to play with the composition, the perspective. Things aren’t to scale – and look, here’s a little red door for me to run away through! [Laughs] And here a flower: flowers are very spiritual for me. I wanted to build the paint up so that it grew out of the canvas. I learned from [Dominican Master Painter] Guillo Perez how to use ceramics, powder and varnish. I prepare myself the pigment I want to use; it’s all organic.

I love the cherubs.
[Laughs] See the planets? The stars? I got this idea because I did a design for Grey Goose vodka. I did the box – and here’s a grey goose. On this one [Gestures to another painting], what do we have? Red Riding Hood and the wolf! And this one is based on an exhibition I once saw in Barcelona about ancient goddesses. This one, with her long neck, is a goddess of fertility. I interpreted it and put an element of the Caribbean in it.

That explains the long neck. I like that she’s wearing a Hawaiian shirt. What do the planes in your paintings represent?
Landing, being grounded.

Is that an actual crocodile glued to a painting?!
[Laughs] It says: ‘I can’t read.’ It’s a prophecy. This particular painting I made in Africa about four years ago; it’s a protest. You have these people from the Third World; Americans say they’re the First World.

Come on. Where did you get the croc?
London, from my grandmother! [Laughs again] She gave it to me. She had had it for 25 years. When I discovered she was going to throw it away, I asked her to give it to me and decided to put it in a painting. It’s amazing that people will kill an animal like this just to be a souvenir. That’s why I did this.

And what do you hope folk will take away from this exhibition?
I don’t know. I’ve done my work! [Still laughing]

WHO: Marcos Guerra
WHAT: Caribbean Soul, Fantasy And Mythology exhibition opening
WHERE: Tepui @ Chinese House, Sisowath Quay (corner Street 84)
WHEN: 9pm November 8
WHY: Ancient goddesses, stuffed crocodiles and drinking wine with Amy Winehouse!

 

Posted on November 11, 2013November 11, 2013Categories ArtLeave a comment on Caribbean soul, fantasy and mythology

Posts navigation

Previous page Page 1 … Page 5 Page 6 Page 7 … Page 14 Next page
Proudly powered by WordPress
Follow

Get every new post on this blog delivered to your Inbox.

Join other followers: