Chheng Phon

Chheng Phon, was born in 1930 in the Kompong Cham province and died on December 22, 2016, was a Cambodian artist who served as Minister of Information and Culture in the early 1990s, who is remembered as a "prominent dramatist and professor of Cambodia" as well as a "visionary of formidable knowledge, dedication, and energy" who has devoted a lifetime to preserving and nurturing Cambodian culture.

Chheng Phon died on December 22, 2016, in Ta Khmau in Kandal province at the age of 86. Sending his condolences to the family, Prime Minister Hun Sen acknowledged him as a national hero saying:

While he was very conservative on cultural issues, Chheng Phon was open to new creations, such as the 1999 version of Shakespeare's Othello which was blended into Khmer ballet by his niece Sophiline Shapiro whom he praised for her "communication between the west and the east".

After seven years far from political life, he returned to the public scene to hold a position as chairman of the National Election Committee of Cambodia in 1997, a choice that was criticized by those close to the FUNCINPEC who now considered him a supporter of Hun Sen too close to the Cambodian People's Party, which he had left briefly before the Paris Peace Agreements. On March 7, 1998, he signed a $25.8 million contract with a private company called Ciccone to stage the elections, and when criticized for his actions, he assumed his responsibility, saying there were no other options. Nevertheless, his neutrality was appreciated in the election process, even by international observers such as Human Rights Watch as well as the Asian Network for Free Elections, which acknowledged that Chheng Phon actively helped deploy a network of independent observers during the election cycle.

He travelled to California in 1993 to meet former students who had sought asylum in the United States. Together, they recreated the Khmer Royal Ballet in an auditorium at California State University at Long Beach.

In 1993 he became a member of the National Council of Culture of Cambodia.

In 1990, as Minister of Culture, he told the Khmer classical ballet to revive all 18 forms of the ballet.

On August 5, 1990, Chheng Phon submitted his resignation as Minister for Culture for health reasons, though some journalists have noted that the real cause may have been his proximity with Ung Phan of the FUNCINPEC royalist party which had just been ousted. He retired from most of his political affairs in 1992 and used his own money to establish the Center for Culture and Vipassana at his home in the suburbs of Phnom Penh, in a place that was originally, in the late 1980s, a place for artists to study meditation in relation to performance.

Professor Chheng Phon reopened the University of Fine Arts, Phnom Penh, the former Royal University of Fine Arts, in 1989 to promote the preservation of both tangible and intangible cultural assets of Cambodia.

In 1981, Chheng Pon was appointed Deputy Minister of the People's Republic of Kampuchea, thus becoming "the first person without any revolutionary or definite communist background to be appointed to a party leadership position". In 1982, Chheng Phon was appointed Minister of Culture of Kampuchea, staying in office until 1991, a position in which he had to reconcile his love for Khmer traditions and the political agenda of communist ideology, producing “revised” and politicized cultural works as artists were encouraged “ to adapt the tradition to modern times". Chheng Phon as Minister would however restore what was left of Khmer traditions among his people, saying: "the influence of Buddhism is quite significant, and the traditions of monarchy are still felt." He worked as an expert consultant on the set of Nine Levels of Hell, a Czech-Cambodian romantic drama from 1987.

In January 1979, Heng Samrin proclaimed the restoration of normal society after four years of the Pol Pot regime had trashed most aspects of family life and the previous society. Actor, poet, and director Pich Tum Krovil and Chheng Phon were among the cultural stars who miraculously survived and now dedicated the rest of their lives to resuscitating their cherished traditions of dance.They were enlisted by the new Ministry of Information and Culture under Keo Chenda, charged with the critical mission of bringing all the surviving dancers together. In 1981, Chheng Phon was named director of the School of Fine Arts which he reopened in Phnom Penh, as a place where he could gather the artists scattered across the country and train a new generation of dancers. His perception of the dire state of culture in Cambodia after the fall of the Khmers Rouges was unambiguous:

In 1973, he was named at the head of the National Conservatory of Spectacles of Cambodia, where he labored to save the art of Cambodian puppet theater by encouraging performers and collecting musical scores. He tried to develop an Artist Village intended to showcase the customs and traditions of Cambodia, through handicrafts, dance and music, but the idea fell short because of the war.

In 1972, Chheng Phon became the President of the Khmer Artists' Association.

In 1970, he visited Japan to participate in the Osaka International Exposition, leading a Cambodian dance troupe. Later in the 1970s, as the country became engulfed by the war in Indochina, he started a performing arts "farm" outside of Phnom Penh to train students from the University of Fine Arts in traditional dance drama while they raised vegetables, chickens, and pigs. With his troupe, he created four stories of the Yike drama and five stories of the Bassac drama.

Chheng Phon was born in 1930 in the Kompong Cham province. In his twenties, he was a favorite of Queen Kossamak, and frequented the Royal Palace where he learnt the Royal Ballet of Cambodia. He studied to become a teacher in 1955, and received a scholarship to pursue his studies in China which he completed in 1960, returning to Cambodia, not without difficulty, as his relationship with Sihanouk become more tense. He then started working at the Royal University of Fine Arts in Phnom Penh where he founded the Khmer Folklore Troupe in 1964 in order to fight against what he considered "rampant pessimism" in the field of culture in Cambodia. He become a full-fledged professor at the university in 1968.