Sitting cross-legged, Neth Pe wails with cracking voice, hands flashing over his long-necked guitar. His sweet yet melancholy lament tells of far-away temples and long-lost loves.
This music, known in Khmer as Nak Chamreang Chapey, is one of the oldest art forms in the region and is well-loved by Cambodians of all ages. Most practitioners died during the disastrous Pol Pot regime (1975-79) and now only a few Kroo Bong Hat Chapei (Charpei masters remain).
Ask any Cambodian in the know and they will say that Nak Charmreang Chapey is 2549 years old, performed since the reign of Preah Samanakordom (the fifth in carnation of the Buddha), although at that time it was apparently called Pin. Whatever the truth of its invention, it is certain that Charpei Dorng Veng (long necked Charpei) is 100% Cambodian; performers identical to contemporary Naik Leing Charpei can be seen carved on the walls of the Bayon temple at Angkor.
Hun Sarin, a professor of fine arts at Phnom Penh’s Royal University, said the name Charpei Dorng Veng comes from the Pali words Pin and Vena translated into Khmer. Charpei is divided into Char, derived from the Pali Vearchar meaning speech, and Pei which means to sing a lullaby, to take care of, to make delicious, and to make sweet. “Together, these two form ‘Charpei’,” the professor said.
In ancient times Charpei was played for the king’s pleasure, at hair shaving ceremonies, at Choul Mlop [a coming of age ceremony], Bom Bous Neak [entering monkhood ritual], engagement ceremony, and Kat Kan Sla [a ritual part of traditional weddings].
“At that time, only monks could play Charmpei, but nowadays many people can play,” Sarin said. “Charpei greatly grew in popularity during the reign of King Ang Doung [1841-1860].
The art is intertwined with Cambodian spirituality, even down to the materials in the instruments manufacture. Side panels of Charpei are constructed using local Deum Samroung or Deum Raing hardwoods to protect players from dangers or bad thoughts (hog trough), while the face is made from Ro Lass Bay, a natural concrete made from sand and lime, or Deum Snay (another local hardwood) which guards against sin. The neck is made of Deum Sdauv or Deum Kro Sung wood to ensure a calm and soothing sound.
“We do like this because it is a religious belief and makes it easy to invite our spiritual masters and the other spirits to help us play,” explained 49-year old Charpei player Neth Pe.
To ensure a good performance, players initially sing about the goodness of parents, a tradition that Professor Sarin said promotes traditional values. However, said the dedication was symbolic, as Charpei playing itself represents the maternal goodness.
In fact, the music is so beautiful that many Khmers believe it turns musicians blind, a theory Neth Pe was anxious to rebut.
“Many people say that all Charpei singers become blind from playing the Charpei but this is not true because our elders such as Pearumm [an official title] Prach Chhoun and Pearumm Kong Nay have both been blind from birth,” he noted. “For me, I became blind because of a disease, not from playing Charpei. I always used to get dizzy so I did what Khmers traditionally do-pull out eyelashes. In June 2004, I had a serious problem with my right eye then it spread to my left eye.”
Neth Pe had a very practical explanation for the number of traditional musicians who are blind. “It is a simple problem,” he shrugged. “Everyone must have a job to earn a living. For us, the blind men, we also need a job and there aren’t many things we can do. We can only sing Charpei, which is an eas job for us because we don’t have to walk anywhere or carry heavy things. We just sit in one place and sing.”
As an able-bodied man, the decision to study traditional music may seem strange, although to Neth Pe it was the fulfillment of a life-long dream. “I learned this skill fast because I had talent from birth,” said with a smile. “I studied for only four months before I could sing. First, I just studied how to sing Charpei songs withut playing the Charpei. I mimicked the sounds of the instrument with my mouth instead.
“In my village I was always invited to play at villager’s weddings and as they wanted Ta Khe [a traditional Cambodian sither] players or Charpei players for the Kat Kan Sla [traditional pre-marriage ritual]. At that time I did not sing well, I just sang because villagers’ asked me to. “One day I heard Ho Charpei Hoss [a stage name] singing in my village and I was absolutely fascinated. I wanted to study his art but I didn’t know where I could study.”
In 1982, Neth Pe got his first break when another performer named Morm Sunn arrived in the village. “He sang Kro Vann Doung Kchey [about a giant in love with a beautiful girl] very sweetly and I could not curb my passion so I asked him to be my teacher.”
After a short apprenticeship with Morn Sunn, and with support from his friends and family, Neth Pe finally became a fully fledged Charpei singer. He began as an itinerant musician for hire, playing at rural ceremonies in his home province of Prey Veng although his popularity soon grew; leading him to enter a singing competition in Preah Sdech in 1988 wich he won.
Neth Pe subsequently decided to leave Prey Veng in search of further successes and entered Cambodia’s largest Charpei competition held at Phnom Penh’s Vil Preah Men (Royal rice field) in front of the National Museum. There he was again victorious, taking first place in the 2001 improvised Charpei Chlong Chley (Charpei conversation) section.
Charpei singers must be poets, Neth Pe said, as most songs are improvised. He, like most Charpei master, is exceptionally cheeky – good natured insults make up the bulk of Charpei Chlong Chleuy performances, much like the hip hop ‘batting’ of contemporary Western music.
“The most important thing is our bravery,” he claimed. “If we dare to sing our knowledge will improve.”
In recent years, authorities have taken measures to ensure the survival of traditional Cambodian arts such as Charpei. As part of this policy Neth Pe now lives in Phnom Penh with his wife and eigh chidren. He currently teaches ten students, including two girls, as well as his own offspring, who he said he wants to follow is his footsteps.
(Source: Cambodia the Life magazine, written by May Tithara and photos by Heng Chivoan)
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