The performances were one of only a handful of free events that were part of Season of Cambodia, a celebration of the country’s arts, culture, and humanities that will bring works by more than 125 Cambodian artists to 30 major venues throughout the city. The work serves as a potent symbol of the resilience of the artistic spirit, as many of the performers survived the Khmer Rouge’s reign of terror, having to bury their puppets and instruments to preserve this ancient art form.
"Cambodian shadow puppetry is a breathtakingly beautiful art form that evokes the sacred origins of theater, and we're honored to introduce New York audiences to one of the genre's most celebrated troupes," said Debra Simon, Vice President and Artistic Director of Arts Brookfield. "Exemplifying Cambodia's artistic resurgence after the oppression of the Khmer Rouge, this performance is a testament to the strength of a remarkable nation, culture, and community of artists."
About Season of Cambodia
Season of Cambodia brought more than 125 artists from Cambodia to New York City for a major celebration of Cambodian arts, culture, and humanities. Distinctive works from master and emerging artists and scholars—in ritual, music, visual art, performance, dance, shadow puppetry, film, and academic forums—were presented by more than 30 of New York’s most renowned arts and educational institutions, marking an unprecedented city-wide initiative to celebrate one of the world’s most vibrant and evocative cultures. The festival celebrated Cambodia’s artistic renaissance just one generation after the Khmer Rouge regime (1975-1979), a dark period in Cambodia’s history during which nearly 90% of the artists and intellectuals were tragically eliminated in an effort to devastate a flourishing artistic community. Season of Cambodia serves as an international platform that not only highlights the extraordinary resilience of the Cambodian nation and its artists, but also helps pave the way for other post-conflict nations seeking renewal through artistic expression.
