GOLDEN SILK - PART III

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Royal Plowing Ceremony

At the same time as silk yarn production was being revived a support program was ser up for active weavers (around 200, in 2003 a lot of them were still breeders). Their view of economic development was limited – they had no technical support and depended on the good will of local small scale retailers – and the monetary value of their work was gradually declining and leading to the end of their activity. In 2003, these weavers received training in natural pigmentation dyeing and organized into village associations. These associations can fill large orders for Siem Reap and Phnom Penh clients and regularly display at fairs and exhibitions. One hundred and fifty newly trained weavers have strengthened the weaving activity in this region.

These weavers are among the only ones in Cambodia to produce 100% Cambodian silk, woven in Cambodia from yarn produced locally. Some weaving activity can also be found in provinces near Phnom Penh where 18,000 weaving looms, using only imported industrial yarn (mostly from Vietnam), are operating. This product mainly ends up in the local market for Cambodian customer. More and more similar “silk fabrics” are made with a large percentage of cotton yarn.

Be aware that in markets and shops in Siem Reap and Phnom Penh, 80% of the silk that is presented as “ Made in Cambodia” is in reality imported from Vietnam, Thailand or China and was often woven by machines.

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GOLDEN SILK - PART II

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Natural dye products, silk yarn and silks.

In 1995, the only yarn production zone that remained was in Phnom Srok District (northwest of Siem Reap - the area you are willing to visit). It include around 250 women grower, many of whom increased the value of their yarn by weaving. However, the total production of raw silk did not exceed 800kg per year.

The sericulture focal point was confined to ren or so villages spread over a few square kilometres, with mulberry plantations not exceeding 15 hectares. Marketing channels were limited to sales "between neighbors" and the activity of a few small-scale merchants whose purchases sporadically supplied weavers in the zone or, more rarely, a few customers from Siem Reap or Phnom Penh.

The quantity of yarn produce were very limited but these remnants of activity were sufficient to preserve the knowledge and skills. While not famous for high productivity, a good quality handcrafted yarn was consistently produced.

By late 2005, over 1,600 new women breeders have planted mulberry plantations, have been trained in cericulture and now have forms, bringing the total number of silkworm breeders/producers to approximately 1,900. With an average individual production of 8 to 9 kg of yarn per year, the annual potential yield is now estimated at 12 to 15 tons of raw silk.

From the initial cradle of producers that remained in Phnom Srok, the activity now extends to Thar Puok district (Bantey Meanchey), as well as to Chongkal and Samrong districts (Oddor Meancey). Over one hundred villages are now producing silk.

The project has worked with operators based in Siem Reap and Phnom Penh and has linked with weavers in Takeo, in order to develop the use of this small industry golden silk, whose special features are able to render silk items sought after by the tourist and export markets. The silk products are gradually organizing into groups, aware of the expectations of their customers and capable of delivering monthly to Siem Reap or Phnom Penh.

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GOLDEN SILK - PART I

GOLDEN SILK
(The Cambodian Silk)

Following a long tradition, the Cambodian silk industry has survived the country's political and civil unrest and is very much alive these days.

It is generally believed that growing mulberry plants, silkworm breeding and silk weaving were introduced to Cambodia in the 13th century. Initially, these activities began south of Phnom Penh, along the banks of the Mekong and Bassac Rivers. Then, in the late 19th century and continuing through the two World Wars, sericulture developed along the shores of the Tonle Sap, on the islands of the Mekong and in the settlements of Kampot, Kampong Thom, Siem Reap and Battambang. World War II caused a shortage of fabric in Europe, which consequently accelerated its growth in Cambodia. Mulberry plantations reportedly covered a total of five to six thousand hectares, and yarn production eventually reached 150 tons per year a the end of World War II.

At this time, 10 to 30 percent of families worked in this industry. Women bred silk worms and wove their own cloth (hôl, krama, phamuong, sarong...) The techniques of mulberry growing, silkworm breeding and weaving were passed from morther to daughter; young girls learned sericulture while they were still young, helping with those tasks of which they were capable. By the time they were 10 or 12 years old, when their mothers felt that they had the ability and there were enough mulberry trees to sustain a second batch, there girls tried their own hand at breeding worms and weaving.
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APSARA, CAMBODIA

APSARA
(The Royal Ballet of Cambodia)

The Royal ballet of Cambodia represents the Khmer ballet dancing to sacred music and every body known as Apsara. It present the founding legends of Cambodia.

The performance encompasses the framework of several rites connected to the power and prestige of rituals such as marriage, death and coronations.

This secular artistic tradition barely escaped destruction in the 1970s, under the Khmer Rouge regime.

Fortunately, since the fall of Kampuchea Prachea Thep Patie (Cambodia Democratic) lead by Pol Pot in 1979, the ballet has re-emerged and has become a central element of the reconstruction of the country and Khmer culture.

In 2003, the Royal ballet of Cambodia was proclaimed by UNESCO to be the "oral and immaterial heritage of humanity", providing strong international recognition to the Royal ballet.

Today, the Royal ballet is the emblem of Cambodian people world-wide and the troupe is often invited to perform abroad.