Unhaunting: Music & Memory in Contemporary Cambodia
David Gunn
Founding Director of Incidental
Drawing directly upon the author’s own experiences of running a range of sound
projects in Cambodia, this paper focuses upon the role of music artefacts, processes
and archives as transitional objects (Winnicott, 1953) that enable individuals and
groups to negotiate cultural memory and to frame experiences of inter-cultural
contact.To begin, the paper will briefly outline the historical conditions in Cambodia, which
provide an almost unique context to analyse the relationship of cultural tradition to
archival processes – with an estimated 90% of all artists and musicians killed and the
nation’s musical heritage and archive almost entirely destroyed during four years of
Khmer Rouge rule. In subsequent decades the recovery, conservation and archiving
of cultural traditions became a key priority. However, as key cultural actors recognize
that this phase of activity is now drawing to completion, cultural conditions within
Cambodia are entering a period of complex transition. Drawing examples from
the author’s own practice and key actors within Cambodia, the paper argues that
this period should be understood quite explicitly as a tense renegotiation with the
recently restored cultural archive, where processes of re-use and recontextualisation
are fraught with emotion and danger. Where the discipline of archival curation and custodianship may traditionally place
emphasis upon notions of clear transmissability of data, this paper will explore what
happens to forms of sound and music when archival order or integrity collapses or
simply is not present. In such circumstances, it will be argued that paradoxically it is
precisely through staging its own collapse and obsolescence that the archive performs
its most vital function.
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9:30 (PRM Lecture Theatre) Saturday, November 24
Session 1: Active Cultures of Recording