{"id":880,"date":"2022-12-13T07:06:53","date_gmt":"2022-12-13T07:06:53","guid":{"rendered":"https:\/\/www.cambodianlivingarts.org\/en\/?p=880"},"modified":"2023-06-07T03:40:37","modified_gmt":"2023-06-07T03:40:37","slug":"angkuoch","status":"publish","type":"post","link":"https:\/\/www.cambodianlivingarts.org\/en\/uncategorized\/angkuoch\/","title":{"rendered":"Angkuoch Research"},"content":{"rendered":"\n
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In Cambodia, angkuoch<\/em> are found in several provinces both among the majority Khmer people and some ethnic minorities. Before the Khmer Rouge era (1975-1979), playing and enjoying angkuoch<\/em> was a popular local pastime in village communities. However, angkuoch<\/em>is now highly endangered both as an instrument and as a performance practice.<\/p>\n\n\n\n

Traditional social functions for playing angkuoch<\/em> include as a rural pastime, as a way for young men to communicate and flirt with young women, and to accompany simple folk songs. Players and makers of angkuoch<\/em> are typically men, though there appear to be no cultural restrictions on women playing or making the instruments.<\/p>\n\n\n\n

There are at least three types of Cambodian angkuoch<\/em>: one of bamboo (angkuoch russey<\/em>), one of metal (angkuoch daek<\/em>), and one that is stringed (angkuoch<\/em>ksae<\/em>). It is unclear whether there are any living instrument-makers who know how to produce angkuoch ksae<\/em>.<\/p>\n\n\n\n

Angkuoch russey<\/em> is sometimes still found in village contexts, and is also produced as souvenirs for tourists. Angkuoch daek<\/em> is almost non-existent in contemporary public life.<\/p>\n<\/div>\n\n\n\n

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The project team is working with two rural village communities in Siem Riep province, where three instrument-makers have recently been identified. In Srah Srang Khang Choeung Village, Master KRAK Chi (69 years old) and his sons CHI Chen and CHI Monivong produce angkuoch russey<\/em>.<\/p>\n\n\n\n

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The project team (left to right): Thon Dika (Videographer), Say Tola (Research Assistant), Dr Catherine Grant (Project Leader), Song Seng (Project Collaborator), Patrick Kersale (Project Collaborator). Photo by: Mith Narong. 11 January 2020.<\/em><\/figcaption><\/figure>\n\n\n\n
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Download the Angkuoch Report Booklet<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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An Angkuoch Daek (iron Jew\u2019s harp) made by BIN Song. Photo: Catherine Grant, 8 January 2020.<\/em><\/figcaption><\/figure>\n\n\n\n
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The Process of Making an Iron Angkouch<\/h2>\n\n\n\n
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Hammer the iron<\/figcaption><\/figure>\n\n\n\n
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Cut the iron<\/figcaption><\/figure>\n\n\n\n
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Polish the iron<\/figcaption><\/figure>\n\n\n\n
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Bend the iron<\/figcaption><\/figure>\n\n\n\n
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Polish the tongue of the iron<\/figcaption><\/figure>\n\n\n\n
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Install each parts together<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

In Cambodia, angkuoch are found in several provinces both among the majority Khmer people and some ethnic minorities. Before the Khmer Rouge era (1975-1979), playing and enjoying angkuoch was a popular local pastime in village communities. However, angkuochis now highly endangered both as an instrument and as a performance practice. Traditional social functions for playing […]<\/p>\n","protected":false},"author":1,"featured_media":884,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-880","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/posts\/880"}],"collection":[{"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/comments?post=880"}],"version-history":[{"count":7,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/posts\/880\/revisions"}],"predecessor-version":[{"id":3060,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/posts\/880\/revisions\/3060"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/media\/884"}],"wp:attachment":[{"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/media?parent=880"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/categories?post=880"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cambodianlivingarts.org\/en\/wp-json\/wp\/v2\/tags?post=880"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}