Draft:Cambodian hip hop

• Comment: Many paragraphs are written like an essay- some analyze sources and there is a lot of generic information that can be condensed. Statements like "The pinnacle of Cambodian music was throughout the 1960s" need a direct source and to be reworded more neutrally. Phrases like "In no particular order, here are ten Cambodian hip hop and R&B artists to check out" is very promotional and does not belong on wikipedia. EmeraldRange (talk/contribs) 05:12, 29 May 2024 (UTC)

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Hip Hop Culture in Cambodia

The pinnacle of Cambodian music was throughout the 1960s and the early 1970s. Western rock'n'roll sounds had a big influence on Cambodian rock, which developed into a distinctive sound by fusing traditional melodies with different rock genres. Among its most well-known and well-liked representatives were musicians like Pan Ron, Ros Sereysothea, and Sinn Sisamouth. During the Khmer Rouge ruling, when music and all other kinds of art were outlawed, many of them perished. Hip-hop and rap music arrived in Cambodia in the late 1990s, just as the country was opening up and re-discovering foreign pop music. This was primarily due to the diaspora returning to the US and other Western countries. In Cambodia, rappers such as PraChLy, DjCake, and DjSope have emerged as the new musical celebrities.

History

In 2000, Khmer American rapper Prach (Prach Ly), an internationally recognized, critically acclaimed, and award-winning artist whose debut album is the first #1 rap record in Cambodia, recorded Dalama: The End'n Is Just the Begin'n in his parents' garage. The CD, with songs in both Khmer and English, recreated the tragedy of Cambodia's killing fields from 1975 to 1979, when the Khmer Rouge massacred roughly a quarter of the country's population (1.7 million Cambodians). Dalama made it to Phnom Penh, gained widespread exposure, and peaked at number one in Cambodia, all unknowing to the artist. The album was not only credited with introducing hip hop to Cambodia, but it also exposed this history to a new generation that was mostly oblivious of the country's terrible past.

For the first time since the early 1970s, the Cambodian music scene is thriving nowadays, largely due to local hip-hop, rap, and pop. It is being carried by a generation that wants to investigate its lost legacy while putting both feet firmly in a bright future and has access to opportunities unlike any other. Hip-hop, to millennials, is the celebration of life, culture, art, and an endless future—what rock 'n' roll was to their grandparents' generation.

Characteristics

A key characteristic of Hip Hop music in Cambodia is the incorporation of storytelling to express the artists' experiences and values. Khmer cultural output, such as performing arts and literature, reshapes the notion of tradition in Cambodia. Before the advent of mass media, folktales known as roeung preng played a significant role in conveying Khmer beliefs, history, and experiences. These stories serve as moral guides, educational tools, and entertainment sources, especially for the younger generation. With urbanization, storytelling continues through oral transmission, media, and performance arts, impacting cultural identity. This diverse storytelling tradition fosters communication, allowing for the exchange of ideas and the exploration of Cambodian identity in both traditional and modern contexts. Cultural producers utilize this flexible tradition to address contemporary societal challenges and facilitate intergenerational dialogue, bridging past and present cultural identities.

Cambodian hip-hop has emerged as a powerful voice for the country's youth, addressing social issues such as corruption and inequality. Unlike traditional and pop music, hip-hop allows millennials to express their opinions and frustrations with society. Despite stigma from older generations, Cambodian hip-hop artists are advocating for change. What sets Cambodian hip-hop apart is its fusion of traditional melodies with modern compositions, reflecting a desire to reclaim and integrate lost cultural heritage into a new identity. This contrasts with hip-hop movements in other Southeast Asian nations, which focus more on exploring new artistic forms. Cambodian hip-hop thus represents a blend of Khmer heritage with global modernity, highlighting the country's unique cultural identity. One example is a popular song by Khmer Rap Boyz that addresses the prevalence of cheating in schools, teacher corruption, and cheating in general. Another one condemns the upper classes' bullying and discriminatory behavior against others. While past generations were more willing to 'tolerate' these recurring challenges in the sake of economic progress and political stability, Cambodian millennials are more likely to question, criticize, or protest them. And, while the hip-hop scene is still stigmatized by the older generation, its duty is increasingly to speak up and advocate for change.

Based on the article called "Popular Songs, Melodies from the Dead: Moving beyond Historicism with the Buddhist Ethics and Aesthetics of Pin Peat and Cambodian Hip Hop" explores how two forms of Cambodian music—pin peat and Cambodian hip hop—serve as ritual practices and enact Cambodian–Buddhist ethics through musicians’ connections to their deceased teachers’ musical legacies. It argues that prevailing historicist and secular approaches to Southeast Asian music overlook its ethical and ritual dimensions, advocating instead for analyses that prioritize Buddhist ethics to better understand the moral, religious, and ontological aspects inherent in Cambodian music. The article delves into how Cambodian musicians quote their deceased teachers, repurpose old musical styles, and echo the melodies and rhythms of their artistic ancestors, suggesting that these practices function as Buddhist rituals. These rituals, whether found in pin peat or hip hop, blur the boundaries between the living and the dead, embodying a historical mode of being that transcends traditional historicism. The essay also contemplates the implications of this approach for post-genocide remembrance, highlighting the importance of reevaluating how Cambodian music and Buddhist ethics shape perceptions of time, history, and memory in the country.

A New Movement

Following the Khmer Rouge era, preserving "authentic" Khmer music was a priority to safeguard cultural identity. However, the Cambodian Original Music Movement (COMM) diverges from this notion by modifying tradition to adapt and evolve it. Emerging in the aftermath of genocide, COMM represents a response to intergenerational trauma, drawing from affect theory to emphasize nonlinguistic forces in culture and history. COMM songs which includes pop, hip-hop, and other genres provide a platform for discussing social issues and identity negotiation, promoting ideas of love, unity, progress, and blending contemporary with tradition. COMM artists challenge the notion of tradition as static, emphasizing its flexibility and adaptability through Khmer songs. They reject narratives portraying Cambodia solely through past misery, instead embracing diverse cultural representations. Memory construction is influenced by current social activities, allowing for reshaping of cultural identities through storytelling in songs.

Social Impact

'Tiny Toones', a local NGO in Cambodia, is pioneering the use of hip hop to empower disadvantaged youth in Phnom Penh. Through creative arts and life skills education, including break-dance, hip hop dance, lyric writing, rapping, and art, they reach out to those facing challenges like drug abuse, gang involvement, and extreme poverty. The organization's staff and students exemplify how the arts can transform lives and offer hope for a better future. The use of creative arts, including hip hop, as a form of therapy and empowerment has gained recognition globally. In Cambodia, organizations like 'Tiny Toones' are pioneering this approach, engaging disadvantaged youth through hip hop to address issues such as drug addiction, poverty, and violence. Despite Cambodia's history of trauma and limited access to social services, 'Tiny Toones' offers a unique platform for healing and growth. By utilizing hip hop as a universal language, they provide a safe space for youth to express themselves and learn valuable life skills. With Cambodia's young population facing various challenges, initiatives like 'Tiny Toones' play a crucial role in empowering youth and fostering positive change.

In an interview, Prach Ly recalled his early life in Cambodia during the Khmer Rouge era, fleeing as refugees to the U.S. and settling in Long Beach, California, amidst a challenging environment marked by gangs and violence. Despite the dangers, childhood memories were filled with joyful moments of street games. Reflecting on his album's impact, Ly emphasized its role in sparking conversations about Cambodia's history, even in schools where such topics were previously avoided. Receiving praise from a teacher for inspiring historical education was a proud moment for him, marking a remarkable journey.

New Wave of Hip Hop

VannDa, a young Cambodian artist, become a hip-hop sensation, with his music now reaching global audiences. His collaboration with international artists and groundbreaking tracks like "Time to Rise" blend traditional Khmer elements with hip-hop, gaining millions of views and rankings on platforms like YouTube and Spotify.

In no particular order, here are ten Cambodian hip hop and R&B artists to check out: VannDa, Sophia Kao, La Cima Cartel, Polarix, Ruthko, Vuthea, Vanthan, Kea Sokun, PraCH Ly, and Van Chesda.

Popularization and Internationalization

VannDa, a global sensation with his unique blend of hip-hop and Khmer music and as a producer for "The Rapper Cambodia," VannDa aims to nurture local talent and challenge stereotypes, believing in the power of hip-hop as a platform for self-expression and empowerment. With numerous accolades and recognition, including Forbes Under 30 Asia List, VannDa's journey highlights the potential of Cambodian music on the international stage. He encourages aspiring artists to chase their dreams boldly and believes in Cambodia's unique cultural richness as a source of inspiration for global success.

In Cambodia, Baramey Productions, Fire KobPlerngKob, and BAYON Television collaborated with Hanuman Beverages to stage the first-ever Rap reality show, The Rapper Cambodia, which recently concluded with Yuuhai being named the champion. Roxy was chosen the Fan Favorite, and D.A.R.T. earned Best Solo Performance. Emi, Kan, and Vanno won the award for best collaboration with their song '3 Friends.' Over the last two months, Cambodia's top 25 rappers have formed teams with OG rappers such as VannDa, Juvie, Khmer1Jivit, KingChi, Norith, and RuthKo, all of whom appeared on the show's title song, 'Who's Next?' The Rapper Cambodia's grand finale show featured incredible performances from the Queen of Japanese Hip Hop, AWICH, and Vietnamese sensation Suboi.

In recents years, with the growth of YouTube, reactors from many different countries have reacted a lot of the Khmer Hip Hop song also thanks to Baramey Production for leading the industry by providing English captions and explanation for foreigners to understand what the artist are rapping about in their songs.