Top: Local residents explore the Wat Ek Phnom, an 11th-century temple in Battambang. Adam Ferguson • New york times photos
Bottom: Fishermen on the Sangker River in Battambang, Cambodia’s second-largest city. The river’s banks are lined with historic buildings.
Battambang takes steps to preserve its history and culture
By NAOMI LINDT • NYT News Service
Feb. 12, 2012
Under an electric blue sky, with the morning sun already beating down, Som Sangva Sak stood on a narrow, two-lane bridge over the Sangker River and surveyed his hometown, Battambang, in northwestern Cambodia.
“When we talk about heritage conservation in Cambodia, people only think about Angkor Wat. But we also have something special here, something we need to preserve,” said Sak, 41, gesturing toward the river’s banks, which are lined with a stunning variety of historic structures: French colonial shop houses with arched windows and ornate iron balconies; grand, century-old villas with burgundy-tiled roofs; imposing pagodas with intricate bas-reliefs.
Chattering schoolchildren in navy blue-and-white uniforms cycled across the bridge, while fishermen in rickety wooden boats occasionally floated by. “These buildings recall the evolution of Khmer civilization — they connect the past to the present,” he continued. “They symbolize our culture and need to be kept for younger generations.”
For the last seven years, Sak, an adviser to Battambang’s urban planning team and a part-time tour guide, has acted as a liaison between the German government and the local municipality to build awareness of Battambang’s architectural treasures. (Germany has offered the city assistance and expertise in creating new infrastructure, while protecting its old architecture.) Sak’s task is particularly relevant in today’s climate, as mass development, largely driven by Chinese investment and wealthy officials, transforms Cambodia’s towns, roads and landscapes.
In Battambang, the local government has taken matters into its own hands, with measures like an educational campaign that focuses on cultural heritage. Meanwhile, private financing is responsible for most building restoration.
With a population of 140,000, Battambang is the country’s second-largest city, though few tourists make it here. Those who do are rewarded with one of the country’s greatest collections of historic structures, from decaying Angkorean temples surrounded by lotus ponds to modernist cinemas built during the country’s 1960s construction boom. They also gain access to one of the country’s richest artistic communities: Battambang has produced generations of artists, a legacy that residents are busy building on.
When I arrived in November, I spent my first night swathed in Old World charm at La Villa, a seven-room boutique hotel in a stunning two-story home built by a wealthy local tradesman in the 1930s and restored in 2005.
The next morning I headed to the other side of the river and explored the Heritage Protection Area, a compact district defined by the municipal government in 2009. It’s populated by about 800 historical buildings, the largest collection in the country. I ducked into a squat, roughly 150-year-old Chinese temple with curved gables; the roof was partly collapsed but it was still active.
Nearby is Psar Nath, the city’s main market, housed in a faded yellow Art Deco edifice with a tiered roof and clock tower built in 1936. Shoppers closely inspect goods from glittering wedding apparel to recently slaughtered chickens.
Peaceful as the town might be today, Battambang’s architectural vestiges bear testament to a tumultuous past. Over the last two centuries it has been ruled by Thailand and France. It enjoyed a brief period of freedom during the heady, post-independence days of the 1950s and ’60s before the Khmer Rouge came to power in 1975. Battambang province was one of the regime’s last strongholds — peace wouldn’t arrive until 1997, when the city began to pick up the pieces.
Nevertheless, Battambang has produced some of the country’s most famous artists: the 1960s chanteuse Ros Sereysothea, whose popularity persists decades after her death; the late painter Vann Nath; and Chhom Nimol, the frontwoman of the Los Angeles-based indie rock band Dengue Fever.
“Even during Angkorean times, there was a strong, talented group here who wanted to create their own kingdom,” said Theanly Chov, 26, a painter who manages the 9-month-old Sammaki, one of the new galleries that exhibits young local artists. ”
Anna Milligan, originally from Washington state, runs Cafe Eden in a renovated riverfront shop house. While snacking on french fries and peanut butter bars, visitors can gaze upon works by local artists, many of whom are graduates of Phare Ponleu Selpak, an arts school established in 1994 by a group of young Cambodians who met in a refugee camp during the 1980s.
Bottom: Fishermen on the Sangker River in Battambang, Cambodia’s second-largest city. The river’s banks are lined with historic buildings.
Battambang takes steps to preserve its history and culture
By NAOMI LINDT • NYT News Service
Feb. 12, 2012
Under an electric blue sky, with the morning sun already beating down, Som Sangva Sak stood on a narrow, two-lane bridge over the Sangker River and surveyed his hometown, Battambang, in northwestern Cambodia.
“When we talk about heritage conservation in Cambodia, people only think about Angkor Wat. But we also have something special here, something we need to preserve,” said Sak, 41, gesturing toward the river’s banks, which are lined with a stunning variety of historic structures: French colonial shop houses with arched windows and ornate iron balconies; grand, century-old villas with burgundy-tiled roofs; imposing pagodas with intricate bas-reliefs.
Chattering schoolchildren in navy blue-and-white uniforms cycled across the bridge, while fishermen in rickety wooden boats occasionally floated by. “These buildings recall the evolution of Khmer civilization — they connect the past to the present,” he continued. “They symbolize our culture and need to be kept for younger generations.”
For the last seven years, Sak, an adviser to Battambang’s urban planning team and a part-time tour guide, has acted as a liaison between the German government and the local municipality to build awareness of Battambang’s architectural treasures. (Germany has offered the city assistance and expertise in creating new infrastructure, while protecting its old architecture.) Sak’s task is particularly relevant in today’s climate, as mass development, largely driven by Chinese investment and wealthy officials, transforms Cambodia’s towns, roads and landscapes.
In Battambang, the local government has taken matters into its own hands, with measures like an educational campaign that focuses on cultural heritage. Meanwhile, private financing is responsible for most building restoration.
With a population of 140,000, Battambang is the country’s second-largest city, though few tourists make it here. Those who do are rewarded with one of the country’s greatest collections of historic structures, from decaying Angkorean temples surrounded by lotus ponds to modernist cinemas built during the country’s 1960s construction boom. They also gain access to one of the country’s richest artistic communities: Battambang has produced generations of artists, a legacy that residents are busy building on.
When I arrived in November, I spent my first night swathed in Old World charm at La Villa, a seven-room boutique hotel in a stunning two-story home built by a wealthy local tradesman in the 1930s and restored in 2005.
The next morning I headed to the other side of the river and explored the Heritage Protection Area, a compact district defined by the municipal government in 2009. It’s populated by about 800 historical buildings, the largest collection in the country. I ducked into a squat, roughly 150-year-old Chinese temple with curved gables; the roof was partly collapsed but it was still active.
Nearby is Psar Nath, the city’s main market, housed in a faded yellow Art Deco edifice with a tiered roof and clock tower built in 1936. Shoppers closely inspect goods from glittering wedding apparel to recently slaughtered chickens.
Peaceful as the town might be today, Battambang’s architectural vestiges bear testament to a tumultuous past. Over the last two centuries it has been ruled by Thailand and France. It enjoyed a brief period of freedom during the heady, post-independence days of the 1950s and ’60s before the Khmer Rouge came to power in 1975. Battambang province was one of the regime’s last strongholds — peace wouldn’t arrive until 1997, when the city began to pick up the pieces.
Nevertheless, Battambang has produced some of the country’s most famous artists: the 1960s chanteuse Ros Sereysothea, whose popularity persists decades after her death; the late painter Vann Nath; and Chhom Nimol, the frontwoman of the Los Angeles-based indie rock band Dengue Fever.
“Even during Angkorean times, there was a strong, talented group here who wanted to create their own kingdom,” said Theanly Chov, 26, a painter who manages the 9-month-old Sammaki, one of the new galleries that exhibits young local artists. ”
Anna Milligan, originally from Washington state, runs Cafe Eden in a renovated riverfront shop house. While snacking on french fries and peanut butter bars, visitors can gaze upon works by local artists, many of whom are graduates of Phare Ponleu Selpak, an arts school established in 1994 by a group of young Cambodians who met in a refugee camp during the 1980s.
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