January 20 March 28, 2010

East-West Center Gallery, Honolulu, Hawaii

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VIETNAMESE (UPPER RIGHT) AND CAMBODIAN CHAM OFFERING TRAY COVERS PHOTOGRAPHER: NGUYEN VAN BUU

CHAM:
The Cham of Vietnam and Cambodia are one of the most fascinating communities in Southeast Asia today. The Cham, descendents of the Kingdom of Champa that once ruled much of southern Vietnam developed a vibrant civilization. Their achievements were manifest in the building of unique Cham temples (bimong) that can still be found scattered throughout the southern Vietnam. Originally a Hindu empire, the majority of Cham people converted to various forms of Islam over the centuries. Both Hinduism and Islam greatly influenced Cham political, religious, and cultural life.

The East-West Center Arts Program and the Center for Southeast Asian Studies, University of Hawaii at Mnoa present

Syncretic Islamic Communities in Vietnam and Cambodia

Curators: Mohamed Effendy bin Abdul Hamid, Emiko Stock, and Michael Schuster Installation: Michael Schuster and Lynne Najita Visiting Scholar: Thanh Phan, Vietnam National University
This exhibit was funded by a Title VI National Resource Center grant, with additional funding from Doris Duke Foundation for Islamic Arts (Shangri-la) and the Hawaii Pacific Rim Society

Religion and ritual

In Vietnam, the Cham live primarily in central and southern regions. According to the 2000 census there are 133,000 Cham in Vietnam. Many Cham live in An Giang and Chau Doc provinces and practice an orthodox form of Islam, similar to Malay practices. However for the Cham in Central Vietnam, especially in the province of Ninh Thuan, the Cham have localized Islamic ideas and practices in a highly unique way. The Cham have absorbed features of Islam and this became the basis of identity of a group called the Cham Bani. The Cham Bani practice a syncretic form of Islam and worship Po Alwah (Allah) in the mosque which they call Thang Muki. They do not eat pork and bury their dead. They are led by a religious head called Halau Tamunay Awar. The Cham Bani call Ramadan Ramuwan, which takes place around the same time as Ramadan. Three days before the first day of Ramadan, the Cham Bani engage in ceremonies and visit ancestral graves. Distinct from the Cham Bani, another group, the Cham Balamon, practice, a syncretic form of Hinduism, observe taboos about eating beef, cremate their dead, and are led by a priest called Halau Tamunay Ahier.

KATE FESTIVAL IN PO KLONG GARAI, VIETNAM. PHOTOGRAPHER: NGUYEN VAN BUU

In Southeast Asia, Islam has been widespread since the seventh century A.D. It is more than just a form of religious identification; it allows for a sense of commonality within a highly diverse Southeast Asian region. Islam is a dynamic religion that has been adapted by its followers from its arrival in the 12th century to a form which has today became the basis for the ethnic and political identities of Southeast Asian societies and states. How Islam is localized by Southeast Asian communities is a fascinating and complex study. This is especially so for the Cham people, who have localized and understood Islam through their own cultural perspectives, a process which is not yet well researched nor well understood. The demise of the Champa Kingdom began in 1471 A.D when the Dai Viet (Northern Vietnam) under Emperor Le Thanh Tong, invaded Vijaya, the northern region of Champa. This began a process which lasted through the 19th century, as the Vietnamese attempted to dominate and assimilate the Cham politically and culturally.

Cambodia

COMING OF AGE CEREMONY IN PHANRANG, VIETNAM PHOTOGRAPHER: THANH PHANH

Although Cambodia is usually pictured as a homogeneous Buddhist state, inhabited by the Khmer majority, an estimated 2-5% of its population of twelve million is composed of a Cham Muslim minority (200,000-500,000 people). Escaping the Champa Kingdoms collapse (15th19th centuries) the Cham found refuge in various Khmer provinces, where they acted as military strategists and trade advisors. Cham diversity and political power expressed itself during the French colonial period, independence, and even under the Khmer Rouge. Some scholars estimate that 100,000 Cham perished during the Pol Pot Killing Fields era, 1975-79. Nowadays, Cham can be found in every Cambodian province, where they usually work as farmers, but they also work as blacksmiths, butchers, and fishers. Living in distinctive villages, practicing a different religion, and speaking a different language, Cham still stand out from the majority culture. This exhibition illustrates visual aspects of Cham culture and how the Cham have preserved their identity through ritual and religious practices, art and architecture, writing and language, and everyday life experiences. The exhibition elucidates how the Cham have localized and syncretized Islam into the Cham cultural context. The exhibition showcases textiles, ceramics, metal work, basketry, calligraphy, photography, and video from Vietnam and Cambodia that underline both the continuities and diversity across borders.

INTERNATIONAL MOSQUE IN PHNOM PENH, CAMBODIA PHOTOGRAPHER: EMIKO STOCK, 2000

Art and architecture

Remains of Champa temples and towers dot the landscape of central and southern Vietnam. These red brick edifices dating mostly from the 10th-13th centuries attest to a vibrant culture that once thrived in what is present day Vietnam. The temples were embellished lavishly with high relief and in the round sandstone sculpture. These sculptures were usually sensuous depictions of Hindu deities, particularly those from Shivaite cults. Many of these ruins are still used for ritual purposes by present day Cham. The legacy of the sculptural images and ornamentation is magnificently exhibited in the famous Da Nang Museum of Cham Sculpture, and still influence modern day aesthetics, particularly in the decorative arts. Modern day mosques GODDESS SARASWATI, show influences from 12TH C. DA NANG MUSEUM Malaysia and the OF CHAM SCULPTURE Middle East. Village and domestic architecture are identical to current practices found in Cambodia and Vietnam. Cham women in Vietnam are still well known for their exquisite silk and cotton brocade weaving of complex subtle design. Several examples are on display in the exhibition including clothing for kumei (women) and lakai (men). According to Kikuo Morimoto, founder of the Institute of Khmer Traditional Textiles (IKTT) much of the famed dyeing techniques used in SE Asian ikat were learned and disseminated by Cham dyers and traders. The once renowned ikat weavings are no longer produced by Cambodian Cham women; however historic Cham Cambodian pieces have been lent by the IKTT. Rare samples of embroidered cushions used during ceremonial processions are shown in various styles. Embroidered and sequin entrance and bed coverings illustrate Cham symbolic motifs. The naga (snake) motif originates from a fertility symbol, while the Arabic script implies the protection offered by Islam.

THE HINDU/ANIMISTIC NAGA (SERPENT) AND THE ISLAMIC CRESCENT MOON IN THIS WEDDING BANNER ARE AN EXCELLENT EXAMPLE OF SYNCRETISM.

In Cambodia Cham present themselves according to various labels. The orthodox claim they follow an ideal international Islam, while the traditionalists assert they are the only ones insuring the preservation of the Champa heritage. For centuries, Cham have maintained strong relations with fellow Muslims, as evidenced by pilgrimages to Mecca and the sending of students to Malaysia, Thailand, and Egypt. Today, various international Muslim movements can be found among Cambodian Cham: reformist Wahhabism originally from the Middle East, Dawa or Tabligh proselytism originally from India, and smaller movements such as the Ahmaddiya from Indonesia has also met with some enthusiasm. But more fascinating than the labels themselves, is the way people go from one label to another, exchanging them, crossing them, abandoning them, and recreating them. One highlight of the exhibit are ritual costumes and basketry used in the Rija ceremony in Viet Nam. The religious and ritual diversity is demonstrated by the swords used during possession ceremonies for protective and healing rituals, a 7-color wooden stick used to conduct prayers (kaing kak) and a divination text quoting Ali, from Cambodia. Decorated ritual tray covers used to cover meals offered on prayer and ceremonial days emphasize the importance of the common festive meals on the steps of the mosque. This tradition is common both to Austronesian people using the central house and to Muslims going to a mosque.

Cham writing and language

Most of the Cham in both Vietnam and Cambodia speak a unique language called Dalah Cham, and they have evolved a writing system based on the ancient Cham script. While Cham is their mother tongue, the children learn Khmer in Cambodia or Vietnamese at school, and use those languages in daily life. Only a minority even among the eldersknow how to write Cham with the Cham alphabet. The alphabet used by Cham in Vietnam differs slightly from the one used in Cambodia. The exhibition features a selection of Cham writings and variations including the use of Arabic Qurans, Cham religious texts transcribed into Jawi (a Malay simplified form of Arabic), and prayer textbooks with Khmer explanations. Calendars and almanacs show a variety of languages and scripts. Other materials include chanted poems and epics as well as CDs and DVDs of popular Cham songs using both Cham and Khmer languages.

CHAM SCRIBE ONG LEB IN UDONG, CAMBODIA PHOTOGRAPHER: EMIKO STOCK, 2004

Everyday life

PROCESSION IN PHANRANG, VIETNAM PHOTOGRAPHER: THANH PHAN, LATE 20TH C.

Most Cham presently live in rural settings in Vietnam and Cambodia. Photography and video depict images of everyday life, and examples of earthenware and stoneware made by Cham craftswomen from Ninh Thuan province in Vietnam are displayed. These low fired ceramics are either ornamented with simple geometric incised designs or are unembellished utilitarian utensils. Basketry also reflects elegant simplicity and plays a big part in both Cham ritual

RICE BASKETS ON TRADITIONAL MAT FROM PHANRANG, VIETNAM

and everyday life. Cham in Cambodia were renowned as blacksmiths, a profession that enabled them to settle throughout the country. A selection of handcrafted CHAM STONEWARE PITCHER FROM BAU TRUC, VIETNAM knives of various shapes and sizes is also displayed. Clothes worn by Cambodian and Vietnamese Cham attest to the diversity of expressions seen in daily and in ceremonial life. Imported popular Malay ensembles and kopeah, Khmer krama to cover ones head and sarong bought from the market are displayed alongside with various types of Muslim hijab, ascetic outfits, and traditional Cham tunics and sarong.

The East-West Center is an education and research organization established by the U.S. Congress in 1960 to strengthen relations and understanding among the peoples and nations of Asia, the Pacific, and the United States. The Center promotes the development of a stable, prosperous, and peaceful Asia Pacific community through cooperative study, training, dialogue, and research. Funding for the Center comes from the U. S. government, with additional support provided by private agencies, individuals, foundations, corporations and Asia Pacific governments. The EWC Arts Program, part of the Office of External Affairs, for three decades has enriched the community through concerts, lectures, symposia, and exhibitions focusing on traditional arts of the region, and by arranging cultural and educational tours by artists who are skilled in bridging cultures. Acknowledgements: Prof. Barbara Andaya, Prof. Leonard Andaya, Paul Rausch, Paul Lavy, Deborah Pope, Carol Kewhok, Phan Anh Tu, Kikuo Morimoto, Institute of Traditional Khmer Textiles, Nguyen Thin Nhung, Prof. Thanh Phan, Kennedy & Preiss Design, Leilani Ng, Colorprints Inc., and Gayle Goodman. EWC Arts Team: Karen Knudsen, director, External Affairs; William Feltz, arts program manager; Michael Schuster, Ph.D., curator; Eric Chang, arts program assistant; Maseeh Ganjali, student assistant; mahalo also to Lynne Najita, Yoko Sato, Annie Reynolds, Derek Ferrar, Shayne Hasegawa, Tina Tom, Loraine Ikeda, Carol Matsuda, Deanna OBrien, Floren Elman-Singh, Lucy Kamealoha, Reynold Balintec, and EWC Facilities Management.

Special Events
All in the EWC Gallery, admission free Friday, January 22, 1:00-4:30 p.m. Cham Symposium Cham culture and history will be discussed by six Southeast Asian scholars from Vietnam, Cambodia, Singapore, and Hawaii. Discussions will be of interest to the general public. Sunday, January 24, 2:00-3:30 p.m. Opening Festivities including reception and walk-throughs by the curators. Monday, January 25, 12:00-1:00 p.m. Visual presentation by visiting curator Emiko Stock, Cambodia, Visualizing Cham Diversity in Cambodia Sunday, February 7, 2:00-3:00 p.m. Visual Presentation by Paul Lavy, assistant professor, UHM Art Department, An Introduction to Ancient Cham Sculpture and Architecture Sunday, March 7, 2:00-3:00 p.m. Visual presentation by Claire Park, artist and lecturer, Pima Community College, Tucson, Arizona, Creating with Reverence: Art, Diversity, Culture and Soul, a discussion of diverse art forms and artists from India, Japan, Mexico, and the U.S. Southwest native Americans.

East-West Center Gallery Honolulu, Hawaii

John A. Burns Hall, 1601 East-West Road (corner Dole St. & East-West Rd.) Gallery hours: Weekdays: 8:00 a.m.-5:00 p.m. Sundays: Noon-4:00 p.m. Closed Saturdays and holidays For further information: 944 -7584 http://arts.EastWestCenter.org
Gallery visitors interested in joining the EWC Arts Ohana can obtain the appropriate flyer in the gallery, by telephoning the EWC Foundation at 944-7105, or online: http://arts.EastWestCenter.org.

EWC arts programs are supported by the Hawaii Pacific Rim Society, Friends of Hawaii Charities, the Cooke Foundation, Atherton Family Foundation, Jackie Chan Foundation USA, and generous contributors to the EWC Foundation, including members of the EWC Arts Ohana.

Printed on recycled paper