Samedi dernier, l’équipe du Centre de documentation du Cambodge (DC-Cam) de Phnom Penh s’est rendue au Centre de Kampong Cham pour participer au forum du projet Cham Silk en présence de 20 survivants du génocide. L’équipe a accueilli chaleureusement les survivants en attendant l’arrivée des représentants de la TIKA (Agence turque de coopération et de coordination). Une fois arrivés au centre basé à Kampong Cham, Seang Chenda, directeur du centre de documentation de Kampong Cham, et So Farina, directeur adjoint de DC-Cam, leur ont fait visiter le centre. Les représentants de la TIKA ont exprimé leur gratitude envers les survivants pour leur contribution à ce projet : « Il s’agit d’un pas en avant dans la préservation de l’histoire et d’une collaboration remarquable entre le Cambodge et la Turquie. L’histoire devrait toujours être rappelée et préservée, quels que soient les bons et les mauvais moments. » Ce forum était une excellente occasion de recueillir davantage d’informations et donner une chance aux survivants de poser des questions et de satisfaire leur curiosité. Ils ont posé quelques questions, notamment sur la durée et le processus de ce projet, sur la façon dont le projet prévoit de collaborer avec les survivants. Farina a expliqué brièvement qu’il n’y a pas de durée établie pour ce projet, « car nous sommes en train de rassembler des données pour trouver un design approprié pour la communauté Cham ». « Le projet Cham Silk comporte plusieurs étapes, notamment la phase de recherche, au cours de laquelle nous recueillons les données nécessaires auprès de sources historiques et nous interrogeons les villageois pour en savoir plus sur chaque dessin et chaque couleur de la soie, afin de produire une couleur et un dessin représentatifs de la communauté cham. Une fois le projet terminé, nous ferons enregistrer les modèles auprès du ministère du Commerce ». L’étape suivante sera celle de la formation, à laquelle les survivants pourront contribuer en tissant le motif de soie qu’ils souhaitent dès qu’ils en auront le temps et en leur donnant une chance d’exprimer leur créativité. Il est très probable que lorsque les résultats seront prêts, il y aura une nouvelle collaboration dans ce projet de tissage, qui sera également partagé avec le reste de la société cambodgienne et étendu à l’étranger. Le projet Cham Silk est une initiative du centre de documentation du Cambodge soutenue financièrement par la TIKA par l’intermédiaire de l’ambassade de Turquie au Cambodge. L’objectif du projet est de restaurer les couleurs et les motifs de la soie grâce à la mémoire des survivants et d’en faire une source de revenus pour la communauté. L’objectif du Centre de documentation du Cambodge est de populariser ce projet et de le faire connaître tant au niveau national qu’international : « Il est extrêmement important de préserver et de rappeler les couleurs et les motifs de la soie à travers les souvenirs des survivants ». Après que le pays eut été dévasté par les Khmers rouges, la communauté a commencé à revivre en 1979. Ils ont évoqué leurs souvenirs pendant le régime khmer rouge ainsi que leurs expériences de survie. Ils nous ont également parlé de leur vie avant les Khmers rouges et de leur artisanat. Photos par So Farina Texte de Lim Iphing et Chey Chansineth Centre de documentation des archives du Cambodge

Leav Kimchhoth, un artiste de 55 ans originaire de la province de Battambang, est un visage familier pour les habitants et les touristes du bord du fleuve à Phnom Penh. Ce peintre et illustrateur vend fréquemment ses œuvres près du marché de nuit les week-ends et les jours fériés. Pour vendre, Leav Kimchhoth se rend au bord de la rivière à vélo et expose ses dessins et esquisses sur des supports spécialement construits à cet effet. Bien qu’il ait des difficultés financières et qu’il n’ait pas encore eu l’occasion de présenter son travail dans un cadre formel, il aimerait organiser une véritable exposition dans une galerie classique. « J’aimerais vraiment montrer mon travail dans une galerie. Je suis un artiste professionnel et j’ai de l’expérience dans la création d’œuvres à grande échelle. J'ai participé à la réalisation d’affiches pour l’ouverture officielle de Naga, de feux d’artifice et de banderoles pour la bière dans les années 1990 », dit-il. Kimchhoth, qui est diplômé de l’Université royale des beaux-arts (RUFA), a été confronté à des contraintes financières qui l’ont empêché de produire les œuvres de grande envergure pour poursuivre son rêve. Bien que ses petits dessins soient appréciés des touristes qui se promènent le long du fleuve, il explique qu’il ne vit pas de la vente d’œuvres d’art, mais qu’il continue à créer pour ne pas perdre la main. Sa principale source de revenus est l’élevage et la vente des récoltes qu’il effectue chez lui. « Je vends mes dessins pour un ou deux dollars. Je n’utilise pas de peintures coûteuses et je ne respecte pas les règles artistiques traditionnelles », explique-t-il. Kimchhoth a perdu son bras gauche lors d’un bombardement en 1979, à l’âge de 10 ans. Il a découvert sa passion pour la peinture en 1981, lorsqu’il a commencé à participer à la décoration de salles de classe. Il a ensuite commencé à dessiner tout ce qu’il voyait et à faire d’innombrables dessins de sujets possibles pour de futures peintures. C’est ainsi qu’il a obtenu son diplôme à la RUFA à la fin des années 1990. Selon Kimchhoth, son travail attire l’attention des amateurs d’art locaux et étrangers, même s’il admet que certaines de ses œuvres les moins conventionnelles ont tendance à polariser les opinions. Selon lui, tout le monde ne partage pas les mêmes goûts, car l’art doit être subjectif. Dans ses œuvres, il a tendance à privilégier les paysages ruraux plutôt que les paysages urbains, même s’il fait quelques exceptions pour certains bâtiments qui mettent en valeur l’attrait de sa ville. « J’essaie de capturer l’essence de chacun de mes sujets, en utilisant le minimum de traits et en essayant d’utiliser la lumière et l’ombre pour ajouter de la profondeur et de l’émotion », explique-t-il. Bien qu’il vive dans la pauvreté et qu’il ait été amputé du bras gauche, Kimchhoth estime que son art doit être jugé sur ses propres mérites, plutôt que sur la sympathie que les gens peuvent éprouver à son égard. « Je refuse de laisser mon handicap ou mes conditions de vie difficiles affecter ma passion pour la création artistique. » Malgré les défis auxquels il est confronté, Kimchhoth reste attaché à son art. Sa passion pour la peinture et son désir de présenter ses œuvres dans une galerie d’exposition témoignent de son talent et de sa détermination. Il espère qu’un jour, avec le soutien de sponsors ou de collaborateurs, il pourra exposer ses œuvres dans une galerie et partager son point de vue unique avec un public plus large. Hong Raksmey avec notre partenaire The Phnom Penh Post

Dear readers, today I'm talking to you about Franco-Khmer photographer and director Sonadie San. A woman of strong convictions and multidisciplinarity, she proudly represents the Asian community, which she strives to bring to the fore in all her projects. From her childhood in Lognes (Paris region) to an atypical life path where chance encounters created unforgettable memories, she confides in Cambodge Mag her personal path, her doubts, her memories, but also her professional career and her projects. A truly extraordinary woman, whom we are delighted to introduce to you from an intimate angle. You grew up in Lognes and Khmer culture was very much a part of your upbringing, particularly through dance. Do you have any anecdotes on this subject? I danced from the age of 3 until I was 15. Wonderful memories at the Pagode de Vincennes, where I played most of the leading roles. Around the age of 10, you began to ask yourself some questions, and a confrontation arose with your mother. Can you explain? My physique was different from that of other Asians. A friend convinced me of my potential mixed race, but I was intrigued to ask my mother, who denied it. Around the age of 17, I had what you might call an "identity breakthrough". What did you decide to do then? I learned that my father wasn't my biological father and, devastated, I ran away. Around the age of 21, armed with a backpack and a lot of courage, you embarked on your 1st trip to Khmer Srok. Tell us about your first days. My identity crisis had reached its peak, and the breakdown in my relationship with my adoptive father prompted me to set off and discover the Srok. I was in for a real sensory shock, my whole body feeling the country from the moment I set foot on the ground. I knew I had arrived "at home". A mysterious event occurred on the 1st evening An inexplicable feeling occurred during the night: I felt my spirit leave my body to go and meet my maternal grandmother. The vision goes as far as her message to guide me on the perilous journey of my quest for my origins. Then you meet your uncle and he sees something: what does he guess? He immediately senses what happened during my trance state and tells me I've met my grandmother. Then, by chance, you meet a previously unknown lady in Siem Reap, who takes you in for a while. What extraordinary things did you discover during this meeting? I met a woman monk by chance on my way to Siem Reap, whose first exchange with me was to share a meal in her house, a meal that turned into an unexpected two-week stay, during which a number of astounding revelations were made. In the course of our daily exchanges, this monk turns out to know my adoptive father, whom she considers her savior during the Khmer Rouge era! Tell us about your general impressions of your stay in Cambodia (reconnection, etc.) Cambodia was the most fluid, enjoyable and powerful period of my life. Every second spent in the country reminded me of the necessity and obviousness of being there. I found my place there. On your return to France, you decide to renew ties with the man who raised you. What did you do to make this happen? In collusion with my mother, we organize a reunion, necessary after all these years of separation, and I take advantage of the opportunity to tell her about my stay and my extraordinary encounters, linked to her past. At the age of 28, you were admitted to the Frédéric Jacquot school after passing a competitive entrance exam, and you went straight into your 2nd year. What does your family think? At first glance, they were opposed. But having already completed a university course that suited them, they can only accept my decision. When you were writing your first play, what did you realize during casting? I realized how difficult it was for a minority ethnic group in France to find work as an actor. This situation is real and extends to the whole audiovisual world. I've also discovered a passion for coaching. Tell us how you became a coach Right from my first jobs, I felt the need and pleasure to train my colleagues. This probably innate vocation continued naturally with my theater work. You later moved to Canada. What are your best memories and experiences of this three-year stay? My best memory is of living there, but also of coaching actress Shelby Jean Baptiste after she landed her first role in the film Scratch. Can you tell us a little about your experience in Brazil and the Orichas? This trip is primarily due to the selection of my first short film for the Festi France-Brazil festival. The aim, when a filmmaker is selected, is to spend five months in the country in order to pass on their knowledge and experience. This extraordinary experience took me to no fewer than 70 cities in five months. I discovered the legend of the Orichas and their culture. This unexpected immersion led me to take part in rituals and become totally immersed in these extraordinary traditions. One day, your vocation as a filmmaker became obvious. What have you achieved? When I returned to France in 2016, following my various experiences, this profession became obvious to me. It represents what now suits me best. I produce : - Open your eyes - Ouropreto (Brazil) - Rap de vaincre - Médusa, a documentary film ⁃ currently finishing Le Souffle, my latest film in progress Writing: ⁃ I'm also writing my next film based on school dropouts. ⁃ In particular, I've just finished another short film entitled Le lièvre étoilé as well as a feature film: Le soleil du Manguier. You're present through many causes and social movements. Which ones are they? I'm mainly involved with the Instagram page THE ASIAN SUSPECTS, whose mission is to showcase Franco-Asian talent. An effective means and a personal initiative to bridge the visibility gap of the Asian community. At the same time, I'm working as a photographer with Amanda, to produce a photo exhibition, again with the aim of highlighting Asian physiques, and by Asian photographers. Finally, could you tell us a few words about Le Soleil du Manguier? This feature-length film is a personal, even initiatory and intimate quest. The subject is my adoptive father, and I hope that this film will demonstrate all the love I have for him. Interview by Chantha R (Françoise Framboise)

Un étudiant cambodgien en informatique a tourné le dos au monde digital pour se consacrer à une activité bien plus inhabituelle et créative : concevoir des tenues traditionnelles khmères pour des poupées de style Barbie. Malgré quelques réticences de sa famille au départ, Cheab Sibora a entrepris de concevoir et fabriquer des tenues traditionnelles pour les poupées dans le style khmer. « Bien que je n’aie pas reçu beaucoup de soutien au début au départ, mes amis et ma famille ont finalement soutenu mon projet - fabriquer des tenues d'inspiration khmère pour des poupées de style Barbie », confie-t-il. Inventée par Ruth Handler en 1959, Barbie est la poupée la plus populaire de tous les temps, avec plus d’un milliard d’exemplaires vendus depuis son lancement. Sibora espère maintenant enrichir cet héritage en donnant aux poupées, pour la première fois, une touche traditionnelle khmère. Selon le créateur, chaque costume s’inspire des différentes cultures et identités des 25 provinces et villes du Royaume, et ses créations sont devenues plutôt populaires au fil des années auprès de la diaspora cambodgienne et des étrangers. « Chaque poupée nécessite beaucoup de travail et d’attention pour concevoir la broderie. Le tissu doit être cousu avec de petites perles et des paillettes, une par une, pour créer les motifs traditionnels khmers », explique-t-il. L’un des motifs est Reachny Ney Krong Kuch, qui représente Phnom Penh. Dans le cadre de ce projet, la Barbie est vêtue d’un costume argenté étincelant, orné de broderies et de perles de la tête aux pieds. Pour la province de Pailin, célèbre pour sa danse traditionnelle du paon, le costume Moyurana est fait de plumes d’oiseaux qui complètent la jupe en soie à motifs bleus, le tout terminé par une tête de paon dorée. Une autre tenue représentant l’ancienne capitale de Siem Reap, baptisée Neang Tep Apsara, intègre les sculptures et les gravures Apsara des temples emblématiques de la ville. La passion de Sibora pour la mode et le design a commencé en 2011, alors qu’il était lycéen, où il s’est inspiré de l’art traditionnel khmer, des peintures et des livres d’histoire. En 2013, il a commencé son projet de costumes pour poupées. « Bien que je n’aie pas étudié ce type de discipline artistique, j’aimais regarder les défilés de mode, parcourir les catalogues et lire les livres d’art. J’étais tellement intéressé que j’ai décidé de les essayer, même si c’'est l’exact opposé de mes études en informatique. » Le jeune designer vonfie avoir été inspiré par un livre écrit par le célèbre spécialiste des arts, Pich Tum Kravil, intitulé Khmer Dance. cet ouvrage explorait d’anciennes écritures khmères découvertes au temple de Lor Ley, datant du IXe siècle, décrivant des scènes où une femme se déguise et danse pour les esprits saints. Cela l’a incité à transposer cette beauté ancienne dans l’ère moderne par le biais des poupées. Si ses camarades de classe ont encouragé et salué son travail, sa famille s’est montrée moins enthousiaste au départ. « Comme ma famille est très pauvre, ils craignaient que je ne puisse pas gagner de l’argent avec ça et m’ont demandé d’arrêter. Mais comme j’aime ce que je fais, je continuais chaque jour et chaque nuit en secret, sans qu’ils le sachent », raconte-t-il. Après des années passées à concevoir et à produire ces costumes, Sibora a pu présenté son travail au public en 2018 dans le cadre d’une exposition officielle afin de promouvoir le patrimoine et la culture khmers. Aujourd'hui, Cheab Sibora a développé son activité de designer en travaillant également sur des modèles vivants, il a notamment conçu les costumes du récent concours de beauté Miss Pre-Teen World 2023. Pour plus d’informations, visiter ses pages Facebook Bora Apsara ou Banjureth Art Page. Pann Rethea avec notre partenaire The Phnom Penh Post

La fleur nationale du Cambodge, le rumduol, et les étoiles sont considérées comme des objets porte-bonheur à exposer à l’occasion du Nouvel An khmer et constituent également de jolis motifs de décoration. La Cambodgienne Soeun Sokhom, 48 ans, épouse du propriétaire de l’entreprise artisanale Sour Sdey Chamlak Dek Meas Rachana, située dans la ville de Siem Reap, sculpte ce type d’objets destinés à être exposés. Les produits vont des lampes à fleurs rumduol aux lanternes, en passant par les lampes colorées et les appliques murales porte-bonheur. L’entreprise fabrique également des objets en forme de lune, des lanternes en forme de feuilles dans le style khmer que l’on trouve sur les temples. « Les objets les plus vendus en 2023 sont la lampe à fleurs rumduol et la lampe porte-bonheur. Cet objet porte-bonheur mesure de 60 cm à 1 mètre de haut et est sculptée de 20 motifs et la partie centrale peut également être gravée du nom de la villa ou du magasin ou des mots serey sour sdey ou bonheur », explique-t-elle. Elle précise que la plus grande lampe à fleurs rumduol, de 90 cm, coûte 450 dollars, tandis que celle de 30 cm coûte 180 dollars et la plus petite 130 dollars. La lampe qui porte chance coûte 700 dollars et est fabriquée en fer dera, tandis que la lampe en cuivre de la même taille coûte 1 400 dollars, car le cuivre est vendu au kilogramme et utilise une couche de 8 centimètres d’épaisseur pour la sculpture. L’atelier utilise du fer dera épais et le peint dans des couleurs qui correspondent aux préférences des clients, comme l’argent, le platine et l’or, tandis que les sculptures en cuivre sont les préférées des clients s’ils souhaitent qu’elles restent brillantes. « Au Cambodge, personne ne produit de lampes en fer dera et en cuivre en les sculptant, ils ne les fabriquent qu’avec des moulages, qui ne sont pas sculptés à la main », confie Sokhom. L’entreprise Sour Sdey Chamlak Dek Meas Rachana emploie plus de 13 artisans. Outre les lampes de tous types, l’artisanat produit également des rampes. Touch Vannick, 68 ans, entrepreneur en construction et sculpteur de statues en bois devenu sculpteur de fer et de cuivre, explique que les motifs qu’il utilise pour graver les lampes comprennent Kbach Pnhi Tes, Kbach Banteay Srei, Kbach Pnhi Angkor et Kbach Pnhi Plerng. Il explique qu’avant d’être gravé, le cuivre doit être bien chauffé et lavé avec du savon et de la chaux, puis séché. Le dessin de la gravure est réalisé en fonction de la taille et du style commandés par le client. « Certains travaux, comme les appliques murales qui utilisent une seule feuille de cuivre, prennent une journée, s’il y a un responsable, un sculpteur et un concepteur. Mais ce n’est pas régulier, selon le type de lampe, certains travaux prennent d'une semaine à un mois », explique M. Vannick. Ce sculpteur expérimenté explique que certains clients commandent des lampes, et même des parapluies de cérémonie, car dans chaque maison cambodgienne, il y a toujours des statues, et même les chrétiens commandent parfois des parapluies de cérémonie. Vannick a commencé à sculpter le cuivre et le fer dera en 2010, à la demande d’un fonctionnaire qui souhaitait fabriquer une lampe-parapluie aux motifs d’ornements affichés pour l’aéroport de Siem Reap. Vannick, sculpteur sur bois, a décidé de tenter l’expérience. Il a alors accepté de graver un parapluie d’apparat, confiant dans sa capacité à mener à bien cette nouvelle tâche. L’ancien entrepreneur en construction a depuis commencé à se détourner du secteur de la construction. Depuis 2010, les lampes et les éventails à main qui ne coûtaient que 20 dollars sont passés à 180 ou 200 dollars, avec l'apparition de gravures plus belles. Cependant, Vannick raconte qu’au début, sa carrière de graveur de lampes n’a pas été facile, car il ne recevait qu’une ou deux commandes par an. Puis, en 2012, il a reçu une grosse commande du bureau du Premier ministre pour 18 éventails à main et 18 parapluies de cérémonie à placer à Preah Ang Thom dans le district de Stung Trang, avec un délai de deux mois et demi pour les terminer. « Quatre d’entre nous ont travaillé dur jour et nuit pendant deux mois et demi pour terminer le travail. Nous sommes vraiment satisfaits du résultat », conclut-il. Hong Raksmey avec notre partenaire The Phnom Penh Post

Born in Toulouse, the city where her parents settled in the 1980s after fleeing the Khmer Rouge regime, DÉBORAH OM is now a doctor of medical physics (in oncology) at the Parisian hospital GEORGES POMPIDOU. Discover today for Cambodge Mag the portrait of this young woman who affirms that a spirit must be ‘disciplined, hard but flexible not to break’. For several years, we have found you particularly involved in various humanitarian causes, mainly in Cambodia. Tell us in particular about your mission with child amputees Strongly inspired by a friend who was an amputee herself – but also by my father who had to cross anti-personnel minefields one day, my older sister on his shoulders – I took advantage during this stay at Srok in 2019 to contact the sector HANDICAP INTERNATIONAL of Siem Reap. This mission in the field marked me enormously. I then obtained a fundraiser allowing me, using a 3D printer, to produce prostheses more suited to their condition. Last year, I had the privilege of accompanying you on one of your Physicist Without Borders days at the Khmero-Soviet Friendship Hospital in Phnom Penh. Describe this mission to us. This hospital is the origin of my current vocation. The vision of distress and the obvious lack of available means that I discovered there during my first visit (I was 19 at the time) constituted a real emotional shock. My goal in this mission was therefore the technical and practical improvement of the methods in place. Your profile is however atypical. You are a great athlete. What disciplines do you practise? I started with classical dance then karate, and then boxing, a passion. But following a rupture of the ligaments, I now devote myself to hiking and, of course, to Yoga. You can actually be found on certain social networks for yoga. How did he come into your life? Through one of my older sisters. An assiduous practitioner, you have now become a teacher in the subject. How did this happen? I became a real fan by practising daily in the studio that my sister had introduced me to. And working in radiotherapy, a fundamental anxiety-provoking environment (permanent nuclear exposure forces us to perform our duties in sorts of bunkers), it then occurred to me to share this well-being provided by yoga … and my request was approved by the hospital. What advice or guidance would you give to those who would like to learn about this discipline? ‘Do it head on, go for it and be diligent! Discipline is the key to everything.’ You also happen to be a strong believer in meditation. What are the reasons? ‘The meditative approach is for me a life lesson but also a way of living your life’ A healthy mind in a healthy body: a few words on this adage? I remain convinced that to free ourselves from all emotional constraints, we must above all free ourselves from our physical constraints. The two are closely linked. Your curiosity also extends to reading. What are your current books or authors? With a book permanently in my blouse, I am currently soaking up the writing of Bokar Rinpoche and Tenzin Wagyal – Rinpoche (Yoga of dreams and sleep) and Pema Wangyal (Boddhicitta) and Lucas Menget (freestyle swimming) Are there currents of thought that you favour? I particularly like Lucas Menget (freestyle), an exceptional work in my eyes and which focuses on TUMMO (Tibetan meditation on fire) Also Vajrayāna Buddhism and Dzogchen Buddhism, stemming from the Tibetan schools. Great traveller, you reconcile passions and destinations. Can you tell us about your next big trip? I’m going to NEPAL, which is one of my dream destinations. This desire was particularly accentuated following the viewing of a report on ARTE on a boarding school – Snowland – located in the isolated region of DOLPO and only accessible on foot. Children aged 4 to 16 will no longer see their parents during their apprenticeship. The wish to be able to sponsor them has become dear to my heart. You often talk to me about the SHAOLIN Monks. How do they inspire you and do you have any perspectives or projects on this subject? They simply represent for me the quintessence of the discipline. They are the perfect archetype of ‘a healthy mind in a healthy body’. I would therefore leave on my return from Nepal this time to Germany, for a retreat in a SHAOLIN temple. The work of the mind and discipline therefore take a great place in your life. Do you see a correlation with medicine? Completely! Without discipline, performance decreases and this directly impacts our patients. And Cancer doesn’t wait. Everything therefore remains linked: our minds and theirs and the results that will flow from it. In your daily life at the Georges Pompidou Hospital, do you include your philosophy of life in your approach with your patients? the combination of benevolence – peace of body and mind – yoga class at the hospital is in my eyes a trifecta. ‘Peace brings peace’ Do you often meet patients who are open to a meditation approach or who are simply followers of this practice to compensate for their condition? The approach often surprises, I admit. Do you think this could be a point to work on systematically? patients feel our states and the meditation approach is now one of my priority approaches Finally, what are the projects that are most important to you, professionally speaking? I am a fan of innovative techniques, which represent a large part of my research. I focus – among other things – on optimising toxicity savings for breast cancer patients, Sophrology, meditation or even a good control of breathing are means that I would like to propose. Systematically because I now consider them essential in the achievement of all my objectives. I am also thinking of resuming the congresses in order to spread my points of view – and discover others. By Chantha R (Francoise Framboise))

Dear readers, today in my series of portraits of atypical khmers in the world, we stay in the USA to know better SOTHEARA LIM, the man behind KHMER RENAISSANCE, the Instagram page regerence of the moment for the Cambodian community worldwide. You will discover behind this character, a native of Long Beach, a personal story rich in emotions, and supported by a combative and omnipresent family in his life and his thoughts. I wish you a great discovery! You grew up in California and your early years felt totally American. Tell us about this feeling My family was keen on my total integration and living as a full-fledged American, especially culturally speaking, initially seemed obvious. They believed that in order to be successful in this country and for a chance at survival, you have to assimilate. This is interesting because they were also adamant on teaching me what it means to be Khmer. So it was an interesting dynamic because they encourage both embracing being American while also embracing being Khmer at the same time. Unlike you, your family and relatives are part of the wave of Thailand camp refugees who fled and settled in the USA. How did they experience their integration? It was extremely difficult, compared to the exodus of course. My grandmother lost her husband and five of her children to the genocide, so she became the sole provider by working in garment factories under the table. The Khmer culture therefore remains omnipresent in your home. However, your parents each had a specific role in this transmission. Can you explain them to us? Indeed… My father taught us vehemently on our culture & history – from the Kingdom of Angkor to the Golden Age of the ’50s and ’60s. My mother taught us proper Khmer social etiquette, how to address older people, and how to carry ourselves as Khmer people. Which do you think has had the most impact on your love of our culture? My father, in particular by teaching me the history of the Khmer empire. His words continue to inspire me to this day in my posts on KHMER RENAISSANCE. You then have a click towards the high school days and no longer feel like just an American. What happened? American society has a wrong perspective about us. The gap between how Asian Americans are viewed and the realities of the Khmer American community was by and far large. The larger Asian American narrative is not consistent with the realities of being Khmer here. Our voices were silent and we were invisible – I wanted to make our voices heard. This period also marked violence between the Asian community and other communities. Could you tell us some anecdotes? Yes … in the ’80s the racial tensions were palpable. We had extremely hard times with other ethnic communities, who treated us harshly when we arrived. We responded to this by creating our own gangs as we felt it was the best response to the assaults. This answer seemed obvious because we were a people who had only known war and genocide. Eventually, we weren’t going to stand and allow this to happen to us after everything we’d been through prior to arriving here. Your father then entrusts you with stories about the creation of Asian gangs to defend themselves. What was your reaction? Honestly, I was born in the late ’80s, so they were in their early years during that time. Though it’s a sad reality, gangs are an integral part of the lifestyle in Long Beach. And I can’t judge the stories because I understand the pain of people who lose their loved ones; as well as the reactions that can result from it. I strongly feel I am in no position to judge that life; I’m in no place to have an opinion on it. I can only look at it from a place of compassion and understanding. Is this one of the reasons that led you to unify our community? In part, of course. But the main reason was my desire to have a platform bringing us together under the compassion, the exchange, and the sharing of our culture and our history. Then comes the Covid period and you decide to create Khmer renaissance. How do you choose your subjects? As I was observing our community around the world, I started to realize a collective of Khmer people reclaiming their identity and culture, whether it’s through arts, business, or thought leadership. I wanted to highlight that ! We began to heal from the genocide, and that resulted in many great things happening. VannDa’s song, “Time to Rise” is a big inspiration to the creation of Khmer Renaissance, and I wholeheartedly that that song singlehandedly sparked a fire in Khmer people worldwide. How do you find companies or people to support? Mainly through social media. Some of your archives on the subject are exceptional. How did you discover them or have access to them? I feel very committed to this cause and I write a lot. I take a lot of time to reflect on the subjects that I cover. Everything that I post is intentional and this is on purpose. I want to be an example to Khmer people that if we want to create something or start a business, we have to put our best foot forward. Today after 2 years of success on the subject, what would be your assessment? I am still surprised by so much success and above all so fast! Above all, I feel honored and grateful. So what are your future plans - personal or for the Khmer community? I am starting a Creative and Production Agency called Donut Shop Creative. The goal of this agency is to provide creative and marketing services for Khmer brands and companies, and to do so in a way that elevates our brand identity. Additionally, Donut Shop Creative will serve for my personal projects. I hope to create films and documentaries that matter to Khmer people through this platform. By Chantha R ( Francoise Framboise )

Au cœur de la province de Battambang, des œuvres d’art émergent d’un support improbable : le tronc d’un palmier. Atteignant plus de deux mètres de haut, cet arbre d’apparence ordinaire abrite les dessins saisissants de Keo Sobin, un artiste local. Âgé de 33 ans et habitant le village de Wat Kandal, dans la ville de Battambang, Sobin a d’abord étudié l’électronique à l’Institut national polytechnique du Cambodge (INPC). Cependant, après avoir obtenu son diplôme, il s’est consacré à sa passion de toujours : les arts. Il a passé une année à apprendre le dessin, enrichissant ses compétences par des recherches assidues et l’étude des murs des temples anciens. « Bien que j’aie acquis des compétences en électronique, c’est mon désir profond de dessiner qui m’a conduit sur cette voie. J’aspire à vivre à travers mon art, en promouvant les arts et la culture cambodgiens », confie Sobin. Malgré ses racines familiales dans le village de Banang, dans la commune de Sdao, il a opté pour la solitude au sein du Wat Kandal. Il gagne sa vie en exprimant ses talents artistiques par des sculptures et des dessins. Revenant sur son parcours artistique de six ans, Sobin révèle que ses œuvres ornent des espaces publics dans certaines parties de la province de Battambang. Toutefois, nombreux sont ceux qui ignorent que ces dessins et sculptures sont le fruit de ses efforts créatifs. Pour créer une œuvre, Sobin commence par choisir une souche de palmier, généralement longue de 2,5 mètres et d’un diamètre de 0,70 mètre. La souche est ensuite transformée en une toile où les styles artistiques traditionnels khmers donnent vie à des récits du Grand Empire khmer, avec des personnages légendaires comme Indra Devi et Jayavarman VII. Ses compétences englobent non seulement la peinture, mais aussi la sculpture. Ses créations vont des peintures sur bambou aux lanternes ornées de sculptures florales. Ces œuvres seront exposées lors de la prochaine exposition « Clean City » à Battambang, un événement qui présentera l’art de différents pays, dont la Thaïlande, le Myanmar, l’Indonésie et la Malaisie. Les œuvres de Keo Sobin trouvent leur place sur diverses surfaces, même sur des calebasses et des coquilles d’œuf. Ses thèmes traditionnels khmers ajoutent une valeur artistique à ce qui est habituellement mis au rebut, une initiative qui contribue à la durabilité environnementale. « En transformant des objets jetés en pièces de valeur, nous réduisons les déchets environnementaux. Ces matériaux sont faciles d’accès et il suffit d’être habile pour les remodeler », commente M. Sobin. L’artiste estime que son rôle de créateur consiste également à nourrir les futures générations. Il souhaite enseigner aux jeunes afin de leur faire apprécier l’héritage des ancêtres khmers. Le processus artistique de Keo Sobin commence par le polissage du tronc de palmier choisi afin d’en atténuer les aspérités. Il polit ensuite la surface avant de commencer à dessiner des motifs en trois dimensions. Il utilise le noir pour accentuer les formes ébauchées. L’artiste tire l’essentiel de ses revenus de la vente de lanternes sculptées dans des coquilles de noix de coco, dont le prix est de 5 dollars pour les sculptures standard et de 15 pour les plus complexes. Il vend également des lanternes en bambou, dont le prix varie entre 15 et 30 dollars, en fonction de leur complexité. Il compte désormais parmi sa clientèle des boutiques de souvenirs et des restaurants qui lui commandent des lanternes en noix de coco et en bambou. Sa première œuvre d’art sur le palmier a été vendue à un Français pour 500 dollars afin d’être exposée dans un hôtel de Battambang. Cependant, Sobin révèle qu’il avait l’intention de faire don de sa deuxième œuvre d’art sur palmier à une institution publique, plutôt que de la vendre. Prak Sonnara, directeur général du patrimoine et porte-parole du ministère de la Culture et des beaux-arts, n’émet aucune objection quant au choix unique du matériau utilisé par Sobin pour son œuvre. Selon lui, les sculptures de héros cambodgiens tels qu’Indra Devi ou le roi Jayavarman VII ne posent aucun problème, même si elles sont sculptées sur des surfaces non conventionnelles telles que le bois, la pierre ou le métal. M. Sonnara souligne l’importance de l’endroit où l’art est exposé : « La statue d’une divinité, par exemple, doit être placée dans un endroit désigné pour la prière et le culte. Si elle est mal placée, elle nuit aux efforts de conservation ». Le parcours artistique de Keo Sobin, marqué par le croisement unique de la tradition et de l’innovation, se poursuit sur les troncs des palmiers de Battambang. En se taillant une place dans le monde de l’art, Keo Sobin contribue également à assurer un avenir meilleur à l’héritage culturel du Cambodge. Kim Sarom avec notre partenaire The Phnom Penh Post

Le Feng Shui, parfois appelé géomancie chinoise, est une pratique traditionnelle très ancienne qui prétend utiliser les forces énergétiques pour harmoniser les individus avec leur environnement. Le terme signifie littéralement « vent-eau ». Depuis les temps anciens, on pense que les paysages et les étendues d’eau dirigent le flux du Qi universel ,« courant cosmique » ou l’énergie, à travers les sites et leurs constructions. Historiquement, ainsi que dans de nombreuses régions du monde chinois contemporain, le Feng Shui était utilisé pour orienter les bâtiments et les structures spirituellement significatives telles que les tombes, ainsi que les habitations et autres structures. Dans les sociétés occidentales contemporaines, cependant, cette pratiques'oriente plus vers l’aménagement intérieur pour favoriser santé et réussite. Cela est devenu de plus en plus visible par le biais de consultants en Feng Shui et d’architectes d’entreprise qui prodiguent analyse, conseils et interviennent dans la conception. Consultante en Feng Shui et en astrologie, Sokha Suy a gentiment bien voulu nous éclairer à propos d’une pratique de plus en plus populaire au Cambodge. Cambodge Mag : Quand avez-vous pour la première fois entendu parler du Feng Shui ? Sokha Suy : En 2002, alors que j’avais 18 ou 19 ans, j’ai découvert le Feng Shui grace à un forum Internet ayant pour thème l’Asie. Mais je n’y avais pas prêté attention. Bien plus tard, vers 25 ou 26 ans, j’ai acheté 2 livres sur le sujet, par curiosité, mais ils ne m’avaient pas vraiment marquée. Il aura fallu attendre que je décide de quitter mon ancien poste de consultante en banque et finance après sept ans de métier et un burn-out, pour que je me découvre un intérêt inexpliqué pour le Feng Shui et ses principes d’harmonie, sûrement parce que j’en avais particulièrement besoin dans ma vie à ce moment-là. C.M. : Pouvez-vous me donner votre définition du terme ? Sokha Suy : Le Feng Shui est l’art d’aménager les lieux de vie ou de travail de façon à ce qu’ils protègent la santé, apportent de l’harmonie dans les relations, et attirent la chance et la prospérité. Le Feng Shui fait partie de la médecine chinoise traditionnelle et s’applique aux habitats ou lieux de travail. Ainsi les aménagements d’intérieur proposés consistent à harmoniser la circulation des énergies vitales (le Qi) à l’intérieur du « corps-espace », au même titre que le médecin acupuncteur agit sur le « corps-humain » avec ses aiguilles. C.M. : La pratique du Feng Shui est-elle très répandue au Cambodge ? Touche-t-elle uniquement les Cambodgiens d'origine chinoise, ou bien toute la population ? Sokha Suy : Le Feng Shui étant un savoir-faire ancestral chinois vieux de plus de 5000 ans, sa pratique a certainement été importée par les Chinois installés au Cambodge. Au vu du développement des investissements chinois dans le Royaume, la pratique du Feng Shui ne peut que s’y développer. « En effet, le Feng Shui est une pratique très reconnue en Chine, et pour les investisseurs Chinois, il est impossible de décider de la construction d’un quelconque bâtiment ou complexe immobilier sans avoir recours à l’expertise d’au moins un Maître Feng Shui, si ce n’est plusieurs. » Le Maître Feng Shui participe en effet à toutes les étapes d’un projet immobilier, à commencer par le choix du terrain, puis l’aide à la conception architecturale de la construction, et enfin l’aménagement et la décoration intérieure. Les investisseurs Chinois utilisent en réalité le « business Feng Shui », c’est-à-dire qu’ils font appel à l’art du Feng Shui pour avant tout assurer la longévité et la prospérité de leurs affaires immobilières. Je suppose que le « business Feng Shui » est amené à beaucoup se développer au Cambodge avec la multiplication des investissements chinois. Ce qui aura pour effet également de faire connaître le Feng Shui pour les habitats auprès d’une large partie de la population cambodgienne. C.M. : Au cours de quelles occasions fait-on appel au Feng Shui ? Auriez-vous quelques exemples concrets à citer ? Sokha Suy : Voici quelques exemples : Disneyworld en Chine a été entièrement conçu selon les principes du Feng Shui ; La ville de Singapour s’est largement construite sur les principes du Feng Shui, ce qui en fait une ville harmonieuse et prospère ; De nombreuses grandes entreprises connues font appel au Feng Shui : HSBC, Bouygues, Orange, Body Shop… Pour le Feng Shui d’habitat, il est possible d’intervenir sur tous les plans du projet immobilier cités précédemment, du choix du terrain jusqu’à la décoration intérieure. En France, le Feng Shui est encore peu connu et partiellement utilisé par rapport à tout son potentiel. On y a recours le plus souvent quand on est déjà installé chez soi, qu’on s’y sent mal, et qu’on cherche des solutions pour s’y sentir mieux. C.M. : Qu'est-ce qui vous attire dans la pratique de cette activité ? Sokha Suy : C’est un métier qui me permet de prendre soin de l’être humain à travers son habitat, de l’aider à trouver des sources de bien-être dans un monde dominé par le stress, et qui me permet de prôner les bienfaits de l’harmonie comme art de vivre, que ce soit dans sa vie personnelle, comme dans la vie d’entreprise. https://sokha-suy.com/

Dear readers, for this 3rd edition of Rising Talent Around the World in January, Cambodge Mag returns to Paris to let you discover - or rediscover - a multi-talented character with an uncommon creative genius and an atypical life path: Franco-Khmer TONY S.KAY. Entrepreneur by heart and founder of THE FAMILY SAUCE, today we turn to the regular DJ of MAMA SHELTERS venues in France and events such as DIOR BEAUTY ( to mention just a few). Interview When you were growing up in Paris, you lived with your family of six in a basement studio. What were the most memorable moments of that time? The way we lived together, especially our shared beds, evokes nothing but fond memories and strong sibling bonds. Perhaps the only tricky part was looking in from the outside, since none of us had our own room. When you were about 12, your mother's sudden absence forced you to go into foster care My three older sisters were about ten years older than me, so they became my surrogate mothers, and we were in daily contact (especially by phone). So, disconnected from your Asian environment, tell us about your noodle anecdote I had this unconscious and probably intrinsic need to stay connected to my culture. Noodles, among other things, and even though I never had the opportunity to heat them up in a hostel, enabled me to make that connection... And to eat a little more to my heart's content. In spite of the circumstances, you went on to obtain a BTS in management, but you held two jobs simultaneously in the restaurant business, and an idea came to you about outfits. Tell us about it! From an early age, I helped out my sisters, who owned a restaurant. At the time, I was working in several different establishments at the same time, and the sight of waiters dressed in a variety of outfits gave me the idea of proposing standardized outfits. And when these didn't suit the restaurant owners, I suggested them directly to the staff. After a brief stint in Amsterdam, you'll settle in Lyon. You'll buy a business. Tell us about this experience In 2013, I took over an establishment then called LES COULISSES, with a partner. The place had previously been known as LIPS CAFÉ, an extremely controversial venue at the time, a fact I was unaware of at the time. What events led to its success? The takeover took place during an off-peak period, and lasted until the end of August. Then came an unexpected event: privatization by a customer for his birthday, with festivities in total opulence. Then the idea of immortalizing this incredible moment (with multiple photos on Facebook) was probably the trigger to breathe new life into this, until then, rather quiet place. Subsequently, we set up regular events. Over the years, LES COULISSES also became the place to be for top sportsmen and women. It started with basketball players, including NBA stars, then footballers and other top athletes. And in those four years, before the influencer phenomenon became what it is today, we built up a real team strategy based on our contacts. Fame brings enemies, and you become a regular target of aggression. Five years later, you change direction. Tell us about it! Following a number of robberies, which - among other things - led to tension within the team, I decided to move on. The need to recharge my batteries was palpable. It had become necessary for my well-being! This is also the period when mixing becomes an outlet for you. How did this come about? During this period of self-examination, my brother-in-law gave me a brief introduction to the disabled community. I realized how lucky I was not to be one, and as I explored new possibilities, I chose mix. I had learned about this discipline from the DJ at my previous establishment (now part of the TRINIX group, which has over 200 million listens). It was when he couldn't make it that I found myself improbably replacing him... and the passion was born! And so the FAMILY SAUCE adventure was born. Tell us how the idea came around We were in a period of confinement, and I was in charge of communications and media for a major catering group. During a discussion, I came up with the idea of creating a devil's sauce (made from chicken juice) to accompany the prepared chicken we were already supplying. The idea not being accepted, I took the initiative of making it myself. Then a former COULISSES customer asked me to send it by post, so I did! The positive feedback was immediate, and I developed this new niche from home. What types of sauces will you be offering, and who will be involved in the project? Based on the sauces I usually use, such as oyster sauce, I've noticed that glutamate is an ingredient I don't stand very well. So I'm going to revisit our traditional sauces and come up with a different, healthier composition. Then there will be competitions. What will they be? What will be the results? I'll be taking part in the Championnat de France de Barbecue, which is just what I'm looking for: technical skill, but in a friendly, family atmosphere... I'll make it to the finals. Then, as mix became an important part of your life, you started playing on an official basis. How did your first contract come about? Working my way up in the mix world, I "targeted" the MAMA SHELTER establishments, whose musical DNA matched my own (hip hop, R&B and old school). I got a date, and my first performance was a success, so they started booking me on a regular basis. What "mama shelters" have you played in since then? Most of the ones in France! We saw you at the DIOR BEAUTY events. How did that come? Following one of their private events in a "Mama Shelter" where I was mixing that evening, they liked me and asked me to cover a number of other DIOR Beauty events. What other well-known brands or events have you been called upon to cover? Among others, Lululemon, Plaza Athénée, Food Society, Off Paris Seine, St Martins Lane in London, Peninsula, Novotel... or the Shark Club in Pukhet or the Sabay festival... Then last year, you went on your first trip to Srok. How did you feel? It was October 20, 2023... and the emotional shock was total. On the one hand, because of the modernity of Phnom Penh, and on the other, because of the fighting spirit of the Khmer people, their constant smiles and the kindness of their welcome in general. Which places in particular made the biggest impression on you, and why? Phnom Penh enchanted me, but Siem Reap remains my favorite. During your stay, you will also have the opportunity to play there. Tell us about that experience! From chance meetings with friends to opportunities, I found myself playing PONTOON (through Dara Sabay). You're now a full-time DJ. What are your musical preferences? Hip hop, R&B, Old school, Afro, Afro Caribbean What would your favorite places be? I can't think of any in particular, but taking part in festivals is something that appeals to me enormously. And let's be honest, being Asian can be a barrier, because we don't get the exposure we deserve. How do you see yourself in three years' time? Confidential for the moment. But from now on I want to concentrate mainly on my DJ career. Interview by Chantha R (Françoise framboise) Listen to Tony S.KAY

Dear readers, today we return to France to meet the comedian SINTHAC. Born in Laos to a Teochew father from Cambodia and a Khmer mother, SINTHAC arrived in France at an early age with his family, who were lucky enough to be able to leave the Srok before the arrival of the Khmer Rouge. Now an executive by day and a stand-up performer by night, he tells Cambodge Mag about his life path full of trials and sometimes surprising anecdotes, his successes and his projects. You grew up in Mulhouse and you talk about a childhood full of daily fears. Tell us briefly about that time and your schooling My memories remain somewhat mixed, with, on the one hand, this low-income housing estate where I was subjected to many rackets and, on the other hand, innocent images of a child going to pick mushrooms or chestnuts. How did your parents adapt to this new life in France? Not easy, especially for my father who was totally downgraded socially compared to his situation as a merchant in Cambodia. As for my mother, she became a home-based dressmaker and spent a lot of time sewing. A radical change took place in your studies when you and your family moved to the Paris suburbs. What was it? When I was 10 years old, we moved to Noisy-le-Grand and I went from first in the class to last. How is Khmer culture expressed in your education? It is passed on daily through the food we eat and through cultural rituals. You told me a surprising anecdote about the practice of Khmer in your youth. Explain what it is and its consequences. When I entered the first grade, the school director ordered my parents to speak only in French. This was the beginning of my break with the culture. As a young adult, your shyness and awkwardness finally become contradictory with the jobs you will choose to do. Which ones are they? Until then my shyness could be described as sickly. "I had to fight evil with evil and today I am in charge of coaching and relationship building for a large French company.'' At a certain time in your life, you will obtain your French nationality and there is a rather funny story behind the choice of your French first name. Can you explain it to us? Well, I had to find a French name that could supposedly help me integrate, so I chose Serge... but my mother couldn't pronounce it at all, so I finally chose Cédric. So, how do you choose to introduce yourself to people when you first meet them? Well, this is finally the most destabilizing question for me, because I never know if I should put forward my Khmer name or my French name. Then comes the time of performing. You will try improvisation and then Slam to finally choose stand up. Your vision of each of these three disciplines ? I practiced improvisation, slam and then stand up. ⁃ The first one allowed me to develop my sense of observation and my ability to adapt. ⁃ The second allowed me to develop my sense of writing and the habit of evolving alone on a stage. ⁃ The last one corresponds exactly to what I am looking for. It combines the previous advantages while allowing me to add a touch of humor. The Covid period brought its share of surprises. What happened with your father? As Covid was keeping the majority of Asians out of the social system and being categorized as "Chinese", I wanted to know more about my origins. I discovered that my father was Teochew. Another charming anecdote was told to you about your parents' marriage. Can you describe it to us? My father, who came from the middle class, was promised to another woman, as is our custom. But he decided not to listen and followed his heart by marrying my mother, who came from a peasant background. Following this, how do you define your current cultural identity? Today I define myself as a Frenchman of Chinese-Cambodian origin. You are involved in several projects concerning the Asian community. Which ones ? Podcasts like Kiffe ta race, Asiatittudes or banh mi. I am since engaged in actions with Asiatittudes, in particular to help in the event. What is your past and present vision of Srok Khmer? I would describe my vision as Western, because I only know Srok from what I see in the media, or what I have been told. Your dearest wish concerning a possible future visit to the Kingdom? I dream of going there, because I am convinced that this journey will bring the missing pieces to my personal construction. Finally, do you have any professional projects in progress? To set up a stand up show by 2025. Interview by Chantha R (Françoise framboise)

Dear readers, for the first time in my series of portraits for Cambodge Mag, we are going to Australia, and this for you to discover the DJ JADE FOX. Born in Melbourne, to a British father and a Khmer mother, JADE has now become an essential part of the Australian music scene. DJ, performer and producer, we find her on the turntables of mythical places like the REVOLVER UPSTAIRS but also in most clubs all over Australia. You are Australian but you proudly claim your Khmer origins. How was this culture present in your upbringing? I am extremely proud of it. And it is true that I always put forward my Khmer heritage when it was hardly present during my childhood. My mother did not teach me the language. I learned it as an adult from a teacher named Linda. At school in particular, we were only 3 Asians. Tell us a bit about your family and how did they come to Australia? My refugee mother from the KR arrived in Australia at the age of 16, accompanying other Cambodians (the majority of her family having unfortunately been exterminated during this tragic period). How do you position the Khmer community on this continent? It is not very present in Melbourne, but I feel lucky to have been able to find one online. Finding people with similar experiences and backgrounds in this way is an incredible adventure in my eyes. This approach definitely made me feel less alone. Sakyants are an integral part of your personality. What was your first tattoo and why this choice? They are extremely important to me because they represent our culture, give me strength and make me feel even more connected to the community. I did my first in Cambodia… And I continue since. What are the strengths of our culture that you like to share? I find that where I am, few people know Cambodia – or even where it is. I like to pass on to them what I know. Do you often go home? As often as I can What touches you the most when you go to Srok Khmer? —resilience – and a smile – despite all the hardships our people have been through. —Meet people who have nothing or little and seem happy. —It reminds me every time how lucky I was to have grown up in a comfortable environment. Are there causes in the country that are close to your heart or projects that you would like to carry out in Cambodia? Yes definitely. A friend based in Siem Reap has set up an NGO (REACH) for education, which I support unconditionally. About your work: how did you come to be a DJ ? The result of chance following the Covid. The desire to share fun and my passion for my music. How long have you been doing it? Since 2019 Is it more difficult for a woman to evolve in this environment? Yes, because we are extremely few and we are severely judged and must constantly prove more. -But I have very good memories of my beginnings- Are there a lot of Asians and are there a lot of Cambodians in the Australian music industry? Unfortunately, not (whether Asian or colors in general) and I look forward to the moment when all this will change. Australia remains a white-dominated country – that’s a fact. When you are on stage, do you sometimes highlight your Khmer identity? Little for the moment but I hope to be able to have the opportunity to do it in the future, in particular by introducing Khmer sounds in my creations or my mixes What are your future plans in your profession? I focus on two distinct paths: - Obviously evolve to the maximum as a DJ - specialize in nutrition, an area that challenged me during my first visit to Srok, faced with the issues related to all this. Finally, any advice to give about your job? If you like music: go for it! Interview by Chantha R ( Françoise Framboise )