Reason to give to
A Cambodian Magic Flute Project:
1. Donors can contribute to a historical event, the first classic opera ever performed in Cambodia.
2. Before the civil war Cambodia was a regional leader in the classic arts. Today the country wants to rejoin other ASEAN countries in these arts. Interest in Western classical music by young musicians is growing rapidly as part of a regional trend, so that in a sense the future of Western classical music lies in Asia. This opera is part of an effort to help Cambodia retake its rightful place on that particular prominent stage. Donors can be part of that.
3. This opera is essentially so Cambodian in its many aspects that it can become a repertory piece, a special site-specific and culture-specific production that can be repeated using future generations of musicians. Like the Reamker itself, one might claim, THE CAMBODIAN MAGIC FLUTE could become a major and regular event on the tourist itinerary, not so much a technical ‘sound and light show’ but a powerful piece of theatre.
4. Even though we are setting out to make this opera accessible to all people, especially Cambodians, Western opera brings with it a level of education and sophistication that appeals to the middle classes of many cultures, not just the West but also the Middle-East and Asia. Cambodia has, in one sense, an advantage in not having this highbrow art form as part of its standard repertory, allowing it to avoid some of the pitfalls that have alienated large numbers of people in the West.
5. For many years different sectors of Cambodia has received support from a wide variety of sources. Our view is the arts should be part of that transformation. Music should and must be part of any cultural regeneration. Sponsors will be contributing to the resurgence of culture after the decimation of the wars of the70s and 80s.
6. Cambodian companies as well as individuals are slowly beginning to recognize the value and importance of culture in the process of national reconciliation. The country is at a turning point in its social development when the obligation to take care of Cambodian culture rests not so much with the foreign not-for-profit sector but with its own people, many of who have recently become extremely wealthy. The country to no longer simply victim of a tragic past but a society looking to create new cultural norms requiring significant investment.