“នេះមិនមែនជាការខុសនៃរចនាបទខ្មែរនោះទេ
ព្រោះថា អ្វីដូច ខ្ញុំមិនមែនជំនាញទេ លោកគ្រូដែល គាត់ចេញមកពីសាលារចនា គាត់អាចបញ្ជាក់បានបន្ថែម
ហើយគាត់នឹងអាចមានលទ្ធភាពគ្រប់ គ្រាន់ ក្នុងការចេញមកពីសៀវភៅរបស់គាត់ ដែលគាត់បានសិក្សាកន្លងមក
ពន្យល់ថាកន្លែងណា ខ្លះជារចនាបទ។ អញ្ចឹងគឺវាមានការយល់ច្រឡំមួយចំនួនដែលបានកើតឡើង ដែលក្នុងនោះយើងខ្ញុំ
ដែលខ្ញុំខ្លួនឯង ដោយសារខ្ញុំបានឆ្លងរៀបចំព្រឹត្ដិការណ៍នេះ ទទួលស្គាល់ថាអ្វី ទិដ្ឋភាពមួយចំនួន
វាធ្វើឲ្យមជ្ឈដ្ឋានមួយចំនួនមិនមានពេញចិត្ដ ។ ហើយផ្អែកលើ ដោយសារផ្អែកលើជាស្មារតីអង្គរ
សង្ក្រាន្ដ គឺដើម្បីទំាងអស់គ្នា ។ ទោះបីមហាជនមានលក្ខណ:ភាគតូចក៍ដោយ ក៏យើងចង់ឲ្យ
គាត់មកចូល រួមដោយមានភាពរីករាយដែរ។ ពួកគាត់បានលើកឡើងច្រើនថា រចនាបទនេះវាមិនមែនរបស់ខ្មែរ ហើយគាត់បានឲ្យយើងខ្ញុំទាំងអស់គ្នាដើម្បីពន្យល់ទៅវិញថាតើជារចនាបទក្លោងទ្វារ
នេះ គឺកន្លែងណាដែលជាខ្មែរ។ អានេះគឺលោកគ្រូពីសាលារចនា គាត់ដឹងក្រោយព្រឹត្ដិការណ៍ ចូលឆ្នាំ
នឹងអាចមានឧកាសដើម្បីបកស្រាយ។ ក៏ប៉ុន្ដែចំណោទសួរ ដែលគួរសួរទៅវិញផងដែរ ថារចនាបទកន្លែងណាដែលខុសមែនទែន
សុំឲ្យបែកចែកក្លោងទ្វារហ្នឹង តើរចនាបែបណាខុសពី រចនាបទខ្មែរ។”
អ្នក
តំណាង រាស្ត្រ និងប្រធានសហភាពសហព័ន្ធយុវជនកម្ពុជា ហ៊ុន ម៉ានី ថ្ងៃទី១៦ មេសា២០១៥ វិទ្យុបារាំងអន្ដរជាតិ
Congratulations must go to the premier’s son Hun Many and
his Union of Youth Federations of Cambodia (UYFC) for a successful Angkor
Sangkran 2015. Besides breaking two Guinness world records, the festival
attracts a record number of tourists, and scores a public relations coup when
it brings together for the first time two political adversaries.
Amid the excitement and accolade, however, there is a slight
hiccup that is likely to have political implications. It is a matter of the festival
gateway design that causes a public uproar, especially on Facebook. The thrust
of a common criticism is that the design is aesthetically Vietnamese.
And what is fascinating is how UYFC president Hun Many
respond to his critics. He rejects any suggestion that the design, which is
dominated by bright yellow and orange colours, is Vietnamese-influenced. He
relies on a book by a School of Fine Arts teacher, who he says will explain after
the celebrations how the design reflects Khmer arts. The public is waiting.
The UYFC president takes a moral high ground when he backs
down so that all, he says, can enjoy the celebrations. He changes the design soon
after one of the gateways is severely damaged by strong winds and later burned
down by arsonists.
Indeed, this artistic glitch may mean little to Hun Many. Nevertheless,
his critics see it differently. First, Hun Many does not seem to know that one
can please a majority but not everyone. He gives in to the critics whom he says
is just a minority. Then again, he has been brought up in a system where the
minority in effect rules.
Second, the design change may upset those he implies make up
the majority that is happy with the original version. They say it allows
creativity, even though it is bordering on plagiarising the cultural taste of
the Viets. If the original were already Khmer, then the modification of the
design to a gold and dark brown colours would be less Khmer.
Third, it is a concern that Hun Many demands the critics explain
how the design is not Khmer. Either he pretends not to know, or he cannot
really tell the difference. This bodes well with the thinking behind the original
design that could represent a slow and protracted penetration of the Viet
culture into the sub-consciousness of the UYFC, especially the president who is
slated to take charge after his father, if not a major leadership role.
It seems a bit like the old story of the frog that gets
boiled alive because the temperature of the water in which it sits rises only
gradually, thanks to its ability to adapt to changing circumstances. Some
Cambodians appear to be quite able to take in the growing realisation that the
Viets have been coming in the forms of immigration, border landmass, and now
culture. This may just be a repayment of the debt of gratitude to the Viets Hun
Many’s father treats as being eternal.
And the Viets are smiling.
Ung Bun Ang
30iv15
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