Op-Ed: Art as Resistance to the Weight of Tradition

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For centuries, Cambodian women have been guided by the traditional code of conduct known as Chbab Srey—a set of rules that dictate how women should behave in society.

This ancient code emphasizes the virtues of obedience, modesty, and quietness, presenting a model of womanhood that has deeply influenced societal expectations for generations.

However, in contemporary Cambodia, a remarkable shift is taking place. A new wave of female artists is emerging, boldly challenging these long-standing norms and reshaping the narrative of womanhood in Cambodian society. Through their art, these women are breaking free from the constraints of Chbab Srey, exploring new expressions of femininity, strength, and empowerment.

How can they break free from these traditional molds when those very molds define what is acceptable?

This question has become a central theme in much of Cambodia’s contemporary feminist art. Using various mediums such as painting, sculpture, music, and performance art, they amplify their voices and advocate for gender equality and women's rights. They are reclaiming their agency, asserting their individuality, and inspiring a new generation of women to embrace their identities authentically and unapologetically.

Art as Resistance

Neak Sophal is at the forefront of challenging traditional representations of women and sexist elements in Cambodian culture with her latest series.

Her project, Flower, consists of portraits of Cambodian women depicted lying down, dressed in minimal white linen attire. Despite the nudity, the portraits refrain from sexualization, cropping above the breasts. This series aims to counter the conventional Khmer saying,

“ប្រុសជាមាស ស្រីជាក្រណាត់ស,” which implies that men are precious like gold while women are like white cloth.

By incorporating these stereotypes - white cloth, stains, delicate flowers - Neak creatively challenges societal perceptions of women, pushing boundaries without erasing them. Neak does not portray a Cambodia free of sexism but rather a place where women are empowered to resist it. It is a space where sexism is not swept under the rug but openly discussed and confronted.

Likewise, Tyta Buth, who labels her work as Tytaart, whose portrait photography explore themes of identity, gender, and autonomy. In her works, women are no longer passive or submissive—they are complex, emotional, and powerful. Her art challenges the traditional narratives surrounding womanhood, offering a new, more nuanced perspective. She said:

"What I want to express is...a certain intimacy, yes, an emotional connection. There is some physical attraction, definitely, but it's not sexual, it's about expressing some inner female beauty."

Her art, both beautiful and unsettling, represents a quiet rebellion against the constraints of Chbab Srey. Tyta further mentioned that:

"Of course female physical beauty has too often been instrumentalized to arouse only men, but there is also some kind of 'serene gaze', a way to look at women which is not predatory. I think of the apsaras of Angkor..."

Toward New Narratives

As these artists and others continue to break away from the confines of Chbab Srey, they are not only transforming Cambodia’s artistic landscape—they are also pushing the nation to rethink its cultural norms.

Through their work, they invite audiences to question what it means to be a Cambodian woman and to imagine new possibilities for themselves.

In the process, these artists are showing that tradition, while important, should not be a barrier to progress. Cambodia’s future will be shaped by the creativity and courage of those who dare to challenge the status quo—and in the case of these women, it’s a future that looks brighter and more inclusive with each brushstroke, sculpture, and performance.