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Campadesa Chăm Pa Chiêm Thành
192–1832 →
The territory of Champa, depicted in green, lay along the coast of present-day southern Vietnam. To the north (in yellow) lay Đại Việt; to the west (in blue), Angkor.
Capital	Indrapura (875–978) Vijaya (978–1485) Panduranga (1485–1832)
Language(s)	Cham, Sanskrit
Religion	Cham religion, Hinduism and Buddhism, later Islam
Government	Monarchy
History
- Established	192
- Panduranga was annexed by Nguyễn Vietnam.	1832

The kingdom of Champa (Campadesa or nagara Campa in Cham and Cambodian inscriptions written in Devanagari as चंपा;^{[citation needed]} Chăm Pa in Vietnamese, 占城 Chiêm Thành in Hán Việt and Zhàn chéng in Chinese records) was an Indianized kingdom that controlled what is now southern and central Vietnam from approximately the 7th century through to 1832.

The Cham people are remnants of this kingdom. They speak Cham, a Malayo-Polynesian language.

Champa was preceded in the region by a kingdom called Lin-yi (林邑, Middle Chinese *Lim Ip) or Lâm Ấp (Vietnamese) that was in existence from 192 AD, but the historical relationship between Lin-yi and Champa is not clear. Champa reached its apogee in the 9th and 10th centuries. Thereafter began a gradual decline under pressure from Đại Việt, the Vietnamese polity centered in the region of modern Hanoi. In 1471, Viet troops sacked the northern Cham capital of Vijaya, and in 1697 the southern principality of Panduranga became a vassal of the Vietnamese emperor. In 1832, the Vietnamese emperor Minh Mạng annexed the remaining Cham territories. Mỹ Sơn, a former religious center, and Hội An, one of Champa's main port cities, are now heritage listed.

Overview[link]

Geography of historical Champa[link]

Between the 7th and the 15th centuries, Champa at times included the modern Vietnamese provinces of Quảng Nam, Quảng Ngãi, Bình Định, Phú Yên, Khánh Hòa, Ninh Thuận, and Bình Thuận. Though Cham territory included the mountainous zones west of the coastal plain and (at times) extended into present-day Laos, for the most part the Cham remained a seafaring people dedicated to trade, and maintained few settlements of any size away from the coast.

Historical Champa consisted of up to five principalities:

This statue from the late 9th Century once belonged to the Buddhist monastery in the Cham capital of Indrapura.

• Indrapura ("City of Indra") was the capital of Champa from about 875 to about 1000 AD. It was located at the site of the modern village of Dong Duong, near the modern city of Da Nang. Also in the region of Da Nang are the ancient Cham city of Singhapura ("City of the Lion"), the location of which has been identified with an archeological site in the modern village of Trà Kiệu, and the valley of Mỹ Sơn,^[1] where a number of ruined temples and towers can still be viewed. The associated port was at modern Hội An. The territory once controlled by this principality included present-day Quảng Bình, Quảng Trị, and Thừa Thiên–Huế provinces.

• Amaravati was located in present-day Quảng Nam province.

• Vijaya was located in present-day Bình Định Province. The capital has been identified with the archeological site at Cha Ban. The associated port was at present-day Qui Nhơn. Important excavations have also been conducted at nearby Thap Mam, which may have been a religious and cultural center. Vijaya became the political and cultural center of Champa around 1000 AD, when the northern capital of Indrapura was abandoned due to pressure from the Viet. It remained the center of Champa until 1471, when it as sacked by the Viet and the center of Champa was again displaced toward the South. In its time, the principality of Vijaya controlled much of present-day Quang-Nam, Quang-Ngai, Binh Dinh, and Phu Yen Provinces.

• Kauthara was located in the area of modern Nha Trang in Khánh Hòa Province. Its religious and cultural center was the temple of Po Nagar, several towers of which still stand at Nha Trang.

• Panduranga was located in the area of present-day Phan Rang in Ninh Thuận Province. Panduranga was the last of the Cham territories to be annexed by the Vietnamese.

Within the four principalities there were two main clans: the "Dua" and the "Cau". The Dua lived in Amarvati and Vijaya while the Cau lived in Kauthara and Panduranga. The two clans differed in their customs and habits and conflicting interests led to many clashes and even war. But they usually managed to settle disagreements through intermarriage.^[2]

Historiography of Champa[link]

Sources for the historiography of Champa[link]

The historiography of Champa relies upon three types of sources:^[3]

• Physical remains, including brick structures and ruins as well as stone sculptures;
• Inscriptions in Cham and Sanskrit on steles and other stone surfaces;
• Chinese and Vietnamese histories, diplomatic reports, and other texts.

Overarching theories in the historiography of Champa[link]

Modern scholarship has been guided by two competing theories in the historiography of Champa. Scholars agree that historically Champa was divided into several regions or principalities spread out from South to North along the coast of modern Vietnam and united by a common language, culture and heritage. However, scholars have disagreed on whether these several regions belonged to a single political unit, or whether they were politically independent of one another. It is acknowledged that the historical record is not equally rich for each of the regions in every historical period. For example, in the 10th century, the record is richest for Indrapura; in the 12th century, it is richest for Vijaya; following the 15th century, it is richest for Panduranga. Some scholars have taken these shifts in the historical record to reflect the movement of the Cham capital from one location to another. According to such scholars, if the 10th century record is richest for Indrapura, it is so because at that time Indrapura was the capital of Champa. Other scholars have disputed this contention, holding that Champa was never a united country, and arguing that the presence of a particularly rich historical record for a given region in a given period is no basis for claiming that the region functioned as the capital of a united Champa during that period.^[4]

Sources of foreign cultural influence[link]

Through the centuries, Cham culture and society were influenced by forces emanating from Cambodia, China, Java and India amongst others. Lin Yi, the predecessor state^{[citation needed]} of historical Champa, began its existence in 192 AD as a breakaway Chinese colony^{[citation needed]}. An official^{[citation needed]} successfully revolted^{[citation needed]} against Chinese rule in central Vietnam^{[citation needed]}, and Lin Yi was founded in 192.^[5] In the 4th century, wars with the neighboring Kingdom of Funan in Cambodia and the acquisition of Funanese territory led to the infusion of Indian culture into Cham society. Sanskrit was adopted as a scholarly language, and Hinduism, especially Shaivism, became the state religion. From the 10th century onwards Arab maritime trade in the region brought increasing Islamic cultural and religious influences. Champa came to serve as an important link in the Spice Route which stretched from the Persian Gulf to southern China and later in the Arab maritime routes in Indo-China as a supplier of aloe. Despite the frequent wars between Champa and Cambodia the two countries also traded and cultural influences moved in both directions. Royal families of the two countries intermarried frequently. Champa also had close trade and cultural relations with the powerful maritime empire of Srivijaya and later Majapahit of the Malay Archipelago. Minangkabau people in Sumatra Indonesia believe that one of their ancestor come from Champa who called as Harimau Campo (Tiger of Champa)^{[citation needed]}. Harimau Campo together with Datuak Suri Dirajo (one of Minangkabau founding father), Kambiang Hutan, and Anjiang Mualim created basic concept of martial art of Minangkabau called silek (silat). Evidences gathered from linguistic studies also confirm that a very strong cultural influence of Champa in Indonesia is found in Aceh, indicated by the use of chamic or Aceh–Chamic language as main language in coastal districts of Aceh Besar, Pidie, Bireun, Aceh Utara, Kota Lhokseumawe, Aceh Timur, Aceh Barat, Aceh Barat Daya, and Aceh Jaya.

History of Champa[link]

Religion[link]

Hinduism and Buddhism[link]

This haut relief sculpture belonging to the Dong Duong Style of Cham art is of a Dvarapala or temple guardian.

This Cham head of Shiva was made of electrum around 800 AD. It decorated a kosa, or metal sleeve fitted to a lingam. One can recognize Shiva by the tall chignon hairstyle and by the third eye in the middle of his forehead.

Before the conquest of Champa by the Dai Viet emperor Lê Thánh Tông in 1471, the dominant religion of the Cham people was Hinduism, and the culture was heavily influenced by that of India. The Hinduism of Champa was overwhelmingly Shaivist, that is, focussed on the worship of Shiva, and it was liberally combined with elements of local religious cults such as the worship of the Earth goddess Yan Po Nagar. The main symbols of Cham Shaivism were the linga, the mukhalinga, the jatalinga, the segmented linga, and the kosa.^[6]

• A linga (or lingam) is a phallic post that serves as a representation of Shiva. Cham kings frequently erected and dedicated stone lingas as the central religious images in royal temples. The name a Cham king would give to such a linga would be a composite of the king's own name and suffix "-esvara", which stands for Shiva.^[7]
• A mukhalinga is a linga upon which has been painted or carved an image of Shiva as a human being or a human face.
• A jatalinga is a linga upon which has been engraved a stylized representation of Shiva's chignon hairstyle.
• A segmented linga is a linga post divided into three sections in order to represents the three aspects of the Hindu godhead or trimurti: the lowest section, square in shape, represents Brahma; the middle section, octogonal in shape, represents Vishnu, and the top section, circular in shape, represents Shiva.
• A kosa is a cylindrical basket of precious metal used to cover a linga. The donation of a kosa to the decoration of a linga was a distinguishing characteristic of Cham Shaivism. Cham kings gave names to special kosas in much the way that they gave names to the lingas themselves.^[8]

This 10th century Cham segmented jatalinga stands at the temple complex of Mỹ Sơn.

The predominance of Hinduism in Cham religion was interrupted for a time in the 9th and 10th centuries, when a dynasty at Indrapura (Dong Duong in Quang Nam Province of modern Vietnam) adopted Mahayana Buddhism as its faith. The Buddhist art of Dong Duong has received special acclaim for its originality.

In the 10th centuries and following, Hinduism again became the predominant religion of Champa. Some of the sites which have yielded important works of religious art and architecture from this period are, aside from Mỹ Sơn, Khuong My, Trà Kiệu, Chanh Lo, and Thap Mam.

Islam[link]

This unreferenced section requires citations to ensure verifiability.

Islam started making headway among the Cham after the 10th century, but it was only after the 1471 invasion that this influence picked up speed. By the 17th century the Royal families of Cham Lords also began to turn to Islam and this eventually triggerred the major shift in religious orientation of the Cham so that by the time of their final annexation by the Vietnamese, the majority of the Cham people had converted to Islam. Most Cham are now Muslims, though significant minorities of Hindus and Mahayana Buddhists exist.

Indonesian 15th century records indicate the influence of Princess Darawati, a Cham, in influencing her husband Kertawijaya, Majapahit's seventh ruler, similarly to Parameshwara of Malacca, to convert the Majapahit royal family to Islam. The Islamic tomb of Putri Champa (Princess of Champa) can be found in Trowulan, East Java, the site of Majapahit imperial capital. In 15th to 17th century, Muslim Cham maintain a cordial relationship with Aceh Sultanate through dynastic marriage. This sultanate was located on the northern tip of Sumatra and was an active promotor of Islamic faith in Indonesian archipelago. According to linguistic studies Acehnese people and Cham are related as both were belongs to the same Aceh–Chamic language family.

Economy[link]

In contrast to Dai Viet, Champa's economy was not based on agriculture. As seafaring people, the Cham were highly mobile and established a network of trade including not only the major ports at Hoi An, Thi Nai but also extending into the mountainous hinterland.^[9] Maritime trade was facilitated by a network of wells that provided fresh water to Cham and foreign ships along the coast of Champa and the islands of Cu Lao Cham and Ly Son.^[10] While Kenneth R. Hall suggests that Champa was not able to rely on taxes on trade for continuous revenue, but instead financed their rule by raiding neighbouring countries, Hardy argues that the country's prosperity was above all based on commerce.^[11]

The vast majority of Champa's export products came from the mountainous hinterland, sourced from as far as Attapeu in southern Laos.^[12] They included gold and silver, slaves, animal and animal products, and precious woods.^[13] By far the most important export product was eaglewood. It was the only product mentioned in Marco Polo's brief account and similarly impressed the Arab trader Sulayman several centuries earlier.^[14] Most of it was probably taken from the Aquilaria crassna tree, just as most of the eaglewood in Vietnam today.^[14]

Remains[link]

Mỹ Sơn is the site of the largest collection of Cham ruins.

The most significant site for Cham temple architecture is at Mỹ Sơn near the town of Hội An. The large complex at Mỹ Sơn was heavily damaged by United States bombing during the Vietnam War. The site is currently being restored with donations from a number of countries and NGO's. As of 2004, the clearing of land mines and UXO's had not been completed.

Many historic Cham towers still remain standing at other sites in Central Vietnam, including the following:

• Po Nagar
• Po Klaung Garai

Some of the network of wells that was used to provide fresh water to Cham and foreign ships still remains. Cham wells are recognisable by their square shape. They are still in use and provide fresh water even during times of drought.^[10]

The largest collection of Cham sculpture may be found in the Da Nang Museum of Cham Sculpture (formerly known as "Musée Henri Parmentier") in the coastal city of Da Nang. The museum was established in 1915 by French scholars, and is regarded as one of the most beautiful in Southeast Asia. Other museums with collections of Cham art include the following:

• Museum of Fine Arts, Hanoi
• Museum of History, Hanoi
• Museum of Fine Arts, Saigon
• Museum of History, Saigon
• Musée Guimet, Paris

See also[link]

• History of Vietnam
• Cham people
• Art of Champa
• Aceh–Chamic languages
• List of monarchs of Champa
• Kingdom of Champasak in the south of Laos
• Kampong Cham Province in east Cambodia

Literature[link]

• Jean Boisselier, La statuaire du Champa, Paris: École Française d'Extrême-Orient, 1963
• David P. Chandler, A History of Cambodia, Boulder: Westview Press, 1992
• Emmanuel Guillon Cham Art, London: Thames & Hudson Ltd, 2001 ISBN 0-500-97593-0
• Hardy, Andrew (2009): "Eaglewood and the Economic History of Champa and Central Vietnam" in Hardy, Andrew et al.: Champa and the Archeology of My Son (Vietnam). NUS Press, Singapore
• Jean-François Hubert The Art of Champa, Parkstone Press, 2005 ISBN 1-85995-975-X
• Lê Thành Khôi, Histoire du Vietnam des origines à 1858, Paris: Sudestasie, 1981
• Georges Maspero, Le royaume de Champa, Paris: Van Ouest, 1928. This work, perhaps the most thorough in the use of primary sources to reconstruct the history of Champa, has been translated into English by Walter E.J. Tips under the title, The Champa Kingdom: The History of an Extinct Vietnamese Culture, Bangkok: White Lotus Press, 2002.
• Ngô Vǎn Doanh, Champa: Ancient Towers, Hanoi: Thế Giới Publishers, 2006
• Ngô Vǎn Doanh, Mỹ Sơn Relics, Hanoi: Thế Giới Publishers, 2005
• Scott Rutherford, Insight Guide — Vietnam (ed.), 2006 ISBN 981-234-984-7
• D. R. Sardesai, Vietnam, Trials and Tribulations of a Nation Long Beach Publications, 1988 ISBN 0-941910-04-0
• Michael Vickery, "Champa Revised" ARI Working Paper, No. 37, 2005, www.nus.ari.edu.sg/pub/wps.htm.
• Geoff Wade, "Champa in the Song hui-yao" ARI Working Paper, No. 53, 2005, www.nus.ari.edu.sg/pub/wps.htm

Footnotes[link]

External links[link]

Wikimedia Commons has media related to: Champa

• Proceedings of the Seminar on Champa, "Research on Champa and its Evolution"
• Website of the Asia Research Institute, including the working paper "Champa Revised" by Michael Vickery, and the draft translation "Champa in the Song hui-yao" by Geoff Wade
• Vietnam-Champa Relations and the Malay-Islam Regional Network in the 17th—19th Centuries
• The Survivors of a Lost Civilisation
• Cham Muslims: A look at Cambodia's Muslim minority
• The Cham Muslims of Indo-China
• Photos of Cham art exhibited in Vietnamese museums
• Plumeria flowers – Champa Flowers – La fleur de frangipaniers – Hoa Sứ, Hoa đại, Hoa Champa

Sinn Sisamouth
King of Khmer Music
Background information
Born	August 23, 1932 Stung Treng, Cambodia
Died	June 18, 1976 Koh Thom, Kandal Province, Cambodia
Genres	Psychedelic rock Garage rock Traditional Khmer music Romvong Saravan Jazz Bosanova Twist Jerk Latin Blues Cha Cha Cha Madizon Hala Hala Agogo Film Music
Occupations	Singer, Lyric and Music composer, bandleader, producer, Film producer
Instruments	Mandolin Sro lai Pey Pok
Years active	1957–1975
Labels	Independent
Associated acts	Ros Sereysothea, Pan Ron, So Savoeun, Houy Meas, Haim Sovann
Notable instruments
Mandolin

This article contains Khmer text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Khmer script.

Sinn Sisamouth (Khmer: ស៊ីន ស៊ីសាមុត [sɨn siːsaːmut]; 23 August 1932 – 18 June 1976) was a famous and highly prolific Cambodian singer-songwriter in the 1950s to the 1970s.

Widely considered the "King of Khmer music", Sisamouth, along with Ros Sereysothea, Pan Ron, and other artists, was part of a thriving pop music scene in Phnom Penh that blended elements of Khmer traditional music with the sounds of rhythm and blues and rock and roll to make a Westernized sound akin to psychedelic or garage rock. Sisamouth is believed to have been killed under the Khmer Rouge regime.

Biography[link]

Early life[link]

Sinn Sisamouth was born in August 23, 1932 in Stung Treng Province, the son of Sinn Leang and mother Seb Bunlei who was of Lao-Chinese descent.^[1]

He was the youngest of four siblings, with one brother and two sisters. His father was a prison warden in Battambang Province and was then a soldier during the Colonial Cambodia period. His father died of disease and his mother remarried, and the union resulted in two more children.

Sisamouth attended Central Province of Stung Treng Elementary School when he was five. At the age of six or seven, he started to show interest in the guitar, and he would be asked to perform at school functions. He was also interested in Buddhist scripture and other books, as well as playing soccer and flying kites.

Around 1951, he passed elementary school and intended to study medicine in Phnom Penh, but continued working at becoming a singer and writing songs. Just as he had in elementary school, he became well known in his school for his music, and was asked to sing at school ceremonies.

By the time Cambodia was granted independence from France in 1953, Sisamouth's fine singing voice landed him a spot on national radio as a regular singer. He also continued his studies, working at Preah Ketomealea Hospital.

Music career[link]

After completing medical school, Sisamouth became a nurse and married his cousin, Keo Thorng Gnut in an arranged marriage. The couple had four children. But he was also a very famous singing star in Cambodia, and his life as a celebrity eclipsed his family life.

He possessed a clear crooning voice which, combined with his own compositions about the pleasures and pains of romance, made him an idol. He sang many ballads, as well uptempo rock numbers that featured prominent, distortion-laden guitar, pumping organ and loud, driving drums. Other arrangements were more Latin jazz-sounding, featuring woodwinds, brass, and auxiliary percussion.

In the early 1950s he became a protege of Queen Kossomak Nearyrath. He was selected into the Vong Phleng Preah Reach Troap (classical ensemble of the Royal Treasury) where together with Sos Matt, he performed at royal receptions and state functions. A number of songs he wrote subsequently bore the unmistakable melancholic melodies of traditional Khmer music he performed in those formative years. In the mid-1950s a romantic ballad "Violon Sneha", composed by violinist Hass Salan, catapulted Sisamouth into stardom. In recent years the song has been re-issued by a large number of modern performers, including Song Seng Horn, who comes from Rhode Island, Mol Kamach (a singer and guitarist of the 1960s who escaped the Khmer Rouge rule and is now living in France), Nay Sieng (a Khmer based in France), and Him Sivonn (a female vocalist from Phnom Penh).

Most of Sisamouth's tape recordings from this period did not survive the years of social upheaval however, although now and then some of Sisamouth's 1950s and early 1960s hits are rerecorded successfully. One such hit, "Srey Sros Khmeng", re-emerged from oblivion with Suong Chantha's 2002 faithful rendition. Sisamouth's other hits of the same period include "Anussavry Phnom Kravanh", "(Chett Srey doch) Chong Srol", "Thngay Dob Pee Thnou", "Thngay Muoy Kakkda", "Teuk Keb", "Stung Pursat", and "Prek Eng Oss Sangkhim".

Beginning in around 1963, Sisamouth started recording on the Vat Phnom label. His "Champa Batdambang" won immediate acclaim across the country. In a 1971 Phnom Penh television show, Sisamouth's interviewer recalled that "Champa Batdambang" was the first song sung on the inauguration of the station in 1965.

What captured Sisamouth's audience was the use of a four-piece, rock and roll band instrumentation with guitars and percussion, a departure from a backing band of wind instruments. He also experimented with Latin music, an infatuation that may have started with Prince Norodom Sihanouk's compositions such as "Reatry Del Ban Chuop Pheak" and "Phnom Penh".

Sisamouth's popularity nevertheless did not eclipse the work of other recording artists, notably those who sang at the National Radio such as Eum Song Seurm and Huoy Meas. Meas Hok Seng, a voice artist at the Phnom Penh University of Arts ("Sala Rachna") also achieved celebrity status in 1966 with "Lolok Nhi Chmaul". Hits by these artists often came from the pen of lyricist Ma Lao Pi, a talented poet and broadcaster now living in California, whose masterpieces include "Day Samot Trapaing Roung" and "Lolok Nhi Chmaul". Despite occasional hits such as "Akassyean", Sos Matt on the other hand appeared to have been unfairly sidelined in the commercialisation of music that took place with the arrival of recording productions such as Vat Phnom and Chan Chaya.

In the late 1960s and early 1970s, Sisamouth sang the soundtrack songs to a number of popular films, such as Orn Euy Srey Orn, Tep Sodachan, and Thavory Meas Bong. In "Peou Chhouk Sar", a 1967 success directed by Tea Lim Kaing, Sisamouth captured the poignant breakup of lead actors Dy Saveth and Chea Yuthan with his "Neavea Chivit". Over his long career, Samuth recorded many duets with female singing partners including, in the early 1960s, Mao Sareth, Keo Settha, Chhunn Vanna, Huoy Meas, Ros Sereysothea, and Penn Ron. Penn Ron began recording with Sisamouth in 1966. Ros Sereysothea started her career in around 1967 with the hit "Stung Khieu". Her high, crisp voice nicely balanced the deeper-toned voice of Sisamouth. Nevertheless the quality of Sisamouth's songs deteriorated rapidly in the 1970s, save for a few notable examples written by lyricist Voy Ho who had been a long standing colleague. Over that same period Samuth adapted a number of Thai songs into his repertoire.

From 1972 to 1973 music publisher Kruorch Bunlyhe issued A Collection of Sentimental Songs, which contained 500 of Sinn Sisamouth's songs. It is estimated that he wrote thousands of songs, possibly at least one for each day he was famous, his son Sinn Chaya has said.

Along with his original works, Sisamouth also introduced many Western pop tunes to Cambodia, simply writing new verses in Khmer language. Examples include "The House of the Rising Sun" as "I'm Still Waiting for You" (a particularly good showcase of his sustained phrasing and baritone voice), "Black Magic Woman" (drawing influence from the Santana version) under the title "I Love Petite Women", "Sugar Sugar" and "Quando My Love".

The Killing Fields[link]

This unreferenced section requires citations to ensure verifiability.

In the aftermath of the coup d'état by the Lon Nol government on March 18, 1970, which saw the overthrow of the rule of Prince Norodom Sihanouk, Sisamouth started to sing propaganda songs in support of the fledgling Khmer Republic. One such song that became an enduring classic was "Mae Owy Ao Yoann", telling the story of a mother giving a mantra-covered magic vest to her soldier son on his way to battle. Referring to communist troop movements over Cambodian territory during the Vietnam War, a verse in the same song said that the deposed king had sold out Cambodian land to the Viet Cong. Such criticisms of the royal family were unprecedented, not least given that Sisamouth had been a protege of Queen Kossomak Nirirath, mother of Prince Sihanouk. The Khmer Rouge takeover of Phnom Penh on April 17, 1975 saw Sisamouth forced out of the city, along with millions of other residents.

By this time he had remarried, to a dancer in the royal ballet, who was pregnant at the time with the couple's second child.

The circumstances of his death in the Killing Fields are unknown, but he had connections with the old government, was highly educated, and was an artist – all trappings of a society that Pol Pot sought to eradicate. One apocryphal story is that before he was to be executed, Sisamouth asked that he be allowed to sing a song for the cadre; but the cold-hearted soldiers were unmoved and after he finished singing, killed him anyhow.

Legacy[link]

Because his presence and influence on Cambodian music was so great, he is still a household name and remains popular to this day in Cambodia. Three children from Sisamouth's first marriage survived the Khmer Rouge and one son, Sinn Chanchhaya, became a singer for the Cambodian Radio, though he himself has admitted he could not be compared to his father.

Although all the master tapes of his studio recordings are thought to have been destroyed by the Khmer Rouge, his work lives on in recordings created from cassettes and LPs that have subsequently been transferred to CD, and are often heard on Cambodian radio stations.

Sisamouth, his frequent duet partner Ros Sereysothea. and other Cambodian singers of the era, including Meas Samoun, Chan Chaya, Choun Malai, and Pan Ron, are featured on the soundtrack to Matt Dillon's film City of Ghosts. Tracks by Sisamouth are "Mou Pei Na" and "Ne Te Fache Pas".

See also[link]

• Sinn Sisamouth discography

References[link]

• A Brief Biography of Sinn Sisamouth (retrieved from archive.org on December 22, 2006).

External links[link]

• Camweb: Sinn Sisamouth Songs Some songs of Sisamouth in Real Audio format
• Sinn Sisamouth song downloads at Khmer Rocks
• Don't Think I've Forgotten – A documentary about the Khmer rock and roll scene.
• km:ស៊ីន ស៊ីសាមុត

• Sinn Sisamouth Biography