Persaud 1

Isabella Persaud

Student No.: 1005948593

Professor Tran

HIS315H1

29 April 2022

Restructuring Representations of the Cham

Our group has composed a video intended to guide viewers through a chronological

photographic journey in order to dismantle traditional historical depictions utilized to represent a

particular culture. This series of photographs accompanied by a traditional Cham song, Âm

Vang Ngày Hội, can depict and engage with Cham ethnicity and culture, as well as be used as a

foundation for considering alternative perspectives that are not solely based on categorical

dichotomy. As well, such mediums can provide an astute analytical focus for critiquing

ethnonational representations while simultaneously introducing new perspectives of cultures.

Our goal was to explore and express the essence of the Cham - other than their classification as

ethnic minorities, what makes them Cham? Who are they, and what insights and unique

traditions do they have to offer?

The modern Cham peoples live across Southeast Asia, speak a Malayo-Polynesian

language, and embody the notion of displacement. Once a very powerful people with a kingdom

in today’s southern Vietnam, the Cham were invaded by the Vietnamese and reassigned as a

minority class. The State highlights the “backwardness” of the Cham, which granted the State a

legitimate excuse to impose its idea of progress and morality on the Cham. Consequently, the

Muslim Cham utilized faith and adopted some elements from various cultures in order to

preserve their culture and individuality, which we have strived to contextualize.

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The photographs that compose our video feature the Cham engaging in traditional

activities, including dance performances, daily excursions to markets, and festivals. Additionally,

the Thap Doi Towers (Cham Temples) in Vietnam are also displayed, which are representative

of the strength of the Cham faith and community despite their displacement. Khmer Chăm

women are also shown visiting the site where large number of Chams were killed during the

Khmer Rouge reign of terror (1975-1979), accurately positing them as reflective, insightful, and

connective.

We have intentionally omitted any direct references to the displacement, harm, and

ignorance of the Cham as we wanted to delve beyond data and historiography in order to

appreciate their customs and principles as well as fathom a holistic perspective of their

community. When selecting photographs and songs, we paid close attention to facial

expressions/emotions, traditional clothing, goods, monuments, and tools captured in them so that

our comprehension of Cham stories and experiences rightfully extend beyond singular

perspectives based solely on what happened to their people. Although I believe we were

successful in achieving the aforementioned, I believe that there is a benefit to connecting

historical traumas of a particular group to their response and eventual individuality; a depiction

of their many hardships alongside exemplars of Cham culture may have been just as if not more

successful in portraying notions of resilience and upholding respect for their origins.