The Khmer Rouge Tribunal’s first reparation for gender-based crimes

Abstract

The Khmer Rouge's crimes of forced marriage and sexual violence have been commemorated in a dance production, entitled Pka Sla Krom Angkar. It is one of several artworks that were recognised in 2018 as "reparations" by the United Nations-backed Khmer Rouge Tribunal, known officially as the Extraordinary Chambers in the Courts of Cambodia (ECCC). In this article, researchers from Australia and Cambodia reflect on the production's significance from multiple perspectives. It is a catalyst for discussing human rights; a tool for promoting psychological healing; and a part of the ECCC's legal process.

Resilience in Post-Khmer Rouge Cambodia: Systemic Dimensions and the Limited Contributions of Transitional Justice

“…In particular, many interviewees mentioned the Transcultural Psychological Organization (TPO) as having provided significant relief and contributed to resilience by improving their mental health and allowing people to better deal with their past and participate in community life today. One example of a reparations project that is particularly interesting as a broad collaboration of four organisations 17 is the dance theatrical performance Pka Sla Krom Angkar (see Grey et al, 2019;Shapiro-Phim, 2020). It was choreographed by Sophiline Cheam Shapiro and originally initiated by Theresa de Langis, whose interview-based research informs the performance (de Langis et al, 2014).…”

Resilience, Adaptive Peacebuilding and Transitional Justice

“…In particular, many interviewees mentioned the Transcultural Psychological Organization (TPO) as having provided significant relief and contributed to resilience by improving their mental health and allowing people to better deal with their past and participate in community life today. One example of a reparations project that is particularly interesting as a broad collaboration of four organisations 17 is the dance theatrical performance Pka Sla Krom Angkar (see Grey et al, 2019;Shapiro-Phim, 2020). It was choreographed by Sophiline Cheam Shapiro and originally initiated by Theresa de Langis, whose interview-based research informs the performance (de Langis et al, 2014).…”