Weaving Krama into the Tapestry of Khmer Identity

    Overview

    Weaving Krama into the Tapestry of Khmer Identity

    Silk production and weaving are an important part of Cambodian cultural heritage as well as a source income for many Cambodian families, especially in rural areas of Cambodia. Textiles are produced using various regional designs and traditional motifs for scarves (krama), traditional clothing, and decorative fabrics. In this photo, a Cambodian woman is working at a wooden weaving loom in Cambodia. (Photo courtesy of Bonnie Lowenthal)

    Author: Daveth Cheth
    Grade: 6

    Suggested Amount of Time: 60 minutes
    Area of Study: Introduction to Cambodian History

    Compelling Question
    • How does learning about Cambodian history promote a greater understanding of Cambodian American experiences?
    Lesson Questions
    • What is a ‘Krama’? What is the relationship that Cambodian people have to the krama?
    Lesson Background

    A krama is a traditional Cambodian garment that can be used as a scarf, bandana, or for decorative purposes. The krama has existed in Khmer culture since the pre-Angkor Era. The silk or cotton scarf is a symbol of Khmer identity and can be worn in many different ways by men and women. The Khmer Rouge used a red and white checkered krama for identification. Many different colored krama can be found throughout Cambodia today but mass production is threatening traditional weaved krama.

    Image Citation: Agopian, A., & Agopian, A. (2023d, October 13). Cambodian Woman weaving Silk - Historical Society of Long Beach. Historical Society of Long Beach - Where History Lives! https://hslb.org/clothing-2/

    Readings
    • “The Story of the Krama” 
    Handouts
    Photos
    • Time by Daveth Cheth
    • Khmer Scarf
    • Khmer Hiso
    • The World’s Longest Handwoven Krama
    • Khmer Rouge

    Introduction

    1. Teacher should first introduce the lesson’s essential questions. 
    2. Display a picture of a contemporary art piece: “Time” by Daveth Cheth https://ucdavis.box.com/s/b6uafx93wo4n12cawxhy3p07yvi5w6q
      1. Teachers should give students time to look at the contemporary art piece silently and independently. They should be encouraged to write down or draw their thoughts and reactions to the art piece, including what they think are important imagery and symbolism. 
      2. Teachers should then guide students to share their thoughts in groups, then lead a whole class discussion on the significance of the artwork and how it connects to what they know about the Cambodian people and history. 
      3. If students have not picked up on the major symbol of the Krama in the artpiece, the teacher should guide students to look at the string-like line that connects all the human shapes. Teachers should ask students what they think it is. 

     

    Interaction with first source

    1. Teacher should introduce an overview of the Krama textile and its usages in Cambodian culture by using photos and general history of this textile by reading “The Story of the Krama” from https://www.kramakrama.com/en/story-of-krama. This article should be read as a class and the teacher should model how to take notes. 
    2. Students should take written or recorded notes. The categories can include, but are not limited to the following: history and origins, design and patterns, materials and production, uses and function, symbolism and meaning, cultural significance. 
    3. Teachers will model how to complete the notes using “The Story of the Krama”

     

    Interaction with second source

    1. Students will work with a partner, or a small group to continue learning about the krama and adding information to their notes.
    2. Have students divide the responsibility of reading these sources and add to their own written or recorded notes:
      1. https://intocambodia.org/content/krama-khmer-scarf
      2. https://www.kramakrama.com/en/cambodia
      3. https://khmerhiso.wordpress.com/2018/11/19/cambodian-costume-made-from-kroma-silk/
      4. http://artjournal.collegeart.org/?p=15188
      5. https://khmerrougeincambodia.weebly.com/ 
      6. https://www.aquaexpeditions.com/blog/cambodian-silk-krama
    3. Then, allow students to share with their partner/small group their new findings. Students should add new information to their personal notes that was shared by their peers.
    4. Have a whole class discussion about each of the following note categories to check for understanding: history and origins, design and patterns, materials and production, uses and function, symbolism and meaning, cultural significance. 

     

    Cultural Production

    1. Students will choose from one of the following options:
      1. Artifact/Drawing - This original artwork can be hand drawn or digitally produced. It should incorporate symbolism and elements that portray the significance of the krama to the Khmer identity. 
      2. Reflection Response - Students will write a one page paper reflecting on the significance of the krama to the Khmer identity. The notes should be used as a guide for this reflection.

    Students can choose from one of the following: 

    1. Artifact/Drawing - This original artwork can be hand drawn or digitally produced. It should incorporate symbolism and elements that portray the significance of the krama to the Khmer identity. 
    2. Reflection Response - Students will write at least a one-page paper or record a five minute response reflecting on the significance of the krama to the Khmer identity. Student notes should be used as a guide for this reflection.

    Engagement: Consider the following method to support with lesson engagement:

    • Variation in pace of work, length of work sessions, availability of breaks or time-outs, or timing or sequence of activities

     

    Representation: Consider the following method to support with multiple means of representation:

    • Progressively release information (e.g., sequential highlighting)

     

    Action and Expression: Consider the following method to support in presenting their learning in multiple ways:

    • Embed prompts to “show and explain your work” (e.g., portfolio review, art critiques)

     

    For additional ideas to support your students, check out the UDL Guidelines at CAST (2018)  http://udlguidelines.cast.org.

    Emerging: Consider the following method to support with emerging students:

    • Writing: Require vocabulary notebooks with non-linguistic representations or L1 translations 
    • During integrated ELD, teachers may sometimes offer strategic primary language support for EL students who are newcomers or at the earliest level of Emerging proficiency.

     

    Expanding: Consider the following method to support with expanding students:

    • Writing: Provide rubrics and exemplars to scaffold writing assignments 
      • Students investigate how authors of stories invite readers to make inferences about characters by showing what the character does instead of simply telling how the character is feeling.

     

    Bridging: Consider the following method to support with bridging students:

    • Writing: Hold frequent writing conferences with teacher and peers
      • Students discuss the organization of a story, referencing orientation, complication, and resolution, as key stages in the narrative. There is a focus on precise and descriptive language to keep a story rewriting interesting to a reader. Using class notes from a Story Map done in a previous lesson, along with precise, descriptive language, and transition words, students work with the teacher to jointly reconstruct each stage of the story. Teacher uses feedback and strategic questioning to deepen the quality of the rewrite before recording on paper. Class reads rewritten story chorally when complete.

     

    For additional guidance around scaffolding for multilingual learners, please consult the following resources:

    1. With the short essay assignment, students will have the opportunity to expand on their knowledge using more research if time and ability allows. 
    2. Students can research how the manufacturing of the krama has changed where traditional krama are still being produced.

    Britt, K. 2020c, May 11. English learner toolkit of strategies. California County Superintendents.  https://cacountysupts.org/english-learner-toolkit-of-strategies/

    California Department of Education & English Learner Support Division. 2012. California English Language Development standards (Electronic Edition) kindergarten through grade 12 (F. Ong & J. McLean, Eds.). California Department of Education. https://www.cde.ca.gov/sp/el/er/documents/eldstndspublication14.pdf

    California Educators Together. (n.d.). ELA / ELD framework. https://www.caeducatorstogether.org/resources/6537/ela-eld-framework

    CAST. 2018 The UDL guidelines. http://udlguidelines.cast.org

    Cheth, D. (n.d.). Time [Digital Painting]. Lynn Cultural Heritage Museum, Lynn, MA. 

    Ly, B. 2020. Traces of trauma: Cambodian visual culture and national identity in the aftermath of genocide (82–85). University of Hawaiʻi Press. 

    San Diego County Office of Education. (n.d.). Providing appropriate scaffoldinghttps://www.sdcoe.net/educators/multilingual-education-and-global-achievement/oracy-toolkit/providing-appropriate-scaffolding#scaffolding

    Tulare County Office of Education. (n.d.). Strategies for ELD. https://commoncore.tcoe.org/Content/Public/doc/Alpha-CollectionofELDStrategies.pdf 

    Supplementary Sources

    Into Cambodia. (n.d.). Krama (Khmer Scarf). Into Cambodia. https://intocambodia.org/content/krama-khmer-scarf

    Khmer Hiso. 2018, November 19. ក្រមាខ្មែរយើង ពេលច្នៃធ្វើជាសម្លៀកបំពាក់ ។ ឃើញថាល្អមែន ។. Khmer Hiso.  https://khmerhiso.wordpress.com/2018/11/19/cambodian-costume-made-from-kroma-silk/

    Khmer Rouge in Cambodia. (n.d.). A Short History. Khmer Rouge in Cambodia.  https://khmerrougeincambodia.weebly.com/ 

    Krama Krama. (n.d.). Cambodia. Krama Krama. https://www.kramakrama.com/en/cambodia

    Yamashita, K.T. & Ly, B. 2021, February 11. Going Backward to Move Forward: Karen Tei Yamashita in Conversation with Boreth Ly on Traces of Traumaart journal openhttp://artjournal.collegeart.org/?p=15188

    Model Curriculum

    Standard(s)

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