Culture

We’ve had a rough winter. Penetrating cold that clings to your bones. Ice dams, pipe freeze protocols, shutting down the upstairs bathroom. The kind of winter where the days blur together and you realize somewhere along the way that you’ve been going through motions rather than actually living inside them. You suspect you need something. You’re just not sure what, or how much.

The first time I heard about what would become the Khmer Magic Music Bus, I wasn’t even in Cambodia. I was listening to my colleague Steve describe a rest stop on a long drive through the countryside.

An old woman stepped closer to the small circle that had formed around the musicians. She listened for a moment to the haunting melody of the khan floating through the dusty street, then turned to someone nearby. She hadn’t heard a sound like this since childhood, she said.

In Battambang’s central square stands a statue of Ta Dambong, a figure whose legend captures something I’ve been wrestling with this year. The story goes that he was a peasant who rose to become a protector of his people, wielding a magical stick to defeat the king and rule the land. But power corrupted him, and he began using that same stick to oppress those he he saw as a potential threat. Eventually, he threw his magical stick at the king’s son, who came to confront him. It missed, and he lost it forever. Powerless, he left and never returned. The name Battambang literally means “The Lost Stick.”

Tomorrow marks our last day in Siem Reap, and I’m trying to process what feels like sensory overload in the best possible way. Cambodia has been a constant series of moments that make me stop and think, “Wait, is this real?”

There’s something transformative about passing through the gates here in Cambodia. Whether it’s the ancient causeway leading to Angkor Thom, flanked by rows of stone guardians, or the simple wooden entrance to a village home, these thresholds seem to invite a shift in perspective, an opening of the mind and heart to what lies ahead.

The hassle is real. The expense is significant. The environmental impact weighs on me. So why am I sitting here in Phnom Penh right now, jet-lagged and completely energized at the same time?

My mental health toolkit includes meditation, journaling, a bit of exercise, and — every day, almost without fail — about 45 minutes with a brutally difficult card-based video game called Slay the Spire. What started as a pandemic coping mechanism has evolved into an essential ritual that’s now woven into the fabric of my life.