The sculptures of Edgardo Carmon, Cartagena, Colombia

Posted on November 1, 2019 by ANY Texture

Walking through Cartagena, Colombia, one can not but fall in love with the sculptures of Edgardo Carmon.

A Cartagena native, Carmon is a mechanical engineer with a long career in machine design and steel-building construction. He suitably creates his sculptures out of sheet metal and found objects.

There is a large cluster of his sculptures on Plaza de San Pedro Claver, right in front of the Museum of Modern Art. These sculptures depict people engaged in typical professions/activities:

The above picture shows people playing cards on the left, and a man pushing merchandise in a cart on the right.

Below is a typical fruit seller:

A barber:

A scholar (?):

And one of my favorites: a seamstress!

Another cluster of humor-filled sculptures of Edgardo Carmon is located within walking distance, on Plaza del Pozo in Getsemani, right outside the wall:

Carmon is a renowned artist. In addition to Cartagena, he showed his work throughout South America, Europe, and the United States.

Things to Do in Cartagena, Colombia

Posted on October 4, 2019 by ANY Texture

The old city of Cartagena, Colombia, is a charming, colorful place filled with beautiful Spanish colonial architecture. A fun tourist heaven, it has enough to keep you busy for several days.

In the Walled City Itself

Walk Around, Get Lost

The old city is not big and is very walkable. Just walking around, absorbing the architecture, colors and vibrant life is a pleasure. Don’t be afraid to get lost–all streets lead to squares, and with a simple map you will be able to find your way back easily. Make sure to walk at different times of the day, as the city feels different as the day progresses (hint: due to the heat, it really comes to life at sunset!).

Make sure to walk on the wall, too! Sunrise or sunset are the most spectacular times.

Eat!

Cartagena has food everywhere. Try some street food.

Visit a restaurant. Sit outside at a table on a square in the evening, and pay one of the musicians to play you a song.

And yes, as all the guidebooks recommend, do go sit on the wall at Cafe del Mar at least once.

Museums

There is a surprising number of museums for such a small place. I suggest starting with the Naval History Museum (Museo Naval Del Caribe), as it has a good coverage of the city’s long history from pre-Colombian times on. The museum is mostly in Spanish. If you can’t read Spanish, I highly recommend hiring the English tour guide who usually sits at the ticket office booth. This will make your visit significantly more enjoyable and helpful. After your visit you will find that you understand much more of what you see in the city itself.

You don’t need to bother with the nearby Museum of Modern Art, unless you really have a lot of time on your hands. Even as an avid art lover, I found this museum underwhelming.

The small Gold Museum is also a must. While I was there, the museum was under renovation, and the small exhibit was temporarily housed in a nearby bank. Even then, I really enjoyed seeing the display of beautiful pre-Colombian artifacts.

The Inquisition Museum is no longer dedicated to the Inquisition, and is rather a municipal museum instead. It has a room or two with Inquisition artifacts on the bottom floor. Go if you have spare time, but keep expectations low.

Whether or not you visit the museum, do walk around the corner of the building to find this little window:

This is where the residents of Cartagena left anonymous notes, telling on their enemies and neighbors to the Inquisition…

You will see signs to the Emerald Museum, and your book might recommend it, too. It’s actually a small, somewhat-amateurish display attached to a shop. It explains where emeralds come from and a bit of history, but is not a must-visit destination.

Shop

Cartagena offers a wide array of things to buy. Peddlers carry displays of items, like these hats or jewelry:

Artisans sell their wares at street markets scattered about the city:

There is a nice cluster of artisan shops at the former military storehouse at Las Bovedas:

There are also many high-end galleries and shops, selling beautiful handcrated items from throughout Colombia:

Outside the Walled City

Getsemani

This is a neighborhood right outside the wall on the city’s southeast. In colonial times, it used to be a lower-class neighborhood. Its architecture, therefore, isn’t as grand as that found in the walled city. Until fairly recently it was run down and full of crime and prostitution, but in recent years it has undergone gentrification. Now it’s mostly the backpacker tourist area. Go here to to see colorful street art or to hang out at bars.

During the summer, there’s a month-long artisan market right at the entrance to the neighborhood, opposite the city gate. It is well worth visiting!

Castilo de San Felipe

The Castilo was the largest Spanish fort in the New World, and should be high on your to-see list. It can get very hot when you stand on top, so make sure to bring lots of water.

You can always take cover from the heat in the many tunnels that burrow through the fortification–a great attraction for kids!

Convento de la Popa

You will need to take a cab to this monastery, located on hill overlooking the city. you can explore the monastery itself, and enjoy a panoramic view of the city:

To Keep in mind

Cartagena is a great place to visit, but the ghost of darker days hangs about it. The city began as a small village surrounded by spikes topped with enemy skulls. Under the Spaniards, its used to be the largest slave port in the Americas. It’s beautiful biggest square was a bustling slave market. In the days of the Inquisition, many of its residents were tortured and killed in grizzly ways.

Nowadays there is a slightly different undercurrent. Once you get used to the picturesque beauty, you will start noticing the many beggars, many of them destitute Venezuelan families trying to eek a living. And while we were not bothered as a family with kids, when my husband went alone to pick something from our hotel, at 10:00 am, he was propositioned by people offering to get him “anything he wanted.” There were even signs on walls warning against the prostitution of boys and girls (suggesting that anything else was OK).

So, by all means, enjoy what the city has to offer, but also make sure to use common sense and keep safe.

The Door Knockers of Cartagena, Colombia

Posted on August 23, 2019 by ANY Texture

Cartagena, Colombia has a long and complex history. It has seen many ups and downs throughout the centuries, but today the old part of the city is a pleasant tourist heaven filled with old colonial charm.

I had the pleasure of spending a few days in Cartagena this summer, and very much enjoyed exploring its colorful streets. Much of the Spanish colonial architecture has been beautifully restored and preserved, turning every stroll into a walk back in time.

You might remember my fascination with old doors and windows. Well, Cartagena has plenty of beautiful doors and windows that could probably tell amazing stories if only they could talk…

In Japan, I immediately noticed the unusually elaborate man-hole covers. In Cartagena, people seem to be expressing their creativity through the display of ornamental door knockers. Once we realized that, finding fun knockers became a family pursuit. My kids enjoyed running ahead to find interesting ones (kind of like what they did with street art in London).

Door Knocker Designs

I found that most door-knocker designs in the city fall into a handful of groups. There are door knockers shaped as objects, such as vases (?) or leaves:

Some doors display fish of various kinds:

Other showcase other kinds of sea creatures, like turtles or mermaids:

Lion heads are a commonly-seen design:

As are lizards (mostly iguanas):

The rarest shape of door knockers, but possibly my personal favorite, are those interpreting the human form. I especially like the one designed in pre-Colombian style on the right:

The History of Cartagena’s Door Knockers

Today, Cartagena’s door knockers are merely decorative, but this was not always the case. The knockers were a Spanish influence. The Spaniards built the city in 1533. At that time, “A tal casa tal aldaba,” or “To each house its door knocker,” was a popular saying in Spain, where people displayed their profession or social status through the design of their door knockers. This became true for Cartagene residents as well.

Merchants decorated their doors with sea creatures or mermaids. People in the army or militia put up lion heads. Members of the clergy had door knockers in the shape of hands (I personally didn’t find any of those, and it seems there are only three such knockers in the entire city). Lastly, only royals decorated their doors with lizards.

The size of the knockers mattered, too. The bigger the knocker the higher the family’s status.

Kyoto Textile-Lover’s Tour

Posted on July 19, 2019 by ANY Texture

During our family trip to Japan I managed to carve out one day for a solo Kyoto Textile-Lover’s Tour. I combed through our guidebooks and the internet, and came up with an itinerary that seemed promising. Then I ditched my family and went exploring. As it turned out, some of my destinations ended up being great fun, while others … less so.

The Kyoto Shibori Museum

My first stop was the Shibori Museum, which happened to be within walking distance from my hotel. This small but pleasant museum has two floors. The bottom floor has a small shop selling books about shibori as well as hand-dyed fabrics and finished artwork. It also has space dedicated to classes.

The second floor features a detailed exhibition explaining different dyeing techniques, mostly from Japan but also from other countries. There is an English brochure, and the display has English signs making the dyeing process clear.

When I visited the museum, I was the only guest there. The staff was very helpful, and I got to have a private, English-speaking tour guide who took me through the exhibition and answered all my questions. Then I had my own, private shibori lesson, resulting in a beautiful silk scarf (that the director of the museum himself helped me unravel!):

Needless to say, I greatly enjoyed my visit and highly recommend this museum! To learn more check the museum’s website.

The Nishijin Textile Center

After I finished my scarf, I headed over to the Nishijin Textile Center. Nishijin was Kyoto’s traditional weaving district. When I learned it had a Textile Center, I couldn’t be more excited! My excitement died down when I got there, however. Although informative, the Center felt like a big tourist trap. Tourists arrived by the bus-loads, and were swarming throughout the displays and shop. Coming from the amazing-yet-deserted Shibori Museum, I was very surprised to see so many people at a textile center…

The ground floor of the Center had an old-fashioned display, with fading posters explaining the Nishijin weaving process.

The second floor was mostly a huge shop. It had beautiful fabrics for sale, as well as traditional Japanese clothes.

There was a weaving demonstration:

A wall display explaining the different kinds of fabrics:

And some other small displays:

The Center also offered an array of classes in different textile arts (such as weaving, or making your own hat or purse). Had I not just taken a class at the shibori museum, I would have surly done so here.

The Center also featured a fashion show, showcasing different styles of kimonos:

To plan your trip to the Center (and maybe take a class there), check out their website.

Aizenkobo Workshop

From the Textile Center I walked a few blocks to the Aizenkobo workshop.This family workshop (or atelier), is located in a traditional wooden house on a small alley. It specializes in indigo dyeing, and the making of Japanese and Western-style clothing. The front room of the house is a shop selling functional (but rather old fashioned) pieces.

When I got there, the place was very quiet and I was the only visitor. Eventually an elderly man came out to greet me. He showed me to the work area at the back of the house. In very broken English he explained that his son, the artist, wasn’t there. I understood that the family wasn’t making the indigo dye themselves, but rather bought it from other parts of Japan. Their expertise was the dyeing itself. The language barrier made it difficult for me to understand much, and my host didn’t want me to take any pictures. Sadly, the visit ended up feeling rather awkward.

If you wish to visit the workshop but can’t speak Japanese, I suggest coming with an interpreter (or possibly the artist himself speaks some English?). You can also check their website for more information.

Orinasu-kan

A rather long walk in scorching heat then lead me to Orinasu-kan. Established in 1989, this small museum is dedicated to preserving Kyoto’s traditional dyeing and weaving culture. It is housed in a beautiful (but dark) old building that was once an obi (kimono belt) shop.

When I entered the museum, I realized that, once again, I was the only patron. A grumpy receptionist who spoke no English reluctantly greeted me. He then got really upset with me when I didn’t understand where he wanted me to put my shoe-less feet…

The ground-floor display was interesting, but with sparse English explanations. It had some beautiful Noh costumes, as well as fabric-pattern books.

The small upstairs gallery had some coarser woven fabrics:

The receptionist asked me something about a tour, and I said yes. He then showed me into a darkish side room, gave me some tea, and left me there alone for half an hour. I must admit that I was a bit nervous at that point, not sure what was going on. I regretted not bringing my family along (though I knew my kids would not have enjoyed any of it).

Eventually, the receptionist told me to go back up to the second-floor gallery. Once there, a door I haven’t even noticed opened in the far wall. A man came out and motioned for me to follow. I did, although I wasn’t at all sure if that was the right (or safe) thing to do. The man told me not to take any pictures. Then he showed me into a room-full of weaving looms. The room was very hot, humid and crowded with looms. There were only two weavers present, however, each working on a different type of fabric. Seeing how they wove the intricate designs was interesting.

If you want to visit this museum, I suggest to take someone along, to make it less awkward. I couldn’t find a website for the museum, but you can read more about it here. And do expect to be yelled at as you attempt to take your shoes off…

Nomura Tailor House

By the time I was done with the Orinasu-kan Museum I was rather exhausted, but there was still one destination on my list: the Nomura Tailor House, a large fabric store. I took a bus and then walked some more. When I got there, melting and thirsty, I found this:

I almost burst into tears. Luckily, the second branch in this chain was only a couple of blocks away, and I made it there safely.

My family joined me as I was shopping, and we all went to a cafe. There, I cooled down with a well-earned iced matcha latte.

Doll-maker Aya Furuta and a Missed Craft Show in Matsumoto, Japan

Posted on July 5, 2019 by ANY Texture

On the second day of our family trip to Japan, we toured Matsumoto. We spent a fun day exploring the famous castle and the nearby Matsumoto City Museum.

In the afternoon we strolled down the alleys of the old part of town, looking for a restaurant. We passed by a big building with open doors.

I kept walking, but my husband, to my great horror, went in to explore. Soon, he chased me down the road and told me I must go in. It felt a bit awkward, but I did. Inside I found people packing what turned out to be the exact kind of textile craft show I was hoping to see in Japan.

It turned out that the show was a once-a-year event showcasing local textile artists. It was open for two days, and just closed shortly before we arrived. The artists were in the midst of packing the artwork, but they were kind enough to let me walk around and drool over everything that remained visible.

I saw gorgeous dyed and printed fabrics for doors, windows or for the wall, as well as some interesting woven art involving twigs:

There were beautiful room dividers and impressive textile fish:

I caught a glimpse of some table cloths and cushions:

And possibly some scarves, that the artists were putting away…

And then I saw some of the most beautiful dolls I’ve ever seen:

The artist who made them was there, too.

In the 1970’s, Aya Furuta traveled extensively in South East Asia. At that time, Japan experienced an economic boom that quickened the pace of life. The life in the countries Aya visited, on the other hand, remained slower and more sane. Aya felt drawn to to that slower pace. During her travels, she collected a vast assortment of antique, traditional handmade textiles. She appreciated the great care that went into weaving and embroidering them. Later, she started making dolls using these textiles. She has been a doll maker for over thirty years.

Dressing her dolls with her collected South-Asian textiles fills Aya Furuta with pleasure. She feels that the textiles connect her to the prayers and joys of the people who created them. The dolls are her way to preserve the spirit of a different kind of life, to point to a slower way of living that modern people have forgotten.

Sadly, I wasn’t able to purchase one of Aya Furuta’s dolls, but I gladly bought her inspiring doll catalog.

I was hoping (expecting?) to find other, similar textile craft shows in other places in Japan, but to my great disappointment this never happened. Despite my lingering sense of missed opportunity, I feel very fortunate to have meet Aya Futura and her dolls!

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Matsumoto City Museum and Traditional Japanese Crafts

Posted on June 21, 2019 by ANY Texture

Many tourists visit Matsumoto for its beautifully-preserved sixteenth-century castle. Only a few stop by the small Matsumoto City Museum right across the courtyard. Although somewhat old fashioned, this museum bears a nostalgic charm. It displays a handmade model of the castle from 1911:

And also offers a peek into the rich world of traditional Japanese crafts from the Matsumoto region.

Traditional Matsumoto Crafts

Beautifying Everyday Life

In pre-industrial societies, people made everyday objects by hand. In Matsumoto, peasants crafted various kinds of baskets out of a specific type of bamboo called Suzutake. They worked on these baskets in winter, the agricultural off season. Matsumoto baskets became famous in Japan from the Edo period onward, and in the beginning of the twentieth century were even exported to Europe and the United States.

As in many parts of the world, however, the most beautiful manifestations of Japan’s traditional arts and crafts evolved around the lives of the elites.

Samurai armor and swards were an important part of the warrior culture of ancient Japan, and many artisans therefore put a lot of effort into making them beautiful. The museum offers a few examples of such artifacts preserved from local samurai families.

Matsumoto Thread Balls appeared in the late 17th century, after cotton threads became widespread. Originally, they were the toys of girls from elite samurai families of the Matsumoto clan. Later they became a popular kind of regional folk art, with many different patterns.

In the Tenpo era (1830-1843), as part of his efforts to promote the town’s industry, the Matsumoto feudal lord encouraged samurai families to produce Oshiebina dolls. People made these dolls to represent kabuki actors and historical figures. They created them by wrapping cotton over cardboard and putting a bamboo skewer at the back for better display.

Ritual-related Arts

Many of the traditional crafts in the museum revolve around rituals. These Omiki-no-kuchi, for example, are bamboo sake-bottle charms:

People placed them in Shinto alters on New year’s Eve. The art of making them is dying out, however. Only a few families in Matsumoto are still skilled in the craft.

Another example of a ritual-related craft is straw figures such as this, which were meant to represent the Poverty God. Peasants placed them on the boundaries of villages to prevent the invasion of the Plague God. It was their way to try to ensure good harvest and peace.

Tanabata Dolls in various forms are related to the Star Festival. In most places in Japan, people celebrate this festival on the seventh day of the seventh month. In Matsumoto, however, people celebrate it on August 7th. This festival, by the way, is based on a Chinese folktale about a love story between a Weaver and an Alter. The Matsumoto City Museum has some dolls dating from the 18th century.

People still use Tanabata dolls today, giving them as gifts on important life-cycle-related events.

Various deity figurines and dolls made for festivals, shrines and alters were also widespread. Aren’t they spectacular?

Interested to read more about arts in Japan? Try these posts.

Khmer Ikat and the Institute for Khmer Traditional Textiles

Posted on June 7, 2019 by ANY Texture

Last December, my family stopped over in Cambodia to see Angknor Wat. Discovering Artisans Angkor and learning about traditional Khmer crafts was an unexpected bonus. But my luck didn’t end with that. The hotel we stayed at was on the outskirts of Siem Reap, and every time we rode a tuk tuk back we passed by this sign:

As you can imagine, the words “Traditional Textiles” ignited my curiosity. I just couldn’t bare the thought of leaving Siem Reap without checking this place out! And so, after a full day of touring the temples followed by a visit to Artisans Angkor, I dragged my exhausted family to one more place before ending the day with a well-deserved dinner.

We walked into the Institute for Khmer Traditional Textiles (IKTT) to find an unremarkable yard surrounding a traditional house on stilts. In the large area under the stilts, straw mats covered the concrete floor. Rows of looms and other devices filled the space. A few women worked sitting on the floor:

I felt a bit like an intruder, not sure whether we were allowed to be there or not. But then someone pointed to the “store” sign. We climbed up to the second floor to check it out. There, we met a very friendly Japanese woman speaking fluent English, who was generous enough to tell us more about the Institute and take us around.

History

IKTT was established in 1996 by Kikuo Morimoto. Morimoto was a master kimono painter from Kyoto, specializing in natural dyes. He fell in love with Khmer silk while visiting Cambodia in the early 1990’s. With help from UNESCO, in 1995 he was able to tour remote villages in the still-war-revenged country, searching for weavers who were skilled in traditional weaving. He soon realized that war and modernity threatened the continuation of the art. Young people were no longer interested in learning weaving skills that would not allow them to support their families. Once the old generation died off, Morimoto realized, the art of traditional Khmer weaving will die with them.

And so, he established IKTT, and gathered the few old women who still knew the traditional craft into one village. He brought silk worms, set workshops, attracted young weavers and even bought land on which to revive the natural forest (the source for traditional dyes). It took many years, but now the Institute owns 23 hectares of revived forest; supports a self-sustaining textile village that is the home of 160 people; and runs the main office and shop in Siem Reap, which I visited. IKTT currently employs around 250 people.

Khmer Silk

Khmer silk is made out of yellow cocoons created by the silk worms native to Cambodia. These cocoons are smaller than the white cocoons used for Chinese and Japanese silk, and they produce much shorter threads: about 300 meters (984 feet) per cocoon vs. 1,400 meters (4593 feet) per white cocoon. However, the silk they produce is of higher quality.

Artisans cook the cocoons in banana ash. This removes the proteins and allows extraction of thread. They spin the thread by hand, creating an unevenly-thick thread that later creates a textured cloth:

After they spin it, they prepare it for dyeing.

Natural Dyes

Traditional Khmer dyes, like traditional Peruvian dyes, are extracted from the natural world: plants and insects collected from the forests. There are five main colors: yellow, red, green, blue and black.

Of course, despite the similar look of the Peruvian and Khmer natural dyes, each culture relies on the plants and insects that are available to it. Whereas Peruvian purple, for example, is extracted from purple corn, Khmer purple comes for the Lac insect. Sadly, this insect became extinct in Cambodia, and is now imported:

Artisans wrap the dyed thread on a wheel to dry, and then roll it into bobbins:

Weaving

Plain or Plated Cloth

The simplest Khmer silk cloth is plain, with the warp and weft threads being the same color:

Shot silk has two different colors: one for the warp and one for the weft. While visiting IKTT I saw two such examples, one with black warp and yellow weft threads resulting in darkish-yellow color:

And the other with red warp and yellow weft, creating an almost golden color:

IKTT artisans create plaid by using different colors in the warp, mimicked by a similar pattern of different colors of the weft:

Khmer Ikat

The most amazing Khmer silks, however, are those with Ikat patterns. These are the most complex and time-consuming to make. Khmer Ikat is a weft Ikat woven on a multi-shaft loom. This means that artisans have to weave each weft thread exactly in its right place to create the design. This type of weaving creates an uneven twill weave, meaning that the weft threads are more visible on the front of the fabric.

Ikat silk is born when weavers divide threads into small bundles. They stretch these bundles on a frame that is the width of the final textile:

They then tie banana fibers on each bundle, at the place where they DON’T want the dye to take hold. That means that they need to know the final pattern BEFORE they even begin dyeing:

Now the threads are ready for the first dye. Artisans dip the tied thread bundles into dye pots. Once dyed, they stretch them again, remove the original ties, and put more ties to cover the parts which they don’t want the second dye to cover. This is painstaking work that takes many, many hours:

Artisans repeat the process for the third and any subsequent dye, until the threads reach their final color.

Amazingly, the patterns are not written anywhere. The motifs and designs are passed down through the generations, with each artist re-creating them from memory. Thus, every complete textile is unique to the person who created it.

Weavers weave the dyed threads into a fabric. The threads you see in the pictures above, for example, look like this on the final textile:

The traditional Khmer textiles were skirt wraps: Sampot Hol for women, and Sampot Hol Kaban for men. The most complex Khmer Ikat was the Pidan, a traditional wall hanging for religious ceremonies. In the latter, the pattern has no repetition at all!

Many of the textiles created by IKTT artisans take over three months to create!

The Shop

The second-floor shop offers the finished silks for sale. Don’t expect to find bargains here. IKTT silks are of the highest-quality. Their prices rightfully reflect that. Keep in mind that for your money, you will get a unique piece of art, support an entire community, and help preserve a traditional Khmer art.

Many tourists visit Artisans Angkor, but IKTT is a hidden gem. It truly is a must stop for any textile lover.

For more information on the Institute visit its website.

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What to Do if You Have One Day in Angkor Wat, Cambodia

Posted on March 1, 2019 by ANY Texture

Southeast Asia has been on my to-go wish list for decades. Last winter break I finally got there. My family booked a trip to Thailand. Before it started, we managed to squeeze in a day and a half in Cambodia. We went to see Angkor Wat, the famous UNESCO world heritage site.

Once there, I really wished we had more time to explore the area. Although Angkor Wat is the most famous temple, there are actually over a thousand other temples all around. Angkor, after all, was the capital of the Khmer Empire for nearly six hundred years (from the 9th to the 15th centuries), and was, at the time, a magnificent mega-city.

What to do if, like me, you have only one day?

Arrive the day before. Since you really want to start your tour early (see below), you should plan to arrive in Siem Reap the day before. If you really have only 24 hours, plan to arrive in the late afternoon and leave the following day around the same time. If you can afford a few more hours, arrive earlier so that you have time to explore Siem Reap as well.

Visit Angkor National Museum. If possible, do this the day before you visit the temples. Angkor National Museum has nice displays portraying the history of the city, the Khmer Empire, as well as a 3-D model of Angkor Wat. You will understand the history, mythology and structure of what you see a lot better if you visit the museum first.

Book a Private Guide. You can try to plan your visit on your own, but booking a private tour guide in advance is so much simpler! There are many tour operators and English speaking guides. They will come pick you up from your hotel, help you buy tickets, take you around and explain what you see. If you hire your own guide, you won’t have to wait around for other people.

Get Up Early. Most tour guides try to be get to Angkor Wat when the site opens at 5:30 am. The official reason is to see the sunrise (though I wasn’t that impressed with it). HOWEVER, the early morning hours also tend to be the most pleasant temperature-wise. It gets very hot and humid later in the day… Getting to Angkor Wat as early as possible will give you more time to explore other temples later on.

Even if you get up at 4:30 am and feel that you traveled to the end of the world, though, don’t expect to be the only tourist there. Angkor Wat is quite crowded, even at dawn. Thousands of people from all over the world try to take pictures of the sunrise!

Once there, don’t get close to the monkeys! You might be as excited as we were to see monkeys in the wild, but they can get aggressive and even bite…

Enjoy the amazing architecture and beautiful reliefs. Although I learned art history in both high school and college, I don’t really know much about Khmer art. The architecture and reliefs in Angkor Wat are different than the art I’m used to, and are truly breath taking! You will enjoy them even more if you understand the Hindu mythology they depict (I didn’t).

Visit other temples. Angkor Wat is the most famous temple, but other temples and ruins in the area are just as beautiful. We visited two additional temples. The last place we went to was Ta Prohm, mostly known because of the film Lara Croft Tomb Rider. I really liked it, mostly because it isn’t as well-kept as Angkor Wat. The raw ruins and grown-in vegetation give it a wild, Indiana-Jones feel!

Wear a hat and stay hydrated! The days are very hot, and you will dehydrate quickly. I could barely walk in the second temple we visited.

Finally, be prepared for rain. Cambodia is in the tropics, and it can rain. Carry a rain poncho, just in case.