This picture was taken at the Philippine Refugee Processing Center near Morong Bataan, the final stop before permanent resettlement in a Western country. Some young men sculpted a replica of Angkor Wat as a cultural symbol of the endurance of Khmer culture.
Master Ho Chan (right) with Master Chum Ngek at Khao-I-Dang refugee camp in 1979. They are dressed formally as they would for a performance. The instrument is a roneat, which is similar to a xylophone. The backdrop has been painted with images of Devata, female goddesses, from Angkor Wat and Banteay Srey temples in the Siem Reap area of Cambodia.
This picture was taken in Khao-I-Dang, a refugee camp along the Thai-Cambodian border. The young woman was a part of the effort by Cambodians to revitalize traditional dance and other cultural practices in the camps.
The Office of the United Nations High Commissioner for Refugees set up educational programs in the camps to help facilitate the transition into a Western country. This picture shows a group of young women in an English as a Second Language class, learning how to use the telephone.