Professor Terada described how, during a visit to Cambodia in 2005, he saw a newspaper article about Master Kong Nay that described him as "the Ray Charles of Cambodia", and immediately set out to meet him, and how he was moved by the musician's wonderful powers of expression. He then used photographs and recordings to give a commentary on Cambodian music.

He began his talk by explaining the diversity of Cambodia, where 90% of the population is Khmer, but Vietnamese, Chinese, and 21 minority ethnic groups all live there. He explained that music is classified as either traditional, comprising court music, folk music and religious music, or popular music imported from the West. Court music is, as the name suggests, music that developed in the royal court and includes dance, shadow puppetry, and masked theater. Folk music consists of ceremonies for life and for the spirits. Master Kong Nay's recitations accompanied by music fall into this category. The audience listened intently to Professor Terada's descriptions of Cambodia's unique culture and customs and the instruments and sounds that accompany them. Professor Terada went on to talk about the days of the Pol Pot regime, when some two million Cambodians were massacred. He described the tragedy of 90% of the nation's musicians and dancers losing their lives and expressed his joy that Master Kong Nay miraculously survived those dark times and has continued to create music, commending his receipt of the Fukuoka Prize.

During the demonstration, there was a discussion between Professor Terauchi and Professor Terada and Master Kong Nay, and Master Kong Nay himself gave a commentary about the chapey, the instrument he uses to accompany his recitations and about the rhyming lyrics he improvises during performances. While his profound recitations and his cheerful character drew laughter from the audience, when he talked about the dark times, when he was forced to sing about the merits of the Pol Pot regime, the hall fell silent.

In the second half, Ms. Kubo gave an explanation of Khmer art and the influences on that art by Hindu culture. She told how the poem, Reamker, which is often performed in recitations, is actually based on a long epic poem from India called Ramayana, and that the sculptures at Angkor Wat and other historical ruins were influenced by this poem. It sian adventurous tale of the divine prince Rama, an avatar of the god Vishnu, who is forced into exile with his wife and sent to live on an island, where he battles cruel demons before returning to his kingdom. The tale has been passed down over the generations, changing with the times, and eventually made its way to Cambodia and other parts of Southeast Asia. There, it has mutated to suit the local culture, and scenes from the poem have been depicted in sculptures at Cambodia's historical ruins and in paintings.

The audience listened with interest to these detailed explanations of Cambodian music, Khmer art, and stories, which are still relatively unknown in Japan, and to Master Kong Nay's recitation. They appeared to gain a deeper appreciation for the topic.