Royal Ballet of Cambodia

Western names for this dance tradition, such as Cambodian court dance, often make reference to the royal court, as the tradition was performed and maintained by attendants of the royal palaces. As a performing art, it is formally referred to as the Royal Ballet of Cambodia (le Ballet royal du Cambodge in French) by UNESCO, Cravath, Brandon, and others in the academic field, although this term may also refer to the National Dance Company of Cambodia. The term Khmer classical dance is also used alongside "Royal Ballet of Cambodia" in publications by UNESCO and the above-mentioned authors. It is also referred to as Lakhon Luong (, lit. "the king's theatre"). During the Lon Nol regime of Cambodia, the dance tradition was referred to as Lakhon Kbach Boran Khmer (), lit. "Khmer theatre of the ancient style"), a term alienating it from its royal legacy. Khmer classical dancers, as a whole, are frequently referred to as apsara dancers by laymen; this usage would be incorrect with the modern form of the dance, as the apsara is just one type of character among others in the repertoire. Regardless, the tradition's romanticized affiliation with the apsaras and devatas of the ruins of Angkor still persists. == History ==

Angkor and pre-Angkor era One of the earliest records of dance in Cambodia is from the 7th century, where performances were used as a funeral rite for kings. Ancient stone inscriptions describe thousands of apsara dancers assigned to temples and performing divine rites as well as for the public. The oldest known inscription in the Khmer language (K.600) is dated 611 on a temple where a god named with the suffix -isvara (Shiva) had merged with another with a name that denotes a tree. The offerings to the temple of one Antar include seven female dancers (jmah ge ram), six of whom are named. Save for two, all names musicians and dancers are in Sanskrit. George Cœdès dated the inscription known as K.51 to the late sixth-early seventh century (although stylistically there's a likeness with fifth century Funan inscriptions). An itemization of gifts from one Indradatta to a temple's deity, there are four legible names of female dancers (called rapam) offered: Ata, Tittaru, Ngarngor, and Kandin. The inscription of K. 138 indicates that four dancers(ram), two female and two male, were offered to a Shiva temple on a waning moon's first day. Inscription K. 155, dated to the late seventh or early eighth century, details one Chief of Granaries offerings that include nine named female dancers (rpam) and then an additional three named female dancers (rpam). Evidence for a literary basis for dance during Funana/Chenla era are found in a sixth century inscription near the Laos border by Veal Kantel, a Cambodian village. King Bhavavarman's brother-in-law offered copies of the Ramayana and Mahabharata to a temple dedicated to Shiva. During the Angkor period, dance was ritually performed at temples. A Yasovarman I-era (889–910 CE) inscription says the king offered several "beautiful [women] dancers" as well as several "handsome, mature men skillful in dance and the other arts, well dressed and adorned with ornament.” An inscriptions dated 982 explains how those that waste their riches and pillage fields and "golden ornaments and precious stones and all that the founder has given to the farmers, to the dancers and the musicians" ultimately face retribution. On King Yasovarmann I, another inscription from the 900s says women of the "Masters of the Earth danced in his presence taking from him the rhythm which he gave them by clapping his hands" and that his glory "danced without having learned, to the sound of the songs" that came from the "wives of warriors vanquished by him.” A column uncovered at Phimeanakas features a late-12th century tribute to Queen Jayarajadevi in a poem by her younger sister, Queen Indradevi, saying in part that having upheld her (Jayarajadevi's) pledge and reached the “Buddhist fruit,” she directed her "own dancers to perform" and "give performances" from the Jataka. Thai scholar Mattani Mojdara Rutnin states Khmer dancers presumably performed ceremonial dances to Shiva at the temple of Vimayapura, located in modern-day Thailand, and known now by the Thai name Phimai. Mattani suggests these performances may have been the origin of the Thai Phra Phirap ritual dance, which honours the spirits of dance in the Phithi Wai Kru ceremony. Scholar and author Paul Cravath learned from Thai dance authorities that Churning of the Ocean of Milk entered Siam, where the ceremony is called Chak nak Dukdamban, via Khmer performers. Cravath states the Hindu myth as carved on Angkor Wat depicts an actual performance of Khol, the masked, all-male Khmer dance drama. The people of Sukhothai most likely absorbed Khmer art, such as dance, as the Khmer terms for dance, ram and robam/ropam, emerged as Thai loanwords during this period. Post-Angkorian era The tradition of temple dancers declined during the 15th century, as the Siamese kingdom of Ayutthaya raided Angkor. When Angkor fell, its artisans, Brahmins, and dancers were taken captive to Ayutthaya. Thai author and former Director General of the Fine Arts Department Dhanit Yupho says the Khmers may have introduced masked dance-drama to Siam as the Thai word Khon, first appearing in Ayutthaya after Khmer artists were brought to the court, comes from the Khmer word Khol. Scholar Paul Cravath wrote that, whereas dancers were marched off to Ayutthaya when the Siamese captured Angkor, all the evidence points to some of the dancers managing to follow the Khmer king to the new capital - view also held by contemporary Cambodian dance teachers. Portuguese historian Diogo do Couto described a lake with several boats "gathering the rice with merry energy, dances and musical contests” at Angkor during his visit in the late 1580s. Having witnessed Siamese court dance at Ayutthaya, Monsieur de la Loubere gave a 1688 account of "the rabam" (from the Khmer word robam for dance) and noted it was performed at funerals. This implies Siam still retained the ritualistic nature of Khmer robam at least during that period, though later losing its "ritual function" - something always maintained in Khmer dance - in favor of the Siamese/Thai dramatic dance form. During the mid 19th century, King Ang Duong spent much of his childhood in Bangkok, where the Siamese King later held the three eldest of Duong's sons captive, and ruled Cambodia as a vassal of Siam. According to one account, the court of Bangkok provided dancers to Ang Duong's court due to declining numbers of ballet dancers in Cambodia, though this claim has been contested. Ballet teacher and scholar Prumsodun Ok argues the perception of low numbers can be explained by the practice of dancers leaving the court upon the death of a sovereign. Ok further contends, along with historian Trudy Jacobsen, the claims were an effort at "political erasure" of his niece and predecessor, the unpopular Vietnamese-installed Queen Ang Mey). Mey also wouldn't relinquish her crown for Duong who aimed to cast her as an "ineffectual ruler” and ”lesson” about women's power. Duong pursued the "old teachers" to rid the dances of "unsuitable" elements inserted over time which could include any Vietnamese influence. The king, who studied the conservative Dhammayuttika branch of Buddhism in Bangkok, implemented modest costumes of heavy fabrics for form-fitting tops and a restrictive sampot, as opposed to the loose sampot worn by dancers until his changes, which would mirror his interest in the Chbab Srey ("woman's law") poem he likely authored. In the 1850s, French missionary Charles-Émile Bouillevaux relayed that in Ang Duong's palace was a "great deal of music and theatre; I have caught a glimpse sometimes, much in spite of myself, of his concubines who simulate battles between the ancient heroes of India.” Lakhon Khol plays were codified during Ang Duong's reign based on the Reamker depicted in 12th century bas-reliefs in Angkor Wat. During the reigns of Ang Duong, Norodom, and Sisowath, dances were based on the Reamker, Khmer melodramas, and folk legends. In a process of cultural exchange, some dances from this period were based on Khmer adaptations of popular Siamese works such as Inao, Phra Aphai Mani, and Krai Thong. French colonial era Cambodia became a French protectorate in 1863. Since then, dancers began performing for foreign dignitaries and for the public on the monarch's birthday. Dance was thereby, promoted as national identity. , circa 1866.King Norodom was crowned in June 1864, four years after the death of Duong (his father). Three dance troupes, which included male dancers, existed within the palace under the control of Norodom's wives and other royal women during his rule. The king's first wife Preah Moneang Bopha Kessa controlled one of the troupes as well as theater. There were many troupes and dancers in Cambodia during this time. A rumored favorite of Norodom, "tall" Khmer dancer Neang Sok played mostly male roles, particularly neay rong. She married Frenchman Paul Le Faucheur who worked on the Royal Palace. Two teen girls named Neang Nhiv and Neang Nhoeng displayed a talent for jumping and climbing in trees and were then sent to join the Battambang governor’s dance troupe. This left some 100 of only the youngest dancers in the palace in 1904. Under Sisowath, Palace Minister Samdach Chaufea Thiounn (also called Okhna Veang), married to Khmer ballerina Neang Sok (photographed by Émile Gsell) and her French husband Paul Le Faucheur's daughter, Mlis, guided all "performance activity." French representative George Bois sought Khmer dancers for the 1906 Marseille Colonial Exposition and found Portuguese-Khmer Colonel de Monteiro and his dance troupe of 20, but still sought more. Prison director Rath said that on the condition he accompanies Bois and the dancers to France, he'll allow "some additional dancers" from those imprisoned over debts. The king finally agreed his dancers will join de Monteiro's 20 dancers plus some prison inmates to perform in Marseille on the condition he accompanies them. The king brought an entire entourage, on top of the dancers themselves, under the control of the king's daughter, Princess Soumphady. 5,000 tickets were sold for only 1,200 seats, resulting in a riot. A calm returned once Princess Soumphady “resentfully” agreed to an additional performance, at midnight. Auguste Rodin was captivated by the Cambodian dancers and created at least 150 watercolour paintings of the dancers. He followed the Khmer ballet dancers from Paris to Marseille with their return to Phnom Penh. Rodin interpreted the performance as ballet dance. Despite the pay reduction by French authorities, the king paid the dancers and covered costumes and accessories with under 10% of his budget. He pushed young dancers into education and dancers could exit court at will. Whereas the ritual basis of Khmer court dance was largely unchanged, French influence and money constraints diminished the court role of the individual dancer. Thai lyrics in a considerable amount of the repertoire were translated into Khmer, an endeavor that included re-translating Thai lyrics that were originally Khmer, back to their original language (Khmer). During the 1920s, dance performances at Angkor Wat were carried out by a privately-owned provincial troupe. Dancer and Khmer Rouge survivor Chea Samy was brought to the palace in 1925 at age six. Dance presented one of few opportunities for non-royalty to enter the palace. Two dancers remained in the palace after Sisowath's 1927 death. His son, Monivong, was crowned as Khmer ballet joined the power tug-of-war between French colonizers and the Khmer monarchy. The same year, French authority George Groslier claimed that the Khmer ballet was near extinction, which he'd first claimed 15 years prior despite the successful performance in France and the 1913 construction of the Chan Chaya Pavilion for dance performances. Thus the French wrote up an agreement that “transferred control of the dancers from the Royal Palace administration to the École des Beaux-Arts [French control].” Financial constraints due to a significant pay decrease from the French compelled Monivong to accept. Groslier would capture the poses and “ports de bras” of five dancers in photographs: Ith (star of 1922 performance in France), Anong Nari, Suon, Kieuvan (age 19), and Nou Nam (former royal dancer, age 50). While the ballet was in French hands, their jeweler named Phen stole 55 pounds (or 25kg) of the ballet's precious silver and gold jewelry and bolted to Siam (Thailand). French control of the ballet wouldn't even last a year before the troupe was returned to palace authority. Former royal dancer Princess Say Sangvann (អ្នកម្នាង សយ សង្វាន) departed the court over a domestic dispute and started a new dance troupe. This pleased French authorities who obliged anything needed for her troupe, which would perform at the Paris Colonial Exhibition in 1931. French authorities funded the troupe, deemed them the true Khmer dancers, and permitted them alone to perform for tourists and esteemed visitors at Angkor Wat. Meanwhile, the king's troupe performed infrequently. Khun Meak's cousin Loth Sareoun was also among the dancers, and the khun preah moneang would bring in many villagers to the palace, including Chea Samy's future husband and his brother, Solath Sar - later known as Pol Pot. File:Earth_in_Flower_Saem_Jean_Despujols_Khmer_Cambodian_people_women_dance.jpg|left|thumb|270px|Saèm, première danseuse en tenue de fête [Saem in Her Festival Attire] by Jean Despujols, 1937. British painter Sir Gerald Kelly photographed and painted Khmer ballerinas from both the king’s and the princess’s troupe in 1937. Neak Thul, Saona, Chea Samy, and the princess's foster daughter Saem (សាអែម) were among the models, with 897 photos total. French-American painter Jean Despujols in 1937 also depicted Saem posing on Angkor Wat’s Rainbow Bridge. The painting, portraying Saem's hand in Khmer kbach “flower” gesture, is the cover artwork for the book Earth in Flower. Zarina described the troupe's presentation as directed by "impeccable French taste." She studied with the princess during a 1937 visit and observed the troupe sewing costumes and flexing each other's fingers, wrists, elbows, and toe joints in preparation. Zarina also attended a two-hour royal ballet performance on 27 December for the king's birthday. An investigation had denied Princess Sangvann a passport in 1932, claiming her trip would be to Siam to "collect a dancer named Yeun, sent to Siam to learn to dance in the Siamese manner.” It further stated Sangvann was in debt to an “Indian banker" and her dance troupe teetering on the edge. The princess and her troupe were viewed as acquiescent to the colonial French. After everything, the French believed the failure of the princess's private dance group was "deserved." The last record of her troupe performing was in 1941. Luk Khun Meak created a strict, meticulous program to realize her idea of authentic Khmer dance, having grown dissatisfied with palace dance as well as French impact on independent troupes. She taught an additional 20 or so girls, on top of the palace dancers, and four years later presented the dancers to Princess Kossamak Nearyrath - Monivong's daughter. When King Monivong died in 1941, Khun Meak rose to dance “senior instructor." Few palace women remained as under Monivong they were from lower-class backgrounds, unlike their predecessors. It was after Monivong's death that Princess Kossamak - the mother of newly-crowned Norodom Sihanouk - consolidated the dancers Khun Meak had given her with the palace dancers. Including the dancers provided by Khun Meak, there were 48 Royal ballet dancers in 1941. Sihanouk handled the cost for the palace dancers’ maintenance, and it was his goal to debut the troupe to the public. The French thoroughly objected and fought this until the end, having moved control of Palace matters to the "Protectorate" government and aimed to dissolve the royal ballet. Still, for a half year, Princess Kossamak oversaw the palace dancers' rigorous rehearsal with the assistance of seven old dance teachers - specifically krus - and took the leap of faith that her dancers were superior to Princess Sangvann’s. She managed to secure funds from donors to cover the cost of 14 costumes. Vietnamese Emperor Bảo Đại was invited to Sihanouk’s 21st birthday on November 22, 1942, and was treated to a Palace dance presentation tailored specifically to “Emperor and Empress of Annam.” Princess Kossamak’s gamble paid off as the performance was a success. 1940s and Post-independent Cambodia Princess (later Queen) Sisowath Kossamak became a patron of the Royal Ballet of Cambodia. Under her guidance, several reforms were made to the royal ballet, including choreography. This first meant implementing a two-hour performance set consisting of opening and closing dances and a drama in between. Dance dramas and a lot of "pure" dances were dramatically shortened while other pure dances were expanded into group theatrical pieces. An example is Tep Monorom, a dance that went from featuring a princess and prince character to a synchronized closing performance of 12 dancers. This reflects the stylistic norms of ancient dances offered to the spirits. Evidence shows Kossamak introduced new dances to the repertoire and likely removed others that were present during her father's (Monivong) reign. To achieve significant contrast of monkey characters from human characters, she welcomed male Khol dancers into the royal ballet to depict acrobatic monkeys - a striking departure from the depiction technique for human roles. After Cambodia's independence in 1953, Queen Sisowath Kossamak began revamping the ballet incorporating the tastes and inclinations of international audiences. For New Year's, the Queen held royal dance performances at Angkor Wat. Flood lights and torches were placed on the temple for a backdrop, and intricately crafted pieces of (fake) foliage and other Angkorean motifs were placed amid the ballerinas. Cultural diplomacy The Queen commissioned short dance pieces tailored especially for diplomatic events. They were mostly extracted from long, traditional performances such as, Robam Tep Monorom (Welcome Dance), Robam Apsara, Robam Chhun Por (Blessing Dance), Robam Moni Mekhala and Robam Ream Eyso. During these performances, western guests were provided a booklet to explain the dances in their respective languages. The following year, the cultural ambassadorship programme continued in China under similar name, The Ballet of Khmer-Chinese Friendship. When Sihanouk visited France in 1964, the dance was performed for the first time at Palais Garnier after colonial independence. Over the years, the ballet performances were important part of the itinerary for international head of states visiting the country. The list included Indian prime minister Nehru, Indonesian president Sukarno, Yugoslavian president Tito, French president de Gaulle. Other public figures included Princess Margaret, and Jacqueline Kennedy. Sihanouk also featured the dances of the royal ballet in his films. Lon Nol's Republic (1970–1975) Valuables linked to royalty in the eyes of the public were in Lon Nol's hands after his successful coup. Whereas the Royal Palace was reportedly known as the "ex-royal palace," the government gladly accepted the ballet as a "continuity." Although retaining its symbolism, now it was known as "The Classical Khmer Ballet." Khmer Rouge (1975–1979) The dance tradition suffered setbacks during the Khmer Rouge regime, during which many dancers were put to death during the genocide. During the period of 1975 to 1979, 90 percent of all Cambodian classical artists died from starvation, execution, torture, or exhaustion. Renowned neay rong dancer and dance teacher, Sam Sakhan, was executed at Tuol Sleng. Revival in refugee camps and Cambodia Khmer classical dance training was resurrected in the refugee camps in eastern Thailand with the few surviving Khmer dancers. Many dances and dance dramas were also recreated at the Royal University of Fine Arts in Cambodia. After the Vietnamese ousted the Khmer Rouge in 1979, dancers gathered to collectively reconstruct the repertoire. == Teacher salute ceremony ==

Performed before the dance troupe enters the stage, the Teacher Salute Ceremony is a tribute to the teachers who trained them and is dedicated to the spirit that controls the spirit in each of the characters of the Royal Ballet, bidding them to ensure that their performances are smooth, confident and unobstructed. This ceremony originates from an ancient forerunner when the royal dance troupe had to offer blessings before they took the stage. This ritual is typically on Teacher's Day (Thursday). == Roles ==

Four main types of roles exist in Khmer classical dance: (male), (female), (rakshasa), and the (monkeys). These four basic roles contain sub-classes to indicate character rank; a , for example, would be a leading male role and a (or ) would be a maiden-servant. used to present an action such as commencing a journey or flying • '''' : () music used in tune with aquatic recreation (e.g. dancers miming the action of rowing a boat) • '''' : () lit., "royal bathing of the Mon"; a song used to represent a character dressing up their appearance • ' : (); also known as ' (), a music piece used to present dancers marching (e.g. the beginning of '''') • '''' : () used to show the grace and beauty of a character wielding his weapon • '''' : () - lit., "cream color", in reference to complexion, a soft and slow feminine melody • ' : () - a music characterized by the ', often used for certain actions such as combat, but not limited to such • '''' () • '''' () • '''' () • '''' () Singing group == Performance ==

performs a propitiation dance (c. 1965) as a '. Note the dancers of lower ranks (') in obeisance. During the era of the French Protectorate of Cambodia and before, it was customary for guests of the royal palace to receive a performance of the royal ballet. Tourist restaurants in Cambodia, notably in Siem Reap, also serve as venues for classical dance performances by amateur troupes. Today, some dancers are linked to government and work at the Royal University of Fine Arts and Secondary School of Fine Arts as teachers. Ministry of Culture and Fine Arts (Cambodia)'s Department of Performing Arts also engage dancers to perform on state visits. Many dancers work in the tourism, art, and corporate sectors. Stage and props The traditional stage for classical dance drama performances contains a table with a decorative pillow, sometimes laid on an Oriental rug or carpet. This table of low stature, called a krae (, lit. "bed"), is constant throughout the performance and thus is used as a prop that represents many places and things (a bed, a throne, living quarters, etc.). In many dance dramas, characters often wield weapons such as bows, swords, staves, and clubs. In some dances, dancers hold items such as flower garlands, fans, and gold and silver flowers as a tribute (see ). Performances of '''' (the makara dance) entail devas dancing in leisure and using fans to represent the scales of the mythical makara while the goddess Manimekhala leads the mimicry with her crystal ball of magic. == Movement and gestures ==

Khmer classical dancers use stylized movements and gestures to convey meaning and tell a story. These gestures are often vague and abstract, though some may be easily understood. Dancers do not sing or generally speak, except in some dance dramas where there are brief instances of speech by the dancers. Hand gestures in Khmer classical dance are called '''' (meaning "style"). These hand gestures form a sort of alphabet and represent various things from nature such as fruit, flowers and leaves. They are used in different combinations and transitions with accompanying movement of the legs and feet to convey different thoughts and concepts. The way gestures are presented, the position of the arm, and the position of the hand relative to the arm can affect their meaning. Gestures are performed in different manners depending on the character type. == Costume ==

Women and men (and girls and boys) both wear cotton sampot chang kben for rehearsal and training. Girls wear a form-fitted, button-up blouse called aaw nay. For the dance performance, the costuming process is a lot for the dancer to bear, as sewing the garments onto the dancer lasts multiple hours. Khmer royal ballet costumes are quite intricate, with a lot of brocade and embroidery, and may include authentic gemstones and sequins. Royal dancer costumes closely resemble ceremonial costumes. As in, the "dancer-prince" costume is basically the same as that of a king at coronation. Likewise the "dancer-princess" costume is near indistinguishable from that of brides and that worn for a girl's hair-cutting ritual. There are elements of outside origin, such as shoulder wings (indanu) found in Indonesian dance long before use in Lao, Thai or Khmer dance, though the foundational Khmer dance costume and jewelry is gleaned from Angkor and it's precursors, as well as pop fashion. Female costume Princesses and queens are grouped with goddesses in the highest category called neang ek. Over a lacy slip called ao sbay, the typical female costume consists of a sampot charobab/sarobap (or sampot robab), a sampot with two contrasting silk threads along with rich gold and silver metallic thread. The sampot, worn samloy-style and also called samloy robab, is usually 3 1/2 yards-long by 1 1/2 yards-wide, and is wrapped around the lower body and both ends pleated into a bundle that’s folded over and secured with a metallic (often gold) belt called khim khat. The bundle’s draped pleats are pulled up and out to fan over the belt. This is called ''sampot sarobap ka'at kbal neak, or "sampot folded like the head of a naga''" (សំពត់សារបាប់ កាតក្បាលនឥ). The sampot robab of the lead dancer is usually white while supporting dancers appear in sampots of green, blue, and red. Kravat khim khat, an apsara dancer's belt, resembles her samrong kar/srang kar A thin, fine, second silk sbai (a shawl-like breast cloth) may be included under the main heavier, elaborately-ornamented sbai, which is often satin. By itself or paired with the smaller garment, the main heavy sbai, which matches the sampot, stretches diagonally from the waist and over the left shoulder, where it flows down the dancer's back. Under the sbai, a form-fitting top is worn; it may have two sleeves, be sleeveless, or have only one sleeve, depending on the character role. This garment's material is often velvet or satin. Instead of a sbai, dancers performing Robam Apsara wear silk bodices under their jewelry, usually skin-tone in color, to emulate bare-breastedness. .Around her neck is an embroidered, ornate collar called srang kar or samrong kar''. Decorated with brass and featuring leaf and floral motifs, this accessory may leave the back of the neck exposed. Unless she's depicting an apsara, crosswise from her right hip to left shoulder she wears five chains, and also wears a large, stylized neck pendant that's more adorned than the masculine counterpart. She wears an armlet, called snab dei or baing phap, on her right arm, as featured on carved Angkorean women. If depicting an apsara, she wears the armlet on both arms. Koang nhor is a connecting pair of rounded, bunched bracelets (or anklets), She may wear diamond earrings called tumhou. Apsara dancers wear Kra ya, low-dangling earrings modeled after the mles or kra saing flowers. The patrum (or kantrum/katrum) is a copper coil bracelet that's gold in color. Apsara dancers also wear koang rak, a diamond bracelet bearing foliage-like decor. The ankle bangles are called kong tong chhuk. If performing Apsara, a beaded sangvar may adorn her upper torso, crosswise. Ranked second are female governors with their 20 servants (kom nam). Similar to Queen costumes but smaller bracelets, no gems in their armlet, only three chains that are gilt silver, only one anklet, and silky sampot instead of charobab. The third category are yakkhinis, female ogres, and their costumes match along the same hierarchical rank as the princesses, governors, and attendants. The yakkhini wear no masks. The kinnari are bird-women, the fourth category. Purple pants and a yellow tail are worn along with gilt brass breast cups, a silky flap (tat) down to the knees, gilt leather armbands, and an adorned leather stomach-cover (phchet). Sovann Maccha is the lone character in the fifth category. A long-sleeved upper-garment is worn, gold of color, in addition to a golden sampot sarobab. She wears a belt and decorated banner in front, and her jewelry corresponds closely with that of the governors. Male costume Certain clothing for male characters, such as sleeves, are more elaborate than that of the female characters and often require being sewed as the dancer puts the clothing on. A ' is worn in the ' fashion. An embellished cloth called kravat cankeh is wound around his waist, fastening the sampot. Beneath a lattice belt of silver with a golden buckle hangs three richly embroidered banners, with the center piece known as a ' while the two side pieces are known as a '. Pants called choeng khor are worn. They wear a jacket and collar, both silk embroidered, called av pak and '' (or samrong kar''), respectively. On the end of their shoulders are a sort of epaulette that arches upwards like Indra's bow (known as '', or entam''). These are tied around the armpit. Male characters also wear an X-like strap around the body called a '. An ornament called a ' (named after the bo tree leaf) serves as a center point for their ''. Five sets of bracelets are worn as well as cuffs that are essentially five faux-bracelets. Fine wire anklets and a set of rings, kravel choeng and kang choeng'' respectively, are worn on the ankles. The next category called phi lieng ek consists of governors/generals and their attendants. Costumes of generals share a likeness to that of princes and kings, except the sampot (specifically lboeuk) isn't embroidered but plain silk. The attendants' costumes are less elaborate versions of the same. One set of kang choeng (on ankles) is worn, and their patrum (a bracelet) bears 20 beads of silver. The third group are masked: ogres or giants, the yakkha or yaksha (also yak) who go by rank of soldiers, the chiefs of the soldiers, and officers. First is the King of Giants (or yak ek) called Rab whose costume is that of a king's. The exceptions are how the banners on each leg are somewhat turn-up, and are pointed instead of rectangular. His mask's point is tall, and in his belt are three kroeus, or daggers. The prince of Giants wears essentially the same, though no daggers, and "silver gilt" instead of gold. His mask's point is shorter than Rab's and fashioned in the form of a rooster's tail. Four yakkha officials are costumed like that of human officials, though with masks bearing fangs. Two neay khen yak, or soldier chiefs, wear red silk sampots and jackets, as well as their red attalat saron, or pants, which are longer than the others. They wear nearly zero accessories and no jewelry at all. On their head is a silky red turban bearing golden flowers, and a silky red fabric across their chest called tuon. A yakkha army consisting of 20 soldiers (puok khen yak) wear cotton instead of silk sampots, and no chest cloth. The fourth category are monkeys with the same rank hierarchy as yaks. Monkey generals wear no shoulder wings or spired crowns. Costumes are the same as yaks and humans except with tied silk in the back for a tail. Masks are the same dominant color as the costumes: Hanuman (or Sva Sar) in white; Bali (or Angkot) is green; Nillaphat (known as Sva Khmao) is the black monkey, and Nilla Ek, Chum Pou Pean, or Maha Chumpou is the red monkey. Birds are the fifth group of males. The central role is the King of Birds called krut or garuda. The tiny shoulder wings and smaller collar differ somewhat from that of princes. Golden lame wings adorn his hips, and the frame of brass supports an upturned tail of silk. On his wrists are winged wrist guards (snap day). Knee pads (snap chung kong) and shin guards (snap choeng) of red brocade silk replace the front and side leg banners. The kennara, "mythical bird-men", wear costumes combining that of krut and princes, which is the same costume as their female counterparts. The sarika, or singing blackbird, wears no jewelry and only accessories with a mask. Dressed entirely in black, his wings, pants, and jacket are heavy satin whereas garters, gloves, and socks are fine silk. Placed in his own category, Preah Sang, or ngo in disguise, wears essentially the prince costume. Except for a red, silky scarf (pha hum) with his embroidered black outfit, and that his belt is the same as the officers.' His scowling black mask has no crown or spire attached, but he appears in a mokot as Preah Sang at the end of the dance. Another category in of itself is the eysei who wears a sacred, unique mask and hermit's flowing robe. Eysei wears a helmet with no mask when appearing in a comic context. Finally, clowns wear golden-floral silk pants and jackets with a pha lay tath, a kind of sampot of cotton. This role comes with freedom to accessorize as desired. Headdress and masks . Angkor Wat, 12th century.. There are several types of crowns that denote characters' ranks. Divinities and royal characters of the highest ranks wear a tall, multi-tiered single-spire crown called a mokot. The mokot originally referred only to the king's crown and in turn that of lead male dancer and now it's commonly used referring to any pointed crown in Khmer dance, and the main versions of mokot are reminiscent of Buddhist stupas. Specifically, the ' is worn by male characters and a ', paired with a face-framing diadem, is worn by female characters. This feminine form mokot ksatrey corresponds to the single-spire crowns depicted in the bas-reliefs at Angkor except taller. Next is a low-docked "cone" crown topped with up-pointed wings/flames. Called mokot kantuy hong, it's worn by Sovann Machha as well as attendants or soldiers. Commonly worn by young female dancers depicting lowest-rank characters is the '' (also kbaing na), which is simply a diadem. Brahmin characters with hair buns contained in an ornament may also wear a kbang. The lead apsara's mokot usually has five spires and two levelss whereas the minor apsaras' mokots'' usually have only three spires and one level. Some characters' headdressings include ear ornaments called chor trajeak or jor trachiek ជរត្រចៀក ("ear ornament"). Monkeys and yaks of royalty wear masks with attached mokots. Although sometimes fresh flowers are substituted with faux flowers. The '' (female) role wears a rose, or another big flower, on her right side above her ear. A floral tassel of Plumeria obtusa or Plumeria rubra (a white variety) flower, called champei in Khmer, that hangs from jasmine strings is attached to the left side of her mokot. For the '' (male) role, it's reversed: a lone rose/flower is placed on the left above his ear while the floral tassel is attached to the right side of the male's mokot. An apsara also wears the flower tassel attached to the left side of her mokot and then a champei on the right side of her head, above her ear. She will sometimes wear multiple champeis as a cascade on the back of her hair. Yakkha may wear a flower above their right ear whereas monkeys wear none. Sometimes, dancers will wear jasmine garlands fit for the wrists. == Repertoire ==

According to The Cambridge Guide to Asian Theatre (1997), the Royal Ballet's repertoire contained approximately 40 dances and 60 dance dramas. Since the restoration of the Royal Ballet in the 1979, some of the old repertoire was recreated and several new dances were also created, most notably robam monosanhchettana by the late Chea Samy. As of recent years, new dance dramas have been created by the Royal Ballet, such as Apsara Mera. Sophiline Cheam Shapiro has also introduced new repertory to Khmer classical dance, although they are not part of the traditional royal repertoire and mainly have been performed in Western venues. Her works include dramas such as '''', an adaptation of Shakespeare's Othello and '''', an adaptation of Mozart's The Magic Flute. Dance dramas The repertoire of dance dramas (, ') consists of a myriad of stories, unlike the ', which is limited only to the Ramayana. Many of the dance dramas have analogs in the lakhon nai dance genre of Thailand but do not share the same choreography or exact storyline. During the time of Queen Kossamak, several dance dramas were re-choreographed and shortened such as Roeung Preah Thong-Neang Neak; this drama, among others, would be recreated in 2003. The plots of many dance dramas often concern a male character who rescues a damsel in distress or destined love presented with obstacles. The traditional repertoire portrays mythology or traditional tales and may sometimes include religious concepts such as karma. Select repertory of dance dramas Dances In contrast to the dance dramas are shorter dances known as ''''. They can serve several purposes, such as honoring, ritualistic functions (e.g. securing the kingdom's fortune and prosperity), and blessing. Spanning several minutes or so, not all these dances have storylines, although many robam are indeed excerpts from dance dramas such as ' and ' (the latter being from the ''''). The 'apsara dance' of today was created under the guidance of Queen Kossamak Nearireath. Its costume is based on the bas-relief of apsaras on temple ruins but much of it, including its music and gesture, is not unique from other classical Khmer dances that probably do not date back to the Angkor period. Select repertory of dances • Robam Apsara (របាំអប្សរា) • Robam Tep Monorom (របាំទេពមនោរម្យ) • Robam Chun Por (របាំជូនពរ) • Robam Makar (របាំមករ) • Robam Sovann Maccha (របាំសុវណ្ណមច្ឆា) • Robam Moni Mekhala or Mekhala-Reamesor (របាំមណីមេខលា) == Glossary ==

Gallery File:BupphaDeviDancing.png|Princess Buppha Devi performs a dance in Cambodian Royal Palace. File:Sita Ravana Cambodia.jpg|Sita and Ravana performs in a scene of Reamker dance drama. Non-fiction • Cravath, Paul (2008). Earth in Flower - The Divine Mystery of the Cambodian Dance Drama, DatAsia Press • Groslier, George et al. (2011). Cambodian Dancers - Ancient and Modern, DatAsia Press • Heywood, Denise (2009). Cambodian Dance Celebration of the Gods, River Books • Loviny, Christophe (2003). The Apsaras of Angkor, Sipar: Jazz Editions Fiction • Meyer, Charles (2009). Saramani: Cambodian Dance, DatAsia Press • Lee, Jeanne M. (1994). Silent Lotus, Farrar, Straus and Giroux • Lord, Michael (2006). Little Sap and Monsieur Rodin, Lee & Low Books Selected discography • Musical Sources – Royal Music Of Cambodia (1971) by Jacques Brunet; contains a condensed recording of the Buong Suong dance drama featuring the goddess Manimekhala • Homrong: Classical Music From Cambodia (2004) by Chum Ngek; contains music pieces and suites used by the royal ballet == See also ==