Royal Ballet of Cambodia

Royal Ballet of Cambodia របាំព្រះរាជទ្រព្យ
Cambodia Royal Ballet
Medium	Dance
Originating culture	Khmer

The Royal Ballet of Cambodia (Khmer: របាំព្រះរាជទ្រព្យ, Robam Preah Reach Troap, lit. 'Dance of Royal Wealth') is a classical Khmer dance known for its intricate hand movements and elaborate costumes. Historically linked to the Khmer court, it has been performed at various royal ceremonies such as coronations, weddings, funerals, and Khmer holidays. The repertoire includes various ancient Khmer legends.^[1]

The ballet faced near extinction during the Khmer Rouge regime in the 1970s but continues to be a significant element of Cambodian cultural heritage.^[1] It has been inscribed on the UNESCO Intangible Cultural Heritage Lists since 2003.

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.^[2][3] 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,^[1][4][5] 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.^[1]

In Khmer, it is formally known as Robam Preah Reach Trop (របាំព្រះរាជទ្រព្យ), lit. "dances of royal wealth") or Lakhon Preah Reach Trop (ល្ខោនព្រះរាជទ្រព្យ), lit. "theatre of royal wealth").^[6] It is also referred to as Lakhon Luong (ល្ខោនហ្លួង, lit. "the king's theatre").^[7][8] During the Lon Nol regime of Cambodia, the dance tradition was referred to as Lakhon Kbach Boran Khmer (ល្ខោនក្បាច់បូរាណខ្មែរ), lit. "Khmer theatre of the ancient style"), a term alienating it from its royal legacy.^[8][9]

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.

One of the earliest records of dance in Cambodia is from the 7th century, where performances were used as a funeral rite for kings.^[10] During the Angkor period, dance was ritually performed at temples.^[8] The temple performers came to be considered as apsaras, who served as entertainers and messengers to divinities.^[11] Ancient stone inscriptions describe thousands of apsara dancers assigned to temples and performing divine rites as well as for the public.^[8]

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.” ^[12] 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.^[13] 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.”^[14] 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.^[15]

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.^[16]

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.^[17] 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.^[18]

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.^[8]

Scholar Xenia Zarina wrote that dance came to Thailand through the Khmer Empire, and when the Thai conquered Angkor, "among the 90,000 prisoners of war were artists and artisans" including dancers, which the Thai "especially loved and cultivated."^[19]

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.^[20] 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.^[21]

During the mid 19th century, King Ang Duong spent much of his childhood in Bangkok, 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^[22] argues the perception of low numbers can be explained by the practice of dancers leaving the court upon the death of a sovereign.^[23][24] 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.^[25] Duong pursued the "old teachers" to rid the dances of "unsuitable" elements inserted over time which could include any Vietnamese influence.^[26] 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.^[27][28][29] 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.”^[30] Lakhon Khol plays were codified during Ang Duong's reign based on the Reamker depicted in 12th century bas-reliefs in Angkor Wat.^[31]

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.^[32]

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.^[33]

King Norodom was crowned in June 1864, four years after the death of Duong (his father). There were reportedly three dance troupes - including men - within the palace during his rule, control of which belonged to the king's wives and other royal women. The king's first wife Preah Moneang Bopha Kessa administered theater and controlled one of the troupes.^[34]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.^[35] A dance hall, or rong ram (រោងរាំ), was erected at the palace.^[36][37] There were many troupes and dancers in Cambodia during this time.^[38] Norodom is known to have "always remained accessible to outside influence" ^[39] and welcomed dance and music practitioners from Burma (Myanmar), China, Laos, Malaysia, Siam (Thailand), and Vietnam, and brought musicians back from an 1872 Philippines trip. The same year saw him return with "Malayan coachmen" from Singapore, one of whose daughter became a lead royal dancer and well respected dance teacher.^[40] French diplomat Auguste Pavie reported traveling dance troupes as well as those owned by governors, on top of palace dancers, in an 1880s Cambodia visit.^[41] Pavie noted that costumes recalled those in bas-reliefs, though traveling troupes varied in quality while remaining within the tradition.^[42]

Sisowath took the throne in 1904, the very year his half-brother, Norodom, died. Two-thirds of the palace dancers exited the court.^[43] 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.^[44] French representative George Bois sought Khmer dancers for the Marseille Colonial Exposition and found Portuguese-Khmer Colonel de Monteiro and his dance troupe. The king finally agreed his dancers may also perform in Marseille on the condition he accompanies them, and brought an entire entourage, on top of the dancers themselves,^[45][46] under the control of the king's daughter, Princess Soumphady.^[47] 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.^[48] Auguste Rodin was captivated by the Cambodian dancers and created at least 150 watercolour paintings of the dancers.^[49] He followed the Khmer ballet dancers from Paris to Marseille with their return to Phnom Penh.^[50] Rodin interpreted the performance as ballet dance.^[49][51] 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.^[52]

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.^[53][54] 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.^[55] Groslier would capture the poses and “ports de bras” of five dancers in photographs:^[56] Ith (star of 1922 performance in France), Anong Nari, Suon, Kieuvan (age 19), and Nou Nam (former royal dancer, age 50).^[57][58] While the ballet was in French hands, their jeweler named Phen stole 55 pounds 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.^[59] 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.^[60][61] 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.^[62][63] Royal Palace dancer Luk Khun Meak conceived a child with Monivong during his father's reign and was thus designated khun preah moneang ('lady in charge of the ladies') upon his ascent.^[64] 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 Solath Sar - later known as Pol Pot.^[65][66]

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.^[67][68] 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. ^[69] 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.^[70] Zarina also attended a two-hour royal ballet performance on 27 December for the king's birthday.^[71]

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.^[72][73] 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.^[74]

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.^[75][76] 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.^[77] 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. Nonetheless, 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 remarkable.^[78]

Queen Sisowath Kossamak became a patron of the Royal Ballet of Cambodia. Under the Queen's guidance, several reforms were made to the royal ballet, including choreography. Dance dramas were dramatically shortened from all-night spectacles to about one hour in length.^[79] Prince Norodom Sihanouk featured the dances of the royal ballet in his films. Though the Royal Ballet originally had no men due to the perception that male dancers did not perform with the refinement of women, contemporary performances include men in livelier roles such as a monkey and Moni Ey-Sey.

Under the Sangkum period, Cambodia underwent its cultural and artistic transformation spearheaded by prince (later, King) Norodom Sihanouk. Crowned in 1941 while the country was still a French Protectorate, he witnessed the World War II and subsequent collapse of French colonialism. While supporting neutrality of new post-colonial countries during the early Cold War period, he was aware that Cambodia was dependent on foreign aid. As a diplomatic design, he promoted symbols of the country's national culture that had entered the consciousness of people across the world: temples, and the ballet.^[80]

After Cambodia's independence in 1953, Queen Sisowath Kossamak began revamping the ballet incorporating the tastes and inclinations of international audiences. She 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.^[80]

In 1959, Queen Sisowath Kossamak visited the United States to introduce Khmer national culture through exhibition performances of the Khmer-American Friendship Ballet, originally titled The Ballet of Khmero-American Friendship.^[81][82] The following year, the cultural ambassadorship programme continued in China under similar name, The Ballet of Khmer-Chinese Friendship.^[83] When Sihanouk visited France in 1964, the dance was performed for the first time at Palais Garnier after colonial independence.^[84] 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.^[80]

Norodom Buppha Devi, the granddaughter of the queen and daughter of King Norodom Sihanouk, was already elevated as the premier dancer of the ballet in 1958. When she turned eighteen in 1961, she was appointed the lead dancer for the roles of a princess. Thereby, she performed as several diplomatic events.^[80]

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.^[33] After the Vietnamese ousted the Khmer Rouge in 1979, dancers gathered to collectively reconstruct the repertoire.^[33] Those who survived came out of hiding, and in time managed to find one another. They formed "colonies" to keep their sacred traditions alive, under the leadership of Voan Savay, a former prima ballerina.

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.

In 2003 it was inducted into the UNESCO Intangible Cultural Heritage Lists.

In 2023 director Xavier de Lauzanne released The Perfect Motion, [‘La beauté du geste’ in French, and ‘Tep Hattha’ in Khmer] an 86-minute documentary film on the dance form. It follows two storylines: the Metamorphosis show created by Princess Norodom Buppha Devi, and traces the history of the Royal Ballet from 1906.^[85]

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.^[86][87][88]

Four main types of roles exist in Khmer classical dance: neay rong (male), neang (female), yeak (rakshasa), and the sva (monkeys).^[89] These four basic roles contain sub-classes to indicate character rank; a neay rong ek, for example, would be a leading male role and a neang kamnan (or philieng) would be a maiden-servant.^[89] The sub-classes of the four main roles all perform in the same type of dancing style of the class they belong to. However, the yeakheney, or female Yeak, is performed with a feminized dancing style of the male counterpart. Other female character types, such as the apsara, kinnari, or mermaid, follow the same dancing style as the neang role but with subtle differences in gestures; the main difference being costume. The ngoh character type, although male, is presented with a different dancing style than the neay rong.

Most roles are performed by female dancers, but the role of monkeys was transferred to men under the guidance of Queen Sisowath Kosssamak. Other roles performed by men include hermits and animals such as horses and mythical lions.

The cast is divided into two forms, Neang as the female characters and Neay Rong as the male characters, which are described as follows:

Neang Character

Neang or Female Character

Neang characters represent women, who are divided into eight categories: Neang Ek (Khmer: នាងឯក): the female lead, the female main character or one of the major characters in a play, film, novel, etc. - usually has a pre-eminent position; deities, queens or princesses (e.g. Sita & Robam Moni Mekhala) Neang Pi-Leang (Khmer: នាងភីលាង): the female servants Neang Komnan (Khmer: នាងកំណាន់): the mistress(es), the extramarital lovers Neang Mae (Khmer: នាងម៉ែ): the mother Neang Kinnorei (Khmer: នាងកិន្នរី Sanskrit: किन्नर?): the Kinnari; a half bird, half human mythological creature - these mythical creatures live in Mount Hem Pean in (Khmer Language) means deep in the Forest Mountain Himalayas (e.g. Robam Kenorei) Neang Neak (Khmer: នាងនាគ Sanskrit: नाग): the Naga; a half serpent, half human mythological creature Neang Yahkhenei (Khmer: នាងយក្ខិនី Sanskrit: राक्षस) : the Rakshasi; mostly serve as villainesses (e.g. Surpanakha) Neang Sovannmacha (Khmer: សុវណ្ណមច្ឆា Sanskrit: सुवर्णमत्स्य) : Suvannamaccha; the mermaid (matsya Sanskrit: मत्स्य) princess; Hanuman (Spouse), Macchanu (son), Ravana (father)

Neay Rong Character

Neay Rong or Male Character

Neay Rong characters represent men, who are divided into eleven categories: Neay Rong Ek (Khmer: នាយរងឯក) : the male lead, the male main character or one of the major characters in a play, film, novel, etc. - usually has a pre-eminent position; deities, kings, or princes (e.g. Rama) Neay Rong Bav Preav (Khmer: នាយរងបាវប្រៀវ) : the male servants Neay Rong Sena Ek (Khmer: នាយរងសេនាឯក) : the battalion commander or general Neay Rong Pol Sena (Khmer: នាយរងពលសេនា) : the soldiers, imperial guards Neay Rong Chao Ngoh (Khmer: នាយរង) : the character with memory problems and an undesirable appearance serve as a farce Neay Rong Ovpuok (Khmer: នាយរងឪពុក) : the father Neay Rong Moni Eisey (Khmer: នាយរងមោនីឥសី) : the wise sage/hermit, usually the male main character's master (teacher) Neay Rong Krot (Khmer: នាយរងគ្រុឌ Sanskrit: गरुड़) : the Garuda; an avian mythological creature (e.g. Jatayu) Neay Rong Yahk (Khmer: នាយរងយក្ស Sanskrit: राक्षस) : the Rakshasa; mostly serve as villains (e.g. Ravana) Neay Rong Sva (Khmer: នាយរងស្វា) : the human-like ape mythological creatures (e.g. Hanuman) Neay Rong Animal (Khmer: នាយរងសត្វ) : the divine animals serve as various secondary characters such as horses, deer, etc. (e.g., Puthisen's Talking Pegasus - Mony Keo)

ភ្លេងពិណពាទ្យ

Pin Peat Musician

Vong Phleng Pin Peat or Pin Peat Musician has 34 Tracks in the Royal Ballet, which are divided into two types. The first is the Mohoari Orchestra (Small drum style) and the second is the Royal Theatre (Big drum style) Main article: Pinpeat The music used for Khmer classical dance is played by a pin peat ensemble. This type of orchestra consists of several types of xylophones, drums, oboes, gongs, and other musical instruments. The chorus consists of several singers who mainly sing in the absence of music. The lyrics are in poetry form and are sung interspersed with the grammatical particles EU [əː], Eung [əːŋ], and Ery [əːj] in various patterns.

Khmer classical dance uses particular pieces of music for certain events, such as when a dancer enters or leaves a scene, or performs certain actions, such as flying or walking. These musical pieces are arranged to form a suite. New pieces of music are rarely created.

Below is a select list of music pieces used in the repertoire:

• Sathukar : (សាធុការ) a song of blessing used for propitiation, often used to commence a performance
• Krao nai : (ក្រៅណៃ), also known as santheuk knong (សន្ធឹកក្នុង), overture of the yeak (ogre) characters, a display of power as they go into combat or battle
• Smaeu : (ស្មើ) used for the introduction of a character or a group of dancers in a scene
• Lea : (លា) used to present a character's departure from the scene; leaving the stage
• Cheut chhing : (ជើតឈិង) lit., euphonic chhing; music characterized by the constant percussion of drums and small cup-shaped cymbals;^[90] used to present an action such as commencing a journey or flying
• Lo : (លោ) music used in tune with aquatic recreation (e.g. dancers miming the action of rowing a boat)
• Long song mon : (លងស៊ងមន) lit., "royal bathing of the Mon"; a song used to represent a character dressing up their appearance
• Phya deun : (ផ្យាឌើន); also known as ponhea daeur (ពញ្ញាដើរ), a music piece used to present dancers marching (e.g. the beginning of robam tep monorom)
• Klom : (ក្លុម) used to show the grace and beauty of a character wielding his weapon
• Sinuon : (ស៊ីនួន) - lit., "cream color", in reference to complexion, a soft and slow feminine melody
• Salamar : (សលមារ) - a music characterized by the sralai, often used for certain actions such as combat, but not limited to such
• Preah Thong (ព្រះថោង)
• Bao Lut (បោលុត)
• Sarak Burong (សរៈប៊ុរង)
• Balim (បលិម)

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.^[45] In propitiation ceremonies (បួងសួង, buong suong), it was performed at Wat Phnom and the Silver Pagoda and Throne Hall of the Royal Palace. For entertainment, performances were often staged inside the pavilions of royal palaces.^[45]

In Phnom Penh, the Moonlight Pavilion was built for and is still used occasionally for classical dance performances. Nowadays, venues for performances by the Royal Ballet include the Chenla Theatre and the Chaktomuk Conference Hall, designed by architect Vann Molyvann during the Sangkum Reastr Niyum era.^[91] 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.^[33]

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 (គ្រែ, 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 bunga mas). Performances of robam makar (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.

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 kbach (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.^[8] 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.

Classical dance costumes are highly ornate and heavily embroidered, sometimes including sequins and even semi-precious gems. Most of the costumes are thought to be representative of what divinities wear^[92]

Women and men (and girls and boys) both wear cotton sampot chang kben for rehearsal and training, red and blue respectively. Girls wear a form-fitting, short-sleeved, button-up blouse called aaw nay. For the dance performance itself, the costuming process is a lot for the dancer to bear, as sewing the garments onto the dancer lasts hours. In preparation, a ritual called sompeah kru is performed, typically on Teacher's Day (Thursday).^[93]

The typical female costume consists of a sampot charobab (or sampot robab), a sampot with two contrasting silk threads along with rich gold and silver metallic thread. The sampot 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. 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".^[94] The sampot robab of the lead dancer is usually white while supporting dancers appear in sampots of green, blue, and red.^[95]

A thin, fine, second silk sbai (a shawl-like garment) may be included under the main heavier, elaborately-ornamented sbai, which is often satin. By itself or paired with the smaller garment, the main sbai stretches diagonally from the waist and over the left shoulder, where it flows down the dancer's back.^[96] 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.^[97] Instead of a sbai, dancers performing Robam Apsara wear silk bodices, usually skin-tone in color, to emulate the bare-breasted apsara dancers of the Angkor era. For Robam Sovann Maccha, a long-sleeved upper-garment is worn, gold of color, in addition to a golden sampot sarobab.^[98]

Around her neck is an embroidered, ornate collar called samrong kar. Decorated with brass and featuring leaf and floral motifs, this accessory may leave the back of the neck exposed. She wears an armlet, or snab deion, on her right arm, or on both if depicting an apsara. Koang nhor is a connecting pair of rounded, bunched bracelets (or anklets), and koang rak is a diamond bracelet bearing foliage-like decor. The patrum is a copper coil bracelet that's gold in color. She may wear mlis (jasmine garland) around her wrist as well. The ankle bangles are called kong tong chhuk. Kra ya are the low-dangling earrings modeled after the mles or kra saing flowers. Cuff-like jewelry may be worn around the ears; these are called chor trajeak or jor trachiek ("ear ornament"). If performing Apsara, a beaded sangvar may adorn her upper torso, crosswise.^[99][100] Jewelry for the female role includes a large, filigree square pendant of which is hung by the corner, and body chains of various styles.

Male characters wear costumes that are more intricate than the females, as they require pieces, like sleeves, to be sewn together while being put on.

For the male, or neay rong, a sampot sarobap is worn in the chang kben fashion.^[101] An embellished cloth called kravat cankeh is wound around his waist, fastening the sampot.^[102] On the end of their shoulders are a sort of epaulette that arches upwards like Indra's bow (known as indanu). These are tied around the armpit.^[103]

Knee-length pants are worn underneath, displaying a wide, embroidered hem around the knees. For the top, they wear long-sleeved shirts with rich embroidering, along with a collar, or srang kar, around their neck.

Other components of the male costumes are three richly embroidered banners worn around the front waist. The center piece is known as a robang muk while the two side pieces are known as a cheay kraeng; monkeys and yaksha characters wear another piece in the back called a robang kraoy. Male characters also wear an X-like strap around the body called a sangvar; it may be made of gold-colored silk or chains of gold with square ornaments, the latter being reserved for more important characters. Males wear the same ankle and wrist jewelry as females, but with the addition of an extra set of bangles on the wrist and no armlets. They also wear a kite-shaped ornament called a sloek po (named after the bo tree leaf), which serves as a center point for their sangvar.

There are several types of crowns that denote characters' ranks. Commonly worn by female characters of the lowest rank is the kbang; it is also worn by Brahmin characters with ornaments around a bun of hair. Divinities and royal characters of the highest ranks wear a tall single-spire crown called a mokot ksat for male characters and a mokot ksatrey for female characters.

The panchuret (Groslier romanizes this as panntiereth), reserved for princes and generals (sena), is a circlet-like crown with a faux knot in the back. The rat klao is worn by princesses and often by maidens of significance in a dance if they happen to not be of royal rank. Some characters' headdressings include ear ornaments as well as earrings. Characters such as the yahks and the monkeys wear masks. Yahks and monkeys of royal rank wear masks with a mokot attached.

Dancers are traditionally adorned with fragrant flowers, although sometimes fresh flowers are substituted with faux flowers. The floral tassel is traditionally made of Jasminum sambac strung together with Michelia flowers, being either Michelia × alba or Michelia champaca. The neang (female) role wears a rose above the right ear and a floral tassel attached to the left side of the crown while the neay rong (male) role wears a rose on the left ear and a floral tassel to the right side. Sometimes, dancers will wear jasmine garlands fit for the wrists.^[104] Those in the apsara role wear flowers of Plumeria obtusa or Plumeria rubra (which is a white variety); sometimes worn as a cascade on the back of their hair.^[105]

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 Samritechak, an adaptation of Shakespeare's Othello and Pamina Devi, an adaptation of Mozart's The Magic Flute.

The repertoire of dance dramas (រឿង, roeung) consists of a myriad of stories, unlike the lakhon khol, 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.

In contrast to the dance dramas are shorter dances known as robam. 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 robam mekhala-reamso and robam sovan macchha (the latter being from the Reamker).

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.

• 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)

Wikimedia Commons has media related to Khmer classical dance and Royal Ballet of Cambodia.

• 
  Princess Buppha Devi performs a dance in Cambodian Royal Palace.
• 
  Sita and Ravana performs in a scene of Reamker dance drama.

External images
Two dancers perform as a garuda and kinnari couple. (1928)
A pair of dancers sit on a krae. (1931)
Ravana with Sita in his captive. (1928)
A dancer sits on the krae above two servants. (1928)
A dance of propitiation depicting the sea goddess Manimekhala. (2006)
Dancers perform for King Sihamoni's coronation. (2004)

• 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

• 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

• 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

• Theatre of Cambodia
• Dance in Cambodia
• Robam Apsara
• Robam Moni Mekhala
• Robam Sovann Maccha
• Dance in Thailand
• Earth in Flower
• Khmer shadow theatre
• Khon
• UNESCO Intangible Cultural Heritage Lists

• Banham, Martin (1995). The Cambridge Guide to Theater, Cambridge University Press
• Becker, Elizabeth (1998). When the War Was Over: Cambodia and the Khmer Rouge Revolution, PublicAffairs
• Bois, George (1913). Les Danseuses cambodgiennes en France, Imprimerie d'Extrême-Orient
• Bowers, Faubion. (1956). Theatre in the East, New York T. Nelson
• Brandon, James R. (1967). Theatre in Southeast Asia. Harvard University Press
• Cravath, Paul (1968). The Ritual Origins of the Classical Dance Drama of Cambodia, Asian Theatre Journal, Vol. 3, No. 2 (Autumn, 1986), pp. 179–203
• Fletcher, Peter (2001). World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures, Oxford University
• Jacobsen, Trudy (2008). Lost Goddesses: Denial of Female Power in Cambodian History, Nordic Institute of Asian Studies
• Sasagawa, Hideo (2005). Post/colonial Discourses on the Cambodian Court Dance, Southeast Asian Studies, Vol. 42, No. 4, March 2005
• Falser, Michael (2013). From a colonial reinvention to postcolonial heritage and a global commodity: performing and re-enacting Angkor Wat and the Royal Khmer Ballet, International Journal of Heritage Studies, May 2013

Notes in this section are referenced from the bibliography above.

• Cambodian Classical Dance by Chamroeun Yin
• Nginn-Karet Foundation Teaches Sacred Dance at Banteay Srey
• The Language of Khmer Classical Dance | The Cambodia Daily
• The Near Extinction of Cambodian Classical Dance | UCLA Center for Southeast Asian Studies
• The Khmer Dance Project
• NY Times | Auguste Rodin and the Royal Ballet of Cambodia
• Khmer Arts | Founded by Sophiline Cheam Shapiro

• Anders Jiras | Photography of Cambodian dance performances
• Earth in Flower | Photo gallery of 186 Cambodian dance photos arranged by chronology and topic
• Cambodian Dancers | Historical info and 169 original etchings from George Groslier's 1913 book Danseuses Cambodgiennes