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1. Teacher Salute Ceremony in Royal Ballet - Tribute to the teachers ; Royal dance troupe had to offer blessings before they perform as a spiritual aid & encouragement through the souls in each character.

2. Royal Ballet of Cambodia Friendship Dance - During Queen Sisowath's visit to the United States to bring Khmer dance to the national culture of Khmer-American Friendship ballet.  ; Later on performed in China - Khmer-Chinese Friendship ballet.

3. " boung soung " - paying respects to the heavenly deities to promote and induce rain for plentiful crops better harvest, fertility to the land, peace and prosperity for the whole kingdom.

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Modern map of the Khmer Empire ; Cambodia

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The Court Dance tradition of Cambodia ( Also known as Khmer Classical Dance ) is not only among the oldest and most refined theatre forms in Asia but no one of Cambodia's most enduring art forms.

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The people of the Khmer Empire are considered indigenous to the contiguous regions of Isan, southern Laos, Cambodia, and South Vietnam.

It is the world's second-oldest monarchy after Japan. And throughout the centuries, the Khmer royalty developed exquisite artistic expressions such as ballet in an effort to please the gods.

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The origins of Khmer classical dance in the style seen today are disputed.

Cambodian scholars, such as Pech Tum Kravel, and French scholar George Groslier have claimed Khmer classical dance as a tradition maintained since the Angkor period.

Other scholars theorize that Khmer classical dance, as seen today, developed from, or was at least highly influenced by, Siamese classical dance innovations during the 19th century and precedent forms of Cambodian dance were different from the present form.

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របាំព្រះរាជទ្រព្ ( Royal Cambodian Court Ballet ) is a form of theatre established in the heart of the Khmer regal court, erstwhile exclusively available to royalty, nobles and other courtiers.

The dancers were often believed to be the medium between the gods that dwelled all around mankind, god-kings, and mortals. Therefore court dance held much significance to the king, the people, and the entire nation

Renowned for its graceful hand gestures & stunning costumes, it is a dance that the Khmer royal family created as a special treasure to show the high dignity of Khmer dancers.

Cultural Diffusion: Hierarchical Diffusion - Established in Royal Courts - Acceptance by the people in Cambodia - Whole nation believes that the dance is indeed a bridge between the gods and the mortals.

Acculturation: Siamese culture had influenced Cambodia under the reign of King Ang Duong in Post AngKor Period

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The Royal Ballet of Cambodia at Musée Rodin, Paris, France

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The Royal Ballet of Cambodia at Musée Rodin, Paris, France

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50 secs - 1 min

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របាំព្រះរាជទ្រព្យ សម្តែងនៅបារាំង - The Royal Ballet of Cambodia at Musée Rodin

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5 sec 15 sec

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Cambodian Living Arts Cultural Show in Phnom Penh

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The Royal Ballet of Cambodia (International Conference on Buddhism to Southeast Asia)

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The Royal Ballet of Cambodia (International Conference on Buddhism to Southeast Asia)

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7 sec - 15 sec

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Royal Ballet of Cambodia Friendship Dance

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Royal Ballet of Cambodia Friendship Dance

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A propitiation hailing from a Kingdom of Wonders, or a regal Khmer entreaty towards the gods

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Additional Research (2) : Sub-classes of the Dancers

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Additional Research (2) : Sub-classes of the Dancers

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Also 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.

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 ogre, 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 (female) 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.

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Additional Research (1) : Costume Royal Ballet of Cambodia 

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Additional Research (1) : Costume Royal Ballet of Cambodia 

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Classical dance costumes are highly ornate and heavily embroidered, sometimes including sequins and even semi-precious gems.

Most of the costumes is thought to be what is representative of what divinities wear, this is reflected in the art style of the post-Angkor period. Various pieces of the costume (such as shirts) have to be sewn onto the dancers for a tight fit.

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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.

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Khmer Rogue Era, also known as "Killing fields" 

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The Development (5) Khmer Rogue Era (1975-1979)

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The Development (5) Khmer Rogue Era (1975-1979)

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In the 1970s with the overthrow of the royal monarchy Khmer court dance began to decline.

So many people died under starvation, persecution and execution. Khmer culture also suffered especially court dance and many other art forms.

What documents or manuscripts that were recorded were all destroyed by the Khmer Rouge.

By 1979 their revival of Khmer art began a slow and painstaking task of finding the surviving teachers and what documents that were available to keep the art form alive.

However, 90 percent of the dancers had vanished as well as many other art forms were rarely recorded or documented. Everything was passed down orally from teacher to student for many hundreds of years. Once the link had been broken it was hard to recover that link.

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The Development (4) Post-Independent Cambodia (1941-1950)

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The Development (4) Post-Independent Cambodia (1941-1950)

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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 1 hour length. Prince Norodom Sihanouk featured the dances of the royal ballet in his films.

Brought innovations like introducing boys to play the role of the monkey

Made the dance costumes more refined and elaborate which Western audiences find so exotic

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Princess Norodom Bopha Devi - a major member of the Royal Ballet. 

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The Development (3) French Colonial Era (1906-1940)

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The Development (3) French Colonial Era (1906-1940)

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Dancers of the court of King Sisowath were exhibited at the 1906 Colonial Exposition in Marseilles at the suggestion of George Bois, a French representative in the Cambodian court.

Auguste Rodin was captivated by the Cambodian dancers and painted a series of water colors of the dancers. George Groslier, the French-colonial director of the Phnom Penh Musée Sarraut (today the National Museum), had 're-invented' large parts of the ballet through his studies of the bas-reliefs of Angkor Wat.

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The Development (2) Post Angkor Period (1796-1860)

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The Development (2) Post Angkor Period (1796-1860)

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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.

In the 19th century, King Ang Duong restructured his royal court in Cambodia with Siamese innovations from the Rattanakosin period. Court dancers under the patronage of the royal court of Siam were sent to the royal court in Cambodia during this period.

He set up his own dance troupe comprising of two troupes one female and one male. These two evolved separately into two different art forms that we see today. The male art form was supported by local governors and came to be known as lakhon khol (masked theatre). However the female troupe became the more dominant out of the two and came to be known was robam boran or lakhon kabach boran (royal court dance).

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The Development (1) Pre-Angkor Period & Angkor Period (802-1431)

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The Development (1) Pre-Angkor Period & Angkor Period (802-1431)

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The roots of the Cambodia Royal Ballet go back around 1,000 years

Earliest records of dance in Cambodia is as early as 7th Century -

Developed around the 9th century when King Jayavarman II returned from Indonesia. He then founded the Khmer Empire.

During this period, the dance was ritually performed at temples. The temple dancers came to be considered as apsaras. (Served as entertainers and messengers to divinities)  Ancient stone inscriptions, describe thousands of apsara dancers assigned to temples and performing divine rites as well as for the public.

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Cambodian Royal Ballet is not a modern style of art.

In the current era, most countries are not ruled by monarchs, unlike Cambodia. Because the Cambodian Royal Ballet is an old style of dance, meant for traditional or formal festivities, it does not suit the era of free expression. It will not resonate with the current or future generations, meaning the art will one day be forgotten.

Today, not many people practice Cambodian Royal Ballet. It is unlikely that there aren't any instructors willing to teach the art in school or conduct any workshops.

For the art to survive, and also thrive, an interest in it needs to be reignited. Like how many modern art styles were adapted and transformed to suit current trends, maybe the Cambodian Royal Ballet also needs to be transformed to better suit the modern world

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Performance of Cambodia Royal Ballet arrives Porto, Portugal

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In the past

Used ceremonially for royal affairs (e.g. funerals, coronations, or marriages)

Traditions were performed and maintained by attendants of the royal palaces to the royal court.

Customary for guests of the royal palace to receive a performance of the royal ballet

Those of this era are attracted to the grandeur and spiritual significance of the art.

Presently

While still performed during public occasions & ceremonies in Cambodia

With UNESCO status - Performing for the world's enjoyment

Mainly for entertainment purposes

International audience (Tourists) who wish to educate themselves on Cambodian culture would watch the performances.

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Start of Cambodian Court Ballet at a ceremonial event.

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The Royal Cambodian Court Ballet, also known as the Khmer Classical Dance, has been closely associated with the Khmer Court for over a thousand years. Based on earliest records, performances were used ceremonially for royal affairs, such as funeral rites, coronations, or marriages for Khmer monarchs.

During the Angkor period in the ninth century, it also came to be ritually performed at temples. The temple dancers, otherwise known as apsaras, served as entertainers and messengers to divinities.

This form of dance is infused with the culture and history of the late Khmer Empire. It even once narrowly escaped annihilation in the 1970s during the Khmer Rogue Regime. To modern-day Cambodia, it has a sacred and symbolic role. It embodies the traditional values of refinement, respect and spirituality. Its repertory perpetuates the legends associated with the origins of the Khmer people. It is cherished by Cambodians.

In 2003, the dance was added into UNESCO's intangible cultural heritage list. Through its UNESCO status the Royal Court intends to preserve the ballet for generations, and for the world's enjoyment.

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A princess brings Cambodian Ballet to the masses, and Hong Kong. South China Morning Post. (2018, July 20). Retrieved November 8, 2021, from https://www.scmp.com/magazines/post-magazine/long-reads/article/2109137/royal-ballet-cambodia-princess-brings-sacred.

Bhellabhello, & Mrleenote. (2014, June 13). Wonderful performance of Cambodia Royal Ballet arrives Porto, Portugal. mrleenote. Retrieved November 8, 2021, from https://mrleenote.wordpress.com/2014/05/08/wonderful-performance-of-cambodia-royal-ballet-arrives-porto-portugal-2/.

Brief history of Cambodian dance. (n.d.). Retrieved November 8, 2021, from https://charyaburt.com/brief-history-of-cambodian-dance/.

Cambodia: A historical overview. Asia Society. (n.d.). Retrieved November 8, 2021, from https://asiasociety.org/education/cambodia-historical-overview.

Google. (n.d.). Royal Cambodian Ballet - royal bridges - google arts & culture. Google. Retrieved November 8, 2021, from https://artsandculture.google.com/exhibit/royal-cambodian-ballet/2QKSh9CjRYKAJg.

Hays, J. (n.d.). Dance in Cambodia. Facts and Details. Retrieved November 8, 2021, from https://factsanddetails.com/southeast-asia/Cambodia/sub5_2c/entry-2900.html.

History and background of court dance. (n.d.). Retrieved November 2021, from https://www.angelfire.com/art/apsarakhmer/khmer_court_dance.htm.

Khmer Empire. Khmer Empire - New World Encyclopedia. (n.d.). Retrieved November 8, 2021, from https://www.newworldencyclopedia.org/entry/Khmer_Empire.

Magazine, S. (2016, April 1). The lost city of Cambodia. Smithsonian.com. Retrieved November 8, 2021, from https://www.smithsonianmag.com/history/lost-city-cambodia-180958508/.

Royal Ballet of Cambodia - Alchetron, the Free Social Encyclopedia. Alchetron.com. (2018, March 11). Retrieved November 8, 2021, from https://alchetron.com/Royal-ballet-of-Cambodia.

Royal Ballet of Cambodia to make Hong Kong debut. South China Morning Post. (2017, August 19). Retrieved November 8, 2021, from https://www.scmp.com/magazines/post-magazine/short-reads/article/2107180/heres-your-chance-watch-royal-ballet-cambodia.

Royal Ballet of cambodia. UNESCO. (n.d.). Retrieved November 8, 2021, from https://ich.unesco.org/en/RL/royal-ballet-of-cambodia-00060.

The Royal Ballet of Cambodia: From ritual to a national identity. Asia Dialogue. (2019, January 1). Retrieved November 8, 2021, from https://theasiadialogue.com/2019/01/09/the-royal-ballet-of-cambodia-from-ritual-to-a-national-identity/.

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Unmasked dance & Dance-Drama (Cambodian royal ballet) - TB04 - Group 4

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Unmasked dance & Dance-Drama (Cambodian royal ballet) - TB04 - Group 4

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Tan Ying Hui Rachel, 2001310H
Wilson Tan Jia Le, 2004354C
Syifa Binte Samsudin, 2003327J
Sakthikumaran S/O Balachandar 2002711F
Silvinhio RV Nathan 2000105C

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New production of "Neang Watthana Devi" at the Chaktomuk Theatre.

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On top of a myriad of sub-classes, four main types of roles exist in a Royal Ballet ;

- neay rong (male)
-neang (female)
- yeak (ogres or asuras)
- sva (monkeys)

The performers wear a luxury of costumes, accessories, gold and silver. It shows the high dignity of Cambodian dancers. Their stylized movements and gestures convey tells a story and often carry vague or abstract meanings.

The producers consist of the Cambodian royal family members and a few others who heavily influenced the dance since it's inception.

Notably, a Frenchmen born in Cambodia during the French colonial era, George Groslier, re-invented large parts of the ballet through his studies of the bas-reliefs of Angkor Wat.

Queen Sisowath Kossamak in post-independent Cambodia who made several reforms to the royal ballet, including choreography. She dramatically shortened the dance drama from an all-night spectacle to just an hour in length.

In 2003, it was also inducted into the UNESCO Intangible Cultural Heritage Lists, which kept the sacred tradition alive till today.