Cambodians scholars, such as Pech Tum Kravel, and French archaeologist George Groslier have mentioned that Khmer classical dance is unbroken tradition dating back to the Angkor period. Other scholars theorize that Khmer classical dance, as seen today, developed from, or was at least highly influenced by, Thai classical dance innovations from the 19th century and precedent forms were somewhat different.
One of the earliest records of dance in Cambodia was from the 7th century, where performances were used as a funeral rite for the kings and this ritual still continues on to this day. During the Angkor period, dance was ritually performed at temples. The temple dancers came to be considered as apsaras, who served as entertainers and messengers to divinities. Ancient stone inscriptions, describe thousands of apsara dancers assigned to temples and performing for divine rite as well as the general public. The tradition of temple dancers declined during the 15th century, as the Siamese kingdom of Ayutthaya raided Angkor. When Angkor collapsed, its artisans, Brahmins, and dancers were taken to Ayutthaya. The tradition of royal court dance however, did continue.
In the 19th century, then King Ang Duong, who had spent many years of his life at the Siamese court in Bangkok, restructured his royal court with Siamese innovations. This restructuring also affected classical dance of the royal court (a symbol of the king's wealth and power) whose costumes were remodeled after Thai classical dance costumes.
In the early 20th, dancers of the court of King Sisowath (second son of King Ang Duong to reign) were exhibited at the French Colonial Exposition in Marseilles where they captured the heart of French artist Auguste Rodin who painted many watercolors of the dancers. Many writers had compared classical dancers to the bas-relief of apsarases which may have led to the strong affinity many people have for the two today. After World War II, Khmer classical dance underwent a renaissance brought on by former Queen of Cambodia, Kossamak Nearireath, the mother of then Prince Sihanouk.
Khmer classical dance suffered a huge blow during the Khmer Rouge regime during which many dancers were killed because classical dance was thought as of an aristocratic institution. Although 90 percent of all Cambodian classical artists perished between 1975 and 1979 after the fall of the Khmer Rouge, those who did survive wandered out from hiding, found one another, and formed "colonies" in order to revive their sacred traditions. 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. The Royal Ballet of Cambodia was the main troupe of classical dancers in Cambodia before the Khmer Rouge regime, but since Cambodia has gain it's peace, a few other professional and amateur troupes have risen.
Khmer classical dancers use stylized movements and gestures to tell a story much like a mime. Many people consider its style vague or abstract. Dancers do not speak or sing; they dance with a slight smile and are never suppose to open their mouths (though a few dramas have brief speaking parts). Khmer classical dance can be compared to French ballet in that it requires years of practice and stretching at a young age so the limbs become very flexible.
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, sometimes with accompanying foot movements, to convey different thoughts and concepts. The way in which they are presented, the position of the arm, and the position of the hand relative to the arm can also affect their meaning. Besides hand gestures are gestures which are more specific to their meaning, such as that which is used to represent laughing or flying. These other gestures are performed in different manners depending on which type of character is played.
Four main types of roles exist in Khmer classical dance; néay rông (men), néang (maidens), yéak (ogres or yaksha), and the sva (monkeys). These four basic roles contain sub-classes to indicate rank; a néay rông êk, for example, would be a leading male role and a néang philiĕng would be a maiden-servant. Other types of roles include mermaids, hermits, deer, garudas, and kinnaris. Most of these characters are still performed by female dancers, but a few such as monkey characters are almost exclusively performed by men because this role requires acrobatic stunts such as cartwheels. Other roles performed by men include hermits and animals such as horses and mythical lions used to draw chariots.
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nane855 7 months ago
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muydramasfan 2 years ago
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Norlake 3 years ago
this video has been uploaded before.
lchan90a 3 years ago