estern names for this dance tradition often make reference to the royal court; including Cambodian court dance as it was performed and maintained by the attendants of the royal palaces.[3][4] As a performing art, it is formally referred to as the Royal ballet of Cambodia (and as Le ballet royal du Cambodge in French) by UNESCO, Cravath, Brandon, and others in the academic field;[5][6][7] although this term may also refer to the royal ballet as a corps, the National Dance Company of Cambodia. The term "Khmer classical dance" is also used alongside "Royal Ballet of Cambodia" in the publications by UNESCO and mentioned authors.[5]
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).[unver. 2] It is also referred to as Lakhon Luong (ល្ខោនហ្លួង, lit. the king's theatre).[8][9] 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.[9][10]
Khmer classical dancers, as a whole, are frequently referred to as apsara dancers by laymen; in the modern sense, this usage would be incorrect in the present-form of the dance as the apsara is just one type of character among others in the repertoire. Regardless, the romanticized affiliation of Royal Ballet of Cambodia with the apsaras and devatas of the ruins of Angkor still persists.
History[edit]
Angkorian style dancing figures from the 10th century.
The kinnari dancers of King Sisowath at the 1906 Colonial Exposition in Marseilles.
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.[11] 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.[12] According to James R. Brandon, the lakhon nai of Siam was the main influence on Cambodian court dance in the 1800s.[13] Martin Banham also mentions performers from Thailand were brought to restructure the dance tradition for the royal court of Cambodia during the same period.[14] Indeed, there were Siamese performers in the royal court of Cambodia during the 19th century according to most renowned sources on the royal ballet, Groslier included; this suggests a strong connection to the court dances of Siam and its influences.[11] Sasagawa mentions Groslier's acknowledgement of Siamese performers in the royal dance troupe and also mentions Norodom Sihanouk claim that the Siamese 'taught Cambodia its lost art form which they had preserved after sacking Angkor,' however, Sasagawa notes that the Siamese innovations (such as the story of Inao, an adaptation of the Malay version of Panji[15] ) were not present in the Angkorian dance tradition.[11]
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.[16] In the 20th century, the use of dancers is also attested in funerary processions, such as that for King Sisowath Monivong. During the Angkor period, dance was ritually performed at temples.[9] The temple dancers came to be considered as apsaras, who served as entertainers and messengers to divinities.[17] Ancient stone inscriptions, describe thousands of apsara dancers assigned to temples and performing divine rites as well as for the public.[9] 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.[9]
Post-Angkor Era
In the 19th century, King Ang Duong, who had spent 27 years as a captive prince in the Siamese court in Bangkok (i.e. the Grand Palace), 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.
French Colonial Era
Dancers of the court of King Sisowath were exhibited at the 1906 Colonial Exposition in Marseilles at the suggestion of hmer classical dancers use stylized movements and gestures to convey meaning and tell a story. These gestures are often vague and abstract while some may be easily understood. Dancers do not sing or generally speak except for 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 leave