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khmer
classical dance
In Cambodia, we use two words- "Rabam"
(dance) and "Lakhaon" (drama- dance) for
identifying the art form of the classical dance. The terms "Rabam"
and "Lakhaon" define the two different meanings for
this art form, depending on the occasional features of performance.
When this form is performed at the separate pure dances, such as Rabam
Apsara (Apsara dance or heavenly nymph dance), Rabam
Devamanoram (lovely beautiful Deva dance), and Rabam Junpor
(blessing dance), etc. Those of which are called
"Kbach Burana Khmer- Classical Khmer Dance"
or Rabam Preah Raja Draop when it is performed on the
dramatic story line, specially based on the ancient (Purana)
themes, such as the Rama Kerti, the Preah Jinavong,
the Preah Ketumialia, or the Preah Thaong Neang Naga.
It's noteworthy that the roots of Cambodian dance are believed to
lie in the ancient indigenous rituals, such as funerary ceremonies
or rites connected to animistic or ancestor worship. Most of those
predate the emergence of Funan (1st century to 6th century).
For the classical Khmer dance, no explanation of the date of
this art form has yet been found. But according to being reviewed on
Khmer traditions, cultures, sculptures, base relief on the wall of
sandstone temples, ancient stone inscriptions, and the artistic
artifacts discovered by both formal and informal archaeological
excavations, there are two sources which help resolve this issue,
one archaeological and the other literary.
Angkor Borei was one of the ancient cities of the empire of Funana
(early first century A.D. to the middle of sixth century). It is an
important site full of artifacts and religious objects made of
fired- clay. But is unfortunate that the site was destroyed by the
group of villagers who occupy at the present time. They joined with
the teams of looters to dig the artifacts out in their own lands,
the state of anarchy. Varied artifacts and pieces of ruins of
ancient temples bacame the main merchandise for exportation after
looting from Angkor Borei site, including from any other
temples, tomes, and archaeological sites in other provinces of
Cambodia. A number of artifacts, such as gold leaf, bronze, clay
jars, small earthen jars, statues, and ornaments, like ear-rings (kav),
glass beads, carnelian beads, wrist lets, anklets, rings and any
other materials, etc., were seized by the local competent
authorities and forces. among those artifacts, a dancer- figurine
and a monkey- figurine (probably the hanuman figure), holding a long
stick, made of unglazed earth ware were also seized. The figurines
date at least during the periods of emergence of Funan, the
first Indianized kingdom (1st century to 6 the century).
We are told that the figarines were dug out of the ground from the
middle of periphery of the royal palace of one of the ancient cities
in Funan period, from in the present Gumnour Pagoda in Takeo
procince of Cambodia, according to evidence of those clay figurines,
there is little doubt that the form of classical Khmer dance
introduced to Cambodia from Indian in the 1st century A.D. and it
was probably copied from the form of Indian dance involved
Brahmanism and Ramayana epic by Brahman priests who stayed in the
royal palace. and it was probably the initial time that the Khmers
made this dancer- figurines for a kind of their religious creeds
during a very long period before this was depicted on the wall of
religious temples like the temple- mountain. The clay figurines of
dancer indicated posture and gestures of dancer like some Indian
dance's one at the present time. Such as a gesture of stance with
spread legs and tips of the toes out in which it seems to press both
legs hard on the floor, in the form of bend. The dancer holds her
arms out and rise high above over her head, and elbows of arms bend
up with left fingertips expanded and bent out, and the right
fingertips condensed in the form of bend.
But in the comparison to those gestures, it indicates major
differences from which of classical Khmer dances or curt dances at
the present time. Most of classical Khmer dance's gestures are in
the form of the curve. In any way, the clay figurine witnessed the
transformations of the classical Khmer dance's gestures with major
development in the form since then until the present time.
The transformation with such development remind of initial
acknowledge receipt of constructing temple- mountain from India.
from day to day, from generation to generation, and from century to
century, the Khmers found out how to develop their own
personalities. The built the splendid sandstone temples, especially Bantey Srey, Angkor Wat, Bayon... with magnificent bas- relief...
where dances are abundantly depicted. and the Indian archaeologist
suggested that it was probably the biggest and most famous
Brahmanism temple in the world. And the Indianized style soon merged
with local traditional techniques , resulting in the highly original
Khmer architecture, which was, for the ancient time, the most magnificent
architecture in the most parts of mainland south east Asia.
The second source of information is literary. Saveros Pou has
reviewed relevant Sanskrit and Khmer language- epigraphs
sources in connection with old Khmer history, religious beliefs and
cults, tradition, cultural arts- theatre, dance, and music that go
back centuries in the past. In her document entitled " Music
and dance in ancient Cambodia as evident by old Khmer
epigraph", she wrote and derived real evidence- mainly words
and names of art- form Sanskrit and Khmer from the ancient
Khmer inscriptions with dates and sequence of each reign.
The word Bhani/Bhanni, obviously of Sanskrit origin, means 'a
dramatic performance with recitation'. She also suggested that we
link Bhani with Sanskrit Bhana meaning 'recitation; a
sort of dramatic entertainment with narrative told by a narrator'.
In K.270 (IC, IV, 70: 16), it follows
Khmer Rmon on meaning 'a percussion player for Bhani
theatre'; and in K. 99 (10th century, IC, VI, 110 (N):8), its does Khmer
Rmam meaning ' male dancer in threes'. In connection with this
evidence, one reminded of a kind of Khmer traditional dance- drama's
form, whose performance based exclusively on the sacred Ramakirti
theme. That is the form of the present Lkhaon Khaol that
popularly known in Cambodia. That is why, it is also possible that Bhani,
Bhanni, Thon Bhani, Rmam Bhanni describing a Bhani-
theatre were the ancestor of our modern Lkhaon Kahol ( Mask
pantomime).
The epigraph of Vat Kummur, Angkor Borei, K.577 & K.137
during the reign of Jayavaraman
I (AD 655 to 681), on the other hand, tell us about the
offering of signers, dances, and musical instruments to the god. It
is probably that Jayavarman I offered the girl dances to his
god. In this point, we believe that if Jayavaraman I was a
believer or protégé of Siva the form of girl dance troupe
or classical dance would originated before the emergence of his
reign, or over a long time prior to becoming a great favorite of Siva.
On the other hand, a Khmer legend recorded on a tenth-century
inscription of Baksei Chamkrong ascribes the origin of the
royal family of Surya Vong or Adiya Vong ( the solar
line) to the marriage of a hermit, Kambu Svayambhuva, the
celestial nymph Mera given him by the god of Siva .
And in 500 AD, the Kingdom of Khmer, Zhenla, emerged from
behind the Bhavaraman's revolt against central authority of Funan
Madala, which had about a century before that event. Through
marriage with Princess Lakshmi of lineage of Soma Vong (the
Lunar dynasty) of Funan, the Zhenla's Bhavaraman of
lineage of Suya Vong, and a Protégé of Siva became a
king of the great Khmer Zhenla. His marriage was of a great
significance in the development of royal Khmer traditions and
introduced the Kambu-Mera dynasty in the name of the present
name of Kingdom of Cambodia.
In connection with the above-mentioned, however, it is whether
related to the origin of female dance. Whether or not the origin of
the present Classical Khmer dance or Royal Dance's form has been
involved in the marriage of a hermit, Kambu Svayambhuva with
the celestial nymph Mera. According to suggestions of some
scholars about the origins of words, they reveal that the terms-Kambuya
and Khmer, which have left until the present time were the result of
the marriage of a hermit-Kambu with the celestial nymph -Mera
if we pronounce the word "Kambu-Mera" gradually in
oblique voices the word will become like this: Kambu + Mera >
Kamb + Mer > Kam + Mer >Khmer > Khmer. We suggest that the
two sources of information above-mentioned are initial contexts of
the origin of the art- form of the Classical Khmer Dance or Royal
Dance.
We suggest that the two sources of information
above -mentioned are, however, the initial contexts of the
origin of the form of classical Khmer Dance of Royal dance. And this
form was adapted for the sacred one of Khmer dance from Brahmanism
form of Indian dance. That is why, we also consider that the
form would originated during the Funun period (the
first-century to sixth-century) or predated Angkorean
period, at least during Zhenla
period (the
seventh-century to eight-century).
It's noteworthy that like many other art forms existed in Cambodia,
the form of Classical Khmer Dance has developed or declined or
disappeared until the present time due to evolution of Cambodian
history. Obviously, the golden age' of Cambodian history was the Angkorean period AD 802 to 1431. It began when Jayavaraman
II (AD 802 to 850),
who spent some time as a prisoner at the court of Sailndras dynasty
in Java (Indonesia),
while Khmer kingdom became a vassal of the Silendras dynasty,
had come from there to rescue country from Java
conquerors of Sailendra dynasty. He assumed the crown in
802. He was the founder of Angkor Kingdom and temple-mountain such
as AramRaong Chen. This conception of a temple-mountain is
much earlier origin than Siva-worship itself. He established his
power by installing a religious Deva Raja cult (the god-king)
and inaugurated on the Mahendraparavta mount (today Phnom
Kulen). It was a form of Saivism, which centered on the
worship of a Linga as
the king's sacred personality transmitted to him by Siva
through the medium of him Braman chaplain. In connection with
his Deva Raja (the new religious cult') and temple-mountain,
it's believed that he probably brought with him some of the early
dance styles-a strongly Indian-influenced dance tradition for temple
offerings performed be female dancers. Those of whom were donated
and attributed to temple as Devadasi' (the slaves of the god). This
was a common practice in Indian as well.
For successive kings from generation to generation, although they
had deep respect for the same creeds and gods or different one, they
always carried out building temple-mountain, sandstone temples,
moats, large Barays (for the storage of water), etc. Which
were to enhance the prosperity of religion, culture, agriculture,
etc for the country. According to visual source-mainly splendid
temples such as magnificent Tribhuvanamahesvar (today Banteay
Srei) built by Braman chaplain Yajnavaraha in AD 967
and Angkor Wat dedicating to the god Vishnu built by
Suryavaraman II (AD1113 to 1152), and Bayon dedicating to
Mahayana Buddhism built by king Jayavaraman VII
(AD1181 to 1218), etc., which were promoted to state temple while
the Brahmanism or Buddhism
achieved the status of a kind of state religion.
With contemporaneous development, the heyday of Khmer dance began
when the state temples were built, and the temple offerings such as
female dancers known as Devadasi
(slave of god'), who are attributed to the temple, were
installed in state temples. And Khmer dance also achieved the status
of a kind of state art. The splendid Angkor, obviously,
wherein the profuse and elaborate temple relief and temple
dances-over 1,500 female dancers were (known as Apsaras
in Khmer) (celestial nymph dancers') were abundantly
depicted. The Apsara's are observed to stand on the walls of
galleries of entry tower and of the first level to the third level,
including the central sanctuary. And the Indianized style soon
merged with local tradition, resulting in the highly original Khmer
dance style, which was to influence the development of dance in most
part of South-East Asia.
Subsequently, although there were major changes of religion and Mahayana
Buddhism achieved the status of state religion, Khmer dance
resumed its prominent role in Khmer society, and it also enhanced
and converted its role from Devadasi (slave of god) of Devaraja
Brahmaism to Devadasi of Buddhism. Under the reign of Jayavaraman
VII (1181-1218), obviously, he was a great king of Angkorean period
and built temples, such as Ta Pruhm, BanteayKdei, Neak
Pean, Ta Som, Srah Srang, Angkor Thom, Bayon, Terrace of Elephant,
Terrace of leper King, Kraol Ko, Prah Palilay, Pran Khan, Pasat Sour
Proat (in Siem Riep Province), Banteay Chmar in Battambang,
Vat NoKor in KamPong Cham, Tapruhm Bati in Takev, and
(Prasat Thom, Banbu and Kudimaharusei in Bururom, KuKev in
Uttanathani, Vat mahatheat in Lumpaburi, Tama'n in
Surin, Pimai in Nakorajasima, Kampaeng Touch in Sisakeit, Kampaeng
Laeng in Pichburi in Thailand), etc. Most of which wherein the
dance offering-female dancers were abundantly depicted. The Epigraph
of Ta Pruhm temple (also known as Rajavihear), which
was built by Jayavaraman VII in 1186, stated there were 615
female dancers belonging to this temple which dedicated to his
mother and his great priest, Jayamangalearth. For the temple
of Prah Khan or "Jayacri" (A new name known
as in Thai) built in1191 and dedicated in to his father, the
Sanskrit Epigraph on stone, still in place reads as follows: there
were 615 dancers belonging to the temple.
But unfortunately, after the end of Jayavaraman VII's reign, his
son-Indra Varaman II, succeeded to the throne (1210/1218? to 1243).
The chief events such as handing independent over to Champa with
placing a Cham prince, Angsa Raja on the throne in Champa,
and the conquest and initial attack from T'ais at Sukhot'ai, also
occurred during the reign.
Thereafter, in addition to that, the religious crisis and internal
conflict retained for a Indra Varaman III (1295 to 1327), Preahbad
Srindra Jayavaraman or Indra Jayavaraman (1308 to 1327)
and Preahbad Srindra Jayavaraman or Indra Jayavaraman influenced
to each other. For example, sometimes the Buddist and Brahmanists
came to conflict, and of those Brahmanists destroyed Buddhist
objects. Which resulted in pushing Cambodia out of way and falling
into the chasm and in interrupting the sequence of history for a
time there in after an event of change of reign-name of Varaman dynasties
to Ta Trasak Phean dynasties (Grandpa of Sweet Cucumber)
completed and continued.
Ta Trasak Phaem was a farmer with strong belief in Mahayana
Buddhism. Historians and some other researchers have pronounced
the hypothesis that this dynasty changing was Ta Trasak Phaem's religious
and political revolution. It is noteworthy that from Ta Trasak
Phaem's regin to his son's reign- Nirvanapada, the Thais
conquered Cambodia and the city was also captured and held for more
time. Thai population was a parent racial group related to the
Chinese. In order to escape subjection to China the Thai group moved
to the lower part. Long after the tiny state of the Thai's was began
to form under chieftains called chaos in the upper Menam Valley.
The first Thai kingdom, Sokhothai, emerged in the thirteeth
century (1220). Later on, in the 1238, the two Thai attacked and
defeated the Khmer commander at Sokhothai, then the capital
of the northwester parts of Angkor Empire captured by the Thais . In
the middle of the fourteenth century, the Ayuthaya Kingdom of
Thai grew into one of the most cosmopolitan cities of its day and
became the dominant power in the region. The Thais sacked Angkor in
1353 and even though the Khmer eventually recaptured it, battles
between the two rivals continued for almost other century until
1431, when the Thai sacked the Angkor Thom city. At the same time
Thais looted gold and
treasure from Angkor. The Thais also captured Khmer monks, artists,
dancers, and musicians, expensive court art, and standards of
original Khmer traditions. They greatly
valued the dance forms and tradition of the Khmers and over
the centuries were adapted to the Thai tastes.
On
the other hand, according to number of history records in connection
with Laos, they tell us about the ties of friendship and a royal
relation in blood between Cambodia and Laos. And the relations of
cultural exchange between the two countries have had for long time,
especially since Agnkorean Period. For example, in the region of
King Preah Chao Hvangum, a son-in law of the Cambodian King in
Angkorean period, was a first famous king in the kingdom of
Langshang. We are told that he was exiled from his country-Laos by a
raft floated down along the Mekong River. He was found in Champasack
area and lifted up out of the water, and then adopted by a head of a
Buddhist monastery of Champasack. Later on, he was sent
to a Khmer king at Angkor City. The king was fond of him and
supported him in entering his priesthood for study of all kinds.
After leaving his precept and priesthood, he was married to the
king's daughter, princess Kev Lot Hva by the king. Hvangum
thereupon went back to his native country and assumed the
leadership supported by Khmer king in fight for liberation, and
ultimately he was crowned king at Laung Prabang during the
year 1353? And this was the same time to the sack of Angkor City by
the Thais. On his return to Laos from Cambodia, he also brought with
him a number of Khmer traditions, including art and religion. And
that is why the Laos court at Laung Prabang is believed that
to have adopted its classical court culture from the Khmers in the
mid-fourteen century. According to his record and abvious
observation, we could suggest that most of cultures having retained
until now of the Laotions and Khmers are siblings. Most of
Classical Laotian dance and theare traditions and whose music at the
present time are similar to the Khmers'. In Laos, the most popular
form of dance often is called "Nang Kev (i.e. Neang Kev)".
And ostensibly the name -Neang Kev was indicative of source of the
relationship between the form of classical Laotian dance and the
Khmer Deva art form of Angkor period? And in addition to this id it
is believe King Hvangum's wife, she could probably be, in
Angkor period, a good performer of a famous star of the art form of
ancient Khmer Dance.
As for in Cambodia, after the fall of Angkor, especially from
development of religious crisis under the reign of Jayavaraman VIII,
the temple dancers known as devadasi (‘Slave of god’) seemed
to damage and the temple were also abandoned. Around this time, on
the other hand, the temple dancers were converted to serve the
court, where the king dwelt surrounding the female dancers. Until
the reign of Ponhia Yat (1399 to 1463), the court was moved
to Basan (1431?) then to Catumukha (1432?), and about
the same time the female dancers (A kind of slave of god’s dance)
was called as the Royal Dance or Theatre. In his reign, there is,
however, on evidence of decrease and increase in development of this
form. According to history record called “The Great Khmer Ancestor”,
the art form of this female or Royal dance-Drama enhanced its
development under the rule of King Ang Chan I (1516 to 1566)
in post-Angkor period. Ang Chan I was one of the famous kings
of the post-Angkor periods. His reign was a period of peace and
better prosperity. At that time, Cambodia increased its development
on economic, cultural, and religious fields, etc. According to
preserved records Ang Chan I took his attention to the use
of spectacular forms, like dance, music male dance (Masked Pantomine).
Female dance, etc. These performing arts were performed for
ceremonies, especially for the Regatta ceremony. Although the
captured Long Veik City was placed under a Siamese military
governor in 1594, the performing arts of Royal Dance-Drama still
obtain in the court.
Under the reign of Preah Raja Samphea’ or Pnhea Tuo
(1626 to 1634) the city at Uddong was moved to Koh Khalouk
wherein the Royal Dance troupe also existed. According to
research on Khmer art forms, we observed that some dance teachers
teaching their students at Koh Slakaet in Kean Svai
District were form Koh Khalouk. Evidently the form of this
dance still exist at the present.
Later on, under the reign of King Norodom SihanoukVaraman
(1941 to 1955) and under his great rule ( the Sangkum Reastra
Niyum'- the Popular Socialist Community) (1956-1970),
enhancement of culture interested the Khmers and the world. During
this time, his mother, the queen Sisowathi Kosama Narirotna
produced another higher luxurydance and temple dance depending on
original source of the ancient Khmer scholars' ideas,Both techique
and decoration were luxurious and so beauiful. The decorations, like
jelly-wrist let, armlet, crown, etc, were made, especially for
Tou Neang (female dancer) and Tou Neay Raong (male
dancer), god. In addition, she also enhanced other different dancers
in Cambodia. Many of these were ritual or folk dancers.
After the coup dictate of 1970 by Lon Nol, The Royal
Dance-Drama was converted it's name to "Classical Khmer Dance".
Under Lon Nol's Replubic of Khmer, the students of this dance
and other traditional dances, theatres were put in charge of the
Royal University on Fine Arts, but the place for training this
Classical Khmer Dance was in the Royal Palace.
Unfortunately, under the genocidal rule of Pol Pot (1975 to
1979), like other forms of dance and theatres, the Classical Khmer
Dance was cancelled because the ruler and his genocidal cliques
thought that it was a cultural legacy of the feudalism that cause
trouble for their social developments. During that time, like other
Cambodia people, most of artists were overworked and murdered.
Others died of diseases and hunger.
Fortunately, after the falling down of genocidal regime, the
Classical Khmer Dance as like as the dances of all kinds was
immediately survived and revived under the rule of the United Front
for Soliarity and Liberation of the Kampuchea Fatherland. This
included The United Front for construction and defense of the
Kampuchea Fatherland of the people's Republic of Kampuchea, and then
of the State of Cambodia.
From 1993 forward, the Classical Khmer Dance or the Royal
Dance-Drama and the forms of traditional ritual dance were enhanced
with their proud important roles in Khmer society.
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