Traditiona l Khmerdance is better described as "dance-drama" in that the dances are not merely dance, but are also meant to convey a story or message. There are four main modern gestures of traditional Khmer dance, 1) Classical dance, 2) Shadow theater, 3) KhLon Khol (all male masked dance drama), 4) Folk dance. As evidenced in part by the innumerable Apsaras (celestial dances) that adorn the walls of pre-angkorian, and angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the traditional over the centuries, making it almost impossible to precisely trace the source of tradition. much of traditional dance (especially classical)
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| is inspired by Angkorian-era art, and themes, but the tradition has not been passed unbroken from the age of Angkor. |
Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by His majesty king Ang Duong (1841-1869). Subsequent kings, and other Khmer Royals also strongly supported the arts, and dance, most particularly Queen Sisovath Kossamak Neariroath, in the mid-20th century, who is not only fostered a resurgence in the study, and development of Khmer traditional dance, but also helped moving it out of the palace, and popularize it. Many traditional dances including most theatrical folk dance were developed, and refined from 1940s-60s under the guidance, and patronage of Queen Kossamak at the Conservatory of Performing Arts, and The Royal University of Fine Arts (RUFA) in Phnom Penh. Queen Kossamak trained her Grand-daughter Princess Bopha Devi in traditional dance from early childhood, and she went on to become the face of Khmer traditional dance in 1950s and 60s both in Cambodia and around the world. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 1990s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous "Apsara Dance" has a grounded, subtle, restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, flexed fingers, codified facial expression, slow, close, deliberate, but following movement, classical dance is uniquely Khmer. It presents themes, and stories inspired primarily by the Ream Ke (Khmer version from Indian Myth Ramayana), and by the age of Angkor.
Folk dance comes in two forms: ceremonial, and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations, and holidays. Theatrical Folk Dance such as popular good harvest dance, and romantic Fishing Dance usually adaptations of dances found in the countryside or inspired by rural life, and practices. Most of Theatrical Folk Dances that are seen in performances today, which were developed at the RUFA in Phnom Penh in the 1960s as part of an effort to preserved and perpetuate Khmer culture and arts.
Shadow puppet theater comes in two forms; Sbeik Thom (big puppet that act as panels depicting characters from the story), and Sbeik Toch (small articulated puppets). The black leathers puppets are held in front of a light source, either in front of or behind a screen, creating a shadow effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Ream Ke. Sbeik Toch has a far lighter feel, presenting popular stories of heroes, adventures, love, and battle, with or without orchestra and with the puppeteers often doing the narrations.
The basic gestures in the palatine dances
The repertory imposes a difficult apprenticeship on young learners. Firstly, daily exercises to stretch the articulations are required to achieve and extremely body. Then, learners must masters very specific language base on numerous positions and codified gestures.
