Santepheap Traditional Khmer Dancing

Khmer Classical Dance, also known as Khmer royal ballet or Khmer court dance, is a form of Cambodia dance originally performed only for royalty. During the mid-20th century, it was introduced to the public where it now remains a celebrated icon of Khmer culture, often being performed during public events, holidays, and for tourists visiting Cambodia.

Classical dance costumes are highly ornate and heavily embroidered, sometimes including sequins and even semi-precious gems. Various pieces of the costume (such as shirts) have to be sewn onto the dancers for a tight fit.

Khmer folk dances are fast-paced. The movements and gestures are not as stylized as Khmer classical dance. Folk dancers wear clothes of the people they are portraying such as fishermen, hill tribes, farmers, and peasants. Some folk dances are about love, or are folktales about animals.

The music used for Khmer classical dance is played by a Pinpeat Orchestra. This type of orchestra consists of several types of xylophones, drums, oboes, gongs, and other musical instruments. While the Pinpeat Orchestra is not playing, a chorus of several singers will sing out lyrics which describe the story of the dance.

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Blessing Dance

This dance is performed at the official opening ceremony offering wishes to the audience. In this classical piece the lyrics and gestures describe the wishes of happiness. Flower petals are tossed gently from small golden trays as a way of blessing the audience and the event. Lyrics:

We join together in solidarity

All for the benefit of our nation for prosperity and glory

As family all over the world shiningly

The flowers Tossing Dance offers best wishes, prosperity

And happiness accordingly

All the time and everlastingly.

Hanuman and Sovann Macha: The Monkey and The Mermaid

This story is an excerpt from the epic tale the Ramayana (with origins in India), known in Khmer as the Riemker. The monkey general Hanuman was a very close aid of Prince Rama. When the Prince's lovely wife Sita was kidnapped and taken prisoner, the Prince asked Hanuman to help him rescue her. Hanuman didn't hesitate. He called the monkey army together and devised a plan. First they would construct a bridge across the ocean. One-by-one, the monkeys started lifting heavy boulders, and placing them on the sea. When they returned with the next stone, the one they had just left had disappeared. Down and down they swam until, from a distance, they noticed mermaids moving in the water. But the mermaids weren't just swimming. They were holding huge stones. In fact, it was these mermaids who were removing the monkey's boulders. Off to the side Hanuman spotted Sovann Macha, the leader of the mermaids. He figured that if he could catch her, he could convince her to tell the others to stop destroying the bridge. He tried to reach her without letting her see him. From the back, from the side, he attempted to grab her. But she kept swimming in her beautiful, graceful style, oblivious to his antics. Eventually, he knocked her down. She was not only surprised; she was angry. She swam away. He swam after her. He did somersaults and cartwheels; she kept her balance and never stopped moving.

But while they were involved in this struggle, Hanuman realized that he had fallen in love with Sovann Macha. So he tried to woo her rather than attack her. For her part, she eventually realized she shared his feelings. And she told the other mermaids to not only stop interfering with the monkey soldiers' work, but also to help them complete the bridge.

Thus, in the end, the Prince was able to cross the bridge with the monkey army, and rescue the Princess.

The Fishing Dance

This is a playful, energetic folk dance with a strong, easy-to-follow story line. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again.

Coconut Shells Dance

This dance demonstrates the richness of the coconut plants in Cambodia and how it contributes to human life. It is often performed during a wedding procession, engagement ceremony and other national Festivities. Well-polished coconut shells are used as musical instruments by dancers, bringing live animation and flirtatious move to enhance the festivity. This dance also represents the wealth and health in the new relationship.

Apsara Dance

This royal ballet was originally performed at the offering ceremonies and other palace celebrations during the Angkorian Era. Based on the legendary battles and mythical sagas including the churning of the Sea of Milk, the great battle between gods and demons for the Holy Water came the beautiful Apsaras, half-woman half-goddess. They are heavenly dancers who keep happiness and prosperity for the people. Each gesture symbolizes something meaningful, such as love or peace. Arms crossed over the chest means very happy. The left arm stretches out behind while the right hand raises up at the chest with three fingers up and the index finger touching the thumb to depict the Naga, the great serpent that symbolizes the spirit of the Cambodian people. The dance portrays Princess Mera, white Apsara, dancing in her garden. Her maidens, also Apsaras, who made flower garlands and flower sashes, join her. Their circular movements, poised motions, and lightness of their gestures, all symbolize their hovering between the heaven and earth. Lyrics:

Today my heart is delighted

I see the flowers growing in the garden

I am making garlands of many kinds of flowers

These I lay down on the ground beside me

If you love flowers, I will make and give you garlands

I will begin to make a sash with the flowers

She threads the Tkol flowers to make pendants

For the garlands she also uses the Rumduol flowers.