Royal Ballet of Cambodia

The Royal Ballet of Cambodia is a form of theatre that has been established in the royal courts of Cambodia and is known for its graceful gestures and stunning costumes. This musical style has developed from the aristocratic past of the country, as evidenced by its refined and highly symbolic dance gestures. From the beginning, this theatrical style was highly ritualized, and it was performed at royal ceremonies to establish the authority of the courts. Due to its centuries-long association with the monarchy, ballet has a peculiar characteristic: all its artists are traditionally female. Male artists were introduced in the early twentieth century. The art form was nearly lost to annihilation in the 1970s, but it is now cherished by many Cambodians. The ballet is currently patronized by HRH Princess Norodom Buppha Devi, a sister of the King of Cambodia.

The royal dance has a sacred and symbolic role, representing refinement, respect, and spirituality. It is infused with legends from the beginning of the Khmer People, and its repertory perpetuates these legends. The Cambodians have long regarded it as the symbol of Khmer culture. There are four distinct character types throughout the classical repertory: Neang the woman, Neayrong the man, Yeak the giant, and Sva the monkey. Each dancer wears distinctive costumes, makeup, and masks that convey a wide range of human emotions. Their gestures and poses are mastered only after years of intensive training, and their movements invoke fear, anger, love, and joy. The orchestra offers an accompaniment, and a female chorus provides a running commentary on the plot, which emphasizes the emotions portrayed by the dancers, who are considered the kings’ messengers to the gods and the ancestors. The costumes were deeply embroidered, and sometimes included sequins and even semi-precious gems. These costumes were thought to be representative of what divinities would wear, as reflected in the art style of the post-Angkor period. Female characters wear costumes that are more detailed and intricate, as the garments require pieces to be sewn together while being worn, such as sleeves and headdresses. Some costumes included ear ornaments as well as earrings.

Under the Khmer Rouge regime, when the Khmer Rouge eliminated almost all master dancers and musicians, the Royal Ballet virtually ceased to exist. As soon as the regime's defeat in 1979, the troupes re-emerged and performances of the ancient repertory resumed. The ballet regained a lot of its former splendor. However, numerous difficulties remain, including a lack of funding and suitable performance spaces, competition from modern media, and the threat of becoming a mere tourist attraction. This form of art has nonetheless evolved into one of Cambodia's most enduring forms of art and has become a source of identification, rebirth, and vitality, transcending political parties across Cambodia.

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