Welcome to BHAKTI CAMBODIA

Welcome to the August edition of THE ANGKOR BULLETIN. This will serve as a supplement to our website www.bhakticambodia.com. Devotees serving in the Kingdom of Cambodia would like to provide various information to our viewers to solicit their interest and participation, however that may be.
We plan to make available literatures in the local Khmer language both those of the Bhaktivedanta Book Trust (BBT) and those of the Varnasrama Book Trust (VBT).
We are looking for interested persons from the Kingdom of Cambodia who can help in various activities, including translation and printing of literatures into Khmer. Hare Krishna.

According to Khmer legend, the race is descended from Kambu. His descendant, Preah Thong, left India and sailed after was exiled for displeasing the king. He saw the nagini, felt in love, and married to her. The father of nagini, king of nagas, drank the water that covered the land, gave the country to them and named it Kambuja.

And inscription from the third century in Champa names Kaudinya as the founder of the new kingdom. He travelled to the land where he met Princess Soma, daugther of naga king and married her. He carried with him a spear which he planted in the ground of the new land symbolizing his authority.

“Kambuja” is Sanskrit word meaning ‘born of Kambu”. Later, the Kambuja, in modern version become Kampuchea. Kampuchea transliterated became Cambodge in French and Cambodia in English, which is the name of this south-east Asian country today.

It is most likely that between 1st and 8th centuries, Cambodia was a collection of small states. Funan was no doubt one of these states, and as a major sea port have been a pivotal in the transmission of of Indian culture into the interior of Cambodia. Culture of Cambodia have been heavily influenced by India, the process of syncretism between Khmer indigenous animistic beliefs with Indian religion, Hinduism and Buddhism.

From the 6th century, the Funan kingdom’s importance as a port of call declined, and Cambodia’s population gradually concentrated along the Mekong and Tonle Sap River. Chinese records mention the emergence of a new state called Zhenla(Chenla) in the latter half of the sixth century, situated on the Mekong in the area of modern day south-eastern Laos. The time from the fall of Funan to the beginning of the ninth century is known as the pre-Angkor Period of Cambodian history.

In the second half of 6th century, there is a record of a city called Bhavapura, with its king, Bhavavarman I extending his rule from near the present day site of Kampong Thom to at least as far as Battambang in the west. Some time in the eigth century, Chenla split into two parts. One of them situated on the upper reaches of the Mekong in South Laos and along to the northern shore of Tonle Sap. Another one, was situated east of Tonle Sap with its capital called Isanapura(Sambor Prei Kuk).

At the beginning of the Ninth century, King Jayavarman II(802-850) moved his capital to Mount Mahendraparvata(today Phnom Kulen), 25 miles north-east Angkor Thom. Jayavarman II proclaimed himself as universal ruler. This marked the unification of Khmer state, the declaration of its independence from Indonesia. Successive kings of Jayavarman II continued to unify and expand the Khmer Empire. Jayavarman II succeeded by Indravarman I(877-889). He built Preah Ko temple. His son, Yashovarman I(889-900) moved the capital to Yashodarapura(Angkor) which served as the Khmer centre for the next 500 years, except for a brief time in the first half of the tenth century. Two sons succeeded Yasovarman. One usurper, Jayavarman IV(928-944) moved the capital to Koh Ker. His nephew, Rajendravarman II(944-968) brought back the capital to Yashodarapura. He was succeeded by his son, Jayavarman V(968-1001) who was a child when ascended the throne. He built the temple of Banteay Srei. The next significant king was Suryavarman I(1002-1050). He strengthened the organisation of the government, established internal security and achieved political acclaim for extending the territorial boundaries. southward to the Gulf of Thailand through a series of wars. During Suryavarman I’s reign, the Khmer Empire reached it’s greatest degree of territorial expansion. After a series of minor kings with short reogn, Suryavarman took the throne around 1113 and reigned until 1150. He was one of the most brilliant o the Khmer ruler and the builder of the great temple of Angkor Wat. The last major king was Jayavarman VII(1181-1220). He was a devout of Mahayana Buddhism. during his reign, he invaded the Champa and took its king as prisoner to Angkor in 1190. Several descendants of Jayavarman VII reigned after his death. Under the rule of Indravarman III(1295-1307), Theravada Buddhism became the state religion of Cambodia. In 1350, the Thais established their capital at Ayutthaya and became a great threat to Angkor. Angkor remained the capital until 1432, but from then onwards the Khmers moved to southward, Phnom Penh, where the capital still stands today.

The Angkorian architects and sculptors created temples that mapped the cosmic world in stone. Khmer decorations drew inspiration from religion, Hinduism and Buddhism. Temples were built in accordance to the rule of ancient Khmer architecture that dictated that a basic temple layout include a central shrine, a courtyard, an enclosing wall, and a moat. The Royal Palace in Phnom Penh, use motifs such as the garuda. The architecture of Cambodia developed in stages under the Khmer empire from the 9th to the 15th century, preserved in many buildings of the Angkor temple.

In modern rural Cambodia, the nuclear family typically lives in a rectangular house that may vary in size from four by six meters to six by ten meters. It is constructed of a wooden frame with gabled thatch roof and walls of woven bamboo. Khmer houses are typically raised as much as three meters on stilts for protection from annual floods. Two ladders or wooden staircases provide access to the house. The steep thatch roof overhanging the house walls protects the interior from rain. Typically a house contains three rooms separated by partitions of woven bamboo. Family members and neighbors work together to build the house, and a house-raising ceremony is held upon its completion. Food is prepared in a separate kitchen located near the house but usually behind it. Toilet facilities consist of simple pits in the ground, located away from the house, that are covered up when filled. Any livestock is kept below the house.

Cambodia is predominantly Buddhist with 90% of the population being Theravada Buddhist, 1% Christian and the majority of the remaining population follow Islam, atheism, or animism. Buddhism has existed in Cambodia since at least the 5th century CE. Theravada Buddhism has been the Cambodian state religion since the 13th century CE (excepting the Khmer Rouge period), and is currently estimated to be the faith of 90% of the population.
Highland tribal groups, most with their own local religious systems. The Khmer Loeu have been loosely described as animists, but most tribal groups have their own pantheon of local spirits. In general they see their world filled with various invisible spirits (often called yang), some benevolent, others malevolent. They associate spirits with rice, soil, water, fire, stones, paths, and so forth. Sorcerers or specialists in each village contact these spirits and prescribe ways to appease them. In times of crisis or change, animal sacrifices may be made to placate the anger of the spirits. Illness is often believed to be caused by evil spirits or sorcerers. Some tribes have special medicine men or shamans who treat the sick. In addition to belief in spirits, villagers believe in taboos on many objects or practices.

According to traditional beliefs, however, confinement and childbirth expose the family, and especially the mother and the child to harm from the spirit world. A woman who dies in childbirth—crosses the river (chhlong tonle) in Khmer is believed to become an evil spirit. In traditional Khmer society, a pregnant woman respects a number of food taboos and avoids certain situations.
Death is not viewed with the great outpouring of grief common to Western society; it is viewed as the end of one life and as the beginning of another life that one hopes will be better. Buddhist Khmer usually are cremated, and their ashes are deposited in a stupa in the temple compound. A corpse is washed, dressed, and placed in a coffin, which may be decorated with flowers and with a photograph of the deceased. White pennant-shaped flags, called "white crocodile flags," outside a house indicate that someone in that household has died. A funeral procession consisting of an achar, Buddhist monks, members of the family, and other mourners accompanies the coffin to the crematorium. The spouse and the children show mourning by shaving their heads and by wearing white clothing. Relics such as teeth or pieces of bone are prized by the survivors, and they are often worn on gold chains as amulets. If the child is always ill, his or her parents can go and change the name of child

A Cambodian child may be nursed until he or she is between two and four years of age. Up to the age of three or four, the child is given considerable physical affection and freedom. Children around five years of age also may be expected to help look after younger siblings. Children's games emphasize socialization or skill rather than winning and losing.

Most children begin school when they are seven or eight. By the time they reach this age, they are familiar with the society's norms of politeness, obedience, and respect toward their elders and toward Buddhist monks. The father at this time begins his permanent retreat into a relatively remote, authoritarian role. By age ten, a girl is expected to help her mother in basic household tasks; a boy knows how to care for the family's livestock and can do farm work under the supervision of older males. Adolescent children usually play with members of the same sex. During his teens, a boy may become a temple servant and go on to serve a time as a novice monk, which is a great honor for the parents.

Khmer culture is very hierarchical. The greater a person's age, the greater the level of respect that must be granted to them. Cambodians are addressed with a hierarchical title corresponding to their seniority before the name. When a married couple becomes too old to support themselves, they may invite the youngest child's family to move in and to take over running the household. At this stage in their lives, they enjoy a position of high status.
The individual Khmer is surrounded by a small inner circle of family and friends who constitute his or her closest associates, those he would approach first for help. The nuclear family, consisting of a husband and a wife and their unmarried children, is the most important kin group. Within this unit are the strongest emotional ties, the assurance of aid in the event of trouble, economic cooperation in labor, sharing of produce and income, and contribution as a unit to ceremonial obligations. In rural communities, neighbors—who are often also kin—may be important, too. Fictive child-parent, sibling, and close friend relationships Cambodia transcend kinship boundaries and serve to strengthen interpersonal and interfamily ties.

In Khmer culture a person's head is believed to contain the persons soul--therefore making it taboo to touch or point your feet at it. It is also considered to be extremely disrespectful to point or sleep with your feet pointing at a person, as the feet are the lowest part of the body and are considered to be impure.
When greeting people or to show respect in Cambodia people do the "sampeah" gesture, identical to the Indian namaste and Thai wai
Customary Cambodian teachings include: that if a person does not wake up before sunrise he is lazy; you have to tell your parents or elders where you are going and what time you are coming back home; close doors gently, otherwise you have a bad temper; sit with your legs straight down and not crossed (crossing your legs shows that you are an impolite person); and always let other people talk more than you.

The history of visual arts in Cambodia stretches back centuries to ancient crafts; Khmer art reached its peak during the Angkor period. Traditional Cambodian arts and crafts include textiles, non-textile weaving, silver smithing, stone carving, lacquerware, ceramics, wat murals, and kite-making. Beginning in the mid-20th century, a tradition of modern art began in Cambodia, though in the later 20th century both traditional and modern arts declined for several reasons, including the killing of artists by the Khmer Rouge. The country has experienced a recent artistic revival due to increased support from governments, NGOs, and foreign tourists.

The Cambodian pinpeat ensemble is traditionally heard on feast days in the pagodas. It is also a court ensemble used to accompany classical dance for ritual occasions or theatrical events. The pinpeat is primarily made up of percussion instruments: the roneat ek (lead xylophone), roneat thung (low bamboo xylophone), kong vong touch and kong vong thom (small and large sets of tuned gongs), sampho (two-sided drum), skor thom (two large drums), and sralai (quadruple-reed instrument).
Musical Instrument
There are many musical instrument in Cambodia. They are as follow

String Instruments: Tro Sau Thom, Tro Ou, Tro Khmer, Kse Diev, Chapei Dang Veng, Takhe, Khim Toch, Khim Thom and Kong Ring. Wind Instruments:Sralai Toch and Sralai Thom, Kloy, Pie Au, Sneng, Slek , Ploy, Ken, Angkuoch, Kyang Sang. Kyang Sang
Kyang Sang is made from a conch shell which is called Kyang Sang. Only the largest, most beautiful shells are selected for this special instrument. The tip of the pointed tail of the shell is cut just large enough to be a mouthpiece and the sound emitted is “Tut tut” sound. This instrument symbolized the”Brahma Baku’s” wishing the King good health and long life.
The Kyang Sang instrument is only be used in Royal ceremonies. To play the this is great privilege and only the musicians of the Royal Palace may perform on these instrument.

Kyang Sang

Percussion Instruments:Roneat Ek, Roneat Thong, Roneat Deik, Kong Vong Thom, Kong Vong Toch, Kong Vong Mong, Kong Chmol, Kong Nyee, Chhing, Pann, Krapaeh, Kanche, Kagn Chram, Khmuoh, Lau, Kanderng, Traw Dauk, Krap, Chhap, Skor Thom, Samphor, Skor Yeam, Skor Daey, SKor Thon Romonea, Skor Sang Na, Skor Yike, and Skor Chayam. Chhap is a percussion instrument made of bronze. It consist of two thin round plate with one small raised knob in each centre, known as “Doh”. The plate have small hole in the centre of knob through which string is threaded. The player place their hand through the string, and hit thw two plates.

Cambodian Dance can be divided into three main categories: classical dance, folk dances, and vernacular dances.
Khmer classical dance is a form of Cambodian dance originally performed only for royalty. The dances have many elements in common with Thai classical dance. 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.this classical Dance is famous for its using of hands and feet to express emotion which known as there are 4,000 different gestures in this type of dance. Provided as repeating a golden age in 1960s, Khmer Classical Dance which know as The Royal Ballet of Cambodia after select as UNESCO's Masterpieces of the Oral and Intangible Heritage of Humanity, has lead one of its dance to be a outstanding dance of all for culture and society. Reamker, a khmer version of Indian, Ramayana had influced strongly to Khmer classical dance. It involved in khmer gesture, movement and story line.The dance that divided from Reamker Dance known as robam sovann macha and robam moni mekala. In Facts, all of Dance reminded the audience of celestial dance which is an angel or Apsara in goal of bring the good luck and success to the viewer. The Classical dance is create by the heart of high art as the performer is decorated with themselves with a branches of jewelry.
Apsara Dance, a khmer dance that has survived since the Angkor Era, has been singled out to attract foreign tourists and to make the richness of khmer culture known to the world. Apsara Dance was promoted by Princess Norodom Bopha Devi before the Khmer Rouge times and recently has received an award as one of the main symbols of Cambodia.
Khmer folk dances, which are performed for audiences, 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 Chams, hill tribes, farmers, and peasants. The folk dance music is played by a mahori orchestra.
Cambodian vernacular dances (or social dances) are those danced at social gatherings. Such dances include ram vong, ram kbach, ram saravan, and lam leav. Some of these dances have much influence from the traditional dances of Laos. But rom kbach, for example, take heavily from the classical dance of the royal court. Other social dances from around the world have had an impact on Cambodian social culture include the Cha-cha, Bolero, and the Madison.

A testimony of the antiquity of the Khmer language are the multitude of epigraphic inscriptions on stone. The first written proof that has allowed the history of the Khmer Kingdom to be reconstructed are those inscriptions. These writings on columns, stelae and walls throw light on the royal lineages, religious edicts, territorial conquests and internal organization of the kingdom.
Following the stone inscriptions, some of the oldest Khmer documents are translations and commentaries of the Pali Buddhist texts of the Tripitaka. They were written by the monks on palmyra palm leaves and kept in various monasteries throughout the country.
The Ram Ker (Rama's fame) is the Cambodian version of the Ramayana, the famous Indian epic. The Ram Ker comes in rhymed verses and is staged in sections that are adapted to dance movements interpreted by local artists. The Ram Ker is the oldest form of Cambodian theatre.
Cambodia had a rich and varied traditional oral literature. There are many legends, tales and songs of very ancient origin that were not put into writing until the arrival of the Europeans. One of the most representative of these tales was the story of Vorvong and Sorvong (Vorvong and Saurivong), a long story about two Khmer princes that was first put into writing by Auguste Pavie. This French civil servant claimed that he had obtained the story from old Uncle Nip in Somrontong District. This story was put into writing in Battambang.[10] In 2006 the Vorvong and Sorvong story was enacted in dance form by the Royal Ballet of Cambodia.

Nang sbek or Lkhaon Nang Sbek is closely related to the Nang Yai of Thailand, Wayang of Malaysia and Indonesia like the Islands of Java and Bali, thus implying that nang sbek may have came from an Indonesian or Malaysian origin from many centuries ago. Nang sbek is also a dying art form and may disappear because of the decline in popularity over the years with the introduction of modern entertainment. Before the spread of modern technology such as movies, videos and television the Khmers enjoyed and watch shadow theatre apart from the other sources of entertainment available around during that time. There are three kinds of shadow theatre in Cambodia:

Clothing in Cambodia is one of the most important aspects of the culture. Cambodian fashion is divided by the people's differing castes and social classes. Cambodians traditionally wear a checkered scarf called a "Krama". The "krama" is what distinctly separates the Khmer (Cambodians) from their neighbors the Thai, the Vietnamese, and the Laotians. The scarf is used for many purposes including for style, protection from the sun, an aid (for your feet) when climbing trees, a hammock for infants, a towel, or as a "sarong". A "krama" can also be easily shaped into a small child's doll for play. Under the Khmer Rouge, krama of various patterns were part of standard clothing.
The long-popular traditional costume known as the Sampot, a Chinese-influenced costume which Cambodians wore since the Funan era, has lost popularity. However, Khmer People's clothing also changed depending on the time period and religion. From the Funan era back to the Angkor Era, there was a strong invasion of Hinduism which influenced Cambodian fashion to have upper naked, wear Sampot and wear their jewelry like bracelets and especially, collars like Sarong Kor, a symbol of Hinduism.
After the decrease in popularity of Hinduism, leading to Buddhism, Khmer people started wearing the blouse, shirt and trousers of Khmer style. Most important of all, Khmer people, both common and royal, stopped wearing the Hindu-style collars and began to adopt shawls like Sbai with beautiful decoration instead. This new clothing style was popular from the Chatomok region to Oudok period.
A Khmer lady habitually chooses the right colour for her Sampot or blouse, both to please herself and to follow the costume of good luck.
Some Cambodians still wear a religious style of clothing. Some Khmer men and women wear a Buddha pendant in a necklace fashion. There are different pendants for different uses; some are meant for protection from evil spirits, some are meant to bring good luck.
Otherwise, in the notable class people in Cambodia, especially the royal caste, have adapted a well known dress as well as expensive fashion style.Sampot is still well recognized among the royalty. Most royalty prefer Sampot Phamung, a new version of sampot adapted by Thai people in the 17th century. Since the Oudok period, most royalty have retained their dressing habits. Female royalty created the most attractive fashion. The lady always wears a traditional cape called sbai or rabai kanorng, which is draped over the left shoulder, leaving the right shoulder bare. Rarely was the cape worn over the right shoulder. The sbai or rabai kanorng would have been sumptuously fashioned in the old days in threads of genuine gold or silver. The cape in the old days would have hung down to the hem of the Sampot.
Dancers wear a collar known as Sarong Kor around their necks. Importantly, they wear a unique skirt called Sampot sara-bhap, made from silk inter-woven with gold or silver threads, forming elaborate and intricate designs that shimmer as the dancers move. This is held in place with a bejewelled belt. A multitude of jewellery is also worn by the female dancers. These include earrings, several pairs of bangles, a garland of flowers in the form of a bracelet, bracelets, anklets and an armlet that is worn on the right. Several body chains cross over the body like a sash. A circular or diamond shaped pendant is worn around the neck.
There are several different types of mokot worn by female royalty. The typical mokots that are worn are much similar to those of male royalty. Some crowns are just like tiaras where at the back of the mokot hair is let loose, cascading down the back. Other mokots have a few accessories such as ear pieces that would sit above the ear and help hold the mokot in place while a comb at the back is just an added accessory. Flowers are also worn on the mokot in the same style, but the hanging garlands of flowers are worn on the left and the bouquet is worn on the right. The best example of these royal clothes is illustrated by Khmer classical dance costumes, which are an adaptation of the beautiful royalty costume.

References:
http://en.wikipedia.org/wiki/Culture_of_Cambodia
Dawn F Rooney. Angkor, An introduction to the temples. China. 2004.
Nick Ray. Lonely Planet Book:Cambodia. 2006.
Ian Mabbett& David Chandler. The peoples of South-East Asia and the Pacific:The Khmers.England. 1995.
UNESCO. Traditional Musical Instruments of Cambodia. Kingdom of Cambodia.1994

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