Bokator World: Culture

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Buddha Dhamma Monk Culture
Administrators • Thursday, October 3, 2024 •

Beautiful Khmer Couple with Khmer Sbai wedding traditional costumes of the Kingdom of Cambodia 🇰🇭💕

What is the Sbai traditional costumes of Cambodia?

The Sbai is a Khmer word and it is used to refer to a female garment in Khmer Empire territory. The term Sbai is used for a woman's silk breast wrapper in Cambodia, in Central Thailand and in Laos.The Sbai is well known as a long piece of silk, about a foot wide and that is all draped diagonally from around the chest covering one shoulder and while leaving one shoulder bare which its end drops behind the back and it can even be worn with a blouse too.

Sbai may have been derived from of an Indian garment called Sari. But in fact, there are of related mythology in the Khmer Culture, retained a history of Sbai which it can likely to be invented since the 1st Century of the Funan era in Cambodia's history. Preah Thong and Neang Neak a legend which share a common with the founder of Funan era

and there is an important little rite within of the marriage ceremony called Preah Thong Taong Sbai Neang Neak, a symbolic representation of the legend as the groom must hang or cling to that of the bride's Sbai from behind her and he must follow her to the room for a honeymoons !

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Beautiful Khmer Couple with Khmer Sbai wedding traditional costumes of the Kingdom of Cambodia

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Buddha Dhamma Monk Culture
Administrators • •

Chapei Dang Veng of Cambodia on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding🇰🇭

Chapei Dang Veng is a Cambodian musical tradition closely associated with the life, customs and beliefs of the Cambodian people.It features the chapei (a type of lute often played at cultural festivals) accompanied by singing. Song lyrics range from the educational and a type of social commentary,to satire while incorporating traditional poems, folk tales or Buddhist stories. The tradition is considered to have multiple functions within Cambodian communities, such as safeguarding traditional rituals; transmitting social, cultural and religious knowledge and values; providing exposure to the old Khmer language; creating a space for social and political commentary; entertaining; connecting generations; and building social cohesion. Apart from musical talent, skills required to be a chapei player include wit, the ability to improvise and be a good storyteller. While performers are generally male, there are no gender restrictions on who can play the chapei. Transmitted orally within families and informal master-apprentice relationships, today the art form is practised by few performers and even fewer masters exist. The Khmer Rouge regime severely affected the bearer population and disrupted transmission of the practice with long-term implications as communities now face the prospect of a tradition that could potentially disappear.

SOUNDS OF ANGKOR is dedicated to the ancient and traditional music and dance of Cambodia. It is an invitation to discover 2500 years of religious and secular music.

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#UNESCO list

@The Chapei players,by Émile Gsell.

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Chapei Dang Veng of Cambodia on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding

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Buddha Dhamma Monk Culture
Administrators • Monday, September 30, 2024 •

Robam Kngork Pailin (Pailin Peacock Dance) of the Kingdom of Cambodia (Khmer)🇰🇭🐉

Robam Kngork Pailin (Pailin Peacock Dance) is a long-standing legacy from the Kola ethnic group, who live in the region of Pailin in the west of Cambodia. The dance relates to a Pailinian legend about a magic peacock who goes to preach to the King. The lively dance is about commemorating this peacock which is a symbol of happiness. The dance imitates the peacock with lively colors of beautiful wings and suggests a courting scene between a peacock and a peahen. The dance is said to bring happiness and prosperity to villagers and is often performed during the New Year and ritual ceremonies in times of drought to pray for rain.

The dance was choreographed by Prof. Chheng Phon and Prof. Pol Som Oeurn in 1965. Performed until 1975, and re-intro¬duced in 1979, today it forms part of the curriculum in the Department of Choreography at the Royal University of Fine Arts.

The dance is deeply related to the original Khmer belief, which is similar to the rest of the world, such as in Africa, Asia or Australia, who believe in the spirits. Khmer people respect this belief even before Buddhism and Hinduism come to the Sovannaphum peninsular.

According to Kola tradition, there are various types of malignancies such as disease, bad things that harm the happiness of the villagers. Villagers always pray to Yeay Yat, whom they believe as the god of the land, sacred, and their guard, for letting her help get rid of and bring peace and happiness to the children of the people in the village.

According to a research paper from the Research Department of the Ministry of Culture and Fine Arts during the 1960s stressed that the origin of the dance was first organized. There is only male peacock to perfume based on the dream of the King’s daughter during the period for performing in the area or Kola ethnic in the occasion of Khmer New Year, Praying Spirits, and Yeay Yat. The performance just expresses about the nature, customs, and lifestyle of Kola ethnic. But after the research finding of Research Department, the department had set up two peacocks, one male, and one female, and added one hunter to improve the performance of the dance in describing the beauty and the environment in line with the benefits of the Pailin area, which is rich in diamonds. The dance performance relies heavily on gesture and features of the peacock in order to perform life-like scenes.

Apart from showing the geography and the natural beauty of the area rich in diamond, life, and traditional custom of the people living in the area. Robam Kngork Pailin took up the life journey of the peacock to show through male and female peacock, which are happily living together in the jungle. Suddenly, hunters came to fend the male peacock to break up the peacock couple and leave indefinitely pain. The dancing ended in that. Because it is thought that the performance of the dance is straightforward with no fascinating attraction. Therefore, they are preparing a pair of peacock and hunters to emphasize the happiness and unhappiness of animals. But later, they corrected this dance by ending only the slack of the male peacock did not succeed.

@Admin YA

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