This article lists the practices listed in UNESCO intangible cultural heritage to Cambodia.
Understand
The country has three practices listed on the "representative list of intangible cultural heritage From UNESCO.
No practice is included in the "register of best practices for safeguarding culture "Or on the"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The Sbek Thom, Khmer shadow theater | The Sbek Thom, a Khmer shadow theater, features large non-articulated puppets, in chiseled leather, which can measure up to two meters high. Prior to the Angkorian period, it is considered, like the Royal Ballet and the masked theater, to be a sacred art. The performances, dedicated to the deities, were only given three or four times a year for specific occasions such as the Khmer New Year, the king's birthday or the veneration of famous people. After the fall of Angkor in the fifteenth century, shadow theater moved beyond ritual to become an artistic form, without losing its ceremonial dimension. The puppets are carved from a single piece of leather according to a ceremonial specific to each god or divinity represented. The skins are stained with a solution of kandaol bark. The craftsman draws the figurine on the tanned skin, then chisels and paints it before attaching it to two bamboo rods which will allow the dancer to animate the puppet. Performances usually take place at night, in the open air, on the edge of a paddy field or pagoda. A large white sheet is stretched between two tall bamboo poles in front of a large fire or, henceforth, spotlights. The silhouettes of the puppets are projected in Chinese shadow on this white screen. The manipulator brings it to life by performing precise and specific dance steps. An orchestra and two narrators accompany the dramatic action. Inspired by Reamker, the Khmer version of Ramayana, the performances feature extracts from this epic. They can be spread over several consecutive nights and require up to 160 puppets for a single show. Many of these figures were destroyed under the repressive Khmer Rouge regime, which almost destroyed this sacred art. Since 1979, the Sbek Thom has gradually come back to life thanks to the rare surviving artists. To date, three shadow theaters have been reborn from their ashes and ensure the transmission of the knowledge and know-how concerned, in particular those related to the making of puppets. |  | ||
| The Royal Cambodian Ballet | Renowned for its graceful body language and sumptuous costumes, the Royal Cambodian Ballet (also known as Khmer classical dance) has been closely associated with the Khmer court for over a thousand years. Its performances traditionally accompanied royal ceremonies and events such as coronations, weddings, funerals or Khmer festivals. This art form, which narrowly escaped annihilation in the 1970s, is revered by many Cambodians. Vested with a sacred and symbolic role, the dance embodies the traditional values of refinement, respect and spirituality. Its repertoire immortalizes the founding legends of the Khmer people. This is why Cambodians have always considered it an emblem of Khmer culture. The classical repertoire has four types of characters: Neang the woman, Neayrong the man, Yeak the giant and Sva the monkey. Each has its own colors, costumes, makeup and masks. Body movements and postures, the mastery of which requires years of intensive training, reflect the full range of human emotions, from fear and rage to love and joy. An orchestra accompanies the dance, while a female choir comments on the plot and highlights the emotions mimed by the dancers. The latter were considered the messengers of kings to the gods and ancestors. The Royal Ballet practically disappeared under the repressive regime of the Khmer Rouge who exterminated almost all the dance masters and musicians. Immediately after Pol Pot's defeat in 1979, dance troupes reformed and resumed performances of the old repertoire. If the ballet has almost regained its former splendor, it still faces many difficulties such as the lack of funds and places of representation, competition from modern media and the risk of being transformed into a simple tourist attraction. |  | ||
| Tug of war rituals and games Note Cambodia shares this practice with the South Korea, the Philippines and the Viet nam. | social practices, rituals and festive events knowledge and practices concerning nature and the universe | Tug-of-war rituals and games in the rice crops of East and Southeast Asia are practiced in communities to ensure bountiful harvests and prosperity. They promote social solidarity, entertainment and mark the beginning of a new agricultural cycle. Many rituals and games also have deep religious significance. Most variations have two teams, each holding the end of a rope trying to pull it to the other side. The intentionally non-competitive nature of the event removes the focus on winning or losing, asserting that these traditions are carried out to promote the well-being of communities, and reminding members of the importance of cooperation. Many tug of war games bear traces of agricultural rituals, symbolizing the strength of natural elements such as sun and rain while also associating mythological elements or purification rites. Rituals and tug of war games are often organized in front of the town hall or the village sanctuary, preceded by commemorative rites in homage to local deities. The village elders play an active role in leading and organizing the younger ones and in performing accompanying rituals. Tug of war rituals and games also serve to strengthen unity and solidarity as well as a sense of belonging and identity among community members. |  |
Register of Best Safeguarding Practices
Cambodia does not have a practice listed in the Register of Best Safeguarding Practices.
Emergency backup list
Cambodia does not have a practice on the Emergency Safeguarding List.
