The term Khmer classical dance is also used alongside "Royal Ballet of Cambodia" in publications by UNESCO and the above-mentioned authors.

[6][7] During the Lon Nol regime of Cambodia, the dance tradition was referred to as Lakhon Kbach Boran Khmer (ល្ខោនក្បាច់បូរាណខ្មែរ, lit.

[10] Ancient stone inscriptions describe thousands of apsara dancers assigned to temples and performing divine rites as well as for the public.

Under the Sangkum period, Cambodia underwent its cultural and artistic transformation spearheaded by prince (later, King) Norodom Sihanouk.

While supporting neutrality of new post-colonial countries during the early Cold War period, he was aware that Cambodia was dependent on foreign aid.

As a diplomatic design, he promoted symbols of the country's national culture that had entered the consciousness of people across the world: temples, and the ballet.

[17] After Cambodia's independence in 1953, Queen Sisowath Kossamak started revamping the ballet incorporating the tastes and inclinations of international audience.

[18] The following year, the cultural ambassadorship programme continued in China under similar name, The Ballet of Khmer-Chinese Friendship 1960.

[17] The dance tradition suffered setbacks during the Khmer Rouge regime, during which many dancers were put to death in the genocide.[unver.

[11] Those who survived wandered out from hiding, found one another, and formed "colonies" in order to revive their sacred traditions, under the leadership of former prima ballerina Voan Savay.[unver.

In 2023 director Xavier de Lauzanne released The Perfect Motion, [‘La beauté du geste’ in French, and ‘Tep Hattha’ in Khmer] an 86-minute documentary film on the dance form.

It follows two storylines: the Metamorphosis show created by Princess Norodom Buppha Devi, and traces the history of the Royal Ballet from 1906.

[22][23][24] Four main types of roles exist in Khmer classical dance: neay rong (male), neang (female), yeak (rakshasa), and the sva (monkeys).

The cast is divided into two forms, Neang as the female character and Neay Rong as the male character, which is described as follows: - usually has a pre-eminent position; deities, queens or princesses (e.g. Sita & Robam Moni Mekhala) - these mythical creatures live in Mount Hem Pean in (Khmer Language) means deep in the Forest Mountain Himalayas (e.g. Robam Kenorei) - usually has a pre-eminent position; deities, kings, or princes (e.g. Rama) The music used for Khmer classical dance is played by a pin peat ensemble.

The lyrics are in poetry form and are sung interspersed with the grammatical particles EU [əː], Eung [əːŋ], and Ery [əːj] in various patterns.

Khmer classical dance uses particular pieces of music for certain events, such as when a dancer enters or leaves a scene, or performs certain actions, such as flying or walking.

[12] In propitiation ceremonies (បួងសួង, buong suong), it was performed at Wat Phnom and the Silver Pagoda and Throne Hall of the Royal Palace.[unver.

Nowadays, venues for performances by the Royal Ballet include the Chenla Theatre and the Chaktomuk Conference Hall, designed by architect Vann Molyvann during the Sangkum Reastr Niyum era.[unver.

6] Tourist restaurants in Cambodia, notably in Siem Reap, also serve as venues for classical dance performances by amateur troupes.[unver.

[11] The traditional stage for classical dance drama performances contains a table with a decorative pillow, sometimes laid on an Oriental rug or carpet.[unver.

The sampot is wrapped around the lower body in a sarong-like fashion, then pleated into a band in the front and secured with a gold or brass belt.

Worn over the left shoulder is a shawl-like garment called a sbai (also known as the robang khnang, literally "back cover"); it is the most decorative part of the female costume, embroidered extensively with tiny beads and sequins.

Jewelry for the female role includes a large, filigree square pendant of which is hung by the corner, various types of ankle and wrists bracelets and bangles, an armlet on the right arm, and body chains of various styles.

They also wear a kite-shaped ornament called a sloek po (named after the bo tree leaf), which serves as a center point for their sangvar.

The panchuret (Groslier romanizes this as panntiereth), reserved for princes and generals (sena), is a circlet-like crown with a faux knot in the back.

Since the restoration of the Royal Ballet in the 1979, some of the old repertoire was recreated and several new dances were also created, most notably robam monosanhchettana by the late Chea Samy.

Sophiline Cheam Shapiro has also introduced new repertory to Khmer classical dance, although they are not part of the traditional royal repertoire and mainly have been performed in Western venues.

The repertoire of dance dramas (រឿង, roeung) consists of a myriad of stories, unlike the lakhon khol, which is limited only to the Ramayana.

The plots of many dance dramas often concern a male character who rescues a damsel in distress or destined love presented with obstacles.

Its costume is based on the bas-relief of apsaras on temple ruins but much of it, including its music and gesture, is not unique from other classical Khmer dances that probably do not date back to the Angkor period.