Tro khmer culture

Traditional Cambodian musical instruments[1] are the musical instruments used in the traditional and classical music of Cambodia. They comprise a wide range of wind, string, and percussion instruments, used by the Khmer people and Austroasiatic people, majority as well as the nation’s List of ethnic groups in Cambodia ethnic minorities. All musical instruments have been creating a great literature and realm of art. There are many Khmer traditional instruments families, such as Xylophones, Gong chimes, Drums, Fiddles, Zithers and plucked lutes, Flutes, Oboes and free reed pipes and others. However, bowed family is an interesting and a very great instrument. Instruments in this family include the two-stringed Tro u, Tro sau toch, Tro sau thom, and Tro che, as well as the three-stringed Tro Khmer spike fiddle. The Tro Khmer is closely related to a Thai instrument called Saw Sam Sai, Indonesian instrument called Rabab, Vietnamese called Dan Nhi, Japanese and Chines called Erhu(originated from Mongolia, not China) also[2]. All of these kinds of Troes had their own features. So, Tro Khmer (ទ្រខ្សែបី) is the generic name for traditional bowed string instruments in Cambodia.

 

Sculpture from the Angkor National Museum:

Sculpture from the Angkor National Museum: One of the best sandstone sculptures of one of the most famous animals in Khmer mythology, can now be found at the entrance to the Angkor National Museum. I refer to Nandin (aka Nandi),

One of the most imposing of temples in the 10th century Koh Ker complex

One of the most imposing of temples in the 10th century Koh Ker complex, some 120 kilometers northeast of Angkor, is the dark and brooding Prasat Chrap. This is how it seemed to me on one of my earlier visits in January 2005, as the locals were burning off the undergrowth in and around the temple site and the three massive standing towers, surrounded by smoke, appeared to be blackened by fire. The scene had changed little when I paid another visit to Prasat Chrap a couple of months ago, besides the absence of any scorched earth. The trio of towers are still blackish brown in colour, actually caused by their oxidation over the centuries exposed to weathering, and are similar in appearance to other laterite towers at Prasat Chen and Banteay Pir Choan. However, the west-facing frontage of all three towers has crumbled in on itself and there are few remnants of the sandstone doorways that once stood with their carved lintels and colonettes. A few miniature prasat-like antefixes still decorate the corners of each level of the central sanctuary, and some pedestals housing the feet of decorative guardian lions litter the floor, next to one remaining lion lying prone, who is in the same place as I saw him in 2005. In front of the three giant towers are the broken remains of two libraries, one of laterite and one of brick, as well as two surrounding walls of dark laterite.

Chapei Dong veng , Khmer musical instrument

Chapei Dong veng , Khmer musical instrument in the opening 32nd SeaGame open Ceremony. It was listed in UNESCO as intangible cultural heritage since 2016 ! 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,