Inventory–Making Efforts ICH Inventory-Making Efforts in Cambodia Sonnara Prak (Deputy Director, General Department of Heritage, Ministry of Culture and Fine Arts) OWFOUPSZtNBLJOHFGGPSUTPGJOUBOHJCMF stories, costumes, stage decoration and other cultural heritage in Cambodia are aimed at ways of performing khmer classical dance. I providing the reader with a representation of *OWFOUPSZtNBLJOHFGGPSUTXJMMDPOUSJCVUFUPUIF the diversity of Cambodian culture and arts which safeguarding of this element and assist in the include, but are not limited to performing arts, collection of basic data for the preservation and music, handicrafts and languages. It does not aim development of the dance for future generations. UPHJWFBOJOtEFQUITUVEZPOFBDIPGUIFTFGPSNT The Royal Ballet of Cambodia, also known but rather, provide a complete overview of all the as Khmer Classical Dance, was declared a known forms of intangible cultural heritage with 'Masterpiece of the Oral and Intangible Heritage practical information regarding each element. of Humanity' by UNESCO on 7 November 2003. Cambodian classical dance is a unique art In 2005, an Action Plan for the Safeguarding form of Cambodian intangible cultural heritage. of the Royal Ballet of Cambodia project was In Cambodian tradition, the dancer performs established. The objectives and methods for a succession of choreographed postures that implementation are as follows: smoothly !ow from one to the next without any abrupt movements. The dance is a passionate art Objectives form in which controlled movement is used to t Research and collect existing documents and communicate drama and intensity. Each of the knowledge regarding the Royal Ballet or Khmer slow, carefully composed gestures is precisely Classical Dance; marked by orchestral accompaniment. t Revitalisation of 'lost' choreographies and Taking inventory of this element ensures the surviving knowledge; eternal existence of the dance. It is imperative t Assistance provided to elder masters and to document the gestures, songs, music, practitioners of the Royal Ballet for their e"orts 10 | ICH COURIER 㙸䈐⎨㏘⤼䉤㜠⪸䝬UGGGXW YWXWTW_TY^GGG㝘䟸GYaZYaX[ to ensure the transmission of their knowledge to t Revival history Fine Arts who provide support through teaching younger generations; t Vital stories in the repertory and conducting activity programs to maintain t Strengthening the research and training t Major masters and practitioners these traditions and encourage research, data capacities of the Faculty of the Choreographic collecting, and documentation. Arts and the Department of Performing Arts; The working group of the Ministry of Culture and The UNESCO Phnom Penh Office was one t Raise public awareness, particularly among Fine Arts defined and achieved the following works: of the #rst to publish an inventory of Cambodia’s younger generations regarding the significant t Selecting surviving documents intangible cultural heritage in 2004. At the same value and traditions of the Royal Ballet in order t Identifying principle masters time, projects were started with relation to to enhance recognition and involvement. t Interviewing principle masters the development of a Living Human Treasures t Recording music, songs, gestures, and art styles system in Cambodia and the revival of the 'Royal Implementation Ballet' tradition. A sub-decree is now proposed For the implementation of the project, a task The safeguarding of intangible cultural by the Ministry of Culture and Fine Arts in team was established and divided into four heritage in Cambodia, including both royal close collaboration with UNESCO to officially components. They are as follows: and the popular traditions as well as festivals institutionalise the system and selection of Living Component A of the different regions and ethnic groups, is a Human Treasures in Cambodia. t Training for research methodology and project primary concern of the Ministry of Culture and management t3FTFBSDIBOEJOWFOUPSZPGUIF3PZBM#BMMFU Component B t Training for current dancers to become instructors t5SBJOJOHGPSQSPWJODJBMBOEQSJWBUFUSPVQFT t Revitalisation of the ‘lost’ choreographies and surviving knowledge Component C t1SPEVDUJPOPGPOFTFUPGNVTJDBMJOTUSVNFOUT Component D t Organisation of the annual Royal Ballet Performance In close collaboration with artists and representatives of the Provincial Departments of Culture and Fine Arts, research and the collection of surviving documents were conducted along with the documentation of knowledge from principal masters of the traditional Royal Ballet throughout Cambodia, particularly: t Performing Arts (traditional dances, stories, choreographies, etc.) t Traditional oral literature (traditional oral folktales) t Traditional costumes t Traditional practices A compiliation of inventory information of 1. Costumes for Khmer Classical Dance, Neay Rong, Neang, Yeksa, and Hanuman (Photo by P. Sonnara) the masters and practitioners of the Royal Ballet is 2. H.R.H Princess Norodom Bopha Devi performing Apsara dance adapted from Nagara Khmer in 1967 ( Photo by MoCFA, Cambodia) necessary in order to produce a document which 3. Khmer Classical Dance, Royal Ballet (Photo by MoCFA, Cambodia) will include: 4. Senior o$cers attending training serminar of classical dance (Photo by MoCFA, Cambodia) t Brief history and presentation 5. Transmission of classical dance (Photo by P. Sonnara) 6. Field research on classical dance (Photo by P. Sonnara) t Name of each form of dance VOL. 4 | 11 㙸䈐⎨㏘⤼䉤㜠⪸䝬UGGGXX YWXWTW_TY^GGG㝘䟸GYaZYaX].