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KHMER SALUTATION

CAMBODIA

KHMER CULTURE ASSOCIATION

tu~l~yruJh;r Bru.J

15 C, Street 1986
Sangkatt Roeussey Keo, Khann Roeussey Keo
Phnom Penh
CAMBODIA
Tel : (855) 16-823-089, (855) 12-849-242
E-mail: Samangsam@aol.com

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Copyright 2002
Sam-Ang Sam and
Sam Ath Nguon

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Advisors:

U1U~ ~Lnlrn

Tum Kravel Pich

tlH mru

TheayEm
Nala Him

Photographs by:

Sam Ath Nguon

Sam-Ang Sam
NalaHim

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Printed in Cambodia: 2,500 copies

Sponsored by UNESCO

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January 2002

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Japan Funds-i,n-Trust Project

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A RESEARCH PROJECT UNDER THE DIRECTION OF

HER ROYAL HIGHNESS SAMDECH PREAH REAM

NcrDffiC[))JJ))(D)JOO lliUJIPIPIBIA IIDIEWIT

MINISTER OF CULTURE AND FINE ARTS

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FOREWORD

I am very pleased with the research that was invested in this book. It is an
important contribution to the development of Khmer culture. The publication of
"Khmer Salutation" is essential for the cultural edification of our younger generation
as well as for disseminating information around the world in regard to Cambodia's
ancient and rich cultural heritage.
On behalf of the Ministry of Culture and Fine Arts, I would like to convey my
best wishes for the success of this wonderful and important publication.

HRH Princess NORODOM Buppha Devi

Minister of Culture and Fine Arts
Phnom Penh, Cambodia

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FOREWORD

The intangible heritage of a country embraces all forms of traditional and

popular culture. These creations are transmitted orally or by gesture,
and are modified over a period of time through a process of collective
recreation. The intangible heritage of a giving country includes, among
others, oral traditions, customs, languages, music, dance and rituals.
For Cambodian population, intangible is the vital source of an identity
that is deeply rooted in their history. Cambodian have transmitted from
generation to generation, through gestures and rituals, philosophy,
values, moral code and ways of thinking which are unique to them.
The present book constitutes well-documented research about the
Sampeah, the traditional Khmer sign of salutation or mutual recognition
which is intimately known and practised by every Khmer. The way of
saluting varies according to the age or the social scale of the persons
involved. For this reason, Sampeah is a special source of information
regarding the values and codes inherent to Cambodian society.
As UNESCO is supporting Cambodia in preserving and revitalising its
national intangible cultural heritage, we are very honoured to have
contributed to this important initiative of Her Royal Highness Samdech
Preah Ream Norodom Buppha Devi, Minister of Culture and Fine Arts. On
this occasion, I would also like to encourage the staff of the Ministry of
Culture and Fine Arts and the Khmer Culture Association, the authors of
this publication, to continue to devote all necessary efforts to preserve
Cambodia cultural heritage.

Etienne Clement,
UNESCO Representative in Cambodia

...---

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KHMER SALUTATION

BY

SAM-SAM ANG

AND

SAM ATH NGUON

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. KHMER CULTURE ASSOCIATION

Contents
Page
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

HlHH'iifl
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Preface............ .... ... ...... ...... ....... ................ .. . .. . ................... 2
0

film
Sampeah or Salutation..... . ...................... .. ... ...... ............ .........
u

H~BriHUfilfilm

Meanings of Sampeah ....................... ......... ......... .. ................. 5

nujmlim
Sampeah Manner......................................... . .... .................... 6

mmJm

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Sampeah Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 6

r~~mu~Lmt:mmlJU'i
Royal Salutation................................................................ .... 13

r~mmutlmru
C7

...

Thvay Bangkum Koal ........................................................... .. 13

r~mmutlrhm ~rmrm sij mmutlm

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Thvay Bangkum in the Presence of a King ........... . ...... .. .... ............. 13 .

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Sampeah in Dance Context

...

.....

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0.

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0.

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17

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Krab Thvay Bangkum in Religious Context ..............

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23

1~Lmun1maijmmu1~mu1
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Krab Sampeah in Wedding Ceremony ....................................... ... 31

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References Cited.

0.

0.

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34

ACKNOWLEDGEMENTS
~mtmu~trutl@tiJHt~tuhlmtm~llil ~tmmttttl

We would like to take this opportunity to

express our profound thanks to Samdech Preah
Ream Plincess Norodom Buppha Devi, Minister
of Cul ture and Fine Arts, for her blessing and
insight into the creation of this work. We th ank
our advisors-H .E. Tum Kravel Pich, Mrs.
T heay Em, and Mrs. Nala Him- for their
valuable input in making this book meaningful
and indeed a great one.

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T he Khmer C ulture Associati on would

like to express its heartfelt gratitude toward Mrs.
Geraldine Kunstadter and the Albert Kunstadter
Family Foundation as well as UNESCO for their
generous support for this publication . We thank
our handsome and beautiful fliends, who were
willing to pose for our photograph s for this
project.

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Finally, we would like to thank H.R.H.

Prince Sisowath Panara Si1i vuth , H.E. Socheat
Ouk, H.E. Michel Tranet, Mr. Fred Frumberg, and
Mr. Bun Rith Suon for their constructive
criti cism, suggestions, and ideas at the early
stage of our writing and preparing for the
publication.

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PREFACE
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It is a great c hallenge to write on a subject such

as "

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Every K hmer person grows up seeing and

doing the sampeah. T hus, everyone assumes that he
knows how to do thi s reverential act. Indeed, there
are variances, in differing degrees, amo ng the people
of diffe re nt classes of society in different loyalties,
social surroundings of the country, and degrees of
consciousness of a person about sampeah and Khmer
customs and traditions.

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rt11tsimtlit~r

mr;~wmstsi rJ\jtrj\jfl:lm

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mtrj\jw3ls ~tmgft1~fr;il S\j 9tsjH91flU tu1mU1

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Educated and modem individuals nowadays prefer

hand-shaking over sampeah, as one might often
notice. Nonetheless, to many Khmers, sampeah IS
preferred to hand-shaking for the reasons that:

tru\jmu~ulugmrJq\jamw~g tili'tls s\j tilfm1tru\j

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wh.ich is intimately known and

practiced by every Khmer, as one naturally grows up

perf01ming the sampeah both consciously and
subconsciously everyday in life. Even a young child is
taught and shown how to do sampeah as an act of
respect and humbleness, which is very important in the
Khmer etiquette. It is part of the Khme r I ife and
mannerism. A Khmer person performs the sampeah
when he is given something or a favor as a sign of
gratitude. A child does the sampeah to his parents
before leaving for and after returning from school.
People also sampeah when meeting another person,
particularly one o lder or higher in rank.

S\jtum seniq\j~s 1 mijFJm rutiB\jBmruruna~n'[lrn

l;!tu8wms tsiqijffin S\j m~~fuH~tu1mut11t~r

wm " sampeah

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Khmer custom, tradition and mannen sm

ought to be preserved intact.
Hand-shaking may hygienically contaminate one
another through physical contact.
Traditional
Khme r
wome n
fee l
uncomfortable being touched by men,
besides their intimate partners.
In a big crowd, sampeah with a sweep;ng
movement saves a great deal of time, such
as in a boxing event, an act that is done by
the boxers to the audience. K hmer leaders
do that all of the times, as they salute the
crowd du ring a public speech or meeting,
instead of approaching eve1yone to sampeah
or hand-shake them, which would be very
time-consuming.

During our school years in the 1950s,

courses in mannerism were offered in the
elementary school curriculum to teach young
students early enough about their culture,
respect, and humbleness preparing them to be
respectful, accepted, and active members of the
community.

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~tUMJl~tUMj~G9 9t.f!UtnmqDfGB qUDfmmwtsi
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ti:hum1~Mmrmuhl1r 1
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This work is presented here with an intention to

preserve a Khmer way, as aspect of Khmer culture.
It can also serve as a guideline and principle on the
placement and position of the sampeah posture- the
budding lotus shape-and the Lrn uhin: krab sampeah
when greeting and saluting friends, older persons
parents, teachers, the Buddha image or Buddhist
monks, and king.

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We hope that this small work will contribute

and provide infonnation, ideas, principles, and
guidelines to our readers. The subject in question is
certainly a familiar one with those who practice it. If
there are any mistakes or there is infonn ation
lacking however it might be, we would like to
apologize and do hope that you will fill in any gaps
left by this work.

rll~tMMMLmilryruLJL~ryruiim

'1

Phnom Penh, January 12, 2002

Sam-Ang Sam
Sam Ath Nguon

SAMPEAH
OR
SALUTATION
~~g m9tsjH91.;lltlrUWt~r tgt~tJt'tjHj U~QJ

The bending low of one's head to a person or

thing in the form of a bow as a sign of obeisance or as
a respectful attitude has survived to the present day.
Sampeah is a form of greeting and respect, or better
yet, mutual salutation or recognition, which is very
essential in Khmer society. The Khmers pay respect
to parents, Lord Buddha, monks, king and queen ,
teachers, uncles, aunts, older individuals and persons
higher in rank.

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tljHjfllt~tl~fHrulH~rulY'hmg[JfilHmmru ~ tsimrn
~

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~HHi'lrutmtD !lfi~tDijl}rut~rntnUlstg

Khmer etiquette implicitly requires that a junior

in age or rank initiates a sampeah as a sign of respect
to a senior accompanied at the same time with a
slight bow. A person sitting on a chair before a high
personage bends his head a little and holds his hands
in a budding lotus shape placed somewhere between
the face and chest. Or instead of having the hands
posed in a budding lotus shape, the fingers may be
clasped or the hands held one upon the other. Where
a person is receiving something from a senior, he wi ll
raise his hands as a sampeah to the giver as a polite
gesture of thanks before or after receiving it. When
one is asking someone's pardon or favor, one usually
makes such a sampeah too.

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<ihm g~ni~rnms~tBjltJmitrn tmr~, flnft1Sl)

mii

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mQJt9i Btl t tmmrlt~9JUHnrlflnrnlttjs1QJ ~ Hjltlmjn

t~nrutJWm!JlmfJQJt9iHmsimrn~u!Jl ~ tsi qtJmllil
t~ru~~rurull !:flilUJfmmuQJrlnt~tll:)'stn ~~rntmgl]f

f11mrnltnlnU9fJll:)'B l:JBBtlmnmQJt9i ~ U~UHn

t9u~ntlt9jn fllmnumiJQJ ~ ~tmglumt}st~n;rru
~~st~rur wmi9trytJ :g ~nnt}mr GB :g ~1JB

The person who is inferior in age or ran k in the

Khmer social scale initiates such a movement of the
hands and the person receiving the salutation
immediately reciprocates. This formality is not /
strictly adhered to by individuals who are on intimate
terms. The Khmer salutation may be rendered while
s itting, standing, walking or even lying in bed during
an illness . In rendering a salutation while standi ng to
a most respected person who is sitting, one, as a
decorum of good manners, will stoop or bend down
the head at the same time. When taking leave, the
departing person will offer a salute in the same
manner, followed in turn by a corresponding salute
of the other person.

i~rnBmmmju~ruru mtt~sBmHmlit~!Jl~uum}iH

Lut9tD

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m1ii~1Jmmrmu1~mmsiHsm8tnlitm8 ~
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fllm!jnt~rnmsmliJtLtis

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tils~rtDBGmtlmtrs

tJ~~ruln~nt~rumsmupL~Bt}ltl

:g

ols~rtD6rl

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Psychologically, if a person receiving a sampeah

from a junior is egotistically conscious of his
superiority, he will return the sampeah with hands
raised to a position not higher than the chest. If, by
virtue of his great age or rank, he is not obl iged to
make a sampeah in return, he may merely raise his
right hand side-wise and with a nod, or nod onl y, as
favorable recognition or approval. In most cases a
superior person seldom performs a sampeah fi rst
when meeting or greeting a person of inferiority.

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R1Jmtl u olsmtDN~1Jmtlm ~jj
m mi1swm~mmmi
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Normally a senior will return the sampeah of a

child with a nod or other appropriate gestures onl y, as
a sign of approval or goodwill. Of course, there is an
exception , if the child is a prince or an honorable
me mber of a hig h dignitary's famil y.
<fGBl~lJiHtg~fil~~G ~B run~ 0aeml 9~~ ~l!J6) 1

W hen sitting, standing or passing before a h igh

personage, or elder, one should assume the attitude of
meekness by stooping or bending down one's head or
body so that it is not level to or above the head of the
personage. If the personage is sitting on a chair, one
should stoop low when passing. T hi s attitude app lies
equally to a personage who is walking.

im~~~mru ~ im~~1~~~mru ~m~mm~

ttfimHilmmrn c9~ r ~\!Jet)

im~~~~ru """~llitfilU~tilU~ ~m~rutn~ _g lfllU

9mttflruru3n
<M
u eti!Jct -rf mQ) '
v
~1~~~ ~im~~~ t'Jm
...,

tmm cgm rimo)

y unuwmttflrurm

MEANINGS OF SAMPEAH

Bangkwn

Saluting or bending down and

saluting a respectable person.
Krab bangkum koal
or Krab thvay bangkum Ente ring to salute while
sitting.
Krab bangkum toul E nteri ng to salute verbally or by
letter.
Thvay bangkum Saluting or bending down and
saluting with respect.
Buong szwng Praying by declamation.
Pranamm
Raising the budding lotus hands to
salute.
Anchali
Putting the ten fingers together to
salute.
Pranamm anchali Rais ing thebudding lotus hands to
salute.
Sampeah
Raising both hands with the ten
fingers togethe r pointing upward,
palm to palm, to salute a respectable
person or o bject; gesture of respect.
Sampeah kar Bending down and saluting in a
wedding cere mony.
Sampeah krou Saluting, w ith respec t, teache rs or
teache r's gratitude fo r having taught
mag ical arts or artistry.
Sampech ngear
or Thvay bangkum ngear
Be nding down and
saluting the king for bestowing a title
or pos ition.
Sampeach pelea Saluting the sun to receive the
blessing moment as told by
astrologer in the wedding ceremony.

~e~e us- usttU8 - WiJilfill]ij tmmmTIJTIJfilfil

c9~~ wrf(i)) '

~~~j trnTITIHJt'm~mt'Jm c9~~

~~re

Ui~ ttnH1l:l

(!) (SrlJ ) '

rm~ ttnH9iil00tnlH1

c9~r 0eiwrf) '

~~~j~~Jru tm!'i!iHJilmTiruluilllHJ <9~r 0~(:5~) '

~~:: trn!itl:l mtlr\~~ttnHmil90 t~gtn~mirmmrn
I

~~::m~

trnuwmermtuuugqtltfrnltl:lm@s

mmtli'flmtli
~~::~

tUU

t'Jmtmm~tmglli _g ~tmg~lliJ ffitl:lrn lilB

mtilJBH~r~mr y filrnjfin t~ttUil9 1

~t mg lm 1itilllltll H~\flfJtrh; g~~lhJlB ~r Mfi

UmH~ttliltUtmm~91Stnilmtl '1
~~::mru1 tlimtmm9nJ9~mmrnl

tnB!J!ijtl:lm

mmmsfillil~~qij'fltimmtli'flmtli 1

~mru1

wm tmmm!iJ rnl~ '1

~~::G\5~
wmunruruntl:lrnrmmmmmmflmtUrtU2
:J
-v
1.1

I ~

9fitiij
IB

U.

\J

'1

Sampeah lea Saluting to say goodbye.

Sampeah suor Saluting respectable person with
words of greeting.
Sampeah saum toh Saluting to beg for forg iveness.
Sampeah neak ta Saluting the guardian spirit e ffigy

'1

asking for help.

SAMPEAH MANNER

h:m tD mJ mtth tDUU fit tl mtl fi Hlril Dlll tl mrum

v
tn0thrmnfit:p3Uitlmiuu nJirut~jtl~tlttlmi f:?2li~l3
n~&limlgtBHtirtl Btl f:?2tthrutllfitBHttlmtlrirmimu
stltltl@s tntlttlHml3QJll3t'lltl 1 mHummrrn~m 1s
~~

.,.

c)

C#

'?

The Khmer sign of salutation or mutual

recognition is to raise both hands, join palm to palm,
lightly touching the body somewhere between the
face and chest. The higher the hands are raised , the
greater is the respect and courtesy conveyed.

.t)

The raising of the hands to sampeah, and the

lowering of the hands to a normal position after the
sampeah are never done with a swift movement but
rather in a graceful manner in a slow motion. The
upper parts of the arms remain close to the sides of
the body, without the elbow extended. The hands,
joined palm to palm, are both held far out from the
body in an erect position, but bent slightly inward.

mrJ~tufiltJ~tsu~mm mH9n~tl ntH~ tu~tuHJD~~r

Btl @rei
Flwm '

LrlHmtl~mm'Stl

mrrurumwlf~ru1r1fi 9

Btl

It should be noted that the placing of one's

hands in a budding lotus position or sampeah is
never higher than the forehead. In the ordinary way
of life, a sampeah. in such a manner is done mostly
by a prisoner, who is asking for shelter or relief, or a
beggar asking for alms.

n~f\5 ynd~~!l~~tltmrufi1~thfittltmlllHJD1djtl

wmEnm !JtlWmt~rAmssrum mrurunttltllfimst~

'
~tutlnLB'~ stl mmsmngmrrn~m1m nmsm~tu stl
~

o.

o "::

ihmmHtmg~t:Jr
0-

c..

c:::.l

tJ

o.

i'i'!;ffilttlB'tiftl rru !f ulS : t~ !f ttJunfi

~

SAMPEAH POSITIONS

B'~ll!]

llitUllli!Jl

rrumwmtl
mi T.[Tl rum ru

l.
2.
3.
4.
5.

uls:timtly

rn- i'i'!:fN~tlgnp a~n'[ltD ~~s~m mmmmu

~-i'iB'rufiunH
tmHunnJL~ tm tum y r~
tuntu9 tumr:
rt ~~~ mrm ~gf1~ f9glm1 y 1Jtl
f1JtlW1JtltuU)'tl
M

..

tJ1t9TIQJtmHn tthruthfitt:JteiHtBHtirtl 1
Hnttlrumsu1s:~1S
fJrJmnttlrumsdls:ti u
v
miU]mmru r~u]trun ttlttJllilHJ tUiru tllfitmHttl

People of the equal age or rank ought to

sampeah each other by placing the budding
lotus hands at the chest level.
A younger person or lower in rank ought to
sampeah an older person or higher in rank by
placing the budding lotus hands at the mouth
level.
Children and grandchildren or students
sampeah. their parents and grandparents or
teachers by placing the budding lotus hands
at the nose level.

tsit~Hmii 1

The commoners

~~

"'

~ H~tuJmSmt1Jt~rJ1 YLfllilJtuBt~rJ1r~tlitrun1t:Jwm
~

cc

ct.

~ 1JSft1ma~n'[llli
~

Chest level
Mouth level
Nose level
Eyebrow level
Above the eyebrow level

miwmmllilm fi1tuJft1mm
uun1tlm]tl tUiru tllfitmHttltm L~Hlts'f?g 1
nm~tDlmJ) ~ruu~ tmHunnJL~ tmtum y

........

thvay bangkum

(sampeah) a king, a monk, or a sacred object

by placing the budding lotus hands at the
eyebrow level.
Prayers to the Lord Buddha or Gods ought to
assume the sampeah posture by placing
the budding lotus hands above the eyebrow
level.

r~tli

r~tuBfiltu~r: r~tliuTinttlLtJllilB'J tUirutllfi~tl

tmHttl tsit~Btu~Thn]H

gmmu

'1

--- -

------------------------------------------------------------------

> ~n~t:lrufJmusuus g l.1n~illlGtmgt..m~ mi'm

UU til~ t..m lt1t.[J i:iUJtllin H~lUillltij1'igWt1utb1:Jti
mJtmn '1
OJ

"-')

I 010

fJmmmgmJt~mimrurnn H~rn
~li:i cGtmgtr~WJllij

'1

OJ

g tt:lmsitru

G'gmmwmt81rn~BnJlru~g

u~mst~ '1 mnrur;tt:lft1mrni'tgt~t~t8lrnrufi99BlJBHEl

nnwmmg g t..m]ltrt~rn '1 tsiqt~flElmt1u'gmmHEl

!fn~msh~m mmg~t~gt~HjfiHt:l~ ~ t ffiulnn~rul2
t..~lrntt..triGtmgtifi~t:lruwt~w

y trur;~rut~tmwtUm st~

mfl1Hmmrntmru e\i:iilll~GstrutUruu
"'

'1

-.)o

o o

fn" btJnn btJ\i btJllll:

( EYEBROW LEVEL)
n
I

y_ UjtflHltnij (NOSE LEVEL)

~- nt:rwmn
: fwmwf:llij li18:!1dl ij
n

y_ tl1iUJ1W81W (MOUTH LEVEL)

"'

"'

H~fitj

(CHEST LEVEL)

..

9. ttl Mil: ttlt1U\11lliJfiUiq

1. Sampeah Posture in Budding Lotus Shape

~. Clio: thbtfUd

iu tfi lfls:uifl (iutiuwwmu)

2. Sampeah between a Man and a Wpman (Hands at Chest Level)

m.

Milg

Jfnnnu 8u uqMJmM' y 1mtguumm (lnH'Wtfiumii mctilutfiuwumu)

3. Sampeah between a Young Person and an Elder or Person of Higher Rank

(Younger at Mouth Level, Elder at Chest Level)
11

ct Milgmmum fi~Bfim !t lJltnmmtj (1fiUlUtiiUifULfJ1fg mC\flutii1f1U1ft!U)

4. Sampeah to Parents, Grandparents or Elder Masters
( Younger at Nose Level, Elder at Chest Level)
12

ROYAL SALUTATION
>

~SnJlllillUtlffigrmu~~

BlSSliJtll

lfilif

ctls rrnm 0ct~ml 9~r c3~ )

u

>

Traditionally, when the country folks or the

commoners meet someone whom they consider a
great personage, such as King or Queen, a prince or
princess, or a dignitary, who commands the highest
respect, they wil l instinctively sit down on their heels
or haunches, with the hands raised in a budding lotus
shape, as a sign of great respect Not until the high
personage has passed or departed will they resume to
a normal position.

"mruutf mssrum: fJm ffl'i:HurunutftHjR

c

wnm ctls run~ 0ct~ml 9hr Eil9ct- Eimo ) '1

u

"unu~ruu~~ mssrum : unufJmuhru

>

tmmm9u~~ 1
1

If a person crouches on the floor before a great

personage, such as the King or Queen, in the K hmer
traditional fashion wi th the appropriate posture, that
is sideways with the legs folded backward and
inward (to the right side), she must recline slightly
sideways with the hands in a budding lotus shape
resting on the floor as a support

nJirufl1mti:hrutmm ctls run~ 0ct~ml 9~r 0mm)

>

mimrnwrmnu y~uu1~ ~~lrtrJmtmnJL~ttlrntutri~

mintmn:mrntm
~

tJ

r11rmutimmutjmffi~rmHlru

c'

>

:>

THVAY BANGKUM KOAL

~A'

;s~~es:55SG~~~~
tiG$~~~
c::":l
n

Thvay bangkum koal" means

"sitting in the royal abode while saluting with great
respect," during a royal audience or while listening to
a royal speech in a long period of time (Chuon
1967: 133). The manner of thvay bangkum koal is
crouching (bending both legs to the right) while
raising the budding lotus hands to sal ute with respect
However nowadays, people prefer sitting on a chair
and assume the act of sampeah instead.

c;;~

~s~~es:stssru~
c::":l
c;;1

rnl

~tmg f~tnstmHtmnJL~qtnru:mrn~ '1 m~miw~

THVAY BANGKUM IN THE

PRESENCE OF A KING

t~tsmlitlwt~~nlir]m nuju~mu~~tm~r~ms stl

Thvay bangkum or salutation in the presence of

a king is a reverential act with great respect for a
king. This act of thvay bangkum is done when
meeting and leaving the king in a rather short period
of time. The manner in which the act of thvay
bangkum is done is kneeling with one knee on the
floor (ground or carpet) while the other is straight up.
The hands in the budding lotus shape are ass umed
with the tip of the fingers at the eyebrow
level, the body slightly stoops forward and the head
slightly bends down.

~ruu~mtrJgmrnnJL~~H~rubV~tl~~1Jltl~rnst11'flr

y nLtnrn

tltl~~1Jlt1Wj~ut]p tif\rufl1mti:hmtmm

ti:hrununttlLUMHJi:hfi~tlLBlHttltsiLTIH~t~HJGU~s
~sHrltfBU~G stl ~SnJlrn~m~G 1 tru_tl~r u~fiut~H
~tlttlrm

Krab" means "lowering the head to the

lowest posi tion possible; bending down;
ducking; prostrating" (Chuon 1967:84).
"ylUJU~ Thvay bangkum" tneans "saluting with
respect" (Chuon 1967:529-530).
"Uil U91WU~
Krab thvay bangkum" means
"bending down to salute (whi le sitting) with
great respect "
"U'ilU

tsimrn~ruu~tmHtmnJL~ mtrs~ttlU'qB

t~tl tBrutmlitpmt'dtmH~t~ru rJugJJJ 1

13

'0

e:J

OQ

. rt ~lUfff\ltiUUUl:tJtmfijLfi (11ftfiULff~Ult1JU)
5. Thvay Bangkum Koal before a King (Hands at Eyebrow Level)
/

14

a. fUDU\18111Ui!f111B
0

OQ

11:1

BUfUUU\111f1tll:1ffJJ1ffJLII ( UI1Jf1ftfffj 81'1JU}

6. Thvay Bangkum before a King (Hands at Eyebrow Level)
15

n.

00

0~

e:l

tmU!lUJUUOtmdRtflB BUtm11!1Uf11il011U1UftnlfiJUi (tHUiUtU~Ot'IJU)

7. Thvay Bangkum before a King (Hands at Eyebrow Level)

16

SAMPEAH
IN
DANCE CONTEXT
rnnmmtllrurHUl:
Btl tllnm:flimEmmtsini:lffiei
a
u

1~mg ttfiruiisLFiB~nLu~uB si:l H~f~Eitsiqtlffin G'fiiTl

One cannot stress enough the importance of

showing respect and gratitude in Khmer life. This
concept is inherently practiced and incorporated into
Khmer dance. In the dance context, the sampeah
posture, in its idealized form, may be often seen on
stage in the rmfiJltiqnMt~r Khmer court dance and

nrn1 ~~H)JJm9

HlJlBfiJltiqnMi'~r

"-)

c.J

t)

0.

LUH1llil li:l

M~m~r '1

c:.

ruQllil: li:l hl1UommJg

t)

t~i

~rlli:llil l~tiHfijl mi:l 0tiJ i rut] llil1 ttlBfiiUlt'ilHJ,)eii:l rnM ~

~tlmni:lml.irumiqi:l WruJLutr:wn

dance drama performances . Here,

one is able to observe the artistic movements of the
hands of a dancer, who, before performing the
sampeah, will place her hands, joined palm to palm,
with the fingertips drawn slightly from each other.

ttiji:l9\flitllnilnJ1th~nlliltlltljmgjeitii:l '1 flimtsi qi:l

n:flmlMmm3M~unF\flimni:lffieiGHm
ru
"""

tmrufiml

ruQllil:~n112ruH~mmhl1fillilmrJtllwruJ: '1 rugllil:

~thlhltt::ru~MfJl fir}JntBiLeit]LmHti:l~i:lruuii~Hl tllntl

~lliJmn <BlLn0) r;ugcfJ 1

HJli:lt9jeinLBnn~tli Btl H!JBmmwflimtr::liqi:l

oc.)

c.J

ilil'i~ i

C:Jl

BllUhllli!)lll=i :

-:Jmrt!7mt!7ii?tJntJf17mJn7rmJiulfrfhrrgi:JiftJm
n
v
L;;
rgjumf fud7[mHunf!J[fi r;ugdJ

'I

Khmer court dancers use the sampeah posture

in styl ized manner. It is executed by j oining both
palms together with the finge rs arc hed backward into
dramatic curvatures as the Khmer dance is
characterized. This reverential salutation or sampeah
is also known as ururu anchali (an) ali) or LU!lflYJ
pranamm. This gesture occurs frequently and is seen
an average of one to two times in each dance piece.
For example, in ninrUJfl Robai m Apsara (Apsara

lfl-tJm rtl7mtl7ii?tJntJnmwn
7msirmrf1Mif:Jm
v

Dance)

rgj[mmwn [fffilfiJltii y lfMffrJj r;uggoJ

[ff/:1rIJI ;;:Jmrgjgfi[JSmJs Si:J Hf!fi[J fzJ7Hf!!
rvrug00 mtJrr!f J 'I

+ trui:lf!JHU~fitll rnrflimmi:lt'hsiqi:lrtilt~r
~

1]ftgmji:ltllU~U~UFJlffitHbli3ttJi:l\Jli ti:lrumlU~lQJ

tll2li:ltrumg
v

'1 <tHruUtlH

Khmer Court Dance:

A Comprehensive Study of Mov_.ments,
Gestures,
and
Postures
as
Applied
Techniques U1HU Wou~t;rru (~~Gri)) '1
~

n11'lllutiflim mliM t~mllirnmr::JtlltUm 9 qi:l

rmnjltl1Jllllil~~r llimru :

The act of preservation has always been

strongly maintained by Khmer artists both in
Cambodia and abroad. It can be observed auspiciously
and intimately before each performance on stage, in
the dressing room, and backs tage . In the dressing
room, before the masks and headdresses are put on,
an act of sampeah is expected in honoring the

- ~f)n~llilU,i qi:lu~u~~Jnmfi ~r::Jsi:ltlil]fd~i:li:l

Hlsi:lmfiBi:l
'7 U
. . . , B2
1

Robaim Phlett (Fan Dance) and

rm IIHlUIBllUJ Robaim Tep Monorum (Happiness of the

Gods and Goddesses Dance) when dancers enter in
procession and encircle the dance floor, upon
arriving at their place, they take their kneeling
posture. Synchronizing with music, at the end of the
piece, both palms are joined together and brought up
to the forehead and back to the chest level.
Religiously originated, the sampeah is highly
ritualized in three gradual and orderly steps
embodying three important principles and meanings.
L Sampeah on the chest is to a high personage
such as a king.
2. Sampeah at the forehead is to the divinity,
teacher or sacred object.
3. Sampeah back at the chest is the salute to the
audience or a person of an equal status.

'I

m-:Jm rtl7mtl7ii ltJn/:1f!lJI{fn7n[fifjjdHmsirdJr!JH

fitffi7

rmgn

17

teachers and for the teac her's spiri t of the dance rs'
part icular roles to be w ith the m througho ut the
pe rformance. T he Khmers be lieve that spirits res ide
in the masks and headdresses, and thus protect and
bless the dancers and their apprenticeship. W e also
bel ie ve that our teac her's spirits reside on our head .
Thus, we are in sulted whe n someone touches our
head. When the w11m sampho (sma ll double-headed
batTel drum) playe r strikes the first beat for the
1
invocation of the spirit to the music nnqmr Sathukar,

- 1unmmrnm'D~~nmn
- mrn_}rtJHf:!i5hll~fili c 1f:!i5l1n~llilUJ
ml~i5nii~g~\j~l

iulHUjfl iUlt9bltH8li'i:lj si5

rtfl~~mru1~mlliC]tnswml=!i519innJ i5
1=!i5mimrn
t8rn~nil~~~~tJ~gminrrp1rnmn 8i5 1=!i5t 9j~ mi~i5

uruu1mu1

~tsimrnt8rn~nrlntLBJUrfl~l~t/8Bi5tuC]

e veryone, with hands j o ined together and placed

above the head. sampeah or salute. Before the
e ntrance into and the exit out of the dance floor,
dancers sampeah in a brief moment for bliss and
gratitude to the teache rs.

Sathukar is a sp iritua l piece nor mall y per for med fo r the

invocatio n of the s pirit o f deceased teac hers.

18

..

d.

lHMilgt!tUrOf1HU101Jfi1n

8. Sampeah Dance Posture with Lotus Blossom Shape

19

t.

lH!JmtUM1Jj1lii1UUfRHQIUQl (1Utfiutii1Jt9H)
I

9. Sampeah Dance Posture (Hands at Chest Level)

20

t::l

t::l~

..

e,

90. Jf'llnftUMtfjlnJMfMlQlUQl (111Uitf1}1M)

1

10. Sampeah Dance Posture (Hands at Forehead Level)

21

e:i

99. lHfiniL1fW11fjQUl1l1
.
1
11. Sampeah Dance Posture

22

~e$

~~ffi5S1al55SfiS
~

KRAB THVAY BANGKUM

IN
RELIGIOUS CONTEXT

""~

~~~~~n;1n;;e1
~

~w

tcihnurlun u~lruu~1jl

up j-jJ1[U!l!l ffJ

Uf!J[UMffJ

Wt !:limit ru !'i1 mn H1 wmt th ru

u:~iGilliln1BH~LUlllil tr1El~ti10 1!:lkl Sl:l t:l~~[J '1

srumti3tmu~ruu~ Jtili~blmltl f11tultJ1jtVt;t:l~~tlim

stl ~ruu~tm~tli!:lr r;uff01!JJ

'1

tmu~ruu~ mssru

ffiH~tumit~l:l Ct~l:lu~mrlmtl~ ) 1!:ltrunmjl:l Wm

LUnmthru!:ll:l@BLmu~g ~nl:l1 !:lml:l~rthfi~g

~rnmi

Bl:lRJ1!Jnttnru r;ug?JmJ '1 srutBHmfl1tmu~ruu~

We refer to krab thvay bangkum also as

UOJLUMI:IJ pancha pranamm or UOJH~LUCUli:IJ pancha
ang pranamm meaning "a revered salutation with the
five members of the body organs, i.e., the forehead,
the two palms of the hands, and the two knees
touching the floor. " Originally, the krab was meant
as a sign of profound worship to the Triple Gems of
B uddhism, i.e., the Buddha, his Law, and his
Brotherhood of Monks. Consequentl y, the krab is
executed tluee times in repetition. In the kneeling
position, a woman rests her haunches on her soles
instead of resting them on the heels as a man does.

~wt!:limitrumnmm~tmrutttri sl:l a~~a~HGtmg

tmrnshn tmru~ tm~~ tmr;g sl:ltmru~

'1

!:lmmJirumst:lltml:linl:l~nmruuBu!:ltlmu
9m
'U
c
,:'\
c:c

'1

Cl:

W hi le passing a Buddhist temple, a devout

person will make a sampeah before it as an act of
reverence. During a Buddhist sermon, or while
monks recite ritual texts from the Buddhist Holy
Scriptures, one will notice that both the monks and
the lay members assume a solemn attitude of
meekness and obeisance to the sacredness of the
ceremony with hands raised all the time in a budding
lotus shape.

mrtmu~ruu~u!:ll:ltsg Etrun9cv sl:l 9kl mtmsin~s

n.Jlru sl:l !:ll:l@s~m~u!:lrntrun9mt9mei~Bn.Jlru!:lrn

1Lmm}gstl1!:lml:l~r r;ugr; 0t1 0JJ 0nl J 'I

mimH9f~mnH y~g qtl~mrui!:lrutmru~ rui~l:l

B uddhist monks by virtue of their saffron robes,

will not return the obeisance of sampeah to a layman
however old or great in rank, not even to the king.
This is not, in Khmer etiquette, a presumption on the
part of the monks. The appropriate way for a monk to
respond in such a situation is by a gesture of
acknowledgement either by speech or a facial
expression of good wi ll. At least he should assume a
serene face as befitting a monk.

tmugt9ru2l y "JLnH~ ~~u1fi19UJf~mmn1!:lwm y

LUllilHJml:l~itBH!:lruuu '1 tm ru~tsiql:l tm~~t'UlruBl

( ttllll:lmhm~lliluH) HBngrt~tmru~ wmnumi

sl:lamrun amwmrl!]tgjru tm gums mnrmt't5t:lll:l tJ

lilB~rruB~ fl}t{ftm~uh~sBfnthru '1 tmru~L~H~n 1

nuri!Jttllruflmm

~mLHBm~

y runtmUlt}lHm} gsl:l

am run y t!:lltuttfi9ntp:rnm9111!J~n ~n.!:J~m '1

23

9~. ~lnJUQUJgqg

UlUlfitJ JtUjU1fJM

12. Thvay Bangkum before a Monk or an Altar for a Man

24

9m.

tmU~ltuUUUlgqg tOUd\1 JtUjU1ffM

13. Krab Thvay Bangkum before a Monk or an Altar for a Man

25

...

9~.

yuuuita:qg LD:Cdltf

ttuJuL~

16. Thvay Bangkum before a Monk or an Altar for a Woman

9d.

QQ

flrDUfiUJg y 1JIU~U iJ!Mt!ftf!ftfJtU:

1

18. Thvay Bangkum before a Monk or an Altar for a Woman

30

KRAB SAMPEAH
IN WEDDING
~

'?

nl~m~rmH:lU1BttlHnjlH-!)nHni3rntU9t~ '1

"

"

Col

"

wm11"innru HGnHGtHUTlW

llG tsmlB

0.01

tLmgttJfJGa~rn ~ruid'inJ~

i3ru~~t;ir;rr.m~i3rnt9u 'tjttJumn~ij~ '1 trnijm~~n

~GmmuinmUi~l~GBwm8iirutliqijffint~rLntrJU
~i3rntnglfi 9UJrtn~ijmii '1 nijHntrnij~truH:J~n9frl

m mwHmtJmlnt~rtrnij ttJU~Lmr~~GmmUi~mUi
qijrru:mrnlmrhruu Lm~r1~ '1 tr.mijtmtmt}Jlsmll
tflm sij mrntrillllllHmijmrn:mw:u~uJ.@tsg fJG
mmUi~mUimsmru_@ruanmi l~Htnuruutn~ tUiru
f19Jfmg tmwru~nliruruu iiru1~~nM,m '1
~GmmUi~mUit~rmsJHm~rn~mG~u9 ttltL~B
i3uttl~Gtrun~ss
~Gurnmij
~Gtumsfitilllg
v
v
v
v

mt~H '1 tliqij~G~Huij1i3tsg

During the course of the entire wedding

ceremony, there are several ritual s, such as the ~!UJ:!U
Entering the Shade HUtitl~l'l Presentation of a
Dowry, t.J!Utnb Entering the Wedding Quarter,
ttfl~l'lritnn:

Groom Procession, rnii318~1 Dowry

Negotiation, ugruniiru Turning or Passing the niiru
Popill, miiwn Hair-Cutting, and iJa Prostration. In
the last ritual, the bride and groom prostrate (with the
accompaniment of wedding music) for the parents,
relatives, and friends to come forward and tie the
cotton threads around their wrists for happiness and
bliss.

fJBU~

tuQJtrn
lmuwm~a tmrumsnwt~rfii3r nL~fintLnij sij
~mHU~rnt~u~ij '1 fJBltJtU fJBl~lmuwm~a sij
mfi'ti3mtlrirwmnih'Bru tmmunrnr~ti3rn~m1rm tmm
c;4.

fjBltJtli

llG

The wedding is a traditional ceremony which

has been preserved by the Khmers since the olden
days. Although the length of the ceremony has been
curtailed from seven days and seven nights to three
days and three nights, and now a mere one day, or
even half a day w ith a reception and banquet in the
evening to conclude it, the Khmers consider it as an
important event in life .

"

.,.

"'

trJjffi~rutU mmmni~ a~n'[lm Q]l~tlil~tlilrtrnltrln

ffiijHfiit~ajuijti3

sij

LUtli~m~ru id1H~rni3ru

~f}}lHrnr.m~ ~m~msms mmmn~ru Sij ~r;a~rn

qij~uliirffin

tmmnnn '1 <tHrnUt.@tr tm triJtl

( 0 cScScl). mu~ wru ( 0cSt1lQ)) '1
mHrtlils ~rnlmu~trfiij~ttJtlnSil~ w~Hm
nLtriltwjrtm~~msgms~rnmnfims iisnnJBln sij
w~~g ~ruiitmg wt~u lmH~ lm H~1Jlfii !fnH~1Jlt'ti
!fngltl stl ~stimtJna~H mnn~mf mlitillln tilllnUd
tlnBltln~ttirnms9n Bij ms~fnLtrtlt':\Jlti3tsgti3rnm
LUG1BU91iru ~~mm~lQJ lff[/UrJmfJ wnu
LUffillrnr~t~rLnU9JU ffiijmfii ffiijtnij ~m'SuB\:Jntjtl
nru1tl '1
v

31

1fims rnr~gm~ y

9hl;ii:5L~~mrumz-ru ~rutblm~

trut5g ~HLbl gm~a~

Hilrum1w sij r~tfl9~ru~frnrtt ru

trum1wnwru5utJ2B tt'lB]tnmHnLHijmg~p~tnrqtfin
tmfilngjt5h~m9j~

32

'Jt.

fd'ngfunummmamm
1

19. Sampeah in Wedding Ceremony

33

'

i:lfi~~t~G~~
REFERENCES CITED

0aabll
mu~

ruru
9cStiO

nfl mjtl

0aact

1tyurmih~Jc:nfiimJ~nw1~r '1 ~mQJ

: tm u1jt1

'1

Musique Khmere
1969

Phnom Penh: Imprimerie Sangkum Reastr Niyum.

Nou, Ker, et Nhi euk Nou

1973

"KpuonAbah-Bibah ou Le Livre de Mariage des Khmers,"

Bulletin de l'Ecole Francaise d'Extreme-Orient 60:243-328.

Raj adhon, Anuman

1990

Thai Traditional Salutation. Bangkok: The Fine Arts Department.

Sam, Chan Moly

1987

Khmer Court Dance: A Comprehensive Study of Movements, Gestures, and Postures as

Applied Techniques. Newington: Khmer S tudies Institute .

34

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