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KHMER CULTURE ASSOCIATION

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

Copyright © 2002 Sam-Ang Sam and Sam Ath Nguon

Advisors:

Tum Kravel Pich

TheayEm

Nala Him

Photographs by:

Sam Ath Nguon

Sam-Ang Sam

NalaHim

Printed in Cambodia: 2,500 copies

Sponsored by UNESCO

January 2002

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

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Preface............ . . .. ... ...... ...... ....... . ............... .. . .. . ................... 2 0

film Sampeah or Salutation..... . ...................... .. . . . ...... ............ . ........ 4

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

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

mmJm "' Sampeah Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 6

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

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

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

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Sampeah in Dance Context 0 ... ..... 0. 0. 0 •• 0. 0 . 0 ••••• •• •• •• •• 0. 0 •• • ••• 0 •• •• 0. 0. 0 •• 0 17

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Krab Sampeah in Wedding Ceremony ....................................... . .. 31

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1

ACKNOWLEDGEMENTS

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 thank our advisors-H .E. Tum Kravel Pich, Mrs. Theay Em, and Mrs. Nala Him- for their valuable input in making this book meaningful and indeed a great one.

The Khmer Culture Association 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 photographs for this project.

Finally, we would like to thank H.R.H. Prince Sisowath Panara Si1ivuth , H.E. Socheat Ouk, H.E. Michel Tranet, Mr. Fred Frumberg, and Mr. Bun Rith Suon for their constructive criticism, suggestions, and ideas at the early stage of our writing and preparing for the publication.

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2

PREFACE

It is a great challenge to write on a subject such

as " wm " sampeah 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 Khmer 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.

Every Khmer person grows up seeing and doing the sampeah. Thus, everyone assumes that he knows how to do thi s reverential act. Indeed, there are variances, in differing degrees, among the people of diffe rent 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.

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:

~ Khmer custom, tradition and mannen sm ought to be preserved intact.

~ Hand-shaking may hygienically contaminate one another through physical contact.

> Traditional Khme r women 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 during a public speech or meeting, instead of approaching eve1yone to sampeah or hand-shake them, which would be very time-consuming.

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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.

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.

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.

Phnom Penh, January 12, 2002 Sam-Ang Sam Sam Ath Nguon

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4

SAMPEAH OR

SALUTATION 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.

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.

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 standing 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.

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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5

Normally a senior will return the sampeah of a child with a nod or other appropriate gestures only, as a sign of approval or goodwill. Of course, there is an exception , if the child is a prince or an honorable member of a high dignitary's family.

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. Thi s attitude app lies equally to a personage who is walking.

MEANINGS OF SAMPEAH

Bangkwn Saluting or bending down and saluting a respectable person.

Krab bangkum koal or Krab thvay bangkum Entering to salute while

sitting. Krab bangkum toul Entering 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 the·budding 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 object; gesture of respect.

Sampeah kar Bending down and saluting in a wedding cere mony.

Sampeah krou Saluting, w ith respect, teachers or teacher's gratitude for having taught magical arts or artistry.

Sampech ngear or Thvay bangkum ngear Bending down and

saluting the king for bestowing a title or pos it ion.

Sampeach pelea Saluting the sun to receive the blessing moment as told by astrologer in the wedding ceremony.

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

asking for help.

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6

SAMPEAH MANNER

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.

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.

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.

l. 2. 3. 4. 5.

SAMPEAH POSITIONS

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

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.

The commoners gmmu 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.

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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)

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m. Milg Jfnnnu 8u uqMJmM' y 1mtguumm (lnH'Wtfiumii mctilutfiuwumu) 3. Sampeah between a Young Person and an Elder or Person of Higher Rank

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11 /

ct Milgmmum fi~Bfim !t lJltnmmtj (1fiUlUtiiUifULfJ1fg mC\flutii1f1U1ft!U) 4. Sampeah to Parents, Grandparents or Elder Masters

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13

ROYAL SALUTATION

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.

If a person crouches on the floor before a great personage, such as the King or Queen, in the Khmer tradi tional 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

> "U'ilU 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 "

THVAY BANGKUM KOAL 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.

THVAY BANGKUM IN THE PRESENCE OF A KING

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 assumed with the tip of the fingers at the eyebrow level, the body slightly stoops forward and the head slightly bends down.

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SAMPEAH IN

DANCE CONTEXT

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

HlJlBfiJltiqnMi'~r 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.

Khmer court dancers use the sampeah posture in styl ized manner. It is executed by joining both palms together with the finge rs arched 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

Dance) rmgn Robaim Phlett (Fan Dance) and

17

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.

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

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18

teachers and for the teacher's spiri t of the dancers ' part icular roles to be w ith the m througho ut the performance. The Khmers believe that spirits res ide in the masks and headdresses, and thus protect and bless the dancers and their apprenticeship. We also bel ieve that our teac her's spirits reside on our head. Thus, we are in sulted when someone touches our

head. When the w11m sampho (small double-headed

batTel drum) playe r strikes the first beat for the

invocation of the spirit to the music nnqmr Sathukar, 1

everyone, with hands j o ined together and placed above the head. sampeah or salute. Before the entrance into and the exit out of the dance floor, dancers sampeah in a brief moment for bliss and gratitude to the teachers.

1 Sathukar is a spiritual piece normall y performed fo r the

invocation of the spirit o f deceased teachers.

- ..

d. lHMilgt!tUrOf1HU101Jfi1n •

8. Sampeah Dance Posture with Lotus Blossom Shape

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KRAB THVAY BANGKUM IN

RELIGIOUS CONTEXT

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 Buddhism, i.e., the Buddha, his Law, and his Brotherhood of Monks. Consequentl y, the krab is executed tlu·ee 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.

Whi 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.

23

Buddhist 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.

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v

KRAB SAMPEAH IN WEDDING

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 with a reception and banquet in the evening to conclude it, the Khmers consider it as an important event in life .

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.

31

1fims rnr~gm~ y 9hl;ii:5L~~m§rumz-ru ~rutblm~

trut5g ~HLbl gm~a~ Hilrum1w sij r~tfl9~ru~frnrtt ru 1

trum1wnwru5utJ2B tt'lB]tnmHnLHijmg~p~tnrqtfin

tmfilngjt5h~m9j~ ~

32

'Jt. fd'ngfunummmamm 1

19. Sampeah in Wedding Ceremony

33

0aabll

mu~ ruru 9cStiO

nfl mjtl

' Q

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

0aact 1tyurmih~Jc:nfiimJ~nw1~r '1 ~mQJ : tm u1jt1 '1

Musique Khmere

1969 Phnom Penh: Imprimerie Sangkum Reastr Niyum.

Nou, Ker, et Nhieuk Nou

1973 "KpuonAbah-Bibah ou Le Livre de Mariage des Khmers,"

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

Rajadhon, 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 .

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