Estimated reading time: 6 minutes – Six minutes to travel from the Bayon to the stage, with no elephant required.

Inspired by Angkorian sculpture, Le Couronnement de Jayavarman VII (The Coronation of Jayavarman VII) brings Cambodia’s legendary king to life through Khmer classical dance, lakhaon khaol and bokator. The result is a striking encounter between history, movement, sculpture and living Cambodian heritage.

For anyone interested in Cambodian history, classical dance or the cultural legacy of Angkor, Le Couronnement de Jayavarman VII offers an unusual way to approach the past. Rather than presenting the reign of one of Cambodia’s greatest kings as a sequence of dates and monuments, this Khmer ballet transforms history into movement.

Created by Prince Sisowath Tesso with the guidance of dance master Duk Sytha, the production draws heavily on the visual language of Angkor Thom and the Bayon. It combines Khmer classical dance with lakhaon khaol, the masked dance-theater tradition, and bokator, Cambodia’s traditional martial art.

The result is not a museum piece. It is a contemporary Cambodian performance rooted in an ancient visual and cultural vocabulary.

Jayavarman VII Comes Back to the Stage

Jayavarman VII is one of the most recognizable names in Cambodian history. He ruled at the height of the Angkorian Empire and is associated with some of the most ambitious monuments and public works of the period.

His reign followed a period of political and military upheaval. In 1177, Cham forces attacked and sacked Angkor. The struggle that followed eventually brought Jayavarman VII to power. He was crowned in 1181, although the ballet places particular emphasis on the military conflict that preceded his accession.

This distinction matters. A ballet is not a history textbook, and Le Couronnement de Jayavarman VII is an artistic interpretation of the events surrounding the king’s rise rather than a literal reconstruction of every historical detail.

On stage, the young Jayavarman leads Khmer forces against the Cham army. Princess Indra Devi appears alongside him, while the king of Champa represents the opposing power.

The narrative is therefore easy to follow even for spectators who know little about Angkorian history. There is a prince, a kingdom under threat, a military confrontation and, eventually, a path toward the throne. History, as it happens, does not always provide such conveniently theatrical ingredients.

A Ballet Inspired by the Bayon

One of the most interesting aspects of the production is its relationship with Angkorian sculpture.

The choreography takes inspiration from the sculptures and bas-reliefs of Angkor Thom, particularly those of the Bayon. These stone figures provide much more than decorative references. They offer a visual vocabulary of gestures, postures, costumes, warriors, courtly figures and religious imagery.

The dancers effectively translate stone into movement.

This is particularly appropriate in the case of Jayavarman VII. The Bayon, with its enigmatic towers bearing immense faces, is inseparable from the image of the king and his reign. Its bas-reliefs also provide unusually rich representations of everyday life, warfare and royal power.

For spectators who have visited Angkor Thom, the experience can be especially rewarding. Movements on stage suddenly echo familiar forms from the galleries of stone at the Bayon. The sculptures cease to look entirely static. One can almost imagine the figures stepping down from the walls, although thankfully without requiring a conservation permit.

Three Cambodian Traditions on One Stage

The production brings together three important Cambodian performance traditions.

Khmer classical dance

Khmer classical dance, often known internationally as the Royal Ballet of Cambodia, is famous for its highly controlled gestures, elaborate costumes and symbolic vocabulary.

The dancer’s hand positions, movements of the arms and fingers, posture and facial expression all contribute to the meaning of a performance. It is a highly codified art form requiring years of training.

The tradition also has deep connections with Cambodia’s royal court and religious culture. Its extraordinary visual language has made it one of the most recognizable forms of Cambodian intangible heritage.

The Royal Ballet of Cambodia was recognized by UNESCO in 2003 as a Masterpiece of the Oral and Intangible Heritage of Humanity and was subsequently inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2008.

Lakhon khol

Lakhon khol (or lakhaon khaol) adds another dimension.

This Cambodian masked dance-theater tradition is traditionally associated with male performers and is particularly known for its masks and dramatic storytelling. It shares historical and cultural connections with the broader Southeast Asian tradition of the Ramakien and Reamker.

In Le Couronnement de Jayavarman VII, lakhaon khaol contributes a more theatrical and martial energy to the performance.

It also serves as a useful reminder that Cambodian performance culture is not a single homogeneous tradition. Classical dance, masked theater, music and other performing arts developed through different contexts and continue to influence one another.

Bokator

Then comes bokator.

Cambodia’s traditional martial art gives the battle scenes a physical vocabulary quite different from the controlled elegance of classical dance. Kicks, strikes, defensive movements and combat gestures create a sharper rhythm on stage.

The combination is particularly effective because the Bayon itself depicts soldiers, battles and military life. The choreography can therefore move naturally between the stylized world of classical dance and the physical language of martial arts.

Kun lbokator was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2022.

Prince Sisowath Tesso and the Buppha Devi Legacy

The production is closely associated with the Princess Buppha Devi Dance School, directed by Prince Sisowath Tesso.

The school continues the cultural work associated with Princess Norodom Buppha Devi, one of the most important figures in the revival of Cambodian classical dance after the Khmer Rouge period.

Princess Buppha Devi, daughter of King Norodom Sihanouk, became a prima ballerina of the Royal Ballet at the age of eighteen. She later served as Cambodia’s Minister of Culture and Fine Arts from 1998 to 2004. Her work played an important role in the preservation and promotion of classical Cambodian dance.

The school established in her name is not simply concerned with putting performances on a stage. It also works to transmit knowledge to a new generation of dancers.

That transmission is crucial. Traditional dance cannot be preserved simply by storing costumes in a museum or photographing old sculptures. It survives when bodies learn the movements, teachers pass on techniques and young performers find reasons to continue dancing.

Prince Tesso’s approach also introduces new possibilities. Unlike the traditional Royal Ballet repertoire, which is predominantly associated with female performers, Le Couronnement de Jayavarman VII incorporates male dancers, particularly in the military and martial sections.

From Angkorian Stone to Contemporary Phnom Penh

The story of Le Couronnement de Jayavarman VII is ultimately larger than the story of one king.

It is about how Cambodia can use its ancient heritage without freezing it in the past.

Angkor provides the imagery. Cambodian classical dance provides the gestures. Lakhaon khaol contributes theatrical traditions. Bokator provides martial movement. Contemporary choreographers and dancers then bring these elements together for today’s audiences.

This is precisely what makes the production interesting from a cultural perspective.

There is always a delicate balance when historical heritage is transformed into contemporary performance. Too much modernization can dilute the tradition. Too much reverence can turn it into something lifeless. The challenge is to allow the old vocabulary to speak in a new context.

Le Couronnement de Jayavarman VII attempts that balancing act through a story that is both historical and theatrical.

Where to See the Ballet in Phnom Penh

The ballet will be presented at the Institut français du Cambodge in Phnom Penh on September 24 and 25, 2026, at 7 p.m., on the institute’s outdoor stage. The performance lasts approximately one hour and tickets are listed at US$10, with reduced admission for students and those under 18. Tickets can be purchased on the IFC’s dedicated webpage.

For visitors interested in Cambodian culture, this is an opportunity to experience several traditions in a single performance rather than encountering them separately.

It is also a useful complement to a visit to Angkor. After seeing the Bayon, the bas-reliefs and the faces of Angkor Thom in stone, watching dancers interpret that visual world on stage offers a different way of understanding what those images represent.

The two experiences are separated by centuries, but they speak to one another.

Conclusion

Le Couronnement de Jayavarman VII demonstrates how Cambodian classical dance can remain firmly connected to Angkor while continuing to evolve. By bringing together Khmer classical dance, lakhaon khaol and bokator, the ballet turns the history of Jayavarman VII into a living performance, where the stones of Angkor become movement, gesture and memory.

About the author

Pascal Médeville is a writer and digital publisher based in Cambodia. His work focuses on Cambodian history, culture, traditions, everyday life and heritage, with a particular interest in making Cambodia’s rich cultural landscape accessible to international readers.