Events / Évènements

Last update: December 9, 2023

October 29, 2020. SensiLab & Sounds of Angkor

In this video, Tom Chandler talks about the collaboration between Monash University (Wellington, Australia) and Sounds of Angkor (timecode 17:37). 

The SensiLab virtually reconstructs Khmer temples and their natural and social environment in the year 1300. But how to rebuild the soundscape? Mike Yeates is developing a sound temporal spatialization process that will allow the likely sounds of this era to be heard. Sounds of Angkor endeavors to collect the residual soundscapes of an “Eternal Cambodia” and to reconstruct the disappeared musical instruments . If we don't know early music precisely, let's at least try to hear the sound of the instruments …

This presentation will overview research into a large-scale virtual reconstruction of the capital of the Khmer Empire in 1300. This is an especially interesting time in Angkor’s history. While eyewitness reports from Chinese dignitaries only three years prior describe a bustling and wealthy city, new geoarchaeological research suggests that a protracted demographic decline set in soon after. It was the beginning of the end for Angkor. Climatic events in the mid-1300s to the early 1400s hastened the breakdown of its hydraulic network, and by 1500, except for Angkor Wat and a smattering of villages, the city had been abandoned to the forests.

Much remains an enigma about this city, and we must necessarily draw upon a wide range of primary and secondary sources. Our foundation is the GIS datasets and airborne LIDAR surveys of Greater Angkor, but there are also other sources, including ethnomusicology, historical accounts, archival photography, and most importantly, the inscriptions that the people of Angkor wrote themselves.

This presentation will explore the technologies we have used to translate maps of a modern-day ruin into a living, operational metropolis, replete with glittering temples, dense wooden settlements, and a fully animated populace. (Source YouTube/ SensiLab Forum: Tom Chandler and Mike Yeates)

July 26, 2020. About Angkorian music and dance…

On July 26, 2020, Patrick Kersalé was invited by H.E. Phoeurng Sackona, Minister of Culture and Fine Arts of Cambodia to guide Her to the Angkor temples, accompanied by H.E. Hang Peou, Deputy Director General of the APSARA National Authority and a delegation of officials and archaeologists. The program presented “About Angkorian music and dance”. Visit to Angkor Wat, Preah Khan and Bayon.

February 26, 2020. Donation of two exceptional Khmer harps to the Royal Ballet of Cambodia

The return of the Khmer harp to the Royal Ballet of Cambodia is a major cultural event in the country's musical history. In the 12th-13th centuries, the court orchestra of King Jayavarman VII was composed of harps. The bas-reliefs of this period are an indisputable proof of this. However, this instrument gradually disappeared from the 14th-15th centuries, only to reappear in Cambodia in 2012 under the initiative of the French ethnomusicologist Patrick Kersalé. 

In December 2018, Her Royal Highness Princess Norodom Buppha Devi informed Patrick Kersalé of her wish to highlight the Khmer harp in the actual work "Dance Apsara" which would be performed in the presence of His Majesty King Norodom Sihamoni at the Elephant Terrace as part of the 25th anniversary of the CIC Angkor. But two disparate harps, with no symbolic relationship with those of the ancient courts, were loaned for the occasion by the Royal University of Fine Arts. In order to reintegrate the harp into the Royal Ballet in a sustainable and consistent manner, Sounds of Angkor took the initiative of proposing to endow the Royal Ballet with two exceptional harps reconstructed according to its most recent research.

So, as part of its know-how and its mission to promote the musical culture of Cambodia, Sounds of Angkor proposed in March 2019 to the late Royal Highness Princess Norodom Buppha Devi, Director of the Royal Ballet of Cambodia (UNESCO Heritage), to donate two exceptional Khmer harps. This proposal was immediately accepted by the Princess. 


Other objectives of this donation

In addition to making a donation to the Royal Ballet, other objectives are being pursued:

  • Promote Franco-Cambodian know-how.
  • Offer Cambodian instrument makers the opportunity to go beyond their traditional know-how.
  • Motivate a top-of-the-range instrument maker by representing it nationally and internationally.
  • Create exceptional musical instruments for prestigious projects.

Type and characteristics of the two harps

Sounds of Angkor opted for two harps with Garuda heads, inspired by the bas-reliefs of the Bayon and the Elephant Terrace (early 13th century). About their technological characteristics:

  • Arched harp made with wild jackfruit wood. 
  • Soundbox: carved with Angkorian motifs, covered with two-tone black and red acrylic lacquer, enhanced with gold lacquer with an aged look.
  • Handle: carved and inlaid with the coat of arms of the Royal Court of Cambodia.
  • Soundbox and handle: glued and pegged with bamboo.
  • Top: Garuda head covered with gilded lacquer with an aged look.
  • Soundboard: Nepalese goat skin studded and glued.
  • Tuning system: by rosewood pegs.
  • Strings: 16 strings in braided nylon microfibre "silk-like". 

These two harps are the most prestigious ever made in Cambodia since the re-creation of the instrument in 2012.


The artisans

The instruments were entirely made in Siem Reap by several Cambodian and French craftsmen:

  • Leng Pohy (Authentic Khmer sculpture): carving of the soundbox and neck, assembly and inlaying of the royal coat of arms.
  • Thean Nga: installation of the Nepalese goatskin soundboard and rosewood pegs.
  • Sat Sim: carving of the Angkorian motifs.
  • Philippe Brousseau (Jayav Art): two-tone acrylic lacquering in successive layers.
  • Lim Theam (Theam's Gallery): sculpture of Garuda heads.
  • Patrick Kersalé: design, project management, supervision, string installation, tuning. 

Making of the harps of the Royal Ballet.

The donation evening at the Sofitel Phokeethra in Siem Reap in pictures

The donation was held at the Sofitel Phokeethra in Siem Reap under the chairmanship of the Alliance Française and its Director Serge Bellini, in the presence of His Royal Highness Prince Sisowath Tesso and the dance master Madame Luong Sok Kam. 


We owe the success of this evening to several actors and sponsors: Sofitel Phokeethra, Emeritus Master Yun Long Zi, Chef Eric Berrigaud, musicians Pon Pong & Sor Sophany, Painter Hay Choeum, Dancer Sok Pheak, the donor Christian Didier Michel.

November 22, 2019. The Khmer harp back to the Royal Court

The Royal Harp, made by the team of Sounds of Angkor and Prestige Khmer Art, was acquired and presented by Cambodian Living Art to His Majesty King Norodom Sihamoni on November 22, 2019 at the Chaktomuk Theatre in Phnom Penh at the end of the last performance of the multimedia opera Bangsokol. The logo of Cambodian Living Arts represents a Khmer harp and an elegantly Khmer hand. The choice of the harp to mark the 20 years of creation of Cambodian Living Arts is therefore a strong symbol. Not only has Cambodian Living Arts been working for two decades to heal the stigmata left by the Khmer Rouge revolution, but it is now restoring to the Khmer Royalty a harp that has been missing for half a millennium!

The Royal Harp and its Secrets

The Royal Harp combines sobriety and nobility, rough wood and gold leaf, a choice made on the advice of someone close to His Majesty.

Several symbols, visible or not, are hidden in this instrument. We do not reveal them all, but here are a few. First of all, Garuda's head. The Garuda is, in Brahmanism, the vehicle of the god Vishnu, and in Buddhism, the guardian of the teachings. Thus, the Royal Harp embraces the two religions of which the Royal Court of Cambodia is the heir. 

The mother string of the harp, the lowest one, has nineteen strands and the soundbox is nineteen centimeters wide. The number nineteen refers to the nineteen souls or vital principles (pralung) of the Khmers... It is the animist part of the Royal Harp without which it would not be totally Khmer! 

Technical specifications

  • Body and head: Wild jackfruit, khnor prei (Moraceae family), a wood widely used in traditional Khmer instrument making.
  • Pegs, neck/head joining ring, key: rosewood, kranhung (Fabaceae family), one of the most precious and densest in Cambodia. It was once reserved for royalty.
  • Tailpiece: thnong wood (Fabaceae family), a precious species which, with its beautiful pinkish hue, brings a touch of elegance to the object.
  • Soundboard: Nepalese goatskin treated according to ancient methods. 
  • Strings (16) : Nylon microfibre. The original strings were probably made of silk, but for reasons of solidity, we prefer for the moment to use the microfiber which offers the same sound.
  • Coating: 600 24 carat gold leaves of traditional Asian size (4x4 cm) were used to cover the frieze and the head of Garuda. They were placed on a yellow plate.

Team of manufacturers

A Franco-Khmer team of six people based in Siem Reap made the Royal Harp:

  • Patrick Kersalé. French ethno-archaeomusicologist, specialist of the Khmer harp and ancient musical instruments of Cambodia. Project leader, gilding.
  • Leng Pohy (Authentic Khmer Sculpture workshop). Sculptor on wood and stone, maker of ancient musical instruments. Sculpture of the structure.
  • Thean Nga. Fiddle maker, manufacturer of ancient and traditional musical instruments, multi-material expert: wood, horn, bone, leather, coconut, gourd, rattan, horsehair, bamboo. Manufacture of pegs and laying of goat skin.
  • Sat Sim. Khmer sculptor. Sculpture of the frieze of the sound board.
  • Lim Theam. Franco-Khmer artist, founder of Theam's Gallery. Draft of Garuda's head.
  • Philippe Brousseau (Atelier Jayav Art): French artist, sculptor, draftsman, painter, specialist in papier-mâché, acrylic lacquer and textures. Preparation of the yellow plate for the laying of the gold leaf.
  • In addition to this team, Nepalese correspondents, Rita Maharjan and Shiva Raj Parajuli, were mobilized to order and transport the goatskin.