Christmas, Walter (1894). Et Aar i Siam [ A year in Siam ] (in Danish). Copenhagen: Gyldendal. pp. 243–245. OL24603196M
The Asia Society, ASIA 2(1) (May-June, 1979): 19. :– "At a court modeled on Bangkok's. Norodom I, great-grandfather of Sihanouk, greeted French visitors in 1866 with Thai dancers."
bnf.fr
gallica.bnf.fr
GROSLIER, George. (1913). Danseuses Cambodgiennes Anciennes et Modernes. Paris: A. Challamel. p. 152. :— "Les danseuses cambodgiennes étaient si bien parties de leur malheureux pays que les derniers rois khmers, jusqu’à Norodom, avaient des troupes presque en totalité siamoises. Tous les professeurs des cinq cents « lokhon » de Norodom étaient siamoises. A sa mort, il y avait plus de trois cents actrices thaï au palais de Phnom Penh. De nos jours encore, l’ensemble des professeurs, moins deux, est siamois!..."
doi.org
Tomás, David Almazán and Rodao, Florentino. "TRAS LAS HUELLAS DEL ELEFANTE BLANCO: LA IMAGEN DE SIAM EN ESPAÑA DURANTE EL REINADO DE CHULALONGKORN (1868-1910)," Artigrama 17(2002): 487. ISSN0213-1498doi:10.26754/ojs_artigrama/artigrama.2002178409
Geisler, Philip. (2020). "Cambodian Court Dance After Genocide: Embodied Heritage and the Limits of Critique," Essays of the Forum Transregionale Studien, 6(4A_Lab)(2020): 26. ISSN2364-8953doi:10.25360/01-2020-00008 "Fashioning himself as beyond Eurocentric colonial agendas, Groslier criticized Western influence in Cambodia and the Europhilia among members of the royal court while taking over and founding essential cultural institutions in Phnom Penh to contain the cultural crisis caused, in his view, not by France, but by the influence of the Siamese court on Cambodian culture. This essentialist logic that continues in many framings of Cambodian dance today dismisses a historic period of 400 years, in which Cambodian court dance had continued to be practiced at the Siamese courts of Ayutthaya and Bangkok, after the dissolution of Angkor in the 15th century."
Whitaker, Donald P., et al. (1973). Area Handbook for the Khmer Republic (Cambodia). Research and writing were completed July 1972, prepared by Foreign Area Studies (FAS) of The American University. Washington D.C.: U.S. Government Printing Office. LCCN72-600290
Falser, Michael. (2020). "Representing Angkor as a French patrimoine: The National Colonial Exhibition of Marseille," ANGKOR WAT: A TRANSCULTURAL HISTORY OF HERITAGE VOL I. Angkor in France, From Plaster Casts to Exhibition Pavilions. 1922. Berlin: Walter de Gruyter GmbH, Berlin/Boston. p. 247. ISBN978-3-11-033572-9LCCN2019-941361
Brandon, James R., the President and Fellows of Harvard College. (2009). Theatre in Southeast. (2nd ed.). Cambridge, MA: Harvard University Press. pp. 71–72. ISBN978-067-4-02874-6LCCN67-14338
Geisler, Philip. (2020). "Cambodian Court Dance After Genocide: Embodied Heritage and the Limits of Critique," Essays of the Forum Transregionale Studien, 6(4A_Lab)(2020): 26. ISSN2364-8953doi:10.25360/01-2020-00008 "Fashioning himself as beyond Eurocentric colonial agendas, Groslier criticized Western influence in Cambodia and the Europhilia among members of the royal court while taking over and founding essential cultural institutions in Phnom Penh to contain the cultural crisis caused, in his view, not by France, but by the influence of the Siamese court on Cambodian culture. This essentialist logic that continues in many framings of Cambodian dance today dismisses a historic period of 400 years, in which Cambodian court dance had continued to be practiced at the Siamese courts of Ayutthaya and Bangkok, after the dissolution of Angkor in the 15th century."
Kerlogue, Fiona. (2004). Performing Objects: Museums, Material Culture and Performance in Southeast Asia. London: Horniman Museum and Gardens. p. 127. ISBN978-190-3-33801-8ISSN1903338018
Tomás, David Almazán and Rodao, Florentino. "TRAS LAS HUELLAS DEL ELEFANTE BLANCO: LA IMAGEN DE SIAM EN ESPAÑA DURANTE EL REINADO DE CHULALONGKORN (1868-1910)," Artigrama 17(2002): 487. ISSN0213-1498doi:10.26754/ojs_artigrama/artigrama.2002178409
Geisler, Philip. (2020). "Cambodian Court Dance After Genocide: Embodied Heritage and the Limits of Critique," Essays of the Forum Transregionale Studien, 6(4A_Lab)(2020): 26. ISSN2364-8953doi:10.25360/01-2020-00008 "Fashioning himself as beyond Eurocentric colonial agendas, Groslier criticized Western influence in Cambodia and the Europhilia among members of the royal court while taking over and founding essential cultural institutions in Phnom Penh to contain the cultural crisis caused, in his view, not by France, but by the influence of the Siamese court on Cambodian culture. This essentialist logic that continues in many framings of Cambodian dance today dismisses a historic period of 400 years, in which Cambodian court dance had continued to be practiced at the Siamese courts of Ayutthaya and Bangkok, after the dissolution of Angkor in the 15th century."
THIERRY, Solange. (1986). Le Cambodge des contes. Paris: L'Harmattan. p. 33. ISBN978-285-8-02575-6OCLC15252879 "Certains de romans ont une origine étrangère, comme celui d'Ināv (Enao), adapté en cambodgien du cycle malais de Raden Panji."
