The krama, a hand-woven Cambodian scarf, is an enduring symbol of identity, resilience, and creativity. Used in everyday life and ceremonies, it embodies the Khmer soul.
The krama (Khmer: ក្រមា /krɑmaa/) is much more than just a scarf: it is an emblematic piece of textile of Khmer identity, used both in everyday life and during ceremonies, made of cotton or silk, often with a red or blue checkered pattern on a white background . In 2024, it was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO .
History and heritage
According to Hab Touch, director of the National Museum of Cambodia , the krama dates back to the pre-Angkorian era , between the 1st and 5th centuries AD. Statues of Hindu deities already wore a loincloth resembling a large krama It distinguishes the Khmers from their neighbors (Thais, Vietnamese, Laotians) as a strong identity marker .
Practical and symbolic uses
Versatile, the krama serves as a head covering to protect against the sun, a scarf, a baby carrier, a belt, a child's hammock, a towel or even a belt to carry objects. It is also used in the traditional game “chol choung” or as a symbolic tool in the Khmer martial art bokator , where it is used to wrap the body and perform gripping techniques. More generally, krama embodies resilience, cultural identity and the link between generations.
Manufacturing and know-how
Handcrafted on traditional looms, krama uses cotton or silk and natural dyes extracted from plants or insects. Weaving retains a strong cultural and social role: women dominated production, men collected raw materials, and skills were passed down from mother to daughter. Today, professional groups and NGOs provide training in krama techniques.
Krama in contemporary culture
Adopted by all – men, women, children, rural and urban – the krama lives in everyday life. It is also present in religious ceremonies and community celebrations .
Today, the krama lives on as a symbol of modern Khmer culture, reinterpreted in fashion and design, and celebrated through artistic and community projects (such as the “Cambodian Krama Project,” which celebrates its heritage through diasporic portraits and testimonies).
Conclusion
The krama embodies the very essence of Cambodia: simple, useful, distinctive, and deeply cultural. Woven in the hands of past generations, worn by all today, it connects history and the present, rural life and ceremonies, women weavers and bearers of memory. A true chameleon scarf, it continues to weave the thread of Khmer identity through time.