Hubbry Logo
KramaKramaMain
Open search
Krama
Community hub
Krama
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Krama
Krama
Krama
View on Wikipedia
from Wikipedia
Krama
Krama neatly folded up
TypeScarf
MaterialCotton or silk
Place of originCambodia
Cultural practices and expressions linked to Krama, a traditional woven textile in Cambodia
CountryCambodia
Reference02115
RegionAsia and the Pacific
Inscription history
Inscription2024 (19th session)
ListRepresentative

A krama (/krɑːˈmɑː/ krah-MAH; Khmer: ក្រមា [krɑːmaː])[1] is a sturdy traditional Cambodian garment with many uses, including as a scarf, bandanna, to cover the face, for decorative purposes, and as a hammock for children.[2] It may also be used as a garrote by Bokator fighters, who also wrap the krama around their waists, heads and fists.[3] It is worn by men, women and children, and can be fairly ornate, though most typical kramas contain a gingham pattern of some sort, and traditionally come in either red or blue. It is the Cambodian national symbol.

History

[edit]

According to Touch hub, director of the National Museum of Cambodia, the krama may date back to the Pre-Angkor Norkor Phnom era, between the first and fifth centuries CE. Over the period, many Shivas and other Hindu gods wearing the kben (a simple hip wrapper rolled at the waist takes the form of a large krama) have been recovered at the Angkor Borey site. A man was even pictured wearing a krama-style head covering in some instances.[4]

Records from around 1296–1297, by Chinese envoy and diplomat Zhou Daguan show several fabrics of high quality were produced locally in Angkor Thom.

Cambodians did not raise silkworms at the time, did not know how to sew, but did know how to weave cotton cloth from kapok. The inference is that their basic sampot hip wrappers were woven from cotton and were around the size of a considerable krama. Krama can be seen in some of the first photos of Cambodian costumes taken around the end of the nineteenth century. In 1896, the young French photographer and traveler Andre Salles was among the first to photograph Cambodian daily life.[4]

Many Khmer Rouge fighters wore red and white gingham krama scarves during Pol Pot's reign. Some Cambodians may decline a red and white gingham Krama scarf in favor a blue and white scarf or another color due to the legacy of the Khmer Rouge era.[5]

Cultural significance

[edit]

The production of Krama involves manual weaving using traditional hand looms called 'Kei' or 'Kei Dombanh'. Weaving and dyeing techniques are essential, and protecting the environment is crucial to ensure the quality of the materials used.[6]

Krama is a versatile textile, serving as a scarf, belt, blanket, bandanna, lower garment, and decorative cloth in daily life. It is also used to wrap ritual offerings during religious ceremonies and celebrations. Local communities, primarily women, play a central role in Krama production, from preparing yarn to weaving. Men participate in activities such as planting cotton and sourcing natural dyes. Women are responsible for passing on the weaving skills to the next generation.[5]

While individual weavers have become scarce, professional Krama groups and producers have taken up the mantle. The tradition endures in 15 active communities and associations, with skilled weavers imparting their knowledge. Educational associations also offer training to ensure the preservation of Krama's unique characteristics.[5]

Krama is not just a textile; it is a symbol of life's journey, from birth to death. It holds great socio-cultural significance, expressing greetings, respect, and marking important life events. Whether celebrating a new addition to the family, honoring weddings, or paying tribute to the departed, Krama is a cherished emblem of the Cambodian cultural heritage, passed down through generations.[5]

[edit]
  • Krama as a sleeve
    Krama as a sleeve
  • Krama as a belt
    Krama as a belt
  • Khmer Rouge uniforms, including the krama
    Khmer Rouge uniforms, including the krama

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Krama

View on Grokipedia
from Grokipedia
The krama is a traditional Cambodian rectangular woven , typically checkered in patterns of , , , or other colors on a background, serving as a multifunctional garment integral to Khmer daily life and cultural identity. It functions as a for protection against sun and dust, a , , baby carrier, or even , with variants denoting higher status. Originating in the pre-Angkorian between the 1st and 5th centuries AD, the krama symbolizes resilience and practicality, woven by hand from locally sourced processed through traditional methods like soaking in . In 2024, inscribed the cultural practices and expressions associated with the krama on its Representative List of the Intangible Cultural Heritage of Humanity, recognizing its role in rituals, work, and social customs across .

Description

Physical Characteristics

The krama is a rectangular cloth garment, typically woven without seams to allow for its multifunctional use. It measures approximately 1.5 to 1.7 meters in length and 0.5 to 0.7 meters in width, though larger variants exist for applications such as sarongs. Traditionally crafted from , which provides lightweight breathability suited to Cambodia's , some modern versions incorporate or synthetic blends like for durability. The fabric features a distinctive checkered or grid-pattern motif, most commonly in red and , though variations include blue, black, or other contrasting colors against a white background.

Regional Variations

In , krama designs vary by , reflecting local weaving traditions and material availability, with distinctive patterns emerging from regional centers. is renowned for producing large kramas measuring approximately 55-60 cm wide and 150-170 cm long, featuring vibrant shades such as , , , , and emerald, often in tartan-like or striped motifs that differ from the standard checkered styles. Cotton variants from Koh Sutin village in the same emphasize red-and-white or blue-and-white checks, woven on traditional wooden frame looms using imported yarns. Other provinces host specialized production hubs that adapt to environmental factors like soil suitability for silk rearing or access to imported fibers, with about 90% of cotton now sourced from . Prey Veng's Don Na Prim region focuses on coarser cotton kramas treated with starching and synthetic dyes for durability in rural agricultural settings, while Takeo province yields finer cotton weaves suitable for accessory use. weaving concentrates in areas like Koh Dach and Kein Svay in , and Paoy Char in Banteay Meanchey near the Thai border, where production scales remain limited—e.g., only 1,113 documented silk weavers nationwide as of —yielding heirloom-quality pieces with gold-fiber edgings in some cases. Urban-rural divides further distinguish krama styles, with markets offering machine-loomed commercial versions incorporating polyester-nylon blends for quicker production and varied colors like mushroom grey or green checks, in contrast to handwoven rural examples that maintain denser, traditional check patterns using natural ochre, ginger, or brown dyes on . These adaptations preserve the core rectangular form but adjust weave tightness and motif scale based on local types and quality.

History

Ancient Origins

The krama, a checkered cloth integral to Khmer , traces its functional precedents to early Southeast Asian traditions adapted to tropical agricultural life. Pre-Angkorian societies in the , during the period (circa 1st–6th centuries CE), engaged in influenced by Indian maritime trade, producing lightweight fabrics suited to humid conditions where multi-purpose cloths served as sunshades, sweat absorbers, and carrying aids for rice farmers. Direct archaeological traces of checkered patterns are scarce due to 's perishability, but excavated trade goods from sites like Oc Eo indicate early use alongside , supporting local production for everyday utility in agrarian settings. During the Angkorian era (9th–15th centuries CE), temple bas-reliefs provide the earliest visual evidence of draped and patterned textiles resembling krama-like garments in daily and ceremonial contexts. Sculptures at and the depict figures—laborers, attendants, and deities—wearing folded cloths over shoulders or heads, often with geometric motifs that echo the krama's checkered design, reflecting innovations in draping derived from Indic influences but localized for Khmer practicality. These representations underscore causal adaptations: in a climate prone to monsoons and intense sun, such versatile fabrics enabled efficient labor in hydraulic fields, doubling as filters for water or bindings for injuries. Scholarly analysis posits South Indian origins for the checkered motif, potentially transmitted via Cham intermediaries, though Khmer weavers on backstrap looms indigenized it for suited to village production. Inscriptions from the period, while sparse on textiles, reference tribute cloths, implying widespread use in social and economic exchanges within the empire's hydraulic society. This from basic utility cloths to culturally embedded items highlights empirical drivers over ritualistic ones, as evidenced by depictions prioritizing laborers over elites.

Evolution Through Khmer History

During the Angkor Empire (circa 802–1431 CE), the krama emerged as a staple garment for common , as depicted in the 12th-century bas-reliefs of the Temple at , where figures are shown wearing checkered head cloths and wraps. These representations illustrate its use among laborers and everyday folk, woven from locally grown in red, , or black checkered patterns on a white background, reflecting the agrarian economy's reliance on rice-water soaking to strengthen fibers before dyeing and weaving. Trade networks with and during this peak imperial period facilitated the adoption of for elite variants, known as krama saut, which measured wider (55–60 cm) and longer (150–170 cm) than standard cotton models, incorporating finer weaves and imported dyes while maintaining the characteristic checkered motif influenced by South Indian textile styles. Following the empire's decline after the sacking of in 1431 CE, Khmer society shifted southward toward , amid economic contraction and vassalage to Siam (modern ) from the 16th to mid-19th centuries, which standardized the krama as a practical garment for commoners, eschewing costlier due to disrupted routes and reduced access to imported materials. Patterns persisted in local natural dyes derived from plants and tree bark, boiled for colorfastness, with the rice-soaking technique enduring as an empirical adaptation to enhance durability in humid tropical conditions and support small-scale household production. This period saw minimal design innovation, as Khmer weavers prioritized utilitarian checkered grids over elaborate motifs, tied to subsistence farming that supplied both food and fiber preparation resources. The establishment of the French protectorate in 1863 CE introduced limited external pressures but reinforced the krama's cotton dominance among the populace, as colonial administration focused on over textile overhaul, allowing traditional backstrap looms and provincial pattern variations—such as provincial-specific checks—to continue without significant until industrial dyes emerged later. Economic factors, including persistent and Siamese tributary demands until French intervention, constrained material upgrades, ensuring the krama's evolution emphasized resilience through local, verifiable techniques like plant-based over imported luxuries.

20th-Century Developments

During the French protectorate over (1863–1953), the krama persisted as an inexpensive, versatile garment essential for rural Khmer daily life, offering protection from sun and dust while being handwoven from locally sourced in household settings. Colonial policies, including labor demands on and , indirectly strained rural economies but did not eradicate domestic krama production, which remained a resilient, community-based practice. Under the Khmer Rouge regime (1975–1979), the krama's practicality became critical in forced labor camps, where it absorbed perspiration during intensive tasks like forest clearance, canal excavation, and dam building, demonstrating its durability in extreme conditions. Worn ubiquitously by civilians and regime enforcers alike—including soldiers (kramaphibal) and marked on eastern deportees with green or blue variants during purges—it facilitated survival functions such as slinging children, bundling rations, and providing rudimentary warmth or carrying essentials in refugee camps along the Khmer-Thai . These applications underscored the garment's adaptability amid widespread displacement and scarcity, with remnants even appearing in mass graves as evidence of its pervasiveness. After the Vietnamese ouster of the in January , krama weaving revived as part of grassroots reconstruction in rural areas, with families resuming traditional production and checkered patterns symbolizing continuity amid societal rebuilding. International efforts, including UNESCO-supported initiatives in the to restore Cambodian heritage, indirectly bolstered such practices by aiding broader craft recovery, though krama's -based domestic output predated and outlasted formal programs focused on . By the early , traditional handwoven like the krama had reemerged, reflecting Khmer resilience in cultural and economic stabilization without reliance on industrialized garment sectors that later dominated exports.

Production

Materials and Preparation

The primary raw material for traditional krama is locally grown , referred to as samley in Khmer, which is cultivated and harvested by rural communities, with men often handling the planting and initial collection. After harvesting, the cotton bolls are dried in the sun, seeds are manually removed, and the fibers are beaten and rolled into manageable form to prepare for further processing. To soften and condition the fibers, the is spread out and soaked in —prepared by fermenting or dissolving milled —for 2 to 3 days, a step that enhances pliability and prepares the material for spinning into yarns. This starching process, using as a natural binder, strengthens the yarns against breakage during subsequent handling. Natural dyes are derived from locally sourced materials, including leaves, bark, nuts, and berries, which are boiled to extract pigments; threads are repeatedly dipped in the baths and air-dried to achieve even coloration. Common sources yield for blue tones and hues from woods like sappan, forming the basis for krama's characteristic checked patterns on a white or undyed background. Higher-status variants occasionally incorporate silk fibers, produced through Cambodia's historical sericulture practices dating to ancient Khmer civilizations and supplemented by regional trade networks. threads are processed similarly but require additional reeling from cocoons before integration with for blended durability and sheen.

Weaving Techniques

Krama weaving traditionally employs a wooden frame , known as kei thbanh, equipped with two shafts and string heddles to separate warp threads systematically. This setup enables the production of the characteristic checkered patterns through precise alternation of colored warp and weft yarns, with tension maintained via the loom's mechanical shafts rather than direct body leverage. In some rural or heritage-focused collectives, backstrap looms supplement frame looms, where weavers harness body posture—leaning back against a strap tied to a fixed beam—to regulate warp tension, facilitating finer control over thread alignment for intricate designs. The process begins with warping, where dyed and starched yarns are arranged in long beams up to 100 meters, alternating colors to predefine the plaid motif; heddling follows, threading warps through heddles on the shafts to create sheds for weft passage. During weaving, the weaver operates the shafts to alternate sheds, inserts the weft via hand or simple shuttle, and uses a beater to compact the weft firmly against preceding rows, ensuring uniform density and preventing gaps that could distort patterns. Checkered effects emerge from periodic reversal of color sequences in , with the plain weave structure—over-one, under-one interlacing—providing the foundational grid. This manual method is time-intensive, typically requiring 6 to 16 hours per individual krama (approximately 80 cm by 160 cm), contingent on pattern complexity and weaver skill; simpler red-and-white checks proceed faster than multicolored variants. Beating technique directly influences weave tightness, yielding denser fabrics for durability while preserving the cloth's inherent flexibility from cotton's natural properties. Completion involves cutting continuous woven lengths into scarves, trimming fringes, and final inspection for evenness.

Practical Applications

Everyday Utility

The krama functions as a versatile garment for sun protection in Cambodia's , where it is tied around the head to shield against intense and dust during outdoor labor or travel. Its lightweight construction allows breathability while providing coverage, making it suitable for farmers and market workers who spend extended periods in direct exposure. In routine domestic tasks, the krama is wrapped around the waist or hips as a makeshift to ensure , particularly for women engaging in fieldwork or household chores where loose clothing might otherwise hinder movement. It also doubles as a baby carrier when knotted across the to secure infants during maternal activities like cooking or vending, distributing weight evenly across the shoulders for short-term portability. For personal , the krama acts as a or face cloth for drying after washing or wiping sweat, valued for its absorbency after initial washes despite its initial stiffness. In everyday settings with limited access to specialized fabrics, it serves as a multipurpose cloth for surfaces or personal use, adapting to environments where and resources are basic.

Protective and Survival Uses

During the regime (1975–1979), the krama proved essential in survival contexts amid forced labor, , and conflict, functioning as a sweat-absorbent cloth for workers digging canals, clearing forests, and constructing dams. Tied with poles, multiple kramas formed improvised stretchers to transport the wounded, ill, or women in labor during purges and evacuations documented in 1978. As a makeshift sling or carrier, it supported expeditions or relocations by securing children or small loads, a practice observed in camps along the Khmer-Thai border through the late and into . For trauma from landmines or injuries prevalent in that era, it served as a or to bind limbs, leveraging its sturdy weave. The garment's lightweight drape enabled rapid adaptation as a protective barrier against environmental hazards, including wrapping as a head or cover for deterrence and shielding during nocturnal activities or displacement. Draped over the body or head, it offered rudimentary shelter from rain and wind in open terrains, as noted in rural Khmer practices. Its compact foldability—typically measuring about 2 meters by 1 meter when unfolded but easily reduced for transport—rendered it vital for nomadic or internally displaced groups, such as 1979 border refugees who relied on it for multi-purpose utility without added burden. This portability, combined with durability from traditional cotton or synthetic blends, facilitated quick deployment in unpredictable crises without specialized equipment.

Cultural and Symbolic Significance

Role in Social Structures

In traditional Khmer society, the krama's production reinforces gendered divisions of labor within , with women predominantly responsible for the garment at home using locally sourced or , while men contribute by planting and harvesting or gathering materials. This practice underscores a complementary structure, where serves as a core female role passed down matrilineally from mothers to daughters, ensuring village-level continuity of skills and cultural knowledge. During rituals such as weddings and funerals, the krama denotes through variations in material and craftsmanship; coarser versions are associated with lower socioeconomic strata, whereas finer kramas (krama saut), often retained as heirlooms, signal higher status and are worn asymmetrically over the by participants of elevated standing, including elders. Elders, in particular, frequently don kramas during visits or communal celebrations to affirm respect hierarchies. These usages empirically bolster ties, as the garment's ceremonial exchange or display during life-cycle events like marriages—where variants distinguish affluent —fosters cohesion across extended networks without egalitarian uniformity.

Symbolism and Identity

The krama's distinctive checkered pattern draws from traditional Khmer lore associating it with the Naga, a serpent symbolizing protection, luck, and peace, akin to having divine guardians like nearby. This motif embodies humility through its simple, everyday utility and adaptability, reflecting the Khmer capacity to navigate life's contrasts of hardship and harmony without ostentation. In broader cultural interpretation, the alternating squares evoke dualities of existence—such as labor and respite—rooted in pre-modern practices that persisted amid historical upheavals. Following the regime's atrocities from 1975 to 1979, which claimed approximately 1.7 to 2 million lives, the krama emerged as a reclaimed emblem of Khmer survival and , transcending its temporary appropriation by regime cadres as a marker of ideological . Post-1979, its retention in daily and ceremonial contexts signifies resilience, with communities weaving it into narratives of endurance rather than victimhood, as evidenced by its role in unifying fragmented social fabrics. In the Cambodian , particularly among the over 300,000 refugees resettled in the United States and elsewhere since 1979, the krama maintains cultural continuity, often featured in heritage events and personal artifacts to preserve identity amid assimilation pressures. The krama aligns with Khmer syncretic values blending animist reverence for protective spirits and Buddhist emphasis on harmonious coexistence, where its protective uses—such as warding off elements or spirits—reinforce beliefs in balanced action and fate. This persistence counters notions of secular erosion, as UNESCO's 2024 inscription of krama-related practices highlights its ongoing vitality in fostering communal harmony and ethical continuity across generations. Empirical observations in rural and settings affirm high usage rates, with surveys noting near-universal recognition among Khmer descendants as a touchstone for ancestral over ideological abstraction.

Contemporary Status

Modern Usage and Adaptations

In , the krama has integrated into urban fashion scenes amid the tourism surge of the , with boutiques and markets like the Russian Market offering variants as designer scarves and accessories priced from $1 to $2, appealing to visitors seeking lightweight, versatile items for sun protection or stylistic wraps. This adaptation leverages Cambodia's inbound growth, which exceeded 6 million arrivals annually by , positioning the krama as a portable emblem of Khmer identity in global travel wardrobes. Export dynamics have expanded since the 2020s via online platforms targeting communities and Western consumers, with brands like Krama Krama facilitating sales since 2012, shipping handcrafted models internationally from and to blend traditional checkered patterns with contemporary color palettes for scarves or bandanas. Platforms such as and Amazon further hybridize appeal by marketing krama as unisex, machine-washable accessories compatible with casual Western attire, though specific sales volumes remain undocumented in public trade data dominated by broader garment exports. Production has shifted toward hybrid methods combining mechanical looms with handloom finishing to enhance affordability and output, as seen in rural adopting $1,050 machines around 2016 that yield 20 kramas daily versus 5 on manual setups, preserving core motifs while reducing labor intensity for market responsiveness. This evolution supports over 1,000 communities, per 2024 surveys, by scaling supply for and without altering foundational techniques.

Preservation Efforts

In response to the declining transmission of krama weaving skills among younger generations, community-based professional groups and producers in rural have organized collaborative production chains since the early , emphasizing hands-on training to sustain the craft's social and economic roles. These initiatives, often supported by local cooperatives, focus on teaching traditional back-strap loom techniques to youth and women, fostering social cohesion through shared labor and knowledge exchange passed historically from mothers to daughters. The inscription of krama-related cultural practices on UNESCO's Representative List of the of Humanity on , 2024, has amplified these efforts by encouraging nationwide documentation of weaving patterns, rituals, and uses, coordinated with communities to compile historical and practical for archival purposes. This recognition has prompted festivals and workshops, such as krama-weaving demonstrations during cultural events, to raise and attract younger participants, with educational organizations offering structured courses to transmit skills amid urbanization pressures. Village-level programs, led by weavers' cooperatives near and in provinces like Takeo, prioritize skill retention through fair-trade partnerships that provide stable income, enabling sustained production without heavy reliance on subsidies. These models have integrated krama into vocational for disadvantaged youth, promoting self-sufficiency and cultural continuity via community-led apprenticeships that adapt traditional methods to local needs.

Challenges and Decline

The influx of cheap imported textiles has significantly undermined local krama production, as Cambodia imported $5.71 billion worth of textiles in 2023, predominantly from and , offering mass-produced alternatives at lower prices than handmade krama. These imports, facilitated by global trade dynamics, have eroded for artisanal weavers, whose labor-intensive methods cannot compete on cost, leading to reduced demand for traditional variants despite their cultural durability. Urbanization exacerbates this by drawing rural away from home toward urban garment factories and services, where wages exceed those from sporadic sales. Cambodia's urban share rose from approximately 20% in 2010 to over 24% by 2020, correlating with diminished household production of traditional items like krama, as younger generations prioritize formal over inherited skills. This shift reflects economic , with surveys of indicating preferences for stable urban jobs amid rising living costs, rather than subsistence crafting. Disruptions in intergenerational knowledge transmission further threaten krama continuity, as family structures evolve post-Khmer Rouge with smaller households and increased female workforce participation reducing time for teaching techniques traditionally passed from mothers to daughters. Historical traumas fragmented extended families, compounding modern factors like urban migration that sever rural apprenticeships, though these changes stem largely from voluntary pursuits of higher productivity rather than imposed cultural erosion. Empirical data from sectors show persistent declines in home-based output, underscoring the need for market-realistic preservation over unsubstantiated narratives of uniform victimhood.

References

  1. https://www.asiantextilestudies.com/krama.html
  2. https://www.unesco.org/en/articles/unesco-congratulates-cambodia-kramas-inscription
  3. https://www.aquaexpeditions.com/blog/cambodian-silk-krama
  4. https://www.kramakrama.com/en/story-of-krama
  5. https://www.tevoa.fr/en/blogs/actus-mode-et-cambodge/krama-l-echarpe-cambodgienne-intemporelle
  6. https://www.rainforestcruises.com/guides/cambodian-khmer-garments-krama-scarf-history
  7. https://www.internationalwardrobe.com/lexicon-2/der-krama-aus-kambodscha-2/
  8. https://ich.unesco.org/en/RL/cultural-practices-and-expressions-linked-to-krama-a-traditional-woven-textile-in-cambodia-02115
  9. https://www.ebay.com/itm/395963187881
  10. https://www.tour-cambodia.com/the-cambodian-krama
  11. https://www.ebay.com/itm/388495341482
  12. https://www.insightguides.com/destinations/asia-pacific/cambodia/cultural-features/the-krama
  13. https://www.metmuseum.org/essays/pre-angkor-traditions-the-mekong-delta-and-peninsular-thailand
  14. http://os.pennds.org/archaeobib_filestore/pdf_articles/JEconSocHistOrient/2000_43_3_Green.pdf
  15. https://culturekhmer.wordpress.com/2010/09/06/traditional-textiles-in-cambodia/
  16. https://seasia.co/2025/06/10/unesco-recognized-krama-preserving-cambodias-intangible-cultural-heritage
  17. https://krama-khmer.com/krama-weaving/
  18. https://core.ac.uk/download/pdf/15454394.pdf
  19. https://www.culturalsurvival.org/publications/cultural-survival-quarterly/krama-cambodian-patchwork
  20. https://sfi.usc.edu/content/textiles-cambodia
  21. https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1527&context=tsaconf
  22. https://www.researchgate.net/publication/268061317_Traces_of_War_The_Revival_of_Silk_Weaving_in_Cambodia
  23. https://www.dinewiththelocals.com/cambodian-krama-a-great-fabric-since-2000-years/
  24. https://www.kramakrama.com/en/story-of-krama/history-silk
  25. https://everland.earth/voice/krama-weaving-collective/
  26. https://www.kramakrama.com/en/hand-weaving-krama
  27. https://hanoivoyage.com/en/blog/cambodian-traditional-costumes.html
  28. https://intocambodia.org/content/krama-khmer-scarf
  29. https://panasiam.com/en/Scarf-Krama-original-from-Cambodia/5160
  30. https://heritage-line.com/magazine/krama-the-worlds-most-versatile-garment/
  31. https://www.insightguides.com/inspire-me/blog/the-krama-the-story-behind-cambodias-chequered-scarf
  32. https://www.discova.com/cultural-insights-krama/
  33. https://www.reddit.com/r/cambodia/comments/1dvav1u/krama_color_meanings_during_the_khmer_rouge/
  34. https://www.khmerculture.org/2025/06/the-checkered-cloth-of-nation-story-of.html
  35. https://nwasianweekly.com/2025/05/cambodian-traditions-reclaimed-two-women-reflect-on-heritage-healing-and-identity/
  36. https://www.voanews.com/a/usa_overcoming-challenges-and-barriers-cambodian-refugees-accomplished-so-much/6207198.html
  37. https://www.asiakingtravel.com/blog/shops-souvenirs-in-cambodia.html
  38. https://www.tripadvisor.com/ShowUserReviews-g293940-d638459-r396083113-Russian_Market-Phnom_Penh.html
  39. https://cambodiatravel.com/best-souvenirs-to-buy-in-cambodia/
  40. https://www.kramakrama.com/en/
  41. https://www.etsy.com/market/cambodian_krama_scarf
  42. https://www.khmertimeskh.com/50816455/manually-or-mechanically-krama-weavers-continue-ancient-heritage/
  43. https://krama-khmer.com/2024/11/krama-khmer-works-closely-with-its-cambodian-weavers-near-siem-reap/
  44. https://www.pse.ngo/humanitarian-association/weaving-hope-krama
  45. https://oec.world/en/profile/bilateral-product/textiles/reporter/khm
  46. https://wits.worldbank.org/CountryProfile/en/Country/KHM/Year/LTST/TradeFlow/Import/Partner/by-country/Product/50-63_TextCloth
  47. https://opendevelopmentcambodia.net/en/topics/imports/
  48. https://idl-bnc-idrc.dspacedirect.org/server/api/core/bitstreams/72fd2094-778e-4561-9c66-342250cfc7df/content
  49. https://tpocambodia.org/wp-content/uploads/2015/09/DCCAM_Cambodias-Hidden-Scars.pdf
  50. https://pmc.ncbi.nlm.nih.gov/articles/PMC8237097/
  51. http://adw-cambodia.org/wp-content/uploads/2021/04/BSfD_SectorBrief_Cambodia_Handicrafts_WEB.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.