Phnom Penh, September 23, 2026 — Cambodia’s renewed emphasis on protecting Khmer cultural heritage has coincided with a dispute over a historical photograph shown during the Miss Universe Cambodia 2026 pageant, highlighting the importance of accurate sourcing and documentation when presenting historical cultural material.
Information Minister Neth Pheaktra said Cambodia has a responsibility to preserve, protect, develop and transmit Khmer culture and civilisation to future generations. His remarks came as Cambodian and Thai officials and researchers debated the origin and cultural context of a 1906 photograph used in a presentation on traditional dress during the pageant.
The dispute remains contested. Thailand’s Ministry of Culture identifies the photograph as an archival image of women from Kamphaeng Phet, taken in 1906 during the reign of King Chulalongkorn, while a Cambodian researcher cited by Khmer Times has offered a different identification of the woman depicted and linked the image to Khmer royal history.
Neth Pheaktra: Cultural Heritage Is a Responsibility
In a Facebook post on September 22, Neth Pheaktra said Cambodia is not simply a country of ancient temples, but the birthplace of a culture and civilisation developed and preserved across centuries.
He said Khmer identity is reflected in:
- Language and literature
- Religion
- Art and architecture
- Music and dance
- Customs and traditions
- Everyday cultural practices
According to the minister, being a custodian of Khmer culture does not simply mean claiming heritage from the past. It means inheriting a legacy from previous generations and taking responsibility for preserving and transmitting it to those who come after.
“Cambodia is the custodian of Khmer culture and civilisation because this is the legacy created and passed down by our ancestors,” Neth Pheaktra said.
Heritage Extends Beyond Ancient Temples
Neth Pheaktra cited Angkor, Preah Vihear Temple and Sambor Prei Kuk, along with ancient monuments, inscriptions and works of art, as evidence of Khmer civilisation.
He also emphasised that Khmer civilisation remains present through living traditions, including the Khmer language and script, Royal Ballet of Cambodia, Lakhon Khol, Chapei Dang Veng, Kun Lbokator, oral traditions, religious ceremonies and cultural customs.
He described Khmer culture as a living heritage that is transmitted from generation to generation rather than something that exists only in museums or archaeological sites.
Digital Technology Seen as Part of Heritage Preservation
The minister also highlighted the role of digital technology in communicating Cambodia’s cultural heritage.
He called for Cambodia to make effective use of digital tools to tell the story of its heritage and strengthen the country's own role in presenting its history and cultural identity.
He also urged greater attention to how well younger generations understand Cambodian history, language, arts and cultural values.
His comments place cultural preservation within a broader framework involving education, cultural practice, documentation and digital communication.
Historical Photograph Triggers Debate
The separate controversy emerged during the preliminary round of the Miss Universe Cambodia 2026 pageant on September 18, when historical images appeared on a large screen during a presentation about Cambodian dress culture.
Thailand’s Ministry of Culture subsequently challenged the presentation, saying at least one of the images originated from Thailand and had been presented without accurate attribution.
Thailand identifies the disputed photograph as an image of women from Kamphaeng Phet, photographed in 1906 during the reign of King Chulalongkorn, also known as Rama V.
The image forms part of Thailand’s Royal Photographic Glass Plate Negatives and Original Prints Collection, which was inscribed on UNESCO’s Memory of the World International Register in 2017, according to Thailand’s Ministry of Culture.
Thai officials also said the original archival glass-plate negative carries a Fine Arts Department watermark and that the version displayed during the pageant appeared to have been cropped without the watermark and source attribution.
Thailand Requests Correction
Thai Culture Minister Sabida Thaiseth called on the Miss Universe Cambodia organisers to stop disseminating what her ministry described as misleading information and to exercise greater care when citing historical photographs.
Thailand’s Ministry of Culture said it planned to send a formal letter to the pageant organisers. It also said further action could be considered if the use of the material continued.
The Thai ministry has characterised the matter as one involving the sourcing and attribution of archival material rather than simply a question of whether historical cultural forms influenced one another across the region.
Cambodian Researcher Offers Different Identification
Cambodian art and history researcher Virak Varany, cited by Khmer Times, disputed the Thai identification of the woman in the photograph.
Varany said the woman depicted was the mother of Lok Chumteav Sovannaksa Mliss Choun, identifying her as Yeay Sok, whom he described as a royal dancer during the reign of King Norodom.
He said his team had found French documents and information from descendants supporting that identification.
Varany also pointed to historical photographs associated with French photographer Émile Gsell, saying King Norodom had granted permission for Gsell to photograph Khmer royal dancers around 1866.
These claims represent a different interpretation from the archival identification presented by Thailand. The supplied reporting does not establish an independent resolution of the competing identifications.
Experts Highlight Regional Cultural Exchange
Thuy Chanthoun, vice-president of the Institute of Culture and Fine Arts at the Royal Academy of Cambodia, noted that cultural exchange has historically shaped societies across Southeast Asia.
He also referred to the changing political and historical context of the region and said cultural strength is connected with broader national development, including economic capacity and human resources.
His comments broadened the discussion beyond a single photograph to the wider question of how cultural heritage is documented, interpreted and communicated.
Cambodia to Hold Khmer Sbai Workshop
Against this backdrop, Cambodia’s Ministry of Culture and Fine Arts has announced an orientation workshop on Khmer sbai and its use in traditional customs and Khmer wedding ceremonies.
The workshop is scheduled for October 6, 2026, at 1:00pm at the Angkor Wat Hall of the Ministry of Culture and Fine Arts.
The ministry has invited members of the public as well as professionals working in areas including:
- Fashion design
- Beauty and makeup
- Content creation
- Related cultural and creative industries
Researchers and elders from the ministry’s General Department of Technical Affairs are expected to participate and demonstrate the use of the Khmer sbai to participants.
The initiative is intended to increase understanding of traditional cultural practices and encourage their preservation and wider dissemination.
Why Historical Documentation Matters
The dispute demonstrates the importance of primary sources, archival records, provenance and accurate attribution when historical photographs are used in cultural presentations.
A photograph may provide evidence of clothing, people or social practices at a particular time, but identifying the subject, location and cultural context requires supporting documentation.
In the current case, Thailand has provided an archival provenance for the disputed image through its National Archives and Fine Arts Department, while the Cambodian researcher cited by Khmer Times has presented a different historical identification based on documents and family information.
Until those competing claims are independently reconciled, the specific identity and cultural context of the person depicted should be treated as disputed.
Angkor Times Analysis
The current dispute illustrates a broader challenge facing cultural heritage in the digital era: the difference between cultural influence, historical evidence and modern claims of attribution.
Cambodia and Thailand have long been part of a wider Southeast Asian cultural environment in which artistic forms, religious traditions, clothing styles and other practices have interacted across political and geographic boundaries. That historical interaction does not by itself establish the origin of a particular photograph or artifact.
The photograph controversy therefore needs to be separated into two questions.
The first is provenance: where the photograph came from, when it was produced, who preserved it and what the original archival documentation says.
The second is cultural interpretation: what the clothing or person depicted represents and whether the image can legitimately be used as evidence for a particular cultural tradition.
Those questions require documentary evidence rather than assumptions based solely on visual similarity.
Neth Pheaktra’s emphasis on documentation, cultural education and digital storytelling is particularly relevant in this context. As historical material increasingly circulates through social media and digital presentations, accurate sourcing can determine how audiences understand cultural heritage.
For Cambodia’s tourism, fashion and creative sectors, stronger documentation can also help creators use traditional cultural elements with greater historical context and accuracy.
Frequently Asked Questions
What is the dispute about?
The dispute concerns a historical photograph shown during the Miss Universe Cambodia 2026 preliminary presentation. Thailand says the image is an archival photograph of women from Kamphaeng Phet taken in 1906, while a Cambodian researcher has offered a different identification and historical interpretation.
What does Thailand say about the photograph?
Thailand’s Ministry of Culture identifies it as an image of women from Kamphaeng Phet, taken in 1906 during the reign of King Chulalongkorn. It says the photograph is preserved in a Thai archival collection.
What does the Cambodian researcher say?
Researcher Virak Varany, cited by Khmer Times, said the woman was Yeay Sok, whom he identified as a royal dancer connected to the Khmer royal court. He said his team relied on French documents and descendant information.
Has the competing identification been independently resolved?
The supplied sources do not establish an independent resolution of the competing claims. The article therefore treats the identity and cultural attribution of the specific photograph as disputed.
What did Neth Pheaktra say about Khmer culture?
He said Cambodia has a responsibility to preserve, protect, develop and transmit Khmer cultural identity and civilisation to future generations.
What cultural practices did he identify as living heritage?
He cited the Khmer language and script, Royal Ballet, Lakhon Khol, Chapei Dang Veng, Kun Lbokator, oral traditions, religious ceremonies and everyday customs.
What is Cambodia doing to promote understanding of the Khmer sbai?
The Ministry of Culture and Fine Arts plans to hold an orientation workshop on October 6 focusing on the Khmer sbai and its use in traditional customs and Khmer wedding ceremonies.