A large kite soars through the air, a loud hum resonating across the landscape. Kleng Ek kite flying is often a communal activity, a shared experience that brings communities together to witness the spectacle and listen to the music of the skies.

The sound produced by the flutes is a unique and enchanting blend of tones, a harmonious melody that fills the air.

The creation of Kleng Ek kites is a traditional craft meticulously passed down through generations of skilled artisans​

One of the few remaining artisans is Chhum Mao, a Siem Reap resident who crafts elaborate kites, some worth hundreds of dollars, to meet market demand during the kite-flying season.

Chhum Mao, a master Kleng Ek maker, sells his musical kites for prices which start from $100. Supplied

“I make these kites because it is an ancient Khmer tradition,” Mao told The Post.

“I used to watch my grandfather sit under a tree and make them when I was a child. I had a desire to keep his knowledge alive and so I learned how to make them myself,” he explained.

Mao began making kites himself in 2007, driven by his passion to keep the tradition alive and to honour the memory of his grandfather.

Craftspeople like Mao carefully select and prepare bamboo, rattan and paper, transforming these simple materials into intricate flying instruments. The bamboo is chosen with care, dried and shaped to form a light yet sturdy frame. 

It's the flutes, however, that are the defining characteristic of the Kleng Ek. The bamboo flutes, varying in size and number, are carefully mounted on the frame. As the wind flows through them, they produce the kite's signature musical sound. 

“To make a good kite, you must choose old red bamboo, dry it in the sun for 20 days and then soak it in water for another five nights. Afterwards, you dry it, flatten the bamboo evenly, then tie it to form a skeleton and then affix paper,” he explained. “Each kite takes three days to make, and it must be done with great care.”

While the skin of a kite can be made from cloth, plastic, or paper, Mao prefers paper pulp for its strength and suitability for creating kites of all sizes. Some are adorned with vibrant designs and patterns. Finally, a long tail is added for stability and balance.

The structural frame of the kite, awaiting its paper covering. Supplied

“I always like to make kites with a height of 2.4 or 2.2 metres according to the customer’s wishes and also to highlight beautiful images,” Mao added.

A key feature of his kites is their distinctive sound. He explained that to create the resonant hum, the kite's wings are made from rattan with an old red stem. The leaves are dried in the sun and then thinned to produce a loud, clear sound.

Kites decorated with pictures sell for $200, while plain kites cost $100. His kites are always in high demand, and he often struggles to keep up with orders.

Mao explained that Cambodia boasts a diverse range of kites, including the Ek or Pnong, the Kleng Kan Daung (a typical square kite), and kites shaped like chickens, butterflies, stars or flowers. 

While individual creativity influences kite designs, the Kandong and Kleng Ek are particularly popular, especially in rural villages.

Young people launch their Kleng Ek kites high above a rice paddy. Supplied

Like many traditional crafts, the art of crafting and flying Kleng Ek kites is facing a decline in popularity. However, dedicated individuals and organisations have undertaken efforts to revive and preserve this vital part of Cambodian heritage. 

In 1994, the Ministry of Culture and Fine Arts organised the first kite festival, marking the return of this cherished tradition. Since then, kite festivals have become a regular event in the Kingdom.

This Cambodian tradition has also gained international recognition, with participation in kite festivals in countries like Korea, Japan, France, Malaysia, Indonesia and England. 

Further solidifying the preservation of the art form, the Khmer Kite Museum was established in 2003, showcasing Khmer kites and educating the public about their history and cultural significance.

Kite festivals and workshops are regularly held, promoting the tradition and passing on the intricate skills to younger generations, ensuring that the enchanting song of the Khmer flute kite continues to resonate for years to come. 

Young people carry their Kleng Ek kites, ready to fly. Supplied

Mao is keen to pass on his skills. A traditional Khmer kite, propelled by the wind, is more than just a toy; it represents a cultural art form of the Khmer people. 

Mao believes that this tradition honours his ancestors' connection to the four elements – earth, water, fire and air – that sustain life.

However, negative beliefs about kite flying have been passed down through generations. The idea that a kite falling on someone's property is a bad omen, bringing misfortune, persists. As a result, some elderly people even forbid their children from flying kites.

Master Mao called on Cambodians to reject the superstitious belief that a kite landing on a house necessitates chanting to dispel bad luck, and instead celebrate kite flying as a positive expression of their culture.

“Finally,” he urged, “I want all Cambodians to move away from the superstition that if this kite falls on someone's house, they must chant mantras to ward off evil. Let's embrace kite flying as the positive cultural activity it is”.