Ayai

Ayai () is one of the four main musical styles of Khmer traditional culture, along with "pinpeat, mahori," and "phleng khmer". It can be more specifically defined as "repartee singing, usually the theatrical alternation of a man and a woman, accompanied by an ensemble of the same name." Along with "smot", while in a very different style, "ayai" singing has been described as "one of the most fascinating folk music traditions in Cambodia."
History.
The "Ayai" art form originated from popular routines, like many other Khmer traditions. In the past, Cambodian people would perform traditional games - which often included singing and dancing - in their villages, most often during the Khmer New Year festival and other celebrations. 
Because of the ribaldry of the language used, "ayai" singing was considered lewd and this type popular leisure was not recommended for well-bred women in the traditional code of the "Chbab Srey."
Before the Cambodian Civil War, one of the most famous "ayai" singers was Krom Ngoy's grandson, Nay Sleuk.
During the terror regime operated by the Khmer Rouge, most traditional forms of culture, including "ayai," were controlled, if not banned. Occasionally, however, it survived as witnessed by Cambodian genocide survivor Daran Kravanh, who was asked to "sing a question and answer back and forth" by his guards feeling nostalgia for these "ayai" love songs. Khmer singer San Yoeun also confesses singing "ayai" for the regime's propaganda. After the 1980s, culture was more free, small groups promoting traditional culture were set up in various provinces such as those by Chheng Phon, and "ayai" became a popular tool of political contestation, during the Vietnamese occupation of Cambodia. During those years, "Ayai" icon Prum Manh rose to fame and some of his best pieces have become classics of Cambodian folklore music. Since 2010, "ayai" traditional chant has fallen in popularity, and ""ayai" is only heard at weddings or in small villages nowadays".
In 2009, another controversy erupted as the government broke down on the "pornographic" character of the "ayai" songs and the matter obtained attention of world media.
However, others, such as Cambodian American rapper Prach Ly, see "ayai" as the inspiration for the new generation of Cambodian rappers in the 21st century as rap is also, a form of "wisdom competition in continuous rhymes." Through rap, "ayai" is coming back to more popular topics and contemporary social concerns such as welfare and drug abuse.
Analysis.
Poetry.
The standard poetic meter of "ayai" singing consists of four phrases of seven syllables each. Responses from the two parties are usually expected to rhyme with each other according to the rules of Khmer poetry.
Content.
Traditional legends of Khmer literature, Cambodian politics and casual jokes are common topics of "ayai" singing. While improvisation is the highest for of "ayai", predetermined topics are more common for singing in "ayai" performances on stage. Two singers stand at the front of the stage while musicians sit playing instruments behind them. The vocalists describe a story and tell jokes directly to the audience. 
Style.
"Ayai" involves two singers, usually male and female, verbally jousting with each others questions through rhyming verses in Khmer language. Sarcasm as well as irony is often relied upon. These singers need to sing humorously. One singer begins the story then the other starts a new sentence that rhymes with the other singer's line. The singers need to be quick and intelligent in forming sentences that rhyme. Young "Ayai" singers have to learn rhyming words by heart at home before a performance.
Its style is similar to "lam klawn" repartee singing as performed in Thailand.
Music.
Vocal technique.
"Ayai" is a form a alternate singing. This singing style which is often used while courting is also found in Montagnard groups of Indochina. It is called "rang" by the Muong, "luon" by the Tay, "sly" by the Nung, "avong" by the Bahnar. "Ayai" has also been compared to "mor lam" in neighbouring Laos.
Instruments.
Up to six different instruments can be used to accompany "ayai" singing. The "tro sor", a violin-like instrument with light tones, the "tro ou," similar but with heavier tones, the "takhe", the "khloy" bamboo flute, the "skor daey" hand-drum, and the "ching" cymbals. Some musicians also include one more instrument such as the "khim", a harp with 16 strings sounded with bamboo hammers. The accompanying instruments usually introduce and echo the lines of the two singers according to standard patterns. About 15 songs make up an average "ayai" performance.
Training.
While "ayai" singing was traditionally passed on orally from one generation to another, it has since the 1990s been taught at Phnom Penh's Royal University of Fine Arts. Chin Cheang and his wife Ouk Sopha, both very popular "ayai" performers, are teaching the course.
As a form of repartee singing, "ayai" requires particular wit, in particular when performed as on-stage improvisation.