The ancient Khmer have practiced martial arts for 2000 years. Their country covered a significant part of Thailand, Laos and Vietnam.
According to historians, the territory of the Khmer Empire once spanned mountain ranges, rivers, lakes and seas. Men lived there together with all kinds of animals such as tigers, lions and many other carnivores. To survive, the Khmer people strove to acquire the knowledge that would allow them to adapt to nature and defend themselves against all sorts of wild animals. Many archaeological digs across the country (Laang Spean, in the province of Battambang in 1964-1968, in 2009-2010-2012 in Memot, province of Kampong Cham, in 1962-1996 and then 2004 in the pagoda of Kumnou, province of Takeo, in 1999-2001 in Prohear, province of Prey Veng, in 2008-2010 in the village of Snay, in 2006-2009 in Sophy, in 2009-2010 in Kauktreas, and in the province of Banteay Meanchey in 2013) and the results of carbon dating on the objects found during these digs, point out that people began settling in these areas as early as the Neolithic: the inhabitants of this time were already capable of defending themselves and their communities; they possessed well-established beliefs including respect for the dead, to which they made offerings.

The first traces of the Bokator, fighting scenes, strangulation techniques and strokes are found on Angkor reliefs, especially in Banteay Srey, in the tenth century they practiced martial arts of Indian origin (Sri Lanka or Kerala) called Maloyuth.

To survive, the Khmers passed down knowledge and tactics from generation to generation to protect their community and customs, which became traditions. This knowledge, which enabled them, in particular, to fight wild animals, was illustrated in sculptures on the walls of many temples such as Sambor Prei Kuk, Koh Ker, Baphuon, Bayon, Preah Khan, Banteay Chhmar, etc. Furthermore, a very great number of bas-reliefs in the temples of Angkor relating the legends of the Ramayana and the Mahabharata describe these combat techniques practiced in the actual lives of the people of the Khmer Empire. Still later, the frescos of the Kampong Tralach pagoda, erected in the early 20th century in the province of Kampong Chhnang, which can still be admired today, illustrate scenes of combat during traditional festivities in which combatants can be seen using their bare hands and feet, as well as sticks. The Khmer ancestors gave the name “Kun Lbokkator” to all these combat techniques.
- The term KUN describes the martial art of fighting, leaping, and confronting opponents according to the techniques specific to the warriors of the Khmer Empire (Venerable Chuon Nat, p. 137);
- The term LBOKKATOR refers to all combat techniques involving the half-kneeling position, neither too high nor too low. Kun Lbokkator is based on 12 positions. The combination of the various positions forms a specific combat technique. The term Kun Lbokkator is also present in Khmer literary works. According to the Khmer dictionary of the Venerable Chuon Nat, page 1,138, the term LBOKKATOR means a sort of short stick spanning the distance from elbow to hand used as a shield against the long staff of an opponent, or a combat technique using this short stick.

Bokator or L'bokator is a Khmer martial art that includes weapon techniques. One of the oldest existing combat systems in Cambodia, oral tradition indicates that the Bokator or its early version was a melee combat system used by the Angkor army 1700 years ago.
It is said that the boxer is the earliest systematized Khmer martial art. The name l’Bokkatao comes from Sanskrit, so it is thought to be native in India, like the Khmer culture. The pronunciation of the word "bok-ah-tau" comes from labokatao, which means "to hit the lion." This refers to a story that took place 2000 years ago. According to legend, the lion attacked the village, when the warrior, armed only with a knife, defeated the animal with his bare hands, killing animal with one strike at the knee.

Although the lion has cultural significance to Indochina, modern literature assumes that this was not the area of occurrence of the Asian lion, which currently lives in western India. Instead, large cats from Southeast Asia are an Indochina leopard and a tiger.

Indian culture and philosophy were the main features which had an influence on the culture of Angkor. All large Angkor buildings are dedicated to Hindu gods, especially Visnu and Shiva. Even today, practicing Bokator start each training session with respect for Brahma. Religious life was dominated by brahmanas, who also practiced sword fighting and empty hand techniques in India. The concept of animal-based techniques most likely appeared during the reign of the Angkor kings and during the simultaneous influence of Indian martial arts.
The reliefs at the base of the entrance pillars to Bayon, the state temple of Jayavarman VII, depict various Bokator techniques.

The Khmer Empire was huge, which meant that many martial arts were practiced on its territory. Hence the difference between Kun Khmer and Muay Thai is small. Style and strategy are slightly similar, although the rules are different. The use of elbows is preferred in Kun Khmer. Kun Khmer's warriors will be more looking for opportunities to strike an enemy to shorten the fight distance than wins for points.
Historically, Thai people have come to the present territory since the eleventh century, while the Khmers have been there since at least the first century AD with the kingdom of Funan. The Thai people were vassals of the Khmer Empire and worked as mercenaries until independence and victory over the Khmer in the fourteenth century. That is why they adopted the fighting techniques practiced at that time by Khmer and Mon (people practicing Burmese boxing) and appropriated Khmer culture along with the alphabet, dance, martial arts etc. Therefore, Cambodian boxing has many similarities to Thai boxing, because they both come from the same martial art.

Bokator was the main basis of the martial arts used by Khmer ancestors when fighting their enemies. More recent research is showing that after the arrival of ammunition-firing canons, Bokator became a performing art or traditional leisure game, practiced during traditional festivities such as the Day of the Dead, the Buddhist Solidarity Festival (Kathin), the Khmer New Year, etc. A large number of Bokator fighting techniques have become essential building blocks for other forms of art and the performing arts: classic and folklore dances such as Toam Ming, Kantèrè, Bokleakh, Chhay Yam, Robaim Kbach Kun, and some combat scenes of Bassac theatre.
Although Cambodia was, during the centuries following the fall of Angkor, burdened by wars, Bokator remains and continues to survive within Khmer society. Master practicing in communities, certain pagoda venerables, instructors, supporters, national television networks, film producers, several Ministries of the Royal Cambodian Government and their provincial Departments, national and international sports clubs (in the United States, France and Canada in particular) are unanimous in their will to support and promote Bokator.
From the 17th century until 1953, Cambodia experienced many political turmoils. The element bearers and local authorities encouraged the defence movements in communities and formed militia groups. Bokator training and learning were organised for the villagers. The French Protectorate authority (1863-1953) even presented the best Bokator (stick or bare-handed combat) practitioners to the public during the French and Cambodian national festivities.
After 1953, the authorities continued to encourage Bokator learning and training, extending some of the combat techniques to other forms of sport such as modern Khmer boxing and traditional Khmer boxing and establishing national and international combat standards.
All the efforts and measures relating to bokator were entirely annihilated, the human resources decimated and documentation entirely destroyed by the genocidal Khmer Rouge regime. Some knowledge bearers that survived were able to reconstitute a partial knowledge of the element.
After the fall of the Khmer Rouge, the few masters who escaped pooled their knowledge to transmit it to new generations. However, the lack of opportunities and means significantly restricted transmission of their knowledge at a period when the war-ravaged country strived to rebuild itself.
The Ministry of Culture and Fine Arts of Cambodia conducted research to gather documentation on Bokator, inventorying 76 high-level practitioners and offering them the opportunity to transmit their knowledge. In collaboration with several television networks, Bokator performances and historical documentaries were broadcast.
The relevant public institutions also conducted research to document Bokator and form Bokator clubs. Competitions were organised at a national and international level. In 2010, Cambodia participated in the "Chungju World Martial Arts Festival" in South Korea.
Private partners, especially film and television programme producers started to show interest in Bokator to stage performances for audiences and make it part of their scenarios.
The Living Treasure system adopted in Cambodia did not include any Bokator masters amongst its 17 first nominations, completed by Royal Decree.
Since 2012, the Ministry of Culture and Fine Arts has been conducting an inventory of all masters, clubs, communities and potential pupils with a view to organising sustainable programmes to safeguard and transmit knowledge to future generations.
It may ,therefore, be observed that despite the efforts implemented, there is a true need for a precise, coordinated programme to safeguard this traditional martial art.