The exceptional cultural heritage of Cambodia has attracted the attention from the rest of the world for over a century. Its famous Angkor temple complex is one of the main tourist destinations in Southeast Asia. But in terms of cultural heritage, the country has a much more to offer: beautiful silk, performing arts as well as silverwork and other traditional handicrafts. These disciplines were transmitted for generations from masters to apprentices and from parents to children. However, decades of civil war severely damaged the intangible heritage and caused a breakdown of social values. The Khmer Rouge regime, in particular, struck a terrible blow to this process of continuity. It is estimated that only 10% of artists, dancers, musicians, actors and poets survived the Khmer Rouge period. The return of social stability in Cambodia has allowed for a partial cultural revival. The UN in Cambodia has supported this recovery in more than one way. It has given guidance to the restoration of Angkor Wat, it has supported the rehabilitation of the performing arts and it has developed training and mentoring programmes for cultural and creative industries. Despite concerted efforts in this area, many traditional arts and skills are on the verge of disappearance. Notwithstanding a keen interest amongst Cambodians in their own cultural heritage and a booming tourist industry, artists and producers find themselves forced to look for other ways to sustain their livelihoods. This paradox is largely explained by the fact that artists and producers do not have the skills and networks to bring their products and skills to a market which is dominated by foreign ownership and international tour operators. The Royal Government of Cambodia (RGC) has acknowledged the important role played by culture to shape national identity, strengthen social cohesion and contribute to the economic development of the country. It has called for further support from the UN and its partners to realize the economic and social potential of its cultural sector. One important avenue taken by UN partners is to complement efforts for cultural preservation with support to entrepreneurship, trade and market linkages, and capacity building for groups and associations of artists and producers. The RGC, under the leadership of the Ministry of Commerce with the support of UNDP is finalizing the development of the Cambodian Trade Integration Strategy, which provides a unique platform for trade and private sector development. The Strategy gives well-documented guidance on the economic potential of a series of local cultural products, including silk. Thousands of Cambodians - especially women - depend on silk, weaving and other cultural products. There us a need to upgrade the value chains of these cultural products to ensure that the producers are empowered to receive a fair share of the benefits. At the same time, flaws in the implementation of trade legislation as well as weaknesses in trade support services need to be addressed. Expansion of trade is not an end in itself, but a means to achieve poverty reduction and human development objectives in the country. Over the past years, the UN has supported associations and groups of artists and producers, such as the Artisans Association of Cambodia to develop not only their products and performances but also their business practices and marketing skills. Support to groups of traditional musicians and handicraft producers has allowed poor communities, women and people living with disabilities to conquer a fair share of the tourist market. Most efforts so far have been centred around Siem Reap Province but need geographical expansion in order to capture and build on the diversity of arts and skills available throughout the country. Ethnic minority communities need extra support in this area with the aim to preserve their cultural heritage and realise its economic and social potential through a rights-based approach.