e dancer scarf is part of a series that is still a problem. Element of a likely architectural decoration, it is one of the most graceful specimen of the dancers, which we know a number.
And the Museum of Saigon, he would find five (catalog, 1994, p. 56 and 57), only one (rather poor rendering) has his left hand above the head, the other raising his right hand. The dancers at the scarf that period, which were found, almost all raised right hand. One might think they formed yet symmetries. But the beautiful sculpture of dancer's scarf shown by Dr. Stern in his book of 1942 (p1.59 a), left arm raised, does not the same gesture with his right hand (she makes a mudra), and the position of his left leg is different. Moreover it seems that this masterpiece has disappeared!
Leg lifting, the dislocation contrast, arm extended downward, below the knee raised, are part of these dance figures so common in the Cham statuary, and it also remains to be studied.
But what is special about the dancer, it's the eye treatment, which gives the face its grace. A slight incision in lieu of lower eyelid and upper eyelid almost disappears, which is rare even for this series of images.
In addition we found a number of these dancers (3 at least), not to Tra Kieu, but Khuong My. (Perhaps this is the case of the dancer G. Labit Museum of Toulouse). In a report, remained unpublished, the book by Jean Boisselier, Dr. Stern was astonished at this, it was incomprehensible.

(Bibl. Guillevic1981: 57, p. 93).

"The Art of Tra Kieu Georges Labit Museum of Toulouse Emmanuel Guillon
Article of "La Lettre de la SACHA" n°2, décember 1997, page 7.