Khon: Mask Dance Drama in Thailand

KHON MASKED DANCE DRAMA IN THAILAND

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KHON MASKED DANCE DRAMA IN THAILAND

M I N I S T R Y O F C U LT U R E O F T H A I L A N D Thailand

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What’ Khon Khon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art and the shadow play.

It tells the story of Ramakien – the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with army of Thosakan (Ravana), king of the demons, and his final victory. The dancers wear elaborately embroidered costumes. The demons and monkeys all wear masks that cover their entire head. The colors and shape of each mask are unique to each character.

The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression.

The dance postures and movements, the music and the repertoire have been handed down from generations since the 15th century.

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The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking person or revered monks, celebration of sacred sites, birthday, and opening of new business. The practitioners also perform a ceremony to honor Khon masters of the past, teachers and deities. During this ceremony new members are initiated into the community.

Khon dance troupe with piphat music ensemble.

The photograph is persumably taken around mid-19th century based on the costume style of the dancers and the hairstyle of audience in the background. Photograph Album of Siam, 1900.

Source: Cornell University Library, division of Rare and Manuscript Collections.

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(left) Mayoon, one of the eighteen chiefs of staff in Rama army.

The Khon dance drama performed at the late Thai King Bhumibol Adulyadej’s cremation ceremony on stage in the area of Royal Crematorium in Bangkok, Thailand, on October 26, 2017.

Ensemble of Gods in a celestrial scene from the Khon performance at King Bhumibol Adulyadej’s cremation ceremony.

Photo: Siwapon Kosonsiriset.

Photo: Siwapon Kosonsiriset.

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imon de la Loubere a French envoy from court of King Louis XIV who came to Ayutthaya court in 16881689, drescribes in his book that “The Siameses have three sorts of Stage-Plays. That which they call CÔne is a Figure-dance, to the Sound of the Violin, and some other Instruments. The Dancers are masqued and armed, and represent rather a Combat than a Dance: And tho’ every one runs into high Motions, and extravagant Postures, they ceasse not continually to intermix some word. Most of their Masks are hideous, and represent either monstrous Beasts, or kinds of Devils.”

Since 17th century verses and scripts for Khon performance must have been composed transmitted orally at least in the capital city of Ayutthaya. Awear of the significance of the Ramakien story as a main source for entertianment and moral, King Rama I (Phra Phutthayotfa Chulalok) commanded the first known complete version of Ramakien text written in 107 books in 1797. The text is cleary instructed and marked with specific melodies and songs for accompanying music as it was meant to be used as a standard script for Khon performance.

The last page of the final of King Rama I’s Ramakien cleary indicates that the composition is for entertainment.

Original books of Ramakien, 1797 A.D., King Phutthayotfa Chulalok (King Rama I, reigned 1782-1809).

Source: National Library of Thailand

The Ramakien reliefs around the Ordination Hall of Wat Pho. The series of 152 marble bas-releif panels depicting the highlight scences from Ramakien in stylistic Thai art closely related to the Khon choreograph were executed in early 19th century.

Photo: Anucha Thirakanont.

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Maiyarap fighting Hanuman in a Khon episode of “The Battle of Maiyarap,� the production of the SUPPORT Foundation of Her Majesty Queen Sitikit of Thailand Photo: Peter Tresize (left page) Mother of pearl decoration on a manuscript cabinet by unknown artist from late 18th century depicting a demon (Maiyarap) fighting a monkey Photo: Sakchai Guy Thailand

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Praya Phrommaphiban (Thongbai Suvannaparot) in Thosakan (Ravana) costume Thongbai’s title was one of the titles confered by King Vajiravudh (King Rama VI, reigned 1910-1925) to his royal Khon dancers.

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Pipatpong Kiewman, a student of Bunditpatanasilpa Institute in Thosakan costume for the Khon production of The SUPPORT Foundation of Her Majesty Queen Sirikit of Thailand, 2018.

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Pratitioners and Bearers The main practitioners are dancers who are both men and women. The men dance male characters, demons and monkeys, while the women dance the female humans and deities. Dancers and musicians are from different regions and social backgrounds. The majority of them have been trained in dance colleges. Some are the members of Fine Arts Department, or government dance colleges. Their role is to perform in major venues: national theatres, temple celebrations, or private events.

They train younger dancers to perform specialized role in specific episodes.

In addition, trained dancers work as teachers in universities, colleges and schools. They teach classical dance, traditional music, singing and performance techniques as part of the education curriculum or in school and college dance and musical clubs. They also teach in dance classes organized by cultural institutions or communities.

Some practitioners from private troupes also perform for cultural events, restaurants, tourist spaces or private theatres. Most are trained institutionally, but some informally within the troupes.

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ถีบเหลี่ยม ถ่ายที่วิทยาลัยนาฏศิลป์

Somsak Tadti, a teacher of demon role closely examines the posture of his student at the Dramatic Art College, Bangkok.

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(1-2) The practice of young students as extra curriculum activity at Wat Sala Deang School, Bangkok.

(3-4) The practice of students at The Dramatic Arts College.

hon is a role-specific performing art; namely, prince, princess, demon, and monkey. Basic training of Khon usually starts at the age of 13. Physical requirement becomes more intense when the students grow up. Once the student is categoried into specific role, it is hardly changeable throughout his career. Acrobatic movements need special attention from teachers especially for the role of monkeys. By the age of 20, some students can take the leading role and become professional dancer.

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Photo: Chatuporn Phakdee

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(Top Right) (Top Left) (Bottom Left)

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Important components of Khon performance include music and melodic conversation and narration (pak and cheracha). (right page) Piphat ensemble during a performance (this page) Damrongsak Natprasert, a former teacher of the Dramatic Art College, Ang Thong Province, and re-known Khon actor continues his career as narrators and also directs the Khon productions.

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Battle scene, from the episode of “The Battle of Maiyarap�, a production of the SUPPORT Foundation of Her Majesty Queen Sirikit of Thailand, 2011

Battle scene, Ramakien mural painting on cloister wall around the temple of the Emeral Bhudda (Wat Phra Sri Rattana Satsadaram), Bangkok, initiated in late 18th century, though the painting underwent several major restorations, this century-old Ramakien painting retaines the style of early Bangkok traditional painting and also depicts the complete story of Ramakien along with accompanying text inscribed on stone slabs.

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raft specialists who make ornamented headdresses and masks, finely embroidered costumes, musical instruments and make-up artists, are more informally trained and work as independent specialists. Young apprentices are trained in the workshops, or households of the master craft specialists, or on the job.

All artist and craft specialists related to Khon perform ceremonies to honor their deities and past masters, and rituals to receive new pupils, or mark the transmission of new knowledge and skills.

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he main characters of Khon are gods, demons, and princes and princesses. Accordingly, its costumes have been modeled closely on the splendid dress worn by members of the royal family for important rituals.

However, Khon costume are typical of theatrical dress in general--they appear convincingly rich and royal but are always made of lesser materials.

The jewelry for Khon is also custom-made and mostly handcrafted with casting and repousse techniques.

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การทำ�เครื่องประดับ

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Much of the visual impact of Khon costumes comes from gold embroidery, with embellishes virtually every item dancers wear.

The texture, size, and color of the materials the embroiderers use vary from one workshop to another. These differences could be recognized and identifiable as unique school of art.

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(Left) (Right)

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hon mask is an integral part of the performance.

The helmet-like mask covering entire head is a rolespecific item which can generally be identified by colors and facial expression. The mask is papiermâché base with details crafted out of lacquer, paint, gold leaf, and glass mosaic. The art of mask making is inherited within family members and also taught in some vocational schools.

Indra God, the episode of Prommas, the SUPPORT Foundation of Her Majesty Queen Sirikit of Thailand’s Khon production of 2015.

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Khon character wearing Indra mask (mid-19th century). Collection of the National Glass Plate Negatives. National Archives of Thailand.

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Indrajit. An exceptional proportioned and highly detailed Khon mask from 19th century for young dancer. Private collection of Pramet Boonyachai

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The dancer being sewn into his costume before a performance.

This method of dressing is an art form by itself and requires specially trained dressers for every production.

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hon is proudly recognized as the pinnacle of refined dramatic art in Thailand. It is a sophisticated form of cultural communication using the media of graceful dance movements, instrumental and vocal renditions, and glittering costumes. On one level, it represents high art cultivated by the Siamese/Thai courts over many centuries. At another level, as a dramatic performance, it offer a range of actions: magical transformation, reviewing the troops, and battles, that can be interpreted and enjoyed by spectators from different social backgrounds.

Khon has a strong didactic function. Its plots and relationships among characters in each episode exemplify and reinforce the respect for those of higher age and status, mutual dependence between leaders and followers, men and women, bravery and honor of rulers, and the triumph of good over evil. Khon performances depict the glory of Rama, the hero and incarnation of the God Vishnu, who brings order and justice to the world. This theme underlines the cultural and moral significnce of the monarchy as the unifying force of society.

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โขนกรมศิลป์

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โขนกรมศิลป์ (left, right page) Young Khon dancers of the Kukrit Pramoj Foundation during the annual performance in 2018. The foundation is one of the non-governmental sectors which regularly offers Khon training class for public. Over the year, it draws many young amatures to participate in this activity and the staging of Khon performance is an important annual event of the foundation.

Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.

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ituals and ceremonies associated with Khon are vital i n m a i nt a i n i n g t h e s e n s e of continuity with the past. It is an unbroken tradition to stage Khon performances as part of royal c e re m on i e s an d i mp or t ant st ate functions as well as general public events. In annual ceremonies of wai khru, Khon artists and related c r af t sp e c i a l i st s g at h e r to m a ke offerings to spirits of past masters.

Their sense of unity and community is forged during the ceremony.

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National ArtistS in Khon

Since 1988, the Ministry of Culture of Thailand has honored individual Khon master as the National Artists. The current National Artist in the area of Khon who still actively join the productions as mentors and consultants are as followed.

Jatuporn Rattanawaraha

Prasit Pinkaew

Performing art (Thai dance, Demon) 2009 Born on 9 December 1936, expert in demon role. He is widely regonized for his graceful performance especially in memorable Thosakan role.

Performing art (Thai dance, Monkey) 2008 Born on 13 November 1941, expert in monkey role. He is an acknowledged prodegy of the legendary master Kree Worasarin.

Supachai Chansuwan

Rattiya Vikasitpong

Ratjana Puongprayong

Performing art (Thai dance, Prince) 2005 Born on 31 July 1955, he became a leading dancer at the very young age and still peforms the principle role in Khon performance on important stage. He is currently the Dean of the Faculty of Music and Dance, Ministry of Culture.

Performing art (Thai dance, Prince) 2017 Born on 26 July 1935, expert in prince role. One of the most valuable human resource in Thai dance education curriculum, Rattiya actively trains young priciple dancers for various stages.

Performing art (Thai dance, Princess) 2011 Born on 6 October 1941, expert in princess role. Well-known as Benyaguy, she is mentioned in excellent act and emotional expression.

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Khon performance by the Department of Fine Arts, Ministry of Culture took the stage at the Versailles Palace in Paris as part of “Tout à Fait Thai” in 2006.

Photo: Peter Tresize.

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CREDIT Project Consultants

Chai Nakornchai Director-General, Department of cultural Promotion Pradit Posew Deputy Director-General The Promotion and Conservation of Intangible Cultural Heritage

Editor

Ascharaporn Pongchavee Anucha Thirakanont Ph,D.

Working Team

Sukanya Yensuk Chanaphorn Sawaengsup Sumalee Jeamjangreed Chakrit Sittirit Somrudee Chaisukumarn Arunee Jeerapornbundit Naddanai Jaimun

Director Institute of cultural Education Director Thai Khadi Research Institute Cultural Officer (Senior Professional Level) Cultural Officer (Professional Level) Cultural Officer (Professional Level) Cultural Officer (Professional Level) General Affairs Officer Cultural Officer Cultural Officer

Photographers

Somkiat Kangsadalwirun Siwapon Kosonsiriset

Graphic Designer

Oumboon Limnamkham

Project manager

Safeguarding of Intangible Cultural Heritage Division Institute of Cultural Studies Department of Cultural Promนtion 14 Tiamruammitr Rd, Huay Khwang 10310 Tel. 0 2247 0013 # 1312, 1313, 1314, 1319 Fax 0 2645 3061

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