Dance in Thailand

Dance in Thailand (

The Thai terms for dance, รำ 'ram', and ระบำ 'rabam' derive from the Old Khmer words រាំ 'raṃ' and របាំ 'rapaṃ', respectively.^[1][2] There is an extended influence of ancient Khmer forms on Thai Classical dance and performance as a multitude of Khmer words relating to dance, music and performance can be found in Thai language, along with the similarities found between the gestures of Thai dancers’ and depictions of Khmer dancers in ancient Khmer sculpture and bas reliefs.^[3]

According to Surapone Virulrak, Thai performance art took shape during the Ayutthaya period. At this time, Chak nak Dukdamban, a "ceremony depicting the churning of the ocean to create the immortal spirit", was performed on special occasions.

Aside from folk and regional dances (such as southern Thailand's Indian-influenced Manora dance), the two major forms of Thai classical dance drama are Khon and lakhon nai. In the beginning, both were exclusively court entertainments and it was not until much later that a popular style of dance theatre, likay, evolved as a diversion for the common folk who had no access to royal performances.^[citation needed]

Classical dance drama

The first detailed European record of Khon and other Thai classical dances was made during the Ayutthaya Kingdom. The tradition and styles employed are almost identical to the Thai traditions we still see today. Historical evidence establishes that the Thai art of stage plays was already perfected by the 17th-century.

Of the attires of Siamese Khon dancers, La Loubère recorded that: "[T]hose that dance in Rabam, and Cone, have gilded high and pointed. It was introduced by Persian Lombok hat in King Naraya reign. but which hang down at the sides below their ears, which are adorned with counterfeit stones, and with two pendants of gilded wood."[7]^: 49

La Loubère also observed the existence of muay Thai and muay Lao, noting that they looked similar (i.e., using both fists and elbows to fight), but the hand-wrapping techniques were different.^[7]: 49

The accomplishment and influence of Thai art and culture, developed during the Ayutthaya Period, on neighboring countries was evident in the observation of Captain James Low a British scholar of Southeast Asia, during the early Rattanakosin Era:

"The Siamese have attained to a considerable degree of perfection in dramatic exhibitions — and are in this respect envied by their neighbours the Burmans, Laos, and Cambojans who all employ Siamese actors when they can be got."^[8]

Lakhon

Lakhon features a wider range of stories than Khon, including

Khon is the most stylized form of Thai dance. It is performed by troupes of non-speaking dancers, the story being told by a chorus at the side of the stage. Choreography follows traditional models rather than attempting to innovate. Most Khon performances feature episodes from the Ramakien. Costumes are dictated by tradition, with angels, both good and bad, wearing colored masks.

Fon

Fon (

• Fon lep (fingernail dance): A northern Thai dance style. Each dancer wears six-inch-long brass fingernails. The long fingernails accentuate the finger movement of each dancer. Dancers wear their hair in a chignon-style with a yellow jasmine flower tiara.
• Fon tian (candle dance): A performance consists of eight dancers, each carrying candles. Dancers are in pairs, one pair to each side. They wear full-length sarongs and jackets with a matching shoulder cloth. This dance is always held at night.
• Fon ngiew (scarf dance): A dance performed at a happy event. The dance is similar to the fon lep but the dance is faster and more fun. Each dancer wears a yellow flower tiara, jong kra bane, and sabai.

Connections between Thai classical dance and the neighbouring countries

Myanmar

The two golden periods of

One of the earliest written records of sacred dance in Cambodia dates back to the 7th century, a period during which performances were an integral part of funeral rites for the kings.[11] Throughout the 20th century, the use of temple dancers was still widespread in funeral processions, such as that of King Sisowath Monivong. The tradition of temple dancers declined in Cambodia during the 15th century when the Siamese kingdom of Ayutthaya invaded Angkor. When Angkor fell, its artisans, Brahmins, and dancers were taken by force to Ayutthaya leading possibly to the introduction of Khmer dances in Thailand.^[12] While Thai,

Cambodia was the first place in mainland Southeast Asia where Ramayana was known. It was known in Sanskrit. Many extant reliefs depict scenes from the epic. Dance probably held a central position in Khmer court and temple ceremonies. An indication of this is the fact that the royal palace at Angkor contained a large dance hall and that the temple at Ta Prom housed a troupe of no fewer than 615 dance girls. […] In the 15th century, the Thais conquered part of the western territories of the weakened Khmer empire. As a result, Angkor was abandoned as a capital. The Thais had transported a part of the Khmer court and dancers to Ayutthaya and adopted Khmer dance tradition, although they developed it in their own manner during the succeeding centuries.The result is present day Thai dance, based on adaptations from Cambodia during the 18th and 19th centuries.[15]

Nevertheless, in Thailand, the main theory suggests the contrary. For instance, Fédéric Maurel, a French historian working for Prince of Songkla University (Thailand) notes:

From the close of the eighteenth century and through the nineteenth century, a number of Khmer pages, classical women dancers, and musicians studied with Thai Ajarn (masters or teachers) in Cambodia. The presence of these Thai elite in Cambodia contributed to the development of strong Thai cultural influence among the Khmer upper classes. Moreover, some members of the Khmer royal family went to the Thai court and developed close relations with well-educated Thai nobility, as well as several court poets. Such cultural links were so powerful that, in some fields, one might use the term Siamization in referring to the processes of cultural absorption at the Khmer court at that time.^[16]

The Nirat or Siamese tradition of parting poetry was emulated by Khmer poets, and many Thai stories, such as Ka Kee, were translated from the Siamese source into the Khmer language.^[17] One Thai study on comparative literature argues that Cambodia's current version of Ramayana (Reamker) was translated directly from the Thai source, almost stanza by stanza.^[18] The Cambodian royal court used to stage Thai lakhon dramas in the Thai language during King Norodom of Cambodia's reign.^[19]

Folk dance

Folk dance forms include dance theater forms like

• Ram wong (Thai: รำวง) borrowed from the Khmer word រាំវង់ (IPA: [rŏəm ʋŏəŋ]). In Khmer, the word consists of two separate native Khmer morphemes រាំ (rom: "dance") and វង់ (vong: "circle") ^[20][21] reflecting the characteristics of the dance: a type of partner dance
  in a circle.
• Ram muay (
  Southeast Asian kickboxing matches such as muay Thai
  .
• Wai khru (Thai: ไหว้ครู) Wai khru ram muay is a ritualized form of dance meant to pay respect to or homage to the khru, or teacher. It is performed annually by Thai classical dance institutions as well as before muay Thai
  matches.

• Ram si nuan (Thai: รำศรีนวล): A typical dance of central Thailand. Its great popularity is due to the choreography and the sweetness of the music that accompanies it. The lyrics and music evoke the sweet nature of Thai girls. The dance is also an expression of the yearning of a young man won over by such great charm.^{[citation needed]}
• Ram thoet thoeng (Thai: รำเถิดเทิง, 'drum dance'): The teut-teung drum, an instrument used in Thai folk music, is played throughout the country to accompany the parades held at traditional festivals. It is said that the modern style of the teut-teung dance was created by some music teachers.^{[citation needed]}
• Rabam chao na (
  Mae Po Sop, the goddess who protects rice-growing. Lastly, the harvest is celebrated with songs and dancing.^{[citation needed}
  ]
• Ram
  krabi krabong (Thai: รำกระบี่กระบอง): These dances are inspired by types of combat that were typical of Thailand, in which either sticks or swords are used. The skillful use of the short stick depends on the agility of the fighter, who must attack and always remain close to his opponent, while the combatant who takes up the long stick must maintain a critical distance from his rival to use his weapon effectively. The art of sword fighting has been practiced in Thailand since the beginning of time, and, traditionally, a ceremonial dance is performed prior to combat.^{[citation needed}
  ]

• Central Thailand dances
• 
  Thoet thoeng dance
• 
  Krabi krabong practitioners
• 
  Krabi krabong practitioners with Thai swords (

  daab

  )

Northeast Thailand

• Serng kratip khoa: This dance is performed during traditional celebrations. Usually, the word serng is added to the name of the domestic object used on stage by the dancers. In the case of the serng kratip, the dancers carry typical rice baskets, known as kratip. Their movements imitate those of the women who bring food to the men working in the fields. The choreography is accompanied by music with a lively rhythm. The instruments used are a long drum, charb (cymbals), grab (a kind of castanet), mong (gong), and the kahen (similar to an old-fashioned syringe).^{[citation needed]}
• Serng Isan: This folk dance is generally performed at traditional festivals. The choreography is entrusted to the dancers, who wear brightly colored costumes and express all the joy of the celebration.^{[citation needed]}
• Fon Phu Thai: This dance is part of a
  Phu Thai tribe, who live in the northeast. The music that accompanies it is played on typical instruments like the gong ching (a tribal drum), along with other drums and pipes. The gong ching plays a fundamental part because it sets the rhythm for the dance.^{[citation needed}
  ]
• Serng krapo ('coconut dance'): Krapo is the word for '
  musical scale.^{[citation needed}
  ]
• Isan bantheong ('the happiness of Isan'): This is a series of folk dances usually performed on festive occasions. The swift, harmonious movements are accompanied by folk songs associated with the northeast region.^[citation needed]

• Northeast Thailand dances
• 
  Dancers at a Yasothon festival
• 
  A folk dance in the Rocket Festival parade in Yasothon

Northern Thailand

• Fon sao mai ('silk weaving dance'): Fon is a type of dance in northern and northeastern Thailand. It is performed in groups and has very slow, graceful, and almost meditative movements. Fon sao mai depicts a traditional profession of northern Thai women in silk weaving. The dance imitates different processes of silk-weaving. For generations, silk production is one of the top home industries in northern and northeastern Thailand and Laos.^{[citation needed]}
• Dance of the Nantha-peri and Pu-cha drums: The nantha-peri is a drum characteristic of northern Thailand, which is used for two purposes: to spur on warriors prior to battle and to pay homage to the
  Buddha in religious ceremonies. The pu-che, on the other hand, is a type of drum used by the tribes that live in the north: the Tay Yai, the Tai Lue and the Tay Yan. It is used to accompany various dances including, the sword dance, and the kai lai and king ka lai dances.^{[citation needed}
  ]
• Sword Dance: This dance is inspired by an ancient martial art that requires tremendous courage and strength and excellent reflexes. The dancers balance a number of swords on different parts of their bodies while fighting off their rival with a sword sheath.^{[citation needed]}
• Ka-lai dance: Beginners learn to execute graceful and balanced movements through the choreography of this dance.^{[citation needed]}
• King-ka-la dance: The hand movements and steps of the female dancers, who wear spectacular fan-shaped costumes, evoke the movements of a bird.^{[citation needed]}
• The Sounds of the Mountains: The music that accompanies this dance is played on wind instruments characteristic of three tribes in North Thailand: the pi hom (a gourd pipe) of the Tai Lue, the pi joom of the Tay Yuan and the kan nam tao (a gourd flute) of the Li Saw.^{[citation needed]}
• Candle Dance: Typical of the Thai Kheun tribe, this dance is performed in honor of the Buddha. The female dancers pay homage to the divinities that protect the eight cardinal points of the Earth, asking them to pass through the candlelight in homage to the Buddha.^{[citation needed]}
• Khan Dok Dance: The striking choreography of this dance of blessing expresses the calm, serene temperament of the northern peoples.^{[citation needed]}
• Choeng Tua Auk-son Dance: This dance, performed in the Buddha's honor, is characterized by a complex choreography inspired by the calligraphy of the ancient alphabets of the northern regions and by the movements used in martial arts.^{[citation needed]}
• The Sounds of Lanna, the Ancient Kingdom of the North: This music is played on two instruments typical of this region. The phin-phia is a stringed instrument whose body is made from a coconut shell. When he plays it, the musician rests the shell on his bare chest, then moves it or presses it to achieve the desired tonality. In the past, the phin-phia was the instrument used by youths to court the maidens of their village. Few musicians still play it. The sueng is a stringed instrument made of teak or hardwood. It is played by plucking the two metal or brass strings with a horn plectrum.^{[citation needed]}

• Northern Thailand dances
• 
  A dancer in Chiang Mai
• 
  Thai dancers in

  Laplae

  wearing Khmer-style dresses and crowns

Southern Thailand

• Nora: Nora is a traditional dance of southern Thailand (called the Chatri in southern Thai ). Its origins lie in various legends, which there are different versions of. The choreography of Nora varies from region to region, but it is generally composed of 12 positions and 17 movements.^{[citation needed]}
• Nora tua oon: This more refined version of Nora often requires greater interpretive skills and experience. Nora tua oon is often studied from a very young age so that the body can achieve the flexibility necessary to execute the dance's complicated movements. Female Nora tua oon dancers follow a demanding exercise regime and strict discipline.^{[citation needed]}
• Ram taeng kae: Ram taeng kae is an elaborate Nora dance that requires great interpretative skills. In the dance, the protagonist launches a harpoon at a crocodile, whose back, lit by candles, is made from the trunk of a banyan tree. A female dancer moves around the writhing crocodile, poised to pierce its head at the right moment.^{[citation needed]}
• Ram Nora son ram: This dance consists of a basic posture, which is executed by concentrating on hand, arm, and shoulder movements, as well as on the equilibrium and movement of various parts of the body. Ram Nora son ram is accompanied by long lyrics.^{[citation needed]}
• Ram kien pral / yieb louk manao / ram ko soet: This advanced level of Nora is usually performed during competitions between two groups of dancers. To intimidate the rival group, a male dancer strikes an effigy. In the yieb louk manao version, the female protagonist stamps on three lemons, symbolizing the hearts of the rivals. The dance is performed as a sign of victory. Afterward, the female protagonist asks the pran, a comical hunter, to give her a headdress as a symbol of her victory. This is a ceremonial ritual carried out to dishonor rivals and to encourage the members of the group. The dance is characterized by a certain sacredness.^{[citation needed]}
• Ram Nora bot pratom: The choreography of ram Nora bot pratom uses a basic posture in which hand, arm, and shoulder movements are synchronized with head movements.^{[citation needed]}
• Ram ooak pran: In a Nora performance company, the pran, or hunter, plays the part of the fool. He usually wears a hunter's mask or headdress, and the movements are often amusing and designed to make the audience laugh. Each position is in harmony with the dynamic rhythm of the music.^{[citation needed]}
• Ram Nora klong Hong: This advanced level of Nora is performed only on important occasions. The female protagonist plays the role of Hong or
  kinnaree, a legendary creature who is half woman and half bird. According to a celebrated Nora teacher, ram Nora klong Hong is partly based on the legend of Prasuton-Manora: the seven kinnaree play in the lake in the middle of a wood. Struck by their beauty and lightheartedness, pran Boon, the hunter, chases the maidens in an attempt to catch the youngest. The lively, harmonious movements perfectly evoke pran Boon's pursuit of the kinnaree as the youngest tries to escape.^{[citation needed}
  ]
• Ram Nora tam bot / ram ooak pran: In this dance, the hand movements evoke the beautiful scenery of
  Songkhla Province in South Thailand. The verses of the song are accompanied by a lively rhythm.^{[citation needed}
  ]
• Rabam Srivichai / rabam Sevichai: This is one of the so-called "Thai archaeological dances". It is a reinvented dance that represents the kingdom of
  bas-relief on the stupa of Borobudur in central Java and other artifacts of the Srivijaya period. The musical melody is composed in Javanese style, while its colors, black, red, and green, are characteristic of southern Thailand. The dance headdress is called a krabang naa. Some of the movements, poses, and stances are based on classical Javanese and Balinese dance traditions.^[22]

• Southern Thailand dances
• 
  Manora Dance

See also

• Dance of Cambodia
• Dance of Indonesia
• Balinese dance
• Javanese dance
• Sundanese dance

References

External links

Wikimedia Commons has media related to Dance of Thailand.

• Khon Masks of Thailand
• Khon, classic theatre and dance
• Archival footage of PillowTalk: Thailand's Traditions Today at Jacob's Pillow, 7/15/2010
• Patravadi theatre presents Chalawan The Likay Musical.
• Banramthai website (in Thai and English)