W I P H I T S I L P A >ff>/O.fffi>.>/fiN Nfi.O/>.>fffi/>/ff A Picture Encyclopaedia of Thai Dances
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Dr. Nipha Sophasamrith Chancellor of Bunditpatanasilpa Institute Mr. Tharit Charungvat Secretary-General of Thailand Foundation Mrs. Rattiya Vikasitpong National Artist in Performing Art Assoc. Prof. Dr. Supachai Chansuwan National Artist in Performing Art Mrs. Narumai Traitongyoo Expert in Thai Performing Art Dr. Pairoj Thongkumsuk Fellow of the Royal Society of Thailand Editor : Assoc. Prof. Dr. Jintana Saitongkum Assistant Editor : Asst. Prof. Dr. Kwanjai Kongthaworn Translator : Mr. Tayud Mongkolrat Cover Design : Mr. Phattaraporn Leanpanit Graphic Design : Mr. Somreuk Tepwaninkorn, Miss. Wararat Dolkhumsap Dr. Nipha Sophasamrith Chancellor of Bunditpatanasilpa Institute Mr. Tharit Charungvat Secretary-General of Thailand Foundation Mrs. Rattiya Vikasitpong National Artist in Performing Art Assoc. Prof. Dr. Supachai Chansuwan National Artist in Performing Art Mrs. Narumai Traitongyoo Expert in Thai Performing Art Dr. Pairoj Thongkumsuk Fellow of the Royal Society of Thailand Editor : Assoc. Prof. Dr. Jintana Saitongkum Assistant Editor : Asst. Prof. Dr. Kwanjai Kongthaworn Translator : Mr. Tayud Mongkolrat Cover Design : Mr. Phattaraporn Leanpanit Graphic Design : Mr. Somreuk Tepwaninkorn, Miss. Wararat Dolkhumsap A Picture Encyclopaedia of Thai Dances Wiphitsilpa.-- Nakhon Pathom : Bunditpatanasilp Institute of Fine Arts, Ministry of Culture, 2023. 208 p. 1. Performing arts -- Thailand. I. Title. 793.319593 ISBN 978-616-543-823-0 National Library of Thailand Cataloging in Publication Data Advisors Published by : Bunditpatanasilp Institute of Fine Arts Ministry of Culture and Thailand Foundation Printed by : PPRINT (2012) LP. Tel.08 1490 4300 E-mail : [email protected] All rights reserved according to the Copyright Act B.E. 2537 (1994) Published by : Bunditpatanasilp Institute of Fine Arts Ministry of Culture and Thailand Foundation Printed by : PPRINT (2012) LP. Tel.08 1490 4300 E-mail : [email protected] All rights reserved according to the Copyright Act B.E. 2537 (1994)
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Forward Wiphitsilpa is created from the collaborative effort between the Faculty of Music and Drama, Bunditpatanasilpa Institute of Fine Arts and the Thailand Foundation. Recognising the importance of Thai performing arts as an invaluable heritage of Thailand, both sides jointly aim to spread awareness of the different forms of Thai dance to the public, including academic, government, and private organizations, as well as ordinary citizens of Thailand and the rest of the world. Wiphitsilpa is written in both Thai and English, and is made available in both physical and digital forms. The book provides information on the diverse forms of dance, including classical, folk, and creative performances. Contained within are also information on the history, costume, and choreography of each dance. We hope that, through these insights, readers will come to appreciate and understand the beauty of Thai performing arts. Lasty, we wish to express gratitude to all the experts, national artists, and Royal Institute scholars, whose contributions have made this project possible. We hope that readers will beneût from the knowledge they gain from that this book has to offer which will hopefully help to promote positive and long-lasting impact on Thai performing arts. Bunditpatanasilp Institute of Fine Arts and Thailand Foundation
A'A Forward '@ýB/)şR%0 Thai Performing Arts @"@1Oÿ"'@ýB/)ş/'@1?þŤ Classical Performing Arts 14 #AO!Š Ram Mae Bot (Dance of the Principal Movements) 16 #ANBP#/R!šNB/ Ram Boek Rong Dok Mai Ngoen Thong (Silver and Gold Flowers Overture Dance) 18 #Affl#?PGŠ Ram Farang Khu (Farang Duo Dance) 20 #A?@#C Sat Chatri 22 #A!PĀŤ#@G@"? Manora Bucha-yan (Sacriûcial Dance of Manora) 24 #>A$@ BBĀ@# Krit-da Phinihan 26 #>AB#C#Š/ Kinnari Ron (Hovering Kinnari Dance) 28 #>A@üDÿŤ Rabam Dao-wa-dueng (Dance of Trayastrimsa) 30 #>ANff?NB Rabam Thep Ban-thoeng (Dance of the Delighting Deities) 32 #>A#? Rabam Krap (A Hand-clapper Dance) 34 #>ABP Rabam Ching (Cup Cymbals Dance) 36 #>AFR"ff#>#@B"! Rabam Chut Thai Phraratchaniyom (Royal Thai National Costumes Dance) 38 #>AüBC Rabam Wichani (Wichani Dance) 40 #>Aff#?Ť Rabam Noppharat (Dance of the Nine Gems) 42 #>Aý#C"ÿBĀŤ Rabam Si Chai-ya-sing (Sri Jaiyasingh Dance) 44 #@üüC#?""?þŤ Grao Weerachai Yak (Dance of the Demon Troop) 46 #@üüC#?"%B Grao Weerachai Ling (Dance of the Monkey Troop) 48 @#OÿPN#EP/#@!NC"#BN Khon Performance: Scene of the Great Battle 50 ĀF!@?@ÿFff##!?@ Hanuman Chap Nang Suphannamatcha (Hanuman Chases Suphannamatcha) 52 ĀF!@?@N@" Hanuman Chap Nang Benyakai (Hanuman Chases Benyakai) 54 N!%@ #@!ÿG# Mekhala Ramasoon 56 1>(AP(1@!"C Rabam Boranakadee (The Five Archaeological Dances) 58 #>ANC"Oÿ Rabam Chiang Saen (Chiang Saen Dance) 60 #>Aü@#üC Rabam Thawarawadi (Dvaravati Dance) 62 #>A%ffF#C Rabam Lopburi (Lopburi Dance) 64 #>AÿFP?" Rabam Sukhothai (Sukhothai Dance) 66 #>Aý#CüB?" Rabam Siwichai (Srivijaya Dance) 68 .>/ff? Table of Contents
1A@0@0 Ram Chui Chai 70 F"@"BPR!šNB/ Chui Chai King Mai Ngoen Thong (Chui Chai of Silver and Golden Branches) 72 F"@"ý?Ť%ÿü Chui Chai Thotsakan Long Suan Chui Chai of Thotsakan Entering the Garden) 74 F"@"N@" Chui Chai Benyakai (Chui Chai of Benyakai) 76 F"@"ff#@Ā!Ť Chui Chai Phram (Chui Chai of the Brahmin) 78 F"@""/ff#>%BP Chui Chai Yor Phra Klin (Chui Cahi of Yor Phra Klin) 80 F"@"ü?/ Chui Chai Wan Thong (Chui Chai of Wan Thong) 82 F"@"ýG#fl@ Chui Chai Surapanakkha (Chui Chai of Shurpanakha) 84 F"@"ĀF!@#N#EP/ Chuai Chai Hanuman Song Khrueang (Chui Chai of Hanuman in Regal Attire) 86 F!F!F"@" Chum Num Chui Chai (The Assembly of Chui Chai Dances) 88 @"@1Oÿ"'@ýB/)şff?O'(š@' Folk Performing Arts 90 .@NĀ'?/ Northern Thai Folk Dances 92 %/ÿ>??" Klong Sa-bat Chai (The Victory Drum) 94 fiŜ/NB Fon Jerng (Northern Martial Art Dance) 96 fiŜ/C Fon Thi (Umbrella Dance) 98 fiŜ/NC" Fon Thian (Candle Dance) 100 fiŜ/ffi@ Fon Phang (Eathen Lamp Dance) 102 fiŜ/N%O Fon Leb (Fingernails Dance) 104 fiŜ/ÿ@üRĀ! Fon Sao Mai (Silk Reeling Dance) 106 #>ANOQ@ Rabam Kep Bai Cha (Tea Leaves Harvesting Dance) 108 .@Q#š Southern Thai Folk Dances 110 P#@ Nora 112 #/NO Ronggeng 114 #>A#Š/O#Š Rabam Ron Rae (Mineral-Sifting Dance) 116 #>A@#CCflŦÿ Rabam Tari Kipas (Southern Fan Dance) 118 #>A@#CFĀ@ Rabam Tari Bu-nga (The Southern Bouquet Dance) 120
.@/Cÿ@' Northeastern Thai Folk Dances 122 #>R!š Krathop Saak Krathop Mai (Pestle-Wooden Rod Percussion Dance) 124 fiŜ/Ā!@?ROŢ%ANff%B Fon Maak Gup-Gap Lam Phloen (The I-san Wooden Percussions Duet Dance) 126 NBQ#>Bš@ü Soeng Kratip Khao (Sticky Rice Basket Dance) 128 NBQ?Āü@" Soeng Tang-Wai (Tang Wai Dance) 130 NBQR GN@ Soeng Thai Phu Khao (Thai Mountain Tribe Dance) 132 NBQPfl%@ Soeng Pong Lang (I-san Xylophone Dance) 134 NBQÿüB Soeng Sa-wing (Landing Net Dance) 136 fiŜ/ GR Fon Phu-Thai (Phu Thai Dance) 138 fiŜ/ GR 3 NffiŠ@ Fon Phu Thai Sam Phao (The Three Phu Thai Dance) 140 .@/@ Central Thai Folk Dances 142 #ANBNB Ram Thoet Thoeng (Long Drum Dance) 144 #>A@ü@ Rabam Chao Na (Farmers9 Dance) 146 #Aü!@#@ Ram Wong Mat-tra-than (Thai Standard Circle Dance) 148 #AÿCü% Ram Si Nuan (Thai Lady Dance) 150 @ÿ/!E/ Daab Song Mue (Double Hand Swords Demonstration) 152 ff%/R!šÿ?Q Phlong Mai San (Wooden Staff-Truncheon Demonstration) 154 !ü"@NE/ Muay Khat Chueak (Thai Ancient Boxing Demonstration) 156
@"@1Oÿ"'@ýB/)şÿ1š@ÿ11Ť Creative Performing Arts 158 #FNff Krung Thep (Bangkok) 160 CflŦÿN#? Kipas Renang (Renang Dance) 162 F# @C Chatura Pha-khee (The Four Regions) 164 Nš@ff#>"@C Chao Phraya Nathi (The Chao Phraya River) 166 @ü/" Chao Doi (Hill Folks) 168 @Bff?FŤÿ#@ Chat Ti Phan Saran (Merry Ethnic Groups) 170 >%š/%š/Š@ Takraw Lor Tha (Thai Kick Volleyball Dance) 172 C Nop Na-thi (Revering the Waters) 174 ?þ?# Nak-Sat (The Zodiac) 176 @ ü? Nata Na Wang (Front Palace Dance) 178 @"!ü"R" Nataya MuayThai (MuayThai Dance) 180 ffiER Phuen Thai (Thai Cultural Canvas) 182 ff@@# Pha-na Than (Forest and Streams) 184 fiŜ/?/ Fon Khan Dok (Dance of the Tray of Flowers) 186 fiŜ/%C%@üC Fon Lilawadi (Frangipani Dance) 188 #?ü?š@ü Rap Khwan Khao (Gratitude to the Rice Goddess) 190 %@"N#@> Lai Kro (Wooden-Block Percussion Dance) 192 %C%@Ā!@OŢfl Lila Mak Gap (Moves of Mak Gap) 194 %Š/Qš Long Tai (Voyage to the South) 196 üB#?ÿ#@#!"Ť Virat Saranrom (Western Delight) 198 ÿ"@! @#> Siam Bharata 200 ÿ?@#>Nü#@ Sakkara Thewaraj (Glory to the King) 202 //Nš@@ü#Fý#C Or Chao Chao Krung Si (Ladies of Ayutthaya) 204 .@*'ü Annex 206
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Thai performing arts cover the disciplines of dance, drama, music, and other forms of theatre. Thai dance and drama can be divided into Ram, Rabam, Lakhon and Khon. These categories are interrelated, as Ram and Rabam can be considered as the basis of Khon and Lakhon. Regardless, all forms of Thai dance and drama place emphasis on detailed and graceful choreography. <Ram= refers to bodily movements that are performed in synchronisation with music. To be considered as Ram, the movements must also be aesthetically pleasing and capable of communicating messages. Ram can be divided into two categories: 1. Ram Diew, or <Solo Ram=, which utilizes one performer. Examples include dances in the Chui Chai family. 2. Ram Khoo, or <Duet Ram=, which utilizes two performers. This type of Ram is often performed as a prelude to other performances. <Rabam= is a type of dance with no strong narrative plotline. The purpose of Rabam is to provide entertainment to audiences. Rabam can be divided into two categories: 1. Rabam Mat-tra-than, or <Standard Rabam=, which is dictated by a set of speciûc choreography and music. The costumes used in Rabam Mat-tra-than also follow the standard <Phra= (male protagonist character type) and <Nang= (female protagonist character type) patterns of costume design. 2. Rabam Bet-ta-led, or <Miscellaneous Rabam=, which consists of a diverse array of dances. They can range from local performances, to dances that mimic movements of animals, to dances composed from new choreography and music that were later Performing art is a form of artistic expression that reveals much about a country’s cultural achievements. Thai performing arts is a living cultural heritage imbued with refined grace and beauty. It is a unique aspect of the Thai way of life, with complex practices and traditions that have been passed down since ancient times. Performing arts play a role in many important elements in Thai people’s lives, including entertainment, education, rituals, celebrations, and even the development of moral characterstics. With a rich and long history, Thai performing arts today continue to push forward into new dimensions, responding to the societal, economic, and political climate of the time. Thai Performing Arts
incorporated into Khon and Lakhon, and so on. Correspondingly, the costumes used in these dances vary according to factors such as the purpose, theme, and place of origin of each speciûc dance. Lakhon, or <Dance Drama=, is a performing art that depicts whole or selected parts of narrative plots through dance and acting. Thai Lakhon can be divided into three categories: 1. Lakhon Ram, or <Dancing Lakhon=, is a type of drama that focuses on telling stories through dance. Performers use choreography to convey messages, such as emotions and speech. The choreography is accompanied by instrumental music, with narration and dialogues being delivered through offstage choruses. 2. Lakhon Rong, or <Singing Lakhon=, is a type of Lakhon that focuses on telling stories through musical dialogues. Bodily movements in Lakhon Rong appears more realistic when compared to the highly symbolic gestures of Lakhon Ram 3. Lakhon Phud, or <Speaking Lakhon=, is a type of Lakhon that focuses on telling stories through spoken dialogues and realistic body language. Khon, or <Masked Dance Drama=, is considered one of the most advanced forms of Thai performing arts. It depicts the story of Ramakien, the Thai version of the Indian epic Ramayana. Khon is considered to be a combination of three performance forms: Chak Nak Deukdamban (Enactment of the Churning of the Milk Ocean), Krabi-Krabong (weapon-based martial arts), and Nang Yai (Grand Shadow Puppet). Performers of Khon are divided into four main categories: Phra (male protagonist), Nang (female protagonist), Yak (demon) and Ling (monkey or ape). Each character trope possesses their own style of mask, costume, and choreography. In the past all performers were male and all character tropes wore masks. Nowadays, female performers also participate in Khon, and only Yak and Ling characters wear masks. Meanwhile, Phra and Nang characters wear highly stylized makeup to accentuate the beauty of their facial features. Performers do not speak or sing but rely on choreography to convey emotions, thoughts, and actions of characters. All dialogues are conveyed through offstage narrators who narrate the story and give voice to characters.
Khon performances can be divided into ûve categories: 1. Khon Klang Plaeng, or <Outdoor Khon=, which are staged on open, outdoor settings. 2. Khon Nang Rao, or <Seated Khon=, in which a long bamboo rail is placed on the stage as a prop for performers to sit on. 3. Khon Rong Nai, or <Inner Stage Khon=, which is performed on a stage in the style of Lakhon Nai (Lakhon of the Royal Court). The term <inner= refers to the inner royal court, where Lakhon Nai is performed. 4. Khon Na Jor, or <On-Screen Khon=, which is performed on a stage with a white screen on the background and an entrance/exit doorway on stage right and stage left. 5. Khon Chak, or <Multi-Scene Khon=, which is also performed on the stage. The scenes, however, change from act to act according to the settings in the storyline, much like in Western musicals. Ram, Rabam, Lakhon, and Khon are ancient and valuable cultural heritages of Thailand. These disciplines have been preserved, passed on, and built upon from generation to generation. They are the foundation of Thai classical, folk, and creative dances. Wiphitsilpa presents to you a well-compiled guide on Thai dances, complete with supplementing pictures. We hope you ûnd the information presented herein to be of interest and beneût to you.
14 />ff>ff.>/fiN In the realm of Thai performing arts, the umbrella of “classical performing arts” refer to a variety of performances that conform to the unique principles of Thai classical theatre, which have been passed down for hundreds of years. The choreographic repertoire, one of the most important aspects of classical theatrics, consists of highly refined movements that were developed from motions observed in nature. Classical performances possess great value as a national heritage, reflecting Thailand’s cultural advancements as well as instilling the Thai people with a sense of pride and moral characteristics. The performances also bring together the different disciplines of Thai arts, such as music, fine arts, and poetry. Nattasilp Anurak Classical Performing Arts fi>.>/fiN/fi>/?/N ?/ .>/fi>>/O.fffi>.>/fiNNfi./?fiNfiOfiN//?/fiNfi?N/?fi/>/?fi> />/NfiOfi/> O/>/?>/.?fffi/ff.>/fi>fi/N>/O/.fi? Nff.O/>?fi>/>.>fiN>fi>ff///>fi> O fi/>ff>/ffNNfiOfifiN>fi>/N>./O>fi?N/?/>/fi/>fi?fiff>/NfiOfiOffffOfffi /?>fiN>Ofiff>fi>fi?NNfiOfi fi?N////.>/fi>//>.Ofi fi/?fi?/>.ff///O/>NfiOfiN//?/fiN/>fi>fi?NO.ffff> />/NfiOfi/>/.fi/>Nfi. fi/>/ffffO/. /O> />ffO> />/ Nfi Nff./O>OffNfi>//?/fi>.O>? NffONfiOfi 2 fi/>N.fi ?/ >//O>Nff?N./ O/>/O>?N .N/fi/>ffO> NfiOfi.>/fi>O/N>//O>fi?NN/N/?>/ ffO>Nfi>fiN/?N/NfiOfiN/?N//>/ O>OfiNfiOfi/>ffO>/>fi/ff>fi >N//>.ff>>/O.fffi?N/?/?/fi> >/OfiN>..?fiN/?N/ff/>-fi> O/>/>ffO>NffOffNfi/Off fi?N/?>/OfiN>.fi>//?fiOffff/?/fi> >/O.fffi?fi N .O>//?ff/>/ //>.ff> >/O.fffi?NNfiOfiN/?N//>/ OffNNfiOfi 3 fi/>N.fi O ?/ />//O> />//O/ O/>/>/ff?ff Nff./>//O>/? 2 /?/fi> ?/ />//O>OffffOfffi ff?Nff>/O/>/>//O>fi?Nfi/?fffi/>fi>/./?.fi>./ fi/>fi?O fi>.>/fiNNfi./fi>/?/Nfi?NNfiOfi O fi>.>/fiNfi.?/.N>/fi>N/Nfi. ?/ Nfi OffN//NfiOfi 5 fi/>N.fi ?/ Nfi/>Ofi/ ?O Nfifi?/>/ NfiN/Ofi Nfi/fiO>/ O/>Nfi> fi?N/?/>/?fffi>>/./ffOfi/ffO/.NfiNfiN/.? N O//N./O>fi/>>/fiNOfi>/O.ff/.N>ff>/Ofi.>fi?>ff?fi fi>.>/fiN/fi>/?/N
/>ff>ff.>/fiN 15 Each performance under the classical umbrella can be classified as Ram, Rabam, Lakhon, or Khon. 1. Ram are standardized solo or duet dances. 2. Rabam are dances with no narrative plots and can be divided into two categories: (1) Rabam Mat-tra-than (Standard Rabam) (2) Rabam Bet-ta-led (Miscellaneous Rabam). In the classical sense, this distinction can be made through the degree of conformity to classical theatrics, namely the costumes worn by performers. Standard Rabam employs costumes that conform to the format of Phra (male protagonist) and Nang (female protagonist) trope in classical dramas. On the other hand, Miscellaneous Rabam employs a wide range of costumes that differ according to each particular performance. Outside the realm of classical performing arts, the term Rabam can also be used to describe a wide variety of local dances. 3. Lakhon (Dance Drama), which can be divided into three categories: (1) Lakhon Ram (Dancing Lakhon), which focuses on choreography; (2) Lakhon Rong (Singing Lakhon), which focuses on vocals (3) Lakhon Phud (Speaking Lakhon), which focuses on acting and dialogues 4. Khon, which is a form of masked dance drama that portrays the story of Ramakien, the Thai version of the Hindu epic Ramayana. Khon can be divided into five categories: (1) Khon Klang Plaeng (Outdoor Khon) (2) Khon Nang Rao (Seated Khon) (3) Khon Rong Nai (Inner Stage Khon) (4) Khon Na Jor (On-Screen Khon) (5) Khon Chak (Multi-Scene Khon)
/O>O/Nfffi /O>O/Nfffi NfiOfi/O>/>fi/ff>fi O.O>//?ff>/fi>/?ffNff?O/fiOfiffO>fifi>.>/fiNNfi. O fffi/O/O>/fiff/fiN>/O>N/O/.N> ?N ffNfi OfiN>..?fiN/?N/ff/>-fi> ? /O>O/Nfffifi?ONfiOfifiOfiOffffOfi>/./O>/>ff/fifiN>/O>Ofi>/O.ff>fffiN> N Ram Mae Bot (Dance of the Principal Movements) Ram Mae Bot is the standard dance used for practicing principal movements in Thai classical dance. Thus, Ram Mae Bot is the basis used for creating choreographies for various other performances. The names of all the dance movements are recited in a song that accompanies this dance. Performers dress in the standard male and female protagonist costumes. 16 />ff>ff.>/fiN
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/O>Nff>N/ff/N/ON>fifi/ /O>Nff>N/ff/N/ON>fifi/ NfiOfi/>ffO>Nff>N//>/Ofi ff/>ff>fi./NffOff/>//N/O>NO>/.?N/?/Nfi/ff/ O/Ofi/>ff>/ffN>OfiO//N Nff.Off?OO.ff 2 fi OfiN>..?fiN/?N/ff/> /?//>ff?/ff/N/Ofi/ O .N/fi/?/O>.ff?/ff/N/ON>fi /N>./O>fi>/fffi/O/O/>fiO>fi/Nff/ />NO/ON>ff/>/./?.ff>//ON>/O.ff O/>ff?O/Nff.fi?/?fi N Ram Boek Rong Dok Mai Ngoen Thong (Silver and Gold Flowers Overture Dance) Ram Boek Rong Dok Mai Ngoen Thong is an overture dance of the Lakhon Nai dance drama. It was created by the order of King Mongkut the Great (Rama IV) to be an alternative to old Lakhon overture dances. The dance employs two performers dressed in standard male protagonist costumes, holding a golden flower bouquet in their right hands and a silver flower bouquet in their left hands. The performers dance to auspicious music and lyrics in order to bless the ensuing Lakhon Nai performance and wish happiness for the audience. 18 />ff>ff.>/fiN
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/O>fi/??N N /O>fi/??N NfiOfi>/O.ff/O>?N>ff/fi>N ff?OO.ff/N>./O>ffO/./?/>fi/>/fffiO>fi/ N Nff/fi/?/O>NfiO> fi>N> N NO>NOfi Nff/N/O/ Nff/> N N ?fi/?/ ?fi/O>ff?ffO/>?fiff/fi OfiN>..?fiN/?N/ff/>-fi> /?/fi?./ff?/ff?fffi/>/ff>//N>./O> O Ofi/fiO>./>/O.ff N Ram Farang Khu (Farang Duo Dance) Ram Farang Khu is a duo dance accompanied by the songs Farang Ram Thao, Takhoeng, Chao Sen, Phleng Rew, Phleng Ching, Chin Rua, Chin Ram Phat, and Chin Thon. The costumes used are that of the standard male and female protagonist attires. During the last part of the show, performers dance with folding fans in both hands. 20 />ff>ff.>/fiN
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/O>?ff>fi/? /O>?ff>fi/? NfiOfi>/O.fffi?Nfi/?fffi/>/>>>//O>?ffN//O/? Ofi>/O.ff/>/>fi/? NfiOfi/?fiOffff>//O>Nff>N/N/fi>/O.ff/>/ Ofi/?/fi>>//O>?N fi/>/ffffO/.ff?OO.fffiN>.>.O/>ff?OO.fffiN>./> O.ff/?/>fiN>/O>//ffN/O/fi>/fiN/fiO>fi/fffifi/? Sat Chatri Sat Chatri is an overture dance in the form of a male and female duet, with fast-paced music and movements. It is derived from the Sat Wai Khru Dance, which is performed to pay respect to teachers and deceased masters of the Lakhon Chatri dance-drama. 22 />ff>ff.>/fiN
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/O>/Nfi/N/>ff?>.? /O>/Nfi/N/>ff?>.? NfiOfi>/O.ff/O>Nff?N./ /N>/ff>fi>/Nfi/N/> /fi>/.Nff?O/>fi?N/?fi?/>fi/>ff>fi >/O.ff/>NNfiOfi/?/>>//N>./O>//ff/Nfi Ofiff>ff?ff?>.?N/fiff>fi/fi?/?ffNfi.?N>N//>. Manora Bucha-yan (Sacrificial Dance of Manora) Manora Bucha-yan is a solo dance of Manora, a Kinnari and main character of the tale of Phra Suthon Manora. When Monora9s husband, Prince Suthon, was away, she was accused of bringing bad luck to the kingdom and was sentenced to be burned alive as an offering to the gods. Manora cleverly feigned acceptance and asked for her confiscated wings to be returned, so that she may perform a votive dance before jumping into the sacrificial pyre. The Manora Bucha-yan dance depicts the scene of Manora dancing, displaying great beauty as well as agility. The performance ends with Manora flying off to Mount Kailash, home of the Kinnaris, in order to escape her death. 24 />ff>ff.>/fiN
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/>ffO>0ff>.>fi>/>/ />ffO>0ff>.>fi>/>/ NfiOfi>/O.ff>ff/fi>Nfi?N/.?NOfi/>/fi/>/?fi>.>.fi/N N/?N/N?./fi>.?ff>NNfi. Nff.ff?OO.ffOfiN>..?fiN/?N/ff/>-fi> Nfi/?.ffN./?/fi Nfiffff>fi/Nfiffff>ff> ff?/ff>fiff/N/Ofi/>/ff>//N>./O> ff/O//Nfi/.ff/N/O Nff?N//O>fi/.ff/O/ON>ff/>/./?.ff>//ON>/O.ffO/>ff?O/Nff.fi?/?fi N fi/>fi?O .>/>/ff?ffO.ffOfi>fifiN>NNff?N//>/NfiOfi.>/>// Krit-da Phinihan The Krit-da Phinihan dance is a part of the historical play Kiattisak Thai (Thai Glory). performers dress in the standard male and female protagonist costumes, representing heavenly beings. Each holds a tray full of flowers and scatters them to bless the performance and audience. This show can be performed in various ceremonies to bring good fortune. 26 />ff>ff.>/fiN
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/>ffO>>fi/?/N/fi />ffO>>fi/?/N/fi /N>/ff>N//N>>fi/?fi?N/?/?/fi>NfiOfi/fi>/.Nff?O/> >N/?fi?/>fi/>ff>fi ff>?fiff>fi/N/fi//>>N>N//>.Nff?N/N/NfifiOO>Ofi./>/Nfiff>fi /?/?/>>/N/>/>ffO>/N/fi/.ff>/ .fi>.fi>fi fi>/fiN/fiO>fi/O/>?//>Nff/ O Kinnari Ron (Hovering Kinnari Dance) Kinnari Ron is a dance depicting the Kinnari, a woman-like mythological creature with wings and tail of a bird. The scene portrays the Kinnari flying down from Mount Kailash to dabble in Lake Anotatta. This delicate and graceful dance is accompanied by cheerful music. 28 />ff>ff.>/fiN
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/>ffO>ff>/ff>.N />ffO>ff>/ff>.N NfiOfi/>ffO>/>fi/ff>fifi?N/.?NOfi/>/ff>ffO>ff//ffN N/?N/.?Nfi/ ff?OO.ffOfiN>..?fiN/?N/ff/> fi> Nfi/?.ffN./?/fiNfiffff>fi/ Nfiffff>ff> ?ff/>ffO>ffO/./?/>fiN>/O>fi?Nff>/ ff//.>.ff>fi>ff./>/>fi/?fi.>O/N N >NNfiOfifi?Nfi/>fi?ff/ff/>/>fifi/Nfffi.///Nfiff>/ff>.N ?O Rabam Dao-wa-dueng (Dance of Trayastrimsa) Rabam Dao-wa-dueng is a dance from the Lakhon Deukdamban play Sang Thong (Goden Conch). Performers dress in the standard male and female protagonist costumes, representing heavenly beings. The name <Dao-wa-dueng= comes from the Thai pronunciation of <Trayastrimsa=: the second level of heaven in Buddhist mythology. This beautiful dance describes the celestial abodes of Trayastrimsa where the god Indra resides. 30 />ff>ff.>/fiN
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/>ffO>Nfiffff?fiNfi> />ffO>Nfiffff?fiNfi> NfiOfi/>ffO>/>fi/ff>fifi?N/.?NOfi/>/OfiN/?N//>N/fi> ff?OO.ffOfiN>..?fiN/?N/ff/>-fi> Nfi/?.ffN./?/fiNfiffff>fi/ Nfiffff>ff> /N>./O>ffO/./?/>fiN>/O>fi?Nff>/Nff?N/ff?>ff/>.Nfiffff?O.?ff>N.>fiff> ?/ </Nfi>fi>/>>//>= N fi/>fi?O .>/>/ff?ffO.ffOfi>fifiN>N Nff?N//>/NfiOfi.>/>// Rabam Thep Ban-thoeng (Dance of the Delighting Deities) Rabam Thep Ban-thoeng is a dance from the Lakhon Nai play Inao. performers dress in the standard male and female protagonist costumes, representing heavenly beings who dance gracefully to entertain the revered god Petarakala. This show can be performed in various ceremonies for good fortune. 32 />ff>ff.>/fiN
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/>ffO>/?ff />ffO>/?ff NfiOfi/>ffO>fi?NO/?ffff/fi/>/ff>/O.ff >N </?ffff/= O NfiOfiN/?N/fffifi/?Nfi.fi>ff/fi>N Nff.ff?OO.ffO/?//> O ff?//?ffff/ fi?/>fiff.N/fifiN> N //N>>. Nfi fiN>/?/ N//N fiOfi> NfiOfifiOfi N /N>./O>fi>/fiN/fiO>fi/O/>?//>/Nff/fi?N/?fi? O >O/>N/O/ O Rabam Krap (A Hand-clapper Dance) Rabam Krap is a dance featuring the Thai traditional musical instrument known as Krap Phuang (layered hand clappers). Performers hold the Krap Phuang in the right hand and create sound by clapping it against different parts of their body, such as palms, shoulders, and thighs. The dance employs both fast-paced and slow-paced music. 34 />ff>ff.>/fiN
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/>ffO>>N />ffO>>N NfiOfi/>ffO>fi?NO> O Nfi/>/ff>/O.ff >N <>N= NfiOfiN/?N/fffifi/?Nfi. fi?NOO>?ff?//>Ofi/fffifi/?Nfi.fi>fi/>N.fi Nff.ff?OO.ffO O /?/fi? O ./ff?/> O N /N>./O>ff/O//?fffi?/>fiffO/ON>ffN.?. <>N= <?ff= O/> </?/>N= /.N>fiN/Nfi?N/ fi>/fiN/fiO>fi/ ?//>/Nff/fi?Nfi/>/ffffO/.?//>>O/>?//>N/O/ O Rabam Ching (Cup Cymbals Dance) Rabam Ching is a dance featuring the traditional Thai percussion instrument Ching (a pair of small cup cymbals). This instrument regulates the tempo of Thai traditional music and is featured in all types of traditional ensemble. Performers dance while holding Ching in both hands, clapping it to make three distinct sounds: <Ching= (produced by striking the edge of the cups against each other), <Chap= (produced by clasping the cups), and <Rua Ching= (quivering sound). The dance is accompanied by fast-paced and slow-paced music. 36 />ff>ff.>/fiN
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/>ffO>>ffNfi.ff/>/>fi>./ />ffO>>ffNfi.ff/>/>fi>./ ./O>.//N>OfiNff.fiO>N/?N/OfiN>..O>//?ff.fi/?Nfi. fi>/Offff//ff/>/N/./NffOff/>fi>NO>.>/>>fi>N ff/>ff///>fi?fi>ff > ff/>ff///>fifi?ff?fifi?/// fi/>/ffffO/. Nfi.N/?/fifiOfi Nfi.>fi//ff> Nfi.///>fifi/N Nfi.ff//ff>/>fi Nfi.?/? Nfi.ff>.>fi Nfi.?/ff//ff>N O/>Nfi..>/>/?. fi/>ff>/ffN/?/>fiN>/O> fi>/fffi/O/Nff?N/>//fi>/?/NO/>Nff.Off/NN/?N/OfiN>..fi/?Nfi. Rabam Chut Thai Phraratchaniyom (Royal Thai National Costumes Dance) Rabam Chut Thai Phraratchaniyom is a dance inspired by the standard national Thai traditional dress for women. These dresses were created by Her Majesty Queen Sirikit, the Queen Mother. The names of the dresses are Ruean Ton, Chitlada, Amarin, Borom Phiman, Chakri, Dusit, Chakkraphat, and Siwalai. The choreography and accompanying lyrical music are aimed toward promoting the use and conservation of these eight national dresses. 38 />ff>ff.>/fiN
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/>ffO>/>fi? />ffO>/>fi? ./O>.//N>OfiffO/.Ofi/>ff/>/fi>./Ofi>/Off?ffO Nff?N/ff//Nfi>/>//O/fi>..>ff/>>./fi/>Nfi.Nfi. ff?OO.ffNfiOfi/>.>/ OfiN>.>fffi>Ofi/>.O>fi? /?//>ff?/ff?ff </>fi?= /N>./O>fi>/fiO>fi/Nff/O/>fffi/O/ Rabam Wichani (Wichani Dance) Rabam Wichani is a dance featuring the Wichani, a type of fan used primarily in the royal court. The dance was inspired by the Thai people9s use of hand fans to relieve themselves from the country9s hot weather. It is performed by young woman dressed in Thai royal court costume, holding a Wichani fan in their right hand. 40 />ff>ff.>/fiN
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/>ffO>fiff/?fifiN />ffO>fiff/?fifiN NfiOfi/>ffO>fi?N./O>.//N>/>/N/Ofi>fiN>//?/fi? ?N fi?NN./>//>/NfiOfi.>/>//ONff?Ofi/>ff?ff Nff.ff?OO.ffNfi/?.ffN./?/fi/?/fi? _ fi>ff fi/>/ffffO/. Nff/ fi?fffi>/ //fi ff>//>?/ NN/fi fi>/ /> Nfffi>. O/>Nfffi?/.N Rabam Noppharat (Dance of the Nine Gems) Rabam Noppharat is a dance representing the Navaratna, a set of nine gems from Hindue beliefs that are said to enhance the fortune of its owners. The nine gems include: diamond, ruby, emerald, topaz, garnet, black spinel, pearl, zircon, and chrysoberyl. The dance employs nine performers, each dressed in a distinct colour representing each of the nine gems. 42 />ff>ff.>/fiN
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/>ffO>./?..>/N />ffO>./?..>/N NfiOfi/>ffO>fi?N./O>.//NfiN>/O>O/>N/?N/OfiN>.N/?.fiOffff .>ffO>//?/fi>/?fi./>ff>.fi ff/>N/fifi/>.>fiN/?/.>/N />/O/NfiOO>O/fiO/. ?//?ff>fiff>/? fi/>Ofi>/>fi/>.>fiff/>//N ./?.ff/>NO>.///?fifi?N 7 ? /N>ff>fiOfffiOfffffi?O/?/?fffiff///ff?Nff>/ff./ff.>fi/>//N> // // O/>Nfi. O Rabam Si Chai-ya-sing (Sri Jaiyasingh Dance) Rabam Si Chai-ya-sing is a dance inspired by the Bayon-style mural engravings of Apsaras (celestial maidens) at the Prasat Mueang Sing, a historical temple located on the banks of Khwae Noi River in Kanchanaburi Province. According to inscriptions dating back to the reign of the King Jayavarman VII of the Angkor Empire found at the Preah Khan Temple in Cambodia, the area consisted of a cultural mixture between the Mon, Khmer, and Thai peoples. 44 />ff>ff.>/fiN
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/>//?/..?/N ? />//?/..?/N NfiOfi>/O.ff/N.fi>.?/N />ff/fifiN>fi>>/NfiOfi ? fi>/Offff>/O.ffNfi /?/>fiN>/O>O.ffO/ON/Ofiff/>O>/? />/ff/O//Nff/?. O/>/>/.N>>/ Nff.fiO>fiN>fi>/>>/>ff/fi>/?fffi?fffi//ff/ //fi?ff.?/NfiN>./>>N/?N//>/N?./fi>N Grao Weerachai Yak (Dance of the Demon Troop) Grao Weerachai Yak is a dance fashioned in the Khon style that depicts the assembly of demon army generals. The dance style represents power, unity, and grace. The dance choreography was adapted from a scene in the Khon play when the demon army of Longka is undergoing troop inspection. 46 />ff>ff.>/fiN
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/>//?/./> ? />//?/./> NfiOfi>/O.ff>/?ffff//N//N>/>fi/.>ffOfiff/> ? >NNfiOfiN.fi>/>fi///fi?ffff/>/>/OfiN/?N//>/N?./fi>N />ff/fi/?/>fiN>fi> /?/>//N/O/N/ /N/N/O/>/>/NO/OO Nff.fiO>fiN>fi>/>>>//O>fi//ff/ fiN>fi>>/fiN/.?O O/>fiN>fi>N/?.fiOffff>/>.>/>>/>fi//>/>./O>.//NNfiOfifiN>/O> Grao Weerachai Ling (Dance of the Monkey Troop) Grao Weerachai Ling is a dance fashioned in the Khon style that depicts the assembly of monkey army generals. These generals were collectively known as the Sibpaed Mongkut, or the 18 Crowns, and were made up off 18 elite monkey warriors. The dance style is agile, swift, and powerful. The dance choreography was adapted from a scene from the Khon play when the monkey army of Phra Ram (Rama) is undergoing troop inspection. The choreography was also inspired by the naturally playful movements of monkeys. 48 />ff>ff.>/fiN