The Rituals and Traditions of Thai classical dance
The
diverse arts and culture of Thailand have a fascination of their very own, and one of
the most fascinating is Thai classical dance and its rituals and traditions. Visitors
don't really feel they have seen Thailand until they've witnessed at least one performance
of Thai classical dancing--but many understand very little of what they see. It's
beautiful and it's different, but its background escapes them.
In "A Descriptive Catalogue of the Siamese Section at the International Exhibition of
Industry and Labor" held at Turin, Italy in 1911, H.M. King Vajiravudh wrote the
commentary on the theatre of Siam. He classified contemporary entertainment into five
types:
The Likay
The Hun
The Nang
The Lakor (Lakon)
The Khon
The Hun has survived in a different form as the Hun
Krabock or marionettes; and the Nang as Nang Talung, or Shadow Play. According to the late
Highness Prince Dhani Nivat, however, this Nang Talung bears no resemblance to its
classical prototype except that both are exhibited on screens that are lit in such a way
so as to cast the shadows. Today very few troupes of these performers remain active and
the art is dying. The Likay is most often seen in travelling shows at temple fairs, or in
rural Thailand where it is popular entertainment.
King Vajiravudh classified legitimate theatre as being
two distinct types--the Khon and the Lakon. His Majesty wrote: --"The theatre where
the Khon and Lakon are performed ... possesses the beautiful simplicity of an ancient
Greek theatre ... neither stage nor scenery is required ... Costumes and properties
however, are very elaborate, and are made as accurately as possible. The costumes are made
to resemble those worn in Siam in olden times, and have not changed during successive
generations, because they have been found most picturesque and suitable.
Queens or royal personages wear crowns or coronets;
others have various kinds of headdresses suitable to their rank and station. Character
parts, such as demons, monkeys, or yogis wear distinctive masks of different colors and
designs. Each mask is a good example of Siamese decorative art, and is distinctive and
characteristic, so that each character may at once be recognized by the mask worn by the
actor."
In earlier times there were no theatres for public entertainment in Siam. Kings, princes,
noblemen and high-ranking officials maintained their own troupes of classical dancers and
musicians--many of them trained at the palace.
Performances were given for occasions such as
birthday, important visitors, cremations, or simply the wish of the patron. Theatre
programs weren't necessary because almost all those who were invited to attend already
knew the story--always portions of the Ramakian. Ordinary people found their entertainment
at temples, cremations or other special celebrations. As recently as 1935 there were
troupes of court dancers.
Many of the costumes, although very beautiful, are
heavy and uncomfortable--especially the female headdresses and the masks of the male
characters.
Since many roles of the khon demand extremely
boisterous performances, the costumes are often fitted and sewn on the dancer prior to the
performance. The different positions demanded of each character must be posed while the
fitting and sewing is being done. This not only assures the proper drapes and folds, but
also helps to avoid an embarrassing rip of a seam during the action.
The most popular characters of males are Totsakan (the Demon King), Rama (the Righteous
King), and the Hanuman (the Monkey Warrior).
Students are often selected to train for specific
roles because of their size or build. The formalized movements of khon performances make
the acting and dancing inseparable. Each step has a meaning, emphasized by the appropriate
music, narration and song.
Each is practiced over and over again until it is
mastered. Mom Rajawongse Kukrit Pramoj once called the khon training "inhuman".
In many of the dances, the head cover identifies the character being performed. The
jeweled crown headdresses (chada) that are worn are all much the same, but for the khon;
the mask is the character.
Khon performers did not wear masks before the
Ayutthaya period (1350-1767). Instead the faces of the characters were painted on the
dancers. Mask making evolved from the wish to have a more permanent means of identifying
the characters; one, which would retain the basic characteristics and features, and be
easily, recognized.
During the Ayutthaya period, khon performances were
held in palace halls or courtyards lighted by torches. Complete performances of the
Ramakian could continue for days. Often those who watched would leave for a while and then
return to pick up the story, since it was already familiar to them. While each part of a
khon costume has its own significance, the mask is the single most important piece.
Contrary to popular belief, masks for each character can vary from troupe to troupe yet
all maintain the necessary identifying characteristics.
Each mask maker has a certain artistic leeway in his
interpretation, however there are certain fundamentals of the character masks, which
remain constant. Blunt, curved tusks on a demon mask signify old age; straight, blunt
tusks that point upward indicate that even though he is a demon, he has mellowed and
become kind-hearted in old age; curved, sharp tusks are those of a middle-aged demon and
sharp pointed tusks which point downward are those of a youthful demon.
There are other decorative details, which are used in
differentiating between the masks. Eyes of the demons are not the same as the eyes of
other characters. Demon eyes are of two types--"crocodile eyes" with half
eyelids, and bulging "fish eyes". Tusks were formerly made of ivory, but today
it's both scarce and expensive so other materials are used in most cases. The major
distinguishing characteristics of khon masks are the bald head and the crowned head.
Monkey characters and soldiers of the demon army belong to the "bald head
group".
Whatever other differences may appear however, Hanuman
is always white. The characters of Rama, his brothers, gods, rishis (wise hermits),
Totsakan, his relatives and allies, and some of the generals of the monkey army wear
crowned masks. An obvious difference between the demon and monkey masks is the long tusks
of the demons and the canine teeth of the monkeys. Some khon mask artisans believe the
demon masks must also have the three characteristics:
Round chin, a glaring expression and eyebrow and
moustache tips "in harmony." More than 10 styles of crowns are to be found on
khon masks. Some characters, such as Rama and his brother Lakshman use more than one type
for their roles as the scene change. (In modern versions of the khon, Rama and Lakshman
may be without masks, wearing chadas instead.) As the mask of Hanuman is always white, the
crown of Totsakan always has three tiers. There are altogether more than 100 different
demon masks used in the khon--these are divided into 14 groups to avoid confusion. To
avoid further confusion, eyes and mouths are different for each character and facial
coloring is also different. If the colors are too similar, other means of identification
are used; for instance, masks with purple faces are worn by both Phya Thut and Khun
Prachat, so to help in identifying them properly, Phya Thut carries a lance and Khun
Prahat, a club.
Those who watch khon performances often wonder how
those wearing the masks can breathe. Admittedly, it isn't easy. The masks have little
ventilation and they're hot. Some of the actors--particularly those in the monkey
roles--must perform acrobatics and somersaults and to prevent their masks from falling
off, cords are sewn inside the masks at the mouth. These cords are then held in the teeth
of the performers to keep the mask firmly in place. Since the people wearing the masks
cannot speak, there is a narrator or khon phak who has not only to know his subject, but
also the rhythm of the dancers' movements. A khon performance has to rely on the proper
coordination of dancers, narrator and orchestra. (The clowns are the only characters who
speak for themselves; even those who wear chadas do not speak.)
An artisan who makes the khon masks must fully
understand the character and personality of the mythological being the mask will portray.
It is said that a good mask maker requires three basic qualifications--he must be able to
draw, to sculpture or mould well enough to prepare a model of the character, and to be
able to engrave the delicate ornamentation. A sure and steady hand is a decided asset.
Originally models were made of wood or clay, but some
mask makers today use more modern materials for making their models. Before an artisan
begins working on a new mask, he performs a ritual ceremony to invite the spirits of his
old teachers, the gods, and the angels, to help him succeed at his work. The model is then
covered with several layers of sa paper or paper mache. Then it is thoroughly dried.
Depending on their personal preference or method, mask makers do only a couple of layers
before drying, and then add more material to the mould. Other prefers to do several layers
at one time, and then add more material to the mould.
Others prefer to do several layers at one time, and
then allow them to dry. Some of the artists also advise sticking the last couple of layers
with glue made of flour, to which they add a locally made insecticide. This helps to
prevent the finished masks being damaged by insects and weevils.
Quite a large number and assortment of models are necessary--not only for the different
facial expressions added, but in addition to humans, demons, and hermits, there is also a
need sometimes for masks of elephants, horses, and mythological animals. After being
completely dried, the mask is cut from the mould and stitched together.
The "scar" is covered with thin paper. The
mask next receives a coating of rak samuk--a semi-hard lacquer, to sharpen and bring out
the facial lines. Making a mask takes about seven days with most of the time taken up by
the drying stages.
Most mask makers work on more than one mask at a time,
each one in a different stage of completion. The art of mask making--and it is an art--is
usually passed down from one generation to another; or a respected craftsman (chang sip
mu) may accept apprentices who come to study and learn from a master and who show artistic
talent. Today the number of old masters has dwindled and relatively few young artists
aspire to the craft, for the financial reward is small compared to the time and experience
necessary.
The old-fashioned way of making khon masks has joined
the growing list of endangered crafts.
After a khon mask has been completed it must be initiated in the time-tested rites before
a performer or a dancer can wear it. Gods are believed to give their protection to each
mask and, without the propitiate ceremonies, all sorts of disastrous catastrophes may
assail the one who dares to wear the mask.
The completed masks must also undergo a rite to
"open their eyes"--the "Beuk Phra Netra" ceremony. Following this
ritual, the masks are always kept in a high place as is proper for any object of
reverence. Before the first performance of a mask it is customary for the master, or head
teacher, to personally place the new mask over the head of the performer. It is also
customary before the debut performance of a khon dancer for an elder or respected teacher
to place his mask on the dancer for a moment. The senior, standing before the novice,
repeats sacred words and presses gold leaf onto the center of the mask's forehead.
Since performers treat their masks with such
reverence, periodic rites are held to pay homage to the spirits of the masks. Both
craftsmen and performers look on the masks as "teachers", and therefore worthy
of respect. Khon masks are always preserved and some that still exist are well over 100
years old. There are in fact, masks made by King Rama II, which can be seen in the
National Museum in Bangkok.
All teachers in Thailand are highly respected persons; and teachers of the classical drama
and arts enjoy a special status--not only during their period of teaching, but for their
entire lifetime. Khon performers show their esteem not only to their own teachers but to
all the elderly masters as well. Thai arts and craftsmanship have a long and traditional
history, and while all teachers in Thailand are honored each year by a Wai Kru ceremony,
the rites of honor for teachers of the classical drama, music and arts are very elaborate.
The annual Rite of Homage (Wai Kru) for teachers of
the arts includes a religious ceremony which is followed by an invocation inviting the
divinities (Thevadas) to partake of the feast which gas been provided for then. An elder,
usually the senior teacher or principal of the school, presides over the ceremony. On the
auspicious day the elder is dressed entirely in white (or at least, wears a white coat).
A Buddha image is placed on the altar tables along with the traditional flowers, candles
and incense sticks. Another table holds the food offerings, which include a pig's head,
duck and other fowl, both cooked and popped rice, beverages, folded leaf arrangements and
flowers.
A Piphat orchestra plays specific musical scores as
each divinity is invited to attend the ceremony. Following the departure of the divine
spirits, another ceremony is held to include all those who are in attendance. All come
together to form a circle and a lighted taper is passed form person to person. From the
president, who begins the ritual, the candle is passed from one to another until it has
completed three circuits. The president marking the forehead of each student with a
specially prepared white paste and sprinkling each one with lustral (holy) water concludes
the rites.
Novice students are not accepted for initiation until
after they have mastered both the fast and slow tempos of the dance well enough to appear
on stage in minor roles. Some steps and postures are not taught until after the student
has been formally initiated.
Another important rite for students comes after they
are well advanced in their training, when they are elevated to the status of teacher. From
that time, a student who continues to study and acquires greater expertise and ability,
becomes eligible for higher rank, respect and honor. It's not too surprising to learn that
the presiding teacher or president of the Wai Kru and initiation rites must be a man; a
female in this position is believed to bring about grave misfortune. All male teachers,
however, are not eligible to perform initiation rites--only those who have been appointed
by former senior teachers are allowed this honor.
Most old masters were always very careful in choosing 'worthy' pupils, and they jealously
guarded their manuscripts of the rituals. The homage and initiation rites are always
performed on a Thursday, for in Thailand Thursday is accepted as " Teachers
Day."
The performing artists and teachers believe that the
Wai Kru Day is their special day and its observance is ethically and disciplinarily
binding. Those who consciously stay away from this rite are sinning and drawing upon their
heads the curses of their teachers. They also go to hell after death.
The great importance of the ritual and rites which are a part of the classical theatre in
Thailand was given added significance in October 1984, when King Bhumibol Adulyadej
presided over the presentation of khon masks and head gear to five newly appointed
presidents of the "Traditional Paying Homage Ceremony" for khon and dance drama.
The five senior artists ranged from 37 to 50 years of
age. His Majesty following the unexpected death of Kru (teacher) Arkom Sayakom who had
died without preparing anyone for his position appointed him or her. Anyone who achieves
this prestigious position must not only have great expertise in his field, but must also
be of the highest moral character, merit the respect of society and have been ordained as
a Buddhist monk. (Ordinarily he should also be selected by the past president and
presented with the Prayer Book.)
As already mentioned, all khon masks are revered and
considered sacred. This is even more stringent for the khon masks made especially for the
Wai Kru ceremony. Their facial expressions are different from others, and some of these
masks are entirely gilded.
Many years ago, an artisan who was commissioned to
make a Master mask was required to be dressed all in white on the day he began work, and
the work was usually begun on a Thursday. When a Master mask was completed the mask maker
prayed to the sacred spirits to enter the mask.
As one can easily see, there is a lot more to the Thai
Classical Dance than meets the eye of a casual viewer. And however an 'outsider' might
view all the rituals and regulations, they do have significance to the teachers and
performers. The traditions have evolved over many decades and while some may have been
altered in some of their small details, they have certainly helped in the preservation of
the classical theatre in this country.
02. December 2004