4 Folk dance
4.1 Likay
4.2 Ram muay
4.3 Wai khru
5 Regional dance styles
6 References
7 External links
[edit] Classic
Although the traditional performing arts are not as vibrant as they
once were, suffering inroads by western entertainments and generally
changing tastes, Thai dance drama is not extinct. What survives
displays the elegance of an art form refined over centuries and
supported by regal patronage.
The Thais reputedly first acquired a dance troupe when, in AD 1431,
they conquered the ancient Khmer capital of Angkor and took as part
of their booty an entire corps de ballet. Dancers whose performances
had once been seen as a symbolic link between nature, earth and the
realm of the gods.
Aside folk and regional dances (southern Thailand's
Indian-influenced manohra dance, for example), the two major forms
of Thai classical dance drama are khon and lakon nai. In the
beginning both were exclusively court entertainments and it was not
until much later that a popular style of dance theater, Likay,
evolved as a diversion for the common folk who had no access to
royal performances.
[edit] Regional dances
[edit] Central
Sri-NuanSri-Nuan is a typical dance of central Thailand. Its great
popularity is due to the beautiful 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 by such great charm.
Teut-Teung (Drum Dance) The teut-teung drum, a typical 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.
Farmers Dance (Rice Growers Dance) This is a modern dance created
by the Thai Ministry of Culture. The dancers wear the rice growers
traditional costume and the dance itself enacts the daily activities
of these workers who are the backbone of the nation. The ballet
opens with the farmers as they come to plough and sow the fields.
When they are sure that the rice is growing well, they gather
together to pray to Mae Posop, the goddess who protects
rice-growing. Lastly, the harvest is celebrated with songs and
dancing.
Combat with Short and Long Sticks, and with Swords These dances
are inspired by types of combat that are typical of Thailand, in
which either sticks or swords are used. The skilful 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 certain 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,after
combat they would make love to each man after which the real contest
begins.
[edit] Northeast
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 the 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 (like an old-fashioned syringe).
Serng I-San This folk dance is generally performed at traditional
festivals. The choreography is entrusted to the dancers who wear
brightly colored costumes, and expresses all the joy of the
celebration.
Fon Phu Thai This dance is part of a propitiatory ceremony
performed by the Phu Thai tribe, who live in the Northeast of the
country. 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.
Serng Krapo (Coconut Dance) Krapo is the word for coconut in the
Northeast dialect. The dance illustrates the activities of a group
of nubile girls from the southern part of the region, known as
I-San. The dancers hold two coconut shells, with which they execute
complex choreographic movements, shaking them, tossing them or
tapping them lightly. This dance is often accompanied by the sound
of the pong lang, a kind of upright xylophone, made of strips of
wood arranged according to the musical scale.
I-San Bantheong (The Happiness of I-San) 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.
[edit] North
Dance of the Nantha-Peri and Pu-Che Drums The nantha-peri is a
drum characteristic of the northern region of 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.
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.
Ka-Lai Dance Beginners learn to execute graceful and balanced
movements through the choreography of this dance.
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.
The Sounds of the Mountains The music that accompanies this dance
is played on wind instruments characteristic of three tribes in the
North of 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.
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.
Khan Dok Dance The striking choreography of this dance of blessing
expresses the calm, serene temperament of the northern peoples.
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.
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
stringed instrument, made of teak or hard wood. It is played by
plucking the two metal or brass strings with a horn plectrum.
[edit] South
The Nora is a traditional dance of South Thailand (in South Thai
language called the "Chatri"), whose origins lie in various legends
of which there are different versions. The choreography of the Nora
dance varies from region to region, but is generally composed of 12
positions and 17 movements.
Nora Tua Oon This very refined version of the Nora requires great
interpretive skills and experience. To learn this Nora it must be
studied from a very young age, so that the body can achieve the
flexibility necessary to execute the complicated movements. The
female dancers, in fact, follow a demanding exercise regime and a
strict discipline.
Ram taeng Kae This is another elaborate Nora dance that requires
great interpretative gifts. On the stage the protagonist launches a
harpoon at the crocodile, whose back, lit by candles, is made from
the trunk of a banyan tree. The female dancer moves round the
writhing crocodile, poised to pierce its head at the right moment.
Ram Nora Son Ram This is a basic posture, which is executed by
concentrating on hand arm and shoulder movements, and on the
equilibrium and movement of various parts of the body, and is
accompanied by rather long lyrics.
Ram Kien Pral - Yieb Louk Manao - Ram Ko Soet This advanced level
of the Nora dance is usually performed during a competition between
two groups of dancers. To intimidate the rival group, a male dancer
strikes an effigy. In the version known as Yleb Louk Manao, the
female protagonist stamps on three lemons symbolizing the hearts of
the rivals. The dance is performed as a sign of victory. In the next
dance the female protagonist asks the pran, the 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, and is characterized by a certain
sacredness, as can be seen from the style of the dance.
Ram Nora Bot Pratom This choreography uses another basic posture,
in which hand, arm and shoulder movements are synchronized with
those of the head.
Ram Ooak Pran* In the company that performs a Nora, the pran or
hunter plays the part of the fool. He usually wears a hunter's mask
or headdress. His movements are often amusing, and designed to make
the audience laugh. Each position is in harmony with the dynamic
rhythm of the music.
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, this episode is partly
based on the legend of Prasuton-Manora. The seven Kinnaree are
playing 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 she tries to
escape.
Ram Nora Tam Bot - Ram Ooak Pran* In this dance the hand movements
evoke the beautiful scenery of Songkla Province, in South Thailand.
The verses of the song are accompanied by a very lively rhythm.
Thai classical dance drama include Khon, Lakhon, and Fawn Thai. Folk
dance forms include dance theatre forms like Likay, numerous
regional dances (Ram), the ritual dance Ram Muay, and homage to the
teacher, Wai Khru. Both Ram Muay and Wai Khru take place before all
traditional Muay Thai matches. The Wai is also an annual ceremony
performed by Thai classical dance groups to honor their artistic
ancestors.
[edit] Classical dance drama
Khon performance in 2007 in Germany.[edit] Khon
Khon(Thai: โขน) is the most stylised 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 demons wearing coloured masks.
[edit] Lakhon
Lakhon features a wider range of stories than khon, including folk
tales and Jataka stories. Dancers are usually female and perform as
a group rather than representing individual characters.
[edit] Fawn Thai
Fawn is another form of "folk-dance" accompanied by folk music of
the region. The first Fawn originated from the northern region of
Thailand, it was designed and taught by Chao Dararasami of Chiang
Mai. Since then, a variety of "Fawn" came into practice, according
to the music and style of each province, such as the Fawn-Lep (ฟ้อนเล็บ)
finger-nail dance from Chiang Mai, Fawn-Ngiew from Chiang Rai with
the influence of Burmese music and costume.
[edit] Folk dance
[edit] Likay
Likay is much more varied than lakhon or khon. Stories may be
original, and include singing, comedy and ham acting. Costumes may
be traditional, modern or a combination of the two. Likay is often
performed at village festivals. Thai Likay shares similarities with
the Khmer theatre style called Yike. Likay can be traced back to
Muslim religious performances.
[edit] Ram muay
See also: Ram Muay and Muay Thai
Ram Muay (รำมวย) is the ritualized dance that takes place before
Southeast Asian kickboxing matches such as Muay Thai.
[edit] Wai khru
See also: Wai Khru and Wai khru ram muay
Wai Khru (ไหว้ครู) 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.
[edit] Regional dance styles
List of other regional folk dance styles: Pleng Cha-Pleng Reo; Mae
Bot Lek; Rabam Chiangsaen; Tawai praporn; Rabam Tawarawadee; Baisri
sukwan; Manora Buchayan; Uayporn Oonwan; Chuichai Bhram; Chuichai
Benyakai; Sinuan Worachet; Chuichai Wantong; Sinuan Arnu; Rabam
Loburi; Klidda Phinihan; Rabam Srichaisinghn; Rabam Sriwichai; Keb
Baicha; Rabam Sukhothai; Rabam Dowwadueng; Nora Dance; Bugna Lampai;
Choom-num Pao Thai; Kinnaree Ron; Sad Chatri; Soeng Praewa;
Krailassamrerng; Ten Kam Ram Keow; Soeng Sawing; Ramwong
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