Thai Classical Dance

Dance in Thailand (, or , ) is the main dramatic art form in Thailand. Thai dance can be divided into two major categories, high art ( classical dance) and low art (folk dance).

Etymology

The term ''nattasin'' () means "art of the classical Thai dance, art of drama", and the term ''nattakam'' () means "poetry, music drama and dance", according to ''The Thai Official Dictionary of Royal Institute 2545 BE''. Both terms are derived from Sanskrit:

* ''naṭa'' () ''nata'', which means "dancing, acting, a dance,"

* ''śilpa'' () ''sin,'' meaning "artistic work,"

* ''karma'' () ''kama''

The term for dance in Thai, also known as the Dance of the Four Regions, is as follows:
* Northern Thailand: The term ''fon'' () in Tai languages,The SEAMEO Project in Archaeology and Fine Arts, SPAFA Co-ordinating Unit. "The Status of Traditional Thai", ''SPAFA Digest: Journal of SEAMEO Project in Archaeology and Fine Arts (SPAFA)'', 1(1980):17–18. adopted since Sukhothai period for Lannathai Traditional Dance e.g. ''Fon Khan Dok''. The term found in stone inscription, stone engraving and book of ''Tribbumikatha Buddhist Cosmology'' (Trai Phum Phra Ruang) composed in 1321 AD by King Maha Thammaracha I.
* Upper Northeastern Thailand: The term ''fon'' and ''soeng'' (), meaning of "Dance" in Tai languages, adopted for Isan Traditional Dance e.g. ''Fon Oen Khwan'', ''Soeng Bang Fai'', etc.
* Lower Northeastern Thailand: The term ''rueam'' () derived with its intonation from Old Khmer word: ''rapaṃ'' () ''rueam'' 'to dance'. The term adopted in lower part of northeastern Thailand for Thai-Khmer Loeu Traditional Dance e.g. ''Rueam Kan Truem''.
* Central Thailand and Upper Southern Thailand: There are three terms include ''ram'', ''rabam'' () and ''ten'' ().Mattani M. R., Higashi Y., Bunka A., and Senta K., Centre for East Asian Cultural Studies for UNESCO, Japan. (1993). ''Dance, Drama, and Theatre in Thailand; The Process of Development and Modernization''. Tokyo: CEACS. . The term ''ram'', ''rabam'' are generic term for all kinds of Thai dances:
**The term ''ram'' and ''ten'' originated from Proto-Tai: ''yam'' ''*ram'', ''ram'' and ''*ten'' ''ten'' which means "to dance" and is cognate with Lao and Shan.
**The term ''rabam'' derived from Old Khmer words: ''rapaṃ'' ~ ''rapam'' ~ ''rpam'', ''raṃ'' () ''rabam''.
When the words ''ten'' and ''ram'' combine to form ''tenram'', it refers to "ballroom dance." These terms adopted simultaneously since 1321 AD in reign of King Maha Thammaracha I same as the term ''fon''. The adoption of three terms are various Thai Traditional Dance e.g. ''Ram Baht Sakunee'', ''Ten Kam Ram Kiew'', etc.
* Lower Southern Thailand. The Thai term, ''taree'' () borrowed from Melayu word: ''tari'' ''taree'', and has been adopted specifically for the Thai-Malays Traditional Dance, e.g. ''Taree Kipas Dance Thai version''.

The term ''drama'' in Thai words such as ''khon'' are derived from the Tamil word: ''kōṉ'' () ''khon'', which means "king and god, a king, a ruler". The word is also present as a Bengali and Iranian word. It is also identical with the terms ''kan'', ''khan'' or ''khasan'' in Turko-Mongolian languages. The Thai term ''khon'' is adopted particularly for the Ramakien Thai version from the Indian epic Ramayana.

The Thai term ''lakon'' (also spelt: ''lakorn'', ''lakhon'') is derived from Javanese word ''lakon'' (), a derivation of ''lakuan'', ''lagon'' and ''laku'', means "to walk, to act, to run". According to Thai historian Prince Damrong Rajanubhab, it is hypothesized that the term ''lakon'' originated from the name of Nakhon Si Thammarat—the Javanese culture during the Ayutthaya period, where the dance and drama were first introduced.

History

Origin

Thai dance originated from the culture of the ancient Tamils—Kumeru people in southern India thousands of years ago, which modeled the Natya Shastra’s 108 puppets from the Tandava sculpture in the Nataraja Temple, Chidambaram to worship the Nataraja.

Archaeological evidences that have been discovered and related to the origin of Thai dance, such as stuccos and sculptures dating back to 6th–11th century in Dvaravati era, were discovered at the following archaeological sites, Khok Mai Den and Chansen archaeological sites in Nakhon Sawan, Ban Khu Bua archaeological site in Ratchaburi, and Prasat Phimai in Nakhon Ratchasima, in the late Dvaravati era; all of these are dance pose models that have been influenced mainly by Indian culture.Dhanit Yupho, Montri Tramote, Arkhom Sayakham, Suwannee Chalanukrao, and Jamriang Putpradap, The Fine Arts Department of Thailand. (1973). ''Silapa Lakhon Ram Rue Khue Mue Nattasin Thai'' he Art of Thai Drama and Classical Dance or Handbook of Thai Classical Dance''ศิลปละคอนรำหรือคู่มือนาฏศิลปไทย'' (in Thai). H.R.H. Prince Chalermpol ordered to be printed on the occasion of the 5th birthday anniversary on 29 April 1973. Bangkok: Siwapon Ltd,. Part.

As time passed, Thai dance was developed until the identity of the original dance was erased until it became a unique identity of Thai dance. Even cultures, musical instruments, and songs from India, China, Malay, Mon, Khmer, Khom minorities in the Chao Phraya River Basin, and Myanmar, when they came to have influence, were all improved and evolved until they became exquisitely Thai in a way that was different from other nations.

Nanzhao Period

From 748, the Tai state of Nanzhao had a martial art of dance called ''Fon Joeng''.The Institute of the Art of Muay Thai, Department of Physical Education National Stadium of Thailand (DPE). (2016). Prawat sart Muay Thai istory of Muay Thaiประวัติศาสตร์มวยไทย (in Thai). Bangkok: BTS Press. p. 21. It is an art of various movements of Thai dance for the belief ceremonies of the northern Thai people and is a martial art for self-defense to show the style of fighting both offensive and defensive. The ''Fon Joeng'' has many kinds of drum rhythms and has been passed down from the Nanzhao Period to the Ngoenyang, Lanna, and Sukhothai periods, respectively. Fon Joeng still exists in the present as a recreational dance and one part of the history of Muay Thai.

Sukhothai Period

Archaeological evidence of Thai dance in the Sukhothai period shows that it already existed. However, there is no clear evidence that Thai dance was performed as a story but rather as local folk entertainment, such as the entertainment during the Kaṭhina festival, as stated in King Ramkhamhaeng's inscription.

The Ram Khamhaeng Inscription broadly mentioned Thai dance, in which singing and dancing in any form could be performed freely in the royal processions. When the Thai people of Sukhothai got involved with some tribes with Indian cultural influences, such as the Mon, and Khom ethnic minorities of the Chao Phraya River basin, Thai dance began to appear as having a structured form of story performance.

The Sumon Kut Inscription No. 8, aged 1360, also mentioned Thai dance called ''Ram'' (to dance; general word for dance),Skar, Lowell and Damrhung Pornrat. (2023). "Index (Ram, Rabam)," ''Lives in Motion: Celebrating Dance in Thailand''. London: Taylor & Francis. p. 12–13. ''Rabam'' (to dance; short choreographed non-narrative dance pieces), ''Ten'' (to dance),The Fine Arts Department of Thailand. (1964). ''The Archaeological Seminar Lecture in Sukhothai period 1960 B.E''. Published on the occasion of H.M. King Bhumibhol's visit to open the Ramkhamhaeng National Museum in Sukhothai Province, on January 25, 1964. Bangkok: The Fine Arts Department of Thailand. p. 40. and ''Len'' (to play), along with musical instruments, the same as mentioned in the Sukhothai literature, ''Traibhumikatha'' (composed in 1345). Although those inscriptions and the literature do not clearly state what kind of dance it is, these evidences show that Thais were well familiar with singing, playing, and dancing in the Sukhothai period at that time.

Although there is a theory that the term ''rabam'' (to dance) has its roots in the Khmer, the term ''ram'' (to dance) also has its roots in the Northern-Tai. Hence, there is unclear archaeological evidence that the Thais in the Sukhothai kingdom were influenced by the Khmer dances of the Angkor period; in fact, in the Sukhothai period of the 13th–14th centuries, the Thais assertively rejected the authority of the Khmer empire.

Ayutthaya Period

Ayutthaya was a pre-existing city and home of Mon and later Siamese that aged older than the Sukhothai kingdom, prior to the establishment of the Ayutthaya Kingdom.

Thai dance in the Ayutthaya period was influenced heavily by Indian cultures different from the Sukhothai period due to its being home to various ethnic groups. Simon de la Loubère recorded the society of Ayutthaya in his famous work, '' Du royaume de Siam'', that there were forty different ethnic groups. The Moors alone have as many as 10 ethnic groups. also said more than one third of the Ayutthaya residents are foreigners; even the ''Palace Law Chulasakarat 720'' (enacted in 1358) of the Ayutthaya royal court mentioned Indian, Khmer, Lao, Khom minorities in the Chao Phraya River basin, Burmese, HMong, Mon, Muslims, Jang, Chinese, Chams, Javanese, and all other ethnics.

According to the ''Ayutthaya Royal Palace Law'', under the entertainment chapter, stated that there were ''len'', ''ram'', ''rabam'', ''ra-beng'', ''kulati-mai'', and ''Nang yai''. Simon de la Loubère also mentioned three types of performances: dance (rabam), drama (lakhon), and masked drama-dance (khon).

There are three genres of drama-dance: '' Lakhon chatri'', '' Lakhon nok'', and ''Lakhon nai'', of which ''Lakhon chatri'' is the oldest form of Thai dance and closely related to the Menora. ''Ram'' and ''Rabam'' are forms of dance that have existed since the Sukhothai period, as appears in various Sukhothai inscriptions and literature. The Khon in the Ayutthaya period originated around the 11th century CE, which is modeled heavily on the Hindu epic, ''Ramayana'', to the Thai version, ''Ramakien'' (Glory of Rama).

Thai dance was later mixed with the Khmer culture after Ayutthaya sacked the Angkor Thom in 1431 in the reign of King Borommarachathirat II, which integrated an influx of Khmer cultures—Hinduism−influenced into the Siamese court. In time passed, Thai dance in this period was created by combining various dance forms until it improved into Ayutthaya Royal Court dance. When considering the social context of that period, Thai dance in the Ayutthaya period is considered to be the main culture among ethnic diversity. The Khmer culture of Angkor Thom was completely lost after Ayutthaya annexed Sukhothai in 1438 as a result.Thai Khadi Research Institute, Thammasat University and The College of Dramatic Arts, The Fine Arts Department of Thailand. (1991). Seminar Documents: Seminar Project of Thai Dance Demonstration in Honor of H.R.H. Princess Maha Chakri Sirindhorn on the occasion of the 3rd Cycle Birthday Anniversary on 2 April 1991, 14–15 March 1991, Thammasat University Auditorium (เอกสารประกอบการสัมมนา โครงการสัมมนาสาธิตเรื่องนาฏศิลป์ไทย เฉลิมพระเกียรติสมเด็จพระเทพรัตนราชสุดาฯ สยามบรมราชกุมารี ฯ). Bangkok: Thammasat University. p 11.

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. This ceremony drew from the Indian epic of the ''Mahābhārata''. Virulrak states, "These performing arts were gradually developed into ''Khon'' (masked play), '' lakhon nok'' (public dance drama) and ''lakhon nai'' (court dance drama) during the Late Ayutthaya Period (1456-1767)", adding, "this period also enjoyed various imported performing arts from neighbouring countries." According to Paul Cravath, this ceremony performed by Khmer dancers is also depicted in bas-reliefs at Angkor Wat in Cambodia and could have been the forefather of ''Khon''.

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.

When considering historical evidence and various archaeological studies, together with the consideration of dance postures in the works of Prince Damrong Rajanubhab, ''The Dance Manual'', it is found that Ayutthaya drama originated from Manora, which were popular in southern Ayutthaya. In particular, the ''Lakhon Chatri'', which was influenced by Indian and Javanese cultures, was the origin in the South.Rubin, Don et al. (2001). "THAILAND," ''The World Encyclopedia of Contemporary Theatre: Asia/Pacific''. London: Francis Group. pp. 437–438. It was later classified as the ''Lakhon Nok'' and the ''Lakhon Nai''. Even the term ''lakhon'' was borrowed from the Javanese, ''Lakon'', () perhaps the Malay, ''lakhan''.

Evidence showing that Srivijaya culture spread from the Malay Peninsula to Chaiya (modern Nakhon Si Thammarat) and other regions, including the story of ''Inao'' (Thai version from Panji tales), ''Nang yai'', and ''Likay'' into Ayutthaya from the southern region, is the Borobudur, built in the 9th century CE in the Srivijaya period.

Since the Ayutthaya period, Thai dance evolved after being mixed with multiple cultures of the northern (Sukhothai) and southern (Chaiya) cities, the Khmer of Angkor Thom, and many local ethnic diversity; it evolved and improved both dance, drama, and ''Khon'' throughout the period to be more refined and beautiful until it became a unique culture of the Ayutthaya royal court, including traditions, local amusements, and even costumes. The clothing and accessories of Thai dance in the Ayutthaya period flourished greatly during the reign of King Borommakot. Many literary works and plays related to dance were created, such as ''Ramakien'', ''Inao'', and other dances outside and inside the royal court.

In 1768, after the second fall of Ayutthaya, many Siamese actors and actresses for the ''Lakhon Nai'' drama disappeared. Most drama and the ''ramakien'' works were all lost in abundance when the Ayutthaya was sacked by the Burmese in 1767.Velder, Christian.
Notes on the Saga of Rama in Thailand
" ''Journal of the Siam Society'' 56(1)(1968): 35–37. Some fled to cities that were not lost to the Burmese troops, e.g., Phitsanulok and Nakhon Sri Thammarat, while others were rounded up and taken to Myanmar. However, the ''Lakhon Nok'' that was widely performed outside the Ayutthaya court still remains in large numbers. There are still Siamese people who have witnessed ''Lakhon Nai'' drama in the Ayutthaya royal court, such as Princess Pinthawadi, the daughter of King Borommakot, who lived until the Rattanakosin period and was the one who transmitted ancient customs and royal ceremonies to the Rattanakosin royal courts.

Hence, ''ramakien'' and ''khon'' in the Rattanakosin era were reproduced by King Rama I from the Ramayana versions of Hindi, Tamil, and Bengali, which are not the same version of Ayutthaya.

In 1958 King Norodom Sihanouk explained the Thai dance costume, which mentioned in Ayutthaya period, to Malcolm John MacDonald, former Commissioner-General for Southeast Asia, that the Thais' idea of costume was different from that of the Khmers. Moreover, Thai court dance uniforms were gorgeous and, to their taste, infinitely superior to the flimsy simplicity of the Khmer corps de ballet, while the court of the ancient Khmer Empire dancers were lightly clad like the half-naked Apsara as sculptured friezes at Angkor Wat.

Foreigner Record

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. Louis XIV, the Sun King of France, had a formal diplomatic relation with Ayutthaya's King Narai. In 1687, France sent the diplomat Simon de la Loubère to record all that he saw in the Siamese Kingdom and its traditions. In his famous account ''Du Royaume de Siam'', La Loubère carefully observed the classic 17th-century theatre of Siam, including an epic battle scene from a ''Khon'' performance, and recorded what he saw in great detail:

The Siamese have three sorts of Stage Plays: That which they call Cone honis a figure dance, to the sound of the violin and some other instruments. The dancers are masked and armed and represent rather combat than a dance. And though everyone runs into high motions, and extravagant postures, they cease not continually to intermix some word. Most of their masks are hideous and represent either monstrous Beasts or kinds of Devils. The Show which they call Lacone is a poem intermix with Epic and Dramatic, which lasts three days, from eight in the morning till seven at night. They are histories in verse, serious, and sung by several actors always present, and which do only sing reciprocally.... The Rabam is a double dance of men and women, which is not martial, but gallant ... they can perform it without much tyring themselves, because their way of dancing is a simple march round, very slow, and without any high motion; but with a great many slow contortions of the body and arms.

Of the attires of Siamese ''Khon'' dancers, La Loubère recorded that: " ose 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."

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.

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:

Thonburi Period

In 1768–81, Thai dance was greatly revived by King Taksin and Thais. There was evidence that there are still performances of ''Lakhon Nai'' and ''Lakhon No''k, both actors and actresses, in the capital and outside major cities, such as Nakhon Ratchasima, Chiang Mai, Fang or Sawangkhaburi (now Utaradit), and Phitsanulok during Taksin's reunification of Siam. There also were collections of dramatic compositions composed during the Ayutthaya period—more than 10 stories.

In 1769, in the early period after the establishment of Thonburi Kingdom, King Taksin gathered many scattered actors and actresses. There were actors from Nakhon Si Thammarat sent by the governor of Pattani to King Taksin, and a Thai dance performance was organized at that time on the occasion of the consecration of the Buddha's relics at Wat Phra Mahathat in Nakhon Si Thammarat. When King Taksin led his army to siege the assembly of Chao Phra Fang, he organized a Thai dance performance in Fang and Phitsanulok to celebrate the cities after his victory.

Prince Damrong Rajanubhap stated that the actors and actresses of Nakhon Si Thammarat were members of the ''Lakhon Nai'' who had fled from Ayutthaya.

Throughout the reign of King Taksin, he composed five additional episodes (Four Folding-book manuscripts in total) of the Thai version, ''Ramakien''. He ordered the establishment of several royal drama theaters for training. There were performances of the ''Khon'', ''Ramakien'', ''Inao'', and royal drama competitions in the Emerald Buddha celebration in 1782 near the end of the reign.

Meanwhile, at the Burmese royal court, the royal family members of the Ayutthaya court and Thais who were taken to Burma brought the Thai dance to the Burmese court, resulting in Burmese dance being greatly influenced by the Ayutthaya. However, it was an opportunity to be able to revive Thai dance during the Thonburi period until the Rattanakosin period because Thai dance can be traced back to the Thai-Burmese multiculturalism in another way.

Classical dance drama

''Lakhon''

''Lakhon'' features a wider range of stories than ''Khon'', including folk tales and ''Jataka'' stories. Dancers are usually female who play both male and female roles and perform as a group rather than representing individual characters. ''Lakhon'' draws inspiration primarily from the ''Ramakien'' (Thai adaptation of Hindu epic ''Ramayana''). Percussion instruments and ''piphat'', a type of woodwind, accompany the dance. Thai literature and drama draw great inspiration from Indian arts and legends.

''Khon''

''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'' (; ) is a form of folk dance accompanied by the folk music of the region. The first ''fon'' originated in the northern region of Thailand. It was designed and taught by Chao Dararasami of Chiang Mai. Since then, a variety of ''fon'' came into practice, featuring the music and style of each province, such as the ''fon lep'' (; ) fingernail dance from Chiang Mai and the ''fon ngiew'' from Chiang Rai, which was influenced by Burmese music and costume.

''Fon'' is divided into three types:

* ''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 Burmese literature were the direct consequences of the Thai literary influence. The first transmission happened during the two-decade period (1564–83), in which the Toungoo Dynasty briefly managed to subject Siam as its vassal state. This conquest incorporated many Thai elements into Burmese literature. the most evident ones were the ''yadu'' or ''yatu'' (), an emotional and philosophic verse and the ''yagan'' () genre. The next transmission of Thai literary influence to Burma happened in the aftermath of the fall of Ayutthaya Kingdom in 1767. After the second conquest of Ayutthaya (Thailand), many Siamese royal dancers and poets were brought back to the court of Konbaung. ''Ramakien'', the Thai version of ''Ramayana'' (), was introduced and was adapted in Burmese where it is now called ''Yama Zatdaw''. Burmese literature during this period was therefore modelled after the ''Ramayana'', and dramatic plays were patronised by the Burmese court.

Cambodia

Following the collapse of the Khmer Empire in the 15th century, Cambodian dance and music incorporated influence from Thailand and Vietnam. The earliest mention of Classical Cambodia dance appeared in the 17th century CE in a Sanskrit inscription. In the Khmer empire (802–1431 AD), their court performers style was very sensual during Khmer rule, complete with swinging hips and bare breasts.

After the Siamese herded thousands of people from Angkor Wat to the Ayutthaya Kingdom in 1421. It resulted in a cultural fusion between these two kingdoms.Munson, Frederick P., et al. (1968)
''Foreign Area Studies, The American University: Area Handbook for Cambodia''
Washington D.C.: U.S. Government Printing Office. p. 128. Fletcher 2001, p. 306 Thais claim that the Siamese Royal Ballet is an adaptation of Thai ballet, and Cambodians claim that it was based on the ancient Angkor ballet as it was before the Ayutthaya Kingdoms sacked the Angkor Wat. Meanwhile, after the second fall of Ayutthaya in the Burmese–Siamese War (1765–1767), almost all of the royal court dances of the Ayutthaya period were completely lost. From the Thonburi and Rattanakosin eras, a lot of Siamese verses and dramatic compositions were reproduced and recomposed again in the period of King Taksin and King Rama I. On the contrary, the ancient Khmer dance disappeared almost four centuries ago and was reintroduced only by the Siamese from the Rattanakosin eraZadrozny, Mitchell G.; Androsky, Albert; Ginsburg, Norton S., and Eggan, Fred. (1955). ''Area Handbook on Cambodia''. Chicago, IL: The Human Relations Area Files (HRAF), University of Chicago. p. 348. with Siamese chorus, Siamese postures, and Siamese troupe. Therefore, the Cambodian Royal Ballet these days is so strongly infused with Siamese influences.Walker, George B. (1955)
''ANGKOR EMPIRE''
Calcutta: Signet Press. p. 57.

In 19th century, the Khmer court dance began to be restored by Thai dancers led by Saweewath Pramoj and, under the patronage of King Ang Duong, who came to the throne in 1841, retaining many of Thai-acquired elements more elaborate and heavy costumes than had been traditional Khmer court dance. The King is known to had taken refuge in the court of Rattanakosin Kingdom, Siam which influenced his decision to set a new standardization for Royal ballet of Cambodia, his own court dance, following the styles and manners of Thai classical dance. The modern costumes and crowns used by the Royal Ballet of Cambodia are also elaborately clothed showing an unmistakable Siamese influence which is different from the bas-reliefs on the Angkor Wat that portray the scenes of ritual and life of the ancient Khmer ballerinas that were half-naked apsaras and nude dancers performing a sort of grand battement.MacDonald, Malcolm John. (1959). ''ANGKOR''. (2th ed.). New York: Praeger. pp. 32–33.

In 1860–1904, although French protectorate of Cambodia, Cambodia was colonized by France, the Royal Ballet of Cambodia still performed Siamese repertoires due to King Norodom of Cambodia (Ang Voddey) generally importing his dancing girls and concubines aged 13 to 14 years old from Siam. The French scholars also recorded over 300 Siamese female artists remaining in the Cambodian royal court. Some of the songs, musical instruments, and plays had Thai names, and some of the lyrics were composed imitating a Thai style.

In 1868–1910, Aunt Chawiwat, also known as Princess Saweewath Pramoj, Chawiwat Pramoj, daughter of Siamese Prince Vorachak Tharanubhab, took the Siamese Royal dance and Siamese troupe of [a high-ranking Siamese court lady], with all accessories, and the Siamese Piphat ensemble to court of the Royal Palace of Cambodia, Norodom Palace in the Fifth Reign of King Rama V.

In Cambodia history—''Le Royaume du Cambodge'' (1883) by Jean MOURA (1827–85), a French administrator, it is mentioned that Siamese females provided recruits of Siamese dancers to the ballet corps of King Norodon's palace:

Also, George Groslier (1987–1945), a French civil servant who studied Cambodia's traditional dance art and had access to royal dancers and teachers connected to the king Sisowath of Cambodia, Sisowath’s court, wrote:

In 1952–57, the Cambodian government requested the Thai government to send Thai dance masters to help revive the Royal Ballet of Cambodia. There were six Thai dance masters, and a Siamese troupe went to Cambodia upon their request. However, after teaching for only a few times, Thai dance masters were banned by an official of the Fine Arts Department of Thailand.

In 1958, King Norodom Sihanouk propounded the theory of Cambodian performers' costumes to Malcolm MacDonald in that their dancer dresses remained an alien importation copied from the Thais. In the ''Legend of Inao drama'', works of Prince Damrong Rajanubhab, recorded during the Siamese–Vietnamese War (1841–1845), Siamese Invasion of Cambodia and Southern Vietnam (1833–1834), the Siamese nobleman, Chaophraya Bodindecha, brought the Siamese dance troupes to teach the Cambodian dancers at Oudong in the reign of King Ang Duong and recorded the Royal Ballet of Cambodia, which was first introduced by the Siamese Prince, Krom Luang Thepharirak.

During the Khmer Rouge led by Pol Pot, the Royal Ballet of Cambodia was almost destroyed, and Princess Norodom Buppha Devi of Cambodia left for France urgently for years until she returned to Cambodia in 1991. Cambodian dance masters joined the princess to help re-establish the Cambodia dance.

On July 25, 2008. H.R.H. Princess Norodom Buppha Devi said of Khmer classical dance influenced a lot of by Thai court:-

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

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. 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. The Cambodian royal court used to stage Thai ''lakhon'' dramas in the Thai language during King Norodom of Cambodia's reign.

Folk dance

Folk dance forms include dance theater forms like ''likay'', numerous regional dances (''ram''), the ritual dance ''ram muay'', and homage to the teacher, Wai khru ram muay, ''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.

* Ramwong, ''Ram wong'' () reflects the characteristics of the dance: a type of partner dance in a circle.
* ''Ram muay'' () is the ritualized dance that takes place before South East Asia, Southeast Asian kickboxing matches such as ''muay Thai''.
* Wai Khru, ''Wai khru'' () ''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.

Regional dances

Central Thailand

*''Ram si nuan'' (): 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.
*''Ram thoet thoeng'' (, 'drum dance'): The ''teut-teung'' drum, an instrument used in Music of Thailand, 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.
*''Rabam chao na'' (, 'farmers' 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 Po Sop, Mae Po Sop, the goddess who protects Rice production in Thailand, rice-growing. Lastly, the harvest is celebrated with songs and dancing.
*''Ram'' Krabi Krabong, ''krabi krabong'' (): 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.

File:Dancing women and men Thailand.jpg, ''Thoet thoeng'' dance
File:Krabi Krabong practitioners in Thailand.jpg, ''Krabi krabong'' practitioners
File:Krabi Krabong Buddhai Swan 1.jpg, ''Krabi krabong'' practitioners with Thai swords (daab (sword), 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).
*''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.
*''Fon Phu Thai'': This dance is part of a Propitiation, propitiatory ceremony performed by the 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.
*''Serng krapo'' ('coconut dance'): ''Krapo'' is the word for 'coconut' in the Isan language. The dance illustrates the activities of a group of nubile girls from the southern part of the region, known as Isan. 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.
*''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.

Image:2013 Yasothon Rocket Festival 13.jpg, Dancers at a Yasothon festival
Image:Yasothondancers01.JPG, 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.
*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 people, 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 Scabbard, sword sheath.
*''Ka-lai'' dance: Beginners learn to execute graceful and balanced movements through the choreography of this dance.
*''King-ka-la'' dance: The List of mudras (dance), 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 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.
*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 a stringed instrument made of teak or hardwood. It is played by plucking the two metal or brass strings with a horn plectrum.

File:Thai dancer Chiang Mai 2005 045.jpg, A dancer in Chiang Mai
File:Dancing art Thai ancient show in the Wat Phra Thaen Sila At fair 06.jpg, Thai dancers in Laplae wearing Khmer-style dresses and crowns

Southern Thailand

*''Nora'': Menora (dance), ''Nora'' is a traditional dance of southern Thailand (called the ''Chatri'' in southern Thai language, 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.
*''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.
*''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.
*''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.
*''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.
*''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.
*''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.
*''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.
*''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.
*''Rabam Srivichai'' / ''rabam Sevichai'': This is one of the so-called "Thai archaeological dances". It is a reinvented dance that represents the kingdom of Srivijaya, an 8th to 13th-century Buddhist maritime empire that encompassed present-day Indonesia, Malaysia, and south Thailand. The choreography and dance costumes are based on images carved as a bas relief, 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 dance, Javanese and Balinese dance traditions.

File:Nong Nooch-14.JPG, Menora (dance), Manora Dance

See also

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

References

External links

Khon Masks of Thailand

Khon, classic theatre and dance
*

Patravadi theatre presents Chalawan The Likay Musical


Banramthai website
(in Thai and English language, English)

{{Asia topic, Dance in

Dance in Thailand,
Culture of Thailand
Thai dance
Asian dances