The Dramatic Arts College, shown here at the main campus in Bangkok, is the current source of young Thais who will learn the skills and techniques to continue the country's rich history of musical and dance performances.

The supernatural
is never far away in Thailand, and fragments of the magic arrow found nearby have been ground and made into amulets that make the bearer as powerful as Rama himself.
Yet another uniquely Thai cultural tradition that has been influ­enced by the Ramakien is the ceremony known as wai khru, literally `paying respects to the teacher'. At its most basic level, this ceremony, allows students to pay homage to their real, i.e., human teachers, but the tradition also honors deceased masters and spiritual teachers, including Buddhist, Hindu, and animist spirits. The Hindu spirits are represented by a display of khon masks. This ceremony takes place on an annual basis at the institution of learning, and by tradition always on a Thursday. An abbreviated ceremony paying respects to the deities resident in the khon masks takes place before all dramatic perform­ances of Ramakien origin, and on other special occasions as well. Indeed all khon masks are believed to possess a spirit are treated with great respect.
It is testimony to the power and versatility of this ancient epic that it can serve such a multiplicity of functions. As a dynastic genealogical mythology, a means of teaching children ethics, and a form of enter­tainment for all from prince to pauper with its tales of true love and bravery overcoming all odds, the Thais have built themselves an edifice they call the Ramakien, nurtured it, and it has repaid them many times over.

Hun lakorn lek puppets are a modern adapta­tion of hun lakorn puppets. The modern version is less complex to maneuver by the
puppeteers. Traveling shows like this one enter­tain crowds at temple fairs across Thailand.

The hun Luang puppets of Rama II's time are now found only in museums, but a vibrant tradition of puppet theatre still thrives. A Thai National Artist, Sakorn Yangkiosod, popularly known as Joe Louis, has continued a tradition of puppets known as hun lakorn lek, which were first created during the reign of Rama VI (1910-1926). Similar in size to the hun luang marionettes; three puppeteers stand behind the puppets and use rods rather than strings to manipulate them. Sakorn's new Joe Louis Theatre located in the Lumphini Night Bazaar holds nightly performances of these puppets, performing various episodes of the Ramakien. Magnificently designed and executed puppets are on display in the theater, as are a selection of khon masks and Ramakien dolls. The troupe also makes public performances at venues in other cities throughout Thailand.
Yet another form of puppet that tells the Ramakien tale to the masses is the rod puppet or hun krabog. These are small, half body puppets which are based on a design which originated in China. Although the original Chinese characters and their operas are still popular, the hun krabog also have been constructed to portray Ramakien characters and perform in the classical style of the khon.A subject as known and loved as the Ramakien could not help but finding its way into a most fundamental aspect of culture; langdage. Colloquial expressions in Thai abound that relate to the tale. A partic­ularly complex or detailed task may be described as yung yang kap Ramakien, or 'as complicated as the Ramakien'. Someone who has undergone much hardship will be described as ngom Phra Ram, or 'as bruised as Rama'. Place names based on the Ramakien abound as well, such as the lake in Lopburi Province known as thalae chub sorn, or the lake where the arrow was dipped' in reference to the belief that Rama consecrated a magic arrow by dipping it in this lake.

A gilded lacquered panel showing Phra Ram and Phra Lak aboard their chariot in full charge led by the monkey general Hanuman and his troops.



Antique hun krabog puppet heads. Their fangs identify them as demons, and their spired crowns denote vice regal status.

The craftsmen labored for several years to complete the murals that tell the Ramakien tale from start to finish. As with the mother of pearl inlay doors at Wat Pho, the artists give license to their imagination and the murals abound with scenes of everyday Thai Life, binding the celes­tial characters of the Ramakien with the Thai people of the era. Cooking, commerce, and entertainment (including puppet theatres) are all depicted. Sadly, the frescoes' condition has deteriorated over time and restorations included revisions, which deviated from the purely Thai style of mural painting. Western concepts of volume, shading and perspective were introduced, rendering the overall impression less authentically Thai. Nonetheless, the murals remain a vital portrayal of the Ramakien, and a tribute to the artistic taste of the Chakri monarchs. Taking refuge from the crowds that surge around the Temple of the Emerald Buddha, an examination of these murals while leisurely strolling through the shaded gallery housing them is one of the most satisfying ways to experience the Ramakien story.
Also within the compound of the Temple of the Emerald Buddha, among the soaring gilded chedis (pagodas) are twelve statues of protec­tive demons known as yaksa in Thai. All twelve of the demons are denizens of Longka, the underworld in the Ramakien, including Totsagan, Rama's archenemy. Clad in colored mirror tiles in the blazing sun, they bedazzle more than frighten.
Another visual art reflecting the Ramakien theme is gilded lacquer ware. This art form, that began in the Ayuthaya period and continues until today, employs gold leaf designs on a black background. Indeed one of the treasures of the National Museum in Bangkok is the restored Buddhaisawan Chapel that contains ancient manuscript cabinets for holding Buddhist scriptures that are elaborately gilded with scenes from the Ramakien. This art form not only continues, but has been highly commercialized, with a plethora of small plates and boxes sold to tourists usually employing imagery based on the Ramakien.
Reading of temple art and court performances, one could conclude that the Ramakien exists only in rarefied elements distant from the worlds of the average Thai today, much less the visitor. Fortunately, this is far from true. Every Thai child hears the tale of the brave Phra Ram, his loving brother Phra Lak, the loyal monkey and general Hanuman, and their struggle to free the lovely Nang Sida from the evil Totsagan. The story is told in schools, and children's books relate the tale both as didactic literature and in the entertaining form of comic books. The National Theater and the Fine Arts Departments of regional universities regularly schedule khon performances that are well attended.

A gilded lacquered panel showing Phra Ram and Phra Lak aboard their chariot in full charge led by the monkey general Hanuman and his troops.


Antique hun krabog puppet heads. Their fangs identify them as demons, and their spired crowns denote vice regal status.
The craftsmen labored for several years to complete the murals that tell the Ramakien tale from start to finish. As with the mother of pearl inlay doors at Wat Pho, the artists give license to their imagination and the murals abound with scenes of everyday Thai Life, binding the celes­tial characters of the Ramakien with the Thai people of the era. Cooking, commerce, and entertainment (including puppet theatres) are all depicted. Sadly, the frescoes' condition has deteriorated over time and restorations included revisions, which deviated from the purely Thai style of mural painting. Western concepts of volume, shading and perspective were introduced, rendering the overall impression less authentically Thai. Nonetheless, the murals remain a vital portrayal of the Ramakien, and a tribute to the artistic taste of the Chakri monarchs. Taking refuge from the crowds that surge around the Temple of the Emerald Buddha, an examination of these murals while leisurely strolling through the shaded gallery housing them is one of the most satisfying ways to experience the Ramakien story.
Also within the compound of the Temple of the Emerald Buddha, among the soaring gilded chedis (pagodas) are twelve statues of protec­tive demons known as yaksa in Thai. All twelve of the demons are denizens of Longka, the underworld in the Ramakien, including Totsagan, Rama's archenemy. Clad in colored mirror tiles in the blazing sun, they bedazzle more than frighten.
Another visual art reflecting the Ramakien theme is gilded lacquer ware. This art form, that began in the Ayuthaya period and continues until today, employs gold leaf designs on a black background. Indeed one of the treasures of the National Museum in Bangkok is the restored Buddhaisawan Chapel that contains ancient manuscript cabinets for holding Buddhist scriptures that are elaborately gilded with scenes from the Ramakien. This art form not only continues, but has been highly commercialized, with a plethora of small plates and boxes sold to tourists usually employing imagery based on the Ramakien.
Reading of temple art and court performances, one could conclude that the Ramakien exists only in rarefied elements distant from the worlds of the average Thai today, much less the visitor. Fortunately, this is far from true. Every Thai child hears the tale of the brave Phra Ram, his loving brother Phra Lak, the loyal monkey and general Hanuman, and their struggle to free the lovely Nang Sida from the evil Totsagan. The story is told in schools, and children's books relate the tale both as didactic literature and in the entertaining form of comic books. The National Theater and the Fine Arts Departments of regional universities regularly schedule khon performances that are well attended.
The hun Luang puppets of Rama II's time are now found only in museums, but a vibrant tradition of puppet theatre still thrives. A Thai National Artist, Sakorn Yangkiosod, popularly known as Joe Louis, has

The marble bas-reliefs of Wat Pho, which depict only the middle episodes of the story chronologically, are both famous and easy to miss, given their small size and obscure loca­tion. Close examination reveals superlative
stone carving skills on these panels, which were originally crafted in Ayuthaya.


Above the bas-reliefs, the doors on the Ubosot
at Wat Pho soar three meters in height and are . inlaid in extremely delicate mother of pearl
work depicting selected scenes from the Ramakien. This is the only major use of mother of pearl inlay to illustrate the Ramakien in Thailand.

Like the khon performers, on whose costumes they are modeled, they are clothed in elaborately embroidered and bejeweled costumes. The puppets are manipulated by up to 12 strings that run to the base of the puppet and are pulled from the puppet's base by the puppet master, unlike Western puppets that are manipulated from above. The performances of hun luang belong to history, but the puppets them­selves have been lovingly restored to their former splendor by a group of Thai artists, and fine examples of this work are on view in the National Museum in Bangkok.
While the nang yai performances are rare, another form of shadow puppetry has flourished. Known as nang talung, they are cut out like the nang yai puppets but much smaller, ranging in height from fifteen to fifty centimeters. They are cut from calf hide and painted in bright colors. This folk art originated in the Southern Thai province of Phattalung, but itinerant troupes travel the country performing at temple fairs and other public gatherings.
The third Chakri monarch, now known as Rama III (reigned 1824-1851), did not share his predecessor's taste for the performing arts such as khon and hun luang. A reserved and pious ruler, he chose to continue the Ramakien epic's legacy in the visual arts, and it was during his reign that some of the most important works of Thai paint­ing and sculpture were created. Located in Koh Rattanakosin, the heart of Bangkok, and the area chosen by the Chakri kings as their adminis­trative and regal center lays the temple of Wat Phra Chetuphon, commonly known as Wat Pho. This is the oldest and largest temple in Bangkok, and it its central chapel (Phra Ubosot) contains the remains of the Chakri Dynasty's founder, Rama I. Lining the base of this simple chapel are 152 carved while marble panels, measuring only 45 cm. square. Likely salvaged from the ruins of Ayuthaya and transported here, they depict a variety of scenes from the middle part of the Ramakien tale. Amid the powerful splendor of the other attractions of Wat Pho, such as the immense reclining Buddha, these delicate carv­ings are easy to overlook, but a careful examination reveals their fine craftsmanship. The doors of this requillary chapel also display art related to the Ram akien in another motif—mother of pearl inlay. Soaring 3-meter doors, with two wings, located on the front and rear of the chapel have been decorated with scenes from the Ramakien and surrounded by ornamental borders. Rich in detail, the artists seem to have taken delight in the fantastic elements of the Ramakien tale, and the panels abound with a Menagerie of imaginary animals, such as the kinaree, the half man half bird creature of Thai mythology.
Wat Phra Keow, or the Temple of the Emerald Buddha, within the confines of the Grand Palace in Bangkok, houses yet another visual art depiction of the Ramakien epic. In 1831, again during the reign of Rama HI, master painters worked their art on the walls of a shaded cloister surrounding the temple compound in a series of 178 murals.

A mural from the Wat Thong Thammachat temple in Bangkok depicting a hun krabog puppet performance, including a rather boister­ous audience scene.


This antique painted screen from the collection of a Thai prince shows a nang yai performance from backstage. Note the puppeteers, musicians, and actors in costumes standing by for their performance to follow.

The Chakri sovereigns realized that in order to establish the Ramakien as a true national epic, art forms that were more accessible than literature would have to reflect the tale. The second Chakri monarch, Rama II (reigned 1809-1824)-who directed the composition of another version of the Ramakien in verse form, was a noted patron of the arts and took particular delight in dance and drama performances. It was under his auspices the uniquely Thai masked dance pantomime known as khan was developed. Khan performances take their content exclusively from the Ramakien, and rather than attempt to synopsize this lengthy work, deal with specific episodes, with alluring titles such as The Floating Lady' or 'The Golden Deer'. Khan performances were considered sacred rites and until the establishment of a constitutional monarchy in 1934, were held only within the royal court. The general populace, however, was not excluded from the Ramakien. Under the patronage of King Rama II, a shadow theatre, which first appeared in Thailand during the Ayuthaya era, was revived and adapted specifi­cally to Ramakien performances. Known in Thai as nang yai, (literally, large hides) elaborately cut figures made from buffalo hides about one meter in height were held behind a translucent screen and manipu­lated to the sounds of a traditional Thai piphad orchestra, consisting of oboe-like woodwinds, xylophones, gongs, and other percussion instru­ments. Narrators relate the story and deliver the lines of the characters represented by the shadow figures. Hundreds of these intricately cut hides portray the dozens of Ramakien characters individually, paired and in groups, with differing background scenery according to the episode being performed. After this art form nearly disappeared during the late 1900's, it was revived under the patronage of a Thai princess, Her Royal Highness Maha Chakri Sirindhorn, at Wat Khanon, a temple in Ratchburi province, west of Bangkok. Beginning in 1994, over 300 elaborately crafted nang yai puppets have been constructed, and regular performances are given at the temple in the small town of Photharam. The puppeteers and musicians are all local high school students. Their skill and commitment attracts a regular pilgrimage of puppetry aficionados to this otherwise remote area. Yet another performing arts genre that flourished during the reign of Rama II was hun luang, or court puppets. As the name implies, these performances, like the khan, were given only within the royal court. Hun luang are full body marionettes, standing about one meter tall.

The original source of the story of Prince Rama was India, where it is known as the
Ramayana. It is still performed there in various dramatic styles. Here a young boy in a traveling dance troupe prepares for his role as a monkey warrior.

Although clearly based on other versions of the tale, the Thai Ramakien is unique in that it draws upon other Thai artistic traditions, including styles of royal garments such as the peaked epaulettes and the spired crown worn by this khan performer.

It was, however, the current Chakri Dynasty that truly elevated the Ramakien to a Thai national epic and art form. Soon after the Burmese sack of Ayuthaya in 1767, a military counselor, Phra Phuttayotfa, took power. He established a new capital in the then village of Bangkok, but giving it a new name, Krung Thep in shortened form. The full name, which is the longest place name in the world, included references to the city of Ayuthaya, and the Hindu god Vishnu, Rama's divine incarna­tion. The new dynasty was named Chakri, after the chakra or discus, one of the four attributes of the god Vishnu. A link between the Ramayana and the Thai dynasty was firmly established. Thailand was barely recovering from its disastrous defeat at the hands of the Burmese and was in dire need of social and political unification. Among Phra Phuttayotfa's many acts in achieving this goal was the creation of a uniquely Thai version of the Ramayana epic, called Ramakien (liter­ally, the worship of Rama) in Thai. The work in verse commissioned and supervised by the new king, now known as Rama I (reigned 1782-1809) was completed in 1798. It was twice the length of the Ramayana of Valmiki, and included references to the flora, fauna, geog­raphy and social customs of Thailand. This literary endeavor marks the transition from an Indian art form used in Thailand to a truly local creation. To enhance its popularity among the general population even further, the tale emphasized humorous and amorous behavior on the part of Hanuman, Rama's monkey warrior. The tragic ending of the original story was changed to allow Rama and his faithful wife to live, after many trials and tribulations, happily ever after.

The Ramakien

Although fully costumed and mashed. actors in khon performances must perform rigorous, even gymnastic maneuvers as the battle scenes unfold. Here Hanuman attacks a demon.
A solitary reed flute wails sonorously across a darkened and empty stage. A white masked dancer enters in an unmis­takably simian crouch wearing a bejeweled and form fitting costume. An even more fantastically attired partner, whose green painted mask is adorned with frightening tusks, joins him. As the orchestra slowly builds, they engage in a combative duet. Simultaneous with a crash of cymbals and orderly rhythm .of xylophones, the pair is joined by their respective armies of monkeys and demons, all resplendent in painted masks and iridescent costumes, to engage in a gymnastic performance of ritual battle. Thus begins a performance of khon, Thailand's signature artistic performance. Bedazzling and enchanting to the first time viewer, it is in fact only one of many representations of a theme that pervades not only the artistic, but social and even political realms of Thailand. Khan performances detail episodes of the Ramakien, a Thai version of the Indian epic Ramayana.
In addition to the masked dance performances of the khon, the Ramakien story is told in a variety of the perform­ing arts, notably puppetry, including shadow puppet performances. Beyond the performing arts, the Ramakien tale emerges in the visual arts in painting, sculpture, gilded lacquerware and mother of pearl inlay. The tale has also permeated folk art and most significantly the very essence of Thai life, the monarchy. The oldest extant version of the Ramakien was authored under the auspices of the first king of the current Chakri dynasty, who is now known as Rama 1. King Bhumipol Adulyadej, Thailand's revered monarch is known as Rama IX, following the lineage of his royal predecessors that began with Rama I over 200 years ago. So, what is this Ramakien, and how did it evolve from an Indian tale of the Hindu gods to become the national epic of the predominantly Buddhist Kingdom of Thailand?
The Ramayana, which can be translated from the original Sanskrit as 'the glory of Rama' tells the story of a mythical Prince Rama who appears in the tale as an incarnation the Hindu god Vishnu. Original versions are as old as history, but an Indian poet and scholar known as Valmiki is said to have compiled the oral recitations of the tale that existed at his time, over 2300 years ago, into 24,000 coupled verses of Sanskrit. Considered a sacred text, the Ramayana codifies the Hindu concept of the righteous God King in a primordial struggle against the forces of evil. Like its Thai successor, the Ramayana combined art, entertainment, and religious and political edification. It is clearly not by chance that the abode of the dark demon race was located in the South and known as Longka, this at a time when the light skinned Aryans were in conflict with the Dravidian Tamil people who had taken refuge on the island now known as Sri Lanka. It was, however, not the religious significance, much less the political usefulness of the tale that gave it such immense popularity among the people of India, or that insured its diffusion across Asia. The romance of Prince Rama and his lovely bride Sita, her abduction by the evil demons of Longka, and the loyalty of Rama's brother and his wily monkey ally in their struggle to recover the princess continues to enthrall audiences across dozens of cultures. It is indeed the versatility of the saga that has insured its popularity and relevance to the art and culture of South and Southeast Asia.
Scholars debate how the Ramayana reached Thailand, but influ­ences of the tale are found in bas-relief sculpture as early as the Sukhothai period in the 13th century. Indeed the Thai king credited with developing the Thai writing system took his royal appellation from the tale, and was known as King Ramkamheng, or King Rama the Valiant. Sukhothai was eventually eclipsed by another Thai kingdom, whose capital was named Ayuthaya, in honor of the city of Prince Rama in the Ramakien epic.

The elaborate costumes worn by the performers are one of the major attrac­tions of Thai classical dance. In addition to exquisitely embroidered garments, the dancers wear spired crowns, called chada.

A discussion of the Thai dance tradition would not be complete without a mention of lakorn nok (literally outer theatre). While scholars may dispute whether it qualifies as 'classical', the genre nonetheless uses elements of the classical tradition, such as costumes and dance postures, and the palace itself has at times has its own troupe of lakorn nok performers. The more likely venue for these performances, however, is the temple fair in a rural area. Fantastic folk tales such as Sang Thong, which tells of a hero born in a conch shell, the son of a queen, but raised by a demoness, fill the hearts of the young and old with mystery and awe, and provide a link with their ancient cultural traditions.

From the rarefied confines of the royal chambers to the dusty compounds of isolated villages, Thailand's rich tradition of dance drama brings inspiration and joy to all who witness it. But Thailand's most venerated theatre tradition is the enactment of the ancient Indian mythological tale, the Ramayana. In Thailand it is known as the Ramakien.

The Ramakien and Thai Classical Dance

An exquisitely painted cabinet showing a scene from the Ramakien in the Buddhaisawan Chapel, built in 1795. The chapel has been restored and is located within the compound of the National Museum in Bangkok.

Floating_a across the stage with exquisite delicacy, wearing a bejeweled crown and an intricately embroidered costume, the young woman seems to embody the natural grace of the Thai people. Hands outstretched and
fingers turned back, she moves seemingly without effort. The beauty holds a meaning as well, for like many Asian dance performances, the movements tell an ancient story. Thai dance and drama are inseparable, and preserve traditions of literature and music.
Thailand is a melting pot of Asian culture, and the classical dance traditions can be traced to a variety of sources, but the most direct came from the Thai conquest of the Khmer capital of Angkor in 1431. As was the custom in those times, the conquering Thai army from the kingdom of Ayuthaya took human booty, and trans­ported the Khmer court dancers and musicians back to the Thai capital. Thus began the tradition of Thai dance drama that continues to this day. In addition to the masked dance drama of the khon, which was performed originally by men only, maidens of the royal harem were trained to perform a delicate dance drama known as lakorn nai, which means 'inner theatre', since it was performed exclusively in the royal palace. The costumes are made of silk, embroidered with gold and silver threads and decorated with imitation jewels. Ornaments and headgear identify characters, with the regal characters wearing the chada, a uniquely Thai spire-like crown. Male characters (played by women in the lakorn nai) are clothed in breeches and a form-fitting top with peaked epaulettes. Women characters are clad in ankle-length skirts and a shawl. The most popular plot of the lakorn nai dance drama is based on a Thai version of an originally Javanese epic known as Inao, which tells the story of a prince separated from his beloved, and their adventures as they seek each other.
Another form of Thai classical dance, known as lakorn nora, comes from the South of the country. While it lacks the elevated status which the lakorn nai carries as a court entertainment, it is an important dance genre. Stylistically differ­ent as well, with costumes and dance movements which look almost Indian, the overall effect is more supernatural than elegant. Also called manora, after the most regularly performed plot, it tells the story of a kinaree (a supernatural half bird half human) princess, her travails with an evil king and her ultimate salvation by a valiant prince. Lakorn nora performances also include prayers and comedy, and are considered to hold an element of magical power. For this reason, such perform­ances are often organized and paid for by person making a wish or fulfilling a vow. The Erawan shrine is Bangkok is the archetypical example of this ritual.