Thaiföld

Priceless heritage saved by HM the Queen

Writer: PONGSIT PANGSRIVONGSE

Published: 27/08/2009 at 12:00 AM

Newspaper section: Outlook

The Prommas scene is one of the most dramatic episodes of the Ramayana performed in khon masked dance. Only the most skilled artists can perfect the moment when Hanuman breaks the neck of Kalasul disguised as the Erawan elephant and engages in a fierce fight with Indrajit. The Khon Prommas scene is an elaborate display of Thai culture, one which reflects our tradition of dance. This is why Her Majesty the Queen, through her dedication to the conservation of Thai traditions, decided to preserve the artistry required for this scene. It was no mean feat and her success in saving this vanishing art can now be seen at the Khon Prommas exhibition at the Bangkok Arts and Culture Centre (BACC).

Precisely replicating the performance of ancient times not only required the finest dancers but also musicians, gold and silversmiths, embroiderers, scenery painters, sculptors and mask makers, to name but a few. The Prommas scene is notoriously difficult to recreate as it requires a number of different backdrops. Artists must work in a pedantic, almost obsessive manner to do justice to the settings. The painters must rebuild the forest where Indrajit blesses the Prommas arrow on stage complete with the pavilion, which is described as truly ornate in the Ramayana. The background to the grand hall where Ravana resides was painted in the long-established style of red tones and lotus buds. The complete ceremonial regalia of Ravana is put on display including the lion-footed throne, the betel nut tray, the water bowl, the dinner set and an array of weapons. Her Majesty wisely encouraged the artists to look to the past for inspiration. Arduous research was done at the National Museum on headdresses, ranging from those found in ancient times to ones used during Rama VI's reign. Tradition pervades throughout every design; the masks were painted with precise colour-codes, which historically correspond to a character. The most talented craftsmen were put to work on the costumes, including those from the Golden Jubilee Royal Goldsmith College. The invaluable garments are adorned with semi-precious stones, precious metals and beetle wings. In accordance with the custom of early performances of khon, pure white paint instead of the more contemporary gaudy make-up was applied on the faces of those who performed without masks. These reproductions of ancient designs serve as a priceless resource that will be cherished by both younger craftsmen and academics alike. Khon traces its long reaching roots to the Ayutthaya period where dancers who acted out the churning of the sea of milk would wear masks to distinguish themselves as demons or angels. Khon then evolved into a depiction of the Ramayana. The dance served to celebrate the monarch, as portrayed by Rama, as the incarnation of Vishnu. It is thus a deeply inherent part of Thai culture, so much so, that it has become a precious heritage. Even though khon's popularity is in decline, Her Majesty's generosity has ensured that our cultural identity will forever remain intact.

‘Khon’ costumes and make-up techniques on showcase in the ‘Virtue of the Kingdom’ exhibition.

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