The annual khon masked dance performance by the Support Foundation is back, spectacular as ever. Rendering different episodes from the Ramakien, the show is remarkable for its impeccable beauty of dancing, singing, voiceover, dialogue, costume and overall imagination which has been a model of consistency over the years.
After the success of the episodes Prommas in 2007 and 2009, Nang Loi in 2010 and Suek Maiyarap in 2011, this year's Jong Tanon _ in which Phra Ram's army builds a road of stones across the ocean to reach the city of Longka, where the kidnapped Sita is held hostage by Thotsakan _ has more action scenes and atmosphere. Though the plot revolves around only a few incidents, the highlights include rare dance choreography, a battle scene and jocular acts performed by the monkey soldier Hanuman.
At the premiere last week, the extravaganza began before the khon started. The overture dance, Farang Khu, featuring eight pairs of performers in colourful costumes, was staged to celebrate Her Majesty the Queen's 80th birthday. The dance dates back to the reign of King Rama II and is now rarely seen.
Then the main show began and, like most viewers, I was in awe of the dazzling embroidered costumes, the royal chariots and pavilion scenery. The stunning pa yok muang fabric from Nakhon Si Thammarat and several royal vehicles were commissioned for this performance.
Those young at heart would love the "Under The Ocean" scene when Hanuman dives into the sea to find out what happened to the missing stones. Those stones, brought by Phra Ram's monkey army to build a road, were removed by fish led by Thotsakan's half-giant, half-fish daughter Nang Suphanmatcha.
This scene is rapt and realistic due to the setting, theatrical techniques and convincing acting.
Although Jong Tanon is mainly about conflicts and fighting, a lot of smile-inducing details are brilliantly added to certain scenes without interrupting the spirit of war. In the "Under The Ocean" scene, the audience couldn't help but chuckle when a small shark attacked the swimming Hanuman. In addition, the scene in which Hanuman and Nilapat were teasing each other brought smiles from the audience. With the help of slings, the actors playing Hanuman and Nilapat showcased their martial arts and did several somersaults. And it's not all about athleticism: this scene was thought-provoking since it is about the importance of unity. How can a mission be accomplished if team members are in conflict?
The ultimate highlight of the show is the battle scene in Act II. In this particular episode of the epic battle, demon king Thotsakan goes to war himself while in other episodes, he only orders his clan members to fight on his behalf. The rhythmic music and technical effects in this scene roused excitement among the audience while more than 100 performers playing the soldiers displayed excellent dancing and martial arts skills.
I was most impressed by three scenes _ Phra Ram's monkey army heading to the city of Longka, Thotsakan inspecting the troop at the palace ground, and Thotsakan fighting the trio of Phra Ram, Phra Lak and Hanuman.
The royal chariots and army mobilisation were stunning while the percussive music, such as the song Kround Nok for Phra Ram's army and Kround Nai for Thotsakan's, lifted the spirit.
Thotsakan danced beautifully, especially when departing for the palace ground. My heart leaped when all the giants stomped their feet upon the palace ground strongly and harmoniously amid the sounds of drums. This was also an opportunity for the audience to see the ancient-style army marching and certain rare kinds of weapons.
The use of slings is seen in several scenes of this episode, including Hanuman and Nilapat throwing stones and scuttling, Hanuman swimming in the ocean and giants flying in the sky. This technique, however, is not new. It was first introduced to khon performance by King Rama I; Khon Chakrok, as it was called then, was part of the three-day-and-night entertainment at the 1796 royal cremation of the king's father, according to the Krung Rattanakosin Royal Chronicle and the poem Klong Chalerm Phrakiat Phrabat Somdet Phra Buddha Yodfa Chulaloke. The battle scene between the army led by Phra Ram and that led by Thotsakan and his 10 sons named Sib Rot, performed at that time, is staged in this year's episode of Jong Tanon as well.
Chosen by Her Majesty the Queen, the episode currently on show is based on King Rama I and King Rama II's works, Ramakien, and Fine Arts Department experts' scripts, adapted to suit the present situation.
Still, the performance strictly adheres to the exquisite royal art called khon luang.
Thai experts believe that khon masked dance is a form of entertainment whose origin combined various schools of performing arts, mainly traditional dance and shadow puppetry, with ancient play and ''the churning of the milk ocean'' drama thrown in.
In the Ayutthaya period, khon was daytime entertainment while nang yai _ shadow puppetry _ held sway at night. Both performed stories from Ramakien accompanied by the Pipart Khruang Ha ensemble.
Despite the adjustments to khon over time, its spirit has not changed. Nowadays, this exquisite art and the making of khon costumes and props have been enhanced by HM the Queen's love and support. Every episode of the Support Foundation's khon performance also allows younger dancers to audition for various roles which brings the art form to a new generation. All in all, the show should not be missed.
Jong Tanon masked dance performance runs until the end of the month at Thailand Cultural Centre. Tickets are priced from 120 baht for students to 1,520 baht and available at www.thaiticketmajor.com. Visit www.khonperformance.com.
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About the author
Writer: Pichaya SvastiPosition: Life Writer
Article source: http://www.thethailandlinks.com/2012/11/07/a-royal-legacy/
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