KHON

Khon, a performance of which acting and dancing are combined. All methods are identical to those of LAKHON(Acting). Only minor differences make KHON not to be called LAKHON. Dancing in KHON is similar to dancing in LAKHON NAI(Royal act). More pattern of dancing with different actors and melody are adapted to avoid similarity among them.

Main characteristic of KHON is that the performers, except angle, leading male and female performers, have to wear masks.

The masks cover performers’ head '. There are holes, for visibility, at eye position. They are decorated to perfectly portray protagonists’ personalities such as YAK(demon), simian, teva (angel) and others. Masks are decorated with gold, lacquer, and paste jewels. Some people call them “Na Khon”.



The story is proceeded by both rhythmic expressions called “Pak” and rhythmic dialogue. The Pak’s words are Karb Yani (a verse that consists of 11 syllables) and Karb Chabang (a verse that consists of 16 syllables). The dialogues and songs for KHON actors are all recited and sung by, so called, a cheracha man ( a person who speaks out the dialogues for the performers).

Costumes for KHON and LAKHON NAI are identical. The only distinctive item is, naturally, the mask. The masks are in various designs depending on characters and roles. The dress for a leading actor and demon has two colours distinguishing a waistcoat and sleeves. The waistcoat, by this token, represents Armour. For the simian roles, coats and sleeves are designed with pattern of lines rounded in clockwise direction representing hairs. For the demons, there must be a short piece of cloth hanging at the back hem.

The repertoire for KHON is drawn from Ramakien (Ramayana). The KHON performances are categorized as described below.

Khon Klang Plaeng

Khon Klang Planeg is the open-air mask play. Assuming one side of the area to be the city of Lonka, whereas the other side as Phra Ram’s royal quarter, fenced as a imitative camp. There is a 2 m high platform built for a gamelan at each side of stage area. If there is a battle scene at the central zone, the nearer gamelan is responsible to play the music. Khon Klang Plaeng is proceded by recitation and dialogues only.


Khon Nung Rao

Khon Nung rao is performed on the stage at the height of eyesight. The floor is in rectangle shape. The stage is flanked by 3 parts of curtain, which is painted a swell scene of mountain and forests. At outside, on the right of the stage, is a 3 m long with swell paintings of fences and royal quarter of Phra Ram. On the left is a swell painting of a palace and castles, assumed to be the city of Lonka. Two main entrances separating central zone scene and outside scenes. In front of the scene, 1.5 m apart, there is a wooden-tube rail, which is supported by a 60 cm long pole, placed towards the scene. At each end of the stage, there is a 1 m high platform for a gamelan.

The wooden-tube rail serves as seating. When sitting and facing left, the left leg crosses the rail. Do the same when facing right. Phra Ram and his followers sit on the right. Phra Ram himself sits on the far right end of the rail, facing left. His followers orderly sit towards the rail’s mid point. At Lonka side (for the demon) is on the left of the rail. The leader, facing right, sits on the left end of the rail. The followers sit before him, facing left. The non-seated performance can be displayed at all area of the stage. The performance, as in Khon Klang Plaeng, is proceeded by recitation and dialogues only. Forms of dancing are perfectly performed as innovated in the traditional Master of the dance. The performers have to adapt their steps and poses to the recitations and songs of the chorus. The orchestras (gamelan) alternately perform the music from the beginning (Hom rong) to the end of the performance.

Khon Rong Nai

Khon rong Nai is a mixture of Khon and Lakhon Nai. They are both in door performance. A single curtain is used as a scene. There are two exits. A bench is placed near each of them. A gamelan may be, depending on the setting, at the back of each bench or slightly towards the stage.

The performance is proceeded by recitation, dialogue and songs, which are performed by recitators, dialogue man (Cheracha man) and choruses. Similary begin as Lakhon Nai, that is, the leading actor sits on the bench, then carry on his/her dialogue or song as the story proceeds, either as Khon or Lakhon. For example;

When the gamelan is performing Pleng Wa, simians sit at their positions. Phra Ram and Phra Lak sit on the bench. Leading chorus sings Pleng Cha Pee Nai, a swan song, narrative singing. Khon actors return to backstage when final rhythm ends. When the orchestra play Krao Nok ( a classical tune), simian role Khon performers turn up, followed by a crook gang, a simian King, Phra Lak and Phra Ram. Then, Krao Nok dancing is performed, continued with Pak Chom rot and manilulating song.

An important Khon instrument which is distinctive from Lakhon’s, is a royal chariot and a state umbrella, held by an attendant over the leading actor.

It has become the preferred habit for those taking leading roles as well as roles of celestial being not to wear masks since Khon joined with Lakhon Nai, which is called Khon Rong Nai.

Khon Na Chor

Khon Na Chor (mask-play before the scene) is a performance that is identical to Khon Rong Nai. It is only a variety in which the presentation takes place.

The theatre for Khon Na Chor is an adapted version of that for Nung Yai (big screen). Two entrances are added, a bamboo curtain under the screen makes the Khon actor visible for a chorus. The screens outside both entrances are painted; one side is a royal court for Phra Ram, the other is Lon Ka palaces and castles. One bench is placed near each door. The orchestra used to be in front of the choruses who is at the back of the stage.

All types of Khon, from khon klang plaeng to Khon na Chor, has a special musical instrument called “Krong”. Krong is made from big bamboo stems with 3-4 meters long, supported at both ends, 8 centimeters above the floor. 4-5 persons sit in line, holding Krub (a wooden rhythm instrument) in both hands, make the rhythms. Only mirthful songs such as Krao Nok, Krao Nai, or Cherd are performed at the back of the screen. Khon peformers have no participation in the rhythm produced.

Khon Chak

Khon chak is the mask play on the stage. The screen changes as the story proceeds. The method of peformance is the same as Khon Rong Nai. The story is organised to match the already set up scene. If the place has enough space before the curtain for the play, when the curtain is closed, there may be the continuous play before the curtain. So the story is continuously proceeded

Thai food

Thai food is internationally famous. Whether chilli-hot or comparatively blands, harmony is the guiding principle behind each dish. Thai cuisine is essentially a marriage of centuries-old Eastern and Western influences harmoniously combined into something uniquely Thai. The characteristics of Thai food depend on who cooks it, for whom it is cooked, for what occasion, and where it is cooked to suit all palates. Originally, Thai cooking reflected the characteristics of a waterborne lifestyle. Aquatic animals, plants and herbs were major ingredients. Large chunks of meat were eschewed. Subsequent influences introduced the use of sizeable chunks to Thai cooking.
With their Buddhist background, Thais shunned the use of large animals in big chunks. Big cuts of meat were shredded and laced with herbs and spices. Traditional Thai cooking methods were stewing and baking, or grilling. Chinese influences saw the introduction of frying, stir frying and deep-frying. Culinary influences from the 17th century onwards included Portuguese, Dutch, French and Japanese. Chillies were introduced to Thai cooking during the late 1600s by Portuguese missionaries who had acquired a taste for them while serving in South America.
Thais were very adapt at 'Siamese-ising' foreign cooking methods, and substituting ingredients. The ghee used in Indian cooking was replaced by coconut oil, and coconut milk substituted for other daily products. Overpowering pure spices were toned down and enhanced by fresh herbs such as lemon grass and galanga. Eventually, fewer and less spices were used in Thai curries, while the use of fresh herbs increased. It is generally acknowledged that Thai curries burn intensely, but briefly, whereas other curries, with strong spices, burn for longer periods. Instead of serving dishes in courses, a Thai meal is served all at once, permitting dinners to enjoy complementary combinations of different tastes.
A proper Thai meal should consist of a soup, a curry dish with condiments, a dip with accompanying fish and vegetables. A spiced salad may replace the curry dish. The soup can also be spicy, but the curry should be replaced by non spiced items. There must be a harmony of tastes and textures within individual dishes and the entire meal.


Eating & Ordering Thai Food
Thai food is eaten with a fork and spoon. Even single dish meals such as fried rice with pork, or steamed rice topped with roasted duck, are served in bite-sized slices or chunks obviating the need for a knife. The spoon is used to convey food to the mouth.
Ideally, eating Thai food is a communal affair involving two or more people, principally because the greater the number of diners the greater the number of dishes ordered. Generally speaking, two diners order three dishes in addition to their own individual plates of steamed rice, three diners four dishes, and so on. Diners choose whatever they require from shared dishes and generally add it to their own rice. Soups are enjoyed concurrently with rice. Soups are enjoyed concurrently with other dishes, not independently. Spicy dishes, not independently. Spicy dishes are "balanced" by bland dishes to avoid discomfort.
The ideal Thai meal is a harmonious blend of the spicy, the subtle, the sweet and sour, and is meant to be equally satisfying to eye, nose and palate. A typical meal might include a clear soup (perhaps bitter melons stuffed with minced pork), a steamed dish (mussels in curry sauce), a fried dish (fish with ginger), a hot salad (beef slices on a bed of lettuce, onions, chillies, mint and lemon juice) and a variety of sauces into which food is dipped. This would be followed by sweet desserts and/or fresh fruits such as mangoes, durian, jackfruit, papaya, grapes or melon.

Thailand marks king's anniversary

Thailand's King Bhumibol Adulyadej has called for national unity during colourful celebrations in the capital to mark his 60 years on the throne. The king, who is the world's longest-serving monarch, addressed a cheering crowd of hundreds of thousands of people in Bangkok's Royal Plaza. Speaking from the palace balcony, King Bhumibol, 78, said that unity would bring prosperity to Thailand. Dignitaries from around the world are in Bangkok for the celebrations. "Unity is a basis for all Thais to help preserve and bring prosperity to the country in the long run," the king told the crowd, which stretched some 3 km (2 miles).
"If Thais uphold these ethics, it will ensure that Thailand will stand firmly," he said.
'Historic event' Hundreds of thousands of Thai's, most wearing yellow or carrying yellow flags to honour the monarch, had gathered to hear the king speak. They received his address with shouts of "Long Live His Majesty!" "Police estimate almost one million people were there at the peak of the royal audience," Bangkok police spokesman Colonel Pinit Maneerut told the AFP news agency. "It's an unprecedented and historic event," he said.
Many people had arrived in the early hours to find a place from which to see the king, who is both highly revered and very popular. Chom Taenglek, who arrived at dawn, wore a yellow shirt. "This is a very auspicious opportunity," he told Reuters news agency.
"I would like to see all Thais sacrifice and do good for the country and our king, whom everyone should follow as a role model," he said. 'Lasting admiration' The open displays of affection for the king are genuine, says the BBC's Jonathan Head. Few Thais have anything but praise for the man they describe as being the very soul of their country.
King Bhumibol ascended the throne in 1946, after the mysterious death of his older brother.
He has reigned - holding few defined powers of his own - through 17 military coups, 20 different prime ministers, and 15 constitutions. His relentless travel throughout Thailand earlier in his reign and his strong personal interest in rural development increased his public profile and won him lasting admiration. But it has been his timely interventions at moments of crisis that have earned him the gratitude of so many Thais - most recently when he ended the stand-off over a disputed general electioinclude fireworks, feasts and a river parade of ceremonialn in April, our correspondent says. The five days of celebrations will boats. Heads of state and senior dignitaries from around the world, including Japan's Emperor Akihito, Queen Beatrix of The Netherlands and the UK's Prince Andrew, are due to participate in the festivities.