Performing mesmerizing movements with the bend of a finger and demonstrating hypnotic facial expressions all while gorgeously adorned with amazing embroidered costumes is a [negligible way] to describe Thai dance.

The elegance of the dance is an art form cultivated over centuries and supported by majestic custom. The Thais first acquired the art of dance in AD 1431, seeing it as a symbolic bond between earth and the realm of the gods [SOURCE?] . Despite the importance of the dance centuries ago, today Thai dance is only seen for entertainment in theaters. Although the dance has been kept alive over the years, it does not offer a full appreciation of the art form whose significance was once sufficient to sustain all-day performances.

There are two major forms of Thai classical, highly stylized dance drama, known as khon and lakon nai. The most famous of the two is khon, which is a masked dance dramatization of the Ramakien, a moral tale concerning the struggles of Prince Rama and Hanuman's monkey army against the forces of evil, led by a 10-headed demon. The epic tale of the Ramakian shapes classical Thai arts more than any other story. The Ramakian is a local version of the Indian Ramayana epic, which began at the founding of the rival cities of Ayutthaya, capital of the god, and Langka, city of the demons (http://www.mahidol.ac.th/Thailand/art/ramakien.html). The long, thrilling tale focuses on the trials and tribulations of Ayutthaya's Prince Rama, the abduction of his wife, Sita, and the eventual defeat of Langka by Hanuman and his army of monkey warriors.

"In the training of khon, the dancers start at a very young age, traditionally at the age of six to eight…" (Rutnin, 175). Khon performance demands a vast amount of cast members playing the roles of gods, giants, men, monkey warriors and beasts. Elaborate masks depict these characters.

The kohn masks are distinctive in that all are impressive examples of traditional Thai decorative art. Many of the costumes, although breathtaking, are heavy and uncomfortable, especially the masks of the male characters. Many roles of the khon demand extremely boisterous performances and are often fitted and sewn on the dancer prior to the performance. The actors keep their faces expressionless, communicating solely through a complex vocabulary of hand gestures and body movements.

Whereas khon portrays the exclusive Ramakien story, lakon nai takes its narrative content from a variety of legends. A further difference is that the lakon nai is less formal. Ladon nai dancers do not wear masks, but instead jeweled crown headdresses, called 'khon chada' are worn. Lakon nai dance requires extremely flamboyant and bright costumes. The costumes are made of intricately embroidered cloth, broad sashes, and bejeweled belts. Ornaments, such as bracelets, armlets, and rings add further detail to the dance.

Traditionally, lakon nai was danced solely by women, taking on both male and female roles, and the khon only by men. While both forms rely on gesture and posture as modes of expressing emotion as well as action, there is a fundamental difference in emphasis. The khon dancer seeks virtuosity in strength, agility, and muscular exertion. The lakon nai dancer is persuasive through grace and remarkably controlled and graceful movement.

"The narratives and dialogues in classical dance and dance-drama of all forms are interpreted with gestures by the dancer, either word by word or phrase by phrase" (Rutnin, 5). Each dance displays intricate patterns of motion through hand, arm, and body movements. In fact, the hands and feet are the most important part of the dancer because the positions signify many meanings.

When performing, the Thai "dancers hold their bodies upright from the neck to the hips moving up and down using only their knees, and stretching to the rhythm of the music. The arms and hands in Thai dancing are held in curves at different levels…"

(http//www.thailand.com/travel/arts/art_dance_classic.htm). The beauty of the dancers depends on how well these curves and angles are maintained in relation and proportion to the whole body. There are traditionally 108 basic movements or steps.

Lakon nai and khon dancers perform to music comprised by traditional instruments from an orchestra-usually five percussion pieces and one woodwind. The tunes are indicative of the specific actions, movements, emotions, and expressions. One must not forget that a simple movement of a single finger, or an expression on the face is considered one dance step. Thai dancers are trained from childhood and partake in years of training before their actual performance. Undergoing such training allows the dancers to master the intricacies and subtle meanings of each movement.

Works Cited

Rutnin, Mattani, M. Dance, Drama, and Theatre in Thailand. Yuki Graphics: Japan. 1993.

The Ramakian in Thai Art, by John Hoskin

Introducing Thailand - Khon Dance (Ramakien)

http://www.onlinedarshan.com/picgallery/hanuman.jpg

http://members.tripod.com/hindu_online/synopsis.htm

Thai Dancers: Gender Identification Drill

http://www.Thomasriddle.net/movies.htm

http://web.bryant.edu/~library/thailand14.htm

http://www.survivor-john.com/ThailandEpisode6.html

Thai dancer performing on CBS's Survivor, episode 6

\Example of Hanuman defeating Demon (http://web.bryant.edu/~library/thailand14.htm)

Click here to see these dancers at a temple fair in Chonburi province, as filmed and hosted by Tom Riddle. "After the monks chanted, these dancers performed to graciously entertain the guests and honor the temple. The sound is pretty bad, thanks to the temle sound system, but the dancers are fantastic." (1 minute and four seconds) 1.7 megabyte.

Video Clip plays in the Windows Media Player.