Khon, the grand masked dance drama created for the Divine King, with scenes from the Ramakien, the Thai version of the ancient Hindu epic Ramayana. Khon combines several art forms: drama, music, painting and sculpture, and crafts. Together they create a complex elegant performance, a uniquely Thai art. Khon was originally performed exclusively at the court, organized for significant royal functions. Although still mainly a regal function, in the reign of King Mongkut (Rama IV, r. 1851-1868) other royals and high-ranking officials were allowed to stage Khon performances. King Vajiravudh (Rama VI, r. 1910-1925) established the Department of Entertainment within the Ministry of the Palace to organize Khon performances. Today the Ministry of Culture is responsible for royal Khon performances, providing training in Khon and related arts.

“There really aren’t words adequate enough to describe just how stunning the costumes are. Adorned with elaborate embellishments, the Khon mask combines the mask and headdress, imitating the intricate appearance of the crowns, coronets and headdresses of the monarch and the Royal Family. Every movement is deliberate, considered, studied and executed to the highest standard. Movements are precise, constrained and perfectly timed. The audience is transported to another world and another time, a world of overwhelming beauty where actions speak volumes.” (Naomi Gall)

    Introduction                      

         Khon masks comprise part of the costume of performers of

    the classical dance-drama of Thailand. The dance-drama is also

    known as "Khon." A Khon performance involves singing, dancing,

    acting, acrobatics, and music. Stories for the drama are based

    exclusively on the Ramakien, the Thai version of an Indian epic.

    The following paragraphs will elaborate on the masks, the types

    and symbolism, and various aspects of the Khon drama.

    The Khon Drama

         As was mentioned earlier, the Khon drama, commonly called

    the "masked-play," involves singing, dancing, acting, acrobatics,

    and music. The singing is accomplished by an offstage chorus

    which also recites the narrative and dialogues. The majority

    of actors are-unable to do this because of the masks they wear.

    Some forms of the masked-play, probably older forms, did not

    use singing. Most performances today, however, do use it.

         Traditionally, performers in the masked-play were men only;

    men played all the female roles. Supposedly, this had to do

    with the fact that the masked-play was performed inside the

    court exclusively. Therefore, the only available female dancers

    would have been members of the King's personal harem. Obviously,

    the King did not want his personal harem associating with men

    (Brandon 1967, p.63). Because men were the only performers

    involved, a very rough and vigorous style of dancing and acro-

    batics developed. Actors must start training at an early age.

    The early stages of training are akin to gymnastic training

    (Vajiravudh 1967, p.8). Although at times much muscular exer-

    tion is required, the dancing is still very graceful and expres-

    sive. Actors must learn the gesture language of the dance.

    Certain hand gestures and body movements indicate different

    emotions or responses. In recent times, changes have occurred

    and women are now playing the female parts,

         Music for a masked-play is provided by a "piphat" orchestra.

    The major instruments of the orchestra include xylophone type

    instruments, gongs, drums, and oboe-sounding instruments. The

    audience at the masked-play can usually tell what is happening

    on stage by the music which is being played. Musical passages

    are rigidly fixed and symbolize specific events (Bowers 1956.,

    P-137).

Traditionally, Khon dramas were performed at the court for

    special occasions, i.e. weddings, funerals, births, etc. On

    rare occasions, there were open-air performances which the public

    could attend. With the change to a constitutional monarchy in

    1932, royal support for Khon performances declined. However,

    the Department of Fine Arts in Bangkok has revived the tradition

    and has been staging public performances for a number of years.

    The Khon Masks

    Link to pictures of Khon Masks

    With the setting established, a discussion of the masks

    may follow. The various masks are the distinguishing features

    of Khon drama. H.H. Prince Dhaninivat and Dhanit Yupho state:

    The mask is perhaps the most important characteristic

    of the Khon, for through it more than any other

    agency one distinguishes the variety of roles

    (Bridhyakorn and Yupho 1962, p.12).

    Originally, masks were worn by all performers except those play-

    ing the parts of goddesses, female humans, and some female de-

    mons. Today, those playing the parts of gods and male humans

    have discarded the masks but still wear crowns. Demons, monkeys,

    and animals all still wear masks.

         Maskmaking is an art still being practiced today in much

    the same manner as it was years ago. It must be a very exact

    process since many masks appear identical except for a few small

    details. (The following description is taken primarily from

    Van Beck 1980, P.42.) The artist starts with a plaster mold to

    which fifteen layers of papier-mache are added. The paper used

    is a special kind called "koi." It is the same type of paper

    which Buddha's teachings were written upon for temple manuscripts.

    The glue used for the papier-mache is made of rice flour. After

    the mask has dried, it is cut off the mold and additional layers

    of papier-mache are added to cover the cut. A resin from a

    sumac tree, lac, is then formed into strips and applied in order

    to accent the mouth, ears, and eyebrows. Various highlights

    are then added such as tiaras and earflaps made of buffalo skins.

    Finally, gold leaf and fake jewels are applied to the tiara or

    crown and facial details are painted on. Often, the masks are

    not made by one indiviaual but rather, several of the artists

    in the workshop contribute parts. Maskmakers must also repair

    masks which dancers bring in.

In all, there are probably two hundred to three hundred

    masks. They can be divided into five basic categories: demon,

    monkey, celestial, human, and animal masks. The most numerous

    and the most discussed are the demon and monkey masks. These

    two types can roughly be further divided into Peaked Masks and

    Bald Masks depending on the headdress. Therefore, there are

    four categories: demon and monkey Peaked Masks (Yaksha Yod

    and Ling Yod respectively), and demon and monkey Bald Masks

    (Yaksha Lon and Ling Lon respectively). Various types will be

    described in detail in the following paragraphs.

    Demon Masks

         Demon masks comprise the largest category; there are more

    than one hundred. Individual demons are distinguished by a

    number of features on the masks, for example, color, facial

    expressions, and crown types. Which features a particular char-

    acter possesses have been determined by traditions established

    long ago; maskmakers are not free to change them. Like other

    masks, demon masks are painted red, white, blue, or green, etc.,

    with contrasting colors for highlights around the eyes, mouth,

    and nose. Demons may have two types of eyes, bulging or croco-

    dile. Bulging eyes are wide open and crocodile ones are par-

    tially closed. Demons may also have two types of mouths, clamp-

    ing or snarling. Both types of mouths display the teeth which

    include either curving, tusk-like canines or straight, fang-

    like canines. Demon masks can also display features of masks

    from, the other categories. For instance, Indrajit, a son of

    Tosakanth, has human ear flaps. Two other sons of Tosakanth

    have trunks fixed to their noses which reflect their parentage;

    they had elephantine mothers (Bridhyakorn and Yupho 1962, P.14).

        For demons, there are fourteen types of crowns or head-

    dresses.(Yupho 1960, p.10). In general, the more important

    characters wear crowns while the most important ones have the

    most e1aborate styles. Some of these styles include a crown

    with multiple tiers, one with a cock's tail top, or one with

    a gourd top. The demons with crowns fit into the Peaked Mask

    category and the ones without are of the Bald Mask category.

        The mask of the most important demon, Tosakanth, is des-

    cribed in detail. Tosakanth's green face is highlighted with

    blue and gold lines and bright red lips. He has bulging eyes

    with a snarling mouth and curving, tusk-like canine teeth. His

    crown is his most distinguishing feature. He is the only char-

    acter with a three tiered crown. It is also classified as a

    Crown of Victory. The first level is a gold leaf cap complete

    with jewels and flower designs. The second level contains a

    face identical to the mask proper. This face is repeated on

    all four sides and represents Tosakanth's ten faces. The top

    level of the crown is the face of a celestial being. Possibly,

    this reflects the fact that some people consider Tosakanth a

    descendent of Phra Phrom, the Thai name for the Hindu god

    Brahma (Sripochanart and Mekchaidee 1971(?) and Vajiravudh 1967,

    P.15). Or it could be due to the fact that, as was mentioned

    earlier, the Thai people do not consider Tosakanth completely

    evil. He is good but behaves badly at times. Before being born

    on the earth, he was associated with the gods in some way. At

    certain times during a Khon performance, a gold mask represent-

    ing Tosakanth is used. In his kinder moments, his canine shrinks

    to half the normal size. Tosakanth is a demon possessing a

    tremendous amount of power. Multiple body parts are usually a

    reflection of power. Tosakanth not only has ten faces with

    which he can see in every direction, but has twenty arms also.

    The Hindu gods are often represented with multiple body parts

    to indicate their power.

    Monkey Masks

    Monkey masks are the second most numerous type, totalling

    thirty to forty. Individual monkeys are also distinguished by

    color, facial expressions, and types of crowns. With some char-

    acters, the colors or the masks reflect their parentage. For

    example, Nilanol is an incarnation of Agni the Fire-God and is

    therefore red. Nilapat, on the other hand, is an incarnation

    of the God of Death and thus is black. Both Nilanol and Nilapat

    are monkey leaders (Bridhyakorn and Yupho 1962, p.16). All of

    the monkeys have bulging or wide open eyes, Their mouths may be

    either open or closed.

Crowns and headdresses for the monkeys are of seven types

    (Yupho 1960, p.8), One type, a Peaked Mask called a "Yodbat

    Crorwn" and worn by Pali and Sukrip, two monkey kings, indicates

    high royal rank. These two kings had gods for fathers. Anotner

    Peaked Mask, the Yodchai Crown, is worn by Chompoopan, one of

    Rama's generals. Chompoopan was brought into being by Phra

    Isuan, the Thai name for the Hindu god Shiva. Phra Isuan or

    Shiva is considered the chief of the gods among the Thai people.

    Chompoopan's crown, reflecting his heritage, is very tall and

    sharply peaked, very similar to Rama's crown. Bald Masks are

    the most abundant of the monkey masks. They are divided into

    four different types and each type is worn by difterent ranks of

    monkey officers.

         Hanuman is by for the most important monkey. Therefore,

    his mask will be described in detail. Hanuman's mask has many

    features which indicate he is a monkey with very special powers.

    In the Ramakien, Hanuman is Rama's most trusted general. In

    fact, some scholars say Hanuman is at times more important than

    Rama (Bowie 1960, p. 212 and Desai 1969, p.127). Hanuman's

    white mask is highlighted in green and pink. He wears only a

    coronet so red and gold markings are evident on the top of his

    head. Hanuman's gaping mouth displays his canine teeth which

    are usually just features of the demons. His gaping mouth also

    makes visible the jewel in the roof of his mouth. The jewel

    is a symbol of his special powers. Hanuman is the son of the

    God of Wind and can thus fly through the air. Also, when Hanuman

    yawns, he exhales suns, moons, and stars. This is the magical

    power by which people recognize Hanuman, The jewel is sometimes

    referred to as a "glass canine" thus, Hanuman has five canines.

    Another symbol of Hanuman's special power is the jewel between

    his eyebrows. This symbol appears on statues of the Buddha and

    represents inner energy. Possibly it means the same with re-

    gards to Hanuman.

    Celestial and Human Masks

         Although masks of gods and humans are usually no longer

    worn, they are still being made. The following is a possible

    explanation for this phenomena. First, a Khon performance must

    be preceeded by a special ceremony in which the gods are recog-

    nized. If this is not done, misfortune may come to the perform-

    ers. The celestial masks may be used in this ceremony. Second-

    ly, the masks may be made in order to sell both to Thai people

    and to tourists.

         Celestial and human masks are much simpler in design than

    the demon and monkey masks. They are more refined in appearance

    also, especially the representations of gods or the humans which

    are incarnations of gods. Coloring varies between characters

    as it does with all the masks. Rama is green although it is a

    different shade of green from the mask of Tosakanth. Phra Isuan

    or Shiva is white in keeping with the Hindu tradition of repre-

    senting Shiva covered witn ashes. Most celestial masks have

    closed mouths and the important deities display a jewel between

    their eyebrows skin to Hanuman's. Crowns also vary among char-

    acters but like with the other types of masks, the more important

    characters have more elaborate Crowns. The crowns are still

    worn even though the masks are not and they have remained the

    same. They are decorated with flowers.

    Costumes

         Costumes complete the outfits or the autors and actresses.

    The costumes which the various characters wear are the same for

    those of royal and non-royal rank. The dress of male humans and

    gods is intended to create a feeling of majesty and grace.

    That of the females is to give a sense of beauty and gentility.

    The demons' attire portrays ferocity and strength while the mon-

    keys' dress gives a sense of restlessness of character (Bridhya-

    korn and Yupho 1962, p.12). The costumes are often as colorful

    as the masks. In some instances, they are color coordinated

    with the masks. Monkeys wear coats which are intended to in-

    dicate fur.

         Although the costumes may not indicate individual characters,

    the weapons the actors carry may help to distinguish personali-

    ties. For example, Hanuman carries a trident and Indrajit, the

    demon son of Tosakanth, carries a bow and arrow (Yupho 1960,

    p.10 and 16). If this is still not enough to distinguish in-

    dividual characters, the audience may take comfort in the fact

    that performers appearing very similar in masks and costumes

    are never on stage at the same time (Yupho 1960, p.16).

  Conclusion

        Why would an Indian epics religious in nature, and a dance-

    drama based on this epic become so popular in a country with

    Buddhist beliefs? The answer to this question may be sought

    in part by looking into the origins of Khon.

        The traditional date established for the beginning of Thai

    classical dance is 1431. This is the time when the Thai captured

    Angkor, the Cambodian capital, and kidnapped the Khmer royal

    dance troupe (Brandon 1967, p.63). However, records from prior

    periods in history were lost during the sack of the Thai capi-

    tal in 1767, so it is possible that dance forms existed before

    this date. Khon is known to have existed in the Bangkok per-

    iod, beginning in the eighteenth century, and was most likely

    prevalent before this time. What may be said with confidence

    is that both Khon and Nang Yai, a type of puppet play based on

    the Ramakien and believed to be the forerunner of Khon, existed

    during a period in history when kings all over Southeast Asia

    were intentionally adopting Indian ideas on how to run a govern-

    ment. Indian religious ideas were especially popular because

    the kings could then equate themselves with the gods and thus

    legitimize their rule. The Ramayana was popular because the

    kings could equate themselves with Rama, a prince who was an

    incarnation of a god. Performances of Khon and Nang Yai were

    therefore visual representations of this fact and thus served

    as continual reminders to the king's subjects that he was some-

    one to be respected. The fact that the Thai people altered the

    story to become more Thai in character emphasized the Thai king'

    association with the gods even more.