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menu__item--page-actions-edit"> Edit </a> </li> </ul> </nav>  <div id="mw-content-subtitle"></div> </div> <div id="bodyContent" class="content"> <div id="mw-content-text" class="mw-body-content"><script>function mfTempOpenSection(id){var block=document.getElementById("mf-section-"+id);block.className+=" open-block";block.previousSibling.className+=" open-block";}</script><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"> Dance in Thailand (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: นาฏศิลป์, <style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style>pronounced <a href="/wiki/Help:IPA/Thai" title="Help:IPA/Thai">[nāːt.tà.sǐn]</a> or <a href="/wiki/Thai_language" title="Thai language">Thai</a>: นาฏกรรม, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1177148991">pronounced <a href="/wiki/Help:IPA/Thai" title="Help:IPA/Thai">[nāːt.tà.kām]</a>) is the main <a href="/wiki/Drama" title="Drama">dramatic</a> <a href="/wiki/Art" title="Art">art</a> form in <a href="/wiki/Thailand" title="Thailand">Thailand</a>. Thai <a href="/wiki/Dance" title="Dance">dance</a> can be divided into two major categories, <a href="/wiki/High_culture" title="High culture">high art</a> (<a href="/wiki/Natya" class="mw-redirect" title="Natya">classical dance</a>) and <a href="/wiki/Low_culture" title="Low culture">low art</a> (<a href="/wiki/Folk_dance" title="Folk dance">folk dance</a>). <figure typeof="mw:File/Thumb"><a href="/wiki/File:%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%9D%E0%B8%A3%E0%B8%B1%E0%B9%88%E0%B8%87%E0%B8%84%E0%B8%B9%E0%B9%88.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/93/%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%9D%E0%B8%A3%E0%B8%B1%E0%B9%88%E0%B8%87%E0%B8%84%E0%B8%B9%E0%B9%88.png/260px-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%9D%E0%B8%A3%E0%B8%B1%E0%B9%88%E0%B8%87%E0%B8%84%E0%B8%B9%E0%B9%88.png" decoding="async" width="260" height="375" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/93/%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%9D%E0%B8%A3%E0%B8%B1%E0%B9%88%E0%B8%87%E0%B8%84%E0%B8%B9%E0%B9%88.png/390px-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%9D%E0%B8%A3%E0%B8%B1%E0%B9%88%E0%B8%87%E0%B8%84%E0%B8%B9%E0%B9%88.png 1.5x, //upload.wikimedia.org/wikipedia/commons/9/93/%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%9D%E0%B8%A3%E0%B8%B1%E0%B9%88%E0%B8%87%E0%B8%84%E0%B8%B9%E0%B9%88.png 2x" data-file-width="461" data-file-height="665"></a><figcaption>Rabam farang khu dance</figcaption></figure> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl 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0.4em;text-align:left;font-weight:bold;line-height:1.6em;font-size:105%}.mw-parser-output .sidebar-list-title-c{padding:0 0.4em;text-align:center;margin:0 3.3em}@media(max-width:640px){body.mediawiki .mw-parser-output .sidebar{width:100%!important;clear:both;float:none!important;margin-left:0!important;margin-right:0!important}}body.skin--responsive .mw-parser-output .sidebar a>img{max-width:none!important}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media print{body.ns-0 .mw-parser-output .sidebar{display:none!important}}</style> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><label class="toctogglelabel" for="toctogglecheckbox"></label></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Etymology">1 Etymology</a></li> <li class="toclevel-1 tocsection-2"><a href="#History">2 History</a> <ul> <li class="toclevel-2 tocsection-3"><a href="#Origin">2.1 Origin</a></li> <li class="toclevel-2 tocsection-4"><a href="#Nanzhao_Period">2.2 Nanzhao Period</a></li> <li class="toclevel-2 tocsection-5"><a href="#Sukhothai_Period">2.3 Sukhothai Period</a></li> <li class="toclevel-2 tocsection-6"><a href="#Ayutthaya_Period">2.4 Ayutthaya Period</a> <ul> <li class="toclevel-3 tocsection-7"><a href="#Foreigner_Record">2.4.1 Foreigner Record</a></li> </ul> </li> <li class="toclevel-2 tocsection-8"><a href="#Thonburi_Period">2.5 Thonburi Period</a></li> </ul> </li> <li class="toclevel-1 tocsection-9"><a href="#Classical_dance_drama">3 Classical dance drama</a> <ul> <li class="toclevel-2 tocsection-10"><a href="#Lakhon">3.1 Lakhon</a></li> <li class="toclevel-2 tocsection-11"><a href="#Khon">3.2 Khon</a></li> <li class="toclevel-2 tocsection-12"><a href="#Fon">3.3 Fon</a></li> </ul> </li> <li class="toclevel-1 tocsection-13"><a href="#Connections_between_Thai_classical_dance_and_the_neighbouring_countries">4 Connections between Thai classical dance and the neighbouring countries</a> <ul> <li class="toclevel-2 tocsection-14"><a href="#Myanmar">4.1 Myanmar</a></li> <li class="toclevel-2 tocsection-15"><a href="#Cambodia">4.2 Cambodia</a></li> </ul> </li> <li class="toclevel-1 tocsection-16"><a href="#Folk_dance">5 Folk dance</a></li> <li class="toclevel-1 tocsection-17"><a href="#Regional_dances">6 Regional dances</a> <ul> <li class="toclevel-2 tocsection-18"><a href="#Central_Thailand">6.1 Central Thailand</a></li> <li class="toclevel-2 tocsection-19"><a href="#Northeast_Thailand">6.2 Northeast Thailand</a></li> <li class="toclevel-2 tocsection-20"><a href="#Northern_Thailand">6.3 Northern Thailand</a></li> <li class="toclevel-2 tocsection-21"><a href="#Southern_Thailand">6.4 Southern Thailand</a></li> </ul> </li> <li class="toclevel-1 tocsection-22"><a href="#See_also">7 See also</a></li> <li class="toclevel-1 tocsection-23"><a href="#References">8 References</a></li> <li class="toclevel-1 tocsection-24"><a href="#External_links">9 External links</a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><h2 id="Etymology">Etymology</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=1" title="Edit section: Etymology" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> The Dance in Thailand designated in Thai term, Natasin (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: นาฏศิลป์) means "Art of the classical Thai dance, art of drama." and the term, Natakam (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: นาฏกรรม) means "Poetry, music drama and dance." according to The Thai Official Dictionary of Royal Institute 2545 BE. Both terms derived from Sanskrit word namely the word, Nata (<a href="/wiki/Sanskrit_language" class="mw-redirect" title="Sanskrit language">Sanskrit</a>: नाट, <a href="/wiki/Romanization_of_Sanskrit" class="mw-redirect" title="Romanization of Sanskrit">romanized</a>: naṭa) means "Dancing, acting, a dance.", the word, Sin (<a href="/wiki/Sanskrit_language" class="mw-redirect" title="Sanskrit language">Sanskrit</a>: शिल्प, <a href="/wiki/Romanization_of_Sanskrit" class="mw-redirect" title="Romanization of Sanskrit">romanized</a>: śilpa) means "Artistic work." and the word, Kam (<a href="/wiki/Sanskrit_language" class="mw-redirect" title="Sanskrit language">Sanskrit</a>: कर्म, <a href="/wiki/Romanization_of_Sanskrit" class="mw-redirect" title="Romanization of Sanskrit">romanized</a>: karma), respectively.<a href="#cite_note-1">[1]</a> The term dance in <a href="/wiki/Thai_language" title="Thai language">Thai language</a> are variant in each region of Thailand also known as the Dance of the Four Regions namely, <ul><li><a href="/wiki/Northern_Thailand" title="Northern Thailand">Northern Thailand</a>. The term, Fon (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: ฟ้อน) in <a href="/wiki/Tai_languages" title="Tai languages">Tai languages</a>,<a href="#cite_note-SPAFA-1980-2">[2]</a> adopted since <a href="/wiki/Sukhothai_period" class="mw-redirect" title="Sukhothai period">Sukhothai period</a> for Lannathai Traditional Dance e.g. Fon Khan Dok. The term found in stone inscription, stone engraving and book of Tribbumikatha Buddhist Cosmology (Trai Phum Phra Ruang) composed in 1321 AD by King <a href="/wiki/Maha_Thammaracha_I" title="Maha Thammaracha I">Maha Thammaracha I</a>.<a href="#cite_note-3">[3]</a></li> <li>Upper <a href="/wiki/Northeastern_Thailand" class="mw-redirect" title="Northeastern Thailand">Northeastern Thailand</a>. The term Fon and Soeng (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: เซิ้ง), meaning of "Dance" in <a href="/wiki/Tai_languages" title="Tai languages">Tai languages</a>,<a href="#cite_note-SPAFA-1980-2">[2]</a> adopted for <a href="/wiki/Isan" title="Isan">Isan</a> Traditional Dance e.g. Fon Oen Khwan, Soeng Bang Fai, etc.</li> <li>Lower Northeastern Thailand. The term, Rueam (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: เรือม) derived with its intonation from <a href="/wiki/Old_Khmer" title="Old Khmer">Old Khmer</a> word,<a href="#cite_note-4">[4]</a> rapam (<a href="/wiki/Khmer_language" title="Khmer language">Khmer</a>: របាំ, <a href="/wiki/Romanization_of_Khmer" title="Romanization of Khmer">romanized</a>: rapaṃ) meaning of "Dance". The term adopted in lower part of northeastern Thailand for Thai-Khmer Loeu Traditional Dance e.g. Rueam Kan Truem.</li> <li><a href="/wiki/Central_Thailand" title="Central Thailand">Central Thailand</a> and Upper <a href="/wiki/Southern_Thailand" title="Southern Thailand">Southern Thailand</a>. There are three terms include Ram, Rabam (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: รำ, ระบำ) and Ten (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: เต้น).<a href="#cite_note-mattani-1993-5">[5]</a>: 29 The term Ram, Rabam are generic term for all kinds of Thai dances, which derived from Old Khmer words,<a href="#cite_note-6">[6]</a><a href="#cite_note-7">[7]</a> Ram, Rapam (<a href="/wiki/Khmer_language" title="Khmer language">Khmer</a>: រាំ, របាំ, <a href="/wiki/Romanization_of_Khmer" title="Romanization of Khmer">romanized</a>: raṃ, rapaṃ) and the term, Ten in <a href="/wiki/Tai_languages" title="Tai languages">Tai languages</a>, respectively. When the term Ten and Ram combined into Tenram, it means "Ballroom dance".<a href="#cite_note-SPAFA-1980-2">[2]</a> These terms adopted simultaneously since 1321 AD in reign of King <a href="/wiki/Maha_Thammaracha_I" title="Maha Thammaracha I">Maha Thammaracha I</a> same as the term Fon. The adoption of three terms are various Thai Traditional Dance e.g. Ram Baht Sakunee, Ten Kam Ram Kiew, etc.<a href="#cite_note-8">[8]</a></li> <li>Lower Southern Thailand. The Thai term, Taree (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: ตารี) borrowed from <a href="/wiki/Malay_language" title="Malay language">Melayu</a> word, Tari<a href="#cite_note-9">[9]</a> and being adopted specifically for Thai-Malays Traditional Dance e.g. Taree Kipas Dance Thai version.<a href="#cite_note-10">[10]</a></li></ul> The term drama in Thai word such as, <a href="/wiki/Khon" title="Khon">Khon</a> which is derived from <a href="/wiki/Tamil_language" title="Tamil language">Tamil</a> word, Kon<a href="#cite_note-11">[11]</a> (<a href="/wiki/Tamil_language" title="Tamil language">Tamil</a>: கோன், romanized: kōṉ)<a href="#cite_note-12">[12]</a> means "King and god, a king, a ruler" as well as <a href="/wiki/Bengali_language" title="Bengali language">Bengali</a> and <a href="/wiki/Iranian_languages" title="Iranian languages">Iranian</a> word.<a href="#cite_note-13">[13]</a> It is also to be identical with the term Kan, Khan or Khasan in <a href="/wiki/Turco-Mongol_tradition" title="Turco-Mongol tradition">Turko-Mongolian languages</a>.<a href="#cite_note-14">[14]</a> The Thai term Khon is adopted particularly for the <a href="/wiki/Ramakien" title="Ramakien">Ramakien</a> Thai version from the Indian epic <a href="/wiki/Ramayana" title="Ramayana">Ramayana</a>. The Thai term, Lakon (alternative spelled, lakorn, lakhon) is derived from <a href="/wiki/Javanese_language" title="Javanese language">Javanese</a> word, Lakon<a href="#cite_note-mattani-1993-5">[5]</a> (<a href="/wiki/Javanese_language" title="Javanese language">Javanese</a>: ꦭꦏꦺꦴꦤ꧀), a derivation of lakuan, lagon and laku<a href="#cite_note-15">[15]</a> which means "to walk, to act, to run". However, Prince <a href="/wiki/Damrong_Rajanubhab" title="Damrong Rajanubhab">Damrong Rajanubhab</a> hypothesized that Thai term Lakon is derived from the name of <a href="/wiki/Nakhon_Si_Thammarat" title="Nakhon Si Thammarat">Nakhon Si Thammarat</a>, connected to Javanese culture since <a href="/wiki/Ayutthaya_period" class="mw-redirect" title="Ayutthaya period">Ayutthaya period</a> where the dance and drama was originated.<a href="#cite_note-mattani-1993-5">[5]</a>: 20 </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><h2 id="History">History</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=2" title="Edit section: History" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <div class="mw-heading mw-heading3"><h3 id="Origin">Origin</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=3" title="Edit section: Origin" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Thai dance originated from the culture of the ancient <a href="/wiki/Tamils" title="Tamils">Tamils</a><a href="#cite_note-16">[16]</a> in southern India thousands of years ago, which modeled the <a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a>’s 108 puppets from the <a href="/wiki/Tandava" title="Tandava">Tandava</a> sculpture in the <a href="/wiki/Nataraja_Temple,_Chidambaram" title="Nataraja Temple, Chidambaram">Nataraja Temple, Chidambaram</a> to worship the <a href="/wiki/Nataraja" title="Nataraja">Nataraja</a>.<a href="#cite_note-17">[17]</a> Archaeological evidences that have been discovered and related to the origin of Thai dance, such as stuccos and sculptures dating back to 6th–11th century in <a href="/wiki/Dvaravati" title="Dvaravati">Dvaravati</a> era, were discovered at the following archaeological sites, Khok Mai Den and Chansen archaeological sites in <a href="/wiki/Nakhon_Sawan" title="Nakhon Sawan">Nakhon Sawan</a>, Ban Khu Bua archaeological site in <a href="/wiki/Ratchaburi" title="Ratchaburi">Ratchaburi</a>, and <a href="/wiki/Prasat_Phimai" class="mw-redirect" title="Prasat Phimai">Prasat Phimai</a> in <a href="/wiki/Nakhon_Ratchasima_province" title="Nakhon Ratchasima province">Nakhon Ratchasima</a>, in the late Dvaravati era; all of these are dance pose models that have been influenced mainly by <a href="/wiki/Culture_of_India" title="Culture of India">Indian culture</a>.<a href="#cite_note-yupho.1973-18">[18]</a>: 5 <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Stucco-of-classical-thai-dance.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Stucco-of-classical-thai-dance.jpg/250px-Stucco-of-classical-thai-dance.jpg" decoding="async" width="250" height="377" class="mw-file-element" data-file-width="883" data-file-height="1331"></noscript><span class="lazy-image-placeholder" style="width: 250px;height: 377px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Stucco-of-classical-thai-dance.jpg/250px-Stucco-of-classical-thai-dance.jpg" data-width="250" data-height="377" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Stucco-of-classical-thai-dance.jpg/375px-Stucco-of-classical-thai-dance.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Stucco-of-classical-thai-dance.jpg/500px-Stucco-of-classical-thai-dance.jpg 2x" data-class="mw-file-element"> </a><figcaption>Stuccos and sculptures based on the <a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a> scriptures, discovered in Thailand, date back to the Dvaravati era.</figcaption></figure> As time passed, Thai dance was developed until the identity of the original dance was erased until it became a unique identity of Thai dance. Even cultures, musical instruments, and songs from <a href="/wiki/India" title="India">India</a>, <a href="/wiki/China" title="China">China</a>, <a href="/wiki/Malay_Peninsula" title="Malay Peninsula">Malay</a>, <a href="/wiki/Mon_people" title="Mon people">Mon</a>, <a href="/wiki/Khmer_people" title="Khmer people">Khmer</a>, Khom minorities in the <a href="/wiki/Chao_Phraya_River" title="Chao Phraya River">Chao Phraya River</a> Basin, and <a href="/wiki/Myanmar" title="Myanmar">Myanmar</a>, when they came to have influence, were all improved and evolved until they became exquisitely Thai in a way that was different from other nations.<a href="#cite_note-19">[19]</a> <div class="mw-heading mw-heading3"><h3 id="Nanzhao_Period">Nanzhao Period</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=4" title="Edit section: Nanzhao Period" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> From 748, the Tai state of Nanzhao<a href="#cite_note-20">[20]</a> had a martial art of dance called Fon Joeng.<a href="#cite_note-dpe.2016-21">[21]</a><a href="#cite_note-22">[22]</a> It is an art of various movements of Thai dance for the belief ceremonies of the northern Thai people and is a martial art for self-defense to show the style of fighting both offensive and defensive. The Fon Joeng has many kinds of drum rhythms and has been passed down from the <a href="/wiki/Nanzhao" title="Nanzhao">Nanzhao</a> Period to the <a href="/wiki/Ngoenyang" title="Ngoenyang">Ngoenyang</a>, <a href="/wiki/Lanna" class="mw-redirect" title="Lanna">Lanna</a>, and <a href="/wiki/Sukhothai_Kingdom" title="Sukhothai Kingdom">Sukhothai</a> periods, respectively. Fon Joeng still exists in the present as a recreational dance and one part of the history of <a href="/wiki/Muay_Thai" title="Muay Thai">Muay Thai</a>.<a href="#cite_note-dpe.2016-21">[21]</a> <div class="mw-heading mw-heading3"><h3 id="Sukhothai_Period">Sukhothai Period</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=5" title="Edit section: Sukhothai Period" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Archaeological evidence of Thai dance in the <a href="/wiki/Sukhothai_Kingdom" title="Sukhothai Kingdom">Sukhothai period</a> shows that it already existed. However, there is no clear evidence that Thai dance was performed as a story but rather as local folk entertainment, such as the entertainment during the <a href="/wiki/Ka%E1%B9%ADhina" title="Kaṭhina">Kaṭhina</a> festival, as stated in King Ramkhamhaeng's inscription.<a href="#cite_note-yupho.1973-18">[18]</a>: 7 The <a href="/wiki/Ram_Khamhaeng_Inscription" title="Ram Khamhaeng Inscription">Ram Khamhaeng Inscription</a> broadly mentioned Thai dance, in which singing and dancing in any form could be performed freely in the royal processions. When the Thai people of Sukhothai got involved with some tribes with Indian cultural influences, such as the Mon, and Khom ethnic minorities of the <a href="/wiki/Chao_Phraya_River" title="Chao Phraya River">Chao Phraya River</a> basin, Thai dance began to appear as having a structured form of story performance.<a href="#cite_note-23">[23]</a><a href="#cite_note-yupho.1973-18">[18]</a>: 7 The Sumon Kut Inscription No. 8, aged 1360, also mentioned Thai dance called Ram (to dance; general word for dance),<a href="#cite_note-skar.2023-24">[24]</a> Rabam (to dance; short choreographed non-narrative dance pieces),<a href="#cite_note-skar.2023-24">[24]</a> Ten (to dance),<a href="#cite_note-finearts.1964-25">[25]</a> and Len (to play),<a href="#cite_note-finearts.1964-25">[25]</a> along with musical instruments, the same as mentioned in the Sukhothai literature, Traibhumikatha (composed in 1345).<a href="#cite_note-finearts.1964-25">[25]</a><a href="#cite_note-yupho.1973-18">[18]</a>: 7 Although those inscriptions and the literature do not clearly state what kind of dance it is, these evidences show that Thais were well familiar with singing, playing, and dancing in the Sukhothai period at that time.<a href="#cite_note-yupho.1973-18">[18]</a>: 7 <figure typeof="mw:File/Thumb"><a href="/wiki/File:Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg/300px-Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg" decoding="async" width="300" height="313" class="mw-file-element" data-file-width="1863" data-file-height="1942"></noscript><span class="lazy-image-placeholder" style="width: 300px;height: 313px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg/300px-Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg" data-width="300" data-height="313" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg/450px-Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg/600px-Dancing-girls-of-Siam-National_Geographic_Society-1921-303.jpg 2x" data-class="mw-file-element"> </a><figcaption>Dancing Girls of Siam in 1919, in which Siam performed the classical Thai dance to welcome Sir <a href="/wiki/Ross_Macpherson_Smith" title="Ross Macpherson Smith">Ross Macpherson Smith</a>'s pilots at <a href="/wiki/Don_Mueang_International_Airport" title="Don Mueang International Airport">Don Mueang Aerodome</a>. Photograph by Theodore Macklin (1921), the National Geographic Society, <a href="/wiki/Washington,_D.C." title="Washington, D.C.">Washington, D.C.</a></figcaption></figure> Although there is a theory that the term rabam (to dance) has its roots in the <a href="/wiki/Khmer_language" title="Khmer language">Khmer</a>, the term ram (to dance) also has its roots in the <a href="/wiki/Northern_Tai_languages" title="Northern Tai languages">Northern-Tai</a>.<a href="#cite_note-26">[26]</a> Hence, there is no clear archaeological evidence that the Thais in the Sukhothai kingdom were influenced by the Khmer dances of the Angkor period; in fact, in the Sukhothai period of the 13th–14th centuries, the Thais assertively rejected the authority of the Khmer empire.<a href="#cite_note-27">[27]</a> <div class="mw-heading mw-heading3"><h3 id="Ayutthaya_Period">Ayutthaya Period</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=6" title="Edit section: Ayutthaya Period" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Ayutthaya was a pre-existing city and home of Mon and later Siamese that aged older than the Sukhothai kingdom, prior to the establishment of the <a href="/wiki/Ayutthaya_Kingdom" title="Ayutthaya Kingdom">Ayutthaya Kingdom</a>.<a href="#cite_note-28">[28]</a> Thai dance in the Ayutthaya period was influenced heavily by <a href="/wiki/History_of_Indian_influence_on_Southeast_Asia" title="History of Indian influence on Southeast Asia">Indian cultures</a> different from the Sukhothai period due to its being home to various ethnic groups. <a href="/wiki/Simon_de_la_Loub%C3%A8re" title="Simon de la Loubère">Simon de la Loubère</a> recorded the society of Ayutthaya in his famous work, <a href="/wiki/Du_royaume_de_Siam" title="Du royaume de Siam">Du royaume de Siam</a>, that there were forty different ethnic groups. The <a href="/wiki/Moors" title="Moors">Moors</a> alone have as many as 10 ethnic groups. <a href="/w/index.php?title=Nicolas_Gervaise&action=edit&redlink=1" class="new" title="Nicolas Gervaise (page does not exist)">Nicolas Gervaise</a> [<a href="https://fr.wikipedia.org/wiki/Nicolas_Gervaise" class="extiw" title="fr:Nicolas Gervaise">fr</a>] also said more than one third of the Ayutthaya residents are foreigners; even the Palace Law Chulasakarat 720 (enacted in 1358) of the Ayutthaya royal court mentioned <a href="/wiki/Indian_people" title="Indian people">Indian</a>, Khmer, Lao, <a href="/wiki/Khom" title="Khom">Khom</a> minorities in the Chao Phraya River basin, <a href="/wiki/Burmese_people" title="Burmese people">Burmese</a>, <a href="/wiki/Hmong_people" title="Hmong people">HMong</a>, Mon, <a href="/wiki/Muslims" title="Muslims">Muslims</a>, Jang, Chinese, <a href="/wiki/Chams" title="Chams">Chams</a>, <a href="/wiki/Javanese_people" title="Javanese people">Javanese</a>, and all other ethnics.<a href="#cite_note-29">[29]</a><a href="#cite_note-30">[30]</a> According to the Ayutthaya Royal <a href="/wiki/Palace_Law" title="Palace Law">Palace Law</a>, under the entertainment chapter, stated that there were len, ram, rabam, ra-beng, kulati-mai, and <a href="/wiki/Nang_yai" title="Nang yai">Nang yai</a>. Simon de la Loubère also mentioned three types of performances: dance (rabam), drama (lakhon), and masked drama-dance (<a href="/wiki/Khon" title="Khon">khon</a>).<a href="#cite_note-yupho.1973-18">[18]</a>: 14 <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Siamese_theater_group_around_1900.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/04/Siamese_theater_group_around_1900.jpg/300px-Siamese_theater_group_around_1900.jpg" decoding="async" width="300" height="209" class="mw-file-element" data-file-width="1728" data-file-height="1204"></noscript><span class="lazy-image-placeholder" style="width: 300px;height: 209px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/04/Siamese_theater_group_around_1900.jpg/300px-Siamese_theater_group_around_1900.jpg" data-width="300" data-height="209" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/04/Siamese_theater_group_around_1900.jpg/450px-Siamese_theater_group_around_1900.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/04/Siamese_theater_group_around_1900.jpg/600px-Siamese_theater_group_around_1900.jpg 2x" data-class="mw-file-element"> </a><figcaption>Group of Siamese theatre in 1900 performed in Berlin, Germany.</figcaption></figure> There are three genres of drama-dance: <a href="/wiki/Lakhon_chatri" title="Lakhon chatri">Lakhon chatri</a>, <a href="/wiki/Lakhon_nok" title="Lakhon nok">Lakhon nok</a>, and <a href="/wiki/Lakhon_nai" title="Lakhon nai">Lakhon nai</a>, of which Lakhon chatri is the oldest form of Thai dance and closely related to the <a href="/wiki/Menora_(dance)" title="Menora (dance)">Menora</a>. Ram and Rabam are forms of dance that have existed since the Sukhothai period, as appears in various Sukhothai inscriptions and literature. The <a href="/wiki/Khon" title="Khon">Khon</a> in the Ayutthaya period originated around the 11th century CE, which is modeled heavily on the <a href="/wiki/Hindu" class="mw-redirect" title="Hindu">Hindu</a> epic, <a href="/wiki/Ramayana" title="Ramayana">Ramayana</a>, to the Thai version, <a href="/wiki/Ramakien" title="Ramakien">Ramakien</a> (Glory of Rama).<a href="#cite_note-31">[31]</a><a href="#cite_note-32">[32]</a> Thai dance was later mixed with the Khmer culture after Ayutthaya sacked the <a href="/wiki/Angkor_Thom" title="Angkor Thom">Angkor Thom</a> in 1431<a href="#cite_note-33">[33]</a> in the reign of King <a href="/wiki/Borommarachathirat_II" title="Borommarachathirat II">Borommarachathirat II</a>,<a href="#cite_note-yupho.1973-18">[18]</a>: 8 which integrated an influx of Khmer cultures—Hinduism−influenced into the Siamese court. In time passed, Thai dance in this period was created by combining various dance forms until it improved into Ayutthaya Royal Court dance. When considering the social context of that period, Thai dance in the Ayutthaya period is considered to be the main culture among ethnic diversity.<a href="#cite_note-tu.1991-34">[34]</a> The Khmer culture of Angkor Thom was completely lost after Ayutthaya annexed Sukhothai in 1438 as a result.<a href="#cite_note-tu.1991-34">[34]</a> According to Surapone Virulrak, Thai performance art took shape during the Ayutthaya period. At this time, Chak nak Dukdamban, a "ceremony depicting the churning of the ocean to create the immortal spirit", was performed on special occasions.<a href="#cite_note-35">[35]</a> This ceremony drew from the Indian epic of the <a href="/wiki/Mah%C4%81bh%C4%81rata" class="mw-redirect" title="Mahābhārata">Mahābhārata</a>. Virulrak states, "These performing arts were gradually developed into <a href="/wiki/Khon" title="Khon">Khon</a> (masked play), <a href="/wiki/Lakhon_nok" title="Lakhon nok">lakhon nok</a> (public dance drama) and <a href="/wiki/Lakhon_nai" title="Lakhon nai">lakhon nai</a> (court dance drama) during the Late <a href="/wiki/Ayutthaya_Kingdom" title="Ayutthaya Kingdom">Ayutthaya</a> Period (1456-1767)", adding, "this period also enjoyed various imported performing arts from neighbouring countries."<a href="#cite_note-36">[36]</a> According to Paul Cravath, this ceremony performed by <a href="/wiki/Royal_Ballet_of_Cambodia" title="Royal Ballet of Cambodia">Khmer dancers</a> is also depicted in bas-reliefs at <a href="/wiki/Angkor_Wat" title="Angkor Wat">Angkor Wat</a> in <a href="/wiki/Cambodia" title="Cambodia">Cambodia</a> and could have been the forefather of Khon.<a href="#cite_note-37">[37]</a> Aside from folk and regional dances (such as southern Thailand's Indian-influenced Manora dance), the two major forms of Thai classical dance drama are Khon and lakhon nai. In the beginning, both were exclusively court entertainments and it was not until much later that a popular style of dance theatre, likay, evolved as a diversion for the common folk who had no access to royal performances.<a href="#cite_note-38">[38]</a> When considering historical evidence and various archaeological studies, together with the consideration of dance postures in the works of Prince <a href="/wiki/Damrong_Rajanubhab" title="Damrong Rajanubhab">Damrong Rajanubhab</a>, The Dance Manual, it is found that Ayutthaya drama originated from Manora, which were popular in southern Ayutthaya. In particular, the Lakhon Chatri, which was influenced by Indian and Javanese cultures, was the origin in the South.<a href="#cite_note-rubin.2001-39">[39]</a> It was later classified as the Lakhon Nok and the Lakhon Nai. Even the term lakhon was borrowed from the Javanese, Lakon, (<a href="/wiki/Javanese_language" title="Javanese language">Javanese</a>: ꦭꦏꦺꦴꦤ꧀, romanized: lakon) perhaps the Malay, lakhan.<a href="#cite_note-rubin.2001-39">[39]</a><a href="#cite_note-yupho.1973-18">[18]</a>: 13 Evidence showing that <a href="/wiki/Srivijaya" title="Srivijaya">Srivijaya</a> culture spread from the <a href="/wiki/Malay_Peninsula" title="Malay Peninsula">Malay Peninsula</a> to Chaiya (modern <a href="/wiki/Nakhon_Si_Thammarat" title="Nakhon Si Thammarat">Nakhon Si Thammarat</a>) and other regions, including the story of Inao (Thai version from <a href="/wiki/Panji_tales" title="Panji tales">Panji tales</a>), Nang yai, and <a href="/wiki/Likay" title="Likay">Likay</a> into Ayutthaya from the southern region, is the <a href="/wiki/Borobudur" title="Borobudur">Borobudur</a>, built in the 9th century CE in the Srivijaya period.<a href="#cite_note-yupho.1973-18">[18]</a>: 13 <figure typeof="mw:File/Thumb"><a href="/wiki/File:Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg/203px-Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg" decoding="async" width="203" height="350" class="mw-file-element" data-file-width="967" data-file-height="1662"></noscript><span class="lazy-image-placeholder" style="width: 203px;height: 350px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg/203px-Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg" data-width="203" data-height="350" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg/305px-Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg/407px-Leonowens-1870-Siamese-literature-and-art-English-Governess-at-the-Siamese-Court.jpg 2x" data-class="mw-file-element"> </a><figcaption>Portrait of Siamese actor and actress in Siamese Literature and Art, illustrated in 1870 by <a href="/wiki/Anna_Leonowens" title="Anna Leonowens">Anna H. Leonowens</a> in the reign of <a href="/wiki/King_Rama_V" class="mw-redirect" title="King Rama V">King Rama V</a> from the book, The English Governess at the Siamese Court (1873).<a href="#cite_note-40">[40]</a> The portrait sketched from the photograph taken by <a href="/wiki/Francis_Chit" title="Francis Chit">Francis Chit</a>.</figcaption></figure> Since the Ayutthaya period, Thai dance evolved after being mixed with multiple cultures of the northern (Sukhothai) and southern (Chaiya) cities, the Khmer of Angkor Thom, and many local ethnic diversity; it evolved and improved both dance, drama, and Khon throughout the period to be more refined and beautiful until it became a unique culture of the Ayutthaya royal court, including traditions, local amusements, and even costumes. The clothing and accessories of Thai dance in the Ayutthaya period flourished greatly during the reign of King Borommakot. Many literary works and plays related to dance were created, such as Ramakien, Inao, and other dances outside and inside the royal court.<a href="#cite_note-yupho.1973-18">[18]</a>: 15–16 In 1768, after the second fall of Ayutthaya, many Siamese actors and actresses for the Lakhon Nai drama disappeared. Most drama and the ramakien works were all lost in abundance when the Ayutthaya was sacked by the Burmese in 1767.<a href="#cite_note-velder.1968-41">[41]</a> Some fled to cities that were not lost to the Burmese troops, e.g., <a href="/wiki/Phitsanulok" title="Phitsanulok">Phitsanulok</a> and Nakhon Sri Thammarat, while others were rounded up and taken to <a href="/wiki/Myanmar" title="Myanmar">Myanmar</a>. However, the Lakhon Nok that was widely performed outside the Ayutthaya court still remains in large numbers. There are still Siamese people who have witnessed Lakhon Nai drama in the Ayutthaya royal court, such as Princess Pinthawadi, the daughter of King <a href="/wiki/Borommakot" title="Borommakot">Borommakot</a>, who lived until the <a href="/wiki/Rattanakosin_Kingdom_(1782%E2%80%931932)" title="Rattanakosin Kingdom (1782–1932)">Rattanakosin period</a> and was the one who transmitted ancient customs and royal ceremonies to the Rattanakosin royal courts.<a href="#cite_note-yupho.1973-18">[18]</a>: 23–24 Hence, ramakien and khon in the <a href="/wiki/Rattanakosin_Kingdom_(1782%E2%80%931932)" title="Rattanakosin Kingdom (1782–1932)">Rattanakosin era</a> were reproduced by King <a href="/wiki/Rama_I" title="Rama I">Rama I</a> from the Ramayana versions of Hindi, Tamil, and Bengali, which are not the same version of Ayutthaya.<a href="#cite_note-velder.1968-41">[41]</a> In 1958 King <a href="/wiki/Norodom_Sihanouk" title="Norodom Sihanouk">Norodom Sihanouk</a> explained the Thai dance costume, which mentioned in Ayutthaya period, to <a href="/wiki/Malcolm_MacDonald" title="Malcolm MacDonald">Malcolm John MacDonald</a>, former Commissioner-General for Southeast Asia, that the Thais' idea of costume was different from that of the Khmers. Moreover, Thai court dance uniforms were gorgeous and, to their taste, infinitely superior to the flimsy simplicity of the Khmer corps de ballet, while the court of the ancient Khmer Empire dancers were lightly clad like the half-naked <a href="/wiki/Apsara" title="Apsara">Apsara</a> as sculptured friezes at <a href="/wiki/Angkor_Wat" title="Angkor Wat">Angkor Wat</a>.<a href="#cite_note-42">[42]</a> <div class="mw-heading mw-heading4"><h4 id="Foreigner_Record">Foreigner Record</h4> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=7" title="Edit section: Foreigner Record" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg/300px-Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg" decoding="async" width="300" height="144" class="mw-file-element" data-file-width="8191" data-file-height="3933"></noscript><span class="lazy-image-placeholder" style="width: 300px;height: 144px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg/300px-Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg" data-width="300" data-height="144" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg/450px-Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg/600px-Wiki_Loves_Folklore_2020_in_Thailand_by_Tris_T7_005.jpg 2x" data-class="mw-file-element"> </a><figcaption>Khon performance</figcaption></figure> The first detailed European record of Khon and other Thai classical dances was made during the Ayutthaya Kingdom. The tradition and styles employed are almost identical to the Thai traditions we still see today. Historical evidence establishes that the Thai art of stage plays was already perfected by the 17th-century. <a href="/wiki/Louis_XIV" title="Louis XIV">Louis XIV</a>, the Sun King of France, had a formal diplomatic relation with Ayutthaya's <a href="/wiki/King_Narai" class="mw-redirect" title="King Narai">King Narai</a>. In 1687, France sent the diplomat <a href="/wiki/Simon_de_la_Loub%C3%A8re" title="Simon de la Loubère">Simon de la Loubère</a> to record all that he saw in the Siamese Kingdom and its traditions. In his famous account Du Royaume de Siam, La Loubère carefully observed the classic 17th-century theatre of Siam, including an epic battle scene from a Khon performance, and recorded what he saw in great detail:<a href="#cite_note-Loub%C3%A8re-43">[43]</a>: 49 <blockquote>The Siamese have three sorts of Stage Plays: That which they call Cone [Khon] is a figure dance, to the sound of the violin and some other instruments. The dancers are masked and armed and represent rather combat than a dance. And though everyone runs into high motions, and extravagant postures, they cease not continually to intermix some word. Most of their masks are hideous and represent either monstrous Beasts or kinds of Devils. The Show which they call Lacone is a poem intermix with Epic and Dramatic, which lasts three days, from eight in the morning till seven at night. They are histories in verse, serious, and sung by several actors always present, and which do only sing reciprocally.... The Rabam is a double dance of men and women, which is not martial, but gallant ... they can perform it without much tyring themselves, because their way of dancing is a simple march round, very slow, and without any high motion; but with a great many slow contortions of the body and arms.</blockquote> Of the attires of Siamese Khon dancers, La Loubère recorded that: "[T]hose that dance in Rabam, and Cone, have gilded high and pointed. It was introduced by Persian Lombok hat in King Naraya reign. but which hang down at the sides below their ears, which are adorned with counterfeit stones, and with two pendants of gilded wood."<a href="#cite_note-Loub%C3%A8re-43">[43]</a>: 49 <figure typeof="mw:File/Thumb"><a href="/wiki/File:Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg/262px-Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg" decoding="async" width="262" height="175" class="mw-file-element" data-file-width="5760" data-file-height="3840"></noscript><span class="lazy-image-placeholder" style="width: 262px;height: 175px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg/262px-Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg" data-width="262" data-height="175" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg/393px-Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/06/Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg/524px-Chiang_Mai._Benjarong_Khantoke._Traditional_Thai_dance._2016-10-14_20-44-42.jpg 2x" data-class="mw-file-element"> </a><figcaption>Dancers in traditional costumes perform a courtship dance.</figcaption></figure> La Loubère also observed the existence of <a href="/wiki/Muay_Thai" title="Muay Thai">muay Thai</a> and muay Lao, noting that they looked similar (i.e., using both fists and elbows to fight), but the hand-wrapping techniques were different.<a href="#cite_note-Loub%C3%A8re-43">[43]</a>: 49 The accomplishment and influence of Thai art and culture, developed during the Ayutthaya Period, on neighboring countries was evident in the observation of Captain <a href="/wiki/James_Low_(East_India_Company_officer)" title="James Low (East India Company officer)">James Low</a> a British scholar of Southeast Asia, during the early Rattanakosin Era: <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">The Siamese have attained to a considerable degree of perfection in dramatic exhibitions — and are in this respect envied by their neighbours the Burmans, Laos, and Cambojans who all employ Siamese actors when they can be got.<a href="#cite_note-siamese-heritage.org-44">[44]</a></blockquote> <div class="mw-heading mw-heading3"><h3 id="Thonburi_Period">Thonburi Period</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=8" title="Edit section: Thonburi Period" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In 1768–81, Thai dance was greatly revived by King <a href="/wiki/Taksin" title="Taksin">Taksin</a> and Thais.<a href="#cite_note-yupho.1973-18">[18]</a>: 28 There was evidence that there are still performances of Lakhon Nai and Lakhon Nok, both actors and actresses, in the capital and outside major cities, such as <a href="/wiki/Nakhon_Ratchasima" title="Nakhon Ratchasima">Nakhon Ratchasima</a>, <a href="/wiki/Chiang_Mai" title="Chiang Mai">Chiang Mai</a>, Fang or Sawangkhaburi (now <a href="/wiki/Utaradit" class="mw-redirect" title="Utaradit">Utaradit</a>), and Phitsanulok during <a href="/wiki/Taksin%27s_reunification_of_Siam" title="Taksin's reunification of Siam">Taksin's reunification of Siam</a>. There also were collections of dramatic compositions composed during the Ayutthaya period—more than 10 stories.<a href="#cite_note-yupho.1973-18">[18]</a>: 29 In 1769, in the early period after the establishment of <a href="/wiki/Thonburi_Kingdom" title="Thonburi Kingdom">Thonburi Kingdom</a>, King Taksin gathered many scattered actors and actresses. There were actors from <a href="/wiki/Nakhon_Si_Thammarat" title="Nakhon Si Thammarat">Nakhon Si Thammarat</a> sent by the governor of <a href="/wiki/Pattani,_Thailand" title="Pattani, Thailand">Pattani</a> to King Taksin, and a Thai dance performance was organized at that time on the occasion of the consecration of the Buddha's relics at <a href="/wiki/Wat_Phra_Mahathat" title="Wat Phra Mahathat">Wat Phra Mahathat</a> in Nakhon Si Thammarat.<a href="#cite_note-45">[45]</a> When King Taksin led his army to siege the assembly of Chao Phra Fang,<a href="#cite_note-46">[46]</a> he organized a Thai dance performance in Fang and Phitsanulok to celebrate the cities after his victory.<a href="#cite_note-yupho.1973-18">[18]</a>: 28 Prince Damrong Rajanubhap stated that the actors and actresses of Nakhon Si Thammarat were members of the Lakhon Nai who had fled from Ayutthaya.<a href="#cite_note-47">[47]</a> Throughout the reign of King Taksin, he composed five additional episodes (Four Folding-book manuscripts in total)<a href="#cite_note-48">[48]</a> of the Thai version, <a href="/wiki/Ramakien" title="Ramakien">Ramakien</a>. He ordered the establishment of several royal drama theaters for training. There were performances of the Khon, Ramakien, Inao, and royal drama competitions in the <a href="/wiki/Emerald_Buddha" title="Emerald Buddha">Emerald Buddha</a> celebration in 1782 near the end of the reign.<a href="#cite_note-49">[49]</a> Meanwhile, at the Burmese royal court, the royal family members of the Ayutthaya court and Thais who were taken to Burma brought the Thai dance to the Burmese court, resulting in Burmese dance being greatly influenced by the Ayutthaya. However, it was an opportunity to be able to revive Thai dance during the Thonburi period until the Rattanakosin period because Thai dance can be traced back to the Thai-Burmese multiculturalism in another way.<a href="#cite_note-yupho.1973-18">[18]</a>: 29–30 </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><h2 id="Classical_dance_drama">Classical dance drama</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=9" title="Edit section: Classical dance drama" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <div class="mw-heading mw-heading3"><h3 id="Lakhon">Lakhon</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=10" title="Edit section: Lakhon" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG/220px-520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG" decoding="async" width="220" height="165" class="mw-file-element" data-file-width="1024" data-file-height="768"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 165px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG/220px-520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG" data-width="220" data-height="165" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG/330px-520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG/440px-520403-%E0%B8%A3%E0%B8%B0%E0%B8%9A%E0%B8%B3%E0%B8%81%E0%B8%B4%E0%B8%99%E0%B8%A3%E0%B8%B5%E0%B8%A3%E0%B9%88%E0%B8%AD%E0%B8%997994-DL.JPG 2x" data-class="mw-file-element"> </a><figcaption>A Lakhon Chatri dance excerpt from the story of <a href="/wiki/Manohara" title="Manohara">Manohara</a></figcaption></figure> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Lakhon_nai" title="Lakhon nai">Lakhon nai</a>, <a href="/wiki/Lakhon_chatri" title="Lakhon chatri">Lakhon chatri</a>, and <a href="/wiki/Lakhon_nok" title="Lakhon nok">Lakhon nok</a></div> Lakhon features a wider range of stories than Khon, including <a href="/wiki/Folklore" title="Folklore">folk tales</a> and <a href="/wiki/Jataka" class="mw-redirect" title="Jataka">Jataka</a> stories. Dancers are usually female who play both male and female roles and perform as a group rather than representing individual characters. Lakhon draws inspiration primarily from the <a href="/wiki/Ramakien" title="Ramakien">Ramakien</a> (Thai adaptation of Hindu epic <a href="/wiki/Ramayana" title="Ramayana">Ramayana</a>). Percussion instruments and <a href="/wiki/Piphat" title="Piphat">piphat</a>, a type of woodwind, accompany the dance.<a href="#cite_note-indthai-50">[50]</a> <a href="/wiki/Thai_literature" title="Thai literature">Thai literature</a> and <a href="/wiki/Thai_art" title="Thai art">drama</a> draw great inspiration from <a href="/wiki/Indian_art" title="Indian art">Indian arts</a> and <a href="/wiki/Hindu_mythology" title="Hindu mythology">legends</a>. <div class="mw-heading mw-heading3"><h3 id="Khon">Khon</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=11" title="Edit section: Khon" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Khon" title="Khon">Khon</a></div> Khon is the most stylized form of Thai dance. It is performed by troupes of non-speaking dancers, the story being told by a <a href="/wiki/Choir" title="Choir">chorus</a> at the side of the <a href="/wiki/Stage_(theatre)" title="Stage (theatre)">stage</a>. <a href="/wiki/Choreography" title="Choreography">Choreography</a> follows traditional models rather than attempting to innovate. Most Khon performances feature episodes from the Ramakien. <a href="/wiki/Costume" title="Costume">Costumes</a> are dictated by tradition, with <a href="/wiki/Angel" title="Angel">angels</a>, both good and bad, wearing colored <a href="/wiki/Mask" title="Mask">masks</a>. <div class="mw-heading mw-heading3"><h3 id="Fon">Fon</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=12" title="Edit section: Fon" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Fon (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: ฟ้อน; <a href="/wiki/Royal_Thai_General_System_of_Transcription" title="Royal Thai General System of Transcription">RTGS</a>: fon) is a form of folk dance accompanied by the folk music of the region. The first fon originated in the northern region of Thailand. It was designed and taught by Chao Dararasami of <a href="/wiki/Chiang_Mai" title="Chiang Mai">Chiang Mai</a>. Since then, a variety of fon came into practice, featuring the music and style of each province, such as the fon lep (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: ฟ้อนเล็บ; <a href="/wiki/Royal_Thai_General_System_of_Transcription" title="Royal Thai General System of Transcription">RTGS</a>: fon lep) fingernail dance from Chiang Mai and the fon ngiew from <a href="/wiki/Chiang_Rai" title="Chiang Rai">Chiang Rai</a>, which was influenced by <a href="/wiki/Burmese_music" class="mw-redirect" title="Burmese music">Burmese music</a> and costume.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Fon is divided into three types: <ul><li>Fon lep (fingernail dance): A northern Thai dance style. Each dancer wears six-inch-long brass fingernails. The long fingernails accentuate the finger movement of each dancer. Dancers wear their hair in a <a href="/wiki/Chignon_(hairstyle)" title="Chignon (hairstyle)">chignon</a>-style with a yellow jasmine flower <a href="/wiki/Tiara" title="Tiara">tiara</a>.</li> <li>Fon tian (candle dance): A performance consists of eight dancers, each carrying candles. Dancers are in pairs, one pair to each side. They wear full-length sarongs and jackets with a matching shoulder cloth. This dance is always held at night.</li> <li>Fon ngiew (scarf dance): A dance performed at a happy event. The dance is similar to the fon lep but the dance is faster and more fun. Each dancer wears a yellow flower tiara, jong kra bane, and sabai.</li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><h2 id="Connections_between_Thai_classical_dance_and_the_neighbouring_countries">Connections between Thai classical dance and the neighbouring countries</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=13" title="Edit section: Connections between Thai classical dance and the neighbouring countries" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <div class="mw-heading mw-heading3"><h3 id="Myanmar">Myanmar</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=14" title="Edit section: Myanmar" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> The two golden periods of <a href="/wiki/Burmese_literature" title="Burmese literature">Burmese literature</a> were the direct consequences of the Thai literary influence. The first transmission happened during the two-decade period (1564–83), in which the <a href="/wiki/Toungoo" class="mw-redirect" title="Toungoo">Toungoo Dynasty</a> briefly managed to subject <a href="/wiki/Siam" class="mw-redirect" title="Siam">Siam</a> as its vassal state. This conquest incorporated many Thai elements into Burmese literature. the most evident ones were the <a href="/wiki/Yadu_(poetry)" title="Yadu (poetry)">yadu</a> or yatu (ရာတု), an emotional and philosophic verse and the <a href="/wiki/Yagan" title="Yagan">yagan</a> (ရာကန်) genre. The next transmission of Thai literary influence to Burma happened in the aftermath of the fall of Ayutthaya Kingdom in 1767. After the second conquest of <a href="/wiki/Ayutthaya_Kingdom" title="Ayutthaya Kingdom">Ayutthaya</a> (Thailand), many Siamese royal dancers and poets were brought back to the court of <a href="/wiki/Konbaung_Dynasty" class="mw-redirect" title="Konbaung Dynasty">Konbaung</a>. Ramakien, the Thai version of Ramayana (ရာမယန), was introduced and was adapted in Burmese where it is now called <a href="/wiki/Yama_Zatdaw" title="Yama Zatdaw">Yama Zatdaw</a>. Burmese literature during this period was therefore modelled after the Ramayana, and dramatic plays were patronised by the Burmese court.<a href="#cite_note-51">[51]</a> <div class="mw-heading mw-heading3"><h3 id="Cambodia">Cambodia</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=15" title="Edit section: Cambodia" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Following the collapse of the <a href="/wiki/Khmer_Empire" title="Khmer Empire">Khmer Empire</a> in the 15th century, Cambodian dance and music incorporated influence from <a href="/wiki/Thailand" title="Thailand">Thailand</a> and <a href="/wiki/Vietnam" title="Vietnam">Vietnam</a>. <a href="#cite_note-52">[52]</a> The earliest mention of Classical Cambodia dance appeared in the 17th century CE in a Sanskrit inscription.<a href="#cite_note-53">[53]</a> In the Khmer empire (802–1431 AD), their court performers style was very sensual during Khmer rule, complete with swinging hips and bare breasts.<a href="#cite_note-54">[54]</a> After the Siamese herded thousands of people from <a href="/wiki/Angkor_Wat" title="Angkor Wat">Angkor Wat</a> to the <a href="/wiki/Ayutthaya_Kingdom" title="Ayutthaya Kingdom">Ayutthaya Kingdom</a> in 1421. It resulted in a cultural fusion between these two kingdoms.<a href="#cite_note-munson.1968-55">[55]</a><a href="#cite_note-Fletcher2001-56">[56]</a> Thais claim that the Siamese Royal Ballet is an adaptation of Thai ballet, and Cambodians claim that it was based on the ancient Angkor ballet as it was before the Ayutthaya Kingdoms sacked the Angkor Wat.<a href="#cite_note-munson.1968-55">[55]</a><a href="#cite_note-57">[57]</a> Meanwhile, after the second fall of Ayutthaya in the <a href="/wiki/Burmese%E2%80%93Siamese_War_(1765%E2%80%931767)" title="Burmese–Siamese War (1765–1767)">Burmese–Siamese War (1765–1767)</a>, almost all of the royal court dances of the Ayutthaya period were completely lost. From the Thonburi and Rattanakosin eras, a lot of Siamese verses and dramatic compositions were reproduced and recomposed again in the period of King <a href="/wiki/Taksin" title="Taksin">Taksin</a> and King <a href="/wiki/Rama_I" title="Rama I">Rama I</a>.<a href="#cite_note-58">[58]</a> On the contrary, the ancient Khmer dance disappeared almost four centuries ago<a href="#cite_note-walker.1955-59">[59]</a> and was reintroduced only by the Siamese from the <a href="/wiki/Rattanakosin_Kingdom_(1782%E2%80%931932)" title="Rattanakosin Kingdom (1782–1932)">Rattanakosin era</a><a href="#cite_note-zadrozny.1955-60">[60]</a> with Siamese chorus, Siamese postures, and Siamese troupe. Therefore, the Cambodian Royal Ballet these days is so strongly infused with Siamese influences.<a href="#cite_note-walker.1955-59">[59]</a> In 19th century, the Khmer court dance began to be restored by Thai dancers and, under the patronage of King <a href="/wiki/Ang_Duong" title="Ang Duong">Ang Duong</a>, who came to the throne in 1841, retaining many of Thai-acquired elements more elaborate and heavy costumes than had been traditional Khmer court dance.<a href="#cite_note-61">[61]</a> The King is known to had taken refuge in the court of <a href="/wiki/Rattanakosin_Kingdom" class="mw-redirect" title="Rattanakosin Kingdom">Siam</a> which influenced his decision to set a new standardization for <a href="/wiki/Royal_ballet_of_Cambodia" class="mw-redirect" title="Royal ballet of Cambodia">his own court dance</a>, following the styles and manners of Thai classical dance.<a href="#cite_note-62">[62]</a> The modern costumes and crowns used by the <a href="/wiki/Royal_Ballet_of_Cambodia" title="Royal Ballet of Cambodia">Royal Ballet of Cambodia</a> are also elaborately clothed<a href="#cite_note-zadrozny.1955-60">[60]</a> showing an unmistakable Siamese influence<a href="#cite_note-munson.1968-55">[55]</a> which is different from the bas-reliefs on the Angkor Wat that portray the scenes of ritual and life of the ancient Khmer ballerinas that were half-naked apsaras and nude dancers performing a sort of grand battement.<a href="#cite_note-macdonald.1959-63">[63]</a><a href="#cite_note-walker.1955-59">[59]</a> In 1860–1904, although <a href="/wiki/French_protectorate_of_Cambodia" title="French protectorate of Cambodia">Cambodia was colonized by France</a>, the Royal Ballet of Cambodia still performed Siamese repertoires<a href="#cite_note-64">[64]</a> due to King <a href="/wiki/Norodom_of_Cambodia" title="Norodom of Cambodia">Norodom of Cambodia</a> (Ang Voddey) generally importing his dancing girls and concubines aged 13 to 14 years old from Siam.<a href="#cite_note-65">[65]</a> The French scholars also recorded over 300 Siamese female artists remaining in the Cambodian royal court. Some of the songs, musical instruments, and plays had Thai names, and some of the lyrics were composed imitating a Thai style. In 1868–1910, Aunt Chawiwat, also known as Princess Chawiwat Pramoj, daughter of Siamese Prince Vorachak Tharanubhab, took the Siamese Royal dance and Siamese troupe of Chao Chorm Manda Ampa [a high-ranking Siamese court lady], with all accessories, and the Siamese <a href="/wiki/Piphat" title="Piphat">Piphat</a> ensemble to court of the <a href="/wiki/Royal_Palace_of_Cambodia" title="Royal Palace of Cambodia">Norodom Palace</a> in the Fifth Reign of King <a href="/wiki/Rama_V" class="mw-redirect" title="Rama V">Rama V</a>.<a href="#cite_note-66">[66]</a><a href="#cite_note-67">[67]</a> In Cambodia history—Le Royaume du Cambodge (1883) by Jean MOURA (1827–85), a French administrator,<a href="#cite_note-68">[68]</a> it is mentioned that Siamese females provided recruits of Siamese dancers to the ballet corps of King Norodon's palace: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">Les femmes siamoises sont charmantes; elles sont grandes généralement et bien faites; elles fournissent des recrues appréciées au corps de ballet du palais du roi Norodon, et ce sont des Siamois qui, moyennant finances, se chargent de ce recrutement en allant, à leurs risques et périls, faire des chargements de filles à Bangkok.<a href="#cite_note-69">[69]</a> (Translation): The Siamese women were generally attractive, tall, and beautiful. They assisted in recruiting young Siamese female dancers for the ballet troupe to perform in the palace of King Norodom, and the Siamese took upon themselves the responsibility of taking the errand at their own risk to bring the shipload of dancers back to Bangkok with a charge. <div class="templatequotecite">— <cite>Jean MOURA (1883).</cite></div></blockquote> Also, <a href="/wiki/George_Groslier" title="George Groslier">George Groslier</a> (1987–1945), a french civil servant who studied Cambodia’s traditional dance art and had access to royal dancers and teachers connected to the king <a href="/wiki/Sisowath_of_Cambodia" title="Sisowath of Cambodia">Sisowath</a>’s court, wrote: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">Les danseuses cambodgiennes étaient si bien parties de leur malheureux pays que les derniers rois khmers, jusqu’à Norodom, avaient des troupes presque en totalité siamoises. Tous les professeurs des cinq cents « lokhon » de Norodom étaient siamoises. A sa mort, il y avait plus de trois cents actrices thaï au palais de Phnom Penh. De nos jours encore, l’ensemble des professeurs, moins deux, est siamois!...<a href="#cite_note-70">[70]</a> (Translation): The Cambodian dancers were so well out of their unfortunate country (after the sack of Angkor) that the last Khmer kings, up to Norodom, had almost entirely Siamese troupes. All the teachers of the five hundred 'lokhon' of Norodom were Siamese. At his death, there were more than three hundred Thai actresses in the palace of Phnom Penh. Even today (under the reign of H. M. Sisowath) all the teachers, minus two, are Siamese! …. <a href="#cite_note-71">[71]</a><a href="#cite_note-72">[72]</a> <div class="templatequotecite">— <cite>George Groslier (1913).</cite></div></blockquote> In 1952–57, the Cambodian government requested the Thai government to send Thai dance masters to help revive the Royal Ballet of Cambodia. There were six Thai dance masters, and a Siamese troupe went to Cambodia upon their request. However, after teaching for only a few times, Thai dance masters were banned by an official of the <a href="/wiki/Fine_Arts_Department" title="Fine Arts Department">Fine Arts Department</a> of Thailand.<a href="#cite_note-73">[73]</a> In 1958, King <a href="/wiki/Norodom_Sihanouk" title="Norodom Sihanouk">Norodom Sihanouk</a> propounded the theory of Cambodian performers' costumes to <a href="/wiki/Malcolm_MacDonald" title="Malcolm MacDonald">Malcolm MacDonald</a> in that their dancer dresses remained an alien importation copied from the Thais.<a href="#cite_note-macdonald.1959-63">[63]</a> In the Legend of Inao drama, works of Prince <a href="/wiki/Damrong_Rajanubhab" title="Damrong Rajanubhab">Damrong Rajanubhab</a>, recorded during the <a href="/wiki/Siamese%E2%80%93Vietnamese_War_(1841%E2%80%931845)" title="Siamese–Vietnamese War (1841–1845)">Siamese Invasion of Cambodia and Southern Vietnam (1833–1834)</a>, the Siamese nobleman, <a href="/wiki/Chaophraya_Bodindecha" title="Chaophraya Bodindecha">Chaophraya Bodindecha</a>, brought the Siamese dance troupes to teach the Cambodian dancers at <a href="/wiki/Oudong" title="Oudong">Oudong</a> in the reign of King <a href="/wiki/Ang_Duong" title="Ang Duong">Ang Duong</a> and recorded the Royal Ballet of Cambodia, which was first introduced by the Siamese Prince, <a href="/wiki/Krom_Luang_Thepharirak" title="Krom Luang Thepharirak">Krom Luang Thepharirak</a>.<a href="#cite_note-74">[74]</a> During the <a href="/wiki/Khmer_Rouge" title="Khmer Rouge">Khmer Rouge</a> led by <a href="/wiki/Pol_Pot" title="Pol Pot">Pol Pot</a>, the Royal Ballet of Cambodia was almost destroyed, and Princess <a href="/wiki/Norodom_Buppha_Devi" title="Norodom Buppha Devi">Norodom Buppha Devi</a> of Cambodia left for <a href="/wiki/France" title="France">France</a> urgently<a href="#cite_note-75">[75]</a> for years until she returned to Cambodia in 1991. Cambodian dance masters joined the princess to help re-establish the Cambodia dance.<a href="#cite_note-76">[76]</a> On July 25, 2008. H.R.H. Princess <a href="/wiki/Norodom_Buppha_Devi" title="Norodom Buppha Devi">Norodom Buppha Devi</a> said of Khmer classical dance influenced a lot of by Thai court:- <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">From the period of Oudong with King <a href="/wiki/Ang_Duong" title="Ang Duong">Ang Duong</a> to the period of Chatomuk with <a href="/wiki/Norodom_of_Cambodia" title="Norodom of Cambodia">Kings Norodom</a> and <a href="/wiki/Sisowath_of_Cambodia" title="Sisowath of Cambodia">Sisowath</a>, there was a lot of Thai influence because we lacked teachers. Thai masters came to the Khmer court, while Khmer masters sometimes went to the Thai court. This period was a cultural exchange the Thai and Khmer courts. It was a real mixture!<a href="#cite_note-77">[77]</a><div class="templatequotecite">— <cite><a href="/wiki/Norodom_Buppha_Devi" title="Norodom Buppha Devi">Norodom Buppha Devi</a> (Interviewed by Suppya NUT on July 25, 2008 at Lim Sylvain's house), Khmer Dance Project, The New York Public Library for the Performing Arts. (2008–2010).</cite></div></blockquote> Nevertheless, in Thailand, the main theory suggests the contrary. For instance, Fédéric Maurel, a French historian working for <a href="/wiki/Prince_of_Songkla_University" title="Prince of Songkla University">Prince of Songkla University</a> (<a href="/wiki/Thailand" title="Thailand">Thailand</a>) notes: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">From the close of the eighteenth century and through the nineteenth century, a number of Khmer pages, classical women dancers, and musicians studied with Thai Ajarn (masters or teachers) in Cambodia. The presence of these Thai elite in Cambodia contributed to the development of strong Thai cultural influence among the Khmer upper classes. Moreover, some members of the Khmer royal family went to the Thai court and developed close relations with well-educated Thai nobility, as well as several court poets. Such cultural links were so powerful that, in some fields, one might use the term Siamization in referring to the processes of cultural absorption at the Khmer court at that time.<a href="#cite_note-78">[78]</a></blockquote> The Nirat or Siamese tradition of parting poetry was emulated by Khmer poets, and many Thai stories, such as <a href="/wiki/Ka_Kee" title="Ka Kee">Ka Kee</a>, were translated from the Siamese source into the Khmer language.<a href="#cite_note-FOOTNOTEMaurel2002100-79">[79]</a> One Thai study on comparative literature argues that Cambodia's current version of Ramayana (Reamker) was translated directly from the Thai source, almost stanza by stanza.<a href="#cite_note-80">[80]</a> The Cambodian royal court used to stage Thai lakhon dramas in the Thai language during King <a href="/wiki/Norodom_of_Cambodia" title="Norodom of Cambodia">Norodom of Cambodia</a>'s reign.<a href="#cite_note-FOOTNOTEPakdeekham200954-81">[81]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><h2 id="Folk_dance">Folk dance</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=16" title="Edit section: Folk dance" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> Folk dance forms include dance theater forms like <a href="/wiki/Likay" title="Likay">likay</a>, numerous regional dances (ram), the ritual dance <a href="/wiki/Ram_muay" class="mw-redirect" title="Ram muay">ram muay</a>, and homage to the teacher, <a href="/wiki/Wai_khru_ram_muay" title="Wai khru ram muay">wai khru</a>. Both ram muay and wai khru take place before all traditional <a href="/wiki/Muay_Thai" title="Muay Thai">muay Thai</a> matches. The wai is also an annual ceremony performed by Thai classical dance groups to honor their artistic ancestors.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <ul><li><a href="/wiki/Ramwong" class="mw-redirect" title="Ramwong">Ram wong</a> (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: รำวง) reflects the characteristics of the dance: a type of <a href="/wiki/Partner_dance" title="Partner dance">partner dance</a> in a circle.</li> <li>Ram muay (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: รำมวย) is the ritualized dance that takes place before <a href="/wiki/South_East_Asia" class="mw-redirect" title="South East Asia">Southeast Asian</a> <a href="/wiki/Kickboxing" title="Kickboxing">kickboxing</a> matches such as <a href="/wiki/Muay_Thai" title="Muay Thai">muay Thai</a>.</li> <li><a href="/wiki/Wai_Khru" class="mw-redirect" title="Wai Khru">Wai khru</a> (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: ไหว้ครู) <a href="/wiki/Wai_khru_ram_muay" title="Wai khru ram muay">Wai khru ram muay</a> is a ritualized form of dance meant to pay respect to or homage to the khru, or teacher. It is performed annually by Thai classical dance institutions as well as before <a href="/wiki/Muay_Thai" title="Muay Thai">muay Thai</a> matches.</li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(6)"><h2 id="Regional_dances">Regional dances</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=17" title="Edit section: Regional dances" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-6 collapsible-block" id="mf-section-6"> <div class="mw-heading mw-heading3"><h3 id="Central_Thailand">Central Thailand</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=18" title="Edit section: Central Thailand" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>Ram si nuan (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: รำศรีนวล): A typical dance of <a href="/wiki/Central_Thailand" title="Central Thailand">central Thailand</a>. Its great popularity is due to the <a href="/wiki/Choreography" title="Choreography">choreography</a> and the sweetness of the music that accompanies it. The lyrics and music evoke the sweet nature of Thai girls. The dance is also an expression of the yearning of a young man won over by such great charm.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram thoet thoeng (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: รำเถิดเทิง, 'drum dance'): The teut-teung drum, an instrument used in <a href="/wiki/Music_of_Thailand" title="Music of Thailand">Thai folk music</a>, is played throughout the country to accompany the parades held at traditional festivals. It is said that the modern style of the teut-teung dance was created by some music teachers.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Rabam chao na (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: ระบำชาวนา, 'farmers' dance'): This is a modern dance created by the Thai Ministry of Culture. The dancers wear the rice growers' traditional costume, and the dance itself enacts the daily activities of these workers who are the backbone of the nation. The <a href="/wiki/Ballet" title="Ballet">ballet</a> opens with the farmers as they come to plough and sow the fields. When they are sure that the rice is growing well, they gather together to pray to <a href="/wiki/Po_Sop" class="mw-redirect" title="Po Sop">Mae Po Sop</a>, the goddess who protects <a href="/wiki/Rice_production_in_Thailand" title="Rice production in Thailand">rice-growing</a>. Lastly, the harvest is celebrated with songs and dancing.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram <a href="/wiki/Krabi_Krabong" class="mw-redirect" title="Krabi Krabong">krabi krabong</a> (<a href="/wiki/Thai_language" title="Thai language">Thai</a>: รำกระบี่กระบอง): These dances are inspired by types of combat that were typical of <a href="/wiki/Thailand" title="Thailand">Thailand</a>, in which either sticks or swords are used. The skillful use of the short stick depends on the agility of the fighter, who must attack and always remain close to his opponent, while the combatant who takes up the long stick must maintain a critical distance from his rival to use his weapon effectively. The art of sword fighting has been practiced in Thailand since the beginning of time, and, traditionally, a ceremonial dance is performed prior to combat.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li></ul> <ul class="gallery mw-gallery-traditional" style="max-width: 729px;"> <li class="gallerycaption">Central Thailand dances</li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Dancing_women_and_men_Thailand.jpg" class="mw-file-description" title="Thoet thoeng dance"><noscript><img alt="Thoet thoeng dance" src="//upload.wikimedia.org/wikipedia/commons/thumb/6/66/Dancing_women_and_men_Thailand.jpg/200px-Dancing_women_and_men_Thailand.jpg" decoding="async" width="200" height="142" class="mw-file-element" data-file-width="640" data-file-height="455"></noscript><span class="lazy-image-placeholder" style="width: 200px;height: 142px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/6/66/Dancing_women_and_men_Thailand.jpg/200px-Dancing_women_and_men_Thailand.jpg" data-alt="Thoet thoeng dance" data-width="200" data-height="142" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/66/Dancing_women_and_men_Thailand.jpg/300px-Dancing_women_and_men_Thailand.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/66/Dancing_women_and_men_Thailand.jpg/400px-Dancing_women_and_men_Thailand.jpg 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">Thoet thoeng dance</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Krabi_Krabong_practitioners_in_Thailand.jpg" class="mw-file-description" title="Krabi krabong practitioners"><noscript><img alt="Krabi krabong practitioners" src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Krabi_Krabong_practitioners_in_Thailand.jpg/200px-Krabi_Krabong_practitioners_in_Thailand.jpg" decoding="async" width="200" height="133" class="mw-file-element" data-file-width="939" data-file-height="624"></noscript><span class="lazy-image-placeholder" style="width: 200px;height: 133px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Krabi_Krabong_practitioners_in_Thailand.jpg/200px-Krabi_Krabong_practitioners_in_Thailand.jpg" data-alt="Krabi krabong practitioners" data-width="200" data-height="133" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Krabi_Krabong_practitioners_in_Thailand.jpg/300px-Krabi_Krabong_practitioners_in_Thailand.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Krabi_Krabong_practitioners_in_Thailand.jpg/400px-Krabi_Krabong_practitioners_in_Thailand.jpg 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">Krabi krabong practitioners</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Krabi_Krabong_Buddhai_Swan_1.jpg" class="mw-file-description" title="Krabi krabong practitioners with Thai swords (daab)"><noscript><img alt="Krabi krabong practitioners with Thai swords (daab)" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Krabi_Krabong_Buddhai_Swan_1.jpg/200px-Krabi_Krabong_Buddhai_Swan_1.jpg" decoding="async" width="200" height="145" class="mw-file-element" data-file-width="1144" data-file-height="832"></noscript><span class="lazy-image-placeholder" style="width: 200px;height: 145px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Krabi_Krabong_Buddhai_Swan_1.jpg/200px-Krabi_Krabong_Buddhai_Swan_1.jpg" data-alt="Krabi krabong practitioners with Thai swords (daab)" data-width="200" data-height="145" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Krabi_Krabong_Buddhai_Swan_1.jpg/300px-Krabi_Krabong_Buddhai_Swan_1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/71/Krabi_Krabong_Buddhai_Swan_1.jpg/400px-Krabi_Krabong_Buddhai_Swan_1.jpg 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">Krabi krabong practitioners with Thai swords (<a href="/wiki/Daab_(sword)" class="mw-redirect" title="Daab (sword)">daab</a>)</div> </li> </ul> <div class="mw-heading mw-heading3"><h3 id="Northeast_Thailand">Northeast Thailand</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=19" title="Edit section: Northeast Thailand" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>Serng kratip khoa: This dance is performed during traditional celebrations. Usually, the word serng is added to the name of the domestic object used on stage by the dancers. In the case of the serng kratip, the dancers carry typical rice baskets, known as kratip. Their movements imitate those of the women who bring food to the men working in the fields. The choreography is accompanied by music with a lively rhythm. The instruments used are a <a href="/wiki/Long_drum" title="Long drum">long drum</a>, charb (cymbals), grab (a kind of castanet), mong (gong), and the kahen (similar to an old-fashioned syringe).[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Serng Isan: This folk dance is generally performed at traditional festivals. The choreography is entrusted to the dancers, who wear brightly colored costumes and express all the joy of the celebration.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Fon Phu Thai: This dance is part of a <a href="/wiki/Propitiation" title="Propitiation">propitiatory</a> ceremony performed by the <a href="/wiki/Phu_Thai" class="mw-redirect" title="Phu Thai">Phu Thai</a> tribe, who live in the northeast. The music that accompanies it is played on typical instruments like the gong ching (a tribal drum), along with other drums and pipes. The gong ching plays a fundamental part because it sets the rhythm for the dance.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Serng krapo ('coconut dance'): Krapo is the word for '<a href="/wiki/Coconut" title="Coconut">coconut</a>' in the <a href="/wiki/Isan_language" title="Isan language">Isan language</a>. The dance illustrates the activities of a group of nubile girls from the southern part of the region, known as <a href="/wiki/Isan" title="Isan">Isan</a>. The dancers hold two coconut shells, with which they execute complex choreographic movements, shaking them, tossing them, or tapping them lightly. This dance is often accompanied by the sound of the <a href="/wiki/Pong_lang" title="Pong lang">pong lang</a>, a kind of upright xylophone made of strips of wood arranged according to the <a href="/wiki/Musical_scale" class="mw-redirect" title="Musical scale">musical scale</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Isan bantheong ('the happiness of Isan'): This is a series of folk dances usually performed on festive occasions. The swift, harmonious movements are accompanied by folk songs associated with the northeast region.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li></ul> <ul class="gallery mw-gallery-traditional" style="max-width: 729px;"> <li class="gallerycaption">Northeast Thailand dances</li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:2013_Yasothon_Rocket_Festival_13.jpg" class="mw-file-description" title="Dancers at a Yasothon festival"><noscript><img alt="Dancers at a Yasothon festival" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/2013_Yasothon_Rocket_Festival_13.jpg/200px-2013_Yasothon_Rocket_Festival_13.jpg" decoding="async" width="200" height="200" class="mw-file-element" data-file-width="2880" data-file-height="2880"></noscript><span class="lazy-image-placeholder" style="width: 200px;height: 200px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/2013_Yasothon_Rocket_Festival_13.jpg/200px-2013_Yasothon_Rocket_Festival_13.jpg" data-alt="Dancers at a Yasothon festival" data-width="200" data-height="200" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/2013_Yasothon_Rocket_Festival_13.jpg/300px-2013_Yasothon_Rocket_Festival_13.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/83/2013_Yasothon_Rocket_Festival_13.jpg/400px-2013_Yasothon_Rocket_Festival_13.jpg 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">Dancers at a <a href="/wiki/Yasothon" title="Yasothon">Yasothon</a> festival</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Yasothondancers01.JPG" class="mw-file-description" title="A folk dance in the Rocket Festival parade in Yasothon"><noscript><img alt="A folk dance in the Rocket Festival parade in Yasothon" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Yasothondancers01.JPG/200px-Yasothondancers01.JPG" decoding="async" width="200" height="134" class="mw-file-element" data-file-width="1581" data-file-height="1060"></noscript><span class="lazy-image-placeholder" style="width: 200px;height: 134px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Yasothondancers01.JPG/200px-Yasothondancers01.JPG" data-alt="A folk dance in the Rocket Festival parade in Yasothon" data-width="200" data-height="134" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Yasothondancers01.JPG/300px-Yasothondancers01.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Yasothondancers01.JPG/400px-Yasothondancers01.JPG 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">A folk dance in the <a href="/wiki/Rocket_Festival" title="Rocket Festival">Rocket Festival</a> parade in Yasothon</div> </li> </ul> <div class="mw-heading mw-heading3"><h3 id="Northern_Thailand">Northern Thailand</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=20" title="Edit section: Northern Thailand" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>Fon sao mai ('silk weaving dance'): Fon is a type of dance in northern and northeastern Thailand. It is performed in groups and has very slow, graceful, and almost meditative movements. Fon sao mai depicts a traditional profession of northern Thai women in silk weaving. The dance imitates different processes of silk-weaving. For generations, silk production is one of the top home industries in northern and northeastern Thailand and <a href="/wiki/Laos" title="Laos">Laos</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Dance of the Nantha-peri and Pu-cha drums: The nantha-peri is a drum characteristic of northern Thailand, which is used for two purposes: to spur on warriors prior to battle and to pay homage to the <a href="/wiki/Buddha" class="mw-redirect" title="Buddha">Buddha</a> in religious ceremonies. The pu-che, on the other hand, is a type of drum used by the tribes that live in the north: the Tay Yai, the <a href="/wiki/Tai_Lue_people" title="Tai Lue people">Tai Lue</a> and the Tay Yan. It is used to accompany various dances including, the <a href="/wiki/Sword_dance" title="Sword dance">sword dance</a>, and the kai lai and king ka lai dances.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Sword Dance: This dance is inspired by an ancient martial art that requires tremendous courage and strength and excellent reflexes. The dancers balance a number of swords on different parts of their bodies while fighting off their rival with a <a href="/wiki/Scabbard" title="Scabbard">sword sheath</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ka-lai dance: Beginners learn to execute graceful and balanced movements through the choreography of this dance.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>King-ka-la dance: The hand movements and steps of the female dancers, who wear spectacular fan-shaped costumes, evoke the movements of a bird.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>The Sounds of the Mountains: The music that accompanies this dance is played on <a href="/wiki/Wind_instrument" title="Wind instrument">wind instruments</a> characteristic of three tribes in North Thailand: the pi hom (a gourd pipe) of the Tai Lue, the pi joom of the Tay Yuan and the kan nam tao (a gourd flute) of the Li Saw.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Candle Dance: Typical of the Thai Kheun tribe, this dance is performed in honor of the Buddha. The female dancers pay homage to the divinities that protect the eight cardinal points of the Earth, asking them to pass through the candlelight in homage to the Buddha.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Khan Dok Dance: The striking choreography of this dance of blessing expresses the calm, serene temperament of the northern peoples.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Choeng Tua Auk-son Dance: This dance, performed in the Buddha's honor, is characterized by a complex choreography inspired by the <a href="/wiki/Calligraphy" title="Calligraphy">calligraphy</a> of the ancient alphabets of the northern regions and by the movements used in <a href="/wiki/Martial_arts" title="Martial arts">martial arts</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>The Sounds of Lanna, the Ancient Kingdom of the North: This music is played on two instruments typical of this region. The phin-phia is a stringed instrument whose body is made from a coconut shell. When he plays it, the musician rests the shell on his bare chest, then moves it or presses it to achieve the desired <a href="/wiki/Tonality" title="Tonality">tonality</a>. In the past, the phin-phia was the instrument used by youths to court the maidens of their village. Few musicians still play it. The <a href="/wiki/Sueng" title="Sueng">sueng</a> is a stringed instrument made of <a href="/wiki/Teak" title="Teak">teak</a> or hardwood. It is played by plucking the two metal or brass strings with a horn <a href="/wiki/Plectrum" title="Plectrum">plectrum</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li></ul> <ul class="gallery mw-gallery-traditional" style="max-width: 729px;"> <li class="gallerycaption">Northern Thailand dances</li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Thai_dancer_Chiang_Mai_2005_045.jpg" class="mw-file-description" title="A dancer in Chiang Mai"><noscript><img alt="A dancer in Chiang Mai" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Thai_dancer_Chiang_Mai_2005_045.jpg/150px-Thai_dancer_Chiang_Mai_2005_045.jpg" decoding="async" width="150" height="200" class="mw-file-element" data-file-width="1920" data-file-height="2560"></noscript><span class="lazy-image-placeholder" style="width: 150px;height: 200px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Thai_dancer_Chiang_Mai_2005_045.jpg/150px-Thai_dancer_Chiang_Mai_2005_045.jpg" data-alt="A dancer in Chiang Mai" data-width="150" data-height="200" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Thai_dancer_Chiang_Mai_2005_045.jpg/225px-Thai_dancer_Chiang_Mai_2005_045.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Thai_dancer_Chiang_Mai_2005_045.jpg/300px-Thai_dancer_Chiang_Mai_2005_045.jpg 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">A dancer in Chiang Mai</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg" class="mw-file-description" title="Thai dancers in Laplae wearing Khmer-style dresses and crowns"><noscript><img alt="Thai dancers in Laplae wearing Khmer-style dresses and crowns" src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg/133px-Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg" decoding="async" width="133" height="200" class="mw-file-element" data-file-width="1384" data-file-height="2072"></noscript><span class="lazy-image-placeholder" style="width: 133px;height: 200px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg/133px-Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg" data-alt="Thai dancers in Laplae wearing Khmer-style dresses and crowns" data-width="133" data-height="200" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg/200px-Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg/267px-Dancing_art_Thai_ancient_show_in_the_Wat_Phra_Thaen_Sila_At_fair_06.jpg 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext">Thai dancers in <a href="/wiki/Laplae" class="mw-redirect" title="Laplae">Laplae</a> wearing Khmer-style dresses and crowns</div> </li> </ul> <div class="mw-heading mw-heading3"><h3 id="Southern_Thailand">Southern Thailand</h3> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=21" title="Edit section: Southern Thailand" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>Nora: <a href="/wiki/Menora_(dance)" title="Menora (dance)">Nora</a> is a traditional dance of <a href="/wiki/Southern_Thailand" title="Southern Thailand">southern Thailand</a> (called the Chatri in <a href="/wiki/Southern_Thai_language" title="Southern Thai language">southern Thai</a> ). Its origins lie in various legends, which there are different versions of. The choreography of Nora varies from region to region, but it is generally composed of 12 positions and 17 movements.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Nora tua oon: This more refined version of Nora often requires greater interpretive skills and experience. Nora tua oon is often studied from a very young age so that the body can achieve the flexibility necessary to execute the dance's complicated movements. Female Nora tua oon dancers follow a demanding exercise regime and strict discipline.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram taeng kae: Ram taeng kae is an elaborate Nora dance that requires great interpretative skills. In the dance, the protagonist launches a harpoon at a <a href="/wiki/Crocodile" title="Crocodile">crocodile</a>, whose back, lit by candles, is made from the trunk of a <a href="/wiki/Banyan" title="Banyan">banyan</a> tree. A female dancer moves around the writhing crocodile, poised to pierce its head at the right moment.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram Nora son ram: This dance consists of a basic posture, which is executed by concentrating on hand, arm, and shoulder movements, as well as on the equilibrium and movement of various parts of the body. Ram Nora son ram is accompanied by long lyrics.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram kien pral / yieb louk manao / ram ko soet: This advanced level of Nora is usually performed during competitions between two groups of dancers. To intimidate the rival group, a male dancer strikes an <a href="/wiki/Effigy" title="Effigy">effigy</a>. In the yieb louk manao version, the female protagonist stamps on three <a href="/wiki/Lemon" title="Lemon">lemons</a>, symbolizing the <a href="/wiki/Heart" title="Heart">hearts</a> of the rivals. The dance is performed as a sign of victory. Afterward, the female protagonist asks the pran, a comical hunter, to give her a headdress as a symbol of her victory. This is a ceremonial ritual carried out to dishonor rivals and to encourage the members of the group. The dance is characterized by a certain sacredness.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram Nora bot pratom: The choreography of ram Nora bot pratom uses a basic posture in which hand, arm, and shoulder movements are synchronized with head movements.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram ooak pran: In a Nora performance company, the pran, or hunter, plays the part of the fool. He usually wears a hunter's mask or headdress, and the movements are often amusing and designed to make the audience laugh. Each position is in harmony with the dynamic rhythm of the music.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram Nora klong Hong: This advanced level of Nora is performed only on important occasions. The female protagonist plays the role of Hong or <a href="/wiki/Kinnaree" class="mw-redirect" title="Kinnaree">kinnaree</a>, a legendary creature who is half woman and half bird. According to a celebrated Nora teacher, ram Nora klong Hong is partly based on the legend of Prasuton-Manora: the seven kinnaree play in the lake in the middle of a wood. Struck by their beauty and lightheartedness, pran Boon, the hunter, chases the maidens in an attempt to catch the youngest. The lively, harmonious movements perfectly evoke pran Boon's pursuit of the kinnaree as the youngest tries to escape.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Ram Nora tam bot / ram ooak pran: In this dance, the hand movements evoke the beautiful scenery of <a href="/wiki/Songkhla_Province" class="mw-redirect" title="Songkhla Province">Songkhla Province</a> in South Thailand. The verses of the song are accompanied by a lively rhythm.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]</li> <li>Rabam Srivichai / rabam Sevichai: This is one of the so-called "Thai archaeological dances". It is a reinvented dance that represents the kingdom of <a href="/wiki/Srivijaya" title="Srivijaya">Srivijaya</a>, an 8th to 13th-century Buddhist maritime empire that encompassed present-day Indonesia, Malaysia, and south Thailand. The choreography and dance costumes are based on images carved as a <a href="/wiki/Bas_relief" class="mw-redirect" title="Bas relief">bas-relief</a> on the stupa of <a href="/wiki/Borobudur" title="Borobudur">Borobudur</a> in central Java and other artifacts of the Srivijaya period. The musical melody is composed in Javanese style, while its colors, black, red, and green, are characteristic of <a href="/wiki/Southern_Thailand" title="Southern Thailand">southern Thailand</a>. The dance headdress is called a krabang naa. Some of the movements, poses, and stances are based on classical <a href="/wiki/Javanese_dance" title="Javanese dance">Javanese</a> and <a href="/wiki/Balinese_dance" title="Balinese dance">Balinese dance</a> traditions.<a href="#cite_note-82">[82]</a></li></ul> <ul class="gallery mw-gallery-traditional" style="max-width: 729px;"> <li class="gallerycaption">Southern Thailand dances</li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><a href="/wiki/File:Nong_Nooch-14.JPG" class="mw-file-description" title="Manora Dance"><noscript><img alt="Manora Dance" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Nong_Nooch-14.JPG/146px-Nong_Nooch-14.JPG" decoding="async" width="146" height="200" class="mw-file-element" data-file-width="2502" data-file-height="3419"></noscript><span class="lazy-image-placeholder" style="width: 146px;height: 200px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Nong_Nooch-14.JPG/146px-Nong_Nooch-14.JPG" data-alt="Manora Dance" data-width="146" data-height="200" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Nong_Nooch-14.JPG/219px-Nong_Nooch-14.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Nong_Nooch-14.JPG/293px-Nong_Nooch-14.JPG 2x" data-class="mw-file-element"> </a></div> <div class="gallerytext"><a href="/wiki/Menora_(dance)" title="Menora (dance)">Manora Dance</a></div> </li> </ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(7)"><h2 id="See_also">See also</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=22" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-7 collapsible-block" id="mf-section-7"> <ul><li><a href="/wiki/Dance_of_Cambodia" class="mw-redirect" title="Dance of Cambodia">Dance of Cambodia</a></li> <li><a href="/wiki/Dance_of_Indonesia" class="mw-redirect" title="Dance of Indonesia">Dance of Indonesia</a></li> <li><a href="/wiki/Balinese_dance" title="Balinese dance">Balinese dance</a></li> <li><a href="/wiki/Javanese_dance" title="Javanese dance">Javanese dance</a></li> <li><a href="/wiki/Sundanese_dance" title="Sundanese dance">Sundanese dance</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(8)"><h2 id="References">References</h2> <a role="button" href="/w/index.php?title=Dance_in_Thailand&action=edit&section=23" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-8 collapsible-block" id="mf-section-8"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> Shimladka V. (2021). Desa kala Emerging Trends in Performing Arts and Indic Studies. Raleigh, NC: Lulu Publication. p. 54. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-387-53795-2" title="Special:BookSources/978-1-387-53795-2">978-1-387-53795-2</a> </li> <li id="cite_note-SPAFA-1980-2">^ <a href="#cite_ref-SPAFA-1980_2-0">a</a> <a href="#cite_ref-SPAFA-1980_2-1">b</a> <a href="#cite_ref-SPAFA-1980_2-2">c</a> The SEAMEO Project in Archaeology and Fine Arts, SPAFA Co-ordinating Unit. "The Status of Traditional Thai", SPAFA Digest: Journal of SEAMEO Project in Archaeology and Fine Arts (SPAFA), 1(1980):17–18. </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> Sukhothai Provincial Cultural Office, The Fine Arts Department of Thailand. (1994). The Sukhothai Heritage มรดกสุโขทัย (in Thai). Sukhothai: Sukhothai Cultural Center. p. 125. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-7-36501-6" title="Special:BookSources/978-974-7-36501-6">978-974-7-36501-6</a> <ul><li>Cohen S. J., Dance Perspectives Foundation. (1998). International Encyclopedia of Dance Vol. 6. New York: Oxford University Press. p. 150.</li></ul> </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> The Fine Arts Department of Thailand. (1999). Wipitasna วิพิธทัศนา (in Thai). Bangkok: Seven Printing Group. p. 84. <ul><li>Punnothok T., Research for Social Development Institute, Khon Kaen University. (1989). Thieo Isan. Bangkok: Phikanet. p. 50.</li></ul> </li> <li id="cite_note-mattani-1993-5">^ <a href="#cite_ref-mattani-1993_5-0">a</a> <a href="#cite_ref-mattani-1993_5-1">b</a> <a href="#cite_ref-mattani-1993_5-2">c</a> Mattani M. R., Higashi Y., Bunka A., and Senta K., Centre for East Asian Cultural Studies for UNESCO, Japan. (1993). Dance, Drama, and Theatre in Thailand; The Process of Development and Modernization. Tokyo: CEACS. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-489-6-56107-4" title="Special:BookSources/978-489-6-56107-4">978-489-6-56107-4</a>. </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> ASEAN Committee on Culture and Information. (1998). ASEAN Dance Symposium: at the 4th ASEAN Dance Festival Singapore. Singapore: National Arts Council. p. 97. <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://sealang.net/api/api.pl?query=*ra%E1%B9%83&service=dictionary&language=oldkhmer">"raṃ ~ *ram ~ *rāṃ"</a>. Sealang.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sealang&rft.atitle=ra%E1%B9%83+~+%2Aram+~+%2Ar%C4%81%E1%B9%83&rft_id=http%3A%2F%2Fsealang.net%2Fapi%2Fapi.pl%3Fquery%3D%2Ara%25E1%25B9%2583%26service%3Ddictionary%26language%3Doldkhmer&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"></li></ul> </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://sealang.net/api/api.pl?query=rpam&service=dictionary&language=oldkhmer">"rapaṃ ~ rapam ~ rpam"</a>. Sealang.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sealang&rft.atitle=rapa%E1%B9%83+~+rapam+~+rpam&rft_id=http%3A%2F%2Fsealang.net%2Fapi%2Fapi.pl%3Fquery%3Drpam%26service%3Ddictionary%26language%3Doldkhmer&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> Thailand's Cultural mission to Australia. (1970). The Royal Thai Ballet. Bangkok: Kurusapha Ladprao Press. p. 19. </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> Mohd. Anis Md. Nor. (1993). Zapin, Folk Dance of the Malay World. New York: Oxford University Press. p. 72. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-019-5-88598-9" title="Special:BookSources/978-019-5-88598-9">978-019-5-88598-9</a> <ul><li>Santaella, M. A. (2023). Performing Arts and the Royal Courts of Southeast Asia Vol. I: Pusaka as Documented Heritage. Leiden, The Netherlands: Koninklijke Brill NV. p. 8. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-900-4-68653-3" title="Special:BookSources/978-900-4-68653-3">978-900-4-68653-3</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/search?fq=x0:jrnl&q=n2:2213-0527">2213-0527</a></li></ul> </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Ruangnarong P. (1984). On folklore of Muslims in Pattani, Yala, and Narathiwat Provinces, southern Thailand สมบัติไทยมุสลิมภาคใต้การศึกษาคติชาวบ้านไทยมุสลิมจังหวัดปัตตานี ยะลา และนราธิวาส (in Thai). (2nd Ed.). Bangkok: Charoenwit Kanphim. p. 115. </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Phitthayalap Phrutthiyakon, Prince, Yupho D., and The Fine Arts Department of Thailand. (1989). The Khon. Bangkok: Promotion and Public Relations Sub-division. p. 7 <ul><li>International Association of Tamil Research. (1968). Proceedings of the First International Conference Seminar of Tamil Studies Vol. I. Kuala Lumpur: International Association of Tamil Research. p. 90.</li> <li>Caldwell R., Wyatt J. L. and Pillai R. (1913). A Comparative Grammer of The Dravidian or South-Indian Family of Languages. London: Kegan Paul, Trench, Trubner & Co., Ltd. pp. 105, 619.</li></ul> </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <a rel="nofollow" class="external text" href="https://agarathi.com/word/%E0%AE%95%E0%AF%8B%E0%AE%A9%E0%AF%8D">"கோன்"</a>. Tamil Dictionary. University of Madras Lexicon. Retrieved on 25 May 2024. </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> Chanthawit N. and Promporn Pramualratana. (1998). Thai Puppets & Khon Masks. (Translated by Promporn Pramualratana). Bangkok: River Books. p 16. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-8-22523-4" title="Special:BookSources/978-974-8-22523-4">978-974-8-22523-4</a> </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> Caldwell R., Wyatt J. L. and Pillai R. (1913). A Comparative Grammer of The Dravidian or South-Indian Family of Languages. London: Kegan Paul, Trench, Trubner & Co., Ltd. pp. 105, 619. </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> Scheltema J. F. (1912). Monumental Java: with Illustrations, and Vignettes after Drawings of Javanese Chandi Ornament by the Author. New Delhi: Asian Educational Services. p. 170. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/812-060-222-6" title="Special:BookSources/812-060-222-6">812-060-222-6</a> </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> Sakakibara, Kiitsu. (1992). "DANCES OF THAILAND: Origin of Thai Dance," Dances of Asia. Chandigarh, India: Abhishek Publications. p. 84. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-999-2-89880-2" title="Special:BookSources/978-999-2-89880-2">978-999-2-89880-2</a> </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Kerlogue, Fiona. (2004). Performing Objects: Museums, Material Culture and Performance in Southeast Asia. London: Horniman Museum and Gardens. p. 127. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-190-3-33801-8" title="Special:BookSources/978-190-3-33801-8">978-190-3-33801-8</a>, <a href="/wiki/Special:BookSources/1903338018" title="Special:BookSources/1903338018">1903338018</a> </li> <li id="cite_note-yupho.1973-18">^ <a href="#cite_ref-yupho.1973_18-0">a</a> <a href="#cite_ref-yupho.1973_18-1">b</a> <a href="#cite_ref-yupho.1973_18-2">c</a> <a href="#cite_ref-yupho.1973_18-3">d</a> <a href="#cite_ref-yupho.1973_18-4">e</a> <a href="#cite_ref-yupho.1973_18-5">f</a> <a href="#cite_ref-yupho.1973_18-6">g</a> <a href="#cite_ref-yupho.1973_18-7">h</a> <a href="#cite_ref-yupho.1973_18-8">i</a> <a href="#cite_ref-yupho.1973_18-9">j</a> <a href="#cite_ref-yupho.1973_18-10">k</a> <a href="#cite_ref-yupho.1973_18-11">l</a> <a href="#cite_ref-yupho.1973_18-12">m</a> <a href="#cite_ref-yupho.1973_18-13">n</a> <a href="#cite_ref-yupho.1973_18-14">o</a> Dhanit Yupho, Montri Tramote, Arkhom Sayakham, Suwannee Chalanukrao, and Jamriang Putpradap, The Fine Arts Department of Thailand. (1973). Silapa Lakhon Ram Rue Khue Mue Nattasin Thai [The Art of Thai Drama and Classical Dance or Handbook of Thai Classical Dance] ศิลปละคอนรำหรือคู่มือนาฏศิลปไทย (in Thai). H.R.H. Prince Chalermpol ordered to be printed on the occasion of the 5th birthday anniversary on 29 April 1973. Bangkok: Siwapon Ltd,. Part. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/934595560">934595560</a> </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> The Continuing Education Center Chulalongkorn University. (2002). A Survey of Thai Arts and Architectural Attractions: A Manual for Tourist Guides. Bangkok: Chulalongkorn University. p. 42. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-5-78765-0" title="Special:BookSources/978-974-5-78765-0">978-974-5-78765-0</a> </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> Pletcher, Kenneth. (2011). The Geography of China: Sacred and History Places (eBook). New York, NY: Brotannica Educational Publishing. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61530-182-9" title="Special:BookSources/978-1-61530-182-9">978-1-61530-182-9</a> </li> <li id="cite_note-dpe.2016-21">^ <a href="#cite_ref-dpe.2016_21-0">a</a> <a href="#cite_ref-dpe.2016_21-1">b</a> The Institute of the Art of Muay Thai, Department of Physical Education National Stadium of Thailand (DPE). (2016). Prawat sart Muay Thai [History of Muay Thai] ประวัติศาสตร์มวยไทย (in Thai). Bangkok: BTS Press. p. 21. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-616-297-337-6" title="Special:BookSources/978-616-297-337-6">978-616-297-337-6</a> </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Kwon, Seok Mu. (2020). Taegug-ui hon muetai [The soul of Thailand, Muay Thai] 태국의 혼, 무에타이 (in Korean) (eBook). Seoul: Kwon Seokmu. pp. 57, 69. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/979-11-6569-336-7" title="Special:BookSources/979-11-6569-336-7">979-11-6569-336-7</a> </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> Maliwan P., Office of Literature and History, the Fine Arts Department of Thailand. (1974). Thai Literature of the Sukhothai Period TH231. Bangkok: Faculty of Humanities, Ramkhamhaeng University. p. 109 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/974-598-864-2" title="Special:BookSources/974-598-864-2">974-598-864-2</a> </li> <li id="cite_note-skar.2023-24">^ <a href="#cite_ref-skar.2023_24-0">a</a> <a href="#cite_ref-skar.2023_24-1">b</a> Skar, Lowell and Damrhung Pornrat. (2023). "Index (Ram, Rabam)," Lives in Motion: Celebrating Dance in Thailand. London: Taylor & Francis. p. 12–13. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-100-0-99128-4" title="Special:BookSources/978-100-0-99128-4">978-100-0-99128-4</a>, <a href="/wiki/Special:BookSources/978-100-3-45367-3" title="Special:BookSources/978-100-3-45367-3">978-100-3-45367-3</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.4324%2F9781003453673">10.4324/9781003453673</a> </li> <li id="cite_note-finearts.1964-25">^ <a href="#cite_ref-finearts.1964_25-0">a</a> <a href="#cite_ref-finearts.1964_25-1">b</a> <a href="#cite_ref-finearts.1964_25-2">c</a> The Fine Arts Department of Thailand. (1964). The Archaeological Seminar Lecture in Sukhothai period 1960 B.E. Published on the occasion of H.M. King Bhumibhol's visit to open the Ramkhamhaeng National Museum in Sukhothai Province, on January 25, 1964. Bangkok: The Fine Arts Department of Thailand. p. 40. </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> Sidwell, Paul and Jenny, Mathias. (2021). The Languages and Linguistics of Mainland Southeast Asia: A Comprehensive Guide. Berlin/Boston: Walter de Gruyter GmbH. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-311-0-55606-3" title="Special:BookSources/978-311-0-55606-3">978-311-0-55606-3</a> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Office of the Prime Minister, Royal Thai Government and Thailand Business Information and Research Co., Ltd. (1979). "Sukhothai: The Dawn of Happiness," Thailand Into the 80s. Bangkok: Office of the Prime Minister, Kingdom of Thailand. p. 17. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/05876265">05876265</a> </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> Phiromanukul, Rungrot. (2024). Ayōthayā kō̜n Sukhōthai ton kamnœ̄t Ayutthayā [Ayodhaya before Sukhothai, the origin of Ayutthaya] อโยธยาก่อนสุโขทัย ต้นกำเนิดอยุธยา (in Thai). Bangkok: Matichon. pp. 68, 295–296. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-0-21878-4" title="Special:BookSources/978-974-0-21878-4">978-974-0-21878-4</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/1423565170">1423565170</a> </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Champaphan, Kamphon. (2023). Downtown Ayutthaya tāngchāt tāng phāsā læ lōkāphiwat rǣk nai Sayām-ʻUsākhanē [History of ethnic neigborhoods in Phra Nakhon Si Ayutthaya, Thailand and the Kingdom of Ayutthaya and its relationship with foreign countries] ต่างชาติต่างภาษาและโลกาภิวัตน์แรกในสยาม-อุษาคเนย์ (in Thai). Bangkok: Matichon. p. 7. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-0-21818-0" title="Special:BookSources/978-974-0-21818-0">978-974-0-21818-0</a> </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Turpin, F. H. and Cartwright, B. O. (1997). A History of the Kingdom of Siam and of the Revolutions that have caused the Overthrow of the Empire up to 1770. Bangkok: White Lotus Press. p. 3. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-8-49663-4" title="Special:BookSources/978-974-8-49663-4">978-974-8-49663-4</a> </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> Rubin, Don et al. (2001). "THAILAND," The World Encyclopedia of Contemporary Theatre: Asia/Pacific. London: Francis Group. pp. 437–438. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-26087-6" title="Special:BookSources/0-415-26087-6">0-415-26087-6</a> </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> Ingkhaphatthanakun, Wasin. (2005). Kānʻanurak singwǣtlō̜m, thammachāt læ mō̜radok thāng watthanatham [The Protection of Environmental and Cultural Resources] การอนุรักษ์สิ่งแวดล้อมธรรมชาติ และมรดกทางวัฒนธรรม (in Thai). Nakhon Pathom: Silpakorn University. p. 302. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-9-62444-9" title="Special:BookSources/978-974-9-62444-9">978-974-9-62444-9</a> "โขนเป็นนาฏศิลป์ชั้นสูงอย่างหนึ่งของไทย มีกําเนิดมาตั้งแต่พุทธศตวรรษที่ 16 ซึ่งสันนิษฐานจากลายแกะสลักเรื่อง “รามายณะ” (ภาพที่ 11-2)" </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> Vickery M. (1977). "<a rel="nofollow" class="external text" href="https://thesiamsociety.org/wp-content/uploads/1977/03/JSS_065_1b_Vickery_2K125FragmentLostChronicleOfAyutthaya.pdf">The 2/K.125 Fragment, A Lost Chronicle of Ayutthaya</a>," Journal of the Siam Society, 65(1):10–11, 12–13. </li> <li id="cite_note-tu.1991-34">^ <a href="#cite_ref-tu.1991_34-0">a</a> <a href="#cite_ref-tu.1991_34-1">b</a> Thai Khadi Research Institute, Thammasat University and The College of Dramatic Arts, The Fine Arts Department of Thailand. (1991). Seminar Documents: Seminar Project of Thai Dance Demonstration in Honor of H.R.H. Princess Maha Chakri Sirindhorn on the occasion of the 3rd Cycle Birthday Anniversary on 2 April 1991, 14-15 March 1991, Thammasat University Auditorium (เอกสารประกอบการสัมมนา โครงการสัมมนาสาธิตเรื่องนาฏศิลป์ไทย เฉลิมพระเกียรติสมเด็จพระเทพรัตนราชสุดาฯ สยามบรมราชกุมารี ฯ). Bangkok: Thammasat University. p 11. </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVirulrak1999" class="citation journal cs1">Virulrak, Surapone (September–December 1999). "Performing Arts during the Reign of King Rama IX". SPAFA. 9 (3): 6.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=SPAFA&rft.atitle=Performing+Arts+during+the+Reign+of+King+Rama+IX&rft.volume=9&rft.issue=3&rft.pages=6&rft.date=1999-09%2F1999-12&rft.aulast=Virulrak&rft.aufirst=Surapone&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVirulrak1999" class="citation journal cs1">Virulrak, Surapone (September–December 1999). "Performing Arts during the Reign of King Rama IX". SPAFA. 9 (3): 5.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=SPAFA&rft.atitle=Performing+Arts+during+the+Reign+of+King+Rama+IX&rft.volume=9&rft.issue=3&rft.pages=5&rft.date=1999-09%2F1999-12&rft.aulast=Virulrak&rft.aufirst=Surapone&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCravath1987" class="citation book cs1">Cravath, Paul (1987). Earth in Flower: A Historical and Descriptive Study of the Classical Dance Drama of Cambodia. University Microfilms International. p. 126.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Earth+in+Flower%3A+A+Historical+and+Descriptive+Study+of+the+Classical+Dance+Drama+of+Cambodia&rft.pages=126&rft.pub=University+Microfilms+International&rft.date=1987&rft.aulast=Cravath&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Tiwary, Shiv Shanker, and Kumar, Rajeev. (2009). Encyclopaedia of Southeast Asia and Its Tribes Vol. 2. New Delhi: Anmol Publications. p. 100. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-939-0-28989-9" title="Special:BookSources/978-939-0-28989-9">978-939-0-28989-9</a> </li> <li id="cite_note-rubin.2001-39">^ <a href="#cite_ref-rubin.2001_39-0">a</a> <a href="#cite_ref-rubin.2001_39-1">b</a> Rubin, Don et al. (2001). "THAILAND," The World Encyclopedia of Contemporary Theatre: Asia/Pacific. London: Francis Group. pp. 437–438. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-26087-6" title="Special:BookSources/0-415-26087-6">0-415-26087-6</a> </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> Leonowens, A. H. (1873). "SIAMESE LITERATURE AND ART", The English Governess at the Siamese Court: Being Recollections of Six Years in the Royal Palace at Bangkok, Entered according to Act of Congress, in the year 1870 by, Fields, Osgood, & Co., in the Office of the Librarian of Congress, at Washington. Boston: James R. Osgood and Company. p. 176. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-059-8-61691-3" title="Special:BookSources/978-059-8-61691-3">978-059-8-61691-3</a> </li> <li id="cite_note-velder.1968-41">^ <a href="#cite_ref-velder.1968_41-0">a</a> <a href="#cite_ref-velder.1968_41-1">b</a> Velder, Christian. "<a rel="nofollow" class="external text" href="https://thesiamsociety.org/wp-content/uploads/1968/03/JSS_056_1d_Velder_SageOfRamaInThailand.pdf">Notes on the Saga of Rama in Thailand</a>," Journal of the Siam Society 56(1)(1968): 35–37. </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> MacDonald, Malcolm John. (1959). ANGKOR. (2th ed.). New York: Praeger. pp. 32–33. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-111-1-19609-7" title="Special:BookSources/978-111-1-19609-7">978-111-1-19609-7</a> <a href="/wiki/LCCN_(identifier)" class="mw-redirect" title="LCCN (identifier)">LCCN</a> <a rel="nofollow" class="external text" href="https://www.loc.gov/item/59007695">59-7695</a> </li> <li id="cite_note-Loubère-43">^ <a href="#cite_ref-Loub%C3%A8re_43-0">a</a> <a href="#cite_ref-Loub%C3%A8re_43-1">b</a> <a href="#cite_ref-Loub%C3%A8re_43-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFde_La_Loubère1693" class="citation book cs1">de La Loubère, Simon (1693). <a rel="nofollow" class="external text" href="https://archive.org/details/bub_gb_RvpBAQAAMAAJ">A New Historical Relation of the Kingdom of Siam</a>. Translated by A.P. London: Printed by F. L. for Tho. Horne at the Royal Exchange, Francis Saunders at the New Exchange, and Tho. Bennet at the Half-Moon in St. Pauls Church-yard. Retrieved 16 October 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+New+Historical+Relation+of+the+Kingdom+of+Siam&rft.place=London&rft.pub=Printed+by+F.+L.+for+Tho.+Horne+at+the+Royal+Exchange%2C+Francis+Saunders+at+the+New+Exchange%2C+and+Tho.+Bennet+at+the+Half-Moon+in+St.+Pauls+Church-yard&rft.date=1693&rft.aulast=de+La+Loub%C3%A8re&rft.aufirst=Simon&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbub_gb_RvpBAQAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-siamese-heritage.org-44"><a href="#cite_ref-siamese-heritage.org_44-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.siamese-heritage.org/jsspdf/2001/JSS_095_0i_Smyth_JamesLowOnSiameseLiterature.pdf">"James Low, On Siamese Literature"</a> (PDF). 1839. p. 177.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=James+Low%2C+On+Siamese+Literature&rft.pages=177&rft.date=1839&rft_id=http%3A%2F%2Fwww.siamese-heritage.org%2Fjsspdf%2F2001%2FJSS_095_0i_Smyth_JamesLowOnSiameseLiterature.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> The Fine Arts Department of Thailand. (1989). Wannakam samai Thonburi lem neung [Literature in Thonburi Period Vol. 1] วรรณกรรมสมัยธนบุรี เล่ม 1 (in Thai). Bangkok: The Fine Arts Department of Thailand. p. 129. cited in the Records of the Memory of Princess Narinthewi of Siam about the events from the fall of the Ayutthaya Kingdom up to the reign of King Rama I of Bangkok. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Chaophraya Thiphakorawong, (Kham Bunnag), Flood, C. K., and Flood, Thadeus. (1990). The Dynastic Chronicles, Bangkok Era, the First Reign: Annotations and commentary. Tokyo: Centre for East Asian Cultural Studies. p. 58. </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> Damrong Rajanubhab. (2003). Lakhō̜n fō̜nram: prachum rư̄ang lakhō̜n fō̜nram kap rabam ramtēn : tamrā fō̜nram tamnān rư̄ang lakhō̜n ʻInao tamnān lakhō̜n dưkdamban [A collection of writings on the history of traditional Thai dance drama] ละครฟ้อนรํา: ประชุมเรื่องละครฟ้อนรํากับระบํารําเต้นตําราฟ้อนรํา ตํานานเรื่องละครอิเหนา ตํานานละครดึกดําบรรพ์ (in Thai). Bangkok: Matichon. p. 330. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-3-22927-5" title="Special:BookSources/978-974-3-22927-5">978-974-3-22927-5</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/54048739">54048739</a> </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> Duangphattra, Chakkrit. (1996). Botlakhō̧n wēthī bǣp stylization rư̄ang sī phǣndin læ sū sī thai hao: datplǣng čhāk botpraphan khō̧ng Sō̧. Phon Trī Khưkrit Prāmōt [Stylisation Stage Plays of the <a href="/wiki/Four_Reigns" title="Four Reigns">Four Reigns</a> and <a href="/wiki/Empress_Dowager_Cixi" title="Empress Dowager Cixi">Empress Dowager Cixi</a>: Adapted from the novel by <a href="/wiki/Kukrit_Pramoj" title="Kukrit Pramoj">Kukrit Pramoj</a>] บทละครเวทีแบบ Stylization เรื่อง สี่แผ่นดิน และซูสีไทเฮา: ดัดแปลงจากบทประพันธ์ของ ศ.พลตรี คึกฤทธิ์ ปราโมช (in Thai). Bangkok: Ban Wannakam. p. 13. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-7-10890-3" title="Special:BookSources/978-974-7-10890-3">978-974-7-10890-3</a> </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> Taksin, Dhanit Yupho, and Preeda Srichalalai. (1941). Bhot lakhon ramakien phraratchaniphon Somdej Phrachao Krung Thonburi [Ramakien Composition, work of King Taksin] บทละครรามเกียรติ์ พระราชนิพนธ์สมเด็จพระเจ้ากรุงธนบุรี, เล่าเรื่องหนังสือรามเกียรติ์โดยธนิต อยู่โพธิ์ และเรื่องงานสร้างชาติไทยโดยปรีดา ศรีชลาลัย (in Thai). Printed and distributed at the funeral of Mr. Akhom Inthayothin on November 23, 1931 at the crematorium of Wat Debsirindrawas Ratchaworawihan. Bangkok: Phrachan ; reprinted version at the Fine Arts Department of Thailand. pp. 232-233. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/880772173">880772173</a> cited in the record of the Emerald Buddha Celebration, 1782. </li> <li id="cite_note-indthai-50"><a href="#cite_ref-indthai_50-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.esamskriti.com/essay-chapters/Historical-Ties-India-and-Thailand-1.aspx">"Historical Ties India and Thailand"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Historical+Ties+India+and+Thailand&rft_id=http%3A%2F%2Fwww.esamskriti.com%2Fessay-chapters%2FHistorical-Ties-India-and-Thailand-1.aspx&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20061029183721/http://www.goldenlandpages.com/hotspots/rama/rama.htm">"Ramayana in Myanmar's Heart"</a>. Archived from <a rel="nofollow" class="external text" href="http://goldenlandpages.com/hotspots/rama/rama.htm">the original</a> on 29 October 2006. Retrieved 5 September 2006.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ramayana+in+Myanmar%27s+Heart&rft_id=http%3A%2F%2Fgoldenlandpages.com%2Fhotspots%2Frama%2Frama.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> Amrahs, H. (2023). "Chapter 23. Cambodia Dance and Music", Khmer Culture: A Cultural Exploration of Cambodia (eBook). n.p.: Mahesh Dutt Sharma. </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> Osnes, M. B., and Gill, S. (2001). "Lakon Kbach Boran: Cambodia", Acting An International Encyclopedia of Traditional Culture. Santa Barbara, CA: Bloomsbury Publishing. p. 188. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-157-6-07804-4" title="Special:BookSources/978-157-6-07804-4">978-157-6-07804-4</a> cited in Brandon, James R. (1974). Theatre in Southeast Asia. Cambridge, MA: Harvard University Press.; Brandon, James R. (1976). Brandon's Guide to Theatre in Asia. Honolulu: University Press of Hawaii.; Groslier, G. "Royal Dancers of Cambodia.”, Asia 22, 1(1922):47-53, 74.; Meyer, C. "Cambodian Dances.", Nokor Khmer 3(1970):2–27. <ul><li>Liu, S. (2016). "Cambodia", Routledge Handbook of Asian Theatre. Oxon: Routledge, imprint of the Taylor & Francis Group. p. 172. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-131-7-27886-3" title="Special:BookSources/978-131-7-27886-3">978-131-7-27886-3</a></li> <li>Hinchey, J. (2018). "The Arts: Dance", Cambodia: Discover the Country, Culture and People. Frenchs Forest, NSW: Redback Publishing. p. 15. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-192-5-63030-5" title="Special:BookSources/978-192-5-63030-5">978-192-5-63030-5</a></li></ul> </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> Osnes, M. B., and Gill, S. (2001). "Lakon Kbach Boran: Cambodia", Acting An International Encyclopedia of Traditional Culture. Santa Barbara, CA: Bloomsbury Publishing. p. 188. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-157-6-07804-4" title="Special:BookSources/978-157-6-07804-4">978-157-6-07804-4</a> </li> <li id="cite_note-munson.1968-55">^ <a href="#cite_ref-munson.1968_55-0">a</a> <a href="#cite_ref-munson.1968_55-1">b</a> <a href="#cite_ref-munson.1968_55-2">c</a> Munson, Frederick P., et al. (1968). <a class="external text" href="https://upload.wikimedia.org/wikipedia/commons/0/0a/Area_Handbook_for_Cambodia.pdf">Foreign Area Studies, The American University: Area Handbook for Cambodia</a>. Washington D.C.: U.S. Government Printing Office. p. 128. </li> <li id="cite_note-Fletcher2001-56"><a href="#cite_ref-Fletcher2001_56-0">^</a> <a href="#Fletcher2001">Fletcher 2001</a>, p. 306 </li> <li id="cite_note-57"><a href="#cite_ref-57">^</a> Miettinen, Jukka. "<a rel="nofollow" class="external text" href="https://www.spafajournal.org/index.php/spafadigest/article/view/482">Parallelisms of Theatre and the Visual Arts in Thailand and Cambodia</a>," Journal of SPAFA Digest 7(2)(1986): 28. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/search?fq=x0:jrnl&q=n2:0125-7099">0125-7099</a> </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> Abdul Hakim bin Haji Mohd. Yassin, Awang Haji, ASEAN Committee on Culture and Information. (2000). Traditional Literature of ASEAN. Bandar Seri Begawan: ASEAN Committee on Culture and Information. p. 235. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-999-1-70196-7" title="Special:BookSources/978-999-1-70196-7">978-999-1-70196-7</a> </li> <li id="cite_note-walker.1955-59">^ <a href="#cite_ref-walker.1955_59-0">a</a> <a href="#cite_ref-walker.1955_59-1">b</a> <a href="#cite_ref-walker.1955_59-2">c</a> Walker, George B. (1955). <a rel="nofollow" class="external text" href="https://cdn.angkordatabase.asia/libs/docs/walker-angkor-empire.pdf">ANGKOR EMPIRE</a>. Calcutta: Signet Press. p. 57. </li> <li id="cite_note-zadrozny.1955-60">^ <a href="#cite_ref-zadrozny.1955_60-0">a</a> <a href="#cite_ref-zadrozny.1955_60-1">b</a> Zadrozny, Mitchell G.; Androsky, Albert; Ginsburg, Norton S., and Eggan, Fred. (1955). Area Handbook on Cambodia. Chicago, IL: The Human Relations Area Files (HRAF), University of Chicago. p. 348. </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> Whitaker, Donald P., et al. (1973). Area Handbook for the Khmer Republic (Cambodia). Research and writing were completed July 1972, prepared by Foreign Area Studies (FAS) of The American University. Washington D.C.: U.S. Government Printing Office. <a href="/wiki/LCCN_(identifier)" class="mw-redirect" title="LCCN (identifier)">LCCN</a> <a rel="nofollow" class="external text" href="https://www.loc.gov/item/72600290">72-600290</a> </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFO._Miettinen2018" class="citation web cs1">O. Miettinen, Jukka (15 January 2018). <a rel="nofollow" class="external text" href="https://disco.teak.fi/asia/classical-dance/">"Cambodia:Classical Dance"</a>. Asian Traditional Theatre and Dance. Theatre Academy of the University of the Arts Helsinki. Retrieved 13 November 2024. <q>For example, King Ang Duong (1796–1859) had taken refuge in the court of Thailand (then Siam). It is said that he set new standards for his court dance, since he was inspired by the dances he had seen in Thailand. He even remodelled the dance costume after Thai models… The Cambodian court dance tradition has been strongly connected to the Thai tradition for centuries. It was implanted in Cambodia because the young Cambodian princes were often educated at the court of Thailand and also because Thai dancers and dance teachers frequently visited and worked at the Cambodian court. In Cambodia the first standardisation of classical dance took place as early as the mid-19th century</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Asian+Traditional+Theatre+and+Dance&rft.atitle=Cambodia%3AClassical+Dance&rft.date=2018-01-15&rft.aulast=O.+Miettinen&rft.aufirst=Jukka&rft_id=https%3A%2F%2Fdisco.teak.fi%2Fasia%2Fclassical-dance%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-macdonald.1959-63">^ <a href="#cite_ref-macdonald.1959_63-0">a</a> <a href="#cite_ref-macdonald.1959_63-1">b</a> MacDonald, Malcolm John. (1959). ANGKOR. (2th ed.). New York: Praeger. pp. 32–33. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-111-1-19609-7" title="Special:BookSources/978-111-1-19609-7">978-111-1-19609-7</a> <a href="/wiki/LCCN_(identifier)" class="mw-redirect" title="LCCN (identifier)">LCCN</a> <a rel="nofollow" class="external text" href="https://www.loc.gov/item/59007695">59-7695</a> </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> Sasagawa, Hideo. "<a rel="nofollow" class="external text" href="https://web.archive.org/web/20240924141137/https://kyoto-seas.org/pdf/42/4/420403.pdf">Post/colonial Discourses on the Cambodian Court Dance</a>," Southeast Asian Studies, 42(4)(March 2005). </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> X, Jacobus and Carrington, Charles. (1900). <a rel="nofollow" class="external text" href="https://archive.org/details/untroddenfieldso00xjac/page/n239/mode/2up">Untrodden Fields of Anthropology: Observations on the Esoteric Manners and Customs of Semi-civilized Peoples ; Being a record of thirty years' experience in Asia, Africa, America and Oceania by a French Army-Surgeon Vol. I</a>. New York: American Anthropological Society. p. 196. </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> Cravath, Paul. (2007). Earth in Flower: The Divine Mystery of the Cambodian Dance Drama. Holmes Beach, FL: DatAsia, Inc. pp. 118–119. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-193-4-43128-3" title="Special:BookSources/978-193-4-43128-3">978-193-4-43128-3</a> </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> Rutnin, Mattani Mojdara. (1996). Dance, Drama, and Theatre in Thailand: The Process of Development and Modernization. Chiang Mai: Silkworm Books. p. 56. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-974-3-90006-8" title="Special:BookSources/978-974-3-90006-8">978-974-3-90006-8</a> </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Corfield, Justin. (2009). "WORLDWIDE INTEREST IN ANGKOR," The History of Cambodia. Westport, CT: Greenwood ; ABC-Clio. pp. 32–33. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-031-3-35723-7" title="Special:BookSources/978-031-3-35723-7">978-031-3-35723-7</a> </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> MOURA, J. M., and LEROUX, Ernest. (1883). LE ROYAUME DU CAMBODGE: Tome Premier. Paris: La Société Asiatique. p. 453. </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> GROSLIER, George. (1913). <a rel="nofollow" class="external text" href="https://gallica.bnf.fr/ark:/12148/bpt6k3253461/">Danseuses Cambodgiennes Anciennes et Modernes</a>. Paris: A. Challamel. p. 152. </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.soundsofangkor.org/english/dance-theater/king-norodom-actresses/">"King Norodom's actresses (reign 1860-1904), by Émile Gsell - Siamese Style"</a>. Sound of Angkor. Retrieved 14 November 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=King+Norodom%27s+actresses+%28reign+1860-1904%29%2C+by+%C3%89mile+Gsell+-+Siamese+Style&rft.pub=Sound+of+Angkor&rft_id=https%3A%2F%2Fwww.soundsofangkor.org%2Fenglish%2Fdance-theater%2Fking-norodom-actresses%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> Paetzold, Anina. (2023). Musikkulturen im Fokus - 4: Imaginierte Traditionen Eine diachrone Ethnographie über das Bewahren performativer Künste in Kambodscha [Musical Cultures in Focus - 4: Imagined Traditions A Diachronic Ethnography on the Preservation of Performative Arts in Cambodia]. (in German). p. 70. Berlin: Logos Verlag Berlin GmbH. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8325-5638-9" title="Special:BookSources/978-3-8325-5638-9">978-3-8325-5638-9</a> cited in GROSLIER, G. (1913). Danseuses Cambodgiennes Anciennes et Modernes. </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> "ชาวเน็ตโพสต์ปกป้อง “นาฏศิลป์ไทย” เผยแม่เป็นคนช่วยฟื้นฟูศิลปะรำกัมพูชา" [Netizens to protect “Dance in Thailand”. A Thai heir reveals that his mother is the one who helped revive the Cambodian Royal Ballet.] (in Thai). (2023, 10 March). TNN Thailand. Retrieved on 10 November 2024. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Damrong Rajanubhab. (1921). Tamnan rueng lakhon Inao [The Legend of Inao drama] ตำนานเรื่องลครอิเหนา ของพระเจ้าบรมวงศ์เธอ กรมพระยาดำรงราชานุภาพ แต่งถวายพระนางเจ้าสุขุมาลมารศรี พระราชเทวี ในงานฉลองพระขัณษาซายิด เมื่อปีระกา พ.ศ. ๒๔๖๔ (in Thai). Bangkok: Rong Phim Thai. pp. 128–129. </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> Mehta, Harish C. (2001). Warrior Prince Norodom Ranariddh, Son of King Sihanouk of Cambodia. Singapore: Graham Brash. p. 115. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-981-2-18086-5" title="Special:BookSources/978-981-2-18086-5">978-981-2-18086-5</a> </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> Phim, Toni Samantha and Thompson, Ashley. (1999). Dance in Cambodia. Kuala Lampur: Oxford University Press. p. 44. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-983-5-60059-3" title="Special:BookSources/978-983-5-60059-3">978-983-5-60059-3</a> </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> Prum Mésa, P. and Suppya, Bru-nut H. (2012). <a rel="nofollow" class="external text" href="https://digitalcollections.nypl.org/items/87ac1510-343a-0131-7bc9-3c075448cc4b">Interview with HRH Princess Norodom Buppha Devi: Khmer dance project, 2008-07-25</a>. <a rel="nofollow" class="external text" href="https://digitalcollections.nypl.org/collections/khmer-dance-project#/?tab=about&scroll=30">The Khmer Dance Project comprises 60 videos filmed between 2008 and 2010</a>. Jerome Robbins Dance Division. The New York Public Library. Retrieved on 16 May 2024. </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMaurel2002" class="citation journal cs1">Maurel, Frédéric (2002). "A Khmer "nirat", 'Travel in France during the Paris World Exhibition of 1900': influences from the Thai?". South East Asia Research. 10 (1): 99–112. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.5367%2F000000002101297026">10.5367/000000002101297026</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/23749987">23749987</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:146881782">146881782</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=South+East+Asia+Research&rft.atitle=A+Khmer+%22nirat%22%2C+%27Travel+in+France+during+the+Paris+World+Exhibition+of+1900%27%3A+influences+from+the+Thai%3F&rft.volume=10&rft.issue=1&rft.pages=99-112&rft.date=2002&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A146881782%23id-name%3DS2CID&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F23749987%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.5367%2F000000002101297026&rft.aulast=Maurel&rft.aufirst=Fr%C3%A9d%C3%A9ric&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMaurel2002100-79"><a href="#cite_ref-FOOTNOTEMaurel2002100_79-0">^</a> <a href="#CITEREFMaurel2002">Maurel 2002</a>, p. 100. </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPakdeekham2009" class="citation journal cs1">Pakdeekham, Santi (2009). <a rel="nofollow" class="external text" href="http://www.damrong-journal.su.ac.th/?article_id=347&page=view_article">"Relationships between early Thai and Khmer plays"</a>. Damrong Journal. 8 (1): 56.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Damrong+Journal&rft.atitle=Relationships+between+early+Thai+and+Khmer+plays&rft.volume=8&rft.issue=1&rft.pages=56&rft.date=2009&rft.aulast=Pakdeekham&rft.aufirst=Santi&rft_id=http%3A%2F%2Fwww.damrong-journal.su.ac.th%2F%3Farticle_id%3D347%26page%3Dview_article&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADance+in+Thailand" class="Z3988"> </li> <li id="cite_note-FOOTNOTEPakdeekham200954-81"><a href="#cite_ref-FOOTNOTEPakdeekham200954_81-0">^</a> <a href="#CITEREFPakdeekham2009">Pakdeekham 2009</a>, p. 54. </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://theworldinpaperview.blogspot.co.id/2015/01/a-thai-archaeological-dance.html">"A Thai Archaeological Dance"</a>. 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