R2: What has been the
influence of the West on Thai Dance/Drama?
Based on the reading, it seems that their multi-cultural
roots heavily impacted Thai dance and music.
Remnants of the Khmer and Cambodian musical tradition remained heavily
ingrained in Thai arts. In the same way,
Western influence has left an indelible mark on Thai performance. Lakhon Phuut is the “equivalent of the
western theatre based on the Greek model, [where] dialogue is spoken rather
than sung”.
Also, western music in some venues has taken the place of
traditional Thai. The Upper-class came
to view traditional Thai music as “out-of-date” or “inferior” replacing it
instead with Western constructions. A
comparison can be drawn to America’s upper class desire to purchase the newest
trends from the Milan runway. Western
music began to infiltrate the culture taking over restaurants, stores, and
integrating itself into what was left of traditional music. The author went as far to say that Thai music
was almost outlawed in the process.
Traditional productions of music, dance, and drama still took place in
the National theatres and Institutes, but served more as tourist attractions
than performance for the people. As a
result, the spaces where traditional music can be heard are quite limited.
It sounds as if Western influence permeated and permanently
changed Thai dance and drama. However,
it seems as though its reaching tentacles were welcomed and invited. Again, this raises the question of preserving
traditional performance. What needs to
be preserved for future generations and in what type of “pure” format? I agree that if art and performance do not
continue to evolve then it dies.
However, at what point is it deemed a sullied and bastardized version of
its former self? Already the giant
shadow puppets of Thai nang art are close to extinction. While their performances waned close to death
in the 1940’s they were resurrected for the King’s 50th year on the
throne party. Simply to be thrust back
into the dusty closest from which they came?
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| Nang Yai performance |
It’s difficult form me to draw an American comparison. We are such a relatively new country with
perhaps what British comedian Eddie Izzard considers to be no appreciation of our
own history. He comments that when we
see a building over fifty years old, we remark on its extreme age and then
promptly destroy it. Maybe a stronger comparison lies on Eastern influence on American business.
- Hailey Drescher
Even though outsiders might not be able to appreciate some indigenous art forms, I think it is important for an culture to be able to claim an art form as "its own". The Japanese Tea Ceremony defines the Japanese culture, so many parallels can be drawn between the Ceremony and Japanese life. It would be a shame to allow Thai art forms to disappear because of the enchroachment of Western musica and values. As Hailey points out, we in American hardly have a history, the Thai have a long and facinating one, I would hope they would be able to embrace it and celebrate it!
ReplyDeleteI agree with what you have written Hailey - one thing I found interesting through these readings was the fact that these 'high-brow' performances that were performed are the ones that are dying out faster than the cultural performances that still go on at festivals in the region. Also I find it very intriguing that a culture that values preservation of tradition so highly would allow such unique performances to die out. -Travis L Williams
ReplyDeleteI'm struck by the contrast between the Ramalilas, the wayang, and the Thai dance/dramas. Although all of them are based on the same source material and steeped in the much the same performance traditions, there is a definite difference in the way each fits into its culture. I've read less about the Thai dance/dramas than the other two, but what I have read emphasizes this tie to the demands of the upper class. To me, it seems that Western colonizers stepped in and took over the power/money position formerly dominated by Thai royalty. Because the dance/dramas did not have the same sort of spiritual/religious/community/political function in the lives of everyday people, the grip of this art form was more tenuous. When the identity and the tastes of the power elite changed, Thai dance/drama simply didn't have the same deep roots to keep them from being blown off the cultural stage.
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