Toto... We're not in Kansas anymore!
I was privileged to witness an amazing performance of dance and music recently and am still not over it. The performance was a benefit for the renovation of a temple in Keng Tung, a Shan State nearby in Burma, and was probably the vision of the former chair of the Art Department at CMU, Ajan Vithi Phanichphant, who is consulting on the renovation. He has been a tireless advocate for the arts in Thailand, including dance, music, architecture, and textiles. Here (below), he presents images of the temple as an introduction to the performance.
The performance was a sensory delight, with special music composed for each dance, beautifully elegant costumes, dramatic lighting, and original dances which combined traditional Thai, Javanese, and Balinese dance with modern interpretation. I didn't want it to end.
Photography was problematic due to the strong lighting and movement, but I subject you to my efforts in an attempt to convey the beauty and exoticism of this special event, and to give credit to the talented performers.
On the left, the very talented Ajan Manop Manasam becomes a 'kinnara', a mythical creature with a bird's legs and wings on a human body. His costume was no doubt an original, personal creation comprising layers of sumptuous silks, golden wings, and sonorous ankle bracelets and other jewelry.
Below is Waewdao Sirisook in a Javanese (Cirebon) batik performing a modern interpretation of Javanese dance. K. Waewdao has studied Balinese dance in Bali, and is a MFA Dance candidate at UCLA.
This dance featured a king-like figure and two women (worshipping subjects?) who used their long bodice wraps as tensioning for a 'menage a deux'.
Another standout was the elfin Ronnarong Khampha, who in a past performance of The Tempest must have been perfectly cast as Ariel (I didn't see it, but he's Ariel personified). For this dance he donned a traditional Thai loincloth, with painted upper legs (in acknowledgement of the tattoos with which men used to cover their upper legs), and the long finger extensions which give the elegant Thai hand movements such grace. His movements were beautifully controlled, powerful, yet light and graceful. It's no surprise that he has also been studying Javanese and Balinese dance in Indonesia.
After this incredible performance, I have vowed to not miss any of the events involving Aj. Vithi, Aj. Manop, or their students- they truly have a gift for theater and the performing arts.
The performance was a sensory delight, with special music composed for each dance, beautifully elegant costumes, dramatic lighting, and original dances which combined traditional Thai, Javanese, and Balinese dance with modern interpretation. I didn't want it to end.
Photography was problematic due to the strong lighting and movement, but I subject you to my efforts in an attempt to convey the beauty and exoticism of this special event, and to give credit to the talented performers.
On the left, the very talented Ajan Manop Manasam becomes a 'kinnara', a mythical creature with a bird's legs and wings on a human body. His costume was no doubt an original, personal creation comprising layers of sumptuous silks, golden wings, and sonorous ankle bracelets and other jewelry.Below is Waewdao Sirisook in a Javanese (Cirebon) batik performing a modern interpretation of Javanese dance. K. Waewdao has studied Balinese dance in Bali, and is a MFA Dance candidate at UCLA.
Thitipol Kanteewong played his 'magic flute', from which he elicited the most beautiful and haunting sounds which I could have listened to for hours. (No, those are not charmed snakes in the foreground- they're lotus flowers along the edge of the stage.)
This dance featured a king-like figure and two women (worshipping subjects?) who used their long bodice wraps as tensioning for a 'menage a deux'.
A sexy, upbeat version of the traditional candle dance had everyone mesmerized by the fast pace, risk-taking moves and flying, hot wax.
Another standout was the elfin Ronnarong Khampha, who in a past performance of The Tempest must have been perfectly cast as Ariel (I didn't see it, but he's Ariel personified). For this dance he donned a traditional Thai loincloth, with painted upper legs (in acknowledgement of the tattoos with which men used to cover their upper legs), and the long finger extensions which give the elegant Thai hand movements such grace. His movements were beautifully controlled, powerful, yet light and graceful. It's no surprise that he has also been studying Javanese and Balinese dance in Indonesia.
After this incredible performance, I have vowed to not miss any of the events involving Aj. Vithi, Aj. Manop, or their students- they truly have a gift for theater and the performing arts.
posted by Tribal Trappings.com at 11:41 AM
