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While
each part of a Khon costume has its own significance, the mask
is the single most important piece. Contrary to popular belief,
masks for each character can vary from troupe to troupe yet all
maintain the necessary identifying characteristics. Each mask
maker has a certain artistic leeway in his interpretation,
however there are certain fundamentals of the character masks
which remain constant. Blunt, curved tusks on a demon mask
signify old age; straight, blunt tusks that point upward
indicate that even though he is a demon, he has mellowed and
become kind-hearted in old age; curved, sharp tusks are those of
a middle-aged demon and sharp pointed tusks which point downward
are those of a youthful demon.
There
are other decorative details which are used in differentiating
between the masks. Eyes of the demons are not the same as the
eyes of other characters. Demon eyes are of two types--"crocodile
eyes" with half eyelids, and bulging "fish eyes".
Tusks were formerly made of ivory, but today it's both scarce
and expensive so other materials are used in most cases.
The
major distinguishing characteristics of Khon masks are the bald
head and the crowned head. Monkey characters and soldiers of the
demon army belong to the "bald head group". Whatever
other differences may appear however, Hanuman is always white.
The characters of Rama, his brothers, gods, rishis (wise hermits),Totsakan,
his relatives and allies, and some of the generals of the monkey
army wear crowned masks. An obvious difference between the demon
and monkey masks is the long tusks of the demons and the canine
teeth of the monkeys. Some Khon mask artisans believe the demon
masks must also have the three characteristics: round chin, a
glaring expression and eyebrow and moustache tips "in
harmony."
More
than 10 styles of crowns are to be found on Khon masks. Some
characters, such as Rama and his brother Lakshman use more than
one type for their roles as the scenes change. (In modern
versions of the Khon, Rama and Lakshman may be without masks.
wearing chadas instead.) As the mask of Hanuman is always white,
the crown of Totsakan always has three tiers.
There
are altogether more than 100 different demon masks used in the
Khon-- these are divided into 14 groups to avoid confusion. To
avoid further confusion, eyes and mouths are different for each
character and facial colouring is also different. If the colours
are too similar, other means of identification are used; for
instance, masks with purple faces are worn by both Phya Thut and
Khun Prachat, so to help in identifying them properly, Phya Thut
carries a lance and Khun Prahat, a club.
Those
who watch khon performances often wonder how those wearing the
masks can breathe. Admittedly, it isn't easy. The masks have
little ventilation and they're hot. Some of the actors
particularly those in the monkey roles must perform acrobatics
and somersaults and to prevent their masks from falling off,
cords are sewn inside the masks at the mouth. These cords are
then held in the teeth of the performers to keep the mask firmly
in place.
Since
the people wearing the masks cannot speak, there is a narrator
ori Khon Phak who has not only to know his subjects, but also
the rhythm of the dancers' narrator and orchestra.(The clowns
are the only characters who speak for themselves; even those who
wear chadas do not speak.)
An
artisan who makes the Khon masks must fully understand the
character and personality of the mythological being the mask
will portray. It is said that a good mask maker requires three
basic qualifications--he must be able to draw, to sculpture or
mould well enough to prepare a model of the character, and to be
able to engrave the delicate ornamentations. Asure and steady
hand is a decided asset.
Originally
models were made of wood or clay, but some mask makers today use
more modern materials for making their models. Before an artisan
begins working on a new mask, he performs a ritual ceremony to
invite the spirits of his old teachers, the gods, and the angels,
to help him succeed at his work. The model is then covered with
several layers of Sa paper or rapier mache. Then it is
thoroughly dried. Depending on their personal preference or
method, mask makers do only a couple of layers before drying,
and then add more material to the mould. Others prefer to do
several layers at one time, and then allow them to dry. some of
the artists also advise sticking the last couple of layers with
a glue made of flour,to which they add a locally made
insecticide. This helps to prevent the finished masks being
damaged by insects and weevils.
Quite
a large number and assortment of models are necessary--not only
for the different facial expressions added, but in addition to
humans, demons, and hermits, there is also a need sometimes for
masks of elephants, horses, and mythological animals.
After
being completely dried, the mask is cut from the mould and
stitched together. The "scar" is covered with thin
paper. the mask next receives a coating of rak samuk --a semi-hard
lacquer, to sharpen and bring out the facial lines. Making a
mask takes about seven days with most of the time taken up by
the drying stages. Most mask makers work on more than one mask
at a time, each one in a different stage of completion.
The
art of mask making is usually passed down from one generation to
another; or a respected craftsman(chang sip mu) may accept
apprentices who come to study and learn from a master and who
show artistic talent. Today the number of old masters has
dwindled and relatively few young artists aspire to the craft,
for the financial reward is small compared to the time and
experience necessary. The old-fashioned way of making Khon masks
has joined the growing list of endangered crafts.
After
a Khon mask has been completed it must be initiated in the
timetested rites before it can be worn by a performer or a
dancer. Gods are believed to give their protection to each mask
and, without the propitiative ceremonies, all sorts of
disastrous catastrophes may assail the one who dares to wear the
mask.
The
completed masks must also undergo a rite to "open their
eyes"--the "Beuk Phra Netra"ceremony. Following
this ritual, the masks are always kept in a high place as is
proper for any object of reverence.
Before
the first performance of a mask it is customary for the master,
or head teacher, to personally place the new mask over the head
of the performer. It is also customary before the debut
performance of a Khon dancer for an elder or respected teacher
to place his mask on the dancer for a Monet. The senior,
standing before the novice, repeats sacred words and presses
gold leaf onto the centre of the mask's forehead.
Since
performers treat their masks with such reverence, periodic rites
are held to pay homage to the spirits of the masks. Both
craftsmen and performers look on the masks as "teachers",
and therefore worthy of respect. Khon masks are always preserved
and some that still exist are well over 100 years old. There are
in fact, masks made by which can be seen in the National Museum in Bangkok.
All
teachers in Thailand are highly respected persons;and teachers
of the classical and
enjoy a special status--not only during their period of teaching,
but for their entire lifetime. Khon performers show their esteem
not only to their own teachers but to all the elderly masters as
well. Thai arts and craftsmanship have a long and traditional
history, and while all teachers in Thailand are honored each
year by a Wai Klu ceremony, the rites of honor for teachers of
the classical drama,
and arts are very elaborate.
The
annual Rite of Homage (Wai Klu) for teachers of the arts
includes a religious ceremony which is followed by an invocation
inviting the divinities (Thevadas) to partake of the feast which
has been provided for them. An elder, usually the senior teacher
or principal of the school, presides over the ceremony. On the
auspicious day the elder is dressed entirely in white (or at
least, wears a white coat).
A
Buddha image is placed on the altar tables along with the
traditional flowers, candles and incense sticks. Another table
holds the food offerings which include a pig's head, duck and
other fowl, both cooked and popped rice, beverages, folded leaf
arrangements and flowers.
A
Piphatorchestra plays specific musical scores as each divinity
is invited to attend the ceremony. Following the departure of
the divine spirits, another ceremony is held to include all
those who are in attendance. All come together to form a circle
and a lighted taper is passed from person to person. From the
president, who begins the ritual, the candle is passed from one
to another until it has completed three circuits.The rites are
concluded by the president marking the forehead of each student
with a specially prepared white paste and sprinkling each one
with lustral (holy) water.
Novice
students are not accepted for initiation until after they have
mastered both the fast and slow tempos of the dance well enough
to appear on stage in minor roles. Some steps and postures are
not taught until after the student has been formally initiated.
Another
important rite for students comes after they are well advanced
in their training, when they are elevated to the status of
teacher. From that time, a student who continues to study and
acquires greater expertise and ability, becomes eligible for
higher rank, respect and honor.
It's
not too surprising to learn that the presiding teacher or
president of the Wai Kru and initiation rites must be a man;a
female in this position is believed to bring about grave
misfortune. All male teachers, however, are not eligible to
perform initiation rites--only those who have been appointed by
former senior teachers are allowed this honor.
Most
old masters were always very careful in choosing"worthy"
pupils, and they jealously guarded their manuscripts of the
rituals. The homage and initiation rites are always performed on
a Thursday, for in Thailand Thursday is accepted as "Teachers
Day."
The
performing artists and teachers believe that the Wai Kru Day is
their special day and its observance is ethically and
disciplinarily binding. Those who consciously stay away from
this rite are sinning and drawing upon their heads the curses of
their teachers. They also go to hell after death.
The
great importance of the ritual and rites which are a part of the
classical theatre in Thailand was given added significance in
October 1984, when King Bhumibol Adulyadej presided over the
presentation of Khon masks and headgear to five newly appointed
presidents of the "Traditional Paying Homage Ceremony"
for khon and dance drama.
The
five senior artists ranged from 37 to 50 years of age. They were
appointed by His Majesty following the un expected death of Kru
(teacher)Arkom Sayakom who had died without preparing anyone for
his position. Anyone who achieves this prestigious position must
not only have great expertise in his field, but must also be of
the highest moral character, merit the respect of society and
have been ordained as a Buddhist monk. (Ordinarily he should
also be selected by the past president and presented with the
Prayer Book.)
As
already mentioned, all Khon masks are revered and considered
sacred. This is even more stringent for the Khon masks made
especially for the Wai Kru ceremony. Their facial expressions
are different from others, and some of these masks are entirely
gilded.
Many
years ago, an artisan who was commissioned to make a Master mask
was required to be dressed all in white on the day he began work,
and the work was usually begun on a Thursday. When a Master mask
was completed the mask maker prayed to the sacred spirits to
enter the mask.
As
one can easily see, there is a lot more to the Thai Classical
Dance than meets the eye of a casual viewer. And however an 'outsider'
might view all the rituals and regulations, they do have
significance to the teacherss and performers. The traditions
have evolved over many decades and while some may have been
altered in some of their small details, they have certainly
helped in the preservation of the classical theatre in this
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