THE ART OF THAI ROYAL KHON PRODUCTION MAKE-UP METHOD

THE ART OF THAI ROYAL KHON PRODUCTION MAKE-UP METHOD ORAWAWATANA NIAMAUTHAI Performance Department Suan Sunandha Rajabhat University 1 U-Thong nok Road, Dusit, Bangkok 10300 Thailand E-mail: orawawatana@hotmail.com Abstract- The main objectives of The study of the Art of Thai Royal Khon Production Make-up techniques under royal patronage of H.M.Queen Sirikit are to study the history of the royal Khon production, the art of Royal Khon Make-up method; pattern and process. The research methodology of this study is the documentary analysis which includes the depthinterview with Thai classical dancing teachers, make-up artists and several related people. The data will be synthesized, presented in descriptive research and analyzed in qualitative research approach. The study says The royal Khon production under the royal patronage of H.M.Queen Sirikit has been established with her intention to conserve Khon performance which is considered as the finest performance of Thai classic arts. H.M.Queen Sirikit has ordered to improve brand new Khon costume and also new method of royal Khon make-up pattern according with modern technology. The art of royal Khon make-up techniques are unique and use specific processes which are based on the painting of Ramakien or Khon masks. There are also lines drawn on the actor's face therefore skin colored cosmetic like foundation is used to create even and uniform color. The royal Khon make-up pattern and techniques are the art of Khon painting using three primary colors which are white, red and black. Make-up artists will stress on both upper and lower rims of eyelid. The lower eyelid will have a straight line and the upper eyelid will be painted in the shape of actor's eye. The second line of tarsus will be sketched between the eyebrows parallel to the upper eyelid line in red color. The line or special eyebrows will be used only in angels or demons. Keywords - Thai Royal Khon, Lakhon, Thai Classical Dances, Make-up I. INTRODUCTION Khon has been considered as one of classical dancing arts of the upper class in Thailand for many years ago traced back to Ayuthaya era. The performing style has developed from several Thai ancient recreations such as Chak Nak Duekdamban (or The Churning of the Sea of Milk), Krabi Krabong (or acrobatic movement with wood weapons) and Nang Yai or shadow play puppet. Khon is composed of masked dancing and the accompaniment of music called Na Phat music, narration and dialogues. Most of all, wearing mask or Khon masks has made this performance unique from other kinds. The characters are heroes (Pra), heroines (Nang), demon (Yak) and monkey (Ling). Khon costume is similar to Thai classical dancing play in full dress but wearing mask. However, the heroes and heroines wear Thai theatrical crown or diadem instead; therefore, these characters will be put on the make-up beautifully such as major heroes (Phra Ram), minor heroes (Phra Luck), major heroines (Nang Sida) and other minor female characters like Nang Benjakai and Nang Suphan Mujcha. On the other hand, Thai classical dancing plays will perform with main theme story and the actors dress in full costume as well as make up style is subject to the characteristics of the characters gracefully and beautifully. Khon performance from the past to the present has been developed through time in order to fulfill the audience s aesthetic favor. The present Khon is the art of performance in the Khon Rong Nai style or screen-front mask dance drama and increases singing with dancing in the performance. It can be said that the art of singing with dancing is increasingly applied instead of narration and dialogue. Moreover, the Royal Khon under the Royal Patronage of H.M.Queen Sirikit has presented spectacular performance to the audiences enormously. The unique styles of performance, plays, narration dialoque, the characters, scene, costumes, makeup design are outstanding. Khon performance of The Foundation for the Promotion of Supplementary Occupations and Related Techniques under the Royal Patronage of Her Majesty the Queen as known as The Royal Khon. According to the program of Khon performance episode of Jong Tanon or The Building of the Causeway (2012:2) The Royal Khon has been initiated by the demand of H.M.Queen Sirikit in order to preserve Khon performance which is considered as classical dancing art of the upper class in Thailand. Her intention is to preserve this performance as value national treasure of Thai cultural. Accordingly, H.M.Queen Sirikit has ordered to create Khon costume in new style that in accordance with present modern technology. Moreover, she has arranged the three episodes of The Royal Khon performances which are The Battle of Prommas in 2007 and 2009, Nang Loy in 2010, The Battle of Maiyalarp in 2011 and Jong Thanon or The Building of the Causeway in 2012. All of these shows are spectacular and impress the audiences so that there are a great deal of requests from the people for managing the show every year. 88

Apart from the fact that The Royal Khon is one of the most graceful performance filled with beautiful dancing routines, spectacular scenes, lighting and sound, the glamorous costumes which are hardly to be seen in present time, also the make-up techniques of The Royal Khon is unique in line drawing style and stress with only white, red and black line. In this way, those colors that are delicately drawn on the face s actors who have not worn the masks are the most important thing that stimulates the audience s aesthetic favor by the elegant costumes. The audiences can understand the characters through their face; for instance, depicting giant on some Khon characters such as Nang Sammanukkha, Sinsamuth, Nang Phiseusamuth. The Khon make-up technique has been developed and inherited for very long time ago since the present cosmetic has not been produced. People use coconut oil or coconut burned coat to draw the eyebrow and apply with the Chinese powder. That some Khon characters are uncovered the face and put on some make-up like La-korn. The make-up technique of Khon that reveals their faces usually follows the pattern of make-up method that is popular during that time or subject to the limitations in materials, tools and science technique of La-korn make-up method in each period. Even in present time, there is no specific make-up pattern designed for Khon performance at all. Today Khon performance characters that are uncovered their faces as the followings [1]. Humans: Pra Ram, Pra Luck, Nang Sida, Pra Plot, Pra Sattarut, troops, maid of honors and clowns. Deities and Himmapan people: Pra Siwa, Pra U-ma, Pra Na Rai, Pra Bhroma, Pra Indra, deities, goddess, Nak Sit, Khon Tham, Vittaya Thorn, Naga, hermit. Giants and monkeys: Non Thuk, Sammanukkha, Kwang Thong, Uppakarn horse, lion for royal chariot, Khen Yak, Kang Klod Yak, Khen Ling, Kang Klod Ling. Children Khon: all characters wear mask and present children Khon that reveal their faces. According to the make-up technique of Khon for the characters of Pra Ram, Nang Sida on Thai painting portrayed in the Ramakien appear in idealistic form and emotionless face as same as Khon masks which those paintings has inspired by the real Khon masks. Then, the experiment to study The Royal Khon makeup technique initiated by H.M.Queen Sirikit which is beautiful and represented Thai unique has been conducted. The Royal Khon make-up technique as the Queen s favor can be concluded that the technique will respect to the fine art of upper class in Thailand, if the makeup is beautiful and represented Thai style. This Khon make-up technique is hard to do only at the first trial. The hardest thing in this method is writing the line that balancing both left and right sides. It may take some times and the great deal of efforts to do but practicing it repeatedly until understanding then the make-up artist will do their fine and beautiful jobs. This technique is to begin with Khon Pra characters and Khon Nang characters.therefore the art of The Royal Khon make-up technique including pattern and process of this Khon performance under the patronage of H.M.Queen Sirikit has depicted beauty which differed from general Khon make-up technique. This is the reason why the researcher is interested in studying The Royal Khon history. The art of The Royal Khon make-up technique, pattern and process has been inspired the line writing by Khon masks appeared in Thai ancient paintings which absolutely differ from general format. II. OBJECTIVES 2.1 To study the history of The Royal Khon performance. 2.2 To study the art of The Royal Khon make-up technique 2.3 To study the pattern and method of The Royal Khon make-up technique III. METHODOLOGY A. Research Methodology This research is to study the art of make-up technique in The Royal Khon under the patronage of H.M. Queen Sirikit and the scope of the study are the follows. For content scope is to study the history, the pattern and method of make-up technique in The Sirikit. For area scope is to study population and sample such as the master of Thai classical dancing at Rajabhat University, Retired Government Official, Office of Performing Arts, The Department of Fine Arts, make-up stylist and concerning people such as Royal Khon actors. For Timing scope is to study during 12 months of the study. B. Research Methodology The study of the art of make-up technique in The Sirikit is a developmental research to find the research resolution in order to acquire for the history of The Royal Khon. The research methodology is as follows C. Process of the research Step 1 In the study of the art of make-up technique in The Sirikit history, the researcher gathered the data related to the art of The Royal Khon make-up technique form several documents such as text books, journals and research related to the art of make-up technique in The Sirikit. Also, the in-depth interview was conducted with Thai classical dancing teachers, make-up stylist 89

and concerning people. Field study by observation was conducted to observe the art of make-up H.M. Queen Sirikit including with the concerning people interview. Step 2 The study of the art of The Royal Khon makeup technique under the patronage of H.M. Queen Sirikit, All data that the researcher synthesized from several documents regarding with the in-depth interview and field work related to the history of the art of The Royal Khon make-up technique under the patronage of H.M. Queen Sirikit. The data collected from interviewing with many masters of Thai classical dance teaching are led to create the query framework of interview about the history of The Royal Khon and the art of The Royal Khon make-up technique. The researcher interviewed the three masters teaching Thai classical dance, three of make up stylists and three concerning people such as the Royal Khon acters which the researcher interviewed by using purposive sampling technique in order to observe varieties of methods in feature and methods of the art of make-up technique in The Royal Khon under the patronage of H.M. Queen Sirikit. Then the data was gathered to assess on the comments and summary. Step 3 Data analysis. All data acquired from documentary synthesis and the interview with the masters of Thai classical dance teaching, make up stylists and concerning people were summarized for the conclusion of the study of the art of make-up H.M. Queen Sirikit and represented. Step 4 Data synthesis of the art of make-up technique in The Royal Khon under the patronage of H.M. Queen Sirikit. All data from documentary analysis, interviews were synthesized and approved by the advisory group to review and to correct according to the suggestions and to complete the research. D. Research Design In order that research was effectiveness and regarding to the research primary objectives, the researcher defined the detail related to research methodology which were composed of populations and sample of variable, research tools and making research tools, collection of data and data analysis which the detail were as follows. Key Informant using in this study were composed of the three masters teaching Thai classical dance, three of make up stylists and three concerning people in the study of the art of make-up technique in The Sirikit. E. Research tools The researcher equipped with the research tools which were composed of the in-dept interview with the three masters teaching Thai classical dance. The framework of questions were the history of The Royal Khon, the art of make-up technique in The Royal Khon, the pattern of the make-up technique in The Royal Khon, and the method of the make-up technique in The Royal Khon. The data gathered from the make-up stylists and concerning people had the framework of questions as the followings; the history of The Royal Khon, the art of make-up technique in The Royal Khon, the pattern of the make-up technique in The Royal Khon, the method of the make-up technique in The Royal Khon, and the cosmetics using in The Royal Khon. F. Collection of Data The researcher applied the data collection process as follows; documentary analysis in order to define guideline of questions of the interview. The researcher had made an appointment and interviewed with all the key formants in person in every week. At the first stage the unstructured interview was applied in data collection regarding to the art of make-up H.M. Queen Sirikit. Also, once in every week the researcher had met the masters teaching Thai classical dance, make-up stylists and concerning people. The key information was response both in the appointment and from the unstructured interview including the demonstration in order to gather the data regarding to the history of The Royal Khon performance and the art of make-up technique in The Royal Khon. The pattern and method of The Royal Khon make-up technique also were included in each week. G. Data Analysis was divided into 2 parts. Part 1 Documentary Research : the researcher separated data into several items that conformed with the main objectives of the study and categorized the contents then presented information in descriptive report. Part 2 Data analysis and summary from the interview and analyzed according to the guideline of questions in the interview. Data analysis also was categorized source into 3 groups which were document analysis to review all related data and the interview in order to discover. The information both from the interview and field work were subject to revise and confirm in the end. IV. SUMMARY 1. The Royal Khon under the patronage of H.M. Queen Sirikit was initiated by H.M. Queen Sirikit in order to preserve the Khon performance which was classified as upper class of art and performance in Thailand. She also ordered to recreate Khon costume in new style and improved Khon make-up methods that conformed with the modern technology. She managed The Royal Khon performance in 2007 and 90

2009 which were The Battle of Prommas in 2007 and 2009, Nang Loy in 2010, The Battle of Maiyalarp in 2011 and Jong Thanon or The Building of the Causeway in 2012. All of these shows were spectacular and impress the audiences so that there were a great deal of requests from the people for managing the show every year. 2. The art of make-up technique in The Royal Khon was remarkable art with unique style which was Thai painting portrayed in the Ramakien or Khon masks. Line writing technique was applied on Khon actor s face after whitening on the skin all over the face. In order to be covered and whiten all skin face, the eyebrow area was concealed and smoothened by glue and concealer. For the eyes were drawn with the three red lines first then the black line was drawn overlap with the red line. Both red line and the black line had to be seen which the eyes were much more beautiful and distinct. 3. The pattern and method of the make-up technique in The Royal Khon were mainly in Khon face writing by using three primary colors which are white, red and black. Make-up stylist will stress on both upper and lower rims of eyelid. The lower eyelid will be drawn with straight line and the upper eyelid will be drawn as the shape of actor's eye. The second line of tarsus was sketched between eyebrow and paralleled with upper eyelid line in red color. The line or special eyebrows were used only in angels or demons faces. Techniques for face drawing began with cover the eyebrows with glues and eyebrow wax. Then, to adjust into lighter skin, nude colored foundation was applied and using darker and lighter shade to fix the shape of actor's face structure was required. A red rouge was use as blusher and smeared on cheeks smoothly then apply with loose powder or it could be applied with white cake powder all over the face. While both of the upper eyes and lower eyes were drawn in straight line to the end of the eyes with red cake liner then overlap this line with black with red line as a shadow of black line. On eyelid, they drew the second eye line being parallel with eye shape boundary. Their eyebrows were drawn in curved with a thin line at the inner and grow thicker at the middle and flick up at the end. They drew with red cake liner before using black cake liner then using water base black eyeliner to make eye distinctive without faux lash using. They only used mascara to brush away slightly at the lashes and blushed at cheeks in natural pink then applied crimson red lipstick on lips drawing into water chestnut shape. DISCUSSION 1. The Royal Khon under the patronage of H.M. Queen Sirikit has been established by her intention to conserve Khon performance which is considered as high class finest performance of Thai classic arts. H.M.Queen Sirikit has ordered to improve brand new Khon costume and also new method of royal Khon make-up pattern according with modern technology. She also has managed the royal khon performance namely The Battle of Prommas in 2007 and 2009, Nang Loy in 2010, The Battle of Maiyalarp in 2011 and Jong Thanon or The Building of the Causeway in 2012. All of these shows were spectacular and impress the audiences so that there were a great deal of requests from the people for managing the show every year. According to the Royal Khon program, Episode Nang Loy, July 23 26, 2010 at the Main Hall, Thailand Cultural Centre (2010:2) stated that H.M. Queen Sirikit has ordered that nowadays, Thai people have very little chance to see the Khon performance as a result of the difficulty in Khon arrangement. Consequently, she has ordered to gather the experts in Khon and other kinds of crafts to recreate brand new pattern of Khon costumes for The Royal Khon performance [2]. She insists that the brand new costume should be based on the ancient Khon costume pattern but giving more beautiful and lasting. According to the Royal Khon performance, Episode The Battle of Maiyalarp program, July 15 31, 2011 at the Main Hall, Thailand Cultural Centre (2011:2) stated that H.M. Queen Sirikit was delighted with the success of The Royal Khon performance as her intention. Therefore she intends to arrange the Royal Khon performance in every year which each of episode to perform will be selected by herself. This year she choose episode The Battle of Maiyalarp to be held. This episode is filled with excitement and attractiveness. This episode is depict the battle between the two leaders of both army which are Maiyalarp and Hanuman which both of them are put all their effort in this war [3]. The audiences will support for both of them and regret that one of them has to leave. Moreover this is year of the celebration on the Auspicious Occasion of His Majesty the King's 7 Cycle Birthday Anniversary 5 December 2011. The Royal Khon performance committee has been ordered to arrange this performance in order to celebrate this great opportunity. The play of episode of Maiyalarp Sakod Tap (Maiyalarp controls the troops) created by the Department of Fine Arts has been used as main theme but adapts some joyful parts within. According to the Royal Khon program, Episode Jong Thanon or The Building of the Causeway, November 1-30, 2012 at the Main Hall, Thailand Cultural Centre (2012:2) stated that H.M. Queen Sirikit choose this episode to be perform. This episode is one of the best episode as same as others. Several scenes are spectacular such as Building of the Causeway scene, Under water scene. Most of all, the year of 2012 is the auspicious occasion of the 80th Birthday Anniversary of Her Majesty Queen Sirikit of Thailand on 12 August 2012, therefore The Royal Khon Committee has managed this episode in order to celebrate this auspicious occasion with the other Thai classical dancing to give blessing to her. The Royal Khon performance episode Jong Thanon most of the actors are new blood but they are well trained 91

by the senior artists from the Department of Fine Arts and eager to perform in front of those audiences [4]. The Royal Khon performances have been arranged by the initiation of H.M. Queen Sirikit during 2007 2012 at the Main Hall, Thailand Cultural Centre. 2. The art of make-up technique in The Royal Khon is portrayed based on the Thai painting in Ramakien or Khon masks. Line drawing on the mask of Khon pattern is idealistic therefore the actor s skin have to be adjust the skin color to be all white. The eyebrows also have to be covered and flatten by glue then the foundation is applied to cover all face again in order that lines and color drawing on faces will be perfect. However, this drawing have to consider the color of the cosmetic, light, size of stage and the costume as well. 3. The Royal Khon make-up pattern and techniques are the art of Khon painting using three primary colors which are white, red and black. Make-up stylist will stress on both upper and lower rims of eyelid. The lower eyelid will be drawn with straight line and the upper eyelid will be drawn as the shape of actor's eye. The second line of tarsus will be sketched between eyebrow and paralleled with upper eyelid line in red color. The line or special eyebrows will be used only in angels or demons. As in Fig. 1-3. Fig. 3 Nang (Pra Uma) character / Pra character / angel makeup method Sourse: Ornawattana Niem U-Thai, Interviewed on December 10, 2014 This result can be implied that The Royal Khon make-up techniques have unique patterns and method. According to Montri Watla-ied (2012:81) that all structure and lines based on the patterns of the actual Khon mask and Thai ancient paintings. However, the artists usually adjust the said form to the real face of the actors therefore some details would have been omitted and remain only the main structure that fit to actors faces in order that it can be considered as timeless performance or any age of actors can play any part. Yet the eyebrows are excepted in the fact that the female characters should draw in curved line and thinner at the outer corner while males characters eyebrows should be thicker. For the eyes, they draw upper and lower line in normal eye shape with red color and write over it with cake liner in black color but the outer corner does not being raise. The two color lines will meet in horizontal straight line. The most important thing is they do not use artificial eyelash. In order to do two eye lines which will be parallel with the upper eye line, the artists draw the line with red pencil upon the boundary of the actors eye and raise its tail before draw a black or brown line upon it. ACKNOWLEDGMENT The author would like to thank the Research and Development Institute, Suan Sunandha Rajabhat University, Bangkok, Thailand for financial support. Fig. 1 The Royal Khon performance, Episode Jong Thanon or The Building of the Causeway Sourse: Ornawattana Niem U- Thai, Scanned on December 10, 2014 Fig. 2 Pra (Shiva) character make-up method / Demon makeup method Sourse: Ornawattana Niem U-Thai, Scanned on December 10, 2014 REFERENCES [1]. Montri Watla-ied. 2007. Khon Head. Bangkok: Bangkok Publishing. p.188 199 (in Thai). [2]. The Foundation For the Promotion of Supplementary Patronage of Her Majesty the Queen. 2007.. 2010. The Royal Khon Performance Episode Nang Loy. (Program). Bangkok: Plan Motiv Co.,LTD. [3]. The Foundation For the Promotion of Supplementary Patronage of Her Majesty the Queen. 2007.. 2011. The Royal Khon Performance Episode The Battle of Maiyalarp. (Program). Bangkok: Plan Motiv Co.,LTD. [4]. The Foundation For the Promotion of Supplementary Patronage of Her Majesty the Queen. 2007.. 2012. The Royal Khon Performance Episode The Jong Thanon or The Building of the Causeway. (Program). Bangkok: Plan Motiv Co.,LTD 92