Appendices

Thai word meaning 'teacher' or 'master' and often used in association with the "Boeddha"Buddha. Sometimes spelled 'achaan' or 'ajarn', its etymology refers to the "Sanskriet"Sanskrit term 'acharya', a respectful title for teacher or spiritual leader. Common Thai for teacher is "kroe"kru or "groe"gru and is derived from the word "goeroe"guru.
Ajaan is also used as a title prefixed to a name of a college tutor in an educational environment or as a title of respect prefixed to a name of an expert in a subject.
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1. Sanskrit-Thai. Monkey from East India.

2. Sanskrit-Thai. The son of "Vayu"Vayu, the god of wind, in Thai known as Sawaha and Phra Phai. He is the albino half-god monkey who assisted "Rama" in his battle against "Ravana" in the Indian "epos"epic "Ramayana (รามายะนะ)". He is depicted with a white complexion and has a diamond in the middle of his palate. He is the king of the monkeys and a general who has magical powers and whose yawn could produce moons and stars. His personal weapon is a diamond trident which he uses to.
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Sakorn Yang-keawsot (b. 1922) was a Thai puppeteer. He was a master of the hun lakorn lek (traditional Thai small puppets). Also known by his English nickname, Joe Louis, in 1985 he founded the Joe Louis Puppet Theatre. He was named a National Artist for performing arts in 1996.

His puppet troupe was popular in the years following the Second World War, and it was during this time he was given the nickname Joe Louis, taking the name from a mispronunciation of his Thai nickname, "Liew", and in honor of the American heavyweight boxing champion. He revived the art of Thai puppetry, which dates back to the 11th century, but struggled to keep the artform relevant as Thailand modernized. In 1985, he formed the Joe Louis Puppet Theatre with his children, performing adaptations of epic Thai literature, such as the Ramakien, with his puppets constructed from light wood, papier-mâché and fabric. The performances are accompanied by a piphat (traditional Thai classical music) orchestra.
Sakorn has adapted the Hun Lakorn Lek since its original creator, Khun Klay. The performance has changed, as he incorporated the puppeteers into the performance. Each Puppet will be operated by three puppeteers. The movement of the puppeteers during their operation is in complacent with the action of the puppet.
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Krabi-Krabong is a traditional Thai martial art still practiced in Thailand. This tradition focuses on hand-held weapons as well as empty hand techniques. Specifically the:

"Krabi" (sword)
"Plong" (quarterstaff)
"Ngao" (staff with blade in the end)
"Daab Song Meu" (a pair of swords held in each hand)
"Mae Sun-Sawk" (a pair of clubs)

The art of Krabi Krabong is still solemnly taught according to a 400-years-old tradition handed down from Ayutthaya's Wat Putthai Swan. The King's elite bodyguard are trained in Krabi-Krabong; many Thai cultural observers perceive it as a "purer" tradition.
Like Muay Thai of 70 years ago, modern Krabi-Krabong matches are held within a marked circle, beginning with a "Wai Kru" ceremony and accompanied throughout by a musical ensemble. Thai boxing techniques and judo-like throws are employed in conjunction with weapons techniques. Although sharpened weapons are used, the contestants refrain from striking their opponents - the winner is decided on the basis of stamina and the technical skill displayed. Although an injured fighter may surrender, injuries do not automatically stop a match. Close it

Thai. 'Teacher, tutor or master', derived from the word "goeroe" guru. Also spelt kroo. Close it

Ling (ลิง) In Thai means Monkey. Monkey is one of the main characters in Khon performances, eg. Hanuman. Close it

Before Ayutthaya period (1350-1767), masks were not worn by khon performers, but instead, the faces of the chareacters were painted on the dancers. Mask making evolved from the will to create means of identifying the characters permanently with basic features and looks, so that a character is easily recognised
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. There are certain fundamentals of the character masks which remain constant:
The tusk: For example, the tusks and the eyes. For an older giant, blunt, curved tusks will be applied; for a kind-hearted and older giant, straight, blunt tusks that point upward; for middle aged giants, curved, sharp tusks and for a young giant, sharp pointed tusks which point downward. An obvious difference between the demon and monkey masks is the long tusks of the demons and the canine teeth of the monkeys.
The Eyes: The giant eyes are not the same as the eyes of other characters. There are two types of Giant eyes, "crocodile eyes" with half eyelids, and bulging "fish eyes". The bald head and the crowned head: Monkey characters and soldiers of the demon army belong to the "bald head group". Totsakan, his relatives and allies, and some of the generals of the monkey army wear crowned masks. Since the people wearing the masks cannot speak, there is a narrator or Khon Phak who has not only to know his subjects, but also the rhythm of the dancers' narrator and orchestra.

Originally models were made of wood or clay, but some mask makers today use more modern materials. Before an craftman 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 papier mache. After being completely dried, the mask is cut from the mould and stitched together. After the "scar" is covered with thin paper, the mask will be coated by a semi-hard lacquer. Making a mask takes about seven days with most of the time taken up by the drying stages.
The art of mask making is usually passed down from one generation to another; or through an apprenticeship. Today the number of old masters has decreased 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 is in the list of endangered crafts.
Before a newly made mask can be worn by a performer or a dancer it must be initiated in series of ritualistic ceremonies. Gods are believed to give their protection to each mask and, without the appropriate ceremonies, all sorts of disastrous catastrophes may come to the one who dares to wear the mask. 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.
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Thai boxing style in which it is allowed to used hands, elbows, knees and feet. There are five rounds of three minutes with two minutes between rounds. Before a bout the nak muay (นักมวย)"(boxer) performs a ram muay (รำมวย)"((dance of Wai Kru) and an official match is usually accompanied with the loud crescendo of a traditional orchestra Close it

The female character in a story, eg. Nang Sida Close it

Nang Yai, or great shadow play, is one of Thailand's traditional dramatic art forms that combines a number of different artistic crafts into one. In terms of visual arts, the elaborate and detailed traditional design of the characters are first drawn by a master artist. Then the design is applied onto a piece of leather and painstakingly etched into almost lace-like proportion. The pieces are then mounted onto sticks and they are then given life by a master puppeteer in a classical drama performance complete with live Thai musical ensemble and a singer to provide the narrative.
"Nang Yai" is believed to have originated since the Sukhothai era, but existing evidence goes back to the Ayuttaya period during the reign of King U-Thong, when it was considered a very popular dramatic art form. Each "Nang Yai" performance consists of a theatre (stage, screen & lights), the puppets, musical ensemble, narrator, voices for each character, puppeteers, story and performance techniques.
The puppets are normally made from cow hide perforated into various characters. Some of them are as high as 2 metres and over one metre wide. They are divided into 7 categories according to their pose and role.
Materials and tools used to create Nang Yai puppets include cowhide, rattan, chisels of different sizes, a whetstone, scissors, a hammer, a large wooden chopping block, wooden and stone mortars and pestles, fresh Momordica leaves, soot, pencils, various colors such as red, blue, green and white, Chinese ink, paintbrushes, glutinous rice flour, brushes, a napkin a bucket, molds, acetate plastic, and ink.
Nang Yai performance also feature episodes from Ramakian.
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(Thai). The protagonist or hero in a story, e.g. Phra Ram
The word can also mean:
1. Thai. 'Holy' or 'sacred'. Term used to express respect and used as a prefix before the names of kings or things associated with the monarchy or royalty, gods and objects of veneration, e.g. Phra Chao Naresuan (พระเจ้านเรศวร)", king "Naresuan"; "Phra Rachawang (พระราชวัง)", royal palace; "phra chedi (พระเจดีย์)", a "stoepa"stupa or "chedi"chedi; etc. Generally used without changing the meaning of a word.
2. Thai. A clergyman, monk or Buddhist priest, e.g. "Phrasong (พระสงฆ์)"Phrasong and  "Phrasong Ong Chao (พระสงฆ์องคเจ้า)"Phrasong Ong Chao. Also used for a saint.
3. Thai. A non-hereditary title or "bandasak (บรรดาศักดิ์)"bandasak  immediately below a "Phrya (พระยา)"Phrya and above a "Luang (หลวง)"Luang.
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Thai name for "Rama" or "Ramachandra (รามะชันดระ)", the seventh "avatar" of the god "Vishnoe", and the hero from the Indian epic "Ramayana (รามายะนะ)"Ramayana, in Thailand called "Ramakien (รามเกียรติ์)". He was the son of king "Totsarot (ทศรถ)" and queen "Kao Suriya". He was able to lift the Molih bow and thus received "Sita"Sita in marriage. As the avatar of Vishnu he also rides the "Garoeda". Close it

A piphat ( Thai: ปี่พาทย์) is a kind of ensemble in the classical music of Thailand, which features wind and percussion instruments. It is considered the primary form of ensemble for the interpretation of the most sacred and "high-class" compositions of the Thai classical repertoire. It is also used to accompany traditional Thai theatrical and dance forms including "Khon"khon ( Thai: โขน) (masked dance-drama), "Lakhon"lakhon (classical dance), and shadow puppet theater. The most common form of piphat is called piphat mai khaeng Hard-mallet. This ensemble uses an oboe called P (after which the Piphat ensemble is named), in combination with xylophones, gong circles, and other percussion instruments, with the xylophones and gong circles using hard mallets, creating a very bright, loud sound. A quieter variety of piphat ensemble, called Piphat Mai Nuam (soft mallet), uses a vertical flute called Khlui Piang or in place of the Pi, and soft mallets are used in place of hard mallets. Because the piphat mai nuam produces a relatively soft, mellow sound, the large glawng thad drums are not used. Also, the ensemble may include Saw U (Viola), to enhance its soft sound. Close it

he Ramakian, the epic tale of King Rama and his wife Sita, of struggles between good and evil, has shaped classical Thai arts more than any other secular influence, providing story lines for dance, drama, puppet plays and shadow theater, while its huge cast of heroes and masked demons crowd murals, bas reliefs, sculpture and the decorative arts. Ramakien is the local version of the Indian Ramayana epic, and its roll call of gods and demons belongs essentially to the Hindu world of the subcontinent rather than to the Theravada Buddhist land of the Thais. Most cultures of Southeast Asia are rooted in Indian influences which filtered through the region from around the second century AD onwards.
Religious, mythological, linguistic and other elements of Indian culture were absorbed rather than imposed by conquest and colonization, and thus became especially persuasive. Various local populations adapted and moulded Indian influences to their own ways, gradually evolving cultures that were distinct yet with common roots.
Written some 2,000 years ago and accredited to the Indian poet Valmiki, the Ramayana opens with the founding of the rival cities of Ayutthaya, capital of the gods, and Langka, city of the demons. The long and convoluted tale revolves around the struggle between these two antagonistic forces, the principal action focusing on the trials and tribulations of Ayutthaya's King Rama, the abduction of his wife, Sita, and the eventual defeat of Langka by Hanuman and his army of monkey warriors.
Like all the best stories, the Ramayana combines adventure and excitement- plus a touch of comic relief-with moral edification, and full play is given to strange occurrences in which magic, divination, horoscopes and other mysteries are important elements. In one form or another the epic was incorporated in the cultures of most Southeast Asian civilisations, and was firmly established before the rise of the Thai kingdom. But while the Ramayana's influence stretches way back, the Thai version is a distinctly local creation, as exemplified by the text of King Rama I, written in 1807.
It is not known how far King Rama I relied on the vernacular versions of the story which had been passed down through the centuries, nor to what extent he consulted Indian sources, yet it is important to note that he did not merely translate the Ramayana. The Ramakian is adapted to the Thai world.
The narrative follows the Indian story only in its broad outlines, and there are considerable differences in detail. Names are modified, and dress, customs, ways of life and even the flora assume local distinction.
A classic though it is, the Ramakian, unlike western literary landmarks, has impact not through the pages of a handsomely bound book but via myriad art forms. The text is incomparably rich and lends itself naturally to illustration and to theatre in all its forms.
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he wife of Rama and heroin in the epic Ramayana. She is the embodiment of the female virtues. In the Thai version of the Ramayana, the Ramakien, she is called Sida.
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Most classical Thai art originated in or under the patronage of the royal courts. Classical art encompasses Buddhist art as represented in religious architecture, decorative murals, and Buddha images. The art reflected the complex formal structure and etiquette of court culture, with its heavy Indian influences, and expressed both religious and intellectual impulses. Entertainment was considered to be of secondary value in this category of art.
Another category is popular art, which arose from age-old village realities and the rites associated with birth, death, and the seasonal cycle of crop cultivation.
When speaking of Thai art in general one is able to distinguish between these two groups. On the other hand, different as they are, they are complementary and mutually reinforce each other. Much classical or court-inspired art later evolved into simpler forms which found popular appeal. Classical drama, for example, moved into the realm of popular culture in the form of comic folk-operas.
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Sanskrit-Thai name meaning 'ten necks'. An epithet for the demon king of Langka (ลังกา)who had three layers with a total of ten faces and who abducted Sida", the wife of "Rama" in the Ramakien (รามเกียรติ์). He removed his heart and gave it to the hermit Khobutra for safe keeping. Finally he was killed by Rama. He is sometimes depicted with twenty arms. In his previous incarnation he was called "Nonthok (นนทก)". In Hindu version, the Ramayana, he is known as Rawana.
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Or the Rite of Homage for teachers of the arts includes a religious ceremony which is followed by an invocation inviting the divinities as witnesses. Usually, an elder, the senior teacher or principal of the school, presides over the ceremony. Not all teachers are eligible to perform initiation rites--only those who have been appointed by former senior teachers are allowed this honor.
The performing artists and teachers believe that the Wai Kru Day is their special day and its attendance is ethically and disciplinarily binding. Those who consciously ignore this rite are sinning and drawing upon their heads the curses of their teachers.
The homage and initiation rites are always performed on a Thursday, for in Thailand Thursday is accepted as "Teachers Day." Close it

In Thai means Giant. Giants are one of the main characteristics in Khon performance, eg. Totsakan. Close it