Dance in Thailand (, or , ) is the main dramatic art form in Thailand. Thai dance can be divided into two major categories, high art (classical dance) and low art (folk dance).
Etymology The term nattasin () means "art of the classical Thai dance, art of drama", and the term nattakam () means "poetry, music drama and dance", according to The Thai Official Dictionary of Royal Institute 2545 BE. Both terms are derived from Sanskrit:
naṭa () nata, which means "dancing, acting, a dance," śilpa () sin, meaning "artistic work," karma () kamaShimladka V. (2021). Desa kala Emerging Trends in Performing Arts and Indic Studies. Raleigh, NC: Lulu Publication. p. 54.
The term for dance in Thai, also known as the Dance of the Four Regions, is as follows: Northern Thailand: The term fon (Thai: ฟ้อน) describes a category of traditional dance forms, such as Fon Khan Dok. Historical evidence, including stone inscriptions, engravings, and the Buddhist cosmological treatise Trai Phum Phra Ruang (Tribhumikatha Buddhist Cosmology) written in 1345 AD by King Li Thai (Maha Thammaracha I) of Sukhothai, shows the long-standing importance of this term within the broader Tai cultural area. The development of fon dances in the Lanna region shows a unique cultural path that evolved alongside, rather than just borrowing from, other Tai states like Sukhothai. Upper Northeastern Thailand: Traditional dances are classified using terms from Tai languages. The term fon (Thai: ฟ้อน) usually describes a graceful and classical style of dance. This type of dance features refined movements and elaborate costumes for ceremonies or artistic events. On the other hand, soeng (Thai: เซิ้ง) refers to a more energetic and vibrant dance form. It is often linked to communal celebrations, festivals, and folk traditions, marked by lively rhythms and frequently improvised movements. Examples include Fon Oen Khwan, which is a welcoming or blessing dance, and Soeng Bang Fai, performed during the rocket festival. Lower Northeastern Thailand: A region with deep historical and cultural ties to Khmer civilization, the word rueam (Thai: เรือม) describes traditional dances. It likely comes from the Old Khmer word rapaṃ (Khmer: របាំ), which means 'to dance'. A notable example of these native dance forms is Rueam Kan Truem, commonly performed during local festivals and ceremonies. Central Thailand and Upper Southern Thailand: Several terms describe different types of dance. The terms ram (Thai: รำ) and rabam (Thai: ระบำ) are commonly used as generic terms for many traditional Thai dances. In contrast, ten (Thai: เต้น) refers specifically to informal, lively, or energetic movements. The etymology of these terms reveals a rich linguistic history. Ram and ten are thought to derive from Proto-Tai roots, respectively ram and ten meaning 'to dance', and showing cognates in related Tai languages such as Lao and Shan. This demonstrates their deep historical presence within Tai-speaking cultures. The term rabam is derived from Old Khmer words, including rapaṃ, rapam, rpam, and raṃ (Khmer: រាំ, របាំ), signifying a historical borrowing from the ancient Khmer language. While the individual terms ten and ram have ancient Tai origins, their combination to form tenram (Thai: เต้นรำ) refers to social or ballroom dancing in contemporary Thai. The concept of Western-style ballroom dance was introduced to Thailand much later, primarily during the late 19th and early 20th centuries, not in the early 14th century.
However, the terms fon, ram, and rabam themselves were indeed present in various forms during the Sukhothai period. These terms evolved over time to encompass a wide array of Thai traditional dances, including classical forms like Ram Baht Sakunee and folk dances such as Ten Kam Ram Kiew. Lower Southern Thailand: The term taree () comes from the Malay word: tari.Mohd. Anis Md. Nor. (1993). Zapin, Folk Dance of the Malay World. New York: Oxford University Press. p. 72. Santaella, M. A. (2023). Performing Arts and the Royal Courts of Southeast Asia Vol. I: Pusaka as Documented Heritage. Leiden, The Netherlands: Koninklijke Brill NV. p. 8. Dances such as the Taree Kipas (Fan Dance) are an integral part of the cultural heritage of the Thai Malay community.Ruangnarong P. (1984). On folklore of Muslims in Pattani, Yala, and Narathiwat Provinces, southern Thailand สมบัติไทยมุสลิมภาคใต้การศึกษาคติชาวบ้านไทยมุสลิมจังหวัดปัตตานี ยะลา และนราธิวาส (in Thai). (2nd Ed.). Bangkok: Charoenwit Kanphim. p. 115.
The Thai term khon (Thai: โขน), which refers to a highly stylized masked dance-drama, is predominantly associated with performances of the Ramakien, the Thai national epic derived from the Indian Ramayana. The precise etymology of the word "khon" remains a subject of academic discussion.
It is widely acknowledged that Thai performing arts, including Khon, have been significantly influenced by Indian cultural traditions and the epic narratives of the Ramayana. However, direct linguistic derivation from specific terms like the Tamil kōṉ (Tamil: கோன்), meaning "king or god," is not universally accepted among linguists and historians as the definitive origin of the Thai word "khon". The evolution of Khon is understood as a complex interplay of indigenous artistic traditions and adaptations of foreign influences, particularly from India and other parts of Asia, culminating in a unique Thai art form.
There are various hypothesis in which the Thai term lakon (also spelt: lakorn, lakhon) derives from. Scholarly consensus points to the Old Khmer term lakhon (Khmer: ល្ខោន) meaning “theatre, drama, play” which ultimately originated from the Pali/Sanskrit root lakkhaṇa/lakṣaṇa (Sanskrit: लक्षण) meaning “characteristic”. This theory is more popularized amongst scholars due to the historical influence of ancient Khmer culture and linguistics on early Thai civilizations. Another theory is that the Thai term lakon derives from the Javanese word lakon Mattani M. R., Higashi Y., Bunka A., and Senta K., Centre for East Asian Cultural Studies for UNESCO, Japan. (1993). Dance, Drama, and Theatre in Thailand; The Process of Development and Modernization. Tokyo: CEACS. . (), a derivation of lakuan, lagon and laku,Scheltema J. F. (1912). Monumental Java: with Illustrations, and Vignettes after Drawings of Javanese Chandi Ornament by the Author. New Delhi: Asian Educational Services. p. 170. meaning "to walk, to act, to run". Following this theory, Thai historian Prince Damrong Rajanubhab hypothesized that the term lakon originated from the name of Nakhon Si Thammarat when Javanese culture during the Ayutthaya period was first introduced.
History Origin Thai classical dance forms, like many performing arts in Southeast Asia, are heavily influenced by ancient Indian art. They include ideas from the Natya Shastra, an important Sanskrit text on the performing arts that describes basic dance poses and movements known as karanas. The depiction of 108 karanas in temples like the Nataraja Temple in Chidambaram, India, shows these principles that resonated throughout the region. However, Thai dance developed into a unique blend. It combined these outside influences with local traditions and innovations that grew from interactions with nearby cultures, especially the Khmer Empire.H. L. Smith, "The Development of Thai Dance," in Essays on Thai Folklore, Bangkok, Thailand: Duang Kamol, 1987, pp. 101–120.
Archaeological evidence offers a glimpse into the early performing arts traditions that later shaped Thai classical dance. Stuccos and sculptures showing dance-like poses, dating back to the Dvaravati era (6th–11th century CE), have been found at sites like Khok Mai Den and Chansen in Nakhon Sawan, as well as Ban Khu Bua in Ratchaburi.M. L. E. P. T. S. Diskul, Art in Thailand: A Brief History. Bangkok, Thailand: Amarin Printing Group, 1995. These Dvaravati artifacts show a clear influence from Indian culture in their iconography and artistic expression. In addition, later archaeological discoveries from the Khmer period, highlighted by the detailed dance figures at Prasat Phimai in Nakhon Ratchasima (primarily 11th–12th century CE), were also important in the developing performing arts scene of the region.H. I. Jessup, Sculpture of Angkor and Ancient Cambodia: Millennium of Glory. London, UK: Thames & Hudson, 2004.
Over time, Thai dance grew through a steady blend of cultural influences. It transformed various elements into a unique artistic form. This evolution involved creatively using different cultural aspects, musical instruments, and storytelling traditions from India, China, the Malay world, Mon, Khmer, Myanmar, and local groups in the Chao Phraya River Basin. Through this broad mixing and local adaptation, these varied influences were reshaped. This process helped create a distinct Thai dance identity that, while connected to its historical roots in neighboring cultures, developed its own aesthetic and performance styles.B. P. Groslier, Indochina: Art in the Melting-Pot of Races. London, UK: Methuen, 1962.
Nanzhao period
Traditional accounts and historical narratives suggest that early forms of martial dance emerged in kingdoms associated with Tai-speaking peoples in mainland Southeast Asia. One tradition, often linked to the historical kingdom of Nanzhao, which dates from the 8th century CE onwards, is known as Fon Joeng.S. Pallegoix, Description of the Thai Kingdom or Siam. Bangkok, Thailand: White Lotus Press, 2000. (Originally published in French in 1854, often cited for historical customs). This art form, practiced by northern Thai peoples, combines ceremonial dance for rituals with martial movements for self-defense. It showcases both offensive and defensive fighting styles. Fon Joeng features various drum rhythms and is traditionally believed to have been passed down through a lineage that includes the Ngoenyang and Lanna kingdoms. Its cultural influences extend to other Tai states like Sukhothai.C. Keyes, The Golden Peninsula: Culture and Change in Mainland Southeast Asia. Honolulu, HI, USA: University of Hawaii Press, 1995. Today, Fon Joeng is still practiced in Thailand as a recreational dance and is recognized as a historical precursor to elements found in the martial art of Muay Thai.
Sukhothai period
Evidence from the Sukhothai period, particularly the famous inscription attributed to King Ramkhamhaeng, shows that public festivities and performing arts were present. The inscription describes the sounds of pipes and drums during a celebration, likely the Kathina festival. This suggests that music and festive activities played a role in community life.J. C. Eade, Ed., The Ramkhamhaeng Inscription: A New Translation and Analysis. Canberra: Australian National University, 1991. While these records confirm the existence of performances, scholars point out that the evidence highlights communal, ritualistic, or festive events rather than structured, narrative drama, which arose in later periods.P. A. Skilling, "The Texts of the Ratanabimbavamsa," Journal of the Pali Text Society, vol. 27, pp. 153-194, 2002. The performing arts in the Sukhothai kingdom were part of a larger regional mix, combining various cultural influences from mainland Southeast Asia during that time.C. F. Keyes, "The Case of the Purloined Lintel: The Politics of a Khmer Shrine as a Thai National Treasure," in National Identity and Its Defenders: Thailand, 1939-1989, C. F. Keyes, Ed. Chiang Mai: Silkworm Books, 1991, pp. 261–292