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There is still a thriving underground scene in Bangkok thanks to smaller record labels like Mind the Gap and compilations of unsigned artists from Sanamluang Zine. Abuse the Youth, the Papers and Slur are all chart toppers at the indie station Fat 104.5 and have MySpace fame. The Kai-Jo Brothers have outfitted the Thai language with a reggae beat and Blue on Blue channels an Asian version of BB King.

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THAI SOUNDTRACK

Looking for tunes from the kingdom? Check out these hits and oddities:

Ting Nong Noy (Modern Dog) – Latest album from Thailand’s alt-rock gurus.

Thai Pop Spectacular 1960s–1980s – Sublime Frequencies’ LP compilation with such doo-wop hits as ‘Look Who’s Underwear is Showing’.

Made in Thailand (Carabao) – Thailand’s classic classic-rock album.

Best (Pumpuang Duangjan) – Compilation of the late lôok tûng diva’s most famous tunes.

Captain Loma (Captain Loma) – Easy listening sans the cheesiness; the Captain rocks the toe-tappers too mature to head bang.

Newbie Party – A compilation series of new indie rockers, like Abuse the Youth, Tabasco and other Mind the Gappers.

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THEATRE & DANCE

Traditional Thai theatre consists of six dramatic forms: khn (formal masked dance-drama depicting scenes from the Ramakian – the Thai version of India’s Ramayana); lá·kon (a general term covering several types of dance-drama); lí·gair (a partly improvised, often bawdy folk play featuring dancing, comedy, melodrama and music); má·noh·rah (the southern Thai equivalent of lí·gair, but based on a 2000-year-old Indian story); nng (shadow plays limited to southern Thailand); lá·kon lék or hùn lo·ang (puppet theatre) and lá·kon pôot (contemporary spoken theatre).

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Khn

In all khn performances, four types of characters are represented – male humans, female humans, monkeys and demons. Monkey and demon figures are always masked with the elaborate head coverings often seen in tourist promotional material. Behind the masks and make-up, all actors are male. Traditional khn is a very expensive production – Ravana’s retinue alone (Ravana is the Ramakian’s principal villain) consists of over 100 demons, each with a distinctive mask.

Scenes performed in traditional khn (and lá·khon performances) come from the epic-journey tale of the Ramayana, known as the Ramakian in Thai. The central story revolves around Prince Rama’s search for his beloved Princess Sita, who has been abducted by the evil 10-headed demon Ravana and taken to the island of Lanka.

Perhaps because it was once limited to royal venues and hence never gained a popular following, the khn or Ramakian dance-drama tradition nearly died out in Thailand. See the Bangkok chapter (Click here) for information on khn performances.

Lá·kon

The more formal lá·kon nai (‘inner’ lá·kon, performed inside the palace) was originally performed for lower nobility by all-female ensembles. Today it’s a dying art, even more so than royal khn. In addition to scenes from the Ramakian, lá·kon nai performances may include traditional Thai folk tales; whatever the story, text is always sung. Lá·kon nôrk (‘outer’ lá·kon, performed outside the palace) deals exclusively with folk tales and features a mix of sung and spoken text, sometimes with improvisation. Both male and female performers are permitted. Like khn and lá·kon nai, performances are becoming increasingly rare.

Much more common these days is the less-refined lá·kon chah·ree, a fast-paced, costumed dance-drama usually performed at upcountry temple festivals or at shrines (commissioned by a shrine devotee whose wish was granted by the shrine deity). Chah·ree stories have been influenced by the older má·noh·rah theatre of southern Thailand.

A variation on chah·ree that has evolved specifically for shrine worship, lá·kon gâa bon involves an ensemble of around 20 members, including musicians. At an important shrine like Bangkok’s Lak Meuang, four different gâa bon troupes may alternate performances and there is