Several officials from the Culture Ministry and experts from Thailand attended the meeting in Mauritius.

Meanwhile, a similar dance style in Cambodia, called the lakhon khon, was inscribed as an Intangible Cultural Heritage “in need of urgent safeguarding” on Wednesday.

Lakhon khol, a court dance, was added to the Unesco Representative List in 2008.

Lakhon Khol’s successful Unesco registration was thanks to government attention, the efforts of leaders of the Ministry of Culture and Fine Arts, support from actors, organisations and civilians in the fine arts and culture sectors and encouragement from the public.

“Tangible and intangible heritage of our country have helped Cambodia to become well-known on the international stage and they are important players on the world heritage stage.”

“The decision to include Lakhon Khol in the world heritage list is a new pride for our nation,” the ministry said in its announcement.

Cambodia requested the registration of Lakhon Khol in the world heritage list on March 31 last year, and the committee approved the inscription during the 13th meeting on Wednesday.

The Cambodian delegation attending the meeting included Minister of Culture and Fine Arts Phoeurng Sackona, undersecretary of state of the Ministry of Foreign Affairs and International Cooperation Ket Sophann, government expert advisers Helen Jarvis and Teruo Jinnai and five Cambodian representatives at Unesco.

Lakhon Khol began in the early Angkor era. In accordance with bas-reliefs on Angkor temple walls, it is believed that the genre was first performed in the ninth century.

According to the book Inventory of Intangible Cultural Heritage of Cambodia, Lakhon Khol was developed as an entirely male version of Khmer classical court dance.

The only story specifically performed by Lakhon Khol is the Reamke, the Khmer version of the Ramayana, an ancient Indian epic poem.

Performances include storytelling accompanied by the traditional Pin Peat orchestra.

In the past, there were eight professional Lakhon Khol troupes but they were disbanded during the war and the only remaining troupe is that of Wat Svay Andet, 15km from Phnom Penh in Kandal province, where knowledge has been handed down from one generation to the next.

Two new troupes were formed since the war, in Kampong Thom and at the National Theater. Today, Lakhon Khol forms part of the curriculum of the Royal University of Fine Arts.

FOURTEEN giant bronze sculptures by British artist Damien Hirst graphically charting the moment of conception to birth greet patients arriving at an $8-billion (Bt263 billion) hospital in the Gulf state of Qatar.

The vast open-air installation, named “The Miraculous Journey”, shows a |foetus growing in the womb and culminates with a 14-metre naked baby just after birth.

The monumental work is the centrepiece of an impressive modern art collection at the Sidra Medicine Hospital, officially opened this week in Doha, that would be the envy of many galleries around the world.

Workers operate on “The Miraculous Journey”, an art installation by artist Damien Hirst outside the Sidra Medical & Research Centre in Doha./AFP

“We believe it reflects very much the mission of Sidra, taking care of the healthcare of woman and babies,” said Layla Ibrahim Bacha, art specialist with the government-supported Qatar |Foundation, which owns most of the artwork.

“I think it’s perfect for the location, as you can see a lot of people are taking pictures, I think its becoming iconic.”

Among the 65 works at the speciality facility for children’s and women’s health are pieces by high-profile international names and artists from across the Arab world, including Qatar.

A fourth-floor outpatient clinic is decorated with a neon installation entitled “I Listen To The Ocean And All I Hear Is You” by Tracey Emin, one of Hirst’s ground-breaking contemporaries from Britain.

Bacha says the art was chosen with “very specific themes” in mind.

“They are not meant to be decorative, they are meant to be more creating debates, helping the patient to keep calm,” she said.

Syrian artist, Jaber al-Azmeh, whose pictures hang in the hospital, said it makes him “smile” to imagine his photographs on display in a place where new lives are starting.

Sidra began receiving its first patients in January and last month successfully conducted Qatar’s first conjoined twin separation surgery.

Energy-rich Qatar has become a major buyer of contemporary art.

It is seeking to portray itself as one of the most progressive states in the region against the backdrop of a bitter standoff with Gulf rivals led by Saudi Arabia.

But that does not mean there has not been some controversy over the Damien Hirst works towering outside the |hospital.

The sculptures were originally unveiled in October 2013 but then covered from public view until recent weeks.

The official reason was to protect them from ongoing building work on the hospital, but they were concealed after a social media outcry.

“We are not expecting everyone to like them. We are not expecting everyone to understand them,” said Bacha.

“This is why they are there to actually create this element of debate, this element of thinking.”

LAUDED for his artistic direction and costume designs for the acclaimed film “Crouching Tiger, Hidden Dragon”, Tim Yip has over the decades left a deep imprint on art, culture and performance across the globe.

His first solo exhibition in Hong Kong, “Tim Yip: Blue – Art, Costumes and Memory”, is on display at the HKDI Gallery until March 31, capturing the evolution of his work across three decades, including his collaborations with renowned filmmakers.

“Tim Yip: Blue – Art, Costumes and Memory” showcases multidisciplinary works by renowned art director and visual artist Tim Yip. /courtesy of HDKI Gallery 

Curator Mark Holborn boasts a portfolio of leading artists including Annie Leibovitz, Issey Miyake and Daido Moriyama.

“Blue” is his fifth collaboration with Yip following “Silent Passenger” (Beijing, 2013), “In Parallel” (Amiens, 2016), “Reformation” (Shanghai, 2016) and “Migong” (Chongqing, 2017).

The installation titled “Blue” plays on ideas and symbolisation, from the nature of the imagination to the depths of the subconscious mind, from collective history to human memory.

“In the essence of time and space flows a sense of consciousness,” Yip says. “No matter where I am, deeply imprinted memories are constantly evolving. They never disappear. Like the expansive ocean, my memory deepens with time.

“There’s only one colour that can aptly represent it – blue – dancing in the eternity of an alternate universe.”

Costumes for the role of Yu Xiulian in the 1999 movie “Crouching Tiger, Hidden Dragon” /courtesy of HDKI Gallery 

Part 1 of the exhibition features 21 costumes from Yip’s films and original creations, including the original outfits created for Oscar-winner “Crouching Tiger, Hidden Dragon”, “Red Cliff” and “The Banquet”.

“Sights” offers one of the six sets of costumes inspired by time and space. Combining interpretations of ancient Chinese history and abstract artistic expression, the masked face is a representation of the artist’s imagination and his hope for the future that people who “live under the veil” will be able to return to China’s traditional culture.

“Sight”, part of the installation series “Timeless Time”, has one of the six sets of independent costumes inspired by time and space. /courtesy of HDKI Gallery 

Another centrepiece is “Shaping”, a Gothic corseted dress in black and grey adorned with 100,000 crystals commissioned by Swarovski in 2016. The second and the third parts of the exhibition focus on Yip’s ongoing muse “Lili” – a wigged mannequin seen in several of his works. Representing separate reality, she is presented as “Robot Lili”, speculating on the future of collective memory and artificial intelligence.

“Shaping”, a Gothic corseted dress with over 100,000 crystals that Yip designed for Swarovski /courtesy of HDKI Gallery 

Lili resembles a stereotypical 16-year-old Chinese woman. She nearly always wears dark glasses and has a variety of wigs and costumes.

Other highlights include “Outdated Magazines”, in which a photomontage of Lili is substituted on the covers, and “Blue”, in which he revisits his hometown through Lili for the first time, in his most personal film to date.

For details, visit http://www.HKDI. edu.hk/hkdi_gallery.

AS PART of their preparations for a month of marathon three-hour performances of the khon masked drama “The Allegiance of Phiphek” continuing this week, young art students recently underwent a spirit-boosting sacred indoctrination ceremony known as khrop.

Classical performers and the youngsters learning the craft need to be steeped in a profound knowledge of their characters and the skills needed to bring them to life. On completing the intense training, though, they don’t merely receive certificates. Students and teachers bond even more deeply with one another in a ceremony in which homage is paid to the “master”.

Students who attend the khrop ceremony are expected to be respectful and show gratitude to the masters.

It is the master of khon who is revered as being responsible for all of the lessons imparted over the course of many generations.

The episode of the Ramakien chosen for this year’s performance, “The Allegiance of Phiphek”, was selected because of the nobility displayed by the main character, Phiphek. A fierce demon exiled by his older brother, the great demon king Tosakanth, Phiphek joins Phra Ram’s army and earns Phra Ram’s trust with his honesty.

In his grand demonstration of allegiance can be read the loyalty of Thais towards King Maha Vajiralongkorn, as well as the importance of honesty and morality, virtues that are instilled in khon students.

That’s the stirring interpretation by the show’s director, Pramet Boonyachai, a khon artist himself. Before the show debuted last month, he took students and his performers to pay respects to the masters at the Salaya campus of the Bunditpatanasilpa Institute in Nakhon Pathom.

“The full ceremony in which we pay homage to the masters of khon, lakhon and traditional music includes the sacred indoctrination ceremony called khrop, which has held great importance ever since the olden days,” Pramet says.

“The masters honoured are not only the teachers but also every deity involved. There are the old masters and performers of the past who earned fame in every aspect of specific performances.

“This practice of paying respect to the masters is continuously exercised from generation to generation.”

Khon masters perform a traditional Thai sacred ceremony to indoctrinate the performers.

An elder master presides – usually male and always senior and morally virtuous. He reads the designated text of homage and invites the gods to attend. In the appointed venue are a Buddha image and the masks depicting Ganesha, Rishi and Phra Phirap.

According to legend, the Rishi mask is a personification of Phra Bharata, who composed the original treatise on the art of dancing. In the epic poem the Ramakien, Rishis are both masters and patrons of all the characters.

The Phra Phirap mask is the most important for music and drama performers. In King Rama I’s rendition of the Ramakien, Phra Phirap is a demon deity who looks after a mountainside forest where a tree issues golden rose apples.

Empowered in his duties by Phra Agni, the god of fire, and Phra Samud, the god of the ocean, he strikes terror into the hearts of angels.

The khrop ceremony begins with the presentation of auspicious offerings – jackfruit, banana and sugarcane and the desserts thong yib, thong yod and foi thong. Ritual music is played, followed by the recitation of verses and prayers for the success of every performance.

Afterwards, the chairman anoints the students’ foreheads with oil and places the masters’ masks on the crowns of their heads.

“Students are only indoctrinated once they’ve passed basic instruction and reach age 16 or 17, which is considered mature enough to do what is right, to do no wrong, and to be capable of becoming an artist,” Pramet explains.

“There’s also the sacred khrop kru ceremony for advanced learners who’ve already been performing for some time and are moving on to the master level themselves. The khrop ceremony is essentially for the performance students, who until then are considered immature.”

Students who attend the khrop ceremony are expected to be respectful and show gratitude to the masters. 

In this season’s khon Performance, Yarnawut Traisu- wan, 21, a fourth-year student at the Bunditpatanasilpa Institute, has the lead role of Phiphek.

This is the fourth khon performance he’s been involved in and he firmly believes that paying respect to the masters will bring him good fortune on the stage.

“I’ve been learning about khon since I was in Grade 7 at the College of Dramatic Arts in Nakhon Si Thammarat and I’ve always been drawn into the demon character, who to me is very interesting,” Yarnawut says.

“He has a key role in the epic because he’s the one who causes the war.

“But in playing the demons and monkeys, which wear full masks that hide their facial expressions, you have to convey your character’s feelings to the audience using only highly refined dancing and gestures. In this episode, Phiphek has a big scene that involves showing his sadness. I have to get that across from behind the mask.

Yarnawut Traisuwan, left, as Phiphek

“I like it that Phiphek is the virtuous demon. His movements are more discerning and graceful than those of the others, yet they’re still bold. But I’m also grateful for everyone else’s efforts – the amazing scenes, the narrators and musicians – everyone contributes to a successful show.”

The Support Foundation has in the past decade presented seven episodes of the Ramakien. Her Majesty the Queen is the official patron and guiding light of the annual performance.

Khon is universally regarded as Thailand’s greatest form of theatre and the performances each year ensure that the exquisite craftsmanship behind the masks and costumes, as well as the wonderful traditions in dance and gesture, are preserved for future generations to enjoy.

>> The Foundation for the Promotion of Supplementary Occupations and Related Techniques (Support) is presenting “The Allegiance of Phiphek” Tuesday through Sunday each week until December 5 at the Thailand Cultural Centre.

>> Seats cost Bt420 to Bt1,820 (Bt200 for students) at Thai Ticket Major outlets, (02) 262 3456 and http://www.ThaiTicketMajor.com.

>> Find out more on the “Khon Performance” Facebook page.

THE COOPERATION between the Embassy of Israel in Thailand, Friends of the Arts Foundation’s International Dance Festival (IDF), now in its 18th edition, and Bangkok Art and Culture Centre’s (BACC) Performative Art Festival, now in its seventh incarnation, has resulted in many memorable performances over the years. So it comes as little surprise that the IDF has chosen to open with Jerusalem-based Kolben Dance Company’s “On the Edge”.

Performed by the entire company, “On the Edge” was created to commemorate Kolben Dance’s 20th anniversary

Based on the experience of living in Jerusalem, the city of peace which ironically has never had one peaceful moment in its entire history, “On the Edge” is described as “a poetic and energetic journey that brings the audience closer, literally and metaphorically, to an embracing and kicking dance experience”. Even before the start of the performance, the dancers put the audience and themselves “on the edge” with their direct interactions.

At another moment, dancers, coming from different countries and with diverse dance and movement backgrounds, talk to the audience in their mother tongues.

“On the Edge” promises to be an occasion where we make endless attempts to reach out to the other, an anonymous other, who stands on the other side of the abyss that separates us. It is a tireless effort that gives hope for the victory of real, warm human desire.

Amir Kolben, dean of the Dance Faculty at the Jerusalem Academy of Music and Dance and founder of Kolben Dance Company, explains why this work is making its Southeast Asia premiere this week: “I love travelling, I love sharing my work with audiences all over the world, and I love communicating, or at least making the effort to communicate with people from various cultures. These are all good reasons to come with my company to Bangkok. But the decision to bring ‘On the Edge’ was made in collaboration with the festival director [and founder] Vararom [“Khru Tip”] Pachimsawat. She thought this piece, which deals with the tensions and opportunities of life on the edge, are very relevant to people in Bangkok.”

“On the Edge” was previously seen at Sibiu International Theatre Festival in Romania and China Shanghai International Arts Festival among others.

“Audience response to this piece proves how similar human beings are all over the world, despite all rivalries and differences,” Kolben says. “Since the piece is mostly presented using movement language, it crosses borders easily; and crossing borders, by the way, is one of the most present experiences in this piece. And people everywhere want to be close [to one another], avoid dangers, like being entertained and want to see things they’ve never seen before. And this is what we give them in this work.” And as for how Bangkok audiences should prepare for “On the Edge”, he says: “Another common response to dance in general, and contemporary dance in particular is: ‘I don’t like it because I can never understand it.’ Give yourself a chance and come to see this performance. I’m sure it will change the way you see this art form. And be careful: You may want more of it.”

That’s why “On the Edge” is the 18th IDF’s curtain raiser, and more contemporary dance performances, workshops and competition will follow in the subsequent weeks.

Edgy Energy

>> Kolben Dance Company’s “On the Edge” is at the 4th floor studio of BACC (BTS: National Stadium, exit 3), on Wednesday (by invitation only) and Friday at 7.30pm.

>> Tickets are from Bt700 to Bt1,800, at TicketMelon.

>> Find out more at Facebook.com/International

DanceFestival and http://www.KolbenDance.com.