Khru Veera Meemuan learned how to make traditional leather puppets as a junior high school student. Back then, he was taught how to perforate leather puppets and learned how to perform khon -- the Thai traditional masked dance -- making him well equipped in performing the shadow play with melodious ancient narration.
In the good old days, according to Khru Veera, gilded puppets performed during the daytime while colourful puppets were shown at auspicious ceremonies. For inauspicious occasions, colourless puppets were used and narrations for the shadow plays were in ancient languages. However, after these languages gradually disappeared, the shadow plays also faded.
"I am determined to preserve the shadow play as much as possible," he added.
Ancient Thai handicrafts and artworks such as shadow play leather puppets, gilded black lacquer and angklung musical instruments require painstaking technique and intricate work. However, almost all artisans who create these precious heritage items struggle to make a living and therefore, it is difficult to attract the new generation to become aspiring handicraft masters.
To increase awareness of valuable handicrafts, the Support Arts and Crafts International Centre of Thailand (Sacict) is showcasing more than 300 pieces of rare handicrafts and artworks at the "Forgotten Heritage" exhibition, now on view at Sacict in Ayutthaya province.
"Some kind of traditional handicrafts and artworks are being replaced by manufactured products and as a result have decreased in production because they require elaborate processes beyond the new generation's patience. Also, handicraft masters have aged and can't produce their works as much as before. If we don't collect and exhibit these works to the public, they may possibly become lost forever. This showcase is to encourage the new generation and other people to become interested in ancient handicrafts," said Pornpon Akathaporn, chief executive officer of Sacict.
Thanpuying Sirikitiya Jensen presided over the opening ceremony of the Forgotten Heritage exhibition. Afterwards, Thai historian Paothong Thongchua guided Thanpuying Sirikitiya and other honourable guests through the showcase. Paothong explained that visitors can see the comparison between ancient and present handicraft techniques at the exhibition.
"One of the hand-carved Buddhist scripture cabinets was created with ancient gilded black lacquer techniques and an artisan at the exhibition demonstrates current techniques of gilded black lacquer. The exhibition displays how Thai craftsmen develop materials, patterns and handcraft techniques," explained Paothong.
The shadow play master, Khru Veera Meemuan. Photos: Apichart Jinakul
According to the historian, out of the 300 rare pieces on display, many are at risk of being lost given there isn't demand for them currently.
"Many Buddhist scripture cabinets from the King Rama I, III, IV eras were found in Wat Mahathat Yuwaratrangsarit. The Buddhist scripture cabinet with Thephanom patterns was built during King Rama I's era while the cabinet decorated with the three-dimensional perspective technique by the Thai artist, Khrua In Khong, was built in King Rama's IV time. The patterns, which were designed on those Buddhist scripture cabinets, have been adapted for use on dishes and bowls, which are produced as souvenirs. As souvenirs for showcases, they aren't part of our routine lives and as a result, people don't buy these items, causing artisans to have a hard time earning a living," Paothong said.
"Other handicrafts that may soon become lost are the angklung musical instruments because young people today don't play these instruments. Shadow play leather puppets have successors but they are performed only occasionally as demonstration. Hand-woven pha pla nging fabric is part of the culture in the three southernmost provinces of Thailand but due to the complicated process of making it, the fabric disappeared for years until master Piya Suwanpruk reintroduced it in Yala. If there is no demand, there is no supply," Paothong added.
Originating from Indonesia, angklung was brought to Thailand in 1908. To play the original angklung, a musician had to put the instrument on the floor because of its huge size. Angklung was later resized to be smaller. In the past, angklung required several performers to play each individual notes but today one performer can play the instrument. Even though the angklung has been improved several times, it still doesn't appeal to young people who prefer streaming digital pop music.
Angklung master, Khru Peerasit Buatang. Photo: Apichart Jinakul
"It isn't only angklung. Other musicians, who play traditional instruments like the Thai classical ensemble, piphat or a local music band, Salor Sor Sueng, who used to perform at many events, aren't being hired to perform and the public doesn't know their kind of music. They prefer to play CDs or stream music. Fortunately, colleges of arts are located in every region of Thailand, so former musicians can become instructors at colleges," said angklung master Khru Peerasit Buatang.
The future of Thai handicrafts seems dim, but the puppet master Khru Niwet Waewsamana lights up with hope when he tells his success story. Khru Niwet is the last student of the national artist Chusri Sakunkaew who kindly taught him all techniques about performing Thai puppets, triggering his passion for performing. His puppet performances appeal to young audiences because they are adapted for the modern era.
"Traditional puppets don't have lots of movements but my puppets can open their eyes. They can cry and can move fingers and hands. Their faces are expressive. At my theatre, we play both traditional puppets and modern puppets. In a play, Panthai Norasing, the scenes have movement. Every element is animated. I decided to modernise the shows because I noticed audiences were always the same group and there was no new young people," said Khru Niwet.
"After I adjusted my style, my annual free course, which aims to provide knowledge about puppets for 60 people, received over 700 to 800 applicants, which is a significant increase. People have criticised me for not preserving the traditional ways but the truth is I don't ignore our roots. Since our society is changing, we must change as well in order to survive. Handicraft masters must be open-minded to improve and change our works," concluded Khru Niwet.
"Forgotten Heritage" runs at Praewa Hall, 2nd floor of the Support Arts and Crafts International Centre of Thailand (Sacict), Bang Sai district, Ayutthaya, until Sept 20. Free admission. Call 1289 or 035-367-054--7 ext 1338 for more information.
The puppet master, Khru Niwet Waewsamana. Photo: Apichart Jinakul
One of the hand-carved Buddhist scripture cabinets was created with ancient gilded black lacquer techniques. Photo: Suwitcha Chaiyong
