The road to one of Thailand’s most prestigious cultural productions has begun with a record-breaking turnout of young performers, underscoring renewed momentum behind the preservation of Khon, the Kingdom’s centuries-old masked dance-drama and a UNESCO-recognized Intangible Cultural Heritage of Humanity.
Key Takeaways
- The SUPPORT Foundation of Her Majesty Queen Sirikit The Queen Mother recorded a peak turnout of 1,135 youth applicants for its 2026 Khon production.
- Her Majesty Queen Sirikit The Queen Mother initiated the modern revival of the royal Khon performance to preserve traditional Thai performing arts and craftsmanship.
- National Artists evaluated candidates in Nakhon Pathom province to select approximately 357 performers for character roles including heroes, demons, and monkeys.
- Selected artists will undergo months of intensive training with master practitioners ahead of the show’s grand premiere.
- The production of the “Sita” episode from the Ramakien epic will run from November 5th to December 10th, 2026, at the Thailand Cultural Centre in Bangkok.
A new generation steps into an ancient art
Aspiring performers from across Thailand auditioned earlier this month for the “Sita” episode from the Ramakien epic, the 2026 production of the SUPPORT Foundation of Her Majesty Queen Sirikit, the Queen Mother. Totaling 1,135 applicants aged 15 to 25, the turnout was the highest since the initiative began, reflecting growing enthusiasm among younger generations.
Held at Bunditpatanasilpa Institute in Nakhon Pathom province, the auditions saw candidates compete for coveted roles as heroes (phra), demons (yak), and monkeys (ling). A panel of National Artists and leading performing arts experts evaluated applicants on qualities such as dance techniques and character portrayals.
Around 357 successful candidates are expected to advance to months of intensive training ahead of the production’s premiere later this year.
Training a new cast of cultural ambassadors
Following the auditions, the young performers will undergo a rigorous tutelage from masters of movement and character expression alongside the highly codified conventions that define Khon. The aim is to prepare them for performances that honor traditional standards while captivating modern audiences.
The resulting production, the “Sita” episode from the Ramakien epic, will run from November 5th to December 10th at Bangkok’s Thailand Cultural Centre, continuing a tradition of large-scale royal-sponsored Khon performances that has become a fixture of Thailand’s cultural calendar.
The annual productions are known for bringing together specialists such as costume makers and scenic painters whose crafts are essential to the art form’s survival.
A royal vision for cultural preservation
The modern revival of Khon is closely tied to the decades-long patronage of Her Majesty Queen Sirikit The Queen Mother.
Notably, Her Royal Highness Princess Maha Chakri Sirindhorn expressed concern as early as 2003 that Thai performing arts might eventually decline due to a lack of both practitioners and audiences. After she raised the issue with Her Majesty Queen Sirikit The Queen Mother, Her Majesty famously responded:
“If no one watches, then I will watch myself.”
Her Majesty spearheaded efforts to revive traditional craftsmanship, improve costumes and stage production, and create opportunities for young artists to learn directly from master practitioners.
The SUPPORT Foundation’s first major public Khon production, the “Prommas” episode of the Ramakian epic, debuted in 2007 and helped transform public perceptions of the art form. Since then, annual productions drawn from the Ramakien epic have attracted audiences across generations while nurturing a pipeline of new performers and artisans.
Preserving heritage through performance
The preservation effort has since continued under the patronage of His Majesty the King and Her Majesty the Queen, reinforcing Khon’s place within Thailand’s broader cultural heritage strategy.
As preparations accelerate toward the November opening, the production represents an ongoing effort to connect young people with traditional culture while presenting one of the nation’s most sophisticated artistic achievements to contemporary audiences.
Indeed, the record number of applicants suggests that Khon is still finding an enthusiastic new generation ready to passionately carry the venerable tradition forward nearly two decades after the revival initiative began.
Teerin Julsawad