Masks Representing Myths of ASEAN Countries
Discover hidden charms of ASEAN countries' mask dramas through 2023 collaborative exhibition of KF ASEAN Culture House and UNESCO ICHCAP
Alternative Identities: Masks of ASEAN and Korea (2023)ICHCAP
Jointly held by KF ASEAN Culture House and UNESCO ICHCAP, the exhibition Alternative Identities: Masks of ASEAN and Korea introduces "other faces" created under the theme of “Mask”, the cultural heritage of humanity.
The masks of Korea and ASEAN, which encompass the accumulated aesthetic sense and techniques of handicrafts in each region, can be said to reflect aesthetic traditions in different epochs of each country.
This story is about the 2nd section of the exhibition, Alternative Identities: Masks of ASEAN and Korea. Explore section 1 of the exhibition here.
Section 2. Representation of Myth
This section illuminates the charms of ASEAN mask dramas, which recreate myths and the historical values that permeate them. ASEAN mask dramas are a total art, the synthesis of masks, costumes, music, and dance, mainly telling folk tales or historical narratives.
Alternative Identities: Masks of ASEAN and Korea_09 (2023)ICHCAP
In particular, ASEAN countries such as Cambodia and Thailand have developed dance drama, mask drama, and also shadow puppetry by dramatizing the Hindu epic Ramayana from ancient India.
Not only do ASEAN mask dramas show the diversity and artistic creativity of ASEAN culture but they also play an important role as a medium of cultural exchange.
Mukh Krung Reap (The mask of Krung Reap) (2023) by An TolaICHCAP
Lkhon Khol Wat Svay Andet
Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery.
Mukh Hanuman (Hanuman Mask) (2023) by An TolaICHCAP
The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana.
Makot Kampul Sruoch (Conical Headdress) (2023) by Kiev ChanthaICHCAP
The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest.
Khon
Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic.
Topeng NagaICHCAP
Topeng
Topeng is a representative masked dance drama performed and transmitted in Java and Bali, and tells traditional stories about legendary kings, heroes, and myths.
Topeng CelulukICHCAP
Using masks, Topeng actors transform into mythical beings such as a king, devil, a supernatural hero, or a god. Topeng is a term that refers to a 'wooden mask' handcrafted from wood, adorned with painted details, hair, and jewelry.
Topeng KerasICHCAP
Balinese Topeng
The Balinese Topeng tradition, originating from Java in the 17th century, showcases not only the Hindu epics Ramayana and Mahabharata but also the Chronicle of Kings (Badad Dalem). This chronicle represents the early history of Balinese and Javanese kingships.
Kaleng for Topeng (Indonesia)ICHCAP
Javanese Topeng
The Javanese Topeng tradition has been performed since ancient times, specifically portraying the Tales of Panji. These performances depict the adventures and love stories of the protagonist in the Panji tales.
Tembem for Topeng (Indonesia)ICHCAP
Panji, a prince from the Kadri Kingdom in the 12th century, embarks on a quest to find his bride, Princess Chandra Kirana, who mysteriously disappears on the eve of their wedding.
Continue to explore more about ASEAN masks here in section 3 and 4. Learn about Talchum, the Korean mask dance, here in section 5 of the exhibition.
2023 Collaborative Exhibition
Alternative Identities: Masks of ASEAN and Korea (April 26, 2023 - July 23, 2023)
Organized by: Korea Foundation ASEAN Culture House; UNESCO ICHCAP
Sponsored by: Ministry of Foreign Affairs; Cultural Heritage Administration; International Mask Arts & Culture Organization
Cooperation: Ministry of Tourism, Arts and Culture of Malaysia; Ministry of Culture and Fine Arts of Cambodia; Center for Research and Promotion of Cultural Heritage in Viet Nam; Thammasat University in Thailand
