THE POWER BEHIND THE CHADA
‘Coronets’ explores the literal and abstract meaning behind the Thai headdress chada. Life spoke to its creator
Nakrob Moonmamas is best known for the beautiful chaos of his collage work, a kaleidoscope of Thai symbols and non-Thai ephemera. In his new exhibition though, Nakrob moves from 2D paper to 3D installation work. “Coronets” explores the literal and abstract meaning of the Thai headdress chada, playing with dimensions and symbolism of this ancient Thai object. His work is on show at Thong Lor Art Space until Feb 20.
Nakrob answers our questions regarding the idea behind his show.
What is the concept of ‘Coronets’?
Thai society has many kinds of power circling above the people. We sense these powers and associate them with ‘Thainess’, with antiquity, perhaps with the gold colour. So I use the Thai headdress chada [roughly a coronet] to symbolise them — it’s something that exists but you can’t see them. Thai people are sensitive towards anything that looks traditional. When we see these things, our brains suddenly associate them with sacredness, something ready to be worshipped, and we can’t see them from a different angle. We can’t even try to find out their real meanings. So the chada holds a loftier place in our imagination than it is in reality. It’s a form of exaggeration, and Thai society is a society of exaggeration.
How did the idea for the exhibition come up?
I grew up in Bangkok, a place I love and hate. The current situation makes me feel the latter. I’m interested in how something becomes sacred, how people want to bow at something — a three-legged cow, a banana tree that reveals umbers, even life coaches, or someone who claims to have attained enlightenment. Chada is one of them. How is it different to your first exhibition ‘Sacrifice’?
I was new when I did Sacrifice, so I tried different techniques and different narratives. That show is like an hors d’oeuvre, and Coronets is the main course, with a more meaty message.
Were you nervous playing with the image of the crown?
No I’m not nervous. Anyone with 1,000 baht can take a bus to Phahurat and buy a chada — the chada in my show was made by craftsmen in Phahurat, and they have a very casual attitude towards it. You see chada at the Erawan Shrine where dancers dance for tourists, you see chada on the heads of students of Thai traditional dance. Some people create a drama out of chada because first, they don’t know enough about it, and second, they can’t distinguish between reality in front of them and a fantasy. Finally, they’re vulnerable to the gold colour and to antique Thainess. What were the challenges with this exhibition? The challenge for me is in the production process. But now it’s done, I would like to pass on the challenge to the viewers.
What reaction did you hope to get from visitors?
I have fun interpreting what the viewers will interpret. When my audience reads this interview, I don’t expect them to believe everything I said. Erase your memory and come to the show, then feel what you feel at that instant.