by Pichet klunchun


TAM KAI ตามไก่ by Pichet Klunchun

Performed: Pichetklunchun Dance Company dancers

60 minutes



Director/Artistic Director/Choreographer: Pichet Klunchun

Production Manager: Sojirat Singholka



Tam Kai (Following the Chicken) is a new dance performance that asks dancers to respond to the virtuoso Kraw Nai Tang Tawada piece played by the renowned ranad ek (alto xylophone) master, Boonyoung Katkong
Throughout the hour-long performance, dancers perform a succession of improvised solo pieces, one after one, across the stage, their bodies moving in direct and unrehearsed ways to Master Boonyong’s vibrant musical energy.

Kraw Nai Tang Tawada is typically done as a solo 
ranadek performance, allowing a master to show his skill, experience, intelligence, and creativity.  Here, the music serves to challenge dancers, demanding their creative responses to the music’s powerful and fast-paced rhythms.


The key interesting point of this piece is the thin line that draws between the situations identified as “performance” and “non-performance”. The movements spontaneously reflect both an ephemeral and an eternal “present” that arises from each of use as each of dancers directly respond to the mighty musical energy in a unique way.

Tam Kai remains important, however, because it is a dance that breaks open traditional forms and feelings of fixed beauty, and demands that its dancers make new living kinds of beauty during the dance itself.

Tam Kai began with Company's dancers exploring body movements that suited the piece's complex and vigorous musical flow.  Dancers had the full freedom to experiment with improvised movements rather than work through fixed choreographic structures. The next challenged themselves to develop ways to communicate body motion among them.  The unpredictable fusion of movement, situations, and stories among the dancers also gives audiences an opportunity to exercise their own creativity as they imagine the unfolding significance of the live performance.
In contrast to the frames and limits that traditional approaches place on dancers’ bodies and minds, our new approach asks dancers to freely and creatively embody their own powers of dance as responses to the musical energy.  Most importantly, dancers need to physically and mentally release themselves from familiar frames and fixed forms.
Audiences see raw, unpredictable, and unanticipated movements, while dancers free themselves from standardized mindsets and forms. As a result, everyone gets a fuller taste of aesthetic freedom.
Dancers, director, and audiences alike face the fresh energy of the creative imagination.  No one knows what will happen as the show begins.



Touring of Tam Kai

  • 2013: representing Thai Artists by performing  a group dance piece “Tam Kai ” as part of Ervaar Daar Hier Theater in the Netherlands at

    • Den HaagLucent Danstheater, Den Haag, October 19

    • Stadsschouwburg Amsterdam, Amsterdam, October 21        

    • Theater Heerlen, Heerlen, October 23                 

    • Stadsschouwburg Utrecht, Utrecht, October 25

    • Rotterdamse Schouwburg, Rotterdam, October 26     

    • Stadsschouwburg Groningen, Groningen,October 28

    • Schouwburg Tilburg, Tilburg, October 30


  • 2014: representing Thai Artists by performing a group dance performance “Tam Kai” at

    • Museum of Contemporary Art Tokyo, Japan, October 11-12

    • Kunisaki Art Festival, Japan, October 18-19