Thai soft power, one more time: a perspective from the performing arts
If Joseph Nye, Jr learned that a random person had misinterpreted his famous concept in international relations – "soft power" – by applying it to foods like Moo Kata (pork barbecue-hot pot)" or Mango Sticky Rice, he would likely choose to ignore it without much thought. It must be excruciating, though, for the former dean of the Harvard Kennedy School of Government to read that the term is being used so recklessly, excessively, and without any true understanding by government officials and policymakers in charge of national strategy plans.
A lot of people have already called out the Thai government on this. The fact that this occurred under the previous administration and is now happening again just makes it worse. According to a policy review paper published last January by Assistant Professor Peera Charoenvattananukul, of Thammasat University, “most of the Thai strategic plans and state agencies … have utilised the soft power concept only for justification, without considering what Nye actually proposed decades earlier”. As Peera notes, resources do not equate to power, and having resources does not guarantee an outcome.
After almost a year and a change in administration, this idea is still being misunderstood, and sadly on a bigger scale. The National Soft Power Strategy Committee (NSPSC) has already approved, in principle, 5.1 billion baht to promote Thailand’s soft power mainly through events and festivals related to food, tourism, and entertainment– with “Maha Songkran World Water Festival” being the biggest one. Since Songkran celebrations have already been promoted internationally, with or without the soft power strategy, how can we be sure of the impact of this new plan? Essentially, this plan means that we will keep doing what we have been doing: putting on increasingly grand events in the hope of drawing in an ever-increasing number of tourists. How, then, is this plan any different from any other plans or strategies of Thailand?
Hope still exists, though, in one of the projects promised by the new government: One Family One Soft Power (OFOS), the extensive training initiative intended to create 20 million highly skilled workers with incomes of at least 200,000 baht annually. Equipping the people with updated knowledge and skills fulfils many criteria in the Global Soft Power Index, but there remain big questions over what to train and how to train and by whom. Here is my suggestion: start by looking at some success stories. Let me give an example from one particular field that I’m most familiar with: the performing arts.
Thailand is rich in culture and tradition, but many other nations are just as culturally and historically rich. I don't believe we will gain power by merely preserving traditions; we must also be creative with them and make them more accessible. Nye emphasises that power is defined as behavioural outcomes. If we want countries to consider us among the most culturally and creatively vibrant, our strategic focus should centre on demonstrating our adept ability to ingeniously enhance and optimise our cultural heritage. This involves using it as a source of inspiration for new ideas and artistic creations, which will keep it alive and relevant for both current and future generations.
Fortunately, some artists are already doing just that. However, they require more government support – not for specific, short-term projects, but as part of the nation's strategic plans. Let me introduce you to two internationally renowned artists who have been gradually shaping other nations’ perspectives on our performing arts industry.
Pichet Klunchun, celebrated for his pioneering take on Thai Khon masked dance drama, has been exploring its pure essence, by stripping away traditional masks and costumes. In one of his recent performances, "NO.60", Pichet deconstructs the 59 poses of Khon, and generates six new principles that allow the younger generation to create a contemporary Khon performance. The piece premiered in Japan and has earned acclaim in various international venues, encouraging spectators to engage with the ancient art form in a contemporary context.
Jitti Chompee, another Thai artist in the international contemporary dance scene, has gained recognition for his ability to seamlessly blend traditional and contemporary styles. His 2021 performance, "School of Ganesh", pushes artistic boundaries by incorporating a diverse group of performers, including traditional Khon artists and dancers from Lyon’s National High Conservatory of Music and Dance.
Both Pichet and Jitti, awarded the prestigious Chevalier des Arts et des Lettres by the French Ministry of Culture, have not only left an indelible mark on the global performing arts scene but have also brought Thailand's rich culture to the forefront. Despite limited support from the Thai government, these artists have achieved international acclaim. Their success underscores the importance of adaptability and innovation in a rapidly changing world.
Projects like OFOS, if done effectively, will allow young talent (like Pichet and Jitti) with creativity and bravery to push artistic boundaries, grow and prosper. It goes beyond simply cultivating more creative individuals, though, because soft power strategy is an outcome-based approach. We need these creatives to reshape global perceptions of Thailand. We may not see the results immediately, like photos of events and festivals. Good things take time, and great things take a little longer. But it’s worth it.
Assistant Professor Grisana Punpeng is the chairperson of International Programmes at the Faculty of Communication Arts, Chulalongkorn University.
