Dance in Thailand (Thai: รำไทย Ram thai) is the main dramatic art form of Thailand. Thai dance, like many forms of traditional Asian dance, can be divided into two major categories that correspond roughly to the high art (classical dance) and low art (folk dance) distinction.

Although the traditional performing arts are not as vibrant as they once were, suffering inroads by western entertainments and generally changing tastes, Thai dance drama is not extinct. What survives displays the elegance of an art form refined over centuries and supported by regal patronage.

The Thais reputedly first acquired a dance troupe when, in AD 1431, they conquered the ancient Khmer capital of Angkor and took as part of their booty an entire corps de ballet. Dancers whose performances had once been seen as a symbolic link between nature, earth and the realm of the gods.

Aside folk and regional dances (southern Thailand's Indian-influenced manohra dance, for example), the two major forms of Thai classical dance drama are khon and lakon nai. In the beginning both were exclusively court entertainments and it was not until much later that a popular style of dance theater, Likay, evolved as a diversion for the common folk who had no access to royal performances.

Khon
The Khon masked drama draws its story line from the Ramakian, the Thai version of the Indian epic Ramayana. Khon performances are characterised by vigorous, highly-formalized action. Acting and dancing are inseparable, and each step has a definite meaning, which is emphasized by precisely defined music to suggest walking, marching, laughing, etc. Until the 19th century the Khon was acted by men playing both male and female roles. By the mid 1800s both men and women were appearing on stage together. The actors are often masked and cannot speak, so narrative verses are recited and sung by a chorus that sits with the accompanying musical ensemble. The leading male and female performers do not wear masks and may occasionally speak. The highly decorated papier mache masks are works of art and perfectly portray the characters' personalities. Major characters can be identified by the predominant colours of their costumes. Phra Ram, the hero, wears green. His brother, Phra Lak, wears gold and Hanuman, the monkey-god, wears white.

Lakhon
Simplest of all in form and presentation is Lakhon Chatri which can be seen at shrines when dancers are hired by those whose wishes have been granted to perform for the shrine deity. Lakhon Nai is graceful, romantic and highly stylized. Plays were originally presented only in the palace. Lakhon Nok was performed outside the palace and acted only by men. Filled with lively music, off-colour humour, and rapid, animated movements, Lakhon Nok was the ancestor of the enormously popular Likeh folk theater which is still a feature of many provincial festivals in Thailand.

Likeh
Likeh, containing elements of pantomime, comic folk opera, and social satire, is generally performed against a simply painted backdrop during temple fairs. Its court-derived stories are embellished with local references and anecdotes, and spontaneous dialogue is filled with outrageous puns and double entendres.

Nang and Hun
Two other dramatic forms are the Nang Yai shadow plays and Hun marionettes. Intricately fashioned cowhide figures are held against a back-lit white screen.

Ram Muay
The Ram Muay is a Muay Thai boxing dance that precedes every Muay Thai match. It is a form of Wai Kru and is a way for Muay Thai boxers to show respect to their teachers. It serves as a graceful expression of the special relationship between a Muay Thai boxer and his trainer. Muay Thai regulations specify that both fighters must perform the Ram Muay before every bout. The Ram Muay usually lasts about five minutes and is done through a series of gestures and movements performed on the stadium in rhythm to ringside musical accompaniment.