Revolutionary objects: The material culture of Khana Ratsadon
In all societies, discourse about the past shape our understanding of the present and the future. And ruling groups have always used perceptions of the past as an ideological tool to legitimate and reinforce existing power relations. Nowhere is this truer than in Thailand. Here a dominant narrative of the origins and safeguarding of democratic and constitutional rule is linked with royal agency. In this narrative, there is no room for the central role of the People’s Party that toppled the absolute monarchy in Thailand in 1932 and introduced the country’s first constitution.
In the wake of the military coups in Thailand in 2006 and 2014 the history of the People’s Party and its material heritage have gained an unprecedented popularity among pro-democracy groups in Thailand. In academic books scholars critically analyze the history of the Peoples Party highlighting their visons for a post-absolutist society and the aspirations this created among the population at large. At the same time, objects and symbols related to the People’s Party surfaced in the public sphere as activists and demonstrators latched on to these to create a space to legitimize a call for political reform.
This resurrection of the People’s Party in academic and political discourse has not evolved unnoticed and several items of the material heritage of the People’s Party have subsequently been disappeared from the public sphere. The material legacy of Khana Ratsadon is endangered as it constitutes an inconvenient heritage for the conservative-royalist establishment.
The aim of this digital resource is to contribute to the preservation of the remembrance of the People’s Party and their visions of society, culture and politics as they unfolded in Thailand in the 1930s and first half of the 1940s.To do so, the website introduces objects related to Khana Ratsadon. Some of these are original objects from the Khana Ratsadon period. Some are of a more recent vintage as they are created and dispersed during the political protests after the military coups in 2006 and 2014 and reenact the symbolism of the People’s Party. Some objects no longer exist – some due to the ravages of time, others due to deliberate action. Some are famous, others are less well-known. Some are large objects located in the public sphere, others are of a smaller size and intended for everyday use.
The categorization of objects on the website is divided into three perspectives to create a diverse understanding: by Timeline, which helps to trace the origin and evolving meanings of each object over time; by object category, which differentiates the roles and functions of each object based on its usage; and by creator, as knowing who is behind the creation reveals different mindsets, goals, and meanings associated with the objects. Each object is accompanied by a short biography introducing the visitor to basic information about and the significance of the object. Each object also come with a longer essay where visitors can learn more and be guided to relevant literature. Therefore, we hope that the digital resource will appeal to a wide audience. We hope that you will enjoy your visit.
Revolutionary objects: Timeline
The objects of the Khana Ratsadon (People's Party) can be seen through the lens of historical change, divided into four distinct periods that correspond to the transformations in Thai social and political history.
Period 1: The Birth of Khana Ratsadon Objects (1932-1947) This was a time when the Khana Ratsadon held political and cultural dominance in Thai society. Objects and artifacts were created to promote democratic ideals and the "Six Principles of the People's Party." A prominent feature of these items was the incorporation of the Constitution Tray and the Six Principles into their design. Most of the designs were modern, inspired by the Art Deco style, which was popular at the time.
Period 2: The Forgotten People's Party (1947-2006) This nearly 60-year period followed the decline of the Khana Ratsadon’s influence in politics and culture. The group became vilified in historical narratives, and collective memory of them was suppressed. Objects created during the first period faded from public consciousness; some were demolished, others abandoned, and many were reinterpreted negatively.
Period 3: The Second Rebirth of Khana Ratsadon (2006-2014) After the 2006 coup, cultural opposition to the coup began to revisit and reinterpret the history, memory, and artifacts of the first period. These objects were used as symbols of resistance in the fight for democracy and against the coup. Significant academic research on the People's Party emerged during this time. Monuments, buildings, and various objects created by the Khana Ratsadon became popular once again, both in political demonstrations and as valuable items in the antique market.
Period 4: The Third Rebirth of Khana Ratsadon (2014-Present) Following the 2014 coup, many objects from the Khana Ratsadon era were destroyed, aiming to erase the memory of the People's Party once more. This destruction triggered a backlash, especially among the younger generation, who began questioning the removal of these historical objects. A new movement emerged to widely reinterpret the history of the Khana Ratsadon. This period saw the creation of many modern objects inspired by the Khana Ratsadon era, with the use of technology playing a significant role in reviving memories associated with the People's Party.
Object Category
The objects associated with the Khana Ratsadon (People's Party) can be grouped into four categories as follows:
Category 1: Architecture During the Khana Ratsadon era, there was a significant transformation in architectural styles and concepts, with the aim of using architecture as a tool to disseminate and instill democratic ideals and the Six Principles of the People's Party. Most architectural designs were inspired by modern architecture, particularly the Art Deco style, and incorporated symbols like the Constitution Tray and the Six Principles of the Khana Ratsadon.
Category 2: Arts Similar to architecture, the art created by the Khana Ratsadon was a blend of modern art, Art Deco, and the integration of symbols such as the Constitution Tray and the Six Principles of the Khana Ratsadon. The result was a new form of Thai art that broke away from the artistic traditions of the absolute monarchy, while also differing from the European modern art that served as a model.
Category 3: Printed Matter In the atmosphere of the political change of 1932, communicating this transformation to the broader society was essential, and among all communication tools, print media played the most crucial role. This included newspapers, journals, books, pamphlets, posters, and more. Understanding these printed materials helps to clarify the thoughts and spirit behind the 1932 revolution.
Category 4: Cultural Politics Objects Everyday items were another category of objects that effectively communicated and foster political ideas. During the Khana Ratsadon era, many such items were produced, including ties, pins, ashtrays, calendars, fans, notebooks, stamps, water jars, bowls, etc. These objects serve as important witnesses to the widespread political change following the 1932 revolution. In the current context of political and cultural struggles, many modern objects are being created, inspired by the objects from the Khana Ratsadon era.
Object Creator
From another perspective, the objects associated with the Khana Ratsadon (People's Party) can be broadly classified into two major categories: objects created by the state and objects created by the people. This categorization helps to provide a clearer and more comprehensive understanding of the function and significance of these objects.
Objects Created by the State
On one hand, these objects serve as valuable evidence for studying and understanding the history of each era. However, on the other hand, they can also be seen as state propaganda. These objects were used to instill and promote the ideologies and principles that the state wanted to emphasize to the people, making these ideas visible and understandable through the use of such objects. Examples include monuments, architecture, banknotes, coins, and so on.
Objects Created by the People
This category includes objects produced by ordinary citizens. In one sense, these objects reflect how successful the state has been in instilling its ideas and ideologies in the public. On the other hand, they also show the extent to which the people agreed with and responded to the ideas and ideologies promoted by the state. Today, many objects have been created by the people, inspired by the items from the Khana Ratsadon era. These modern objects are imbued with meaning as symbols of the fight for democracy and resistance against coups.
ผู้เกี่ยวข้อง
Author
Chatri Prakitnonthakan
Chatri Prakitnonthakan is a professor of architecture at the Faculty of Architecture, Silpakorn University, and a columnist for Matichon Weekly. He received his PhD in history from Chiang Mai University in 2019. Chatri has studied Thai architectural history with a particular emphasis on politics in architecture, historiography of Thai art, and politics in conservation of the historic urban landscape of old Bangkok. His current research focuses on the Art Deco movement in Southeast Asia.
Søren Ivarsson
Søren Ivarsson completed his Ph.D. in Southeast Asian Studies from the University of Copenhagen before beginning his work at the Faculty of Humanities, Chiang Mai University, in 2021. Søren was previously a lecturer in the Department of History at the University of Copenhagen. He is currently researching the role of Danish entrepreneurs in the development of capitalism in Siam during the turn of the 20th century. Another of his projects involves the contentious history of the material heritage of the Khana Ratsadon (People's Party).
Sarunyu Thepsongkraow
Sarunyu Thepsongkraow earned his bachelor's degree in History from Kasetsart University, followed by a master's degree in History from Thammasat University, where he completed a thesis titled "The Land Policy Formulation Process in Thailand, 1932-1957." He later completed his Ph.D. in History at Chulalongkorn University with a dissertation titled "From Incarceration to Rehabilitation: The Transformation of Thai Corrections in the Modern Era, 1890-1963."
Currently, Sarunyu Thepsongkraow is an Assistant Professor in the Department of History at the Faculty of Social Sciences, Kasetsart University.
Sarunyu has a deep interest and passion for Thai history after the Siamese Revolution of 1932, particularly in political, economic, social, and cultural dimensions. He has published his work in the form of academic articles and books, such as "State Spectacle in National Day Celebrations, 1939-1941" (2024), "Opening the 'Police Detainee' Records: The Special Branch Police and the Suppression of the Boworadet Rebellion" (2023), "Sanguan Tularak: A New Generation in the Siamese Revolution of 1932" (2023), "Reading the Meaning of the 'Constitutional Origin Marker' in the Khana Ratsadon Era" (2022), "Penal Settlements: Modern Corrections Operations During the Khana Ratsadon Era" (2020), and "People's Democracy: Politics, Power, and Memories of the (Khana) Ratsadon" (2019).
Naris Charaschanyawong
Naris Charaschanyawong is a writer and independent scholar with an extensive collection of books and old documents. His work aims to revive the stories of forgotten ordinary intellectuals and bring them back into the spotlight. His research interests in the realm of state affairs focus on the social context during the transition of the 1932 revolution in Thailand. In the religious domain, he is passionate about the biographies of women who are Buddhist devotees and the translation of Buddhist scriptures from Chinese.
Naris has published numerous academic works across various media platforms, including Silpa Wattanatham magazine, Pajaryasan, the 101, and several books published by Matichon Publishing House. Additionally, he collaborates as a researcher with the University of Leeds, UK, on Thai studies and Buddhism.
Siridet Wangkran
Siridet Wangkran is a faculty member at the Faculty of Architecture, Silpakorn University. He holds a bachelor's degree in Thai Architecture and a master's degree in Architectural History, both from Silpakorn University. He is one of the founders of "Kid Yang," a group that presents stories about Thai architecture through social media.
Siridet's research interests include architectural history, Thai architecture, and reconstructing architectural forms that have collapsed or disappeared, aiming to present new perspectives. His current research focuses on studying architecture from the Ayutthaya period to the early Rattanakosin period.
Jirat Prasertsup
Jirat Prasertsup is a writer, translator, and freelance editor who spends most of his time in Chiang Mai. His writing spans a wide range, including articles on arts and culture, interviews, film and documentary screenwriting, advertising campaigns, corporate communications, and contemporary literature (novels and short story collections). Most of his literary works are published by Salmon Books and often explore themes such as political history, the processes of collective memory management by those in power, and the fate of ordinary individuals under the norms of an abnormal society. Notable works include "Museum of Voices" (2013), "Recently Sad History" (2017), and "Love in Deception" (2023).
Jirat’s interests also inspire him to transform his writing into visual art. He has held two solo exhibitions: "Our Daddy Always Looks Down on Us" (2020) at Cartel Artspace and "From Dawn till Dust" (2022) at VS Gallery.
Team
Project Manager
Kittima Chareeprasit
Kittima Chareeprasit is a curator at MAIIAM Contemporary Art Museum in Chiang Mai and MAIELIE in Khon Kaen, Thailand. Since 2016, she has co-founded Waiting You Curator Lab, an experimental curatorial workshop and artists’ book publishing house. Her interests lie in contemporary art and culture, focusing on critical history, social, and political issues. She collaborates on several projects with emerging and established artists within the realm of Southeast Asian art and its cultural context. She received her MA in Curating and Collections from Chelsea College of Arts, London.
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Web Designer
Setapa Prommart
Web Developer
Contact for article submission
For those who have interesting information and stories related to objects either created during the Khana Ratsadon era or newly created objects inspired by that period, you can be part of the project Revolutionary objects: The material culture of Khana Ratsadon. You can contribute by submitting your stories, either as short articles of 500 words or longer pieces with no page limit, to the email: [email protected].
ผู้สนับสนุน
Field Marshaland Peak and La-iad phibunsongkhram foundation
Siddhi-Issara Foundation
Waiting You Curator Lab