Unfolding Kafka Festival 2024
“It’s about understanding what the community needs”
As the Unfolding Kafka Festival enters its final edition, we sit down with its founder, Jitti Chompee, to reflect on the evolution of this unique event over the past decade. The festival has become an important platform for contemporary performance in Thailand, bridging local artists with international talents and fostering cross-cultural collaborations. In this interview, Jitti Chompee shares his thoughts on the integration of Molam music in this year’s edition, the festival's legacy, and the future possibilities that may arise from its decade-long journey.
By Helena Lang
Helena Lang: The focus of the final edition of the Unfolding Kafka Festival is the integration of Thai Molam music. What do you hope to gain from the international response to this traditional art form in the context of artistic performances?
Jitti Chompee: I hope that showcasing Molam music internationally will promote traditional Southeast Asian arts, which are rarely seen on performing arts platforms in Europe or other regions. Many people lack access to this art form, and I believe this year’s festival can bridge that gap. This isn't about commercializing Molam, but rather presenting it as a dance medium and introducing the unique dance languages from Southeast Asia to international stages. Since these art forms are rarely seen outside their home countries, audiences abroad have limited ways to experience them. Projects like ours can introduce this music and encourage interest in Thai culture, potentially attracting funding and support for local Thai artists.
HL: How does this year's integration of Molam fit into the broader context of the festival theme, which is guided by Kafka's works?
JC: The connection to Kafka’s themes of identity and transformation fit well with what we wanted to explore. His animalistic imagery, along with the folding and unfolding of identity, became central to the festival. It helped create a distinctive, long-term festival identity, attracting partners from all over. The themes of animalistic imagery and transformation resonate strongly with Molam music as well, which often explores deep, symbolic transformations within folklore and personal identity, much like Kafka’s work.
HL: What makes Molam so fascinating for you personally, and what new forms of expression have you been able to discover through this fusion? Have common notions of movement and performance been challenged or even expanded?
JC: Molam captivates me because of its ancient origins and therapeutic role—it was created over thousands of years ago and was used for healing long before Buddhism reached the region. The instruments and sounds are crafted to mimic nature, which is why the music has such a calming effect. The rhythms are hypnotic and inherently suited to dance, they naturally invite movement. When people hear Molam, they feel compelled to move, which makes it exciting for choreography.
This project is less about imposing choreography on the music and more about letting the music inspire natural, organic movement. This approach aligns with my belief in blending traditional and contemporary art forms. I want to see how different cultures respond to this music and how their bodies instinctively move to it. That’s part of the beauty of Molam—it’s spontaneous and deeply rooted in nature.
HL: The Goethe-Institut Thailand was able to support three projects in this year's edition. How important were the collaborations and support from institutes that promote local and international networking?
JC: The Goethe-Institut has been instrumental, supporting me and the festival through various projects. Their support goes beyond funding; they offer advice, help create exhibitions, and facilitate cultural exchanges. With each director over the years, we’ve formed close working relationships, which has allowed the Unfolding Kafka Festival to evolve and thrive. Rather than pursuing their own agenda, they genuinely seek partnerships with local communities, working together to foster cultural exchange.
It’s not only the Goethe-Institut in Thailand that has been supportive; the headquarters in Germany have also given me numerous opportunities, inviting me to participate in various cultural platforms there. In fact, the Unfolding Kafka Festival itself was inspired by my experience performing in Hamburg in 2015, where I saw Der Bau by Isabelle Schad—a Kafka-inspired piece that left a profound impression on me and sparked the idea for the festival.
The support of the Goethe-Institut Thailand is invaluable—not only for the Unfolding Kafka Festival but also for numerous other projects here. It helps create an important platform for cultural exchange and fosters diversity within the arts and cultural scene.
HL: In the Bangkok Post, you mentioned that the decision to end the Unfolding Kafka Festival stems from the festival having reached its peak in terms of its ability to compete internationally. Could you elaborate further on why you feel this way, and how do you personally feel about saying goodbye to the festival after a decade?
JC: Over the past ten years, I’ve learned so much—not just about choreography, but also about organizing and managing a festival. I've learned how to network, and build a community. The festival isn’t just about showcasing what I like; it’s about understanding what the community needs and helping them develop their taste and interest for contemporary performance. The festival has been successful thanks to the support of partners like the Goethe-Institut Thailand, and it has grown significantly. However, I fear the risks of continuing indefinitely. I’d rather stop while things are still going well, leaving with positive memories, rather than risk failure.
With the 100th anniversary of Kafka's death, it feels like the perfect moment to step away. The festival could continue, perhaps in new locations or in collaboration with others. The model we've created could serve as inspiration for other artists or festivals that struggle with funding or organization. What we've done in Thailand, though unconventional, could be a valuable case study. It’s a model I’ve learned through experience, not formal education, and it shows that with creativity and dedication, such a festival can thrive even without external funding.
HL: The contents of the festival will be accessible in a digital archive even after the last edition. What role will this digital archive of the Unfolding Kafka Festival play for the Thai art scene in the future also considering that the perception of art might change within society?
JC: After running such a large festival for many years, the community sometimes becomes passive, reluctant to take the initiative to continue or replicate it. Thai people can be hesitant to try new things, and it’s hard to predict how the festival's impact will be felt in the future in Thailand.
I've observed how the festival's audience has shifted over the years. It's become easier in some ways but also more challenging in others. People’s appreciation for art has changed dramatically, especially as the younger generation values quick, immediate engagement over slow, immersive experiences. The shift towards consuming media on a smaller scale and with faster understanding has been a major challenge for us.
Interestingly, most of our participants come from visual arts rather than dance, which is unusual for a performing arts festival. Many photographers and filmmakers, in particular, are drawn to the event. It’s hard to say what the future holds for the festival, but what I’ve realized is that it’s important to focus on more concentrated projects that offer something of true value to the community.
While I’d love to continue with the festival concept, I believe there are opportunities to bring it to other countries. I’d like to explore the possibility of taking the festival to new locations, collaborating with local communities, and introducing new elements. I believe this could bring out fresh interpretations and allow for new cultural exchanges.
HL: Looking back over the past decade of the festival, would you say you’re pleased with what has been realized?
JC: Reflecting on the festival’s success, I am deeply satisfied with everything we’ve achieved. The team, the partners, and the audience have all played crucial roles in making it what it is. The energy in the room when the audience gathers to watch the performances is incredible. I remember the opening night of this year’s edition one week ago, when I stepped onto the stage, and the room went silent with anticipation. That powerful moment of connection between the audience and the festival is something I will always cherish. Over the years, I’ve seen how deeply the festival has moved people, and that’s what has made it all so rewarding. After 10 years, I feel that the festival has truly benefited my life in so many ways, and I couldn’t be more grateful for the impact it has had on everyone involved.
HL: Thank you so much for sharing your thoughts and reflections with us. Looking back on a decade of the festival with such joy and fulfillment is a wonderful way to conclude. We can be excited to see what other projects, potentially born from the experiences of the festival, the future will bring!
JC: Thank you!