Thai-Chinese Singer Nidawan Asavataweechok:Young People Don’t Reject Traditional Culture but Simply Haven’t Properly Experienced It
- CAobservation
- Aug 10
- 4 min read
During a recent visit to Dunhuang, Thai singer, actress, and content creator Nidawan Asavataweechok spoke with China-ASEAN Observation about the immersive performance Ancient Sound of Dunhuang, the reinvention of traditional culture for the younger generation, cultural storytelling in the social media era, and the creative possibilities opened up by the art of Dunhuang.
As a young creator deeply engaged with social media, Nidawan has long been fascinated by how Asian cultures meet, interact, and enrich one another. Traditional culture, she observed, does not lack appeal among young people. The key is to bring it to life through new forms that encourage them to be truly involved.
Having just experienced the immersive show Ancient Sound of Dunhuang, what impressed you most as a performer? Was there a moment that touched you in particular?
Nidawan Asavataweechok: From the moment I walked into the venue, I felt incredibly excited. I have always been drawn to immersive theater. It offers something very different from a conventional stage production. Instead of looking in from the outside, you are gently drawn into the unfolding story and made to feel that you are part of it. It gives you a much stronger sense of connection. The moment that touched me most came in the final scene. The young man introduced at the beginning returns at the end of the story, now grown old, and says, “My love for music remains unchanged”. Those words resonated with me deeply. As a singer, I also feel that music occupies an irreplaceable place in my life. I understood his devotion because music had become part of his life, something that the passage of time could never take away from him.
You said earlier that China and Thailand are both seeking new ways to keep their traditional cultures alive. Why do you think an immersive production such as Ancient Sound of Dunhuang can be attractive to younger generations?
Nidawan Asavataweechok: Every country has its own culture and its own forms of traditional artistic expression. Thailand is no different, with its rich traditions of music and performance. In many respects, China and Thailand are following similar paths. Both are seeking to preserve what is most precious in their traditional cultures while allowing them to evolve with the times. The reason immersive performances such as Ancient Sound of Dunhuang work so well is that they help the audience connect emotionally with the story. I have attended similar performances in other Chinese cities. On some occasions, I entered the theater knowing almost nothing about the place or the history being portrayed. Yet by the final scene, I found myself moved to tears. The story had drawn me so completely into its world that I felt an unexpected sense of belonging. For a fleeting moment, a place I had never known could feel almost like my own hometown. The emotional connection it creates is entirely real. Ancient Sound of Dunhuang stirred something similar in me, particularly through the expressive power of its music.
Thailand is also witnessing new experiments of this kind. We have traditional forms such as Khon, the classical masked dance drama, and a growing number of young creators are bringing together traditional performance, literary heritage, and contemporary theatrical spaces. Traditional culture is even being reimagined in bars and evening venues through bold and inventive forms of presentation.
There was a time when many young people dismissed traditional art as old-fashioned. That attitude, however, is changing. People are beginning to understand that tradition is not inherently outdated. More often, they have simply never been given the chance to experience it properly. I went through a similar process myself. When I first began learning to sing as a child, I resisted singing Chinese folk songs. My mother selected them for me, and I remember thinking that they sounded far too traditional and were far too difficult to perform. It was only when I began studying them seriously that I discovered their richness and beauty. Looking back, I realize that without my early encounter with traditional Chinese music, I might never have found my own path as a singer.
What do you think is the best way to inspire young people in Southeast Asia to explore cultural heritage for themselves?
Nidawan Asavataweechok: Video remains one of the most accessible and widely shareable forms, particularly the short-form content on social media. Young people today are remarkably open to new experiences. Novelty does not necessarily have to mean something radical or avant-garde. It may simply be things they have never encountered in a meaningful way. Traditional culture can therefore be every bit as compelling to younger audiences, provided that it is brought to them through fresh and imaginative forms of expression.
Equally important is giving young people a chance to participate. Workshops can play a particularly valuable role in this regard. To introduce young people to Dunhuang dance, for example, it may not be enough to invite them to watch from their seats. A hands-on class would allow them to learn a few movements, feel the rhythm, and experience the art form for themselves. The aim is not to turn them into accomplished dancers. It is to transform them from passive spectators into active participants. Once people have engaged with traditional culture firsthand, many of their assumptions about it begin to change.
(If you have specific expertise, or would like to share your thoughts, please send us your writings at CAobservation@outlook.com)
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