Colors of Si Khio in Corazema

In maps of the Ayutthaya period created by Monsieur de La Loubère (Simon de La Loubère) around 1693 CE (B.E. 2236), the area that is today Nakhon Ratchasima Province was marked as Corazema—a reference to Nakhon Ratchasima or simply Korat.

Since the Ayutthaya era, Korat, as a strategic frontier city, played a crucial role in defending the kingdom from invading forces. This position as a border stronghold made it a crossroads where people from diverse regions converged, gradually blending into a rich multicultural society.

One place that embodies this heritage is Si Khio District, where communities of Lao, Yuan, Korat, Mon, and Khmer settled together. Their interactions shaped a distinctive way of life, leaving traces still visible today in the district’s language, customs, art, and cultural expressions.

This unique cultural fabric has earned Si Khio a place in Thailand’s contemporary City of Arts development initiative. It is now home to the “Corazema Fiesta Festival,” a cultural project spearheaded by artist Nimit Pipitkul—better known as Kru Nued—recipient of the Silpathorn Award in Performing Arts (2007). His project proposal was selected as one of the outstanding winners of the 2025 Contemporary Art and Culture Office competition, granting Si Khio the opportunity to reimagine itself as a vibrant art city.

The project has been underway since mid-2025, with the goal of positioning Si Khio as a shining Art Space—a hub of creativity that not only drives cultural vitality but also stimulates economic growth and draws greater recognition from beyond the district.

The program spans almost every branch of the arts, transforming daily life and heritage into creative experiences. Highlights include:

• Art Market fairs, showcasing local creativity.
• Ceramics workshops and Dan Kwian bead-stringing at Buddha Art Space.
• Wind-inspired art installations at the EGAT Lam Takhong Learning Center.
• Local textile workshops featuring Si Khio’s distinctive weaving traditions.
• Sword dance performances at Wat Non Kum.
• Fantasy-themed activities at Ban Suan Noi’s Magic Castle, a wonderland for children’s imagination.

Each of these events draws directly from the lifestyle and cultural roots of the Si Khio community, re-presented in creative ways for new audiences to discover and enjoy.

Nueds–Nimit Pipitkul, the artist behind the project, told the Khaoyai Connect team that this initiative began with funding from the Office of Contemporary Art and Culture, Ministry of Culture, which supports the development of art cities. It follows on from Thailand’s Biennale, a major art festival held every two years.

Nimit explained that in the past he had received support for a ceramic art project and also created a media platform called “Semalai”, both of which centered on clay and led to the growth of a community where people could come together.

“This time, however,” he noted, “I wanted to take on the role of a curator rather than an event organizer. My vision is not to produce another one-off event or just another art project, but to build a true community art space. The concept is to expand the idea of an art city in multiple directions—supporting artists, fostering their work, and finding ways for art to spread into different parts of the community.”

“Si Khio has many fascinating places,” Nimit explained. “There are historic sites, and even the Chiang Saen sword dance that has been passed down here. We also see Ban Suan Noi, a space for children; Khao Yai Thiang, which highlights sustainable energy development; and other creative spaces where the content is drawn directly from nature.

The advantage of Si Khio is that it is a place full of content, yet not overly developed. That’s why I began to think about creating an Art City, using Si Khio as an experimental model.”

In terms of potential, Nimit believes that Si Khio could very well evolve into an art city—or even a model for Thailand’s “soft power” strategy—covering nearly all eleven designated branches. For those areas still missing, outside artists could be invited to collaborate, creating meaningful partnerships between the local community and the wider art world.

“The festival,” he explained, “placed emphasis on the word space. I wasn’t focused on how many people would attend or whether it had to be a grand event with an official opening. Instead, the key was to show local residents the potential and long-term opportunities within their own area. That’s why I sought to connect people who already have knowledge and resources with local stakeholders, forming partnerships that could grow into future activities. For example, the sword-dance tradition at Wat Non Kum—someday this could even develop into a school dedicated to sword performance.”

Nimit emphasized that the strongest content must come from the local people themselves—the true owners of that heritage. His role, he said, is to bring such knowledge into the spotlight.

“For example, a sword master: we give him the chance to tell his story and share his skills, because he may not realize how his own tradition could be developed further. Or Wat Khao Chan Ngam, where the monks and local experts possess deep knowledge of nature and even geology. They may not yet see how this understanding can become new cultural or creative products.

That is why we connect outsiders with insiders—so that fresh outcomes can emerge, rooted in local wisdom but reimagined through the lens of contemporary art. We rely on the body of knowledge we’ve built over years of artistic practice to guide this process.”

Local Mothers and Aunties Embrace the Art City

Nimit discovered that creating new things was never a burden for the Si Khio community—especially among the older generation of mothers and aunties. They proved to be open-minded, playful, eager to experiment, and quick to make connections. This stood in contrast to many younger people, who often felt trapped by the strict frameworks of their professional training and struggled to simply enjoy the process.

“To be honest,” he remarked, “during this festival the older generation—the mothers and aunties—were actually less confused than the youth. Younger people want to see the TOR first, to know exactly what the steps are, what must be done. But that’s not what I was looking for at all. The villagers, on the other hand, were open, having fun, making connections, and trying things out. When we called it an ‘experiment,’ the community felt comfortable. Meanwhile, the younger generation was overthinking everything, step by step, and I had to encourage them to feel free instead.”

“If we follow procurement-style procedures, that’s not art—it’s simply contract production. That’s why, in this project, I didn’t give the funders any fixed answers. I told them, I don’t know exactly what will happen; I only know that what emerges will likely be more powerful than they expect. Because what we’re doing doesn’t sit inside a framework—it can be anything, as long as it’s creative.

I travel often. For example, when I went to Korea, I came across a path where the walls were decorated with old clocks. People there were proud of it, because it was something the community created for themselves. They decorated in their own way, freely, and with pride in their art.”

When it comes to measuring impact, Nimit explained that festivals like this require around three years to take shape.

• Year 1 is about strengthening the content.
• Year 2 focuses on building networks.
• Year 3 is when collaborations take root, leading to new products, new projects, and a wider ripple effect that attracts outsiders who want to join in.

The Corazema Fiesta Festival, therefore, is designed not just as a cultural event, but as an invitation—for participants to open their hearts to welcoming outside creators. It aims to become a true festival of collaboration, where Si Khio’s local spirit merges with new creative energies.

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