Problem Statement: The Khorat folk performing arts is commonly known in Thailand as Playng Khorat. Playng Khorat has its own identity particularly the language used in the performance. It uses a dialect spoken by the people in Nakhon Ratchasima or Khorat Province from the beginning until the end of each folk performing arts. Currently, the format of the Khorat folk performing arts has been changed to a great extent stemming from social value. People have chosen other entertainments, such as likay (a type of stage performing arts), country music, and movies. Playng Khorat fellows, therefore, spent their time searching for a better way to make the folk performing arts alive amidst changes. They finally came up with bringing country music into their performances. Such practices could probably make Playng Khorat less traditional than it formerly was. The objectives of the study was threefold. 1) to study the historical background of the Khorat folk performing arts which was commonly known as Playing Khorat, 2) to examine the current situations and problems of the Khorat folk performing arts, and 3) to set standards of the Khorat folk performing arts in Nakhon Ratchasima Province, Thailand. Approach: The research was carried out between March to October, 2011. The Method used was qualitative using documentary studies and a fieldwork conducted in three districts (Amphoe) of Nakhon Ratchasima, namely, Muang, Non Sung, and Chok Chai. The 93 sample were 11 key, 54 casual, and 25 general informants respectively. The research instruments used were observations, interviews, focused group discussions, and workshops. The data were cross-checked using a triangulation technique, analyzed, and presented descriptively. Results: The Khorat folk performing arts is a very old tradition in Nakhon Ratchasima Province. No one around could tell when the tradition really began. The folk performances done were in the format of transliterative verses, known in Thailand as glon. The performers took turn in singing as well as saying verses instantly, cleverly, and alliteratively using the Khorat dialect. Such a dialect displayed a combination of the Central Thai language and the Northeastern dialect. The Khorat folk performing arts were presented in all occasions except weddings. Currently, the popularity of Playng Khorat had decreased for general public and the people in Nakhon Ratchasima. What had been left was the fulfillment of their vows toward Thao Suranaree. The format of performance, however, was not as neat as it used to be particularly the elements of each performance. The standards of Khorat folk performing arts were important and folk performers should pay attention to keeping outstanding identity of Playng Khorat in Nakhon Ratchasima Province. The standards of the folk performing should comprise of standards of folk performers, lyrics, language, dancing styles, dresses, stage, and light and sound. Conclusion/Recommendation: The study was concluded that Playng Khorat had a long historical background. Due to its unpopularity currently, the important elements should be maintained and brought to performing as usual; schools may use the standards of Playng Khorat folk performing arts in making their own school curriculum.