Khao Ok Thalu : Thailands Holy Tree Of Patthalung

Tonan Ajia Kenkyu (“Southeast Asian Studies”) (Kyoto), 1974

In this note I call attention to some evidence in the indigenous literature of the people of the Khorat Plateau that might throw some additional light on the ancient towns and cities known archaeologically. While I consider some specific evidence from two legends from the region, I do so only to indicate what information might be derived from legendary sources rather than to present the distillation of a long period of research. I conclude this note with a few suggestions regarding the possible interpretation of the evidence on the ancient sites of northeastern Thailand.

In this note I call attention to some evidence in the indigenous literature of the people of the Khorat Plateau that might throw some additional light on the ancient towns and cities known archaeologically. While I consider some specific evidence from two legends from the region, I do so only to indicate what information might be derived from legendary sources rather than to present the distillation of a long period of research. I conclude this note with a few suggestions regarding the possible interpretation of the evidence on the ancient sites of northeastern Thailand.

2014

This thesis concerns the historical development of lakhon phanthang, a dance-drama form that emerged originally in Thailand as a commercial theatre under the patronage of royalty in the nineteenth century, was formulated as a traditional dance genre in the 1940s by the Fine Arts Department, modernised in the 1980s and is today taught in dance academies. Lakhon phanthang's primary raison d'être is the representation of non-Thai ethnic groups, including Chinese, Burmese, Mons and Khake (Muslims) and it draws eclectically on the costumes, movement styles and ethnic stereotypes of these Others. This thesis examines transpositions and aesthetic Krom Silapakorn: The Route of the Hybrid Dance-Drama and Theatre Styles to Lakhon Phanthang ………………………………………...114 The Revival of Traditional Theatre…………………………………………….…121

2018

The Phrommas is one of the best-known episodes from the Thai masked dance-drama called khon, whose narrative is adapted from the Indian epic, the Ramayana – in Thai tradition the Ramakian. The dramatic text and its music together form the Phrommas repertoire, arranged by Prince Narisaranuvatiwongse in 1899, which continues to be performed to the present day. This research considers the repertoire from three main perspectives: 1) its significance in relation to the theatre, 2) the musical characteristics of the individual pieces which constitute it, and 3) its current state within modern Bangkok. The significance of the Phrommas repertoire is constructed through both internal and external factors. Internal significance is found mostly within conventional meanings that enable a tradition of using pieces of pre-existing music within the directionality of the Phrommas narrative, whereas external significance is manifest through three main aspects involving cultural association: 1) creat...

2017

In the past, lakhon phanthang emerges as a commercial theatre in Siam in the nineteenth century however at present it is named as a Thai traditional theatre. Under the Thai traditional theatre label, lakhon phanthang has been selected to present on the various Thai dance curricular in Thailand in order to preserving and developing the traditional dance-drama form. This paper examines the transmission of lakhon phanthang to the young generations through the dance educational system in Thailand by focusing on the existing of lakhon phanthang at three universities; 1) Bunditpatanasilpa Institute 2) Suan Sunandha Rajabhat University and 3) Chulalongkorn University, which are the prominent institutions in providing traditional dance and theatre education in Thailand. The finding represents the reflection of the role of educational institutions in the codification of performance. The process of learning and teaching lakhon phanthang are proposed as a set routine rather than a creative opportunity. Dance and theatre education in today's educational system does not encourage the development of traditional forms but is seen primarily as a means of preserving them.

MANUSYA, 1999

2011

Although Thailand has been among the most accessible countries in Southea~t Asia to scholars its musical traditions constitute an underworked field. Dr. DavJd Morton of the 'university of California at Los Angeles has written a thoroughly accurate study of central Thai classical music (1964), and a few articles have appeared from time to time in this journal concerning certain theatrical traditions, but scholurs have not yet published studies of the regional musics of the south, north, and northeast. The first-named author, Professor Miller, has completed a doctoral dissertation on the music of northeast Thailand!, with the extensive help of Professor Jarernchai Chonpnirot of the Srinakharin Wirot University branch in Maha Sarakham Province, northeast Thailand. It is our desire ~hat northeastern Thai music become known to the wodd, for it certainly has rich and elaborate traditions.

Asian Theatre Journal, 2014

TheadaptationofYākhōp's(ChotePraephan's)popularnovelPhuchanasibtid (Conqueror of Ten Directions) to lakhon phanthang ("theatre of a thousand ways") by Seri Wangnaitham at the National Theatre was a watershed moment in Thai theatre. This fifty-six-episode production, staged regularly over the period 1986-1994, played a pivotal role in the modernization of Thai theatrical arts, while maintaining the aesthetic values of tradition. The production developed a new audience for Thai dance, drama, and music, and opened the door for the incorporation of popular arts, such as the folk drama likay, into the elite National Theatre. Phakamas Jirajarupat is a lecturer in Thai theatre at Suan Sunandha Rajabhat University in Bangkok, Thailand, and a PhD candidate in drama and theatre at Royal Holloway, University of London, with research interests in tradition and modernity, and the reinvention of tradition in the post-traditional period. She has studied and trained in Thai traditional dance for more than fifteen years and has performed extensively nationally and internationally.