Nang Yai, Ban Don Temple, Rayong Province: Folk Performance Heritage

Abstract

The purpose of this paper is to examine forms and contents of the narrations-negotiations in Nang Yai (large shadow puppets), Ban Don Temple, Rayong Province in the following episodes: 1) the birth of Phra Ram’s two sons, the performance of the horse sacrifice (a royal Vedic ritual known as Ashvamedha or “Upakara horse release” in Thai), the fight between the two sons of Phra Ram and their two uncles, Phra Phrot and Phra Satarut, up until Phra Ram invites Nang Sida to the return to Ayuthaya (all compose by Mr. Chalerm Maneesaeng); 2) the prologue, Mr. Amnat Maneesaeng’s version; 3) the prelude, chap ling huakham dance (with selection of either the white or the black monkey) and the additional sepha used in the performance, Mr. Amnat Maneesaeng’s version.

The study reveals various values of narrations-negotiations in the folk performance heritage. Firstly, there is evidence of the usage of Kap Yani 11, Kap Chabang 16 and Rai Yao that has continued from the past to today. The narrations are related to the ‘leftover leathers’, while the negotiations seem to be quick-performed dialogues among the characters.

Secondly, the research shows the creation of both form and content by adding klon bot lakhon and klon sepha together with mention of the names of songs, which indicates the integration between this performance and lakon ram (dance drama).

The narrations-negotiations in Nang Yai, Ban Don Temple is evidence of an oral literary tradition before the development of written literature as can be seen in the repetitions found in bot phakmuang (dialogue used in royal palace scenes), the shorter negotiating dialogues (compared with other versions) and the irregular narrations-negotiations. All of this reflects characteristics of an oral tradition through the adjustment of narrations-negotiations at the play speakers’ convenience.