Mekong-Salween Civilization Studies Journal

The Study of Rural Tourism Model of Umphang District, Tak Province

Rungtiwa Thanam — 2025-12-15

This research aims to 1) study the tourism resources, tourism activities, community involvement in the tourism management, and tourism current situation; 2) propose a model of rural tourism in Umphang District, Tak Province. It is a qualitative study using semi-structured interviews and in-depth interviews with key stakeholders involved in local tourism. The study involves five groups: the public sector, private sector, community, academic sector, and tourists, with a total of 20 participants. A content analysis was used to analyze the data. The findings reveal the following: 1) The tourism resources of Umphang District, which possess distinctive identity, include the preservation of traditional lifestyles, clothing, language, food, beliefs, and customs of the Karen, Pgaz K’Nyau, Hmong ethnic groups, and indigenous peoples. Rural tourism activities are cultural learning experiences where tourists can engage directly, gaining new experiences through various activities. Community involvement in the management of rural tourism emphasizes participatory decision-making, operations, evaluations, and benefits sharing, with the goal of fostering community awareness and involvement in rural tourism management. The situation of rural tourism indicates that tourists, especially middle-aged and elderly travelers, seek to learn about the lifestyles of local people. The government has continuously promoted tourism in Umphang District by supporting activities and developing natural and cultural tourist attractions. Based on the study of these four aspects, a model for rural tourism of Umphang District, Tak Province, has been proposed; 2 The proposed model of rural tourism in Umphang District, Tak Province, comprises the integration of natural and cultural resources, participatory community-centered tourist activities, and tourism current situations.

The Development of a Digital Communication Model for Driving Creative Tourism Based on Community Cultural Capital of Ban Sri Woen Chai, Si Songkhram District, Nakhon Phanom Province

Watchara Sutakot — 2025-12-15

This research aimed to 1) study and analyze community cultural capital potential for developing a digital communication model to drive creative tourism in Ban Sri Woen Chai, Si Songkhram District, Nakhon Phanom Province; 2) develop digital communication prototypes through digital photobook and Facebook fanpage for driving creative tourism based on community cultural capital; and 3) evaluate the effectiveness of the developed digital communication prototypes. Research and Development methodology was employed in conjunction with mixed methods research, collecting data from 10 key informants, 2 focus groups, 15 experts, and 400 tourists. The findings revealed that the community possesses distinctive cultural capital in riverside lifestyle, Buddhist traditions, and freshwater fishing wisdom. The developed digital communication prototypes a digital photobook entitled "Full of Merit + Happiness in 2 Dhammas" and a Facebook fanpage "Visit Nakhon Phanom: Village Life at Ban Sri Woen Chai" received excellent evaluation ratings (means of 4.56 and 4.59). After the implementation, the sample group demonstrated a significant increase in cultural capital value perception from 3.28 to 4.52 and tourism intention from 3.12 to 4.35 at the .05 significance level. This resulted in community product development, collaborative networks, and cultural preservation. The discussion revealed that the prototypes align with Transmedia Storytelling and Content Marketing concepts, creating co-value creation between community and tourists, though limitations in digital skills and sustainability were identified. The research demonstrates how integrating digital technology with cultural capital serves as a crucial mechanism in driving sustainable creative tourism based on cultural heritage.

Artistic Characteristics and Cultural Connotations of Changsha Tongguan Kiln Ceramics during the Tang Dynasty

Minkun Zhang — 2025-12-15

Changsha Tongguan Kiln ceramics represent one of the most important folk ceramic traditions of the mid-to-late Tang Dynasty, which flourished as a widely exported ware. This tradition effectively transcended the established regional dichotomy of “celadon in the south and white ware in the north,” and is recognized as a significant element of Hunan’s intangible cultural heritage. It also occupies a prominent place in the history of Chinese ceramic development and in the cultural exchanges between China and other regions during that era. This study traces the developmental trajectory of Tongguan Kiln ceramics and examines their distinctive artistic characteristics along with the cultural meanings they embody. The research methodology integrates literature review, fieldwork investigations, and interdisciplinary approaches, including design theory, semiotics, aesthetics, and archaeology. The findings reveal that the origin of Tongguan Kiln ceramic industry can be traced back to the earlier Yuezhou kilns. Throughout its evolution, it assimilated influences from northern Chinese ceramic technologies, Tang sancai ware, and various foreign artistic styles. As a result of political turmoil and increased competition from northern kilns in the late Tang and Five Dynasties period, Tongguan kiln production went into decline and eventually ceased. An analysis of excavated Tongguan wares shows that the majority of these pieces were tableware. Their artistic style can be characterized in three aspects: 1) robust, rounded vessel forms; 2) a rich palette of glazes – celadon and white glazes served as the primary tones, complemented by a wide range of other colors such as brown, ochre, green, black, tea, blue, and copper-red; and 3) diverse decorative motifs, encompassing five main categories of design – freehand dots and lines, floral and plant motifs, animal figures, human figures, and calligraphic inscriptions. These artistic features express deeper layers of cultural meaning, which may be interpreted through three primary dimensions: regional folk culture, religious symbolism, and foreign cultural influences. This study aims to highlight the cultural value of Changsha Tongguan Kiln ceramics and to provide a theoretical foundation for its preservation, inheritance, and dissemination as part of China’s rich ceramic heritage.

From Ban Thung Sala, Ban Bang Lai to Ban Thai Nam: A Study of Cultural Capital Derived from the Legend of Luang Pho Ngoen Phutthachot

Pakpoom sookcharoen — 2025-12-15

This article aims to study the cultural capital derived from the legend of Luang Pho Ngoen Phutthachot in the areas of Bueng Narang and Bang Lai sub-districts, Bueng Narang district, and Thai Nam sub-district, Pho Thale district, Phichit province, and to propose guidelines for applying the cultural capital from the legend of Luang Pho Ngoen Phutthachot in the areas of Bueng Narang and Bang Lai sub-districts, Bueng Narang district, and Thai Nam sub-district, Pho Thale district, Phichit province. This study is a qualitative research, based on a document study, interviews, and non-participatory observations through fieldwork. The results show that the legend of Luang Pho Ngoen Phutthachot that is related to the area is the source of the cultural capital in the area, including embodied cultural capital, objectified cultural capital, and institutionalized cultural capital. This capital is rooted in the legends and stories passed down through generations. Embodied cultural capital includes monks, local sages, and community leaders. Objectified cultural capital includes an elephant resting pavilion, wax sculptures, and Luang Pho Ngoen amulets, which have both religious value and the potential to be developed as tourist attractions. Institutionalized cultural capital is the establishment of museums and amulet clubs, which helps to build credibility and widespread acceptance. This cultural capital can be applied to develop tourism to create economic value for the community in 3 dimensions: tourism route dimension, tourism activity dimension, and amulet dimension.

The Study of Needs and Feasibility of Music Therapy Services in Palliative Care Settings: A Case Study in Northern Center Hospitals

Kanyapach Kitrenu — 2025-12-15

The purpose of this study was: 1)To survey the opinions towards music therapy of the multidisciplinary teams in palliative care settings in Northern Center Hospitals; 2) To study the work system of music therapists in providing music therapy services in palliative care settings; and 3) To study the needs and feasibility of providing music therapy services in palliative care settings in Northern Center Hospitals. This study employed an exploratory research method by collecting data from two sources: 1) Qualitative data were collected from 29 members of the multidisciplinary teams in palliative care settings in Northern Center Hospitals using a questionnaire to gather information regarding the opinions of the multidisciplinary teams; and 2) Further qualitative data were collected, through purposive sampling, from 3 specialist music therapists using semi-structured interviews, which were audio-recorded and transcribed for analysis. The data were analyzed descriptively, with supplementary discussions. The research results found that the majority of the multidisciplinary team members perceived the benefits and effectiveness of using music therapy for the patients and agreed with providing music therapy services in their own hospitals. Based on the interviews with the music therapists, it was found that the process of providing music therapy services required the music therapists to work with professionals in other areas to provide knowledge to the multidisciplinary teams involved in music therapy and to provide psychological support to the care teams. The process of providing music therapy services in palliative care followed the following steps: 1) Referral, 2) Assessment, 3) Intervention, 4) Documentation and evaluation, and 5) Termination. The results of the need and feasibility study showed that the multidisciplinary teams wished to incorporate music therapy into palliative care and to support the employment of music therapists in the Northern Center Hospitals because they saw the benefits and effectiveness of music therapy and saw that music therapists could work with other multidisciplinary teams in charge of palliative care.

Dualism of the Chinese Lower Class as Reflected in Lu Hsun’s Short Stories

Truong Thi Hang — 2025-12-15

This study aimed to examine the dualism of the Chinese lower class as reflected in eleven short stories by Lu Hsun, one of the greatest writers in modern Chinese history. It was a qualitative study based on documentary data and was conducted in three stages: collecting data from documents and previous studies related to the concept of dualism and Lu Hsun’s literary works, analyzing the data primarily through content analysis and interpretation, and presenting the findings through descriptive analysis. The study adopted the concept of dualism as its analytical framework, which was divided into two levels: social dualism and individual dualism. The findings revealed that, at the societal level, the Chinese lower class possessed both strengths, such as diligence and generosity, and limitations, including inquisitiveness and dishonesty. At the individual level, the character Ah Q in “The true story of Ah Q” representing the male Chinese lower class exhibited a contradictory personality characterized by arrogance and ignorance, which was manifested in traits of subservience to authority while simultaneously demonstrating a propensity to oppress those of a lower status, as well as prejudice against women alongside a desire for love. Meanwhile, the character Aigu in “Divorce” representing the female Chinese lower class, particularly wives living outside traditional norms in rural China was portrayed as arrogant and domineering toward those close to her, yet at the same time timid and submissive when facing authority figures.

Reconstruction Models in the Architecture of Wat Trapang Chang Phueak, Sukhothai Historical Park

Anuspong Kraikriengsri — 2025-12-15

This research aims to hypothesize the architectural form and present knowledge about the art and architecture of Wat Trapang Chang Phueak to enhance learning and alternative tourism. The research utilized geography, history, archaeology, and architecture relevant to the context of Wat Trapang Chang Phueak, along with field surveys and surveying combined with photogrammetry software for data analysis and data processing. The results were summarized using a 3D architectural drawing, illustrating the hypothetical design of Wat Trapang Chang Phueak, Sukhothai Historical Park. This research utilized the conceptual framework and research framework based on the discovery of archaeological remains, architectural components, and restoration of Wat Trapang Chang Phueak. The findings revealed a unique form, distinct from other archaeological sites in the Aranyik Group to the west of Sukhothai Historical Park. The study concluded that the main structure of Wat Trapang Chang Phueak is a pavilion-style structure (Mondapa) with a double-stacked colonnade and a central Buddha image pedestal. This unique form is found only in two locations within the Sukhothai Historical Park.

Sacred spaces, votive offerings, and urban development based on belief systems

Patcharin Sirasoonthorn — 2025-12-15

This article aims to develop a belief-based intelligent urban development model using qualitative research. Data was collected through participant observation and a survey of cultural objects from eight sacred sites in the Phitsanulok urban area, with analysis employing grounded theory. The study found a relationship between urban development policies and strategies, the belief in fleeting luck, and the elements of sacred spaces. The results established a framework for Intelligent Smart City development based on four policy pillars, with the key objective of utilizing cultural dimensions and beliefs to develop smart citizens and drive comprehensive, sustainable urban growth. These pillars include: 1) Heroism Re-Orientation and Value Definition, 2) Human Capital and Self-Efficacy Enhancement, 3) Cultural Digitalization and Knowledge Flows, and 4) Sustainable Cultural Resource Management. A critical policy recommendation is to define development strategies that place greater emphasis on Everyday Heroes to elevate personal value definition, encourage mortality reflection, inspire altruistic acts beyond normal expectations, foster a positive self-attitude and belief in self-control, and develop technology systems to enhance the future skills needed to create a lifelong learning city.

A Study of Musical Characteristics and Music Forms of the Lahu Ethnic Group in Tanoh Maeroh Subdistrict, Betong District, Yala Province

Noppadon Khunsrikaew — 2025-12-15

This article aims to examine the musical forms and characteristics of the Lahu ethnic group in Tano Mae Ro Subdistrict, Betong District, Yala Province, through an analysis of three musical pieces: “Bon Ui ha G'ui Sha o” (ritual music), “Dance Song” (celebratory music), and “Tomorrow Song” (everyday-life music). The study employed Ethnomusicological Analysis Theory and Musical Structural Analysis Theory as its research frameworks. The findings reveal that the musical components including scale, structure, range, rhythm, and instrumentation, particularly the Taw Sue Koi play a crucial role in shaping Lahu music. The ritual song features a pitch range from G4 to D6, a tempo of 80 BPM, and an A–B–A structure. The celebratory song spans E3 to B4, with a tempo of 120 BPM and an A–A–B–A structure. The everyday-life song has a pitch range of C3 to C4, a tempo of 75 BPM, and a through-composed structure. All three pieces employ the pentatonic scale (C–D–E–G–A). The Taw Sue Koi, a traditional stringed three-instrument, serves as the primary melodic source in Lahu music. Each of its strings reflects cultural values: the E5 string “Mei” (female), the G4 string “Mang” (equality), and the C4 string “Ju/Ja” (male). Its tuning aligns with the pentatonic scale to facilitate melodic creation. Lahu music plays a vital role in fostering community cohesion and preserving cultural identity through the concept of “bounded flexibility.” This includes fixed boundaries such as the pentatonic scale, traditional instruments, and ritual purposes as well as flexible boundaries, including performance duration, venue, and musical structure. “Bon Ui ha G'ui Sha o” integrates the Taw Sue Koi with modern instruments like keyboard and guitar, whereas the celebratory and everyday-life songs rely primarily on traditional instrumentation. Each piece demonstrates a unique form of musical blending: the ritual song merges Taw Sue Koi melodies with modern harmony; the celebratory song incorporates structural features influenced by Southern Thai music; and the everyday-life song maintains a pentatonic melodic contour through its through-composed organization. With the Taw Sue Koi at its core, Lahu music sustains cultural identity through a balanced interplay between “tradition” and “adaptation,” enabling the music to function as a stable medium linking cultural continuity and change.

The Cultural Map of Renu Nakhon Phu Thai: From Cultural Capital to Tourism Routes

Chirabhorn Phromthep — 2025-12-29

This study aimed 1) to explore the cultural capital of Renu Nakhon Phu Thai and construct a cultural map of the Phu Thai community; and 2) to design cultural tourism routes based on the cultural capital mapping of the Phu Thai community. A qualitative research design was employed using Participatory Action Research (PAR) in order to encourage community engagement and collective knowledge production throughout the research process. The study involved 35 key informants, including community sages, local residents, students and representatives from relevant government agencies. Data were collected through in-depth interviews, field surveys, and focus group discussions. The cultural mapping process emphasized the identification and documentation of both tangible and intangible cultural heritage, supported by photographic records and geographical coordinates to enhance spatial accuracy and practical applicability. The findings revealed a total of 38 cultural capital elements, categorized into seven domains: 1) cultural spaces, 2) architecture, 3) performing arts, 4) traditional craftsmanship, 5) knowledge and practices related to the nature and the universe, 6) social practices, rituals, and festivals, and 7) language. Significant cultural assets identified include Phra That Renu, Phra Ong Saen, Phu Thai woven textiles, the Phu Thai language, Khao Poon (rice noodle dishes), Lao U (traditional rice wine), Phu Thai dance performances, and distinctive rituals and festival traditions of the community. Based on the cultural capital database and spatial cultural mapping, the researchers analyzed spatial linkages and characteristics of cultural assets to design four cultural tourism routes: 1) a one-day Phu Thai cultural route, 2) a two-day, one-night cultural route, 3) a gastronomic route focusing on Khao Poon and Lao U consumption, and (4) a riverside cultural tourism route.