Mekong-Salween Civilization Studies Journal

Chinese Cultural Performing Art: The Year of the Rooster Lion Dance in Thonburi Area

Naphatsakorn Artmungkhun; Phufah Boonsrisombut, Chatuwit Keawsuwan — Fri, 28 Jun 2024 00:00:00 +0700

This research is a descriptive study with the objective of studying and analyzing the characteristics, belief, posture and performance sets of The Year of the Rooster Lion Dance in religious and important festivals in Thailand. It also aims to explore the uniqueness of The Year of the Rooster Lion Dance of the "Khao Tok Son" clan. The research methodology began with in-depth interviews, divided into group interviews with the main clan and relevant sample groups. Subsequently, data were collected and analyzed by categorizing them into groups. The study found that The Year of the Rooster Lion Dance of the “Khao Tok Son" clan is unique and distinct within Thailand. It exhibits distinct characteristics in terms of symbolism, performance sets, rhythmic music, and the lion's features. The lion dance can be divided into five major performance sets, which consist of the lion giving birth, the lion eating vegetables in the canal, the lion entering the four magic doors, the lion entering the eight direction talisman and the lion paying respects to the general public. These performances convey deep meanings and symbolism through gestures, facial expressions, narratives, and the use of props. Additionally, beliefs and characteristics of The Year of the Rooster Lion Dance can also be categorized based on the color attributes of the lion and the customary performance restrictions.

The Perceived Value of Tourism in Nakornsawan Province through Chinese New Year Festivalscapes

Chonlada panprom; Petchsri Nonsiri — Fri, 28 Jun 2024 00:00:00 +0700

This research aims to investigate the delivery of tourism value from the perspectives of both stakeholders and visitors during the Chinese New Year Festivalscapes in Nakhon Sawan Province. The research revealed a comprehensive total of 5 dimensions of tourism value. Firstly, for the Spiritual Value, it was discovered that the festival possesses auspiciousness, bestows favors, dispels negative influences, and inspires faith. Secondly, the Functional Value is evident from the presence of the local culture that promotes visitors to acquire a more profound comprehension by means of the lion dance parade. Thirdly, for the Social Value, the phenomenon emerges as a result of the social engagement between the host and the visitor as well as the act of returning to one's place of residence and exchanging experiences via social media. Fourthly, for the Emotional Value, the festival is characterized by enthusiasm, enjoyment, grandeur, and visual appeal. Finally, the Conditional Value is dependent on certain conditions being met such as the festival's link and other tourism attractions in the province. This study has established practical recommendations for event organizers to maintain the tourism value of the Chinese New Year Festival in Nakhon Sawan province. These guidelines include promoting the functional value of the festival by effectively communicating the essence of local culture using suitable information technology tools that align with the festival's core content. In addition, the core materials include activities that serve as the foundation for the Chinese New Year Festival such as the Golden Dragon Parade and the rituals for selecting the symbolic image of Guan Yin, which contribute to the development of spiritual values. The utilization of the fortune-telling rituals (Pawapuay) for the purpose of selecting an organizer for the Chinese New Year event might be advocated as an approach to maintain the fundamental principles of the event.

The Integration of Talay Bua Daeng Creative Paintings for Souvernir Designs in Kumpawapi, Udonthani

Pansar sanwung — Fri, 28 Jun 2024 00:00:00 +0700

The objectives of this research were as follows: 1) To examine 3 artistic techniques used in paintings, namely water color technique, acrylic technique and drawing technique since these techniques were suitable to be developed for a computer graphic design process and compatible with the perspective of the Red Lotus Lake; 2) To conceptualize and develop souvenirs that could symbolize Red Lotus Lake, situated in Kumphawapi District, Udon Thani Province, by incorporating creative painting methods; and 3) To analyze community participation in designing local identity. The research methodology comprised four distinct stages: 1) Collect and study fundamental field data and documents pertaining to the Red Lotus Lake tourist attraction; 2) Implement the three techniques, namely drawing, watercolor painting, and acrylic painting, to produce paintings; 3) Incorporate the paintings in the designs of five products including hats, scarves, tumblers, shirts, and bags. Aesthetic appeal and spatial integration were achieved through the application of design principles and artistic theories to determine elemental placement, while also considering the aesthetic qualities of the space. The results of a satisfaction survey administered to tourists and community representatives in five categories: 1) types of merchandise, 2) elegance, 3) uniqueness, 4) cost, and 5) value of the product, indicated the following: 1) Various characteristics encompassing figures, shapes, and colors inspired by red water lilies, aquatic plants, and endangered bird species such as the Purple Swamphen, egrets, Anastomus Oscitans, along with the landscape of Nongharn Lake, served as creative elements for paintings; 2) A range of products has been devised utilizing three painting techniques: drawing, watercolor painting, and acrylic painting, and these products were classified into four categories, namely scarves, bucket hats, tumblers, and printed shirts; and 3) Community engagement played a pivotal role in the selection of product patterns, as well as in the subsequent phases of monitoring, evaluating, and articulating opinions regarding the styles and distinctive features of locally crafted items.

Narueta Champasri: Choreography and Reproduction of a Dramatic Work for the Development and Expansion of a Cultural Capital

Thanyalak Moonsuwan; Pattamawadee Chansuwan , Ourarom Chantamala — Fri, 28 Jun 2024 00:00:00 +0700

This research article aimed to study the process of creating worship dances at religious sites in the Northeast of Thailand and the process of creating the Narueta Champasri dance in terms of concepts, styles, dance moves, music, and costumes. The research was conducted by means of a qualitative research method through the interview process with 3 sample groups consisting of the key informant group, the casual informant group, and the general informant group. The research results found that 1) The process of creating worship dances at religious sites in the Northeast of Thailand arises from beliefs related to worshiping gods and sacred things and thus wherever a religious place was built, various rituals were often performed and they have been performed continuously since the days of their ancestors and have been passed down to future generations through the identity of Isan folk dances; 2) The process of the performance of “Narueta Champasri: Choreography and Reproduction of a Dramatic Work for the Development and Expansion of a Cultural Capital combines dance moves from unique images engraved on stone boundary markers of Buddhist temples. All of them originated from the local culture which has long been the basis of the lives of the Isan people. They have then been expanded into local performances featuring Isan traditional dance moves that reflect distinct identity. The melody used in the performance is the Phatcha and the costume imitates that of the Dvaravati period culture. It is an expansion of the cultural tradition of worshiping a religious location originated from the belief in the worship of gods and sacred things of the Isan people. This reflects the Buddhist faith related to Phra Borommathat Na Dun, which was incorporated in the creation of the “Narueta Champasri” dance through the application of worship dance poses. This cultural reproduction is intended to be easily understood by the audience in order to generate an awareness of the value of performing arts wisdom. It is another strategy to increase the number of people who pay homage to the Buddha’s relics.

Human Buddhist Ecosystem: The Presentation Strategies of the Concepts of Relationships between Humans, Buddhism, and Nature in the Announcement of the Royal Ploughing Ceremony

Thanabat Jai-in; Parkpoom Sukjaroen, Suwannee Thongrot — Fri, 28 Jun 2024 00:00:00 +0700

This research article aims to study strategies for presenting the concepts of relationships between humans, Buddhism, and nature in the Royal Ploughing Ceremony. The documents studied include the Royal Ploughing Ceremony Announcement published in the Year of the Ox, B.E. 1925, the Jataka-atthakatha and related royal explanations. The results of the study reveal that significant strategies employed include adjusting the content details, using metaphors, and alluding to the Buddhist scriptures such as the Kasibharadvāja Sutta, Aṭṭhakathā Temiya Jātaka, Aṭṭhakathā Maccha Jātaka and Aṭṭhakathā Vārichcha Jātaka. These works are applied to create new contents which convey a sense of sacredness and auspiciousness. These strategies represent crucial concepts as follows: Buddhism serves as a fundamental prosperity of all things in this world; Buddhism embodies normative values for both human beings and nature; and Buddhism encourages individuals to contemplate nature and to critically explore themselves with greater rationales. These strategies and concepts show that the Thai Royal Ploughing Ceremony describes the ways of thinking and influences of Buddhism on the Thai society whereby human beings and natural worlds are intimately connected.

Symbols in Akha’s Clothing: Semantic and Cultural Communication

Fri, 28 Jun 2024 00:00:00 +0700

This article aims to study the symbols appearing in the Akha ethnic group’s clothing that indicate the identity of this ethnic group. The study area is Doi Pha Mi, Wiang Phang Kham Sub-district, Chiang Rai Province, which belongs to the Akha Ubya ethnic group. The research objectives are 1) To study the symbols in the clothing of the Akha Ubya ethnic group in terms of the communication of cultural meanings; and 2) To study the existence and change of symbols in the clothing of the Akha Ubya ethnic group in the current society. Through a qualitative research, the results of the study reveal that the clothing of the Akha ethnic group is comparable to a historical record. Their stories, ways of life, and beliefs are preserved through the symbols in order to remember their own Akha history. For the persistence and change of the symbols in the clothing of the Akha U-Bya ethnic group in the present society, it has been found that the Akha people produce their clothing in two categories: clothing with beauty but without Akha symbols and beliefs to meet the market’s needs, and traditional clothing with Akha symbols that indicate the people’s beliefs and that are made within their families and worn in traditional ceremonies and activities.

An Analysis of the Structure and Meaning of Chinese Store Names of Thai-Chinese People at Hua Ro Market Area in Phra Nakhon Si Ayutthaya District, Phra Nakhon Si Ayutthaya Province

Tanyarat Malasri; Kanokporn Numthong — Fri, 28 Jun 2024 00:00:00 +0700

This research paper aims to study the Chinese store names of Thai-Chinese people at Hua Ro market area in Ayutthaya. It emphasizes the structure and meaning of the store names including the data reflected on store signs and analyzes the data from all the collected Chinese store names around Hua Ro, Ayutthaya. The structure and meaning of Chinese store names at Hua Ro, Ayutthaya, can be categorized into 3 categories: 1) Forms and characteristics of the language, 2) Language aspects according to types of language structure, and 3) Information reflected by the names of Chinese stores. In terms of language forms and characteristics, Chinese store signs of Thai-Chinese people in Hua Ro Market Area, Ayutthaya, reveal the character types, character reading order, and character color. All of the store signs (100%) use traditional Chinese characters (繁体), and all of them (100 percent) read from right to left. Moreover, 95.34% of the signs are painted in yellow or gold because these colors represent good luck. In terms of language characteristics according to the types of language structure, we found that the signs use a single structure, composite structure, and other types of structure. The single-structure signs use only the family names the original form (25%) since the names are not complicated and they clearly indicate the identity of the shop owners. The most common family name used is “Lor” (罗) (18.42%) because many Chinese people with this family name settled down in this area. Grocery shop is the most common type of business (34.88%).

Revitalizing Local Traditions in Chiang Rai Old City to Promote its Creative District

Fri, 28 Jun 2024 00:00:00 +0700

This research aims to preserve and revitalize the important local traditions of Chiang Rai Old City to promote the Chiang Rai Old City area as a creative district. The study employs qualitative research methods including physical surveys and in-depth interviews with Buddhist, Christian, Islamic, Brahmin, and Hindu spiritual leaders, as well as civil servants involved in cultural work, local academic officers, artist network groups and cultural entrepreneurs. The data are analyzed together with information from documents and processed to gather basic information regarding the importance of local traditions in Chiang Rai Old City area. The results found that (1) there are 49 traditions in Chiang Rai Old City; (2) the most significant tradition according to the evaluation is the “Tradition of the 8th lunar month, going into the 9th lunar month, Sai Khan Dok Sadue Mueang Chiang Rai”; and (3) guidelines for the conservation and revitalization of traditions are as follows: 1. Promoting the significance of areas through providing historical knowledge; 2. Integrating ritual knowledge with modern contexts; 3. Revitalizing traditional events in conjunction with tourism promotion; 4. Revitalizing traditions through city-level working groups; and 5. Creatively preserving local flowers in traditional events.