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following the society of multiculturalism under his majesty’s bounty, which is the significant mechanism to maintain the heritage of cultural wisdom to this day. As
a result, Phranakhon Si Ayutthaya has become the “land of friendliness and
smiles”, ready to welcome tourists from all over the world to experience its beauty.
Phranakhon Si Ayutthaya Rajabhat University, a university located in
the middle of a World Heritage Site, recognizes the significance of maintaining art
and culture and aims to produce graduates with knowledge and virtue to be able to maintain the uniqueness of the Thai national identity. It is my great pleasure to welcome you to the 1th National and the 11th International Conference on Arts and Culture: Contemporary Arts and Culture Practices in Phranakhon Si Ayutthaya,
Thailand. I greatly hope that Phranakhon Si Ayutthaya Rajabhat University will
reconnect the university art and culture conference network at this moment. It will Letter from the President of Phranakhon Si Ayutthaya reinforce the academics’, researchers’, lecturers’ and citizens’ recognition of the Rajabhat University value of Thai art and culture and develop creative academic work from the
Phranakhon Si Ayutthaya is one of the world’s key historic cities knowledge and wisdom based on the notion of “Contemporary Arts and Cultural constructed on the fertile land of Suvarnabhumi, the golden land. This area is Practices”. This will result in the benefit for the local community and continue to known as the “land of plenty” not only for its natural resources but also for the be the vital power to maintain the art and culture of the country. resources of culture, art and wisdom maintained by the ancestors over the years. Since King Ramathibodi I established Phranakhon Si Ayutthaya as a kingdom in 1893 B.E. (1350 C.E.) up to 2564 B.E. (2021 C.E.), a total of 671 years, the city became a valuable heritage for mankind of learning resources in history, arts and Associate Professor, Dr. Chusit Pradabpet culture, accepted among academics. Moreover, the city includes rich historic sites President of Phranakhon Si Ayutthaya Rajabhat University and a way of life encompassing a variety of beliefs, nationalities, and religions
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 2
On this occasion, the Faculty of Humanities and Social Sciences, Phranakhon Si Ayutthaya Rajabhat University has received warm cooperation
in submitting creative works for the exchange of knowledge in this area.
This results in the sustainable multidimensional development for the future, from many academic institutes. These national institutes include Srinakharinwirot Letter from the Dean of the Faculty University, Naresuan University, Mahasarakham University, Thammasart of Humanities and Social Sciences University, Thaksin University, Udon Thani Rajabhat University, Valaya Alongkorn Phranakhon Si Ayutthaya Rajabhat University Rajabhat University under the Royal Patronage, Bansomdejchaopraya Rajabhat University, Rajamangala University of Technology Thanyaburi, Angthong College The Faculty of Humanities and Social Sciences, Phranakhon Si of Dramatic Arts, Lopburi College of Dramatic Arts, Nakhon Ratchasima College Ayutthaya Rajabhat University has been established for 44 years and continues of Dramatic Arts Bunditpatanasilpa Institute, Nakhon Ratchasima Rajabhat to provide support and development for local communities with an immense University and Phranakhon Si Ayutthaya Rajabhat University. The international amount of research and knowledge. One key identity of the university institutes include State of Florida Department of Education, Associazione Bel is the awareness of the value and power of creativity which is the source Teatro, as well as independent scholars. of inspiration leading to the development in all aspects, including individuals, On behalf of the Faculty of Humanities and Social Sciences, Phranakhon organizations, and the whole nation. In particular, the creation of works in fine arts Si Ayutthaya Rajabhat University, I would like to express my heartfelt thanks help encourage the cultural capital development of the country. This is consistent to all the scholars, participants, performers, faculty members, as well as with the policy vision in regard to the progress of the national economy typically the symposium organizers who have made the success of this event possible. recognized as “Thailand 4.0” which aims to promote New Engines of Growth. In addition, I would like to offer best wishes for the success of the 1st International As a university located in the middle of the Ayutthaya World Heritage Symposium on Creative Fine Arts (ISCFA) organization in their determined Site, one of the most significant art and cultural centers of the country, endeavors. Phranakhon Si Ayutthaya Rajabhat University would like to be the host of the 1st International Symposium on Creative Fine Arts (ISCFA) with the primary Associate Professor Dr. Phakin Shotivetsin purpose to cultivate, promote, and enhance the value of academic works in fine Dean of the Faculty of Humanities and Social Sciences arts concretely at the international level. Phranakhon Si Ayutthaya Rajabhat University
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Keynote Speakers “Boundless Culture”
Dr. Ying, Kwang - I Prof. Dr. Naraphong Charassri National Sun Yat - Sen University (Music) Chulalongkorn University (Dance)
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 4 Process of the Project
Have a meeting with the committee for the project planning.
Appoint specialists from each field to consider the creative work.
Make an application announcement to submit the creative work (submitting within the dateline to send the papers to the specialists)
Make an announcement for the qualified creative work to make a presentation.
Create the public relations poster for the creative work presentation and the certificates to be available to the public.
Inform the presenters to submit 3 pieces of their creative work to send to the specialists with an explanation of the applicants’ work under the listed topics.
Make a presentation of the creative work having the specialists consider each work following the listed schedule.
Note: Experts from each field must have an appointment made by the organizers of the institute.
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Symposium Committee
Assoc. Prof. Dr. Kentaro Sakai Dr. Keri McCarthy Prof. Emeritus Suchart Taothong
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 6 Symposium Committee
Assoc. Prof. Dr. Kovit Kantasiri Dr. Chindarat Chareonwong Assoc. Prof. Dr. Wiboon Trakulhun
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Symposium Committee
Prof. Dr. Naraphong Charassri Prof. Chieko Mibu Dr. La Verne C. Dela Peña
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Prof. Dr. Weerachat Premananda Dr. Ying, Kwang - I Assoc. Prof. Dr. Somporn Tulee
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Symposium Committee
Dr. Teeradach Klinchan Assoc. Prof. Chantana Iamsakun Dr. Sompong Leerasiri
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Faculty of Humanities and Social Sciences, Phranakhon Si Ayutthaya Rajabhat University recognizes the significance of the mentioned standard, so we organize the 1st International Symposium on Creative Fine Art aiming to enrich the development of creative works of the lecturers and giving the chances to education workers in the field of Fine Art all over the country to present their academic works to the public and bring the cooperative participation in academic The 1st International Symposium on Creative Fine Art (ISCFA) 2020 and creative presentation of universities, government, and private sectors nationally and internationally whose aims are to enhance the innovation 1. Principles and Reasons development leading to the creation of the groundbreaking academic works, Academic creative work presentation is one of the key elements and enrich the previous academic ones that are suitable for the need creating a variety of academic works. Faculty of Humanities and Social Sciences, of the communities and help strengthening the sustainably continuous development Phranakhon Si Ayutthaya Rajabhat University has supported Fine Art creation for of education of the country. the benefit of teaching and learning and constructing a groundbreaking paradigm useful for the country development, has encouraged the academic presentations, 2. Objectives 1. To promote the Fine Art creative works. and has promoted the creative works nationally and internationally following the philosophy, visions, and aims of the strategic plans of the university. 2. To help and develop the Fine Art lecturers to have a platform Organizing the stage for the lecturers to present their creative works to present the researches and creative works to the public. is one of the methods of Faculty of Humanities and Social Sciences to support and 3. To give academic services and give the opportunity to exchange create the academic atmosphere and help the lecturers and students, particularly creative works and information among the researchers, lecturers, workers the ones of Fine Art, to realize the importance of creative works. Apart from and students of various organizations and institutes. creating the opportunity to present the works to the public, the symposium 4. To make a new generation creators and researchers of the is crucial to education quality assessment and is considered as an index universities, organizations, and institutes and the atmosphere of Fine Art creation. representing the standard of education, researches, and creation of the 5. To develop the quality of researches and creative works of lecturers, universities. workers and students.
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3. Presentation date 6.2 Submission December 16, 2020 6 .2 .1 Register and fill in the Google Form (document A) in the following QR Code within October 31, 2020. 4. Venue 6.2.2 Make 3 copies of the document requiring the complete At the Auditorium of language and Computer Center topics according to document B, bring them on December 16, 2020, and send (The 100th years anniversary auditorium) as the attached files to E-mail: [email protected] Phranakhon Si Ayutthaya Rajabhat University 6.2.3 For more information please contact Asst. Prof. Dr. Rujipas Phudhanun-naruepat Telephone: 09-4519-1565. 5. Project initiator Dr. Wichulada Tunprasert Deputy Dean for Plans, Local Strategies and Art and Cultures
6. Submission 6.1 Types of Creative work presentation 6.1.1 Creative performing arts/shows, Thai Music, Western Music require 7-10 minutes. 6.1.2 Exhibitions: the presenters need to stand-by at the posters during the assigned time in order to answer questions and give more information.
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Agenda The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 December 15th - 16th, 2020 at the Auditorium of Language and Computer Center. (The 100th years anniversary auditorium) Phranakhon Si Ayutthaya Rajabhat University
DAY 1 : December 15th, 2020 09:30 – 12:00 Rehearsal 1 (at the Auditorium of Language and Computer Center) 12.00 – 13.00 Lunch break 13:00 – 16:30 Rehearsal 2 (at the Room 31021 of Language and Computer Center) End of Day 1
DAY 2 : December 16th, 2020 08:30 – 09:00 Registration 09:00 – 09.30 Opening Ceremony and welcome Speech by Dean of the Faculty of Humanities and Social Sciences Opening Speech by the President of Phranakhon Si Ayutthaya Rajabhat University 09:30 – 10:00 Keynote Speakers “Boundless Culture: the Creation of Works in Fine Arts for the 21st Century” by Prof. Dr. Naraphong Charassri from Chulalongkorn University and Dr. Ying, Kwang - I from National Sun Yat - Sen University 10:30 - 12.00 Parallel Session
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“Dance” At the Auditorium of Language and Computer Center No. Times Titles Creator Country 1 10.30 – 10.40 The Kyrgyz national dance "Snowdrops" Eldar Abiazov Qazaqstan 2 10.40 – 10.50 The Kyrgyz dance "Kara Jorgo" Eldar Abiazov Qazaqstan 3 10.50 – 11.00 "Hopak" Oleg Melnyk, Olena Melnyk Ukraine 4 11.00 - 11.10 "Ukrainian Suite" Oleg Melnyk, Olena Melnyk Ukraine 5 11.10 – 11.20 "Vesela polka" Oleg Melnyk, Olena Melnyk Ukraine 6 11.20 – 11.25 Central Albania Arian Plaku Albania 7 11.25 – 11.30 Apple of love Arian Plaku Albania 8 11.30 – 11.40 Creative Performance: Flag Cooperation Raksit Meelek Thailand Jutarat Sumerurat Taporn Yimsopa 9 11.40 – 11.50 Pan Tang Drama "Maharatchawong Phama" : Khemawan Nattakarnjanadid Thailand The Forbidden Love (Rak Tong Ham) 10 11.50 - 12.00 The Creation of “Thong Thai Yuan” performance Dr. Thitima Ongthong Thailand 12.00 – 13.00 Lunch Break 11 13.00 - 13.10 A Contemporary Dance of Buddha Jaya Mangala Gatha Dr. Natphat Pholpikul Thailand (The Verses of the Buddha's Auspicious Victories) 12 13.10 – 13.20 Creative Dance Performance Nhae Ane Lho Bong Dr. Kanchaporn Tunthong Thailand 13 13.20 – 13.30 Lao Impression Asst. Prof. Dr. Kodchakorn Chitthuam Thailand Asst. Prof. Dr. Khomchawat Phasurichandaeng Asst. Prof. Dr. Tanakorn Sunvaraphiphu Asst. Prof. Ammarin Rangpeth
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“Dance” At the Auditorium of Language and Computer Center No. Times Titles Creator Country 14 13.30 – 13.40 The Elegant Dance of Philosopher’s Valayalongkorn Rajabhat Dr. Nattaporn Poonpakdee Thailand University 15 13.40 – 13.50 The Choreography of Nang Montho Dance Pattern in the episode Dr. Haruethai Naimoke Thailand of Monthok Dhevi Sri Montho, 16 13.50 – 14.00 Creation of Ramayana the Musical on the Episode of Asst. Porf. Dr. Chalermchai Piromrak Thailand Sammanakkha War Fuse Jaruwat Srisopa 17 14.00 – 14.10 Phaya Dan Assoc. Prof. Dr. Sirimongkol Natayakul Thailand 18 14.10 – 14.20 Creative Dance Project: The Purple Orchid Tree Ekkarat Rungsawang Thailand (CHONG-KHO SRISOMDEJ) 19 14.20 – 14.30 The Creation of a Dance From the Ceiling Painting Asst. Prof. Dr. Pattararuetai Kuntakanit Thailand At Wat Pathum Khong Kha (Wat Nok-ok) Pak Thong Chai, Nakhon Ratchasima 20 14.30 – 14.40 The Creative Performance Named Wijittakarn Ngan Peek Asst.prof. Pravit Rittibul Thailand Malang Tab Soros Mongkonprasert Krittin Longchum 21 14.40 – 14.50 Rabum Yutthasart Rajabhat Phiphat Anan Dr. Luckana Saengdaeng Thailand (Rajabhat Progressive Stratgy Dance) Narongchai Kriwaree 22 14.50 – 15.00 The Creation of Dance “Yoi Si Ayutthaya Ying Fah Dr. Narong Cumanee Thailand Phra Nakhon Si Ayutthaya Province” Pisan Srisod 23 15.00 – 15.10 The Creation of Contemporary Dance through Asst. Prof. Dr. Tanakorn Sunvaraphiphu Thailand Poachangkapit Chant
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“Dance” At the Auditorium of Language and Computer Center No. Times Titles Creator Country 24 15.10 – 15.20 Creative Dance “Sin Chao Phrya Set” Asst. Prof. Dr. Suksanti Wangwan Thailand Chapman Kaewsawang Werade Jintalai Manatsawi Kanjanapho Manatchanok Mangkornhiransiree Kanokchom Soontornsima Tarika Katch 25 15.20 – 15.30 The Creation of a Dance “Mattana kupchaka” Dr. Nareerat Phinitthanasarn Thailand 26 15.30 – 15.40 Dance Creation of “GANGA” Dr. Ritaponcharaporn Thongtanorm Thailand End of day 2 (Dance)
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“Music” At the Room 31020 of Language and Computer Center No. Times Titles Creator Country 1 10.30 – 10.40 Thirteen new Variations on La Folia for Harpsichord Alberto Firrincieli Italy 2 10.40 – 10.50 “Digital Dust from Virtual Suburbias” Jacopo Gianninoto Italy 3 10.50 – 11.00 The Variations “Pleng ching chang prasan nga” for Chakhe solo Umaporn Klahan Thailand 4 11.00 – 11.10 Music Composition “Monkey Dance” Vasu Thaweelarb Thailand 5 11.10 – 11.20 “Nakorn Bangyang and Nakorn Thai” for String Quintet Worachat Kitrenu Thailand 6 11.20 – 11.30 “Sound of Strings” for String Quartet. Dr. Nawathep Nopsuwan Thailand 7 11.30 – 11.40 The Replacement for String Quartet Asst. Prof. Dr. Ekachai Phuhirun Thailand 8 11.40 – 11.50 The Thula Baba Travis Hammond South Africa 12.00 – 13.00 Lunch Break 9 11.50 – 12.00 “Preto Partitura” for String Quartet Yury Teodor Alexov United States 10 13.00 – 13.10 The Procession of Thousand Rice Balls to Worship the Lord Buddha. Asst. Prof. Dr. Supachai Suriyut Thailand 11 13.10 – 13.20 Hariphunchai Poem for String Quintet Version Asst. Prof. Dr. Rujipas Phudhanun-naruepat Thailand 12 13.20 – 13.30 “Autumn” for String Quartet Yury Teodor Alexov United States 13 13.30 – 13.40 “Poem of The Royal Barge Procession” for Tenor, Violin, Horn, Asst. Prof. Dr. Prapansak Pumin Thailand Recorder and Piano Asst. Prof. Dr. Sitsake Yanderm Dr. Wipart Wiboonpanuvej Dr. Pawatchai Suwankangka Krit Vikornvongvanich 14 13.40 – 13.50 "MESA" for String Quintet Asst. Prof. Dr. Woraket Tagosa Thailand 15 13.50 – 14.00 “The Elephant in the Mysterious Mist” for Saxophone and String Quintet Asst. Prof. Dr. Prayat Supajitra Thailand
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“Music” At the Room 31020 of Language and Computer Center No. Times Titles Creator Country 16 14.00 – 14.10 “Legacy of the Southern Dramatic Whisper” for String Quintet Asst. Prof. Dr. Raweewat Thaicharoen Thailand 17 14.10 – 14.20 Composition of Laos Classical Music, Pla Thong, Through The Play of Yongyuth Eiamsa-ard Thailand String Orchestra End of day 2 (Music)
“Visual Arts” Room 31020 of Language and Computer Center N Times Titles Creator Country o. 1 10.30 – 10.50 Moving Away From Ikat Pattern I Asst. Prof. Dr. Vitawan Chunthone Thailand 2 10.50 – 11.10 Creative Contemporary Terracotta Sculpture: Memory Watchaleewarn Hirunpalawat Thailand 3 11.10 – 11.30 Gleaming Decay Dr. Wuthigrai Siriphon Thailand 4 11.30 - 11.50 1. Paraquat French Fries 2. Glyphosate Dairy Milk Dr. Kethathai Singin Thailand End of day 2 (Visual Arts)
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The presentation on “Dance” At the Auditorium of Language and Computer Center
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 20 The Kyrgyz national dance "Snowdrops"
The Kyrgyz dance "Kara Jorgo" which means "Black ambler". This is the calling card of both the Kyrgyz people and our ensemble. The Kara Jorgo dance is a tribute to the memory of the traditions of our ancestors. Then, almost one hundred years ago, the ambler was, if we draw a parallel with the present days, the Kyrgyz "Mercedes". This horse was highly prized. Those who had it were considered rich people." Broken movements - a feature of this Kyrgyz dance. Today, professional performers are priceless, worth the gold, because they are invited not only to family holidays, but also to official ceremonies with The Kyrgyz national dance "Snowdrops". The meaning of this dance: the participation of top officials of the government. "In the early spring boys and girls are playing on a small field. The boys are teasing the girls by waving flowers in front of them, but they are not giving the flowers to them. The girls are symbolizing the birth of spring, the boys symbolize the masculinity, the wing, the power of nature.
The Kyrgyz dance "Kara Jorgo"
Creator: Eldar Abiazov
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Hopak "Vitaminchiki" Choreografic Ensemble City Kyiv. Ukraine. Oleg Melnyk is a vice-chairman of the Kyiv cell of National Choreographic Union of Ukraine, "Hopak". It is a visiting-card of Ukraine, dance of Central part of Ukraine, President of the International festival "The Sunny chestnut", world Ambassador, that is executed by guys and girls. In dance relations are shown between guys record-holder of Book of records of Ukraine. and girls, national character, suits, traditional Ukrainian dancing motions. Feature Olena Melnyk is a member of National Choreographic Union of Ukraine, of this dance is demonstration of technical implementation of tricks-difficult main ballet-master, choreographer-producer, Excellent education of Ukraine. elements of dance. Ensemble of dance "Vitaminchiki" has a rank the "Folk Art Group of Ukraine", that is created in 1990. In the repertoire of collective more than 40 Ukrainian Suite folk dances. They are from the different regions of Ukraine. A collective presented his Culture in a 30 country of the world and is a participant and winner In this choreographic composition the involved fragments of the dances of the International festivals and competitions. Among the many dance collected from the different ethnographic districts of country. By means of this are the most famous in Ukraine. These dances are known by the whole world. dance it is possible to see beauty and variety of colors, motions, music of East and the West, South and North of Ukraine.
Vesela polka "Vesela polka". This is a dance of the Volyn region of Ukraine. The dancers were applauded by Turkish President Erdcep Erdogan, and millions of spectators from all over the world were amazed by the rhythmic music, color scheme of the costumes and the perfect performance of the dance moves.
Creator: Oleg and Olena Melnyk
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"Central Albania" and "Apple of love"
The Dances express the artistic value of the people of a country, of a province, where it is played and interpreted.
Characteristic of the dance we have sent to you, is the lyricism (the atmosphere) and the body plastic, as well as the joy of the last part of the dance.
Durres belongs to central Albania and characteristic of our country is the double dance, just like in the video that we have sent to you. Creator: Arian Plaku
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Creative Performance: The ASEAN Community is the Association of Southeast Asian Nations (Association of South East Asian Nations or ASEAN) by establishing the first Flag Cooperation purpose to promote and cooperate in matters of peace, security, economy, knowledge, society and culture on an equal basis and the mutual benefits Creator: of member states It is the goal of the unification of ASEAN member countries. To increase bargaining power and the competitiveness of ASEAN in all aspects of the international arena Including the ability to deal with new global problems affecting the ASEAN region such as global warming, terrorism, or in other words Being an ASEAN community Is to make ASEAN member countries a strong "family". And have good immunity the family members have good living conditions, safety, and can trade with ease. Five of the starting ASEAN member countries are Thailand, Indonesia, Singapore, Malaysia and the Philippines.
Raksit Meelek Subsequently, there are 5 additional countries to join, namely Brunei, Vietnam, Laos, Myanmar and Cambodia respectively. Resulting in all 10 ASEAN countries
as in the present Which are ethnic diversity and each have their own identity Each country is marked with a national flag (Teeranop Sri Sa-at, 2560, n.1).
The national flag is the flag that represents the symbol of each country
and territory. Inevitably determines the design of the national flag and regulations of the use of the national flag If each citizen of each country can use their own national flag as well. Depending on the regulations for the use of flags Jutarat Sumerurat Taporn Yimsopa by the government In the past, the flag was used in wars to indicate a division or group Later, when the national values were identified until the concept
of nationalism (Nationalism) The flag has therefore been established as a powerful
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 24 symbol of nationalist ideology and is used in a wide variety of applications, including propaganda, politics, military and the celebration of important days of the state.
The national flag is considered one of the important symbols in a nation state. Because it is the concrete creation of the most powerful abstract concepts. The use of the national flag in propaganda is a good example of the power hidden in the image of the sacred cloth. Opening the national anthem and respect the national anthem every day. Therefore it seems that the state wants people to consume redundancy Is the cultivation of the concept of unity It is the invention of nationalism in the state in a subtle way (Suriya Chayacharoen, 2011, n.2).
From the foregoing Researchers saw that The integration of the 10 ASEAN communities is unique. Like culture And different from each other In the integration of the ASEAN Community In addition to making the National flag. Ideas for creativity The research team has brought the idea from agriculture. Is to grow rice Which is a product that countries in the ASEAN community produce and export Including the introduction of the symbol of each country, that is, the national flag by incorporating the basis of Thai dance art and contemporary dance To achieve a variety of performances And becoming more international Thus the creation of the Flag Cooperation Series or the Flag of Friendship.
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The Musical Drama "Maharatchawong Phama Phaendin Phrachao Thibawmin" was the literary work by His Royal Highness Prince Worwannakorn kromPhraNarathip Prapunpong or the alias "Prasert Aksorn" was written by gathering the Burmese Royal Court incidents from the late reign of Phra Chao Mindon to the loss of independence in Phra Chao Thibaw’s reign from the various document and composed to the musical drama for "Predalai" his drama troupe. From the literary study found that the story of this drama was divided in many sections with the various emotional details. For the creator was especially impressed with "Raeng Swat Taperd" section that presented about the love of Nguy Puay Princess who was half younger sister of Phra Chao Thibaw. She set up the intrigue to bring her lover "Susor" who was an ordinary person entered to The Inner Court by impersonation as a lady which was the beginning of their forbidden love and their regretful tragedy in the end. From the creator’s
experiences hadn’t seen this drama or the incident same this one before Pan Tang Drama "Maharatchawong and found the way to display this incident in drama that show the great fun and addictive story included the beautiful sceneries on the stage. Therefore Phama" : The Forbidden Love the creator got the idea to use some parts of Maharatchawong Phama Phaendin (Rak Tong Ham) Phrachao Thibawmin scenario in Raeng Swat Taperd serie to display again in concrete object. Since the Predalai drama troupe had the singing style
Creator : Khemawan Nattakarnjanadid alternated with the speaking style. Although the performer showed the "Kambae style" that didn’t use much the dancing art skills but the performer should have much the emotional and singing skills. At present it’s quite hard to find the performer who has got the skills like this so the creator changed the old performance style to Pan Tang Drama which is one of dance drama style.
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Pan Tang Drama "Maharatchawong Phama": The Forbidden Love (Rak Tong Ham) was adapted and rearranged from the Predalai Singing and Speaking Drama Style to Pan Tang Drama Style for showing the new and strange drama. From the literary study and revise found that the prominent point of this drama was the leading actor impersonation as a lady for entering to The Inner Court where only the women had. It was the main cause for creating this Pan Tang Drama such as the dancing posture that combined the actor and actress styles together. It was called "Lela Baep Phu Mia", the actor disguised as a lady. It rarely appeared in Pan Tang Drama or the dancing pattern between actor and actress that the actor had the different dancing style from another actors. In other words the looks of the actress, the state function of the actor was lower than the other. From these factors the dancing styles for actor and actress were properly designed with context of the story. Moreover the costumes, dancing posture, lyrics, songs, and dramatic music were created like Burmese music and dancing style to accord with the origin of the story.
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the importance in culture, identity and the beauty of Thong Yam that was the Thai Yuan people’s significant handicraft and to represent the background and the culture of Thai Yuan people that were inherited from the past that can be seen in the present time. The performance was created from 7 performing elements; 1) the design of the performance which can be divided into 3 parts; the 1st part was the presentation of background and the culture of Thai Yuan people in Saraburi province and the variety of Thong that had different shapes, colors and patterns, the 2nd part was the presentation of the cultural value of Thong Yam by Khub Sor rd Lanna and the 3 part was the presentation of the Thai Yuan woman dancing The Creation of "Thong Thai Yuan" together with Thong Yam, 2) the choreography that combined both Thai and Lanna basic dancing styles together, 3) the design of dance formation performance and performing stage was conducted by integrating the pattern of the weaving on Thong Yam together with the visual arts theory and defined the dance Creator: Dr. Thitima Ongthong formation much more free according to the modern Thai dance standard, 4) the audition for performers that sought for the female performers who had This Thai dance performance creation aimed to create a creative the necessary dancing skills of Thai dancing style and Lanna dancing style, performance titled "Thong Thai Yuan" for maintaining the local genius of Thai Yuan 5) the design of sound and performing music that used the original melodies people in Saraburi Province, by combining the quality and creative research which were Joice Chiang San melody and Sor Pama melody as well as creating procedures to create the performance. The procedures were gathering information the new northern folk music melody, 6) the design of costumes, the author from the academic documents, interviewing, information media studying, site designed the costumes by combining the original clothes called striped Sinh surveying, seminars, the trial of the creative performance and the quality dressing and the modern creative clothes design which had been inspired from evaluation on the creative performance from the qualified experts. "Aew", a kind of Thai Yuan shirt, including the present fashion dressing, The creative performance titled "Thong Thai Yuan" was the preservative 7) the design of the performing tool, the author used the original Thong Yam that creative dancing performance that applied the combination between Lanna had various colors and patterns. dancing style and Thai dance style. The intention is to communicate about
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Introductions South Africa is wonderfully nicknamed the rainbow nation due to its colorful diversity of races, cultures and people. In 1994 South Africa celebrated as its people were joined together in democracy and freedom. 11 languages, 9 provinces, 2 oceans and 58 million people all creating one rainbow nation, South Africa. South Africa has long been renowned for its many choirs, street performers, artist, dancers and craftspeople.
Concept A father returns from a long-day’s work to find his baby crying. He tries to tell his ‘baba’ a traditional story, like his father told him; but it doesn’t Gumboot Dance work. Finally, he recalls a song his mother would sing to him; a beautiful traditional song call Thula Baba (Hush baby). As he finishes singing this song
his baby falls asleep in his arms. This performances combines the traditional story Creator: Travis Hammond telling of the South African people with the soothing Zulu lullabye sand in millions of South African homes.
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The Creator designed the dance by using the Buddha Jaya Mangala
Gatha chant or translated Bahum in a form of music as a dance framework. The
dance employs contemporary movements which correspond to each stanza in the
music translated from the Buddha Jaya Mangala Gatha chant. In addition, the
design of dance movements is derived from contemporary and postmodern
dances. The integration of visual arts and creative arts seen in costumes and
accessories is also included to enhance the dance. The creator hopes that this
contemporary dance inspired by the Buddha Jaya Mangala Gatha chant will A Contemporary Dance of Buddha Jaya become a means to disseminate a body of knowledge related to Buddhism and that the dance will make the Buddha Jaya Mangala Gatha chant easily Mangala Gatha understandable. (The Verses of the Buddha's Auspicious Victories) Performers Creator: Dr.Natphat Pholpikul Supot Juklin Phongsaton Sangtong Narongchai Kaiwaree Jakkrit Pimpuk The Creator of this performance was inspired by mural paintings of Wat Apinut Trichan Saharat Koajarean Chetawong in Pathum Thani. They are important due to the Buddhist principles Awiyut Singsak Sasinarat Khumdum underpinning concepts, philosophies, and beliefs since the Buddha’s lifetime. The Adisorn Rukphirom Suchada Chongswang mural paintings are about Mara Vichai (the Subduing Mara). The creator selected Sutasinee Areewong Pakin Kittikhunkunakorn this story and presented it in a form of contemporary dance, employing the Buddha Jaya Mangala Gatha chant or Bahum as a dance framework. This is to Duration of performance: 12.29 minutes easily convey a body of knowledge concerning an important Buddhist chant in a contemporary dance.
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They lived simple life together with the nature. Each paid respect to the nature, sacred spirit and ancestors. They still annually performed the important ceremonies unlike other Mogan that lived in the other places and initiated acquiring the local cultures instead. This change was fading their original lifestyle and traditions. Nowadays, most of Mogan people started to build settlement on the islands and adapted their old culture to the local lifestyle as well as spoke Thai and obtained more Thai cultures. So, the way of life, traditions and the ceremonies inheriting from the ancestors for more than 100 years had been disappeared. But some area still preserved them well. Creative Dance Performance The researcher considered to the creativity to create the creative performance for establishing the value and the identity of the inherited culture Nhae Ane Lho Bong of Mogan people, so, the researcher focused on the importance of the Mogan’s rite and culture which applied with the main elements to create the performance Creator: Dr. Kanchaporn Tunthong such as the design of performing role, choreography, audition for performers, the design of sound and performing music, the design of costumes, the design
of performing tools, the design of lighting and the design of stage where Mogan people had their annually ceremony named "Nhae Ane Lho the performance was taken place. Bong" or the celebrating ceremony of ancestors' spirit pillar which celebrated in the 5th month of lunar calendar. In the period of 3 days 3 nights, Mogan people Performers stopped sailing and fishing, but stayed at home and celebrated together Puntita Yingyoud Benjamas Ketrattanang with the Mogan from other islands. the ceremony launched all day all night Piyatida Chamnan Chonticha Yurachai with dancing. (Arunothai N., 2010: 99) So, the researcher was interesting Siyakorn Khejornrak Kanya Toopichit to study the identity and lifestyle involving the spirit pillar celebrating ceremony Pongpech Tatha Nattawut Donklang of the Mogan people who lived at South Surin islands, Ko Phra Thong sub-district, Prapan Yomkot Thanawin Wannasan Kuraburi district, Phang Nga province. The Mogan people in South Surin Islands still preserved the way of life, culture, traditions, belief and Mogan language. Duration of performance: 8 minutes
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Lao Impression
Creator:
Asst. Prof. Dr. Tanakorn Sunvaraphiphu
Asst. Prof. Dr. Kodchakorn Chitthuam
Asst. Prof. Ammarin Rangpeth
Bansomdejchaopraya Rajabhat University is a higher education institution located in Thonburi, the area surrounded by the communities which Asst. Prof. Dr. Khomchawat Phasurichandaeng contain a variety of ethnical diversity including original lifestyle, traditions, and cultures, all of which are unique and have long history. One of the communities is Bang Sai Kai (Ban Lao Village) where its long history was written in the annals, The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 32
Vol. 2 3 , No. 3 9 as "… Lao people scatter in government officials’ almost of the local wisdom heritage and of the skills of the flute makers of Ban Lao everywhere and there is an evidence showing that a number of Lao people had Village. settled Ban Somdej Chaopraya Community since the Thonburi Period. " Clarifying creative cognition of the methodology that covers The community also stands out for its local wisdom such as making pickled fish, the objectives and scope. Creativity is an aspect of personality that handcrafting actors’ masks, and especially producing "khluis" or flutes. It is also is characterized by novel and appropriate ideas, processes. Artistic practice well-known as one of the places for the top flutes in Thailand. From what has developed into a major focus of creativity. mentioned earlier, the Faculty of Humanities and Social Sciences, Bansomdejchaopraya Rajabhat University, see the importance of such local Performance format wisdom which is an identity of Bang Sai Kai Community ( Ban Lao Village) ; The dance creators have specified the concept for creating therefore, the faculty has launched the Humanities and Social Sciences Project the performance by presenting it in the form of the contemporary dance. for Academic Services for Life Quality Enhancement of the Community: Creating The dance is divided into three phases as follows: the Identity of Bang Sai Kai Community (Ban Lao Village) through the Creative Phase 1 The Emigration Thai Dance, under the BSRU Strategic Project for Local Development of the fiscal The first part of the performance presents the emigration of Vientiane year 2020. The performance is called Lao Impression. people from Laos to Bang Sai Kai Community, starting from the journey Lao Impression is a creation of Thai dance from the identity of Bang Sai to the settlement and home establishment to the immigrants’ lifestyle in Kai Community. The dance is aimed to present the local wisdom of making khluis. the beginning of the settlement. Moreover, lifestyle of people in the community is inserted in the performance. Phase 2 Khlui Production The creation of Thai dance is derived from the local wisdom of producing khluis The performance portrays the relationship between khluis and lifestyle particularly in Bang Sai Kai Community, in Hiranruchi Sub-District, Thonburi of people in the community including the production process of khluis. District, Bangkok. The people in the community were once those of Vientiane The production occurred because of the immigrants’ nostalgia for their home from Laos who had settled Bang Sai Kai area since the Thonburi Period. Ban Lao country and hometown. To relieve their loneliness, the immigrants thought Village or Bang Sai Kai has long history in producing khluis. The community’s of making a musical instrument. In this performance, the parts of the production products are high-quality and neat, and they are well-known for their quality process are shown such as the events of finding bamboo, cutting it, shaping it, to people both in the country and others. This is considered a reflection and carving it.
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Phase 3 Khlui Patterns Backing track The performance shows the identity of Bang Sai Kai’s patterns of khluis The backing track for Roi Lao, Khlui Bang Sai Kai was newly arranged which are original and unique. The particular patterns also appear on the walls to make it sound modern and tell the story of Lao people including their lifestyle at the entrance to the community. There are polished wood flutes, Spanish cherry and their background of khlui production in Bang Sai Kai Community. The music patterned flutes, Lai Rot Nam (glided black lacquered) flutes, Krajab patterned consists of six parts in the scales of do-re-mi-so-la which are the scales of Thai flutes, Hokkamane patterned flutes, Talok patterned flutes, and Lai Hin patterned music featuring the Lao tone. The first, second, and third parts are repeated flutes. by Thai musical instruments. In the fourth part, the melody is played more briefly Performers and inserted with the flute (khlui) intro and flute solo during the song. The fifth The performance involves skilled performers in Thai dance and Western and sixth parts are faster and joyful. The parts combine some western instruments dance. It consists of 8 female performers and 7 male performers. to create the feelings and portray how skillful the new generations Movements of Lao people in Bang Sai Kai Community are in terms of accompanying traditional Choreography for the performance, Roi Lao: Khlui Bang Sai Kai, flutes with other kinds of musical instruments around the world. involves movements and styles of Thai dance, ballet, and everyday movement Props in combination, all of which are presented throughout the performance. The props used in the performance are round-shaped hardwood with Costumes a diameter of four cm. and the length of 150 cm. For the costume design, the dance creators were inspired Performers by the characteristics of khluis. The shirts and trousers are in light brown which Nuttawut Loungkhwa Nachaya Faklang resembles the color of bamboo or wood that is used to make khluis. The dress Nakarin Lertjameekon surachai Ninklang is ornamented with side drapes and a piece of breast cloth of which pattern Attapon Sathukit Nuttapon Yoopensuk is similar to that of Vientiane and the other side is the cloth which is painted Natthaphon ketchompoo Thammason Banda seven patterns of khluis. The whole costume is telling the story of khluis, Arisara Chuanjit Peeraya Tiansuntia their background, origin, decorations, and different patterns and designs. Wanida Onkhreng Naphaphan sam-ret The accessories were also designed based on the appearance of frangipanis Onpimon Thongthip Wannisa Noisangwan the symbolic flowers of Laos. Jirapun intharuchai Duration of performance: 12 minutes
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The Elegant Dance of Philosopher's Valayalongkorn Rajabhat University. Is the creation of a single Thai dance of her. The Elegant Dance re-invented. In the nature of the Elegant Dance at the institute. The lyrics will be discussed the symbol, goodness, Beauty, The pride of Valaya Alongkorn Rajabhat University Under the royal patronage. The methods of the Elegant Dance of Philosopher's Valayalongkorn Rajabhat University. It is a kind of glide dance is consisting of songs Glide and sing Mae Sri. Without the sound of the piping sound. Clarifying creative cognition of the methodology that covers the objectives and scope. Creativity is an aspect of personality that is characterized by novel and appropriate ideas, processes. Artistic practice has developed into a major focus of creativity. The Creation of Conservation Thai Dance series The Elegant Dance of Philosopher' s Valayalongkorn Rajabhat University. To find the style
of the display of 5 elements. Including: 1) Script design, 2 ) Casting, 3 ) Dance The Elegant Dance of Philosopher's design, 4) Sound design, 5) Costume design.
Valayalongkorn Rajabhat University. Performers Arunrat Chongprakhon
Creator: Dr. Nattaporn Poonpakdee Duration of performance: 8.10 minutes
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The choreography of Nang Montho Dance Pattern in the episode of Monthok Dhevi Sri Montho, is the dance pattern created based on the conceptual framework for choreographic creation of royal conservative dance traditions. To create the particular dance pattern, the creator borrowed the concept of classical solo dances of female protagonists invented by the great Thai dance teachers’ as guidelines. The choreography of Nang Montho Dance Pattern in the episode of Monthok Dhevi Sri Montho was developed for the performance to depict the origin of Nang Montho in Ramakien, the most outstanding literacy work of His Majesty King Phra Buddha Yodfa Chulaloke’s (King Rama I). The story according to the literature portrays the origin of Nang Montho, a fairy maiden born as a female frog. In the story, the female frog earned mercy of a sage. The sage revived her and named her Nang Montho. Since this particular scene has never been performed with any solo dance patterns of Nang Montho before, the creator decided to design the solo dance pattern of Nang Montho for the scene. This current solo dance pattern presents the novel performance of the episode. It narrates the origin of Nang Montho at the beginning and then describes Nang The Choreography of Nang Montho Dance Montho’s appearance and beauty. Finally, it continues to elaborate a female Pattern in the episode of protagonist’s exquisite costume, which is made of high-quality clothing materials and decorated with precious ornaments. Monthok Dhevi Sri Montho, Monthok Dhevi Sri Montho is the choreographic creation of solo dance patterns of female protagonists. It is the dance patterns depicting a fair maiden’s dressing activity after being transformed from a female frog by a sage.
Creator: Dr. Haruethai Naimoke The particular story of Nang Montho is one the episode called the origin of Nang Montho in Ramakien.
Duration of performance: 7 minutes The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 36 Creation of Ramayana the Musical on the
Episode of Sammanakkha War Fuse
Creator: The Performance is with the objective of the creation of Ramaya musical play presented in musical performance to better suit the modern demand. The information is gathered from documents, publications, internet, his majesty the king Rama1's Ramayana Sammanakkha Wages War episode as well as related book on the art of conducting and performing stage show. The information gathered is combined to create the musical "Sammanakkha wages war" The research revealed that his majesty the king Rama1's Ramayana Sammanakkha Wages War episode can be adapted into musical play since its story is rich with love and anger which leads to other events transpired Asst. Porf. Dr. Chalermchai Piromrak in Ramayana. However, the performers must be skillful in singing, emotional display and body posture. The music used was modern style, with newly arranged melody and lyric. Costume design was inspired by Indian traditional dance art costume.
Duration of performance: 12 minutes
Jaruwat Srisopa
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Phaya Dan is the majestical deity whom is highly respected by people of Isan region.He is the creator and the preserver of Isan's souls. Worshipping to Phaya Dan is worshipping to the preserver of the lives of Isan people. To the people of Northeastern of Thailand, the relationship between the deity and humans is not only regarded as a form of belief. Rather, it is a way that virtuous people expressing high filial diety to their anchestors This piece is unique for its new way of interpreting and creating. Its aims at creating a new way of choreographing style that reflects the Isan's identity and the belief about Phaya Dan and translating it to contemporary dance piece. Its explorative way of movement is borrowed from a folk dance, morphing into a western style by integrating the modern body movement style and a use of space, Choreographing process, content, costume, sound and choreographer's interpretation are all integrated into the piece in order to create a contemporary dance piece and,at the same time, bring Isan's identity out for the world to see.
Performers Phaya Dan Phannakon Chaimee Suphamit Sriphukdee
Pranot Sriworakul Creator: Assoc. Prof. Dr. Sirimongkol Natayakul Kulsatri Pinsri Siriprapa Thongsri Yanya Nong
Duration of performance: 12 minutes
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Chong Kho Sri Somdej Dance is the use of the Chongkho flower,
the flower of Bansomdejchaopraya Rajabhat University, to create a symbolic
representation of the university in the form of Thai contemporary dance.
Designing a choreography accord with a nature of Chongkho flower
by a visual art composition including lines and colors, the first phase represents
the beginning of the people entering Bansomdejchaopraya Rajabhat University,
which is like a growing tree waiting to bloom and the second phase represents
the prosperity of the intellectuals, which is like the chongkho flower that blooms
throughout the university.
performers Narisara Oonsamai Thanit Khumwan Boonthita Taowan Nok Chumsing Creative Dance Project: Tipsuda Sirarpai Sasitorn Yaniwong Mintra Phumkonsin Nuttaporn Buadok The Purple Orchid Tree Supatcha Makbunme Anisa Yodnoonoi
(CHONG-KHO SRISOMDEJ) Duration of performance: 7 minutes
Creator: Ekkarat Rungsawang
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Then, Mon communities who lived in Thailand, selected the location to live according to the water, which was a source for life. It related with a common character and legend for their historic identity. Therefore, they could keep the same feeling and continue practice the same culture; language, religion and traditions (Phisan Phaladsing, 1982: 14), according to the history of Mon in Nakhon Ratchasima, identified as they had migrated into the era of King Thonburi. During that time, Phraya Nakhon Ratchasima (Boonkong) directed Nakhon Ratchasima army to help the King Thonburi to fight the Burmese army and won, King Thonburi gave Phraya Nakhon Ratchasima an award in setting his Mon community at Ban Phra Ploeng, Nok Ok Sub-district, Pak Thong Chai District, Nakhon Ratchasima Province until now (Wittaya Inthakanok, 1977: 1-19). The Creation of a Dance From the Ceiling As Mon’s folk arts and culture has been valuable cultural and traditional values, Nakhon Ratchasima area can be seen as one of the centers of Mon Painting At Wat Pathum Khong Kha community. It was mentioned in type of wooden wall painting by Khun Sanong Kosai, a villager of Khok Si Saket village, at Wat Khok Si Saket, Wat Nok Ok, (Wat Nok-ok) Pak Thong Chai, and Takut Noi Temples, Pak Thong Chai district, in the year of BC. 1456, Nakhon Ratchasima somehow Wat Nok Ok had no evidence written in that time, but it is expected that it would be the same age of the similar architecture, especially the scripture
library, because there are two temples have very similar paintings of both Creator: Asst. Prof. Dr. Pattararuetai Kuntakanit the scripture library and church; the church’s ceiling is printed about same creatures like snakes, bats, birds, butterflies, tigers, mermaids and stars, and Mon used to be in a previous prosperous kingdom, located in the area in the upper part of the pillars, a piece of wood depicted the history of Buddhism of the Irrawaddi River, Satong River and Sarawin River, where a city of and the story of Vessantara Chataka. Blue, indigo, emerald green, yellow, brown Hongsawadee was the capital city. Mon people were artistic and peaceful and black were used in most colors, but scarlet or orange color were not found. (Patcharin Piamsomboon, 1982: 98) (Art and Culture Center, Nakhon Ratchasima Rajabhat Institute, 1995: 8-10),
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 40 with related to Boonkong Inta (2007: 2), who stated that “Paintings were written on various parts of the building, especially the wall, ceiling and columns of church. Most of the printings were stories that found in to Buddhist belief, for instance the story of Buddhism, the history of the tales, ten lives to become the Buddha, the Malai, and the Buddhist past, the stories related to the human lives, such as politics, government, traditions, rituals, ways of life and living environment. Furthermore, Wanniphan Songkhla (1990: 3) explained that many types of paintings were classified according to the object that the printers or artists painted; for example, the walls, wooden panels or clothes, etc. Most often seen in religious places or Buddhism buildings, namely temples, churches, pavilions, or scripture library. Paintings that the ancestors had been created, using gentle and beautiful lines. It had evolved over time to remain the younger generations to experience the previous events until today. They were inspired by intellectual thinking and faith that expressed a unique identity by refining beauty of Thai culture and tradition. Therefore, patterns, lines, drawing, paintings on the wooden wall have been studied to find the related information to the dance and performance. Lines of lotus, stars and animal painting patterns were derived, and transferred into a concept to the dance creation of "Charming in Arts"
Performers Ratchadaporn kancha Maya Akram Siriporn auklay Jantra Phirungkapaora Kornsasiwan kiewman Raksuda Prachumrak Anchisa Jaichoung Duration of performance: 6.48 minutes The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 41
The Creative Performance Named The 12th National Economic and Social Development Plan (2017-2021) was the strategic plan to improve the economic strength for competition. Its goals Wijittakarn Ngan Peek Malang Tab were to recover, preserve and study the varieties of Thai arts and cultures.
It supported applying the Thai local traditions and knowledge on the development Creator: of the value on the products and services, strongly maintaining the identity of the locals for increasing and making the commercial outcomes. According to the National Plan, the increasing of the value by applying the human idea in the production process which was developed to the creative economy as called the Creative Industries (CI) meant to the group of production that significantly
required the creative idea, said UNCTAD (2008: 13). It was the supports on the cultural travelling and economy which related to the art and creative products, goods, outputs from tangible and intangible cultures. Those creative works must have the capability to earn income through its usage or cultural
Asst. Prof. Pravit Rittibul assets as well as the production by using the traditional knowledge of products and services and the contemporary development. The culture industries must be strictly focused on the creative idea, cultural knowledge and intellectual property for producing outputs, works and services in the social and cultural meanings in the traditional events, identified culture, the differences of events and various supportive factors to create more interest in the products and travelling services in Thailand by increasing the social value and enhancing the economic value- adding by the cultural assets. (Office of the National Economic and Social Development Council, 2016: 103) Jewel beetle was a kind of scarab that had its glittered emerald hard- Soros Mongkonprasert Krittin Longchum shell wings. some of them were iridescent in the shade of green, blue and gold or copper making them to be called as the “Living Gems in the Woods”.
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The gorgeous wings of the jewel beetles were used to create the accessories as the guideline to make a trial of the creation of Thai dance performance. Finally, that brought incomes to the community as well as created aesthetic awareness, the trial became the creative Thai dance performance titled “Wijittakarn Ngan intelligence and economy value. There were 2 types of jewel beetles found Peek Malang Tab”. This was conformed to Surasit Wisedsing (2014: 135-140) in Thailand, namely, green-legs jewel beetle and red-legs jewel beetle. who said that the Naraphong Charassri’s related research had been conducted They were living in every regions of Thailand, mostly found in the central region by the same arts theory referring the enhancing aesthetic tastes in the modern and the northeastern region. In the fact that the shape and the color of the jewel Thai dance titled “Narai Avatara”. The result found that the model of creation beetle’s wing was very enduring and permanent, HM Queen Sirikit, The Queen performance for increasing the aesthetic tastes in the contemporary Thai dance Mother royally saw the handicrafts from the jewel beetle’s wings, so that, performance of Naraphong Charassri was focused on the importance The Queen Mother considered the idea to make the accessories from the jewel on the creation of the new model of Thai dance performance. The show applied beetle’s wings, she then royally assigned the Foundation for the Promotion the cultural varieties on the model of the performance and expected of Supplementary Occupations and Related Techniques of Her Majesty Queen to communicate to the new generation that conformed to the theory of beauty Sirikit of Thailand to adapt the jewel beetle’s wings into accessories and promote on arts performance, research and creativity. This creative Thai dance them as the art handicrafts in Thailand and other countries. (Anurak Khrueakham performance was able to be the guideline and inspiration to establishing other et. al., 2019: 93). According to abovementioned, the researcher realized creative Thai dance works in order to transmit as cultural media and the importance and the identity of the product that contained the cultural and the educational knowledge, promoting how to adapt the cultural assets into outstanding beautifulness, so, the researcher was inspired to create the work the economy value-adding and supporting to create economy value-adding through the creative Thai dance performance titled “Wijittakarn Ngan Peek on other cultural product. The research was considered as the creative research Malang Tab” applying both qualitative and creative research procedures, it meant that The researcher presented the model of creative contemporary Thai the researcher had to design and create the art performance along with following classical dance representing the usefulness of the jewel beetle’s wings and the research procedures at the same time. The researcher needed to be able economy value-adding promoting through the performance. It was considered explain background, concept, causes and results based on the fundamental 8 elements of performance such as 1) the design of the performance, information and evidences from the reliable sources in every research procedure, 2) the audition for performers, 3) the choreography, 4) the design of sound and so, the researcher dedicated himself on the study to create this qualitative performing music, 5) the design of costumes, 6) the design of performing tools, academic and aesthetic performance.
7) the design of lighting and (8) the design of stage. The researcher applied them
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Performers: Supanun Prempree Naruemol Kaewsuk Wassiya chawnan Thanida Suwannchan Pornnatcha Takphirom Naphaporn Duang-i Sutarat Jarutham Parita khuyduang Yanisa prempreedee Anusara Thianchai Nualnapha Noisa Kantaphat srisoi
Duration of performance: 7.3 minutes
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Rabum Yutthasart Rajabhat Phiphat Anan It can be divided into eight sub-components: scripts, actor selection, soundtracks, dance styles, space, equipments, clothes and lights in the performance Creator: of the Rabum Yutthasart Rajabhat Phiphat Anan (Rajabhat Progressive Strategy Dance). The creation of prototypes of conservative Thai dance related to the King and the Royal Family His Majesty the King of Rajabhat University Which is correct according to Thai traditional dance patterns and valued in aesthetics The Creative team has been inspired to create dance works from Royal duties in education of King Phra Ramathibodi Srisindhorn Maha Vajiralongkorn Phra Wachiraklao Chao Yu Hua. Which is one of the important foundations in the development of the nation with a wide vision that had seen the potential of Rajabhat University. Which produces quality teachers being a source of academic knowledge as well as being a local development master. This will lead to an important mechanism for accessing the problem and being able to develop local goals. Dr. Luckana Saengdaeng For people in each locality across the country, there is a better quality of life in all areas. Therefore bestowed a royal policy Education in being an educational institute for local development. Rajabhat University throughout the country have adopted the royal strategy as a guideline for the implementation of the 20 years Rajabhat University strategy for local development. Therefore considered the role and duty of Rajabhat University as a university for local development both social, economic, environmental and education according to the real problem and need of the community leading to the development of the nation for sustainable growth and prosperity.
Narongchai Kriwaree
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Performers Chutikan Wanthamma Onsine Kakrabue sudarat Koseenan Anchariga tabngen Saranya Patumwan Laksameekarn Mongphimai
Duration of performance: 6.34 minutes
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The Great capital city of the past, Ayutthaya, was the first capital in The Creation of Dance Thailand to hold its position for so long, more than four hundred and seventeen years. It was the center of power of the Siamese people, located in the lower “Yoi Si Ayutthaya Ying Fah Phra Nakhon Chao Phraya River basin. It was once prosperous in terms of economy, trade, politics, government, religion and culture. And it was known for its outstanding Si Ayutthaya Province” architectural beauty. This city was established in the 19th century on the Chao Phraya River Basin, on an island surrounded by rivers; the Chao Phraya River on the west and south. The Pasak River flows through the east side and the Lopburi Creator: River flows through the north. Within the city and surrounding islands, there were many rivers and canals, and so transport was primarily by boats. Foreigners therefore nicknamed the capital city "Eastern Venice". If you look at the geographical characteristics, the area of the island is similar to the shape of the Thai ‘Sampao’ boats. The location of this city is a unique and special. It has an abundance of natural resources because it is in a lowland area of the river plains and is conducive to agriculture. And the fact that this city has many rivers and canals helps to promote both domestic and international economy and trade. It is also a strong fortress to protect the city. Ayutthaya city developed from a commercial village to a great capital city due to the factors of its geographic location. The influx of foreigner’s different Dr. Narong Cumanee Pisan Srisod languages resulted in Ayutthaya becoming a cosmopolitan city with a rich cultural background. Even though Ayutthaya has long ended its status as the great
capital, Ayutthaya still remains as the ancient and historical city with many stories
that have become a memory and a part of Thai cultural heritage.
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The Mix of Cultures and Languages in the past still have traces Performers in the present, showing the diversity of cultures through the shared lives of people Sireetorn Udonsathian Pinpinat Jitthin of different races. Many languages have been blended harmoniously until now, Pemika Pannang Kanokruk Sakullertmongkol these are the factors that contributed to Phra Nakhon Si Ayutthaya Province Thuphom Sukkaban Jamikorn Jakkapun being certified as a World Cultural Heritage Site on December 13, 1991 until Narhasorn Mekchai Watsaya Nanihanon the present. Anchisa Sutyoi Kanungha Thiamthom From the analysis and research of the historical data of Ayutthaya, it is clear to see this cities beauty and historical importance. As a result, Duration of performance: 9 minutes Phra Nakhon Si Ayutthaya was certified as a World Cultural Heritage Site. Therefore, it has inspired the creators of this work to use the factors of obtaining the World Cultural Heritage city registration of this old capital to design and create works of dance. This was done in the following ways.
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The Creation of Contemporary Dance through Pochangkaparit chant, the choreographer demonstrates the religion principle that are the foundation of the mind in producing intelligence, enlightenment and right direction with suite in these day situation, there is a tendency to fluctuate with fast messaging technology. It is causing the unconscious to turn around and cause social disturbances, if people in society learn to cultivate consciousness through the doctrine of Pochangkaparit chant, will teaches people to stay to their own consciousness, recognize and objectively trust what is going on, which may be a way for society to proceed in peace. This creation of contemporary dances through the Pochangkaparit chant by using various tools such as documentation survey, interviews with people involved this work, media, and observations with details as follows; The survey of documentary information in the form of books, textbooks
and various academic articles is a study that gives researcher access to basic The Creation of Contemporary Dance information on issues of interest, such as Pochangkaparit chant, concept through Poachangkapit Chant of contemporary dance, a format for presenting contemporary dance works, either creative works or books on similar topic. Interviews are primary information that researcher find it helpful Creator: Asst. Prof. Dr. Tanakorn Sunvaraphiphu in developing contemporary dance creations. Researcher will conduct interviews with both experts on the creation of contemporary dance and general people who work in various professions.
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Information Technology: A study of contemporary dance works that is not yet widely available in Thailand. Therefore, researcher has studied many creative works in the form of contemporary dance in foreign countries. Most of the previously worked creative education formats are now available online, making them easy to research and access. Observation, By studying observational data, researcher can see the concept, style of opinion of choreographer and idea of participant who watched performance which will be useful for creative operations
Data Analysis: The creator has a data analysis process. Divided into 2 methods as follows; 1) Analysis of material from documents, observation, and interview which related to the work issue. 2) Analysis of the creation of dance, researcher considers the creative process in every step. In both the design of performance elements; story structure, casting by random (Purposive Sampling), choreography, sounds, props, costumes, performance space, and lighting design.
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 50 Creative Dance “Sin Chao Phrya” Set The Creative Dance “Sin Chao Phrya” Set (Wealth of the Chao Phraya) drew its inspiration from the abundance of both sides of the Chao Phraya River that has sustained the livelihoods of the people of Central Thailand which gave rise to diverse lifestyles that became the cultural identity of the people of Central Thailand, presented in a form of dance by integrating local performances, that are, Likay shows, Khon Sot (Live Khon), Piphat ensembles and dances accompanied by drums, combining them into a story and presented in a dramatic art style. The Creative Dance “Sin Chao Phrya” Set is a local creative art in a form of dance. The performance is divided into 3 acts; Act I: Yaksa Wanon Pralong-tee (Demon and Monkey Showdown), is a drum showdown performance, with the creativity of turning a drum performance into a form of showdown. Performers are assigned into Demon and
Monkey factions and compete with each other by drum performances, also Creator: integrating the Khon Sot performance style. Asst. Prof. Dr. Suksanti Wangwan Act II: Nari Ram Tut (Girls Singing Back), is a dance performance that Chapnan kaewsawang includes the Rebana drum and antiphonal singing, by assigning the Piphat ensemble to accompany the Rebana and singing, and also to guide the lead Werade Jintalai singer of the Ram Tut performance, which is part of the creative dance. Manatsawi kanjanapho Act III: See-sun Chao Phraya (Colours of the Chao Phraya), is the closing act which brings different performances together to represent the diversity Manatchanok mangkornhiransiree of the cultural arts of Central Thailand, which includes, singing, dancing and Kanokchom Soontornsima performing the local identities and to further display the performances to Thai people and the rest of the world. Tarika Katcha Duration of performance: 9 minutes The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 51
is called "Mattana" means preoccupation or love and the word "kupchaka" means a rose. The theme of this play Therefore means that "Pain or trouble of love". Performance: Contemporary Dance Music: Composed from a part of the literature on “Mathana Patha” mention Suthet's curse towards Mathana to transform into a rose forever. Which is a prosody reading style it's called the “Swakta Chan XI” to combine with music techniques to express the mood of the characters and match with the contemporary dance. Costume Design: The costumes are designed according to reflect the characters to be contemporary, costume design by Dr. Jarunee Areerungruang. The Process of Creation: 1. Design the creation of dance in 8 performance elements as follows:
play, performers, styles, costumes, music, equipment, lighting, and stage. The Creation of a Dance 2. Experiment with performing dances according to the performance elements. “Mattana Kupchaka” 3. Submit the results for a qualified person to evaluate to receive advice and adjustments. Creator: Dr. Nareerat Phinitthanasarn 4. Presenting the Creative dance to the public. Methodology:
1. Study and collect documented information related to the creation of Purpose: The Creation of a Dance form “Mathana Patha” the literature work and research. compositions of his majesty king Rama VI. The plays have been praised from 2. Collecting field data from interviews and observe the performance. the club literature that is the best of the drama. It is a play composed of words 3. Create dance according to the performance elements. that can convey the emotions of the characters very well. The heroine of the story 4. Presenting results and assessing
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Dance creation of “GANGA “The River from heaven. This article aims to propose a dance performance conveying beliefs on the creation of the river and praying river worship rituals of Indian people in various forms, including worshiping, forgiving, and blessing, according to their ways of life which are tightly bound to the rivers. The emphasis is on Ganga Aarti in Varanasi of India as it is the origin of the worship rituals of the holy River Ganga. This work is also inspired by the experience the writer gained while studying Bharatanatyam classical dance at Banaras Hindu University, Varanasi City of India. It is believed among the locals in Varanasi that the passage of the River Ganga through Varanasi now. Dance creation of “GANGA “The River from heaven is a contemn. porary dance performance created by integrating Bharatanatyam classical dance with Thai classical and Western dances. This creative dance performance by the goddess of the Ganga; 1) the design of the plot and the show that is about the way of worship according to the beliefs of the believers in the Ganga. 2) contemporary music composition used for the dance performance; Dance Creation of “GANGA” 3) a selection of talented dance performers; 4) a creation of traditional and daily life styles, postures, and symbols to convey meanings and stories;
Creator: Dr. Rittapotcharaporn Thongtanorm 5) an equipment design based on the concept of minimalism; 6) a costumes design with conservative and creative styles; and 7) a design of stage divided into 2 Acts: Creation of the Ganga river Faith, Brahman Tradition, and Inheritance. Performers The Creator of the work was inspired by a belief in the divinity of the origin Veerawoot buaprasret Kanyarat khamwong of the Ganges River and the way of worship at Varanasi. India Attanawadee Tapalad Kantisa sintusuwan Suchada Cumprakob Sirintip seethongkhom Siriporn Sengsae Sittisak klomdat
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The presentation on “Music” At the Room 31020 of Language and Computer Center
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Concept (Summary): The Composition wishes to represent an original exploration of one of the most acknowledged tunes from the traditional harpsichord repertoire. Each variation let the performer to combine different sonorities and varies the theme by the use of contemporary compositional techniques. The composition won the second prize in the International Contest “SIMM 2018 – New Music for Harpsichord” Performance Details: Video of the performance realized in Castello Sforzesco in Milan, Italy. Duration of Performance: 8 minutes Biography:
Thirteen new variations on - Piano Degree (10 years) (1997), Conservatory of Music “V. Bellini” of Caltanissetta, Italy. ‘La Folia’ for harpsichord - M. Mus. (2001), University of Pavia, Italy. - Harpsichord Degree (3 years) (2005), Conservatory of Music “A. Boito”
of Parma, Italy.
Creator: Alberto Firrincieli - Composition Degree (10 years) (2007), Conservatory of Music “A. Boito” of Parma, Italy.
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A musical work inspired by the sci-fi novel “Crash” of author J.G. Ballard. The transposition into musical form of the post-human dystopian vision of the novel with the use of synthesizers and electric and acoustic instruments.
Performance Details: Electronic Music + Acoustic and Electric Instruments + video
Duration of Performance:
flexible Digital Dust from Virtual Suburbia
Creator: Jacopo Gianninoto
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Pleang Ching is a type of Thai music that has been around since the Ayutthaya period. In performing, only "Ching" is used direct the rhythm for the musicians to maintain their performance not too fast, no labels are used. Pleang Ching have a unique main melody. The melody is irrational, 8 music rooms is an unstable, uneven, properly, is arranged properly. There is a general cast. The melody of the Pleang Ching is independent and makes Pleang Ching light and comfortable melody. "Solo performance" is a performing by some kind of melody instrument. Refers to a song with a "single song" combines with rhythm instrument,
with a special composition called the invention of melody. To use only instrument single performance to show off the skill and technique of that instrument. The Variations Therefore, the creation of a single track must think about the tactics and “Pleang Ching Chang Prasan Nga” techniques of that instrument that it is suitable for a single song or not. In order to achieve the most melodious and complete. for Cha-Khe Solo
Creator: Umaporn Klahan
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The creator is inspired by Cha-khe performance Pleang Ching in many It is a work in music composition for Cha-Khe Solo which is its own songs, such as the Mullong, Ching Trang, Ching Duang Phrathat which has unique characteristic zither due to a single rhythm layer with long size. Need a melody characteristic and the method of a single song creating differently from to use moderate force in performing which use melody operation with combining a single song that uses in face. Therefore, there is an interested to bring "Pleang the single techniques such as grind, flick, crush, combine, hit the line, swipe line, Ching Chang Phra San-nga", which are a single rhythm Pleang Ching become and create a special melody (Yone) of each song makes difference ways in to Cha-khe Solo. This song is one of the most popular songs played next performing the melody, control regularly speed in speed level when bring to the Pleang Ching Phra Chan Choaw. It is a rather long song with 7 parts. the single song are used for melody and making it flexible in terms of skill and In each verse, there are repetitions of the same tune in many places and end strumming zither technique as quite well. with the special melody (Yone). Causing the need to invent melodies and use techniques to perform differently by still continuing the structure of main melody Musicians and the emotional style song as important, opus of single zither Pleang Ching Umaporn Klahan (Cha-khe) Chang Phra San-Nga, consists of 7 parts or 7 songs, consisting of a Chang Phra Thanachot Yesungnern (Ching) San nga, Chang Ton, Chang Sa Bad Plaiy Wong, Chang Sa Bad Plaiy Nga, Chang Poowadet Panpat (Krab-puang)
Pang, Chang Plaiy, Oak Pleang Ching Poo Lom. Duration of performance: 8 Minutes
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 58 Clarifying creative cognition of the “Monkey Dance” “Ling Lam Pong” has been composed from receiving the inspiration from the traditional Thai song “Kang Kaw Kin Kluy”; the composer has used the tempo structure, style, and melody to create new melody. The last notes of each phase of Kang Kaw Kin Kluy were used as the first notes in each phase of Ling Lam Pong. The uniqueness of Ling Lam Pong is we able to parallel play these two songs (Kang Kaw Kin Kluy and Ling Lam Pong) together by playing at the same tempo; this interactive music will give the harmonized melodies. This to extend the knowledge from traditional Thai song by using composition technique and variation to expand the melody and present in the form of combination between Thai contemporary music and Western music. The new creation of percussion instrument has been used in this song which adding interest to the song; which there are three movements in “Monkey Dance” The benefit
of this creative work is to help conserve traditional Thai song and to use as a guidance Music Composition “Monkey Dance” for further music composition and contemporary music creation.
Creator: Vasu Thaweelarb Musicians Tewan Sapsanyakorn: Soprano Saxophone, Klui Chaloemchai Klinchampa: Xylophone, Drums The Concept of Creative Fine Art is for creating the contemporary Wanpassorn Isarata: Jakea music and to conserve traditional Thai songs. Vasu Thaweelarb, Piano Wira Phokham: Electric Guitar Bass
Duration of performance: 9 Minutes
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“Nakorn Bangyang” and “Nakorn Thai” for String Quintet derives from
a Thai Classical Dance Tune, originally adopted from middle-paced tempo (Song chan) and fast-paced tempo (Chan deow) with each tempo presenting
2 parts of music. In there, Western musical idioms such as tertial harmony were employed to form a string quintet repertory that favors listeners both in and out Thai cultures.
Musicians Violin 1st Prapansak Pum-in nd Violin 2 Kanyapach Kitrenu Viola Nawathep Nopsuwan Cello Yongyut Eiamsa-ard “Nakorn Bangyang and Nakorn Thai” Double Bass Worachat Kitrenu
for String Quintet Duration of Performance: 7.20 minute Creator: Worachat Kitrenu
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The Concept of Creativity is the mixture of two string instruments from
two cultures in order to represent techniques and graceful styles of playing
instruments. The music composition of " Sound and Strings" for string quartet
is combination of sound creation from Thai and western string instruments
by using fiddle instead of 1 st violin position in the string quartet. The song
is divided into 3 movements : fast-slow-fast. There is a mixing of song writing
from Thai and international music to depict the style and method of string
instrumental performing in both cultures.
Musicians Saw Doung: Sawanya Rungmaneepipat Violin: Prapansak Pumin Viola: Nawathep Nopsuwan “Sound of Strings” for String Quartet Cello: Worachat Kitrenu
Duration of Performance: 7 minute Creator: Dr. Nawathep Nopsuwan
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This Music Composition is composed of seven movements with the concept of monotonality in C and monotheme deriving from each movement. Its form is in Thai traditional folk songs and not complicated. Each movement has their own main theme. Tone color of music instruments and string techniques are used to create this composition. Melodic lines are based on the mode of Asian music. Tonal center starts and ends in C but changes in each movement. The objective of this work is to create string quartet composition from Thai traditional folk songs with the creativity of “Replacement” concept. The “Replacement” is used in both abstract and concrete aspects of the composition. The replacement occurs in melodic line, rhythmic pattern, harmony, movement and even silence. The “Replacement” is like the mix of global cultures in the present. Composer uses various composition techniques and also Nationalism as main paradigm to create unique composition for strings.
Musicians st Violin 1 : Piyavit Kantasiri The Replacement for String Quartet Violin 2nd: Pawanrat Phetranont Viola: Pongthep Jitduangprem Creator: Asst. Prof. Dr. Ekachai Phuhirun Cello: Vorapon Thannuekmeesinkul Double Bass: Supakit Supattarachaiyawong
Duration of Performance: 8 minute
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Introductions: South Africa is wonderfully nicknamed the rainbow nation due to its colourful diversity of races, cultures and people. In 1994 South Africa celebrated as its people were joined together in democracy and freedom. 11 languages, 9 provinces, 2 oceans and 58 million people all creating one rainbow nation, South Africa.
The Arts South Africa has long been renowned the exquisite culture and diversity of its people, which could only produce one of a kind art forms. South Africa is known for its many choirs, street performers, artists and craftspeople. In an attempt to showcase the best South Africa has to offer, this performance The Thula Baba will encompass some of the things this country is famous for.
Creator: Travis Hammond
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Keyboard “Yamaha”, Violin, Laptop, Sibelius software, discussion with students regarding composition form and character.
“Presto” was completed in about two hours. Inspiration for this composition came from discussion of the Grammy Awards. Songs content was mediocre. Students challenged me to create better composition during one day. Original name: “Viva Grammys”. Influence came from “Viva, Las Vegas!”, hymnal, energetic and fast paced pieces of music I could remember. Simple form – ABAB1A - development based on improvisation. “Presto Partitura” for String Quartet
Creator : Yury Teodor Alexov
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 64 fugue, tone colors- artificial harmonic glssando, col legno battuto, C# Locrian Scale, E double harmonic scale, C# oriental scale and etc.
The Creative Music Composition was divided into 4 characteristic section. First section, Music representing of the invocation of Phra-Upaguptat, who meditated in the state of water under the ocean. In order to protect the fortnight and maintain peace and order which theme can be divided as follows: Theme A, representing the quiet, mystical, icy atmosphere under the ocean, and theme B, inviting Phra-Upaguptat to protect the merit-making ceremony. Second section, The procession of The Vessantara Jataka and Maddi,
that theme can be divided as follows: Theme A, The Vessantara Jataka and theme B, Maddi. Third section, Sermon Sangkas has a theme that is the Malai The Procession of Thousand Rice Balls Mane and Mali Saen theme. Fourth section, The Procession of Thousand Rice to Worship the Lord Buddha. Ball which can be divided as follows: Theme a Worship of the Lord Buddha, and Theme B, The Procession of Thousand Rice Balls.
Aesthetics of 'The procession of thousand Rice Ball to Worship the Lord Creator : Asst. Prof. Dr. Supachai Suriyut Buddha' referred to the literary concept of Buddhism as Isan's culture people The Concept exploring of composition was inspired by the Buddhism in Thailand. Moreover, this composition has depicted Thai contemporary music faithful belief of Isan, Thailand which was idealistically created imaginative by combining old and new aesthetics in diversity dimension meanwhile the composition for strings chamber ensemble of the 10 minutes duration. demonstrate. It's freedom and autonomy artistic ideology. The Procession of Thousand Rice Ball to worship the Lord Buddha is a part Musicians of the Boon Pha Wet ceremonious worship1. Composer implied principle technique Violin 1st : Piyavit Kantasiri to the composition, such as theme and variations, musical polymeter, polyrhythm, Violin 2nd : Pawanrat Phetranont Viola: Pongthep Jitduangprem Cello: Vorapon Thannuekmeesinkul 1 The compositions were suggested by Professor Dr. Weerachat Premananda. Double Bass: Supakit Supattarachaiyawong
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“Hariphunchai Poem” for String Quintet version is the music
composition in a descriptive music style, the idea and principle of music composition combined with the study in historical information to be a key resources of the inspiration and sound imagination. Resurrecting the spirit of Lanna
music through the ode of a Chiangmai King on a journey to the great reliquary of Hariphunchai. Telling the story through music is comparable to painting and drawing picture through the sounds (Depictive Music) in order to express
the feeling (Expressive Music) and telling the story (Narrative Music). By using the music to narrate events and scenes is to turn the poem into music language. This work has imitate natural sound to create tone, style, and rhythm
in the way of Traditional Lanna Music, in northern part of Thailand; for example vocal imitation and sound from local music instruments in the style of contemporary music to reflect point of view through culture. This creative work has intention to create simple and memorable melody; the structure has been
developing from Sonata form in style of descriptive music which consist of 4 Hariphunchai Poem episodes and playing consecutively
for String Quintet Version Musicians Violin 1st : Piyavit Kantasiri Creator: Asst. Prof. Dr. Rujipas Phudhanun-naruepat Violin 2nd : Pawanrat Phetranont Viola: Pongthep Jitduangprem
Cello: Vorapon Thannuekmeesinkul The Concept of Creativity is “Contemporary Music” present to the Spirit Double Bass: Supakit Supattarachaiyawong of Lanna Music through the Ode of a Chiangmai King on a Journey to the Great
Reliquary of Hariphunchai. Duration of Performance: 14.25 minute
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Clarifying creative cognition of the methodology that covers the objectives and scope. Creativity is an aspect of personality that is characterized by novel and appropriate ideas, processes. Artistic practice has developed into a major focus of creativity. .... I was mesmerized by attractive simplicity of the Beethoven’s
composition in the very first bars of the “Fur Elise” and had desire to use same idea for my composition. Then I wanted to have melody and development to project more sadness, and at the same time to bring some stress or drama to composition. I sorted my memory and took my attention to movie with Robert Redford “Three Days of the Condor”. From the very start I was thinking about
simple form for “Autumn” and all next development, if repeat composition, is an improvisational development. Movie characters, story and particular “Love” clip were the source of inspiration. I tried to apply tempos, rhythm, simple melodic “Autumn” Composition for String Quartet. lines and d minor tonality to reflect the particular visuals of the autumn season.
Creator: Yury Teodor Alexov Duration of performance: 3:30 Minute
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Poem of The Royal Barge Procession for Poem of The Royal Barge Procession has a long history. It comes from Tenor, Violin, Horn, Recorder and Piano the royal visit of "waterways." Phayuya Chalamarn ", which is a royal activity
Creator: involved in religious ceremonies. In addition, it is for the public to appreciate the prestige, there are many works of art that involved in this royal ceremony, which are the architecture , costumes, poetry, singing and music, Not all of these are artistic beauty, but also a signal for the rowers to become unison. Poem of The Royal Barge Procession used in the royal voyage. Having a style of poetry that regarded as a Thai language wisdom. The Poem which is best
known and it has been regarded as the master of the poem is the procession
of the Royal Chao Phrabha Phon in Prince Thammathibet or "Chao Fa Kung", Asst.Prof.DR.Prapansak Pumin Asst. Prof.Dr. Sitsake Yanderm the son of the King Borom urn of Ayudhya which the creator has taken part of the poem to be used in this creative work. Poem of The Royal Barge Procession for the tenor, violin, horn, flute, recorder and piano is a creative work inspired by the Royal Thai Army. It is a written work in the style of Program Music, which is a narrative of the story since the people had been looking forward to the procession of the river on the both Dr. Wipart Wiboonpanuvej Dr. Pawatchai Suwankangka sides of the Chao Phraya River. Also inspired by the atmosphere of excitement from seeing the various ships that proud of being a nation with the monarchy
as the anchor of the mind. This Creation work use western instrument sounds to imitate the melodies of Thai musical instruments, and is used opera singing style to convey the stories in the style of Contemporary music.
Krit Vikornvongvanich The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 68
Poem of The Royal Barge Procession for tenor, violin, horn, flute, recorder and piano is a creative work inspired by the Royal Thai Army. This work is a written work in the style of Program Music consists of 3 parts as follows (1) Introduction Section : It is the music that describes the atmosphere of people who is looking forward to watch the procession from the both sides two of the Chao Phraya River. This section starts with a whole tone chord material to describe the flow of Chao Phraya River. It consists a variety of short Thai folk melodies that are arranged together. (2 ) The Royal Barge Procession Section : It is the music that has an atmosphere of excitement when witnessing the various ships. This section begins with a melody that imitates the Brahmin music in the royal ceremony. Then followed by a variety of short melodies that represent the different ship cruises, and the opera singing style is used to for tell a story. (3 ) Coda Section, Music in this part described the Happiness and pride of Thai people. The melody of folk songs is interpolated with the gradual stretched tempo witch describe the character of Thai people who love peace.
Duration of performance 3:30 Minute
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The musical composition “ME-SA” for String Quintet is a single movement programmatic work in a sectional. The movement is divided into six sections with its performance time of approximately ten minutes. The composition is based on the musical materials of twentieth century music including quartal harmony, quotation, polyrhythm, nationalism, neo-classicism, and jazz. It is inspired by the events relate to the month of April (or Me-Sa-Yon month in Thai) from the author’s point of views. Among them are the birth of his daughter named “ME-SA”, the celebration of Songkran Festival (or Thai Water Festival, and a lullaby song called “Isaan Lullaby” (an ancient lullaby of northeastern region of Thailand). The purposes of this creative work are to create a new musical composition, to publicize the composition in the form of academic music performances, and to create guidelines for conducting music research and creative work. The result of this creativity is a unique compositional work for chamber music which integrates various musical cultures including classical, jazz, and Thai folk melodies. This creative work will contribute to musical knowledge, cultural promotion, and musical aesthetics at the same time.
“MESA” for String Quartet Musicians Violin 1st : Piyavit Kantasiri Creator: Asst. Prof. Dr. Wooraket Tagosa Violin 2nd : Pawanrat Phetranont Viola: Pongthep Jitduangprem Cello: Vorapon Thannuekmeesinkul Double Bass: Supakit Supattarachaiyawong
Duration of Performance: 10 minutes
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Creative Research Composition : The Elephant in the Mysterious Mist for Saxophone and String Quintet is the program music to express the legend of Khao Yai National Park’s guardian spirit who has been frequently performed miracle as the vision of an elephant in the mysterious mist to protect the forest and its wildlife. The Main component of the composition is the melodic stratification technique integrated with the rhythmical fragment combination. Meanwhile, techniques such as imitation, sequence, repetition, inversion, retrogrades and the complexity of chords as well as its progression are simplemindedly applied. The Composition is written for saxophone and string quintet intended to explore the harmonic texture and creative improvisation whereby the transformation of Thai fiddle string techniques had been utilized in blending sound of the entire ensemble. In the meantime, the solo saxophone has played an important role in expressing spiritual sound in order to connecting the melodic structural lines within the form of contemporary concerto grosso.
The Elephant in the Mysterious Mist Musicians for Saxophone and String Quintet Prayat Supajitra : Saxophone Piyavit Kantasiri : Violin I
Pawanrat Phetranont : Violin II Creator: Asst. Prof. Dr. Prayat Supajitra Pongthep Jitduangprem : Viola Vorapon Thannuekmeesinkul : Cello Supakit Supattarachaiyawong : Double Bass
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Nang Talung is a unique local performing arts of the South whereby
the ensemble has led by Pi Klang or Pi Nork (Southern Thai double reeds
instrument), accompanied by Tub (wooden clapper), Ching (small cymbal)
and Klong Tuk (Thai Drum). In addition, some musical instruments are
incorporated, such as Sor (Thai bow string instrument), and Kluie (Thai Recorder).
Nowadays, Western musical instruments are also widely used in ensemble
for example Organ, Guitar and Drum Set. The Composition is highlighted
the hermit's melody, in the mean time, it has been transformed into stylistic
arrangement for string quintet in 3 movements within 7 minutes duration.
The 1st movement is the introduction that played theme and its variations by Pi.
The 2nd movement is from the hermit dance music, regarded as the music
to worship Gods of Nang Talung. The 3rd movement is utilized the same melody
as in the 1st movement. The composer preserved the original melodies
to intendedly develop and modify them to be more unique characters. However, ‘The Legacy of the Southern Dramatic the original melodies were subjected to be hidden in the mist of complex chords progression along with chromatic harmony, embellishment notes and chord Whisper' for String Quintet tension. The music has expressed and conveyed message of a peaceful harmony and better understanding among Southern people who in the past were used Creator: Asst. Prof. Dr. Raweewat Thaicharoen to being united and harmonious coexistence. Musicians The Composition is inspired by the highly imaginative tunes of Nang Piyavit Kantasiri – Violin 1 Talung (the traditional Shadow Puppet Opera), the performance that has played Pawanrat Phetranont - Violin 2 the cultural and dramatically vital roles as part of the Southern Thailand's history Pongthep Jitduangprem - Viola and Legacy. Vorapon Thannuekmeesinkul - Cello Supakit Supattarachaiyawong - Double Bass The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 72
Classical music of Laos was originally a musical in the former Lao royal
court. Currently, there is a change in the framework of the Democratic Republic.
The original Lao band is consisted of two types of bands: Pi-Phat Band and
Mahori Band.
I have restored the original Lao song, Pla Thong, which nowadays is no
longer played by taking the field survey of anthology which can be transformed
into a song in a major xylophone instrument. Kru Boonthiang Srisakda and
I developed a fine melody by composing the harmonies by the String Orchestra,
based on international music theory, choir singing, and the orthodox theory.
The Pla Thong song is a type of traditional Thai songs, with the 3
different speeds of rhythm. The nature of the melody is a musical show.
The method of composing the chorus using counterpoint technique( Counterpoint)
,which is to direct two or more lines to chase each other, each of which Composition of Laos Classical Music, is horizontally independent(Melody). But at the same time, there is a proper vertical harmonic sound. Harmony is one of the most flourishing songwriting Pla Thong, Through The Play techniques of the Baroque era, writing melody that coordinates the relationship properly in terms of melody rhythm and chorus. The highlight of the composition of String Orchestra is the composition of the main melody and pairing the music genre to harmonize between the main music genres. The instruments alternate lyrics for the melody. Creator: Yongyuth Eiamsa-ard Duration of Performance: 10 minutes
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 73
The presentation on “Visual Arts” At the Room 31020 of Language and Computer Center
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 74
The change of traditional Ikat textiles aspect through Contemporary Textile Arts form. The use of handstitched has been replaced instead of weaving technique. The Ikat is stitched irregularly that shows no formalism and disorder in pattern. The thread has been tied dyes before being stitches on to raw silk handwoven fabric. The beauty of imperfection and the flow has occurred
The Experimental process starts with the technique, the use of stitching instead of weaving on the loom. Ikat threads are stitched alternately, without rules but feeling of freedom. The combination of the two Ikat patterns in different direction (vertical and horizontal) is crossed in angle, similar to the error in the pattern and surface. The original of Ikat pattern has distorted freely and irregular. An unevenly Moving Away from Ikat Pattern I pattern procedure is unpredictable and the error lines is in controlled. The transformation of surface has occurred sophisticatedly to integrate into
Creator: Asst. Prof. Dr. Vitawan Chunthone an individual's self-identity.
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“ Khong – Sa – Bua’s pottery” is the place to produce with the primitive technology of important at Phanakorn Si Ayutthaya. This the wisdom is the originated of knowledge, skill and individual to ability, but in the present the production of pottery from this local is less, which the creation of contemporary terracotta sculpture in this project starting from the impression of pottery’s wisdom of this local and relay to feeling, emotion individual, by the impression of form and mixed technigue between the primitive technology with ceramic basic technigue and the beauties of used the element of arts and the composition with aesthetics by the creator.
The Importance of the works this project is the impression of pottery’s wisdom of Khong - Sa - Bua Phanakorn Si Ayutthaya, which
scope of creativity is mixed technigue between the primitive technology The Creation of Contemporary Terracotta with ceramic basic technigue and the element of arts and the composition with aesthetics and feeling, emotion individual is concern with Sculpture: Memory the impression of pottery s wisdom of this local and presenting works the contemporary terracotta sculpture with hand forming and used material Creator: Watchaleewarn Hirunpalawat solid mixed with grogs and engobe technigue. The benefits are expected to understand of means “Pottery’s Wisdom of Khong - Sa - Bua”.
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 76
The Textile Art presenting the idea of the beauty of decay, normally associated with the feeling of sadness, mourning and being unwanted. On the contrary, this piece of work offers a meaning of decay that is positive. The materials from dead, the form and expression of the composition, all combined to celebrate the stage of decay as important but overlooked.
This piece presents the stage of decomposition as one to celebrate as much as the others. The artwork is a tapestry presenting the composition adopted from the worn-down mural painting from an eighteen-century temple juxtaposed with the reflective and fresh color and texture of beetle wings. The innovative use of materials and techniques Gleaming Decay has been specially developed for this piece.
Creator: Dr. Wuthigrai Siriphon
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“Paraquat French Fries” is a creation of art work presented
in the form of label design for French Fries, a most popular menu at fast
food restaurants, as product label for “Paraquat French Fries” and product label design for box milk commercially available in the market, as the label design for “Glyphosate Dairy Milk” to communicate to consumers for their awareness of the impact of toxic residues accumulated in food as a result
of high toxic chemicals used in agriculture and the intervention of powerful nation to preserve their trade benefits from agricultural products of huge
value. The label design was created from the archetype of the US president, letters as chemical and banner for hazardous chemical material type, as major composition. 1. PARAQUAT FRENCH FRIES "The Paraquat French Fries and Glyphosate Dairy Milk billboard 2. GLYPHOSATE DAIRY MILK are created to promote consumer products. By reflecting the interference from the Big Apple like USA through prototype images of Mr. President
Donald Trump. Finally, to communicate important message with audiences Creator: Dr. Kethathai Singin that led them to the questionnaires and understanding."
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The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 79
Symposium Organizing Committee The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 December 15th - 16th, 2020 at the Auditorium of Language and Computer Center. (The 100th years anniversary auditorium) Phranakhon Si Ayutthaya Rajabhat University
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The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 81
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020) 82
The 1st International Symposium on Creative Fine Arts (ISCFA) 2020 (December 15th - 16th, 2020)