VOLUMe 3 NUMBER TWO MAY-AUGUST 1993 IS..<;N 0358·1975

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JOURNAL

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TO HELP ENRICH CULTURAL ACTIVITIES IN THE REGION.

TO STREXGHTEN PROFESSIONAL COMPETENCE IN THE FIELDS OF ARCHAEOLOGY AND FINE ARTS THROUGH SHARING OF RESOURCES AND EXPERIENCES ON A REGIONAL BASIS.

TO PROMOTE BETTER UNDERSTANDING AMONG THE COUNTRIES OF SOUTHEAST ASIA THROUGH JOINT PROGRAMMES IN ARCHAEOLOGY AND FINE ARTS.

THE SPAFA JOURNAL

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2 SPAFA JOURNAL VOLUME THREE NUMBER TWO SPAFA JOURNAL Volume 3 Number 2 May-August, 1993 ISSN 0858-1975

FEATURES

Prasat Thorn of Koh Ker and Banteay Srei 4 BY PROFESSOR JEAN BOISSELIER AND TRANSLATED BY JANE PURANANANDA

An Archaeological Assessment at Don Dong Muang 10 Northeast Thailand BY MOIRA WOODS AND STEVEN PARRY

Southeast Asia on the American Dance Stage 1915-1955 17 BY PROFESSOR RICHARD A. LONG

Southeast Asian Performing Arts: 26 Issues of Cultural Identity BY ASSOCIATE PROFESSOR DR. CHUA SCO PONG

Universal Values in Asian Dance 37 BY LIGAYA FERNANDO-AMILBANCSA

Current Problems in the Conservation of Wood 46 BY CHIRAPORN ARANYANAK

DEPARTMENTS

SPAFA Affairs 54 Bookmark 60

COVER

SPAFA JOURNAL VOLUME THREE NUMBER TWO 3 Prasat Thorn of Koh Ker and Banteay Srei

BY PROFESSOR JEAN BOISSELIER TRANSLATED BY JANE PURANANANDA

The purpose of this article is not to make a

journey to discover archaeological sites, which

are already more or less known. Such a course

would today seem rather out of place because it

would bring forth for most of us much

sadness, and for some, too many thoughts

about uncertain tomorrows. Hence, the aim

here is to be more precise about and to better

understand certain unusual aspects of Khmer

art.

4 SPAFA JOURNAL VOLUME THREE NUMBER TWO In a general manner, and greatly simplifying matters, one Banteay Srei, miniaturized and described by M. Claize must admit that the standard type of Khmer architecture is (cf. Les Monuments du Group d'Ankor, Guide) as a that of the temple, which has been given the name "bijoux precieux," and "une sorte de caprice" where detail "temple-mountain," and which is characterized by a tiered is "so abundant and so incomparably pretty that it prevails pyramid bearing one or several sanctuaries. If this on the whole." Such lyrical enthusiasm, particularly description creates an image, it is however, not exactly understandable from a western and profane point of accurate because the sanctuary is considered to be a view, tends to neglect and somewhat forget that all this, mountain which by definition is the abode of all down to the details, is of a religious inspiration and divinity. Khmer epigraphy makes this quite clear by purpose, leaving no place for "caprice." having designated since the most ancient times the head of the sanctuary with the title "Khlon Vnam"; the exact We are rather well-informed, thanks to abundant translation in Sanskrit of "sailadhipa" (chief/master of the epigraphy, about these two complexes, both located to mountain). The chief/master is nothing more than a the northeast of Angkor; the first at a distance of pleonasm, proposed for the first time in 1866 by the approximately 80 kilometres and the second at about 20 English photographer J. Thomson, a title which he used kilometres. Again, the purpose here is not to undertake for Borobodur as well as Angkor Wat. This designation an historic study of these two monuments, but instead came into use over a half a century ago through the to be concerned with the architectural and work and teachings of Philippe Stem. iconographic problems which they pose. Thus we will provide only a summary of what is important about It is the temples with tiered pyramids, although not that each of them. numerous and only characterized by a few large royal establishments, which best illustrate the concept of a Prasat Thorn was founded in Koh Ker (old Choc Khmer temple. But it should also be pointed out that Gargyar) in 921 AD by Jayavarman IV, brother-in-law of these temples with or without tiered pyramids appear Yasovarman I, the founder of the first Angkor. to always be marked by the importance accorded the Therefore he was uncle by marriage of the reigning main sanctuary which always dominates the king Harsavarman I, son and first successor of surrounding space and which is an image, visible from Yasovarman. The temple was founded under the name of afar, of the mountain abode of the god and identified Tribhuvanesva (The Lord of the Three Worlds, here with the god himself. meaning Siva) and seems to have had its prang enlarged in 927 AD, when Jayavarman IV was officially recognized as This long tradition appears to have found its outcome sole sovereign. He was able to use this to his advantage in with the Phra Buddha Prang of Wat Arun (Bangkok), rituals of the devaraja, due to the disappearance of the completed during the middle of the 19th century, the ruler of Angkor, Isanavarman II, the second son of spire of which stands at a height of 104 metres. Even Yasovarman I, who was still mentioned in 925 AD. though of an entirely different context than the preceding monuments, it conveys just as well similar Banteay Srei, founded in 967 AD "at Isvarapura" is cosmological preoccupations. another Sivaite establishment, with an almost identical vocable, that of Tribhuvanamahesvara (The Eminent/ Thus, although this architectural tradition seems to be Supreme Lord of the Three Worlds). It is the foundation of so well established in the central Southeast Asian the Vrah Guru (Venerable Spiritual Teacher) of King Peninsula, during the 10th century there was an attempt Jayavarman V, son of Rajendravarman II, the restorer of to impose another totally different formula on Khmer Ankorian power. The guru, named Yajnavaraha, was the territory. Granted, its success has been ephemeral, but son of a Brahman and Harsavarman I's daughter, its influences were nonetheless evident It is this formula making him a great-grandson of Yasovarman I, the which leads us to connect two temples which are very founder of Angkor. Inscriptions reveal that this learned different in appearance: Prasat Thorn Koh Ker, marked by person was assisted by his younger brother, also a great gigantic dimensions and an illusionary austerity and scholar.

SPAFA JOURNAL VOLUME THREE NUMBER TWO 5 So dissimilar at first (above all if one thinks in function inscriptions (which is approximately 4.5 metres high and of measurable sizes instead of proportions), both 4.5 metres in circumference, i.e. approximately 1.50 temples present, nevertheless, sufficient characteristics in metres in diameter). As already mentioned, this common which differ from the Angkorian architectural addition appears related to the association of Prasat tradition for us to suppose that they follow similar Thorn with the Ankorian system following the architectural concepts. disappearance of Isanavaman II, second son and successor of Yasovarman I, which lead to the Certain arrangements (for example the number of recognition of Jayavarman IV as sole ruler of the Khmer sanctuaries) are related to the purpose of each of them. kingdom in 927 AD (according to inscriptions.) As for other aspects, the general plans are similar; and if the dimensions are vastly different, the proportions The plans of Prasat Thorn and Banteay Srei, so unusual in remain fairly similar. As a rule, Indian treatises on Khmer architecture, are however, not completely architecture never give the dimensions of the various exceptional, as we shall now see... And without doubt the parts of a temple nor of the idols housed in them in adoption, relatively speaking, of a new type of architecture absolute measurements. Measurements are given only in in Angkorian Cambodia (specifically the region to the reference to standard unit of measure chosen for the northeast of Angkor) can be explained by a temporary whole. interest in new Sivaite texts tending to supplement those which traditionally prevailed. If the epigraphy of Koh Thus we can observe that Prasat Thorn and Banteay Ker is silent on this subject, those of Banteay Srei give Srei are characterized, according to their plan, by their some answers, and in any case, a direction for research. development in length (an axial plan); by their moat Let us recall that we are informed that the very learned enclosed between two surrounding walls, and encircling founder Yajnavaraha, was seconded by his younger only the concentric part of the plan; and by the brother. As Yajnavaraha, the latter practiced Sivaite yoga, grouping of the sanctuaries in the interior of a restricted and even entirely recopied the Kasikavrtti (Commentary/ space enclosed in a surrounding wall. Gloss of Kasi [Varanasil) from the grammatical teachings of the Panini school, held to have been revealed by The elevation confirms the originality of this choice. Siva); the Sivasamhita (cf. K. Bhattacharya, also named Instead of magnifying the importance of the sanctuary Vayu or Sivapurana, as the Tantric text is named in or the sanctuaries, these are found here to be almost yoga later) and finally the Paramesvara (agama hidden from view. Although of dimensions which are [tradition]) a text of monist orientation, seeming to be hardly unassuming, grouped on a simple, common useful in aiding in the understanding of the originality platform, they disappear behind the gopura when the of Prasat Thorn and above all Banteay Srei, where all dimensions cross as one progressively distances oneself iconography concentrates around Siva, leads to the from the sanctuary. Noting as a reminder, that the primacy of Siva. Prasat Kraham gopura is of the third wall of Prasat Thorn (itself preceded by a fourth gopura, of a still more Thus perhaps can we find the sources of inspiration for significant development, with doors which are 4 metres what appears to be a true architectural revolution, high and "colonettes" of more than 50 centimetres in beginning with the foundation of Prasat Thorn by diameter. Jayavarman IV, but of a duration barely exceeding the reign of Jayavarman V (968-1001). This resulting from the The only important difference for Prasat Thorn is the latter's succession leading to difficult times, with nine years presence in the west (on the axis, but in fact, in a west- of internal conflict, which was put to an end by southwest direction according to the general orientation) Suryavaman I, the founder of the Prang Khao Phra of the prang, a high, five-storied pyramid with a single, Vihan and whose reign opened a new era for the unfinished sanctuary (with a total remaining height of Angkorian royalty. more than 35 metres) and with a pedestal intended for an enormous 9 by 9 cubits linga, according to In any case, the formula for Parsat Thorn and Banteay

6 SPAFA JOURNAL VOLUME THREE NUMBER TWO Srei partially adhered to a school (apparently, above all We shall return to a few of the lessons that we learn in the region to the northeast of Angkor), with temples from these two scenes, but before, let us see what can such as Prasat Trapeang Khyang and Prasat Sek Ta Tuy, be found, or could be found until recently, about the 'co-partners' of Banteay Srei, and also Prasat Trapeang gana in the two temples. Observing first, that those of Suay, Prasat Suay Kbnl Tuk, Prasat Phnom Sandak...etc. A Prasat Thorn were placed on the doors of the gopura list which, although not exhaustive, is sufficient to justify with the hands together in anjalimiuira, while those of the designation of "Art of the Northeast", favored by those Banteay Srei are on the sides of the stairs giving access who worked in the area during the years 1929-30, though to the sanctuary's common terrace, and all(?) holding categorically rejected by P. Stern and his school. In some type of short weapon (sanku or churika?) on the reality, no one was wrong! All was a question of right knee. language: the first group speaking of architecture, and the second of 'architectural decoration'....In the first Our study of these gana leads us to notice that the first case, of rupture, and in the second of evolution! researchers hardly paid any attention to them. Thus despite all the existing photographs, the monkey headed But these comments about Prasat Thorn and Banteay gana at Prasat Krahham was described as "man with Srei lead us to evoke, without considering the dates, the head of a crocodile" due to being confused with the (the Indian archaeological treatises do not consider a horse headed gana of gopura III and was described by specific period, they just recognize varying trends) the H. Parmentier as a heraldic lion...when it comes to two types of temples so characteristic of Tamilnadu: Victor Goloubew, he qualified those at Banteay Srei as ones where the sanctuary is visible from all directions "grotesque figures, sometimes ferocious, sometimes (Mahaballipuram: a shore temple, Tanjore: Brhadisvara...) humorous.") and the ones with enormous surrounding walls and go puras (Madurai: Minaksi-Sundarisvara: Srirangam: Visnu Having pointed this out, and taking into account that temple, etc.) the two series are more or less complimentary, and that the tympanums of Bantaey Srei provides us with We have underlined that for Prasat Thorn and Banteay valuable evidence, we believe to have found the equine Srei, the pre-eminent divinity was Siva. This attribution head of one of the gana of Banteay Srei in the Saigon merits an exceptionally rich iconography (above all at Museum (TP. Ho Chi Minh, Historical Museum). Here Prasat Thorn), implying the presence of guardians/ the head is identified as Kalkyavatara(?), although we attendants rarely appearing with such insistence, even prefer the identification of Vajimukha. This head, of in India: the gana (i.e. "the troop, the multitude, pink sandstone (of the same kind as Banteay Srei), was deities of a lower level," Siva's followers and brought from Angkor or from that region, around 1920 servants) whose domain is the ganaparvata, which is and placed in a pagoda in the Gia Dinh province the Kailasa, the abode of Siva, but obviously at the (location from which came the mistaken provenance bottom of its slopes. quoted by L. Malleret). Most likely it belongs to one of the Banteay Srei gana: it is made of the same pink That is what is represented on the east and west sandstone, has the same dimensions, and the same tympanums of the pediments of Banteay Srei's south stylistic details (in particular a mane's toupee similar to library, each very well preserved and of a free those of the horses in the representation of Kamsa being interpretation. To the east it is the Ravananugrahanurti put to death by Krsna, north library facing west or the ("a mark of favour" [from Siva] to Ravana) when lintel showing Hayagriva (hippocephalic Visnu, minor Ravana strives to tear apart, shake Mount Kailasa. To avatara) killing the Daitya, ravishers of Veda, gopura I the west is the Kamadahanamurti ("that burns, destroys east, west face. Kama") or the Kamantakamurti, ("that leads Kama to death"), where Kama, god of love, tries to deter Siva from More important are the problems posed at Banteay Srei by his ascet'cism by arousing his love for Parvati and is the identification of the "simian" gana and the ganas of the reduced to ashes. west central flight of stairs. For the first of these, let us

SPAFA JOURNAL VOLUME THREE NUMBER TWO / return to the Ravananugrahamurti scene. Appearing here chignon, Negroid face, bulging eyes and protruding are two "monkey" gam, much larger than the other gana. fangs. The first would, once again, be Nandisvara, who The one to the right of Siva appears to be urging the the texts inform us was metamorphosed "to have the troops through gesture to be quiet and calm. This is same appearance as Siva" and placed at the head of the Nandisvara (Nandikesvara, Nandisa), the guardian of gana. Consequently, the second would be Mahakala, Kailasa, whose name must not be confused with who is normally associated as a guardian, even in Nandin the Bull, the mount of Siva. On route, and Khmer inscriptions. The texts describe him as having a mounted in his chariot Puspaka, Ravana encounters black complexion, with bulging eyes (because he drinks Nandikesvara on Mount Saravana (birthplace of to excess), with pointed fangs and spiky hair. He is also Karttikeya). Nandikesvara intends to stop him from going described, through reference to Siva, as having three further. Ravana, upon making fun of his monkey face, eyes, but in matters of saivite iconography Khmer receives the response that it will be the monkeys in sculpture rarely follows the texts with complete appearance and force just like himself, that will destroy exactitude. Ravana (making allusion to the outcome of the Ramayana). Believing to have, therefore, identified the principal ganas of the monuments, and to have restored them to We also find in the same text a valuable description: their legitimate place, their presence brings us to the Nandi (kesvara) is said to be vanararupam, that is to say, conclusion that these temples built on one level are, "of the appearance of a monkey". But it is added that his with their concentric surrounding walls, identical to the body is that of a dwarf (vamana), strong, fierce, dark in "temple-mountains", and specifically to Kailasa. Which complexion and with "short arms" (thus different from is proved once again by the study of the tympanum of the monkeys). Keeping in mind his significant role (see the Ravananugrahamurti: at the foot of Mount Kailasa Banteay Srei pediment and the Phum Or Taki lintel, the frightened flight of the wild animals (in particular recently at the Vat Po Veal Museum, Battambang) it is the lions), and above, the ganas reassured by their vigilant certainly him that we must recognize at the entrance of chiefs, and even higher the dews and the dewtas and the Prasat Kraham, the huge gopura of Prasat Thorn. It is ascetics in prayer or contemplating the divine couple. also he who should have been reinstalled in front of the Again, we find the same arrangement on the monument mandapa of the central sanctuary of Banteay Srei, to the itself, and if on the level of the devas and devatas, east. But V. Goloubew (see above quotation) most likely religious figures and ascetics are lacking, they are found feared adding to the "grotesque" for visitors who had again on the terraces of the roofs. We should not forget not been forewarned...This gana is, moreover, a little either that the priests in charge of the temple officiate larger than the other gana. This is the same for the amongst them. second "monkey" (cf. Banteay Srei tympanum) that we propose to identify as Vrsakapi (from vrsan. vigorous, Thus Banteay Srei and Prasat Thorn represent very well, powerful...; from which: the monkey chief/lord) believed as does Baksei Chamkrong, the Kailasa, but a Kailasa to be the son of Indra. Thus the name is one of the which has become the meeting place of all gods (Prasat eleven Rudra, indeed even for Siva or Yisnu... Thorn) or the place affirming the importance of Previously, we had thought to identify him as the Mahesvara (Banteay Srei). Strangely, the symbolism is monkey that appears with the deva in the scene at the reverse in relation to what was desired by Angkor Wat representating the Churning of the Ocean. Yasovarman I for Bakheng (see J. Filliozat, Le symbolism du monument du Phnom Bakhen, BEFEO What should be the identity of the ganas that were XLIV, 2, 1952, p. 527 sqq.): importance is no longer made to be hung to the west of the terrace? Here we placed on Mount Meru, but on Kailasa. Instead of point out the presence of a gana with a gentle and complex symbolism as at Bakheng or one reduced to smiling face, often confused with that of Siva (Phnom the basics at Baksei Chamkrong, we find at Koh Ker, a Phen Museum) and with another, in situ, evocative of Meru —the prang —having only one five-storey some yaksa, with crimped hair arranged in a small sanctuary and with one stairway for access, and a

8 SPAFA JOURNAL VOLUME THREE NUMBER TWO Kailasa —Prasat Thom—where all the gods are History, and not even having as much information as reassembled around the "Lord of the Three Worlds." he had, for us it is not disagreeable to use the maximum of given information that we have available The thoughts that are inspired by these two temples, so in order to conclude that the study of interest that we different in appearance, and yet so similar in their have taken here will not have disappointed our conception, seem at times to have led us a bit far from listeners. our subject. But during a time when one must resort to no longer studying Khmer art except by following the methods that apply to M. de Buffon of Natural Bangkok (Alliance Francaise) October 5, 19S8

SPAFA JOURNAL VOLUME THREE NUMBER TWO 9 An Archaeological Assessment at Don Dong Muang Northeast Thailand

BY MOIRA WOODS AND STEVEN PARRY The site of Don Dong Muang lies some 5 kms

north of the city of Ubon at the soutliern edge of

the Khorat plateau, northeast Thailand (Fig. 1).

This area has produced the largest amount of

arcluieological material in Thailand with sites

dating from the fourth or early third

millenium BC to AD 1000. The plateau is

bounded to the north and east by the Mekong

River, with mountain ranges to the west and

south. There are two drainage basins; the

Songkhram to the north and the Mun-Chi

basin to the south. It is in this southern area

that the town of Ubon is located, near the

confluence of the Mun and Chi Rivers.

10 SPAFA JOURNAL VOLUME THREE NUMBER TWO Assessment potsherds) recorded by preliminary These horizons also furnished field survey suggests that numerous small finds including In 1990 the site of Don Dong archaeological deposits may extend pottery cylinders and iron artefacts. Muang (Fig. 2) was purchased by a over a very considerable area, The lower levels of this sequence had Mr. Puchon for housing/development perhaps as great as 6.75 hectares been cut by four large pits, three of with a large area (c. 6.5 hectares) (16.68 acres). The results of this which contained the remains of having been machine stripped to a limited assessment (outlined below) substantial funerary urns between depth of c. 1 metre. Initial foundation clearly demonstrate that beneath the 0.4-0.52 m in diameter. The fourth work, road building and pipe- present truncated land surface, pit contained large, unabraded trenching exposed in situ undisturbed stratigraphy is preserved to potsherds and charcoal. In the inhumations (contained within depths in excess of 2 metres. eastern section of this trench (Fig. 4) funerary urns) with the basal stratigraphy sealed associated bronze and iron an oxidised clay surface artefacts. This attracted which was cut by post/ some small scale looting. stake holes of c. 0.15 m diameter. This surface is Material collected following interpreted as a floor level this ground disturbance (and and conjoining potsherds and now in the possession of the other cultural debris were present site owner, Mr. Lek) intimately associated with it. included bronze armlets, bracelets, rings, a barbed The western section of the spearhead, a variety of iron trench (Fig. 5) furnished four artefacts, ceramics, glass and discrete ceramic groups each lithics. It is clear that many comprised of large upstanding of these artefacts were urns capped by smaller invert- derived from disturbed ed vessels. In close grave groups. stratigraphic association with these urns were two sealed In December 1991 Mr. Lek pits, the fills of which invited me to undertake an contained secondary deposits initial archaeological as- of potsherds and other debris. sessment of the site. The primary objective of this With one exception the fills assessment was to ascertain of the urns recorded in the maximum extent of Figure 1 Location of Don Dong Mumg Trench 1 had been looted archaeologically significant out. The one intact fill deposits that might be contained a corroded iron threatened by further development. Sub-surface investigation was object and charcoal. Mr. Puchon The assessment was designed to confined to a large builder's trench informed me that the majority of the maximise information whilst [Trench 1, (Fig. 3)] measuring 7 x 4 m artefacts which he has been able to minimising disturbance to the in plan which was re-opened to a recover were discovered in exposed surviving deposits. This was achieved depth of 2.10 m to reveal a complex funerary urns within a 60 m radius by non-intrusive field survey and the suite of sands with interdigitated of Trench 1. One of these urns, investigation of existing builders' cultural horizons. The uppermost of although truncated by machine, still trenches. The density distribution these horizons were dominated by contained undisturbed fill and I was of artefacts (predominantly substantial spreads of iron slag. able to examine this in controlled

SPAFA JOURNAL VOLUME THREE NUMBER TWO 1 1 conditions. The urn contained the rims. Decoration, when present, that these artefacts are still in remains of an inhumation (calvarium, is limited to crude comb regular use for pottery manufacture ribs, limb bone fragments, vertebrae impression. in northeast Thailand. Their and phalanges from a single presence at Don Dong Muang may individual) together with c. 70 Small (0.15 m-0.25 m rim thus indicate pottery production in cylindrical blue glass beads. These height) shouldered vessels with the vicinity of the site. were typically 3 mm in length bead rims and flat, pedestal or and probably made from glass convex bases. These vessels are iii) Both bronze and iron artefacts rods. decorated with linear incisions are well-represented, this metalwork and comb and cord impressions being largely derived from funerary (in some cases complex). urns. Some 52 bronze artefacts and Artefacts 16 iron artefacts were noted in the Small (0.14-0.19 m rim height) site owner's possession. The Many of the artefacts were discovered vessels with pronounced flaring bronzework was dominated by during construction work and do not rims and flat or convex bases. ornaments, in particular armlets, have provenances. However, few had Decoration is similar to shouldered bracelets) and rings. In contrast the been cleaned and still had matrix vessels but also includes ironwork consisted of 'functional' attached. From this evidence, their herringbone impressions. artefacts notably adze/axeheads general state of preservation and and two sickle blades. Martial information supplied by the original Small (0.06 m rim height) elements included two bronze site owner, it is clear that they are globular vessels with incurved spearheads and an iron arrowhead derived from the immediate environs or projecting rims and convex and a sword blade. A single lithic of Trench 1. bases. Simple cord/comb mould valve has been provisionally impressed decoration. identified. Analysis of this material was necessarily limited. However, the Shallow (0.04 m rim height) flat- The quality of preservation is following observations were made. based dishes. generally high with only superficial corrosion, no doubt due, in part, to i) There is considerable range in the micro-environmental protection ceramic forms and fabrics even In addition several sherds of afforded by urn-inhumation. Rice within discrete, closely associated red-on-buff ware were recovered as (Pila spp.) husks were noted in the groups. Principal forms include: surface finds. It is noteworthy that corrosion by-products associated no example of this ceramic type was with a bronze bracelet from an Large (typically 0.4 m diameter found in situ or associated with grave inhumation indicating potential for x 0.6 m rim height) convex groups. the recovery of other organic based funerary urns with simple evidence such as textiles. straight or occasionally bevelled ii) Other ceramic artefacts were rims. A decorative element also examined and included 4 iv) A single bronze figurine was also unique to these urns is incised mushroom-shaped 'anvils', 18 clay noted. This was reported to have applique ornamentation With cylinders and a rectangular clay block been recovered from an urn- the exception of these applied exhibiting incised decoration. In an inhumation in Trench 1 along motifs, decoration is limited to archaeological context the mushroom- with several bronze bracelets. The simple cord and comb impressioa shaped anvils are best paralleled figurine is 45 mm in height and is at Ban Na Di where they were an anthropomorphic representation The funerary urns were capped dated to c. 1000 BC-500 AD with male genitalia. Discoid motifs with inverted, wide-mouthed (Higham and Kijngam, 1984, 152- on the buttocks, upper back and vessels with rounded or projecting 156). However, it should be noted head are stylistically identical to the

1 2 SPAFA JOURNAL VOLUME V. :REE NUMBER TWO Figure 2 Plan of site land boundary pipe trench estimated area of funerary urns buildings trench

Figure 3 Plan of Trench 1 oxidised clay surface potsherds baulk

SPAFA JOURNAL VOLUME THREE NUMBER TWO 13 terminal designs of the penannular undisturbed human skeletal material. Vallibhotama (1984) along the Mun bracelets. There are marks on the A second bone sample consisting of River and its tributaries revealed 70 back of the figurine which may a radius and ulna directly associated moated sites. It should be emphasized represent the points of attachment with a bronze armlet and contained that his preliminary conclusions were for a fastening. within another funerary urn was based on ground survey and the similarly obtained. It was intended analysis of the physical structure of v) Carved stone is represented by a that this sample would provide an the settlements together with surface 'pillow/ with linear decoration, absolute date for the use of these finds. which appears to have been re-used stylistically diagnostic bronze armlets as a quern, a second stone fragment and a second control for urn At several of these moated sites, is similarly decorated. inhumation at this site. archaeological layers exposed by road cuttings revealed bi-partite vi) Lithics were present in small The two samples were submitted to cultural sequences based on ceramic quantities and are presumed to be the British Museum Research evidence (Vallibhotama Ibid). The derived from earlier horizons. Laboratory. In both instances there later phase was characterised by Occasional flake tools, utilised was insufficient collagen for dating painted and cord-marked pottery pebbles and hammerstones were purposes due to severe leaching by notably large funerary urns deposited present throughout the stratigraphic groundwater. The radio-ulna was then in groups. Beads and bronzework sequences exposed in Trench 1. submitted to the Oxford Accelerator were associated with some of the Unit for assay. This test again failed inhumations. Unfortunately, it The metalwork recovered from due to lack of collagen. would appear from published the site is generally attributable to accounts that no absolute dates for the mid-late 1st millenium BC the urn-inhumation phases at these (Professor C. Higham Pers. comm.). Discussion sites are available. However, the metalwork is only certainly referable to the uppermost There is limited evidence to suggest On the basis of series radiocarbon (most recent) horizons in the area of that the development of urn- dates from Ban Non Yang in Amphoe the cemetery. Futhermore, the daring inhumation cemeteries may be Chumphon Buri, Surin, Vallibhotama and development of urn inhumation correlated with the emergence of (Ibid) suggests that urn-inhumation in northeast Thailand remains moated sites in northeast Thailand may date from c. 1000 BC. However, equivocal (Vallibhottama 1984). during the 1st millenium BC it is unclear from his account Therefore, a primary aim of the (Vallibhotama 1984). whether the Amphoe Chumpon Buri assessment was to obtain samples for radiocarbon dates are from in situ urn- absolute dating. Unfortunately the In the vicinity of Ubon there are no inhumations or cultural horizons effects of groundwater penetration natural mounds of any significant containing stylistically similar pottery. and low density of organic material size. However, Don Dong Muang suitable for radiocarbon assay occupies an elevated spur some 5 m Thus, the well stratified sequence precluded all attempts to develop higher than the surrounding plain. of urn-inhumation groups at the an absolute chronostratigraphic At Don Dong Muang ground Don Dong Muang cemetery sequence for the site. It was levelling may have destroyed present an excellent opportunity therefore decided to obtain two upstanding earthworks, but field for establishing a date series for this initial radiocarbon dates for the survey in the vicinity of the site has funerary practice in Thailand. urn inhumations from Trench 1. I not resulted in the identification of Furthermore, given the good was able to obtain permission fron ditches which would have survived preservation of skeletal remains and the Thai authorities to bring back a such truncation. associated grave goods, the potential bone sample from the single urn of the site for demographic, inhumation which still contained An archaeological survey by artefactual and socio-economic

1 4 SPAFA JOURNAL VOLUME THREE NUMBER TWO Figure 4 Don Dong Mitang. section Trench 1 east

road material

sterile sand

pottery

Figure 5 Don Dong Miumg section Trench 2 west

road maleriil

sterile sand

pottery

SPAFA JOURNAL VOLUME THREE NUMBER TWO 1 5 analyses is outstanding. The evidence Conclusion References of contemporary occupation in the vicinity of the cemetery suggests that The initial assessment undertaken in Higham, C. 1989. The Archaeology of it may also be possible to contrast January 1992 lias demonstrated that an Mainland Southeast Asia. Cambridge. the representation of metalwork and extensive urn-inhumation cemetery of ceramics in both domestic and probable late prehistoric/early Vallibhotama, 5. 1984. The relevance funerary contexts. protohistoric date is currently threatened of moated settlements to the by development at Don Dong Muang, formation of states in Thailand. In In respect of the above, we may Ubon. Although construction work Bayard, D. (ed.) Southeast Asian also note that there are parallels and looting have resulted in limited Archaeology at the XV Pacific Science for the association of iron slag destruction, substantial areas of the Congress. University of Otago Studies dumps/smelting sites with the site remains undisturbed (up to in Prehistoric Anthropology Volume Don Dong Muang cemetery. January 1992). Coherent, undisturbed 16, 123-128. Vallibhotama's (1984) survey of stratigraphy survives in these areas moated sites also identified over to depths in excess of 2 metres and Higham, C and Kijngam, A. 1984. 36 iron-smelting sites in the contains evidence of domestic, Prehistoric Investigations in Northeast lower Mun-Chi basin, one of funerary and industrial activity. The Thailand; Excavations at Ban Na which, Ban Yawak was found in range, nature and quality of artefacts Di, Non Kao Noi, Ban Muang the same mound as a burial recovered from the site is unparalleled Phruk, Ban Chiang Hiam, Non ground. Excavation revealed in the region, in particular, the Noi, Ban Kho Noi and Site iron slag associated with burial metalwork represents one of the Surveys in the Upper Songkhram urns at a depth of 1.70 m from most important corpora so far and Middle Chi Valleys, Oxford, the surface. discovered in Thailand. B.A.R International Series 231.

1 6 SPAFA JOURNAL VOLUME THREE NUMBER TWO southeast Asia on the

American Dance

Stage

1915-1955 BY PROFESSOR RICHARD A. LONG dance -pieces referring to or derived from various

. Southeast Asian dance traditions have been presented on the concert-theatrical stage in the United Sates since early in the twentieth century by several Euro-American dance artists for whom Asian or Oriental dances became signature pieces and who became known as propagandizers of Indian and

Soutlwast Asian dance.

SPAFA JOURNAL VOLUME THREE NUMBER TWO 17 Ted Shawn and Ruth St. Denis "Balinese Fantasy"

1 8 SPAFA JOURNAL VOLUME THREE NUMBER TWO The best-known of these artists were later in the year with a group piece of the Asian tour: A Javanese Court Ruth St. Denis and Ted Shawn Dance of the Royal Ballet of Siam. Dance by St. Denis and Doris (whose collaborative efforts were The latter used vaguely Siamese Humphrey, A Burmese Yein Five by known by the name Denishawn from costumes but was clearly also an St. Denis, Impressions of A Wayong 1915 to 1931), La Mori (Russell impressionistic piece. It is interesting I'uncti and Danse Cambodienne by Meriwether Hughes), Xenia Zarina to note that the cast included Doris Shawn. Interestingly, the Burmese and Hadassah (Epstein). In all cases, Humphrey, later to be a pioneer of piece was performed in Java, and St. these performers had a considerable American modem dance. Denis' Javanese piece was performed in measure of involvement with dances Manila, Hong Kong, Shanghai and of India as well as with those of In 1921 it was Shawn's turn to Japan. Impressions of A Wai/ong Punva Southeast Asia. The most frequently present Siam. His Siamese Suite drew was also presented in Japan, but presented Southeast Asian dance from the Ramayana and had three Danse Cambodienne was not styles invoked were those of central sections presenting the abduction of performed until the company's return Java, Bali, Siam and Cambodia. Sita, the fight between Rama and to the United States. Descriptions of Ravana, followed by Sita's rescue and the creation of Court Dancer, and the triumphal reunion. Also in 1921 Yein Pwe are given by Jane Sherman. Shawn created a solo entitled simply Sherman makes the following Java, danced by Martha Graham. This interesting commentary about St. was followed by a Javanese piece for Denis' 'authentic' pieces: the company, The Princess and the Demon featuring Martha Graham and the young Charles Weidman. Certainly these later dances In 1924 Shawn choreographed were never as enthusiastically Balinese Fantasy, danced by himself received by audiences as were denishawn and St. Denis. Fantasy, it surely her earlier and undoubtedly was, judging from the costumes. less authentic works—odd as this Ruth St. Denis' earliest dances were may now seem. (p. 134) of Indian inspiration. Her programmes In August of 1925, Denishawn of 1906 included impressionistic pieces embarked on an Oriental tour which such as Radha, Incense and Nautch. was to last about fifteen months and No account of St. Denis and She performed these both in Europe to bring the two choreographers into Southeast Asia should omit mention and the United States for most of her first-hand contact with many of the of the group piece she created in career. Denishawn, created in 1915, cultures they had sought to express. 1930 under the title Anghor-Vat. It extended its orbit to Southeast Asia The countries visited included Japan, purports to dramatize a legend in its very first year with Danse China, Burma, India, Singapore, Java, whose subject is the coming of the Javanese, choreographed by Ted Indo-China, Hong Kong, and the Naga Queen, portrayed by St. Denis, Shawn and danced by company Phillipines. St. Denis and Shawn to invigorate the Khmer King, member Ada Forman. The sought to see dance and dancers through a mystic union. There are choreography had little to do with everywhere they went and they only slight direct references to Java since in earlier versions of the reported intense experiences in Cambodian dance, however, and the same piece had been 'Indian', then many places. A few years later ballet falls into the category of 'Egyptian'. The dance was also Shawn was to summarize his impressionistic works. The performed under the title Court Dance experiences in the book Gods Wlw costuming of the Naga Queen of Java and Javanese Mannikin. Dance (1929). was spectacular and undoubtedly contributed much to the success of this In 1918 Ruth St. Denis choreographed Four significant Southeast Asian work which came near the end of a solo Danse Siamese, following this works came out of the experience the Denishawn era.

SPAFA JOURNAL VOLUME iHKEE NUMBER TWO 1 9 ZiJ M e n "Burmese tnm

2 0 SPAFA JOURNAL VOLUME THREE NUMBER TVVO who had instructed St. Denis and United States. At her New York Shawn during their Burmese sojourn. debut recital in 1935, Zarina In Java, together with the presented vaguely modern dances distinguished Indian dancer Ram and dances of Mexico, where she Gopal, she lectured on Indian dance. was then living. At some point she had spent time in Iran, teaching In 1940, together with Ruth St. dance (ballet) to the royal offspring. Denis, La Meri opened the School of Zarina undertook a study tour in Natya in New York City. The School Asia in the late thirties, one outcome evolved into the Etlmographic Dance of which is the interesting and Centre. generally accurate Classic Dances of la Meri the Orient. Apart from chapters In a 1948 recital programme, La devoted to India and Japan, a During the very first joint tour of Meri was able to list as sources of chapter each is given to Thailand St. Denis and Shawn in 1914, before her art India, Java, Burma and (she uses the post-World War II Denishawn was actually proclaimed, Siam, as well as Arabia, China, designation for the country), the couple appeared in San Antonio, Japan, the Pacific Isles and Latin Cambodia, Java and Bali. Texas. There they were seen by an America. Her recital programmes 18-year old female dancer who bore frequently included a piece in Apparently Zarina was in Pnom the masculine name Russell Javanese Wayong Wong style, Rama Penh in 1937. While she did not Meriwether Hughes, later modified Breaks the Bozo, drawn from the have direct access to the Royal professionally to La Meri. La Meri Ramayana, as well as a Burmese Five. Cambodian Dance Troupe, she was had already begun the study of able to study with Princess Say Song ballet and Spanish dance, but she La Meri wrote the article "Oriental Van, the estranged wife of the King's was profoundly impressed by the Dance" for the influential The Dance brother, who directed and managed 'orientation' of Ruth St. Denis. La Encyclopedia (1949, 1967) edited by a troupe under the indirect Meri's career as a Spanish dancer Anatole Chujoy, in which she treats patronage of the French colonial was effectively launched in 1923, briefly the dance of Burma, Java, government. Zarina describes and in 1928 she had her first New Indo-China (Siam and Cambodia) performances in various settings York recital. By this time she had and Bali. including the Royal Palace and at already plunged into the study of Anghor Vat. The account provides Indian dance and was in pursuit of several pages of description of dance other Asian dance traditions. technique and offers photographs of Princess Say Sang Van, several of her A decade later, after extensive dancers, and of dance scenes at the touring in Europe and the Americas Royal Palace and Anghor Vat and having written a book, Dance As An Art Form (1931), La Meri travelled In Thailand Zarina studied with for study purposes to Asia visiting Khunying Natakanuraksa described China, Japan, India, Burma, Java, Xenia Zarina as "the Directress of the Royal Ballet". Malaya and the Phillipines. She In 1938, the activities of the Royal studied briefly with masters in The biographical background of Troupe were still conducted at the Yogyakarta and Surakarta. In Jakarta Xenia Zarina remains elusive. She is Grand Palace and Zarina describes a (then Batavia), she was instructed in said to have been born in Brussels rehearsal for a performance of Khon the Javanese court dances, Srimpi and to have studied with Fokine, conducted there. The performance, and Bedaya, by Soeharsano. In Mordkin and Novikoff, all famous for the March New Year's Burma, she studied with U Po-Sein Russian ex-patriate teachers, in the celebration, was held in Sanam

SPAFA IOLRNAL VOLUME THREE XUMBER TWO 2 1 Xenia Zarina "Legong"

12 SPAFA JOURNAL VOLUME THREE NUMBER TWO Luang. Photographs of Khunving chapter. after arriving in New York, she Natakanuraksai, of Nsi Sri married Milton Epstein who aided Yanthanaphon, the mask maker, and While there are many photographs of her in her studies of Asian dance, of varied groups of dancers and Zarina herself in the book, costumed often serving as lecturer when she students illustrate the account. For in the poses of the various dance performed. a discussion of the technique of Thai styles, it is difficult to trace her actual dance, the reader is referred to the performing history. She did perform, Hadassah's first New York chapter on Cambodia. Obviouslv, onlv however, in August 1955 at Jacob's appearance was in 1938 as a member the training offered to women Pillow, the dance colony founded by of the Japanese company of Kenji dancers is discussed there. Ted Shawn. Her Southeast Asia Hinoki. She studied with La Meri selections were "Oleg", from the and, during the 1939 New York In Yogyakarta Zarina was able, after description a typical Balinese World's Fair, with Javanese dancers some preliminary discouragement, to Legong, and a more elusive Balinese who performed at the Fair. Her enroll in Krida Beksa Wirama "humming bird" piece. She also New York debut as a solo artist was under the tutelage of Pangeran performed a Cambodian 'legend". The a recital in 1945, in which she Tedjekoesoemo, the co-founder of the same programme featured Ruth St. performed Colck, described as a school. Her description of the Denis, then nearly eighty, performing "ceremonial court dance of Java". In regimen there and of the various two of her Indian Nautch dances. 1950 she presented a company to the auxiliaries to the dance are excellent. public. Between these dates, in She describes rehearsals at the 1948, she performed a Balinese palace or Kraton of Yogyakarta sequence Kebiyar-Legong at a concert and she was invited to attend a of the New Dance Group. For her performance of Bedayo at the company in 1952 she created an Kraton of Surakarta. The Javanese "Indonesia Suite" which included a chapter contains a section on technique trance section based on Balinese and a selection of photographs Sanghyang. relating to dance in Yogyakarta. hadassah Zarina's account of Bali is the most circumstantial of the four chapters Hadassah, the last of the summarized here. She focused on propagandizers of Southeast Asian learning Legong. Her teachers were dance whom we shall consider, Ida Bagus Rai Nyomaman Cria of was born around 1910 in Israel Sanur and "Bjoman" Kaler in (then Palestine) into the Hasidic Denpasar. She mentions one S. M. Jewish tradition, her father being a Milevitch, a musician who cantor or liturgical singer. Hasidic fran Exotic to Ethnic to Multicultural apparently travelled with her, who religious practice includes dancing. struggled with the task of Her religious background, then, -rom the beginning of her career transposing the effect of the Balinese favoured a predilection for dance. Ruth St. Denis was motivated by a gamelan to the piano. Among dance Her first exposure to Indian dance and quest for spirituality in dance and performances she describes are music came in Palestine in observing believed, from her reading, that it Djanger, performed by adolescents Indian soldiers there in the semce of was to be found in the dances of and by children five to eight, a the British. Hadassah Spira arrived in Asia. She was not drawn, however, Kebiyar Duduk and a Barong-Rangda New York early enough to see at least to a study of the vocabularies of drama. A description of the one of the Denishawn concerts at movement of Asian dance. Her technique of Legong and a portfolio Lewissohn Stadium in New York City creations were poetic, impressionistic, of photographs complete the Balinese (the last occurred in 1931). Shortly mediated more by costume, rather

SPAFA JOURNAL VOLUME THREE NUMBER TWO 2 3 Hadassah "Goiek"

2 4 SPAFA JOURNAL VOLUME THREE NUMBER TWO than bv authentic music and and Balinese dance and to present these References movement. The same was true of her to American audiences in a fashion collaborator Ted Shawn. Their sense of which would be recognizable to Adam Lahm, "Hadassah: A Career the 'living' Asia was, in fact, hardly indigenous performers and audiences. Kissed by the Gods," Arabesque: A different from their sense of 'dead' Magazine of International Dance 14, Egypt, Azteca, and Mesopotamia. The ethnic performances never 3 (September/October 1983). reached the wide audiences that St. Dems and Shawn were profoundly Denishawn claimed for its own, but La Meri (Russell Meriwether affected by the experiences of the La Meri and Hadassah were known Hughes), Dance Out the Ansivers: Denishawn tour of Asia, but in a very to and respected by a smaller An Autobiography (New York: Marcel real sense the die had already been audience of dance aficionados Dekker, 1977). cast; in consequence their presentations during their careers. Strictly speaking, of the dances of Asia remained exotic however, they have had no Christena L. Schlundt, Ruth St. Denis and must enter history as such. outstanding heirs among non-Asian and Ted Shaivn: A Chronology and An dancers in the United States. Index of Dances, 1906-1932 (New With the remaining dancers discussed York: New York Pubic Library, above, however, the focus shifts to An international era in dance 1962). authenticity and the classification performance began to be written 'ethnic' describes more fully their during the 1950s and later, Suzanne Shelton, Divine Dancer: A endeavors. As already indicated, each characterized by visits of soloists and Biography of Ruth St. Denis (Garden shared with Denishawn a profound groups from various Asian countries, City, New York: Doubleday, 1981). interest in dances of India, particularly including those of Southeast Asia. At Bharata NIatyam, and tended to see present with increasingly large Jane Sherman, The Drama of dances of Peninsular and Insular communities of Southeast Asians in Denislwivn Dance (Middleton, Conn.: Southeast Asia as affiliated forms. But the United States, we can expect Wesleyan, 1979). in each case, in a variety of ways, to witness the participation of they were able to develop proficiency Southeast Asian dance in a multicultural Xenia Zarina, Classic Dances of the in the vocabulary of Siamese, Javanese performance context. Orient (New York: Crown, 1967).

SPAFA JOLTvNAL VOLUME THREE NUMBER TWO 2 5 Southeast Asian Performing Arts: Issues of Cultural Identity

ASSOCIC1ATE PROFESSOR DR. CHUA SOO PONG

Lecture delivered at the Seoul National University Korea, on the 12th November 1992

Music and dance events in traditional Southeast Asian societies were not simple theatrical events for a paying audience. They were usually organized for several functions simultaneously. Subli in the Philippines, Chinese opera in Singapore, Mak Yong in Malaysia, Wayang Punva in Java, Lakorn Chatri in Thailand, all demonstrate the fact that in this region theatrical events or rituals which Iwve music and dance elements serve a variety of social, religious or political purposes much more explicitly tlian the performing arts termed in the west.

2 6 SPAFA JOURNAL VOLUME THREE NUMBER TWO Anthropologists of the arts and indigenous values, morals and cultures all provided opportunities for expressive culture recognize the in the waves of westernization and exchanging ideas and information. importance of the studies of globalization. These issues, whether it performance in relation to social is nationalism or national integration, What then are the similar concerns in function and cultural development urbanization or multiculturalism, the question of cultural identity? processes. Their interest is not only mass culture transmitted by electronic confined to the creative processes media, are invariably related to the Amongst the Southeast Asian and institutions of art, but also to all key issue of cultural identity and countries, Thailand has never been aspects that are related to patronage ethnicity. colonized by any western power, systems, social institutions, mediators, largely due to the clever economic structure, technology and It is my intention to review these manipulation of the situations by the political environment of art products. issues, in the variety of ways they kings. Court arts in Thailand, In the last decade. Southeast Asian are reflected in the performing arts of including dance, masked play, Khon, countries in varying degrees Southeast Asian countries. For the music, and large shadow play have experienced rapid changes in convenience of discussion, I will been patronized by the kings while economic development, urbanization generalize the common concerns of folk performing arts have been and westernization. Industrialization these societies and then examine the organized mainly for religious and mass communication technology different preoccupations and functions. In those days, dance and have dismantled the traditional social particularity of each of the six music training and the imparting of structure and have changed the life countries I have chosen to discuss: performing arts knowledge took styles of the masses. Regional Brunei Darussalam, Indonesia, place mainly on the palace grounds imbalance in political power and Malaysia, Philippines, Singapore and or in the households of the ruling economic development have further Thailand. These six countries, since class. Producing court theatre events created social and cultural problems. 8th August 1967, form the enhanced the social prestige of the Unlike the traditional societies where Association of Southeast Asian members of the households of the cultural unity was expressed in local Nations. Through its Committee of ruling class. The masked dance and communities, contemporary Southeast Culture and Information (COCI), it dance drama in the early period Asian societies, demarcated by new organizes numerous projects in (14th-18th century) were the sole political boundaries, are characterized literature, performing arts and visual property of the kings. They were by the dichotomy of indigenous art. These activities are funded by the regarded as the symbol of power culture and imported culture, dominant ASEAN Cultural Fund with financial similar to other royal regalias such as group and periphery group cultures, resources supplied by Japan. The crown, sword and throne. These nationalism and globalization. chief objective of the ASEAN COCI, court performances were state rituals is to promote intra-ASEAN cooperation that displayed and confirmed the Faced with such encounters of in the field of culture and information. political legitimacy of the kings. The cultures and cultural forces, Southeast The cultural activities of COCI and form and contents of these court Asians are compelled to search for a other non-government organizations performing arts manifested the path that is suitable for them. What have indeed promoted greater ideology of kingship and offered a kind of culture do they want? Each understanding amongst the peoples model of behavior. Gradually, these Southeast Asian country has its own in these countries. The continuous court art forms were secularized but agenda and priority. efforts made by the governments and continued to be used at state the media has to a great extent organized activities and functions as Issues range from identity crisis, projected a strong symbolic solidarity the refined dance and music became creation of a new national culture, in cultural expressions. Regional important cultural symbols of the conflicts derived from regional theatre festival, dance festival, song Thais. imbalance in economic development festival, music workshop and music and power sharing, fear of erosion of camp and publications of plays have The School of Dramatic Arts was set

SPAFA JOURNAL VOLUME THREE NUMBER TWO 2 7 Touristic dance at its best at Rose Garden, Thailand

2 8 SPAFA JOURNAL VOLUME THREE NUMBER TWO up by the Department of Fine Arts in the traditional folk theatre, music some, like Mattani Rutnin and of the Ministry of Education in 1934, and dance would have acquired some Pornrat Damrung are very concerned to teach traditional and folk music, basic knowledge of appreciation in with the need for expressing the dance, and drama. Today many more their school days where simple Thai emotions of contemporary Thai such schools have been established. dance and music are compulsory society. Thai culture is not all Thai They are in Chiang Mai, Nakon Sri subjects at primary education level. classical dance, music and puppet Thammarat, Angthong, Roi Et, shows. Their cultural identity thus Sukhothai, Chantaburi and Patalung. However, the National Culture cannot be interpreted in only the In addition there are thirtv-six Commission's recent Puppet Theatre motifs of temple paintings or Thai teachers' colleges offering diploma Festival failed to attract audiences at classic dance postures. and degree courses in traditional the Thailand Cultural Centre, which performing arts. contrasted with the great successes of The modern dance pieces staged by a local pop star's week-long concert Chulalongkorn University in Also under the Ministry of Education and the Russian Bolshoi's steeply February 1992 and the dance that is the National Culture Commission, priced ballet, alarming the cultural was created to depict the military created in 1981 to promote cultural agencies and education institutions. oppression of democratic movements activities as well as cultural cooperation The worry is, if Thai cultural shows by Russian trained ballet among neighboring countries. It continue to lose out in their choreographer Bancha Suannanonda organizes national festivals for puppet competition for audiences with pop are examples of cultural dynamics in shows, dance and drama and plays an shows and foreign shows, does it contemporary Thai society. There are, important role of disseminating cultural mean that they will gradually lose admittedly and quite naturally, some information. The National Culture interest in their own culture? The 40 poor imitations of American modern Commission also manages the drama productions staged by mainly dance which have been staged by showpiece performing venue, the amateur theatre groups yearly are amateur dance groups where both Thailand Cultural Centre, which was mostly translations or adaptations of form and content have no relevance actually donated by the Japanese western plays while ballet schools to the Thai society. Such experiments Government. The national anthem is often stage much simplified versions are part of the process of cultural played at the beginning and at the of western popular ballets such as borrowing and it takes time for locals end of theatre performances. At "Nutcracker" or "Coppolier". Does to indigenize foreign cultural forms. government organized theatre events, this mean that they are dominated civil servants of all ranks are by western art products? Among Southeast Asian countries, expected to be in uniform and line the Philippines is arguably the most up according to protocol for the Further investigation reveals the experienced in indigenizing foreign dignitaries, whether princesses, contrary. Leading directors Rassami music, dance and drama. The prince, Queen or King. These Paoluengtong and young director Philippines was colonized by the practices are cultural expressions that Damkerng Thitapiyasak as well as Spanish from 1565 until 1898. When enhance loyalty and national identity. other serious minded dramatists are Spain and America were at war over making efforts to write and stage the right to rule Cuba the Spanish With strong support from the royal local plays which reflect social reality. ended its conflicts with America by family and the government, Some of these attempts might fall ceding the Philippines, Puerto Rico traditional court performances and short in their aesthetic merits but and Guam to the United States. It the 'refined version' of folk given time, some mature writing cost the Filipinos enormous loss in performing arts continue to have a ought to emerge as they accumulate lives and property before they were base: institutions teach and promote experience in their years of staging eventually liberated from America on them and the tourist industry western plays. Although most the 4th July, 1946. provides employment opportunities. directors and drama lecturers at Even for those who are not engaged universities are trained in the west, In their long years of being colonized

SPAFA JOURNAL VOLUME THREE NUMBER TWO 2 9 Nongchik Glwni, Singapore's Malay dance doyen showing a Chinese dancer a step

Philippines choreographer Edna Vida staging a dance drama at the Culture Centre of the Philippines

3 0 SI'AFA JOURNAL VOLUME THREE NUMBER TWO by the Spanish and the Americans, worker character replacing Jesus Although Tagalog is the national the Filipinos were imposed with Christ as the hero to lead them in language, until recently, it was not many cultural forms and practises, their straggle against the colonizers. widely spoken. The elite and the from law, constitution, education, middle class, mostly educated in religion to expressive culture. It is Apart from the successful linglish in schools and universities, amazing to note how they borrowed, contemporization and indigenization speak little or no Tagalog. It is only adapted and indigenized the many of the imported performing arts in recent years, through the forms of music and dance. forms, the Philippines also has a advocation of the government, that unique grassroots theatre movement Tagalog regained its importance. In Sarsuwela, Komedya, and Sinakulo, that focuses attention on the social- the south, where the Muslim were all imported form the Spanish political turmoils of the country. This Filipinos live. Islamic arts, community several hundred years ago but have movement, however, under the theatre and indigeneous theatre such become indigenized. Marcos dictatorship was marginalized as Bayok are now regaining as the mainstream theatre was popularity. Gone is the inferiority Sarsuwela nowadays, for example, dominated by American western complex. has moved away from its simplistic theatre and heavily supported by the stereotypical love story, although it government with the previous First In this process of adjustment and retains the format of integrating Lady Mrs. Marcos as patron. The change, performing arts artistes, music and dance, like the original elegant cultural centre of the whether the city-based mainstream Spanish form. For instance, Nicamor Philippines which rises on the sea theatre represented by the Cultural Tiongson in his recreation of a page front of Roxas Boulevand, was Mrs. Centre of the Philippines, the from revolution history in 1907, Marcos' pet project. It was the base metropolitan theatre and the "Pilipinas Circa 1907" made a highly of Ballet Philippines as well as universities, or the community successful new Sarsuwela. theatre companies. Since Corazon theatres which are thriving in student Aquino, widow of the assassinated clubs, workers' unions, peasant The Spanish used theatre to opposition leader installed after a associations, all realize the subjugate the people during their four-day bloodless revolution in 1986, importance of indigeneous theatre rule. Komedya is a case in point. It cultural policy has changed and re- and are now more actively learning, is a theatre form which combines oriented its direction. researching and using elements of elements of dance, songs and traditional theatre in their new dialogue in a comical way. The story is Heavy subsidies of western arts creative works. Such actions are centered on princes and princesses who companies was questioned and the indications of the new psyche. differ in their religious backgrounds. new establishment asserted the Nevertheless, it is always the promotion of national cultural Although Indonesia was invaded by Christians who win, thus explicitly identity through the arts. Legitimacy the Netherlands for almost as long a discrediting Islam and implying the is not based on successes in London time as the Philippines by Spain and superiority of the colonizer's religion. and New York; artistic judgment is America since the 1640s, the Such a presentation of course is no now made locally. Indonesians are to a much lesser longer tolerated. The new Komedya, extent acculturated in the arts by like Sarsuwela, is able to take up Unlike Thailand, the Philippines is a their colonizers, although Christianity current issues that relate to society. multi-ethnic and multi-cultural retains a dominant presence in the country, with over three dozen major 13,677 islands of the Indonesian The passion play, called Sinakulo, ethnic groups scattered mostly in the archipelago. used to feature Jesus Christ as a 11 major islands. The two largest hero. Today, new writers create their islands, Luzon and Minalano, contain The Dutch's long years of bloody own heroes. Aurelio Tolentino's 60 percent of the country's military campaigns provoked more Sinakulo written in the 1920s has a population of 56 million. resistance and stronger political

SPAFA JOURNAL VOLUME THREE NUMBER TWO 3 1 Participants of SPAFA Training Course on Labanotation, finding a way to record Southeast Asian dance

Ritual on dance, performed by the Malaysian Chinese Cultural Society in Melaka, choreographed by Koh Eng Kiam

3 2 SPAFA JOURNAL VOLUME THKEE NUMBER TWO reaction than they probably influence is evident in the process of force. Thus whether plays written in envisaged. Thus culturally speaking, performing arts development. In the the conventional approach using the the Indonesians are alienated to the colonial days, drama enthusiasts proscenium stage, such as those of Dutch practices; after all the Dutch wrote plays in the style of text they Usmar Ismail, Teguh Karyn, Suyatna were more interested in economic studied in the Dutch schools. Post Anirun or N. Riantiarno, or plays exploitation. More ironic is the fact independence saw the beginning of which combine new idiomatic that the Indonesians who attended young artists going abroad to study expressions with traditional theatre the Dutch schools were the ones who dance, music, film and theatre, elements exemplified by works of sowed the seeds of revolution and especially so in the last decades. But Arifin Noer or W. S. Rendra, or offered hope of independence. similar to other countries in those experimental plays of Putu Southeast Asia, young intellects value Widjaya and Ikranagara, all However, it was the Dutch who the function of theatre as a means of performed and published in Bahasa introduced the proscenium stage to social communication and political Indonesia. the Indonesians which in a short expression. Western plays were time gained acceptance and replaced adapted to the Indonesian context For a country that is so vast in the open air space of the traditional and original plays which discussed geographical area and with so long a performing arts presentation. Folk art social issues were produced. cultural history, Indonesia is not as forms such as Saman dance in Ache, vulnerable to the wave of cultural Tlenjeng dance and Ketopang in At times, the authorities found it globalization. New music or new Java, Randai in Minangkabau, Legong hard to permit challenges to the choreography created by Indonesian in Jakarta, Wayang Orang in Surabaya, establishment or provocation of artists, regardless of their years of Wayang Gelek in Bandung and resentment. Whenever contemporary affiliation with or training in western Wayang Kulit in Bali are presented for theatre productions are viewed by institutions, always clearly marriages, circumcisions, harvesting the censorship board as too demonstrate the distinctive and other religious rites or ceremonies. threatening they are banned. indigenous cultural elements. Is the These were in essence, cultural Indonesianess in the arts a result of expressions of social solidarity. The government has been actively deep cultural roots? Or the artistes' Performances were organized under supporting traditional performing arts strong sense of cultural identity? If the patronage of local nobilities. and has set up seven government one examines large numbers of new tertiary-level colleges in the nation to works of dance and music created by The court arts, such as Langendriyan train young performers, teachers and the young choreographers and and Wayang Orang Kraton in researchers. composers, one can easily detect this Jogyakarta, Legong Koraton in Bali trend: they are innovative in creating and Bedaya Ketapoan in Surakarta, Each year, the Directorate of Arts, new motifs, using new physical were at one time regularly presented under the Ministry of Education and materials yet retaining the indigenous at the Kraton performance pavilions. Culture, organizes festivals, seminars and traditional aesthetic principles of The large contingent of dancers and and competitions to promote dance, their art forms. Their liberal use of musicians were employed by the music and theatre. Many invite the traditional elements in new sultans to present the highly stylized participation of representatives from combination or innovations of new dance and theatre for state functions the 27 provinces and have themes motifs do not violate their cultural and religious ceremonies. that are aimed at enhancing national rules. unity and cultural identity. These court arts have been secularized However, one must note that because and have become some of the most Indonesians have, since the time of of the vastness of the country and its loved art forms of Indonesians. their struggle for independence, cultural and religious diversity, most accepted Bah'asa Indonesia (the Indonesians actually are still products These is no doubt that western national language) as a unifying of a plural culture. The national

SPAFA JOURNAL VOLUME THREE NUMBER TWO 3 3 Nezc dance created by Thai choreographer Nar.tphong Ouirassri for the 1st ASEAN Dance Festival held in Jakarta in 1990

3 4 SI'AFA JOURNAL VOLUME THREE NUMBER TV.O culture links with the usage of Hinduism and primitive animism. produced and published since then. Mahasa Indonesia and the local The elements are seen as anti-Islamic, Some notable dramatists, such as dialect or language identify with therefore not to be tolerated. Even in Nordin Hassam, Johan Jaafar and local community. This dualism has the rural areas where these forms Mustapha Kamil Yassin have indeed enriched their artistic flourished, audiences are shrinking, produced several popular works. imagination, perceptions and partly because of the low quality of Some make explicit political productions. performance presented by the poorly statements in their plays while others paid artistes and partly due to the are concerned with the confrontation In multi-cultural, multi-language influence exerted by the religious of traditional and modem values. But Malaysia and Singapore, issues of leaders or institutions to limit the one must note that despite years of language, culture and identity are far size of audiences. government efforts, Malay theatre more complicated. In Malaysia, still appeals to mainly a Malay national identity or nationalism are The government is reported to have audience. Similarly, Chinese and interpreted differently by different responded to the call of academic Indian theatre are very much ethnic groups. The Malays, consisting circles and will soon set up a confined to their respective of almost 607c of the total population National Academy, headed by Dr. communities, as attending these saw themselves as the indigenous Mohd Anis Md Nor, to ensure the drama performances is an expression people, the bumiputras. Malay, since transmission of knowledge of the of conforming to their cultural Malaysia became independent from traditional performing arts. It remains identity. the British in 1957, was proclaimed to be seen whether or not these the national language and is traditional performing arts can The government does not give naturally the official language of survive the pressures of strong financial assistance to non-Malay government, law and education. religious groups and the alienation of cultural activities as they are Malay is therefore the tool for the the social environment where they excluded in what is perceived as development of national culture. originally came from. national culture, the Malay culture. They consider their ideas of national The Chinese and Indian communities identity very bounded to culture. More promising is the contemporary therefore have to find their own Malay theatre where official support financial resources to patronize Malav traditional performing arts is much more visible and performing arts, traditional or unfortunately are not enjoying as practitioners are larger in number. In contemporary theatre. For example, much media attention and financial the 1950s Malay contemporary the Chinese community has for the support from the government as the theatre was characterized by a last 12 years organized a national contemporary Malay theatre and preoccupation with nationalism and dance competition which has now literature. Although the Malaysian nationhood. Many Sandiwara become an effective symbolic Ministry of Culture and Tourism has performances captured the attention communication system that helps to various projects assisting traditional of the masses. By the time Malaysia consolidate ethnicity and culture. The performing artistes, traditional Malay was formed in 1963, local plays Indian Temple of Fine Arts' dance art forms are on the decline. This written specifically for Malay high and music classes, as well as concerts partly is due to the national religion, schools proliferated, in the style of have a similar strong appeal to the Islam, as the orthodoxy regard all western realism. Then came the 1969 members of the Indian communities. performing arts as "haram", things riots where serious ethnic conflict These phenomena again confirm the that are not permitted under Islam erupted which caused extensive loss close relationship between cultural for fear of corruption of the mind. of lives. Malay dramatists then began identity and the performing arts. All Malay traditional music, drama a long period of experimentation in and dance have invocations which search of an answer after the shock. Although more than three quarters of are derived from pre-lslamic systems its population is Chin-.'se, the of belief such as Buddhism, Many more plays have been written. Singapore government policy is to

SPAFA JOURNAL VOLUME THREE NUMBER TWO 3 5 give equal official support to nil use all four languages in the drama, arts is often linked to the politics of languages and ethnic groups. Thus it but to date, fail to gain artistic credit nationalism, national integration and has programmes in four languages compared to the better attempts in political context. Despite the extent of on dailv television and radio and the mixing dances of different ethnic westernization and urbanization and 'mother tongue' of each of the main groups made by choreographers. the trend of globalization, it is ethnic groups, the Chinese, the unlikely that Southeast Asia will Indian and the Malay, are taught in To understand the drama, dance and absorb western culture wholesale. school as a 'second' language, while music of Singapore, one must trace With their economic success comes English is the language of instruction. the history of this immigrant society cultural confidence; Southeast Asians It is believed that English, inherited of less than 180 years old and are now more assertive in their from the British colonial history, is understand the usage of performing thinking, whether in the arts or de facto the common language arts in anti-colonial campaigns, and politics. Such a trend is exemplified among the different ethnic groups in political competition between the by the views expressed by ASEAN and that it would help to promote ruling government party and its leaders such as Singapore's former unity. opposition and in forging national prime minister Lee Kuan Yew and unity. It is doubtful that performing Malaysia's Prime Minister Mahathir Singapore has been fairly successful arts, similar to literature, can be Mohamad, that Southeast Asia does in its effort to promote racial harmony. totally cut off from the cultural roots not necessarily need to follow the Emphasis on multiculturalism is and emotional importance of the model of democracy of the west as evident in the National Day three major ethnic groups. More social cultural conditions here are celebrations, Chinese New Year likely to continue is a rich different from those in Europe and parades and all government funded multiethnic performing arts scene America. In the meeting held in activities. Typical cultural shows which permits the artistes to practice Manila at the end of October 1992, incorporate Indian, Malay and their chosen forms and ideology. the ASEAN foreign ministers have Chinese dance and music items with Whatever they want to express or once again told their European equal ratio. Even public holidays to experiment, they will have to operate community counterparts that ASEAN commemorate their religious festival within the complex multi-lingual and has its own political model evolved and new year celebrations are multi-cultural context. from its course of social political equally divided among the ethnic development. Performing arts in groups. Cultural identity defines the sense of Southeast Asia, is therefore likely to nation, community and roots. In the retain distinctive characteristics with Eager to display ethnic unity and a Southeast Asian context, cultural its diverse ethnic and cultural Singaporean identity, some dramatists identity as reflected in the performing heritages in the changing world.

3 6 SPAFA JOURNAL VOLUME THREE NUMBER TWO Universal Values in Asian Dance

BYLIGAYA FERNANDO-AMILBANCSA

Dance is movement, a universal activity because

its medium or vehicle is the human body itself.

It is a personal impulse aptly defined by Homer

as "the sweetest and most perfect of human

enjoyments"—a living, non-verbal, non-literal

rhythmic visual means of communication as old

as life itself because with life came movement,

the essential ingredient of dance.

A number of reasons account for the skill—it includes values, judgement, discipline that justify the unwritten popularity, universal appeal, and and perspective as it educates the rule of conformity to accepted acceptance of dance as a means of sensibilities of performers and concepts of behaviour. dramatic expression. Regardless of spectators alike. form, style, or function dance is Asia's greatest dance traditions have admittedly more eloquent than Thus, the function of dance in the been a constant mode of sharing language or music, because a people's Asian context runs the gamut related beauty and spiritual upliftment; in culture, nature, and aspirations come to to local cycles and cultural habits. times of social or political upheaval life in dance, whether performed by There are dances performed dance has even served as a unifying trained specialists or participatory. primarily for art's sake or to create force. But more significantly, the beauty; dances for recreation, classical dance traditions, which In Asia, which has a most profound entertainment, or story-telling; dances require formal training, special dance history, partly recorded for healing or to teach order and technique, and virtuosity, are living through more than two millenniums, coordination, problem-solving, and monuments. They show how much dance functions beyond technical rudiments of skill or community the Asian people value the sacrifices

SPAFA JOURNAL VOLUME THREE NUMBER TWO 3 7 of forebears to uphold national thus the fantastic shapes she created exemplified by mie a device used in ideals. with the billowing fabric became a Kabuki whereby a performer sensation at the Folies Bergere in momentarily freezes in a sculpture-like For many societies in the Asian 1892. Modern dancer Isadora Duncan pose to express overwhelming region, traditional dance, together (1877-1927) used fluid and expressive emotion. with its modern derivatives, is as arm movements reflective of her much an enduring symbol of exposure to Asian dance; likewise But perhaps the most important continuity as of unity: it arouses Mikhail Fokine in "The Swan", a Asian legacy to world dance history patriotism as it nurtures a national brief role he choreographed for Ann is respect for tradition. In the Asian memory or consciousness. This Pavlova, which was possibly an milieu classical dance forms endure specific role of dance is peculiar to offshoot of having seen Siamese court because of the tenacity of a critical the dance-centred cultures of the so- dancers in St. Petersburg in 1900. mass of devoted and well-trained called "theatre states", a term used Ruth St. Denis (co-counder, dancers and musicians, complemented by one scholar to refer to traditional Denishawn School 1914-31) blended by an equally supportive and nations of Southeast Asia where the Oriental sensuality and spirituality in enthusiastic core of patrons and performance of rituals of legitimacy her creations. She paid tribute to her spectators who understand and value imply a connection between statecraft Indian sources when she wrote later tradition. Through their collective effort, and stagecraft; the rituals express that "the deepest lack of Western coupled with numerous interdisciplinary physical, mental, and spiritual values cultures is any true workable system ways and means for research and of the participants. for teaching a process of integration documentatio n— including between soul and body." Martha publications, broadcast television and Today, the abundance, consistency, Graham (1894-1991) adapted Asian visual records such as video, film, and maturity of Asian choreographic dance postures and gestures to enrich computer graphics, and other traditions have spawned, notably in her movement vocabulary; at the electronic imaging techniques for the West, fresh inspiration among same time she "borrowed the flexible archival storage, plus choreology or dance anthropologists, researchers, staging of Asian drama forms like movement notation—Asian dance documentalists, choreographers, Noh, Kabuki, and Chinese opera will remain an important point of dancers, conservationists, and others where a few steps can indicate a reference for future achievements in involved in different aspects of dance journey, a few moments the passage the field of dance. Traditional dance creation. The interplay of dance of years." in Asia will also be a binding force elements from diverse cultural as our fast-changing world enters the sources is unprecedented, thanks to The Asian tradition which evolved 21st century through the portals of the efforts of Western dance initiators strong choreography based on the culture. since the 19th century. Their artistic martial arts of the region inspired the foresight and courage to borrow inclusion of martial arts in the Fellow Asians, peers, and colleagues from the dances of Asia—not only training programme for stage actors in dance: As an offering on the 10th postures and gestures, but also staging and dancers in America and Anniversary of the Asian Dance techniques conventions of makeup and elsewhere in Europe. Likewise Association, I choreographed a dance costuming, and themes—continue to inspired is the adaptation of a in the pangalay style, a traditional add luster and substance to theatrical convention that creates the dance form of the Sulu Archipelago contemporary dance theatre. illusion of infinite distance and Southern Philippines. Pangalay-style timelessness: "Motion in stillness, postures and gestures bear closest To name a few: Loie-Fuller's stillness in motion"—an outstanding afinity to the Balinese and Siamese manipulation of yards of silk fabric quality from Asian theatre and dance (Thai) modes of dancing. The fan fastened to hand-held sticks or where the perfect pose and time, used as a prop of the masked dancer wands must have been borrowed more than space, are given primary is actually a gift from Madame Oh from the Chinese dancer's technique; emphasis. This quality is best Hwa-Jin, Chairperson of the Asian

3 8 SrAFA JOURNAL VOLUME THREE NUMBER TWO Dance Association. She gave me this 7, 1993): 9. Jonas, Gerald. Dancing

Articles Bowers, Faubion. Theatre in the East Yupho, Danit. The Prdiminani Course (A Survey of Asian Dance and of Training in Thai Theatrical Art. 7th Sta. Maria, Felice. "Art for poeple's Drama). New York: Thomas Nelson ed. Thai Culture New Series, no. 13. sake." The Philippine Star (February and Son, 1956. Bangkok: Fine Arts Department, 1972.

C"\FA JOURNAL VOLUME THREZ NUMBER TWO 3 9 Traditional Chinese sivord dance demonstrated by Madam Lee Shu Fen

4 0 SPAFA JOURNAL VOLUME THREE NUMBER TWO Darsers from Brunei Darussalam conducting a dar.ce icorkshop at the 3rd ASEAN Theatre Fe<::i\il held in Bangkok, 1993

SI'AFA JOURNAL VOLUME THREE NUMBER TWO 4 1 Dance class at the Hong Kong Academy of Performing Arts

4 2 SPAFA JOURNAL VOLUME THREE NUMBER TWO Classical Javanese dancers presenting new choreography in Solo Academy of Dance, 19S9

SPAFA JOURNAL VOLUME THREE NUMBER TWO 4 3 Innovative neiv choreography created by Malaysian choreographer Chong Yoon Keong; "Leisure"

44 SPAfA JOURNAL VOLUME THREE NUMBER TWO Malaysian leading choreographer Chong Yoon Keong performs his own choreography "Egret Awaken from his Dream"

51'AFA JOLTLVAL VOLLAIE THREE NUMBER TWO 4 5 CURRENT PROBLEMS IN THE

CONSERVATION OF WOOD

IN THAILAND

BY CHIRAPORN ARANYANAK

In Thailand, wooden artefacts are composed principally of hardwood. Preferable hardwoods often contain natural wood preservatives. These toxic substances prevent or retard decay. Moreover, these artefacts have normally been treated with traditional wood finishes to reduce the rate of swelling and shrinking. The major causes of deterioration of wooden artefacts are tropical rainy climate, solar radiation, insects and micro- organisms. A series of experiments to solve these problems is under way.

4 6 SPAFA IOURNAL VOLUME THREE NUMBER TWO INTRODUCTION structure of a hardwood is open-ended. The open cell spaces are larger and more numerous in the rainv Wood is a versatile material that is easily worked phase of the annular ring than in the dry phase of the from a natural state into many objects that are wood. The size and shape of the cell structure varies in necessary in everyday living. In Thailand man has the various woods. utilized wood from the earliest times as a renewable resource for tools, weapons, shelters, utensils, Hardwoods are not always hard. The strengthening containers, and artistic creations. Wood is probably tissues of hardwood consists of fibres. The important the oldest structural material since it is in some strength characteristics of hardwoods are usually respects ideal for building purposes. It is light but very dependent on the wood fibre construction. strong for its weight. It is easily accessible and worked. These woods can be cut along the grain or across the grain, each kind of cut producing a well-marked figure A great number of wooden artefacts and buildings on the surface which is often used decoratively. survive. Wood was an integral part of houses, temples, palaces, offices, and almost every kind of Physical properties of some common hardwoods in architectural structure. Wood is also ideal for the Thailand: construction of vessels, furniture, musical instruments, sculptures, tools and containers. Bending Natural strength durability Carved decorations are always popular for Thai style kg/cm; years buildings. Wood carved into decorative patterns adom windows, doors and gables. Thai furniture is often carved Afzelia xylocarpa Craib 1229 11.1 out of wood, such as cupboards, tables, chairs, beds and Balonocarpus heimii King 1753 14.0 mirror frames. They are generally painted, guilded Chukmsia ivlutiim Wight & Am. 1111 >6 and lacquered. A number of them are decorated with Cotylelobiam nieln>iose\/lon Pierre1489 > 9 mother of pearl, coloured glass, mirror and ivory. Diospyros mollis Gr i f f. 1789 > 15 Dalbergis oliveri Gamble 17S1 > 15 Dalbergia cochmchiiiensis Pierre 1751 > 15 TYPES AND PROPERTIES OF WOOD Dipterocarpus obhisifolhis Teijsm.1200 7.1 Dipterocarpus hiberailahis Roxb. 1297 7.1 Wood is made up of bundles of fibres which run Hopea adorata Roxb. 1172 7.7 lengthwise down the trunk. These fibres are more or Hopea ferrea Pierre 1609 10.5 less well-defined according to species, and form the Pt erocarpm sp. 1334 > 10 grain. The fibres can be close and compact or loosely Pentacme simensis 1352 > 10 bound together forming hard and soft woods Shorea obtusa Wall. 1732 > 10 respectively. Sindora sp. 1221 > 10 Tectona grmuiis 1023 16 Thailand lies entirely within the region of tropical and Tenniimlia mucroiwta monsoonal climate. Therefore, the forest is composed Craib & Hutch. 1800 8.4 principally of hardwood trees. Hardwood is the wood Xi/lia kerrii Craib & Hutch. 1305 > 10 of deciduous or broadleaved trees. The conducting tissue in hardwoods consists of vessels or pores. The vessels can be seen in transverse section as holes in Among the many kinds of wood available in Thailand, characteristic patterns, and in longitudinal section as teak has long been widely used. The teak tree is long thin furrows. The cells of these woods are native to the tropics of Asia. This wood is similar in large and quite noticeable. Under a microscope, the cell coloration to the black walnut, being mainly yellowish-

SI'AFA JOURNAL VOLUME THREE NUMBER TWO 4 7 golden brown. The colour and durability of the teak is several layers of lacquer. Thai lacquer is made from the dependent largely upon the locale of the tree. The sap of the lacquer tree (Mclanorrhoca agitata), which weight per cubic foot is 36-40 lbs. Its specific gravity is under suitable conditions solidifies, and becomes a 0.642. hard material of great strength capable of being polished and carved. It has long been used as a Teak is not classified as a hardwood. It yields easily to protection and watertight covering for wood. Hardened the will of the carver who may impress in it the lacquer film is hard and flexible at the same time, and nervous cut of the chisel. Teak stands fairly well under exhibits excellent resistance to weathering. the exposure of the atmospheric agents, but in the long run, when exposed outside, although protected by a The natural colour of lacquer is black. But it can be coat of wood finish, it is degraded by the rain. In modified by the addition of various pigments e.g. addition, teak's texture contains such toxic chemicals mercuric sulphide, arsenic sulphide, etc. The as 2-methyl anthraquinone, lapacol, tectol and decoration designs are usually made of coloured dehydrotectol, so it has the advantage of not being lacquer, mother-of-pearl, and glasses. Gold leaf is susceptible to attack by termites, beetles and fungi. widely used as a surface decoration in Thailand.

The natural resistance of certain hardwoods result However, lacquer exposed outdoors generally from the accumulation of natural preservatives in the deteriorates due to the ultraviolet radiation and the wood. Several woods are reported to contain toxic solar heat. It changes colour and loses luster. Long periods chemicals, e.g. Dalbergia floribimda Craib and Xylia kcrri of exposure causes scaling or flaking. When cracks are Craib & Hutch. (Red wood) contains Pterocarpol present the wooden materials start to decay. and Homopterocarpin Dalbergia cochinchinensis Pierre contains Latifolin and Anthocarpus lakoocha contains 2,4,3,5, tetrahydroxy CAUSES OF DECAY stilbene. The amount and distribution of such chemicals vary considerably from tree to tree of a given species. As an organic material, wood is susceptible to These substances prevent or retard decay. The ancient disintegration and destruction by several agents of craftsmen were wise enough to utilize durable woods. deterioration. The locality and conditions of storage and They also used only the heartwood of well-seasoned use largely determine the nature of the deterioration. timbers.

In addition, wood has normally been treated with wood- I. Weathering finishes to protect its surface against mechanical, physical, and chemical influences or to enhance the Wood is susceptible to changes in humidity and natural beauty of the wood. Surface coatings usually aim extremes of temperature. The rate of wood degradation at reducing the rate of swelling and shrinking by is accelerated when artefacts are continuously exposed minimizing the exchange of moisture into or out of the to the atmosphere. Much wood deterioration is a direct cell wall structure of the wood. result of high humidities caused by poor maintenance and ventilation. Objects that are frequently wet by rain, Common traditional wood finishes are mineral oils, develop a checquered surface as a result of different rosin, shellac, paints, varnishes, and lacquer. The expansion and contraction of the wood. Long periods of cheapest and most common wood finishes are mineral exposure result in a finely broken surface that is easily oils mixed with red pigments. This kind of wood eroded by wind. The surface fibres become friable and finish is not very effective. actually disintegrate. These situations are complicated by the action of solar radiation, and by the presence of The most effective wood finish is lacquer. Important micro-organisms. The heat of direct sunshine accelerates wooden artefacts have usually been coated with the rate of drying, the wood cannot shrink as a whole

4 8 SPAFA JOURNAL VOLUME THREE NUMBER TWO and breaks. East- and west-facing artefacts are destroyed some Gli/ptotermcs spp. faster than those facing north and south. Powder-Post beetles During the rainy season some parts of Thailand are This group of insects infest wood under a wide range overwhelmed by typhoons from the east or of conditions.They attack softwoods as well as hard- southeast. These winds, rains, and high tides woods, heartwood as well as sapwood, and green logs sometimes cause heavy floods. Therefore, the east- as well as seasoned wood. The larvae or grubs of and southeast-facing surfaces show a much greater these insects bore through wood for food and shelter, degree of deterioration than other surfaces. In addition, leaving the undigested parts of the materials in the sunlight also affects the deterioration of wood. Ultra- form of a fine powder. Since the larvae work in the violet radiation is absorbed in the surface of the wood inner portion of the wood, considerable damage has substances. The surface of most exposed wood rums to already occurred before it is discovered. a silvery grey colour due to photochemical changes in the cellulose. At first lignin is decomposed, and this Amongst the most important families of wood- colours the wood brown. When the decomposed lignin tunnelling larvae are the Lyctidae and Bostrichidae. is bleached away, light grey delignified cellulose The species Minthia rugicollis (Walker) of the family remains. Lyctidae causes extensive damage to wood products with high starch content. The adults of this species are only about 1/8 inch long and have brown wings II. Wood-boring insects covered with yellowish scales. The damage is accordingly confined to the sapwood of seasoned wood Termites (moisture content 6-30%). The following timbers are The most important group of insects injurious to wood known to be susceptible to attack by Minthia rugicollis are termites. The ground dwelling termites or (Walker); Artocarpus, bamboo, Bombax, Hevea brasilensis subterranean termites usually attack wood which is in Muell. Arg, for example. direct contact to the ground or adjacent to crevices in masonry or concrete, through which they travel to reach The species Lyctus brunneus are also common. The their food. They have a fixed nest from which the young larvae, when hatched, are about 0.65 mm workers move out in search of wood and to which they long and 0.23 mm wide and they are creamy-white in return with their spoil. They build earth-like runways colour. They usualy attack bamboo, Bombax, and pine. over brick, stone and concrete foundations to reach wood. They require a constant supply of moisture for Major Bostrichid beetles are Heterobostrychns aaualis or their existence. The presence of subterranean termites in wood-borer and Dinoderus minutus Fabricius or bamboo- wood may not be discovered until the more seriously borer. Another important wood-borer is Stromatium attacked pieces of wood begin to show definite longicorne of the Cerambycidae family. These insects are evidence of decomposition. The common species are important pests in Southeast Asian countries. Great Coptotermes fwvilandi and Coptotermes gestroi. damage is done by the larvae which bore their galleries into the wood. Heterobostiydius aqualis prefer the sapwood The wood-dwelling termites are entirely wood of certain woods which have poor natural decay inhabiting, never entering the ground, and require no resistance and high moisture content (> 30% ). Dinoderus moisture other than that which they can derive from minutus have the common habit of reducing wood to the wood itself. At the time of swarming, the alates or powder. The larvae bore their tunnels parallel to the long winged reproductives enter the wood directly from axis of the wood and usually occur just beneath the the air. Then they excavate galleries in the materials. inner walls. The tunnels are filled with tightly packed Infestation is frequently overlooked especially in the frass. The outer and inner skins of the wood remain intact early stages of the attack. The major species are until they are so fragile that they rupture under a slight Coptotermes domesticus, Coptotermes thailandis, and stress.

SPAFA JOURNAL VOLUME THREE NUMBER TWO 4 9 III. Wood-inhabiting micro-organisms and wooden buildings in Thailand are climate, solar radiations, insects and micro-organisms. The tropical Microbiological growth is one of the most deleterious rainforest has proven to be a severe environment for factors in the deterioration of wood. Architectural both organic and inorganic materials. Moisture, through structures and wooden artefacts exposed out of doors its direct action, or otherwise, is the prime agent in are most prone to micro-organism attack because they tropical deterioration. In addition, the short usually become wet. Decay is most prevalent in wood wavelengths of visible and ultraviolet radiations are in direct contact with moist soil or in locations where powerful enough to disintegrate wood surfaces. The moisture collects and cannot readily evaporate. It is presence of insects and micro-organisms often cause also prominent in wood exposed unpainted to the extensive damage. weather. The decay process usually proceeds when the moisture content rises above the fibre saturation These problems are serious and require urgent point. Extensive damage sometimes occurs in interior intervention. The application of appropriate water- artefacts where the moisture content of the wood proof materials and wood preservatives is, becomes abnormally high. therefore, the most efficient method. A series of experiments to solve these problems is under Microbiological action on wood is a cause of numerous way. The project needs continuous and long- undesirable situations, for instance, loss in water term observations in order to get adequate repellency, loss in strength and discolouration. Decay information fungi disintegrate the cell walls and thereby change the physical and chemical characteristics of the wood. The For historic buildings, planning for the restoration normal colour of the wood is more or less modified. processes should be carefully undertaken beforehand. Microbiological activities often darken and disfigure the Consultation among conservation scientists, architects exterior surface of wood. The decompositon of the and restoration engineers is essential. There should be wood by micro-organisms usually causes shrinkage, sufficient preparation in the study of various warping and cracking. The strength and density of the problems in restoration so that there will be enough wood is reduced. The wood is friable, light and falls to data to establish a work plan. powder under pressure.

Microbiological deterioration of wood is attributable to fungi, bacteria, algae, and lichens. Frequently occurring fungi on References wood are Tridiodertna spp., Aspergillus spp., Aureobasidium spp., Pcnicillium spp., Cladosporium spp., Fusanum spp., Chiraporn Aranyanak. 1987. Insect Factors in the Rliodotonda spp., and several unknown species. Manv fungi Deterioration of Cultural Materials in Tlmiland. SPAFA are cellulytic, that is capable of causing the breakdown of Digest, Vol. VII, No. 2, Bangkok. cellulose through the action of enzyme systems. Some of them are able to produce organic acids. Norman E. Hickin. 1975. The Insect Factors in Wood Decay. Associated Business Programmes Ltd, London. Algae and lichens are densely found on exposed and unprotected wood. Their growths are always associated Poonpilai Suwannarit. 1991. Study of Fungal Species on with moisture retention. It was found that the number Wooden Buildings in Pattaya. Unpublished report, of micro-organisms is greatest in the rainy season. Bangkok.

Vasittee Nana, Chiraporn Aranyanak, Siriwat CONCLUSION Wongsiri. 1986. Studies of Insect Pests in the Destruction of Cultural Materials. Proceedings of the 24th National The major causes of deterioration of wooden artefacts Conference, Kasetsart University, Bangkok

5 0 SI'AFA JOURNAL VOLUME THREE NUMBER TWO Wooden building

The heat of direct sunshine accelerates the disintegration of exposed surfaces

SPAFA JOURNAL VOLUME THREE NUMBER TWO 5 1 Colour clianges on the surfaces of exposed xvood

Damage caused by changes in humidity

5 2 SPAFA JOURNAL VOLUME THREE NUMBER TWO The decomposition of wood by micro-organisms

Wood-dwelling termites excavate galleries in artefacts

SPAFA JOURNAL VOLUME THREE NUMBER TWO 5 5 SPAFA Affairs

March 22-April 2 SEAMEO-SPAFA instruction methods and materials which SPAFA Senior Specialist Assoc. Prof. Workshop on Development of can be applied to SPAFA member Dr. Chua Soo Pong was invited to Teaching Materials for Visual Arts countries. Members not only produced deliver a keynote speech for the and Crafts Education in Southeast the designated outputs, but also, by international seminar "The Role of Asian Elementary Schools. their participation will accelerate intra- Asian Dance in the World" held in country cooperation as well as intra- Seoul 29th-31st May 1993. To fulfill the needs of art educators in SEAMEO/Centre/Project cooperatioa Commemorating the 10th Anniversary Southeast Asia for visual art instruction of the Asian Dance Association, the materials in elementary schools SPAFA Professor Khunying Maenmas Chavalit, organizer also presented an Asian organized a workshop in Manila at the SPAFA Library and Documentation Dance Festival and International Ballet SEAMEO-INNOTECH headquarters, Officer, represented the Centre at the Festival featuring leading Asian Diliman, Quezon City. opening session. She emphasized the choreographers and dancers during the role of art education in development of historic event. This workshop is part of a SPAFA human resources and thanked programme for Research on Textbook SEAMEO-INNOTECH and the Bureau Assoc. Prof. Dr. Chua's speech traced Development for Arts Education in of Elementary Education, Department of the development of western political Southeast Asia (S-R 281) which received Education, Culture and Sports for their and economic dominance of the financial cooperation from UNESCO. excellent cooperation. world stage during the hundreds of years before the Second World War Twelve experts in art education from six and examined the changes in social SPAFA member countries, with the SPAFA Performing Arts Specialist cultural spheres in Asia since then. guidance of resource persons, shared at the International Asian Dance The new wealth in Asia, the result of information on the innovatve methods Seminar in Seoul systematic industrialization and developed for the visual art curricula upgrading of education in the last and teaching in elementary schools. For As one of the founders of the Asian decade has provided an opportunity eight days they worked together Dance Association with its for Asians to express their new towards the creation of appropriate headquarters in Seoul, South Korea, confidence in cultural expressions.

5 4 SPAFA JOURNAL VOLUME THREE NUMBER TWO Asian Dance in this context, gains Angkor was held in Siem Reap, Angkor Archaeolgical Park and the greater appreciation within the region Cambodia, at the UNESCO office buffer zones which the Cambodian and internationally. However, Assoc. from April 1-4, 1993. Participants authorities are required to submit to Prof. Dr. Chua noted that while included representatives from 16 the World Heritage Committee. Asian dance has a long history and institutions of both government and significant religious and social non-government organizations. Site Participants were invited to examine functions, Asia has not developed a inspection trips were also provided GIS (Geographic Information System) market economy which can for in situ discussions. equipment at work at the UNESCO effectively promote the arts, and office in Siem Reap. Cambodian neither is dance taken seriously and In reviewing previous research and students are being trained on this incorporated in formal education or trainings, the experts felt the need for course. higher education. He argued that in a master plan as an urgencv to the 21st century, Asia is likely to be govern specific activities such as Site inspection was conducted in situ more aware of scholarly study of restoration, excavation and ground for discussion of many topics such as dance. Asian dance traditions will be surveys. In this connection, the at Neak Pean, North Baray and West enriched by the dynamics of modern Zoning and Environmental Baray on hydrology and the problem society and receive greater Management Plan (ZEMP) project was of water supply, Baphuon and Pre international appreciation. established, following the inclusion of Rup on soil mechanics and related Angkor on UNESCO's list of World engineering problems and at Angkor Other Asian dance scholars who Heritage Sites and on the list of World Wat on vegetation, moulds, bacteria spoke at the International Seminar Heritage in Danger. ZEMP is financed and problems of surface treatment in included Dr. Sal Murgiyanto from by UNDP and SIDA (Swedish stone conservation. Indonesia, Prof. Kim Ok Jin from International Development Agency) Korea, Madam Miki Yoko from with in-kind contributions of technical Mr. Pisit Charoenwongsa, SPAFA Japan, Prof Dong Xi Jiu from China, assistance and equipment from the Senior Specialist in Archaeology, Madam Ligaya Femado-Amilbangsa Angkor Foundation of Hungary, participated in the meeting. SPAFA from the Philippines. They discussed United States National Park Service, had proposed to UNESCO to train the role of Asian dance in the world, the International Union for the managers and administrators in universal values in Asian dance, the Conservation of Nature and the Fine restoration. Mr. Charoenwongsa was roles of Korean dance, Indonesian Arts Department of Thailand. informed by Miss Minja Yang, Head, dance in the world forum, and other UNESCO Task Force on Cambodia topics related to Asian dance. The immediate objective of the and Head, Angkor Unit that project is to draw up a basic zoning SPAFA's proposal was approved by Over 200 Asian dancers participated and environmental management plan UNESCO with some amendments in in the events organized by the Asian for the entire site of Angkor. This relation to the number of trainees. Dance Association and Madam Oh will contribute to the socio-economic Hwa Jin, a highly respected Korean development strategy of the country, dance educationalist was re-elected as which will reinforce the potential for SPAFA Consultative Meeting on the president of the 10 year old tourism development and the the World Encyclopedia of association. exploitation of renewable natural Contemporary Theatre in Southeast resources through the preservation of Asia the environment of the Angkor Site SPAFA Specialist in Archaeology together with its historic monuments Funded by the Japan Foundation, and Experts Consult on Angkor and archaeological material culture. SPAFA organized a Consultative The plan will also serve as a basis Meeting for the World Encyclopedia of A consultative meeting of experts on for the formal delimitation of the Contemporary Theatre in Southeast

SPAFA JOURNAL VOLUME THREE NUMBER TWO 5 5 Asia at the Japan Cultural Centre in the region. Prof. Don Rubin, the HRH Princess Maha Chakri Bangkok, from the lst-6th June, 1993. Executive Editor gave the Sirindhorn of Thailand Graciously background of the enormous project Presides over the Inauguration of In 1985, during a Congress of and urged particpants to fully co- the SPAFA Building UNESCO's International Theatre operate with the Editorial Committee Institute held in Toronto, at a gathering in this significant undertaking. Two On 12th June 1993 HRH Princess of theatre experts from all over the Australian theatre scholars, Mr. Maha Chakri Sirindhorn graciously world, the first formal editorial Michael Louric and Mr. Paul Dowsey presided over the inauguration of the meetings of the World Encyclopedia of attended the meeting as observers. SPAFA Building. Contemporary Theare were held. There Assoc Prof. Dr. Chua Soo Pong, who were five scholars from North America, chaired the Consultative Meeting, In attendance at the ceremony were six from Europe and another seven was elected Associate Editor of the representatives from SEAMES, the from other parts of the world—Latin Asian volume of the encyclopedia. SPAFA Governing Board, donor America, Africa, the Middle East, and countries, associate institutions, the Asia/Oceania. Miss Yoko Sakamoto, Director of the diplomatic corps, and the Ministry of Japan Cultural Centre congratulated Education, Thailand. The World Encyclopedia of SPAFA for the initiative and viewed Contemporary Theatre Editorial it as a new step forward in the SPAFA Director Prof. MC Subhadradis Committee has been seeking leading direction of active international co- Diskul, in a speech to mark the institutions in various regions to co- operation among cultural institutions occasion, gave the background of the operate with, in order to engage in in the region. She said the Japan Regional Centre and the new SPAFA this largest international publishing Foundation is pleased to be able to building. Associate Professor Kamthon venture in world theatre. SPAFA was support a programme of this nature. Kulachol introduced SPAFA's approached by its Executive Editor Dr. Padoongchart Suwanawongse, benefactors to the Princess, who Prof. Don Rubin of York University, Deputy Director of SEAMES was presented them special awards for their Canada, to be the institution co- also invited to speak at the opening contributions. ordinating for the Southeast Asian ceremony. He urged the scholars to region. work closely and produce a new SPAFA's benefactors include: SPAFA philosophical framework to examine member states; the Government of Eight prominent scholars in Southeast the dynamic contemporary theatre in Canada; the Government of France; Asia were invited to participate in the region. the Government of Japan; the the meeting. They are: Mr. Mohd Government of Australia; the Zefri Ariff (Brunei Darussalam), Mr. SPAFA Centre Director Prof. MC Government of the U.S.A.; UNESCO; Saini Kosim (Indonesia), Mr. Boupha Subhadradis Diskul in his closing ICCROM; the Asian Cultural Council; Bounleuane (Laos), Assoc. Prof. Dr. address expressed SPAFA's gratefulness the Japan Cultural Centre; the Lee Solehah Ishak (Malaysia), Dr. Nicanor for the support given by the Japan Foundation. Benefactors from G. Tiongson (Philippines), Mrs. Foundation and Japan Cultural Centre Thailand include: The Government of Marisa Saenkulsirisak (Thailand), Mr. Director Miss Sakamoto and Deputy Thailand; Bunjurd and Khunying Hoang Su (Vietnam). Director Mr. Katsumi Kakazu. He is Savali Cholvijran Foundation, Jim convinced that the Asian volume of the Thompson Foundation; Siam Prof. James Brandon from the World Encyclopedia of Contemporary Comercial Bank; the Education and University of Hawaii, is the Editor of Theatre will be published as scheduled Public Welfare Foundation; Bank of the Asian volume of the encyclopedia. as the participants have discussed at Ayudhya; Industrial Enterprises He presented a slide show sharing length their ideas with passion and Trading Co. Ltd; Takerg Insurance Co. with the participants his past articulated all aspects of theatre in Ltd; Bangkok Bank of Commerce; Thai experiences in research on theatre in their countries in detail. Farmers Bank; Toshiba Thailand Co.

5 6 SPAFA JOURNAL VOLUME IHKEE NUMBER TWO Ltd; the Arts Alumni Association of and representatves from foundations. institutes in Central and Eastern Chulalongkorn University; Siam Europe; and the organization of Industrial Commercial Development The working paper entitled "New regional training courses on the Corp. Ltd. Prof. MC Subhadradis Perspectives," which outlines possible collection and revitalization of Diskul also loaned to the Centre library directions for UNESCO's programme traditional Arabic music and dance at his collection of valuable and rare in the protection of the intangible the newly-opened Centre for Arabic books. cultural heritage, was written by Prof. and Mediterranean Music in Tunis. Serge Gruzinski. After the presentations. Princess The Niger project, for example, Sirindhorn toured the building with In the past, according to the "New involves the safegauarding and Prof. Diskul and Khunying Maenmas Perspectives" paper, UNESCO's revitalization of traditional music Chavalit, SPAFA Library and activities in this field were too through study, training and cultural Documentation Officer, accompanied scattered and perhaps too over- exchanges, with traditional music itself by Dr. Ruben Umaly, SEAMES ambitious. Prof. Gruzinski suggests being the source of these revitalization Director and Dr. Ruang Caraeonchai, that music, dance, theatre, oral activities, and not just the target. new SPAFA Director and other traditions and languages could be dignitaries. The Princess was shown priority areas, with urgent short and the special display of Southeast Asian medium-term action foreseen for the This is the first time that a project on archaeological artifacts and crafts, the protection of those largely rural intangible cultural heritage is linked library and documentation unit, cultures which are most fragile and to an ongoing UNESCO campaign publications unit, and the applied at most risk of disappearing. for the preservation of the physical science laboratory. heritage to projects on tourism, Other sectors could be added in the culture and environment carried out later phase, Prof. Gruzinski suggests; under the World Decade for Cultural SPAFA Performing Arts Specialist UNESCO might extend its actions to Development. at UNESCO Meetings the new popular cultures that are 16th-17th and 28th-29th June 1993 emerging, especially in urban areas, Assoc. Prof. Dr. Chua joined the as a result of the sweeping political, experts from other regions to discuss SPAFA Senior Specialist in Performing social and cultural changes that have UNESCO documents and supported Arts, Assoc. Prof. Dr. Chua Soo Pong taken place in recent years. the projects tabled at the meeting. He was invited by UNESCO for the also mentioned that SPAFA will be Consultative Meeting on Saving the Five pilot projects were presented and glad to support the Vietnamese Intangible Cultural Heritage held on discussed during the meeting. The project either by providing technical the 16th-17th June and the Round paper presented by Vietnam concerns assistance or arrange the trainees from Table "Artists Across Frontiers" on the the studies and revitalization of Hue Vietnam to participate in courses which 28th-29th June 1993. traditional and popuar culture. It will help them revitalize Hue would also study the ancient system of traditional and popular culture. He also In the Consultative Meeting on Saving education in Hue as well as features of distributed SPAFA publications and the Intangible Cultural Heritage, the the Royal Court. described the missions and projects of importance of preserving and SPAFA. The delegates all showed revitalizing the intangible cultural great interest and praised SPAFA's heritage, such as traditional and The other four pilot projects concern efforts in promoHng arts and cultures popular forms of folklore expressed the safeguarding and revitalization of for Southeast Asia. through music and dance, was traditional and popular cultures in discussed by about 50 academic Niger and Mexico; the setting up of On the 28th and 29th June Dr. Chua experts, directors of research institutes a Budapest-based network of regional was again invited by UNESCO, 'his

SPAFA JOURNAL VOLUME THREE NUMBER TWO 5 7 time to attend the Round Table and individual specialists is based on: SPAFA's new Director Dr. Ruang "Artists Across Frontiers." Together Chareonchai. with the Ambassador of Romania to 1) Information services, in the form of UNESCO, H.E. Mr. Don Haulica, he a data-base covering published Dr. Ruang's appointment reflects a was assigned to comment on the directories, repertories, documentation period of development and progress Keynote speech delivered by the and counselling services available to for the Regional Centre; his tenure is Director of the British-American Arts artists; valuable at a time when professional Association, Madam Jennifer William. and general service staff are poised to 2) Financial support to artists through a persue strategic planning goals that will The objectives of the meeting are: programme of UNESCO-ASCHBERG cultivate the capabilities of the Regional bursaries and travel grants for further Centre. 1) to reflect on issues that have led to training purposes; the formulation of the "Artists Across Dr. Ruang began his studies in Frontiers" programme. Reflection of 3) Networking, through action projects education at Ban Somdej Teachers this kind is integral to UNESCO's role launched in co-operation with existing College, Bangkok in 1950. He as an agency for the promotion of transnational exchange and co-operation continued his education in 1954 at international intellectual co-operation. networks; Ohio State University, the United States, with a B.Sc. in Industrial 2) to help orient UNESCO's ongoing 4) Inter-cultural workshops for further Education. In 1962 he received his activities for the promotion of the training and professional enrichment. Ph. D. in Secondary and Teachers arts carried out under its regular Education from the same university. programme, i.e. the programme Assoc. Prof. Dr. Chua took the Over his career, his work has taken approved every two years by opportunity to explore funding him to Washington D. C, the USSR, UNESCO's General Conference. The possibilities and had long discussions Singapore, Indonesia, Canada, the UK, "Artist Across Frontiers" initiative has with Mr. Khalfan Amal Mohair, Nigeria, Malaysia, Taiwan, France, been designed by the International Director of Arts and Cultural Institute Guyana, the Philippines and Japan. Fund for the Promotion of Culture of the United Arab Emirates; Mr. Peter (EFPC) to complement these activities. Blackman, Head, Cultural Division Unit Among his special assignments he has of the Arts Council of Great Britain; been director to several secondary 3) to examine the "Artist Across Mrs. Ann Engel of the Prince's Trust; school projects in Thailand; he has Frontiers" programme itself, consider Mr. Uif Horak, Director, Ministry of been a visiting lecturer at the approaches that can improve and Cultural Affairs of Denmark; Mrs. University of Alberta Canada; and has strengthen it and begin to develop Tuvlikki Karjalainen, President of the been consultant to the World Bank in joint cultural settings other than their Arts Council of Finland; and Mrs. teacher edcation projects in Indonesia own. Prudence Skene, Director of the Arts and the People's Republic of China. Foundation. He will communicate with This "Artist Across Frontiers" the institutions they represent and Dr. Ruang has a distinguished career programme is designed to help develop formal linkage in the held of as teacher, published scholar and artists throughout the world broaden performing arts. educational administrator. Dr. Ruang their skills and enrich their vision previously was Secretary General of through exposure to cultural settings the Office of the Private Education other than their own. SPAFA welcomes Dr. Ruang Commission, Ministry of Education, Chareonchai, New SPAFA Director Thailand from 1990-1992. A veteran The programme being defined, in of the Ministry of Education, among consultation with non-governmental On the 1st July 1993 professional and the high level posts he has occupied organizations, foundations, associations general service staff welcomed within the Ministry include Deputy

5 8 SPAFA JOURNAL VOLUME THREE NUMBER TWO Permanent Secretary for Education, Regional Association of Amateur amateur theatre and its importance Secretary General of the Office of the Theatre expressed his views on the may be found in the fact that it serves National Culture Commission, and theatre scene of North American and an important educational role for the Inspector General of the Ministry. Latin America. The French speaking community and works as a binding world was represented by Mr. Jacques cultural force well as stimulates the Lemaire, a noted director and critic creativity of the peoples. The SPAFA Senior Specialist in based in Paris and Mr. Hiroshi International Amateur Theatre Performing Arts attends Kobayashi provided the Japanese Association, formed in 1952, with its International Ameteur Theatre perspective. Madam Pru Kitching, headquarters in Copenhagen, now has Summit, Toyama, Japan I9th-21st Secretary General of the International a membership of approximately 75 July, 1993 Amateur Theatre Association, discussed countries from 5 continents of the the problems she observed in the world. It has sponsored international SPAFA Senior Specialist in Performing many events initiated by the theatre festivals throughout the world. Arts, Assoc. Prof. Dr. Chua Soo Pong organization she represents. Assoc Prof. attended the International Amateur Dr. Chua's focus was on the Southeast The discussions centred on the Theatre Summit from the 19th—21st Asian community theatre and their actualities of theatre in each region and July 1993 in Toyama, Japan, jointly social and educational functions. He identified several fundamental organized by the International also reported on the various research problems in the organization and Amateur Theatre Association, Nippon projects and theatre seminars organized management of amateur theatre as well Amateur Dramatic Association, by SPAFA. The summit was chaired as the cultural identity crisis they are Toyama Prefecture Govrnment and by Mr. Chiyomi Hara, an eminent facing due the global wave of the the Agency of Cultural Affairs of drama critic in Japan. pop culture and commercialization of Japan, as one of the keynote speakers cultural products. The summit invited to discuss the range of issues It was agreed by the participants that concluded that education through facing non-profit making theatre in theatre, which has advanced with the theatre and global solidification of the world, with special emphasis on development of human culture, amateur theatre are two goals the its educational roles. especially increasingly since the International Amateur Theatre dawnof the Renaissance, was Association must attempt to achieve in Mr. Hugh Lovegrove, President of submerged under the great waves of the future. The participants are the International Amateur Theatre materialism in the last decade, and convinced that this summit will Association spoke on the European now seems to have lost most of its stimulate and encourage those who are situation while Mr. Mort Clark fundamental essence in the true sense concerned with amateur theatre president of the North American of the word. The raison d'etre of throughout the world.

SPAFA JOURNAL VOLUME THREE NUMBER TWO 5 9 Bookmark

COMPILED BY

KHUNYING MAENMAS CHAVALIT

NEW ACQUISITIONS Bagenal, Philip. Casual geometric. Kyoto: Kyoto Shoin Tlie illustrated atlas of the world's: International, 1992, 80p., col. ill., Adhyatman, Sumarah. great buildings. London: Tiger Books 23 cm. (World textile collections; 11) Manik-manik di Indonesia: beads in International, 1980, 192p., col. ill., ISBN 4-7636-80994 Indonesia. Jakarta: Penerbit 31 cm. index. TEXTILE DESIGN—CASUAL Djambatan, 1993, xvi, 164 9., coL ill., ISBN 1-85501-098-4 GEOMETRIC maps, 25 cm. biblio. BUILDINGS, GREAT—ANCIENT ISBN 979-42S-169-7 AND MODERN Contemporary Japanese landscape BEADS—INDONESIA/ design U. Tokyo: Process Architecture, INDONESIA—BEADS Basic flower: feminine & modern. c 1992, 217p., col. ill., 31 cm. Kyoto: Kyoto Shoin International, ISBN 4-89331-709-1 Antique flower. Kyoto: Kyoto Shoin 1991, 80p., col. ill., 23 cm. (World LANDSCAPE ARCHITECTURE— International, 1992, 80p., col. ill., textile collections; 1) JAPAN—CONTEMPORARY/ 23 cm. (World textile collections; 7) FABRIC FLOWER—TEXTILE JAPAN—LANDSCAPE ISBN 4-7636-8102-8 DESIGN—MODERN EUROPE/ ARCHITECTURE/JAPAN— TEXTILE DESIGN—ANTIQUE EUROPE, MODERN—TEXTILE CONTEMPORARY LANDSCAPE FLOWER/FLOWER, ANTIQUE— DESIGN—FABRIC FLOWER ARCHITECTURE TEXTILE DESIGN The book of tea. Paris: Flammarion, Darton, Mike (ed.) Apinan Poshyananda. [191 256p., col. ill., 32 on. biblio. The illustrated book of architects Modern art in Thailand. Singapore: ISBN 2-08-013533-3 and architecture. London: Tiger Book Oxford University Press, 1992, xxiv, TEA/TEA GARDENS AND International, cl990, 144p., col. ill., 259p., ill. (some col.), 26 cm. PROCESSING/TEA TRADE/TEA 29 cm. ISBN 0-19-588562-7 DRINKING/TEA ISBN 1-85501-055-0 ART, THAI—THEMES, MOTIFS/ CLASSMCATION ARCHrrECTURE— ART, MODERN—19-20TH ILLUSTRATIONS/ CENTURY THAILAND—THEMES, ARCHITECTURAL STYLES—FROM MOTffS/THAILAND—MODERN ANCIENT TO MODERN TIME/ ART—19-20TH CENTURY- ARCHITECTURAL STYLES- THEMES, MOTIFS AMERICAN AND EUROPE

6 0 SPAFA JOURNAL VOLUME THREE NUMBER TWO Ethnical Asia. Kyoto: Kyoto Shoin Hoskin, John. Konikow, Robert B. International, 1992, 80p., col. ill., 23 Cambodia: a portrait. Bangkok: Exhibit design 5. New York: Library cm. (World textile collections; 3) Asia Books, 1992, 195p., col. ill., of Applied Design, 1992, 235p., col. ISBN 4-7636-8100-1) 33 cm. biblio. ill., 31 cm. index. TEXTILE DESIGN—ETHNICAL— ISBN 974-83034)6-3 ISBN 0-86636-149-9 ASIA/ASIA—TEXTILE DESIGN- PORTRAITS—CAMBODIA/ EXHIBITIONS DESIGN/MUSEUM ETHNICAL CAMBODIA—PORTRAITS/ EXHIBITS/EXHIBITS IN MUSEUM, CAMBODIA—TRADITIONS EXHIBITS WITH DEMOS AND Ethnical U.SA. Kyoto: Kyoto Shoin CAMBODIA—HISTORY/ PRESENTATIONS DESIGN International, 1992, 80p., col. ill., 23 CAMBODIA—PHNOM PENH cm. (World textile collections; 9) The Korean National Commission for TEXTILE DESIGN—ETHNICAL— Howard, Keith. Unesco (ed.) Korean dance, tiieater & UNITED STATES/UNITED Bands, songs, and shamanistic cinema. Korea: Si-sa-yong-o-sa, 1983, STATES—TEXTILE DESIGN- rituals: folk music in Korean society. viii, 205p., ill., 23 cm. (Korean art; 4) ETHNICAL 2nd ed. Seoul: Royal Asiatic Society, ISBN 0-89209-017-0 Korea Branch, 1989, xv, 295p., col. ill., DANCE—KOREA/KOREA— European studio: part 1. Kyoto: Kyoto 23 cm. biblio. DANCE/THEATRE—KOREA/ Shoin International, 1991, 80p., col. FOLK MUSIC—KOREA/ KOREA—THEATRE/MOVING- ill., 23 cm. (World textile collections; KOREA—FOLK MUSIC/MUSIC, PICTURE—KOREA/KOREA— 2) FOLK—KOREA MOVING-PICTURE TEXTILE PRINT DESIGN— EUROPE/EUROPE—TEXTILE Howard, Keith. The Korean National Commission for PRINT DESIGN/TEXTILE Korean musical instruments: a Unesco (ed.) Traditional Korean art. DESIGN—EUROPEAN STUDIO practical guide. Seoul: Se-Kwang Korea: Si-sa-young-o-sa, 1983, viii, 153 Music, 1988, 288p., 27 cm. biblio. p., ill., 23 cm. (Korean art; 1) European studio: part 2. Kyoto: Kyoto MUSICAL INSTRUMENTS— ISBN 0-89209-014-6 Shoin International, 1992, 80p„ col. KOREA/KOREA—MUSICAL ART, TRADITIONAL—KOREA/ ill., 23 cm. (World textile collections; INSTRUMENTS/ KOREAN TRADITIONAL—ART 12) ISBN 4-7636-8105-2 Kim, Won-Yong. The Korean National Commission for TEXTILE PRINTING—EUROPE/ Art and archaeology of ancient Unesco (ed.) Traditional Korean EUROPE—TEXTILE PRINTING/ Korea. Seoul: Taekwang Pub., 1986, painting. Korea: Si-sa-yong-o-sa, 19S3. TEXTILE DESIGN—EUROPE 416p., ill., (some col.), 27 cm. \iii, 177p., ill, 23 cm. (JCorean art; 2) ART, ANCIENT—KOREA/ ISBN 0-89209-0154 Garden view E: stone & sand gardens. KOREA<—ANCIENT ART/ PAINTING, TRADITIONAL— Tokyo: Kenchiku Shiryo Kenkyusha, ARCHAEOLOGY, ANCIENT- KOERA/KOREA—TRADITIONAL 1990, 1 v., col. ill., 25 cm. plates. KOREA/KOREA—ANCIENT PAINTING/FOLK PAINTING, ISBN 4-87460-249-5 ARCHAEOLOGY/KOREA— KOREAN/FOLK PAINTING AND LANDSCAPE GARDENING— VISUAL ARTS/ FOLK AESTETICS, KOREAN JAPAN/GARDENS—STONE AND SAND—JAPAN/JAPANESE Mvint, U Aye, 1930- STONE AND SAND GARDENS Burmese design through drawings. Bangkok Silpakom University, 1993, 214p., 29 cm. biblio. ISBN 974-600-531-6 DRAWINGS, BURMESE DESIGN/ BURMA—DESIGN DRAWINGS

SPAFA JOURNAL VOLUME THREE NUMBER TWO 6 1 Paisley & Sarasa. Kyoto: Kyoto Basa, Juliet V. Cristofori, Marily. Shorn International, 1991, 80p., col. "Cebuano children's rhymes: wonder "Hanya Holm: March 3, 1893- ill., 23 cm. In English and Japanese. and irreverence." Philippine November 3, \993."Dancc Research (World textile collections; 8) Quarterly of Culture and Society, Journal, 25/1 (Spring 1993). pp. 70. ISBN 4-7636-8093-5 vol. 20, no. 4. December 1992. p. HANYA HOLM—AMERICAN TEXTILE DESIGN—PAISLEY 277-299. CHOREOGRAPHER PATTERN—INDIA/TEXTILE NURSERY RHYMES- DESIGN—SARASA PATTERN— PHILIPPINE—CEBU Green, Jean M. INDIA/INDIAN TEXTILE PHILIPPENE NURSERY "Unraveling the enigma of the Bi: DESIGN—PAISLEY PATTERN/ RHYMES—CEBU the spindle whorl as the model of INDIAN TEXTILE DESIGN— the ritual disk." Asian Perspective, SARASA PATTERN Bronson, Bennet. vol. 32, no. 1 Spring 1993, p. 105- "Against migration: a negative 124. Sport mix. Kyoto: Kyoto Shoin perspective on population JADE BI DISK—NEOLITHIC International, 1992, 80p., col. ill., movements in prehistoric CHINA/SPINDLE WHORL— 23 cm. (World textile collections; 5) Southeast Asia." Philippine CHINA/BI DISK AND SPINDLE ISBN 4-7636-8101-X quarterly of Culture and WHORL—CHINA TEXTILE DESIGN—MODERN/ Society, vol. 20, no. 4 TEXTILE DESIGN—SPORTS MIX December 1992. p 241-257. Haubert, Alaine. SOUTHEAST ASIA PREHISTORIC "Rudolph Nureyev: March 17, Tropical casual. Kyoto: Kyoto Shoin MIGRATION/SOUTHEAST ASIA 1938-January 6, 1993." Dance International, 1992, 80p., col. ill., MIGRATION STUDIES Research Journal, 25/1 (Spring 23 cm. (World textile collections; 10) 1993). pp. 69. ISBN 4-7636-81044 Cheah Boon Kheng. RUDOLPH NUREYEV— TEXTILE DESIGN—TROPICAL "Power behind the throne: the role DANCER—CHOREOGRAPHER- CASUAL of queens and coust ladies in CONDUCTOR Malay history." Journal of the Malaysian Branch of the Royal Junker, Laura Lee. Asiatic Society, vol. LXVI part 1 "Craft goods specialization and 1993. p. 1-22. prestige goods exchange in SELECTED ARTICLES FROM MALAYSIA/QUEENS' ROLE IN Philippine chiefdoms of the SERIALS MALAY HISTORY/WOMEN OF fifteenth and sixteenth centuries." THE COURT IN MALAY Asian Perspective vol. 32, no. 1 HISTORY Spring 1993. p. 1-36. Adi Haji Taha. TRADE, ANCIENT—THE "Recent archaeological discoveries Clottes, Jean and Jean Courtin. PHILIPPINES—15th-l 6th in Peninsular Malaysia (1931- "Stone age: gallery by the sea." CENTURIES/ PHILIPPINE 1993)." Journal of the Malaysia Archaeology, May/June 1993. pp. PREHISTORIC CHIEFDOMS, Branch of the Royal Asiatic 38-43. CENTRAL PHILIPPINE ANCIENT Society, vol. LXVI, part 1, 1993. CAVE ART; PALAEOLITHIC— TRADE p. 67-83. FRANCE—CAP MORGIOU/ MALAYSIA- CAVE ART—WORLD'S OLDEST ARCHAEOLOGICAL EXECACAVATION (1991-1993)/ ARCHAEOLOGICAL EXECAVATION (1991-199 ^)

6 2 SPAFA JOURNAL VOLUME THREE NUMBER TWO Lim, Jon S. H. Mundy, Keith. Sahai, Surendra. "The 'Shophouse Rafflesia': an outline "The nursey of Art Nouveau." Silver "Kishangarh miniatures in quest of of its Malaysian pedigree and its Kris, July 1993. pp. 25-30. devine love." Discover India, July subsequent diffusion in Asia." Journal ART NOUVEAU 1993. pp. 54-58. of the Malaysian Branch of the Royal MINIATURES, KISHANGARH— Asiatic Society, vol. LXVI, part 1. 1993. "Museum Activities 1975-1980." INDIA p. 47-66. Sab ah Museum Annals, vol. 2, Sheldon, Sara. SHOPHOUSE RAFFLESIA AND 1980, p. 1-18. "False colurs." Silver Kris, July 1993. URBAN DEVELOPMENT IN ASIA/ SABAH MUSEUM pp. 63-67. RAFFLES, SVR. STAMFORD AND COLLECTION/SABAH MUSEUM PAN YUELING—CHINESE SHOPHOUSE/TOWN HISTORY PAINTER PLANNING—SINGAPORE Pike, Evelyn. Soroban, Tomoe. Long, M. J. "Language considerations in "Company strategies: the venerable "Tradition and the future." Silver community development." Sabah beads." Look Japan, August 1993. Kris, July 1993. pp. 54-57. Museum Annals no. 1, 1979. p. 20-21. BRITISH LIBRARY—ENGLAND p. 13-23. ABACUS—JAPAN/SOROBAN— LANGUAGE AND COMMUNITY JAPANESE ABACUS/BE ADS Manguin, Pierre-Yves. DEVELOPMENT FROM CALCULATION- "Palembang and Sriwijaya: an early JAPANESE ABACUS/ABACUS IN Malay harbour-city rediscovered." Rhoades, Robert E. JAPANESE EDUCATION/ Journal of the Malaysian Branch "Com, the golden grain." National ABASUS AND CREATIVITY of the Royal Asiatic Society, vol. Geographic, June 1993. p. 92-118 LXVI, part 1. 1993. p. 23-16. CORN—PRE-HISTORIC— Stinson, Susan W. PALEMBANG EXECAVATION AMERICAN INDIANS/CORN, "Testing creativity oi dance TO LOCATE EARLY SRIVIJAYA PRE-COLUMBIAN—UNITED students in the Peoples Republic of SITES—INDONESIA/SRIVIJAYA STATES/CORN TRADITIONS China." Dance Research Journal, REDISCOVERED-1991 / AMONG AMERICAN INDIANS 25/1 (Spring 1993). pp. 65-68. SRTVIJAYA—BIBLIOGRAPHY CREATIVITY TEST OF CHINESE Roberts, David. DANCE STUDENTS Marx, Robert F. "The iceman: lone voyager from the "Souvenirs of the St. Geran." Silver copper age." National Geographic. Wood, Peter Bell. Kris, July 1993. pp. 58-62. June 1993. p. 36-67. "Cultural and biological UNDERWATER EXCAVATION ARCHAEOLOGICAL differentiation in peninsular OF THE SHIP ST. GERAN— FINDINGS—ICEMAN- Malavsia: the last 10,000 years." MAURITIUS AUSTRIA—ITALY ICEMAN, Asian Perspective, vol. 32, no. 1 EUROPEAN—4000 YEARS Spring 1993, p. 37-60. Mohanry, Pradeep and Ajay Pratap. UNDER ICE/OTZI THE ALPINE MALAY PENINSULA "Houses in the forest." Discover ICEMAN—AUSTRIA—ITALY/ POPULATION DURING LAST India, July 1993. pp. 28-31. COPPER AGE TOOLS—THE 10,000 YEARS/HOABINHIAN MUD HOUSE OF JUANG ALPS/MUMIFIED HUMANS, POPULATIONS—MALAY PEOPLE—INDIA—ORISSA— NATURALLY PENINSULA/MALAY KEONJHAR/JUNG PENINSULA AFTER 1,000 BC/ ARCHITECTURE—INDIA MALAY PENINSULA ETHNIC DIFFENTIATION AUSTRONESIAN IN MALAY PENLNSULA

SPAFA JOURNAL VOLUME THREE NUMBER TWO 6 3 SOURCES Discover India. A monthly magazine, Philippine Quarterly of Culture and published by the Media Transasia Society: A journal published by the Archaeology: Bi-montlily. Archaeology Ltd. 19th floor, Tai Sang Commercial University of San Carlos, Cebu City, Institute of America, 135 Williams Building 23-24 Hennessy Road, the Philippines. Street. New York, NY 10038. Hongkong. ISSN 0115-0243

Asian Perspective. A journal of Journal of the Malaysian Branch of The Sabah Museum and State archaeology and prehistory of Asia Royal Asiatic Society. Office and Archives Journal. Annual; published and the Pacific published by the Repository, 130 M, Jalan Thamly by the Department of the Sabah University of Hawaii Press, Journal Abdullah, Brick fields, 50470 Kuala Museum and State Archives; devoted Department, 2840 Kolowalu Street, Lumpur. to the advancement of knowledge Honululu, Hawaii 96822, U.S.A. ISSN relating to Sabah in particular— 0066-8435 Look Japan. A monthly magazine Boneo in general in the fields of published by Look Japan, Ltd., 2-2 prehistory, history, national history, Dance Research Journal. Published Kanada-Ogawamachi, Chiyoda-ku, geography and cultures and customs twice a year by the Congress on Tokyo 101, Japan. of its people. ISSN 0128-0090 The Research in Dance (CORD); produced Tel. (03) 3291-8951 Fax: (03) 3291- Director-Anwas Sullivan Sabah at the University of Hawaii, 8955 Museum and State Archives distributed by the New York Office Department Jalan Muzium 8800 Kota of CORD; subscribe to CORD, Dance National Geographic: monthly issued Kinabalu Sabah Malaysia Department. Education 684D, New by the National Geographic Society, York University, 35W 4th St. New Box 37448, Washington, D.C. 20013 Silver Kris. A monthly magazine, York 10003. ISSN 0149-7677 Editor: U.S.A. published bv MPH magazines(s) pte. Judy Van Zile, Department of Ltd., Airline House, Airmail Transit Theatre and Dance, University of Center, P.O. Box 501, Singapore 9181. Hawaii; carries scholarly articles, ISSN 0129-600X book reviews, a list of books and journals received and reports of scholarly conference, achives, and the other projects.

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