HMONG ETHNIC FOLK TALES : IMAGINATION FROM STORIES TOWARDS MIXED MEDIA ART WITH PARTICIPATION FROM YOUNGSTERS FROM HMONG COMMUNITIES IN CHIANG MAI PROVINCE

PIYACHAT UDOMSRI

DOCTOR OF FINE ARTS IN ARTS AND DESIGN

GRADUATE SCHOOL CHIANG MAI UNIVERSITY APRIL 2020

a

HMONG ETHNIC FOLK TALES : IMAGINATION FROM STORIES TOWARDS MIXED MEDIA ART WITH PARTICIPATION FROM YOUNGSTERS FROM HMONG COMMUNITIES IN CHIANG MAI PROVINCE

PIYACHAT UDOMSRI

A THESIS SUBMITTED TO CHIANG MAI UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF FINE ARTS IN ARTS AND DESIGN

GRADUATE SCHOOL, CHIANG MAI UNIVERSITY APRIL 2020

a

b

ACKNOWLEDGMENT

The dissertation "Hmong Ethnic Folk Tales : Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province" is a part of the study of Doctor of Fine Arts Program in Arts and Design, Faculty of Fine Arts, Chiang Mai University. Successfully completed the educational objectives. Thank you to the dissertation advisor of the project: Associate Professor Dr. Tipawan Thungmhungmee, Emeritus Professor Surapol Damrikul and Associate Professor Dr. Chalongdej Kupanumat.

Thank you to Police Lieutenant Prasit Udomsri ( Father) , Teacher Saisamorn Udomsri (Mother), brother, sister-in-law, niece, Meaw and relatives, including assistant professor Samran Maneerat, Meaw that always helps, supports, encourages in all aspects.

Thank you to the educator area, the participant area is the Chiang Mai Hilltribe Development Center, Division of Self-Improvement and Hilltribe Settlement Affairs, Department of Social Development and Welfare, Ministry of Social Development and Human Security, Hmong village area, Mae Sa Mai Hmong village area, Mae Sa Noi, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, Jaophorluangoppathum 7 School, Baan Tuek Art Center, Art and Culture Center, Chiang Mai University, and thank you to the educators, namely Dr. Prasit Leepreecha, Mrs. Lakkhana Thewa (Director of Jaophorluangoppathum 7 School), Teacher Duenchai Watcharaweerakun (Academic Teacher, Jaophorluangoppathum 7 School) and Teacher Anuwat Inchai (Art Teacher of Jaophorluangoppathum 7 School), Father of Hmong village, Mae Sa Mai, Mae Sa Noi, Mrs.Pang Rattanadilokkul and family, Mr.Kadzoo Sakittiya, Mr.Chor Rattanadilokkul and family, including all Hmong people who give information, every academic contributor, including Phayao University students, the staffs behind the 1st and 2nd Hmong community art activities, as well as the people who visited the art in the 1 st and 2nd IMAGINE FROM THE HMONG'S FABLE exhibition.

Thank you to the committee for consideration the scholarships for promoting creative arts "Statesman General Prem Tinsulanon Foundation", 2018 and the Funding Committee of the National Research Council of Thailand (Funded for Capacity Building

c

and Development of New Researchers under the Strategic Direction of Research and Innovation) that provides scholarships for this dissertation.

Thank you to the officials of the Central Library, Faculty of Fine Arts Library, Faculty of Social Sciences Library, Faculty of Humanities Library, Chiang Mai Hilltribe Museum Library that provides research on books for the reference.

The researcher hopes that the dissertation " Hmong Ethnic Folk Tales : Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province" resulting from this study will create knowledge to create art, which leads to writing the document sector, which can be used as a guideline for studying information for researchers, students, artists or people who are interested as well.

Piyachat Udomsri

d

Dissertation Title Hmong Ethnic Folk Tales : Imagination from Stories Towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province

Author Miss Piyachat Udomsri

Degree Doctor of Fine Arts (Arts and Design)

Advisory Committee Associate Professor Dr. Tipawan Thungmhungmee Advisors Professor Emeritus Suraphon Damrrikul Co-advisor Associate Professor Dr. Chalongdej Kupanumat Co-advisor

ABSTRACT

Hmong ethnic folk tales are considered a cultural heritage that can learn the Hmong’s worldview. Hmong folk tales are born from imagination, attitude of the people in that society that inherit the teachings and beliefs. When there are changes of immigration of eating areas, outbreak, education and trading, causing the new generation Hmong people forget the cultural heritage. Reviewing the Hmong folk tales is like resurrecting the meaning of those memories to live a close connection the people of modern times for these new generation Hmong people to be proud of their knowledge and appreciate the value of cultural identity for future generations.

The purpose of this study is to study the context of history, society and culture of the Hmong community, including concepts and wisdom in various fields as well as studying the Hmong folk tales in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng subdistrict, Mae Rim district, Chiang Mai province. Perform synthetic analysis for the creation of mixed media arts with the participation of youth in the community. Inspired by imagination, stories or folk tales of the Hmong people to stimulate the awareness of the cultural identity of the Hmong people, with the Art

e

Creative Research style, using Interdisciplinary research and presenting the results of the study in descriptive form and presenting the art creation work.

The study found that the 9 folktales of the Hmong folktales of Mae Sa Mai and Mae Sa Noi villages, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. Then selected Hmong folktales stories from the Hmong community youth to choose by using human principles as the centre. The group of relations between the Hmong folktales is divided into 3 groups as follows: The relationship between man and man, the relationship between man and nature, the relationship between man and supernature. Therefore select 3 Hmong folk tales (from 9 Hmong folk tales) To bring the process of visiting the art activity area with the Hmong youth Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. As a result of the activities, the researcher synthesized the lines of the Hmong youth together with the imagination of the researcher, turned out to be a mixed media art participation with Hmong youth by creating techniques from natural materials in Hmong lifestyle. Presented in the form of mixed media art exhibition Which installation art for the Hmong youth and those interested in art can participate in the creative work that is displayed at this time.

Keywords: Hmong people, Folk tales, Participatory Mixed Media Arts

f

หัวข้อดุษฎีนิพนธ์ นิทานพื้นบ้านชาติพันธุ์ม้ง : จินตนาการจากเรื่องเล่าสู่งานศิลปะสื่อผสม อย่างมีส่วนร่วมกับเยาวชนชุมชนม้งในจังหวัดเชียงใหม่ ผู้เขียน นางสาวปิยฉัตร อุดมศรี ปริญญา ศิลปดุษฎีบัณฑิต (ศิลปะและการออกแบบ) คณะกรรมการที่ปรึกษา รองศาสตราจารย์ ดร.ทิพวรรณ ทั่งมั่งมี อาจารย์ที่ปรึกษาหลัก ศาสตราจารย์เกียรติคุณ สุรพล ด าริห์กุล อาจารย์ที่ปรึกษาร่วม รองศาสตราจารย์ ดร.ฉลองเดช คูภานุมาต อาจารย์ที่ปรึกษาร่วม

บทคัดย่อ

นิทานพื้นบ้านชาติพันธุ์ม้งถือเป็นมรดกทางวัฒนธรรมอย่างหนึ่งที่สามารถเรียนรู้โลกทัศน์ จินตนาการความคิด ทัศนคติของชาวม้งที่สืบทอดค าสอน และความเชื่อ สืบต่อกันมาสู่รุ่นต่อรุ่น เมื่อ เกิดการเปลี่ยนแปลงเรื่องการอพยพหาพื้นที่ท ากิน เรื่องการเกิดโรคระบาด เรื่องการศึกษาและเรื่องการ ค้าขาย ท าให้ชาวม้งคนรุ่นใหม่หลงลืมมรดกทางวัฒนธรรม การที่กลับไปทบทวนนิทานพื้นบ้านของ ชาวม้ง จึงเท่ากับการรื้อฟื้นความหมายของความทรงจ าเหล่านั้นให้มีชีวิตเชื่อมโยงใกล้ชิดกับผู้คนใน ยุคปัจจุบัน เพื่อชาวม้งคนรุ่นใหม่เหล่านี้จะได้เกิดความภาคภูมิใจในภูมิปัญญา และเล็งเห็นคุณค่าการ ส านึกอัตลักษณ์ทางวัฒนธรรมนั้นไว้เพื่อคนรุ่นหลังต่อไป การศึกษาครั้งนี้มีวัตถุประสงค์เพื่อศึกษาบริบทเกี่ยวกับประวัติความเป็นมา สังคมและ วัฒนธรรมของชุมชนชาวม้ง รวมทั้งแนวความคิดและภูมิปัญญาในด้านต่างๆตลอดจนศึกษานิทาน พื้นบ้านชาติพันธุ์ม้ง ในชุมชนชาวม้งที่หมู่บ้านแม่สาใหม่และหมู่บ้านแม่สาน้อย ต าบลโป่งแยง อ าเภอ แม่ริม จังหวัดเชียงใหม่ ท าการวิเคราะห์สังเคราะห์เพื่อการสร้างสรรค์ศิลปะสื่อผสมอย่างมีส่วน ร่วมกับเยาวชนชุมชนม้ง โดยมีแรงบันดาลใจจากจินตนาการเรื่องเล่าหรือนิทานพื้นบ้านชาวม้ง เพื่อ กระตุ้นสร้างส านึกอัตลักษณ์ทางวัฒนธรรมของชาวม้ง มีลักษณะงานวิจัยเชิงสร้างสรรค์ศิลปะ ใช้ วิธีการศึกษาในรูปแบบสหวิทยาการ น าเสนอผลการศึกษาในรูปแบบพรรณนาและเสนอผลงานการ สร้างสรรค์ศิลปะ ผลการศึกษาพบว่า ผู้ศึกษาพบข้อมูลของนิทานพื้นบ้านชาติพันธุ์ม้งของหมู่บ้านแม่สาใหม่และ หมู่บ้านแม่สาน้อย ต าบลโป่งแยง อ าเภอแม่ริม จังหวัดเชียงใหม่ จ านวน 9 เรื่อง แล้วท าการเลือกสรร นิทานพื้นบ้านชาติพันธุ์ม้งจากเยาวชนชุมชนม้งเป็นผู้เลือก โดยใช้หลักมนุษย์เป็นศูนย์กลาง น ามาจัด

g

กลุ่มความสัมพันธ์ของนิทานพื้นบ้านชาติพันธุ์ม้งได้ แบ่งได้ 3 ประการดังนี้ ความสัมพันธ์ระหว่าง มนุษย์กับมนุษย์ ความสัมพันธ์ระหว่างมนุษย์กับธรรมชาติ ความสัมพันธ์ระหว่างมนุษย์กับสิ่งเหนือ ธรรมชาติ จึงเลือกสรรนิทานพื้นบ้านชาติพันธุ์ม้งได้ 3 เรื่อง (จากนิทานพื้นบ้านชาติพันธุ์ม้ง 9 เรื่อง) เพื่อน ามาสู่กระบวนการการลงพื้นที่ท ากิจกรรมศิลปะร่วมกับเยาวชนชุมชนม้ง หมู่บ้านแม่สา ใหม่และหมู่บ้านแม่สาน้อย ต าบลโป่งแยง อ าเภอแม่ริม จังหวัดเชียงใหม่ จากผลของกิจกรรมผู้ศึกษา ท าการสังเคราะห์ลายเส้นของเยาวชนชุมชนม้งผนวกกับจินตนาการของผู้ศึกษา ออกมาเป็นผลงาน ศิลปะสื่อผสมอย่างมีส่วนร่วมกับเยาวชนชุมชนม้ง โดยสร้างสรรค์จากเทคนิควัสดุธรรมชาติที่อยู่ใน วิถีชีวิตชุมชนม้ง น าเสนอในรูปแบบนิทรรศการศิลปะสื่อผสม ที่มีการจัดวางศิลปะให้เยาวชน ชุมชนม้งและผู้สนใจในงานศิลปะ สามารถมีส่วนร่วมกับผลงานสร้างสรรค์ที่จัดแสดงขึ้นในครั้งนี้

ค าส าคัญ : ชาติพันธุ์ม้ง, นิทานพื้นบ้าน, ศิลปะสื่อผสมอย่างมีส่วนร่วม

h

CONTENTS

Page

Acknowledgement c

Abstract in English e

Abstract in English g

Contents i

List of Picture m

Statement of Originality in English jj

Statement of Originality in Thai kk

Chapter 1 Introduction 1 1.1 Background and rational 1 1.2 Purpose of the study 6 1.3 Education/application advantages 6 1.4 Scope of study 6 1.5 Definitions of the specific terms 7 1.6 Presentation of research results 7 Chapter 2 Literature review 9 2.1 Social and cultural history of the Hmong ethnic groups 9 2.1.1 History of Hmong ethnic groups in general 10 2.1.2 History of Hmong ethnic groups in Thailand 13 2.1.3 Hmong ethnicities and various subgroups 23

2.1.4 Cultural heritage and traditions of the Hmong ethnic groups in Thailand 25 2.2 Related concepts and theories 45 2.2.1 Art concepts in the community 41 2.2.2 Community participation concept 48 2.2.3 Concepts of mixed media art and installation art 51

i

CONTENTS (CONTINUED)

Page 2.2.4 Folklore theory 54 2.3 Research and related documents 57 2.3.1 Research 57 2.3.2 Documents and Books 66 2.4 Artists and related artwork 73 2.5 Research Concepts 88 Chapter 3 Research Method 89 3.1 Research format 89 3.2 Study of concepts, theories, documents and related research 90 3.3 The Study of Hmong Folk Tales 91 3.4 Creating a mixed media art with participation with the Hmong youth (Participatory Mixed Media Arts) 95 Chapter 4 Study of Folk Tales of the Hmong ethnic group, Pong Yaeng District, Mae Rim District, Chiang Mai Province 98 4.1 The history of Mae Sa Mai village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 99 4.2 Context of folk tales 97 4.3 Study of ethnic Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 131 4.3.1 Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 121 4.3.2 Analysis of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 140 (1) Classification of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 140

j

CONTENTS (CONTINUED)

Page (2) Analyze the living conditions of Hmong ethnicity from Hmong folk tales 152 (3) Analyze the Hmong worldview that appears in the story 170 (3.1) Relationship between Man and Man 170 (3.2) Relationship between Man and Nature 174 (3.3) Relationship between Man and Supernature 179 Chapter 5 Creating mixed media art with the participation of the Hmong youths 183 5.1 The origin of Concept and the Inspiration to create this artwork 185 5.2 Art in participation with Hmong community youth 186 5.2.1 The 1st Art in participation activity for Hmong Youth (Document) 186 5.2.2 The sketches of the Hmong youth from the 3 selected Hmong folk tales 191 5.2.3 The 2nd Art in participation activity for Hmong Youth (Participate in creating mixed media arts.) 200 5.3 Creating mixed media art with participation from youth from Hmong community (set 1-4) 213 5.3.1 Detailed Explanation of Creative Work (Part 1) Creative Set 1, Sketch of Hmong youth, acrylic paint technique on canvas frames 215 5.3.2 Detailed Explanation of Creative Work (Part 2) Creative Set 2- set 4, creative works set of the researcher that the young Hmong participate 231 5.4 Exhibition of mixed media art with participation of the Hmong youth 262 5.4.1 Dissemination of creative works through exhibition presentations 262 5.4.2 Area and publishing exhibition 262 5.4.3 Problems and obstacles in the exhibition area 265 5.4.4 Summarize the grouping from the selection of ethnic Hmong folk tales and the creation of art 267

k

CONTENTS (CONTINUED)

Page 5.5 Summarize the creation of mixed media art with participation of Hmong youth 269 Chapter 6 Summary of studies, discussion of results and recommendations 271 6.1 Study summary 272 6.2 Discussion 275 6.3 Suggestions 284

Bibliography 285

Appendices 294

Appendix A 295

Appendix B 297 Appendix C 306

Curriculum vitae 310

l

LIST OF PICTURE

Page

Picture 2.1 Hmong people in the Hmong New Year's festival 10

Picture 2.2 Striped Hmong village in the past 14

Picture 2.3 Hmong Village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 16

Picture 2.4 Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 16

Picture 2.5 Hmong girls and boys and opium plots 19

Picture 2.6 The King visited the hill tribes with M.C. Peesadech Ratchanee Among the opium flowers Hmong Village, Mae Sa Noi, Pong Yaeng, Mae Rim District, Chiang Mai Province Photo at house no.24/2 Moo 6 of Mr.Sayan Rattanadilokkun 20

Picture 2.7 The King and Queen paintings by Miss Duangnapha Fuengfu at Hmong Village, Doi Pui, Muang District, Chiang Mai Province 20

Picture 2.8 Mr.Pisut Keereethanakun or Min Hmong graduate from Chiang Rai Rajabhat University 22

Picture 2.9 Hmong handicrafts trade among Hmong Doi Pui, Mueang District, Chiang Mai Province 22

Picture 2.10 White Hmong (Hmong De) 24

Picture 2.11 The costume of blue Hmong, black Hmong, green Hmong or striped Hmong (Hmong Njua or Hmong Leng) Hmong New Year Festival, Ban Nong Hoi Mai, December 2015 24

Picture 2.12 The fireplace in the Hmong house, Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 27

m

LIST OF PICTURE (CONTINUED)

Page

Picture 2.13 The fireplace in the Hmong house, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 27

Picture 2.14 The foot-pounding mortar of Hmong people 27

Picture 2.15 The pig sty area of the house No. 24/2 Moo 6 of Mr.Sayan Rattanadilokkun 28

Picture 2.16 The chicken coop area of the house No. 24/2 Moo 6 of Mr.Sayan Rattanadilokkun 28

Picture 2.17 Outside the Hmong's residence 28

Picture 2.18 The protected door from house No. 24/2 Moo 6 of Mr.Sayan Rattanadilokkun 31

Picture 2.19 The groom wears Hmong ethnic clothes on the wedding day 31

Picture 2.20 Hmong wedding ceremony at Hmong Mae Sa Mai Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 31

Picture 2.21 The atmosphere of the wedding ceremony at Hmong village, Mae Sa Mai,Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 32

Picture 2.22 The fried rice competition of the Hmong women in the Hmong New Year event 2016, 12 villages at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 35

Picture 2.23 The atmosphere of the games of the Hmong women in the Hmong New Year event, 12 villages, 2016, at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 35

n

LIST OF PICTURE (CONTINUED)

Page

Picture 2.24 Ball throwing in the Hmong New Year's event, 12 villages, 2016 at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 35

Picture 2.25 Top games of the Hmong men and top of the Hmong New Year's event, 5 villages, 2018 at Hmong Village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 36

Picture 2.26 Hmong tricycle race and Hmong tricycle in the Hmong New Year's event, 12 villages, 2016 at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 36

Picture 2.27 Current Hmong women’s dress code in 2018 at Hmong village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 39

Picture 2.28 Current Hmong women’s dress code in 2018 at Hmong Village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 39

Picture 2.29 Current Hmong men's dress code, 2016 at Nong Hoi Mai Village,

Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 40

Picture 2.30 Current embroidered Hmong clothes in 2016 at Nong Hoi Mai Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 40

Picture 2.31 White Hmong skirt at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 40

o

LIST OF PICTURE (CONTINUED)

Page

Picture 2.32 Wax drawing (Sao Cang Jia) of the Hmong housewife 42

Picture 2.33 Dried hemp tree at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 43

Picture 2.34 Yarn from hemp fabric and woven hemp fabric at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 44

Picture 2.35 Hmong weaving machineat Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 44

Picture 2.36 Traditional wax pattern skirt, Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 45

Picture 2.37 Misha Kahn's Midden Heap FRIEDMAN BENDA. New York, 515 West 26th Street 74

Picture 2.38 Misha Kahn's Midden Heap FRIEDMAN BENDA. New York, 515 West 26th Street 75

Picture 2.39 Phasao Lao. “History, 2013–2015” Cotton fabric appliqué on cotton fabric (5 pieces) 118 × 107 cm (each) at Singapore Biennale 2016 76

Picture 2.40 Tcheu Siong. “Spirit of sky and Earth 3&4, 2016” Cotton fabric appliqué on cotton fabric 351×112 cm (each) and “Tree Spirit, 2012” Cotton fabric appliqué on cotton fabric 427×322 cm (each) at Singapore Biennale 2016 76

Picture 2.41 Clifford Possum's creative work 77

Picture 2.42 The Art of Balgo at RMIT Gallery 78

Picture 2.43 Creative work of Ainsley Mudgedell, Warlayirti Artists 78

p

LIST OF PICTURE (CONTINUED)

Page

Picture 2.44 Terra Fuller, Touria Cave Carpet, hand woven carpet, 2009 79

Picture 2.45 Terra Fuller with Boussain family and Touria Cave Carpet, hand woven carpet 80

Picture 2.46 Terra Fuller, Working on Valley of the Roses carpet, 2010 72

Picture 2.47 Terra Fuller, Tamazight Arranged Marriage Sleeping Mat, outdoors, 2010 80

Picture 2.48 Creating joint art between Hiep Nguyen and the Circle Painting project participants 81

Picture 2.49 Artwork by Hiep Nguyen and participants of Circle Painting Project 82

Picture 2.50 Exhibition of artwork of participants in the Circle Painting project 82

Picture 2.51 Temporary Insanity, 2003-2004, Pinaree Sanpitak,Techniques Silk, polyester, batteries, motors, audio equipment 83

Picture 2.52 Jakkai Siributr “Shroud” 2011, Wax hemp on rope 200x200x160 cm. 84

Picture 2.53 Jakkai with his creative work 85

Picture 2.54 Jakkai Siributr “Plunder” Installation art 85

Picture 2.55 Video media, the Queen Rama IX appreciating hill tribe fabrics at The Queen's Gallery, Bangkok 86

Picture 2.56 Mixed media art simulating the motion picture of the Queen’s Rama IX note pad 86

Picture 2.57 Inside the exhibition at The Queen's Gallery, Bangkok 86

q

LIST OF PICTURE (CONTINUED)

Page

Picture 2.58 "Writing wax fabric" and details of the work at The Queen's Gallery, Bangkok 87

Picture 2.59 Joining the workshop to make Hmong cloth pleats with mom at The Queen's Gallery, Bangkok 87

Picture 2.60 Asking for suggestions from Teacher Pornchewin Malipunte at The Queen's Gallery, Bangkok 87

Picture 4.1 Weather Map Location of Mae Sa Mai-Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 100

Picture 4.2 Jaophorluangoppathum 7 School, 2017 102

Picture 4.3 Guest house in the Mae Sa Mai-Mae Sa Noi village viewpoint, 2018 104

Picture 4.4 Mountain water supply pipes connected to the people's gardens, 2018 104

Picture 4.5 Road to Mae Sa Mai - Mae Sa Noi village, 2016 104

Picture 4.6 Church in Mae Sa Mai - Mae Sa Noi village, 2018 105

Picture 5.1 Meet the Hmong people who know about their folk tale, captured on April 7, 2017 186

Picture 5.2 Requesting the support of the director Jaophorluangoppathum 7 School to organize the 1st art 187

Picture 5.3 Event location of the 1st Art in participation activity for Hmong Youth, captured on July 13, 2017 187

r

LIST OF PICTURE (CONTINUED)

Page

Picture 5.4 The researcher advises the 1st Art in participation activity for Hmong Youth Organized the art in participation activity with Hmong youth between July 13-14, 2017 187

Picture 5.5 Hmong elder named "Kadzoo" Hmong folk storyteller Organized the art in participation activity with Hmong youth between July 13-14, 2017 188

Picture 5.6 Hmong youth are listening to their folk tales Organized the art in participation activity with Hmong youth between July 13-14, 2017 188

Picture 5.7 Hmong youth creating sketches as imagined after listening to their own folk tales Organized the art in participation activity with Hmong youth between July 13-14, 2017 188

Picture 5.8 Hmong youth creating sketches as imagined after listening to their own folk tales Organized the art in participation activity with Hmong youth between July 13-14, 2017 189

Picture 5.9 Hmong youth creating artwork according to their imagination on canvas frames with acrylic paint Organized the art in participation activity with Hmong youth between July 13-14, 2017 189

Picture 5.10 Hmong youth creating artwork according to their imagination on canvas frames with acrylic paint Organized the art in participation activity with Hmong youth between July 13-14, 2017 190

s

LIST OF PICTURE (CONTINUED)

Page

Picture 5.11 Hmong youths take pictures with the researcher after creating the artworks Organized the art in participation activity with Hmong youth on July 13, 2017 190

Picture 5.12 Hmong youths take pictures with the researcher after creating the artworks Organized the art in participation activity with Hmong youth on July 14, 2017 191

Picture 5.13 - Picture 5.16 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" 191

Picture 5.17 - Picture 5.19 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" 192

Picture 5.20 - Picture 5.22 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" 192

Picture 5.23 - Picture 5.24 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" 193

Picture 5.25 - Picture 5.27 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" 194

Picture 5.28 - Picture 5.30 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" 194

t

LIST OF PICTURE (CONTINUED)

Page

Picture 5.31 - Picture 5.33 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" 195

Picture 5.34 - Picture 5.36 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" 195

Picture 5.37 - Picture 5.38 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 196

Picture 5.39 - Picture 5.41 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 197

Picture 5.42 - Picture 5.44 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 197

Picture 5.45 - Picture 5.47 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 198

Picture 5.48 - Picture 5.50 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 198

Picture 5.51 - Picture 5.53 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 199

Picture 5.54 - Picture 5.56 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" 199

Picture 5.57 Consult with teachers Duenchai Watcharaweerakun (Academic Teacher) and Teacher Anuwat Inchai (Art Teacher) at Jaophorluangoppathum 7 School on February 20, 2018 201

u

LIST OF PICTURE (CONTINUED)

Page

Picture 5.58 - Picture 5.60 Entered the study area of natural materials in the Hmong garden on February 24, 2018 201

Picture 5.61 - Picture 5.62 Entered the study area of natural materials in the Hmong garden on February 24, 2018 202

Picture 5.63 The researcher build a 3D structure with the Hmong people on March 17, 2018 202

Picture 5.64 - Picture 5.65 The researcher build a 3D structure with the Hmong people on March 19, 2018 202

Picture 5.66 The 2nd Art in participation activity for Hmong Youth at the Viewpoint of Mae Sa Mai village Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 203

Picture 5.67 Scenery around event location of the 2nd Art in participation activity for Hmong Youth 203

Picture 5.68 - Picture 5.69 Hmong youth begin to register for activities and receive souvenirs, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 203

Picture 5.70 – Picture 5.71 The youth received a souvenir from Waan, the friend of the researcher, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 204

Picture 5.72 - Picture 5.73 The researcher advises the 2nd art in participation activity with Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 204

v

LIST OF PICTURE (CONTINUED)

Page

Picture 5.74 - Picture 5.75 Uncle Chor, the Hmong elder that brought the dry corn which involves folk tales for the youth to see, organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 204

Picture 5.76 3D structure from the line drawings of Hmong youth when listening to their folk tales, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 205

Picture 5.77 The researcher advises creating artworks with Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 205

Picture 5.78- Picture 5.80 Some natural materials that are used to create on the 3D structure, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 205

Picture 5.81 - Picture 5.83 Hmong youth start doing art activities with the researcher, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 206

Picture 5.84 - Picture 5.86 Hmong youth start doing art activities with the researcher, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 206

Picture 5.87 - Picture 5.89 Hmong youth start doing art activities with the researcher, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 207

Picture 5.90 Hmong youth having fun in art activities, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 207

w

LIST OF PICTURE (CONTINUED)

Page

Picture 5.91 - Picture 5.92 The researcher creates art with Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 208

Picture 5.93 - Picture 5.94 The researcher creates art with Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 208

Picture 5.95 - Picture 5.96 96 Recreation Activities for entertainment of Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 208

Picture 5.97 - Picture 5.98 Recreation Activities for entertainment of Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 209

Picture 5.99 - Picture 5.100 Recreation Activities for entertainment of Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 209

Picture 5.101 - Picture 5.102 Part of the artwork of the Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 209

Picture 5.103 - Picture 5.104 Part of the artwork of the Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 210

Picture 5.105 - Picture 5.106 Part of the artwork of the Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 210

x

LIST OF PICTURE (CONTINUED)

Page

Picture 5.107 Part of the artwork of the Hmong youth, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 211

Picture 5.108 Give rewards to the Hmong youth who participated in this activity, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 211

Picture 5.109 The researcher take pictures with the Hmong youth and staffs, Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 212

Picture 5.110 - Picture 5.113 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 218

Picture 5.114 - Picture 5.117 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 219

Picture 5.118 - Picture 5.121 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 219

Picture 5.122 - Picture 5.125 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 220

Picture 5.126 - Picture 5.128 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 220

y

LIST OF PICTURE (CONTINUED)

Page

Picture 5.129 - Picture 5.132 Artworks of Hmong youth, grade 5, from listening to their folk tale "Why Hmong doesn't have any letters" Size 30 x 30 cm., acrylic on canvas, 2017 221

Picture 5.133 - Picture 5.136 Artworks of Hmong youth, grade 5, from listening to their folk tale "Why Hmong doesn't have any letters" Size 30 x 30 cm., acrylic on canvas, 2017 222

Picture 5.137 - Picture 5.140 Artworks of Hmong youth, grade 5, from listening to their folk tale "Why Hmong doesn't have any letters" Size 30 x 30 cm., acrylic on canvas, 2017 223

Picture 5.141 - Picture 5.144 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm., acrylic on canvas, 2017 224

Picture 5.145 - Picture 5.148 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm., acrylic on canvas, 2017 225

Picture 5.149 - Picture 5.152 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm., acrylic on canvas, 2017 226

Picture 5.153 - Picture 5.155 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm., acrylic on canvas, 2017 227

Picture 5.156 - Picture 5.158 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm., acrylic on canvas, 2017 227

z

LIST OF PICTURE (CONTINUED)

Page

Picture 5.159 Artwork of the Hmong youth, which is the prototype of the imagination in the artwork part 2, Size 30 x 30 cm., acrylic on canvas and television screen 228

Picture 5.160 Artworks of the Hmong youth, close up view, which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm., acrylic on canvas and television screen 228

Picture 5.161 - Picture 5.162 Artworks of the Hmong youth, left view which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm., acrylic on canvas and television screen 229

Picture 5.163 - Picture 5.164 Artworks of the Hmong youth, right view which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm., acrylic on canvas and television screen 229

Picture 5.165 Teacher Anuwat Inchai and the Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 230

Picture 5.166 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 230

Picture 5.167 - Picture 5.168 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 231

Picture 5.169 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 231

aa

LIST OF PICTURE (CONTINUED)

Page

Picture 5.170 - Picture 5.171 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 232

Picture 5.172 Sketches of the Hmong youths from listening to the Hmong folk tale, "The reason why Hmong grow rice and corn"in the 1st Art in participation activity for Hmong Youth on July 13 – 14, 2017 236

Picture 5.173 Hmong youths creating mixed media arts in the 2nd Art in participation activity for Hmong Youth on March 24–25, 2018 237

Picture 5.174 The researcher creating mixed media arts with the Hmong youths in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 237

Picture 5.175 Overview of mixed media arts created by the researcher and the Hmong youths in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 238

Picture 5.176 Take pictures with the participants in this activity in the 2nd Art in participation activity for Hmong Youth on March 24–25, 2018 238

Picture 5.177 3D creative work simulation (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 239

Picture 5.178 3D creative work simulation (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 239

bb

LIST OF PICTURE (CONTINUED)

Page

Picture 5.179 - Picture 5.181 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 240

Picture 5.182 - Picture 5.183 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 240

Picture 5.184 - Picture 5.185 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 241

Picture 5.186 - Picture 5.187 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 241

Picture 5.188 - Picture 5.189 The creation of installed mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 242

Picture 5.190 The creation of installed mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 242

Picture 5.191 - Picture 5.192 The creation of installed mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 243

cc

LIST OF PICTURE (CONTINUED)

Page

Picture 5.193 - Picture 5.195 Details of the creation of mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 243

Picture 5.196 - Picture 5.197 Details of the creation of mixed media that the youths participated (Part 2) set 2"Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 244

Picture 5.198 Exhibit at the Art and Culture Center, Chiang Mai University "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 244

Picture 5.199 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 248

Picture 5.200 Sketches of the front and sides of the "Jear mor jear" work from 3D programs 248

Picture 5.201 Sketches of the front and sides of the "Jear mor jear" work from 3D programs 249

Picture 5.202 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019“IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University 249

dd

LIST OF PICTURE (CONTINUED)

Page

Picture 5.203 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University 250

Picture 5.204 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University 250

Picture 5.205 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University 251

Picture 5.206 Details of "Jear mor jear" in the “IMAGINE FROM THE HMONG'S FABLE II” exhibition 251

Picture 5.207 Details of "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition 252

Picture 5.208 - Picture 5.209 Details of "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition 252

Picture 5.210 Audience can participate in the work "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition 253

Picture 5.211 Audience can participate in the work "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition 253

ee

LIST OF PICTURE (CONTINUED)

Page

Picture 5.212 The Sketches of the Hmong youths from listening to the Hmong folk tales "Why can't people see ghosts?"in the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 257

Picture 5.213 Front and side sketches of the work "I am Kadzoo" from the 3D program 258

Picture 5.214 Side and back sketches of the work "I am Kadzoo" from the 3D program 258

Picture 5.215 Front of the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls),2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 259

Picture 5.216 Behind the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls),2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 259

Picture 5.217 Side of the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls),2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 260

ff

LIST OF PICTURE (CONTINUED)

Page

Picture 5.218 Graphic showing engagement with workpieces "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 260

Picture 5.219 Red lights, composition of works "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 261

Picture 5.220 - Picture 5.221 The audience can participate with the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 261

Picture 5.222 - Picture 5.223 The audience can participate with the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University 262

Picture 5.224 The 3rd exhibition room, floor plan of the Pre-Thesis Art Exhibition IMAGINE FROM THE HMONG'S FABLE I exhibition 263

gg

LIST OF PICTURE (CONTINUED)

Page

Picture 5.225 The 1st floor at the back, floor plan of the Thesis Art Exhibition IMAGINE FROM THE HMONG'S FABLE II exhibition 264

Picture 5.226 Showing the small space problem in the 3rd exhibition room at the Baan Tuek Art Center 266

Picture 5.227 Showing the problems of building pillars in the exhibition room at the Art and Culture Center of Chiang Mai University 266

Picture 5.228 - Picture 5.230 Showing the solution of the building pillars as part of the creative work 266

Picture 5.231 Showing the solution to the problem of the beams 267

Picture Appendix B.1 Exhibition poster “IMAGINE FROM THE HMONG'S FABLE I” 298

Picture Appendix B.2 Exhibition invitation card “IMAGINE FROM THE HMONG'S FABLE I” 298

Picture Appendix B.3 Program exhibition “IMAGINE FROM THE HMONG'S FABLE I” 299

Picture Appendix B.4 The exhibition opening picture “IMAGINE FROM THE HMONG'S FABLE I” On October 5, 2018 300

Picture Appendix B.5 Exhibition poster “IMAGINE FROM THE HMONG'S FABLE II” 301

Picture Appendix B.6 Exhibition publicity postcard “IMAGINE FROM THE HMONG'S FABLE II” 301

Picture Appendix B.7 Online program of the “IMAGINE FROM THE HMONG'S FABLE II” exhibition 302

hh

LIST OF PICTURE (CONTINUED)

Page

Picture Appendix B.8 Program exhibition “IMAGINE FROM THE HMONG'S FABLE II” 302

Picture Appendix B.9 The exhibition opening “IMAGINE FROM THE HMONG'S FABLE II” On June 21, 2019 303

Picture Appendix B.10 The exhibition opening “IMAGINE FROM THE HMONG'S FABLE II” On June 21, 2019 304

Picture Appendix B.11 chiangmaicitylife.com broadcast the exhibition “IMAGINE FROM THE HMONG'S FABLE II” https://www.chiangmaicitylife.com/citynow/social-life/live- events/imagine-from-the-hmongs-fable-ii/ 305

Picture Appendix B.12 Received a scholarship for dissertation from the National Research Fund (NRCT) and the Fund for the Promotion of Creative Arts. Statesman General Prem Tinsulanon Foundation 305

ii

STATEMENTS OF ORIGINALITY

This dissertation is a purely creative field of research, about the historical, social and culture of Hmong's community. including idea and the wisdom of Hmong's people in Chiang Mai. Also the research about Hmong’s folk tales of Ban Maesa Mai and Ban Maesa Noi in Pong-Yaeng sub- District of Mae Rim District, Chiang Mai Province, to collecting for inspiring the mixed media participation art with Hmong’s young people. The exhibition is designed to promote identity and common sense about the culture of Hmong to people who interested in the capital district of Chiang Mai Province.

jj

ข้อความแห่งการริเริ่ม

ดุษฎีนิพนธ์ในครั้งนี้มีลักษณะเป็นงานวิจัยเชิงสร้างสรรค์ ที่ศึกษาบริบทเกี่ยวกับประวัติความ เป็นมา สังคมและวัฒนธรรมของชุมชนชาวม้ง รวมทั้งแนวความคิดและภูมิปัญญาในด้านต่าง ๆ ของ ชาวม้งในจังหวัดเชียงใหม่รวมไปถึงการศึกษานิทานพื้นบ้านหรือเรื่องเล่าของชาติพันธุ์ม้ง ในชุมชน ชาวม้งที่หมู่บ้านแม่สาใหม่และหมู่บ้านแม่สาน้อย ต าบลโป่งแยง อ าเภอแม่ริม จังหวัดเชียงใหม่ แล้ว ท าการสังเคราะห์เลือกสรรนิทานพื้นบ้านชาติพันธุ์ม้งจากเยาวชนชาวม้ง มาเป็นแรงบันดาลใจในการ สร้างสรรค์ผลงานศิลปะสื่อผสมอย่างมีส่วนร่วมกับเยาวชนชุมชนม้ง น าเสนอจัดแสดงเพื่อเผยแพร่อัต ลักษณ์และกระตุ้นสร้างส านึกอัตลักษณ์ทางวัฒนธรรมชาติพันธุ์ม้งให้กับประชาชนผู้ที่สนใจในอ าเภอ เมือง จังหวัดเชียงใหม่

kk

CHAPTER 1

Introduction

1.1 Background and rational

“Hmong” is a group name of people that live in the Southwest of China, Northern Myanmar, Laos, Vietnam, Thailand, and in the West. "Hmong" is often confused with "Miao" or "Meow". The word "Hmong" means rice, shoots, weeds, and field, which means the child of the land and natives that are originally farmers. In Thailand, Hmong settled during 2390 – 2420 (Prasit Leepreecha, 2548, 10) by spreading out to various provinces. A complicated mountain range is the geographic characteristic of Chiang Mai Province. Hmong population in Chiang Mai Province is 34,741 (Highland Community in Chiang Mai, 2558). Hmong distribute most of the housing in Mae Rim by 8,186 number of people (Highland Community in Chiang Mai, 2558) The second is Mae Jaem, Muang Chiang Mai, Mae Wang, and Hod district respectively, and there are lots of ethnic population on the highland of Thailand No. 3 after Karens and Muser. Hmong groups are divided into two groups: White Hmong (Hmong De) and Striped Hmong (Hmong Njua or Mong Leng) They are classified by the different dialects spoken and by dressing as a base. Hmong have a unique identity. The use of the surnames is like Chinese. There is consistency in their relatives. Hmong love freedom and have diligence, they see value in equality and dignity of a simple life. Hmong tribes are interested in education and receive benefit from modern development, but most of them still hold on to the traditions and beliefs of the tribe. The cultural tradition of the Hmong people has a unique feature in both the ritual and new year festival; for example, throwing balls, playing tops, tricycle racing, etc. Hmong New Year Festival is a celebration of the success of agricultural production in the past year before starting the growing season in the next round. Another unique thing is the culture in the clothing and fabric production, which is different from other ethnic highland tribes apparently is the technique of writing wax on cloth including

1

the pattern on the fabric, which is meaningful and symbolic, related to the history of the Hmong people in the past. As mentioned, it is the traditional culture of Hmong that have identity and especially unique, but what’s behind those culture and traditional are folk tales which mirroring the lifestyle of the local people that inherits until becoming their local culture. Prakong Nimmanhemin (2543, 5-8) said that the word ‘tale’ is a story that inherits until it is considered a heritage of culture. These tales are called folk tales, and some called native tales. There is a specific meaning of one type of story. Most folk tales relay by oral tradition. It is a story told with ordinary words for a long period time. It does not appear who the original narrator was. It is a narration from a memory. Thawat Punnothok (2549, 3-4) said that the benefits of folk tales are to entertain listeners, educate, including guidance in living. Rattanaporn Attathamrat (2532, 39-40) classified Hmong folk tales based on the structure of the story, including the story line, characteristics, and behavior of the characters. The following forms are fairy tales, life tales, hero tales, local tales, legends, tales, explanation tales, gags etc. That is why tales are the results of imagination and human’s intelligence because human use their intelligence and imagination to create tales. When we study about the tales, we sometimes find that the tales have one origin but appear in far places. This is because humans have contact with each other. Most of the tales relay verbally that is called oral tradition or narrative. Tales are the result of imagination and intelligence of humans, so tales means story or content that are facts of a person’s experiences, thoughts or imaginations, then are taken to relay through a communication channels to other peoples in various ways; such as speaking, writing, drawing on cave walls. The story of each subject often hidden with various purposes that the narrator wants to relay to the readers or to the listeners to experience their imagination by sharing through the narrator’s vision. The story is also an important thing to indicates the lifestyle, custom, tradition, and culture, including each ethnic’s beliefs, too. The "narrative" also communicated in a symbolic instead. (Srireun Keawgangvan 2548, 19-23) points out that we humans have either meanings. When we want to express, we easily speak, act and let the listener or viewer understand and not mistaken. Humans must create a symbol to replace the meaning without taking reality to be an understanding machine and to express the meaning in heart or stimulate when

2

seeing and cause deep feelings. The clear part that appear in the narrative is the patterns on cloths that are handicrafts from imagination and knowledge of Hmong people.

The patterns on the cloths, creations of the Hmong people, came from imitating nature and from folk tales, by applying those valuable stories through the media onto the embroidered cloths and waxing cloths. Those patterns also embody the implications about the history and intelligence of the Hmong people, bringing their own lettering system to applied as patterns on the cloths to be beautiful artworks. So, in the past the antagonist will not steal them. The star patterns "Nu ku" is also a symbol of Hmong people. The star pattern used to be the pattern on their national flag before. Once Hmong people lose the war, a Hmong soldiers tried to keep the flag by wrapping around his waist. Since then, to reminisce the bravery of that soldier. The Hmong people invent star patterns on clothes by inheritance. When the technological advancement came to Hmong society, the way lifestyle of Hmong people rapidly changes by forgetting the lifestyles, customs, cultures, traditions, and beliefs since ancient times.

Prasit Leepreecha (2548, 15-25) indicates the fast changes in the lifestyle of the Hmong people. Since 2510 B.E. onwards, at first will be the era of production for self- reliant. Opium cultivation, plants and live stocks are grown for consumption and trade. Clothing is mainly from hemp weaving. It is rarely to contact with people outside the community and other ethnic groups. Later, in 2512, with the initiative of his Majesty, the establishment of a capital project to promote commercial crops to replace opium crops of highland people and build school in the village was created. Some youth have studied and studied at higher level. Some have come to study at schools within Chiang Mai and Bangkok. These youths are the pioneer for younger generations to start settle and work and trade in Chiang Mai. During 2520-2530, fabric crafting can create a good income for the Hmong people. After that, the Hmong people departed from the village into Chiang Mai more, mainly to study and trade. In addition, Prasit Leepreecha (2548, 27) explained further in the era of Hmong immigration pressured the Hmong farmers gradually make a living in Chiang Mai and other tourist attractions. Either flea market, Chatuchak Park, Pattaya and Phuket. That is because they got pressure from the area in the village that was declared to a National Park. Officers are strict to the law and arrest the villagers to punish more frequently. Since 2544 up to now, the price of lychee started to slump and the scourge of heroin and amphetamine

3

flood into the community. They quit planting opium a few years then heroin came in around the year, 2532, as for amphetamine, came in the year, 2540 causing family problems and other social problems in the community. Some people have to dodge the problems in the city, so most people with alternative careers in the city decided to leave the village after trading in the city for a while. They start to have more savings to buy a land in the plain area to build a house for their youth that came to study, too. Most youth that study gets to work in the city and end up settling in the city, instead of returning to their family’s farm. However, they return for important rituals, such as the Hmong New Year, which is an important yearly event. In addition to the above changes, there is another factor that changes the lifestyle of Hmong people especially in Chiang Mai, abandon their lifestyle, traditional beliefs because many factors that is many Hmong villagers evacuated to the plain area. There are lifestyle changes proper to plain area people. (Moore, 1963, P.2) Suggested that any changes in society or culture will happens quickly and happens regularly. These changes will not occur alone but will have an ongoing impact on both time and area. When a change happens anywhere, it can have a significant impact to everywhere. Likewise, the changes in the culture that occurred will impact people and society broadly because of the chance that a person will contact closely is more, and no one will avoid such a result. The fast changes to the culture are causing the modern Hmong to forget their community folk tales, which is unique to their own ethnic group. Therefore, it makes the researcher sees the problem that occurs, bringing the use of art as a reflection media allows the modern Hmong youth, including people on the plain area sees the social values of the folk tales behind the Hmong culture. That is why art is a communication that helps reflects the thoughts and experiences of the artist into creative works that wanted the viewers to know the content of the story through imagination creatively, to respond the feeling of the receiver. That is why artists are mediator to send narrative symbolic media represents the feeling to match the concept, by allowing the receivers to feel and experience the story in another form, such as Kara Walker, American female artist and Apichatpong Weerasethakul, Thai artist, film director, and movie script writer, that uses story or a narrative as a concept in creative works. Kara Walker, American female artists, she used her historical narratives that related to her ethnic history to create artwork to let the society know and her artwork is used as

4

a means of expressing the need for social equality. Her artwork is displayed on walls, blending reality and fiction freely. She uses her vivid imagination to make the picture complete and it is a social reflection that has happened during her age. Tales or narratives can also be taken as a concept in the movie of Mr. Apichatpong Weerasethakul in the movie. "Uncle Boonmee Who Can Recall His Past Lives" which is a film that draws from the narrative books of the abbot a temple in his hometown, Khon Kaen, which is the shooting location of his movie. The movie is a semi-style dreams, vivid fantasy. The structures are many short stories joint together. His best film won the Gold Palm award from the Cannes International Film Festival, France too. Therefore, we can see that the concepts of pulling the tales or stories to reflect by using various media, can cause the media receivers join imagination, acknowledge and get benefit with mysterious stories that passed on through the worldview of the artist.

Therefore, it is the source of the dissertation “Hmong Ethnic Folk Tales: Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province” With the interest in folk tales of the Ethnic Hmong, behind the lifestyle, culture and traditional including the unique folk wisdom, unlike any ethnic culture of people on the high areas that is worth to conserve the culture’s identity for the next generation. By offering the content through lifestyle, customs, culture and traditional of the Hmong people in the Mae Sa Mai and Mae Sa Noi, Pong Yaeng, Mae Rim, Chiang Mai. Reviewing the folk tales of the Hmong people is like reviving the meaning of those memories to live closer with people in the modern times. However, the creative research on Hmong Ethnic Folk Tales have not been found, the creative research found was to study the pattern of embroidery techniques of Hmong people, and most are social science research that collects the wax pattern techniques and how the fabric production process only. Therefore, it is the reason the researcher wants to study and create mixed media art that uses folk tales to express the meaning, by the inspiration from ethnic Hmong folk tales in Chiang Mai from the research, analyze, synthesize until gaining the knowledge of lifestyle, culture, tradition and folk wisdom to a mixed media art technique to link the understanding to the society to know about the culture of a small community and to stimulate cultural awareness with young generations. The researcher expects that if the study is completed, it will be valuable and beneficial at developing national and international fine arts.

5

1.2 Purpose of the study 1.2.1 To study the context of history, society and culture of the Hmong Community including the concept and wisdom of the Hmong people in Chiang Mai. 1.2.2 To study folk tales or stories of ethnic Hmong in the Hmong community in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng district, Mae Rim district, Chiang Mai province. 1.2.3 To create mixed media art with the participation of youth in the community relay through Hmong folk tales or stories to stimulate realization of cultural identity of the Hmong.

1.3 Education/application advantages 1.3.1 Get knowledge about the history, society and culture of Hmong including the concept and wisdom of the Hmong in Chiang Mai. 1.3.2 Get to know the folk tales or stories of ethnic Hmong in the Hmong community in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng district, Mae Rim district, Chiang Mai province. 1.3.3 Create and develop the mixed media art with the participation of youth in the community. Inspired by the imagination, tales, or folk tales of the Hmong to stimulate realization of cultural identity of the Hmong.

1.4 Scope of study 1.4.1 Scope content Contextual background study, society and culture of Hmong community including the concept and wisdom of the Hmong in Chiang Mai along with studying the folk tales or stories of ethnic Hmong in the Hmong community in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng district, Mae Rim district, Chiang Mai province. To create mixed media art with the participation of youth in the community through Hmong folk tales or stories to stimulate realization of cultural identity of the Hmong. 1.4.2 Scope area This study covers the area of Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng district, Mae Rim district, Chiang Mai province.

6

1.5 Definitions of the specific terms 1.5.1 Hmong are ethnic groups in the highlands of northern Thailand. There are two sub-groups: White Hmong (Hmong De) and Striped Hmong (Hmong Njua or Mong Leng) which divided into groups according to dresses and speeches. 1.5.2 Folk tales are the narratives of the Hmong people that inherited to teach the youth. 1.5.3 Participation art is an art form that uses audiences as part of materials that help complete the work.

1.6 Presentation of research results Presentation of research results. There are titles in each chapter as follows

Chapter 1 Introduction This chapter presents the origins and importance of the study of research objectives, the benefits of research, scope of research, and terminology used in this study.

Chapter 2 Concept, theory, and review of relevant literature This chapter presents the results of the literature study and literature review. To study status, knowledge of history, lifestyle, culture, and traditions of ethnic groups in the highlands, concepts, and theories as well as related documents and research.

Chapter 3 Research Method This chapter presents the research process and techniques used in this study which contains research patterns, sources and samples, tools used to gather information, the collection of data, analysis and interpretation, as well as the creation of mixed media arts that youth participate in. To preserve and preserve cultural identities and present research results.

Chapter 4 Community and Folk Tales of the Hmong ethnic group in Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng District, Mae Rim District, Chiang Mai Province This chapter is about history, society, and culture in the Hmong community of Mae Sa Mai and Mae Sa Noi village, Pong Yaeng District, Mae Rim District, Chiang Mai Province. Including folk tales of ethnic Hmong in Chiang Mai. Both in history and art

7

history. Analyze to obtain knowledge about the worldview along with the value of folk tales and related semantics.

Chapter 5 Creating mixed media art with the participation of the youths This chapter presents the process of creating a mixed media art using the worldviews, stories, or folk tales of the Hmong ethnic group, as a result of the previous chapter's study to be an inspiration and how to create mixed media art with participation of youth volunteers in the community to stimulate realization of cultural identity of the Hmong.

Chapter 6 Conclusions, Discussion, Results, and Recommendations This chapter summarizes the results of the study and discuss the findings and recommendations.

8

CHAPTER 2

Literature review

This chapter presents the results of the literature study and literature review. To study status, knowledge of history, lifestyle, culture and traditions of ethnic groups in the highlands, concepts and theories as well as related documents, research and artworks related to this study, which consists of the following topics. 2.1. Social and cultural history of the Hmong ethnic groups 2.1.1 History of Hmong ethnic groups in general 2.1.2 History of Hmong ethnic groups in Thailand 2.1.3 Hmong ethnicities and various subgroups 2.1.4 Cultural heritage and traditions of the Hmong ethnic groups in Thailand 2.1.4.1 Residence 2.1.4.2. Rituals and beliefs 2.1.4.3. Important traditions of the year 2.1.4.4 Fabrics and outfits 2.2 Related concepts and theories 2.2.1 Art concepts in the community 2.2.2 Community participation concept 2.2.3 Concepts of mixed media art and installation art 2.2.4 Folklore theory 2.3 Research and related documents 2.3.1 Research 2.3.2 Documents and Books 2.4 Artists and related artwork 2.4.1 Misha Kahn 2.4.2 PHASAO and TCHEU Siong (Lao) 2.4.3 Clifford Possum Tjapaltjarri and Warlayirti Artists

9

2.4.4 Terra Fuller 2.4.5 Participatory Circle Painting featuring artist Hiep Nguyen 2.4.6 Pinaree Sanpitak 2.4.7 Jakkai Siributr 2.4.8 Exhibition from mountains to arts and crafts 2.5 Research Concepts

Details as follows

2.1 Social and cultural history of the Hmong ethnic groups

2.1.1 History of Hmong ethnic groups in general

Hmong (Hmoob/Moob)1 has an ancient origin that Hmong people live in cold regions. It is assumed that the Hmong people would migrate from the Tibetan, Siberian and Mongolian highlands into China and settle in the Yellow River (Huangho) some 3000 years ago (Siriwan Sukpanich, 1985, 102).

Picture 2.1 Hmong people in the Hmong New Year's festival (Source : Miss Piyachat Udomsri)

1 The Hmong words here use the RPA (Romanized Popular Alphabet) writing system, which was created by a group of Western missionaries who spread their religion with the Hmong in Laos in 1953.

10

“Hmong” is a group name of people that live in the Southwest of China, Northern Myanmar, Laos, Vietnam, Thailand, and in the West. "Hmong" is often confused with "Miao" or "Meow". The word "Hmong" means rice, shoots, weeds and field, which means the child of the land and natives that are originally farmers. But later it was used in the form of ethnic insults by binding to the cry of the cat and symbolizing poverty. The Hmong are a group of people belonging to the Chinese family (Main Chinese), like the Mien and the Chinese Haw. There is a lot of living in China for the settlements and population distribution of the Hmong people in China that has a population of almost 7.4 million people. Satian Chunta (2006, page 1), most of them live in Quzhou province 4.34 million people. (Satian Chunta, 2006, page 1) and spread in Hunan, Sichuan, Guangxi, Hubei, some groups are deep in Mongolia, Xinjiang and Beijing Chinese history states that the Hmong people, about 2700 BC, Satian Chunta (2006, page 2). The Hmong people are ethnic groups living in the Yellow River and the Yangtze River Valley and later migrated to live at the 5 streams during the year 220 BC. Nowadays, it is a district located in the west of Hunan, bordering the eastern part of China's Guizhou province. Only in Yunnan Province, a group called Hmong is divided into 7 subgroups: Hmoob Dawb, Hmoob Peg, Hmong Swb, Hmoob Peg, Hmoob Xauv, Hmoob Sua, Hmoob Pua, each of these names has a place of residence and the names of his past leaders, and describes the struggle of the Hmong and the elder brothers, an ancient Chinese people. Take turns, lose. Take turns, win. The policy is used to oppress the Hmong. The Hmong people fought and rebel. Sometime later, the Hmong defeated and forced to accept Chinese culture. Therefore, causing the Hmong people to not accept being under the dominance of such culture brought together to migrate south to Indochina. The migration of Hmong to Southeast Asia began in the early 19th century, the Qing dynasty (Qing: 1644-1911) or the Manchu dynasty, which is the last Chinese dynasty, by migrating down to the mountainous regions of northern Laos, Vietnam, Thailand and Myanmar. There are also Hmong people who migrated after the Vietnam War in the West, such as the United States, Australia, Canada, New Zealand and France. The spread of the Hmong to countries all over the world later came after the victory of the Communist Party and the takeover of Laos in 1975, causing the Hmong in Laos, who had fought with the

11

CIA soldiers side by side to fight against the Communists, became temporary immigrants in Thailand. Then there is an immigration to settle in the third country which are the United States of America, Canada, France, Australia, Germany and Argentina, Satian Chunta (2006, page 3).

Currently, the Hmong population is distributed in various countries around the world, about 10 million people, in descending order as follows, China 7,398,035 people, Vietnam 787,604 people, Laos 315,465 people, United States 160,000 people, Thailand 153,955 people, Myanmar 25,000 people, France 10,000 people, Australia 1,600 people, France 1,400 people, Canada 600 people, Argentina 500 people, Germany 150 people and New Zealand 100 people. Nowadays, there is a continuous growth of statistics. Prasit Leepreecha and Apai Vanitpradit (2009, page 32).

There are 3 main assumptions about the origins of the Hmong: First, a French Roman Catholic priest named Savina assumed that the Hmong were born in northern China. The story is tied to the legend of the Hmong people who tell that their ancestors used to live in the cold and snow-covered land. In the daytime, the sun can be seen for only 6 months. After that, they migrated to Mongolia, down south of China into the border between China, Vietnam, Laos, Thailand and Myanmar today. Besides that, an American scholar named Quincy also supports this idea by referring to the physical characteristics of the Hmong people, with some having white skin, white hair and blue eyes like Europeans. The second concept belongs to a group of Hmong people who were living in Ban Winai evacuation center in Loei province with the assumption similar to the first concept that Hmong people are native to Mongolia, China, based on the legend that is influenced by China and Laos with the synonyms of the names like Xeem Xais, Hmoob/Moob and "Mongolia" (Muam Nkauj Liag), as well as the cultural similarities of the Hmong and the Mongolians, such as horse riding and archery expertise. Therefore, believe that the Hmong are Mongolians. This concept has been published alongside the writing system "Phaj Hauj" created by Yaj Sooblwj in Laos (Bertrais1985). The third concept is based on Chinese historical evidence combined with the lifestyle and stories in the Hmong society. It is not clear where the Hmong originated, but it is believed that the ancestors of the Hmong migrated from the eastern coast of China

12

near the Yellow Sea (Pas Daj) around 2500 BC then gradually moved to the Huang Ho River or the Yellow River (Dej Dag) into the area that is now the central region in China. When confronted with the Mongol tribe that migrated down from the Yellow River. The Hmong ancestors then migrated southwest into the flatlands of the Yellow River and the Yangtze River. Later, when the Chinese invaded the land, the ancestors of the Hmong people migrated into the land that is currently inhabited. However, there are some cultural evidence of the Hmong people supporting these concepts such as proverbs and aphorisms about the Yellow River including the spiral lace fabric, which is assumed to be near the sea before, with two cross-section lines on the skirt pattern of the Hmong Peg women, which have the meaning of the Huang Ho River (Yellow River) and the Yangtze River Etc. Prasit Leepreecha and Apai Vanitpradit (2009, 26-27)

2.1.2 History of Hmong ethnic groups in Thailand

From what Prasit Leepreecha (2007, 10), spoke about the migration of Hmong people entering Thailand, it is assumed that the first group of ancestors of the Hmong people may have migrate across the Mekong River to Thailand during the Buddhist decade 2390 - 2420, during the same period as the Chinese government troops were sent to suppress Muslim minority forces and others who live in the area that is currently Guizhou province and Yunnan province of China. Due to the state imposing expensive tax measures, causing minority groups in this area to stand up against. During this period, the French and British colonists took possession and established the border lines in this region. Therefore, evacuating the war from China and finding a living area was not well known among the Hmong ancestors of those days that they had crossed the border of the nation or country to country. But use geographic location names to determine, such as Red River, Green River, Namtha, Phu Sang, Hun City, Hongsa City, Mekong River, Doi Pha Mon, Phu Chi Fa, Phu Wae, Phu Langa, Doi Chang, Doi Ang Khang, etc. After the Hmong people settled in, the country borders were established, which can be observed from the high peaks near the Hmong communities, are often called Doi

13

Farang (France) National flag embroidery (Fuablab tsa ntoo) or Doi England (Roob Kuabluab) 2etc.

Picture 2.2 Striped Hmong village in the past (Source : The six hill tribe book, Paul and Elaine Lewis)

Hmong groups are divided into two groups: White Hmong (Hmong De), Blue Hmong, Black Hmong and Green Hmong or Striped Hmong (Hmong Njua or Hmong Leng) They are classified by dressing the different dialects spoken. The distribution of the Hmong population in Thailand is approximately 153,955 people sort from large to small number as follows, Tak Province 32,087 people, Chiang Rai Province 30,517 people, Nan Province 25,058 people, Chiang Mai Province 24,895 people, Phetchabun Province 14,658 people, Phitsanulok Province 6,900 people, Phayao province 7 ,94 5 people, Mae Hong Son province 3 ,893 people, Kamphaeng Phet Province 3,120 people, Phrae Province 2,419 people, Lampang Province 983 people, Loei Province 917 people, and Sukhothai Province 563 people (Highland Community in Thailand, 2003)

The migration to establish communities in the Lanna region of the first generation of Hmong people is likely to occur during 1847-1877. At that time, Lanna was not a part of Siam or Thailand. For the main reason is to pioneer new arable land, especially opium cultivation and sale to the French and British colonists

2 Kuabluab is a word to call British people. People in the north of Thailand use the word "Kula".

14

with the Siam and Chinese governments of that era. The ancestors of the Hmong people migrated across the Mekong River to the Lanna region, which is currently north of Thailand, on 3 routes. The first route, after crossing the Mekong River traveled to settle in Doi Phu Wae in Nan Province and the area of Phu Lanka in Phayao Province at present, then the group spread to Doi Khun Sathan In the area of contact in Nan and Phrae provinces, Doi Chang and Doi Ang Khang in Chiang Rai Province, Phu Hin Rong Kla and Khao Kho in Phetchabun Province and go as far as Doi Lan Sang and Doi Rahaeng in Tak. The second route, across the Mekong River passing Doi Pha Mon and Doi Yao with the plains between Chiang Khong, Chiang Saen and Chiang Rai crossing over to Doi Chang, then some up to Doi Ang Khang in Chiang Mai, some have crossed over to the Myanmar side and then return after about 80 years, some migrated from Doi Chang to Doi Suthep and Doi Inthanon in Chiang Mai. The third route, a group of Hmong people have migrated across the Mekong River north of the Golden Triangle and settled in Myanmar until the war between the Myanmar government and ethnic minorities, then migrated to the Thai border near Doi Khun Hua Mae Kham, Mae Fah Luang District, Chiang Rai Province in the early 1977. Prasit Leepreecha and Apai Vanitpradit (2009, 30- 31).

The two main reasons that made the Hmong chose to live in the high mountain communities in that era. Firstly, in the past, the Hmong people received the culture of opium growing and using opium from China brought by the western colonies. Causing to choose the topographical conditions, natural resources and cold highland climates which is suitable for opium cultivation. Especially at that time, opium is a valuable product, with merchants coming to buy and can also be exchanged for cash or goods such as rice, salt, clothing, as well as general medicines. Secondly, in the era of immigration, there were many serious contagious diseases, such as smallpox, chicken pox and malaria, which the villagers often described because of the ghost of the rice fields, so they try to avoid getting into the city if not necessary.

From the history, the Hmong people are ethnic groups who originally lived in the plains of the Yellow River and had to migrate up the hill because they were usurped for farming and slaughtered by the Chinese, had to adjust the lifestyle to farming instead, suitable for bringing opium to be distributed in China by the

15

Western colonies, causing the Hmong and other highland ethnic groups receive opium for cultivation to sell to opium addict in the city. When having to evacuate to southern China into Vietnam, Laos, and Thailand, they established the community on the highland that is suitable for opium cultivation. But after opium was declared illegal, measures to promote opium substitution, including development in various areas that open the door to more external societies, causing the Hmong people in various communities on the high mountains to head into the city or flatland again.

Picture 2.3 Hmong Village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source : Miss Piyachat Udomsri)

Picture 2.4 Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

16

Most of the Hmong people will head to Chiang Mai, which is the main tourist province in the north. These Hmong people mainly come down to the flatland to trade and study. Some groups settle down to build a family on the flatland. Hmong people set up villages spread throughout Chiang Mai with a total population of 34,741 people (Highland Communities, 2015). By setting up a village covering 13 districts, Mae Rim 9 home groups, namely Ban Huay Tao Ru, Ban Mae Khi, Ban Nong Hoi Kao, Ban Nong Hoi Mai, Ban Mae Sa Mai, Ban Buak Chan, Ban Buak Tey, Ban Pha Nok Kok, and Ban Mae Sa Noi, 8,186 people. Mae Chaem 8 home groups, namely Ban Mae Chorn, Ban Mae Sawa, Ban Huai Hoi, Ban Khun Mae Wak, Ban Pang Ma O, Ban Pang Ung, Ban Hong Tai and Ban Pa Kia, 6,344 people. Mueang Chiang Mai 2 home groups, namely Ban Doi Pui and Ban Khun Chang Khian, 3,034 people. Mae Wang 8 home groups, namely Ban Khun Wang, Ban Jed Lang, Ban Mon Ya Nuea, Ban Mon Ya Mai, Ban Huay Yen, Ban Mon Ya Klang, Ban Pa Phai and Ban Mon Ya Tai, 2 ,929 people. Hot District 3 home groups, namely Ban Mae Tho (in front of the school), Ban San Bor Lek and Ban Hmong Doi Kham, 2,674 people. Chom Thong 4 home groups, namely Ban Khun Klang Nuea, Ban Khun Klang Tai, Ban Mae Jon and Ban Mae Ya Noi, 2 ,620 people. Samoeng 2 home groups, namely Ban Huai Nam Jang and Ban Pa Kia Nai, 2 ,118 people. Chiang Dao 3 home groups, namely Ban Huay Luek, Ban Mae Pam Nok and Ban San Pa Kia, 1 ,856 people. Hang Dong 1 home group, Bam Nam Sum, 1,844 people. Kalayaniwattana 3 home groups, namely Ban Dong Sam Muen, Ban Mae Tala Mong, Ban Mae Tala Mai, 1 ,580 people. Mae Taeng 3 home groups, namely Ban Pha Pu Chom, Ban Mon Ngo and Ban Kio Pa Hop, 990 people. Omkoi 1 home group that is Ban Mae Thoei, a total of 407 people. Phrao 1 home group that is Ban Pa Tung 159 people and 12 districts without Hmong people, namely Doi Saket District, San Sai District, San Kamphaeng District, Saraphi District, San Pa Tong District, Fang District, Mae Ai District, Doi Tao District, Wiang Haeng District, Chai Prakan District, Mae On District, and Doi Lo District.

Since 1967, the Hmong have undergone rapid changes in their lifestyle. Initially, it was the era of self-reliant production, the era of plants cultivation for commerce and the era of tourism and handicrafts until the era of immigration for employment and trading as it is today, with the details in each era as follows.

17

The Hmong lifestyle before 1967 in the era of self-reliant economy, Prasit Leepreecha (2005, 15) It is a self-reliant production. There are 3 types of crops which are rice for household consumption, corn for animals or people to consume in shortage and opium for medicine and trading as income. As for chickens, pigs, cows, buffalos, horses, and donkeys are food and used to perform rituals and carrying items, which is an era that relies on plants and animals. Garments are mainly made from hemp weaving, in the rainy season of each year; each housekeeper must plant at least 1 hemp tree per plot. When fully grown they are cut, dried and peeled to make yarn, before being woven for sewing into clothes for the family, making bags for agricultural products and household goods. Contacting with people outside the community and other ethnic groups before 1957 was very rare. The emergence of epidemics, contagious diseases, smallpox, chicken pox and malaria, theft and hijacking by lowland people and other ethnic groups, including extortions from government officials, are all reasons why Hmong people do not contact with the outside world if it is not really necessary, but there are Chinese Haw merchants selling goods in exchange for opium, the Hmong walk down only once a year, it is primarily a duty of men. The migration to the Lanna land of the Hmong and other ethnic groups comes with the culture of opium cultivation. Causing the Thai government of that time to promote opium cultivation of highlanders in order to plant to feed people in the country instead of importing colonial countries together with the Thai military and police, some used the opium income as a base for politics and the issuance of opium permits throughout the Kingdom has caused a lot of social problems. Afterwards, Field Marshal Sarit Thanarat had to announce the Revolutionary Council No. 37, dated 9 December 1958, prohibiting the use and opium trading throughout the kingdom. In the early 1967, there was a royal project of His Majesty the King as a project to promote crop cultivation to replace opium cultivation of the people on the mountain and build a school in the village. After that, in 1969, a royal initiative was established for the Royal Project.

18

Picture 2.5 Hmong girls and boys and opium plots (Source : Postcards produced by Makmai House, Bangkok picture by Pinit Srimuangkao)

Prasit Leepreecha (2005, 22) also said that the era of commercial crops The Royal Project began in 1969 with economic and social development activities, with the goal of eradicating all opium growing, and seizing this initiative as a way to promote opium substitution to the villagers. The main crops promoted by the villagers in the earliest days were coffee, lychee, potatoes, red beans, carrots, cabbage, corn, strawberries. Since 1981, most villagers have chosen to grow lychee mainly because it is a plant that has long-term and significant implications to prevent competition from the park as well. Ever since the area of the village and land has been declared a national park, officials began to have more legal measures to arrest villagers, causing villagers to turn to other occupations that do not involve the use of the area, especially the sale of souvenirs to tourists. Nonetheless, there are still villagers who smuggled opium for self-smoking in the elderly and the opium traders came to contact with villagers until the beginning of the decade 1987, opium cultivation has ceased. In this era, some youths have studied and furthered in higher education, some groups became teachers in the village and graduated in agriculture to work in various high-rise development projects in the city of Chiang Mai and Bangkok in the year 1982. The seniors that are going to study in the city has a great part in opening the path for the juniors to follow, especially those who have settled and work in Chiang Mai and become a shelter for the next juniors.

19

Picture 2.6 The King visited the hill tribes with M.C. Peesadech Ratchanee Among the opium flowers Hmong Village, Mae Sa Noi, Pong Yaeng, Mae Rim District, Chiang Mai Province Photo at house no.24/2 Moo 6 of Mr.Sayan Rattanadilokkun (Source : Miss Piyachat Udomsri)

Picture 2.7 The King and Queen paintings by Miss Duangnapha Fuengfu At Hmong Village, Doi Pui, Muang District, Chiang Mai Province (Source : Miss Piyachat Udomsri)

20

Tourism and Handicraft Era. After the Hmong relatives entered the tourism business in the early 1967 onwards. The villagers began to awake and learn by example. Beginning around the end of 1967, they came to learn to trade in the Night Bazaar market and other tourist attractions in the city by selling household goods and accessories purchased from wholesale merchants in the Lamyai market in Chiang Mai. The external situation that caused the Hmong people to enter the business of selling souvenirs to more tourists is the Hmong community migrating from Laos to the evacuation centers in Ban Winai in Loei Province, Ban Nam Yao in Nan Province and Ban Kae Province. Phayao produces handicrafts for sale. Merchants in Chiang Mai traveled to get to sell to tourists, which sell very well in 1977 - 1987 Prasit Leepreecha (2005, 25) With the gift selling profession, the Hmong people leave the village to Chiang Mai more. Some villagers who do not come to sell in the city, sell souvenirs and agricultural products to tourists who come to stay in the community. In which the capitalist went into establishing these tourist accommodations. As for the education of the new generation of youth in the village, there is more and higher, respectively, because the parents begin to encounter problems in raising the family from announcement of the park boundaries over arable areas and establishing high-order community organization and conservation of natural resources, causing problems with their livelihood, they began to turn more interested in sending children to school, both men and women. Therefore, the number of Hmong youth in villages that have finished primary, secondary, went to study in higher education institutions and higher in the city. Especially in Chiang Mai, there are student dormitories, hill tribes and the Ruam Jai House project for these young people come to live in and Study in general education institutions.

21

Picture 2.8 Mr.Pisut Keereethanakun or Min Hmong graduate from Chiang Rai Rajabhat University (Source: http://www.dek-d.com/admission/32444/. Researched on June 30, 2017)

Picture 2.9 Hmong handicrafts trade among Hmong Doi Pui, Mueang District, Chiang Mai Province (Source : Miss Piyachat Udomsri)

Immigration era. The pressure that caused the Hmong farmers to make a living in Chiang Mai and other tourist destinations, including Chatuchak Weekend Market, Pattaya, Phuket, was because, firstly, received pressure from the arable

22

land in a limited village declared as a national park. Officials are strict with the law and arrest villagers to punish more often. Secondly, the prices of lychee products begin to decrease since 2001, and finally, the outbreak of heroin and amphetamine drugs spilling into the community. Heroin came in about 1989. After a few years of opium being discontinued, the amphetamines came in 1997, causing many family problems and other social problems in the community. Some people had to dodge the problems to stay in the city. Therefore, mostly, people have the means to pursue alternative careers in the city, so they decide to leave the village after trading in the city for a while. They began to have enough money to buy land in the flat area to build a guesthouse, and an accommodation for the children who come to study as well. Most of the young people who come to study are working in the city. These young people have started to settle down in the city instead of going to farming and gardening in the village of their parents. However, the new generation still perform important rituals together with their parents in the village, except those who changed to Christianity.

In the overall above, the main reason that the pioneering Hmong people began to enter Chiang Mai city are 3 things which are education, religion and trading. Even though the group that shows at the Chiang Mai Cultural Center has the characteristics of being an employee, the main goal of the Hmong people is sell souvenirs to tourists and their children go to school in the city.

2.1.3 Hmong ethnicities and various subgroups

There are 2 sub-groups of Hmong: white Hmong (Hmong De) and blue Hmong, black Hmong, green or striped Hmong (Hmong Njua or Hmong Leng) The differences of these 2 groups are costumes, especially the skirts of women. In other words, in important tribal traditions, white Hmong women wear white skirts. While the blue Hmong women wear colorful skirts that are hand-embroidered with beautiful patterns, including blue, red, black, and so on, and sometimes outsiders from other races call them striped Hmong or Hmong Dok as well. The language of the Hmong people in both groups are slightly different, especially the spoken accent.

23

Picture 2.10 White Hmong (Hmong De) (Source: Tribal cloth books, Department of Public Welfare, Ministry of Labor and Social Welfare, page 53)

Picture 2.11 The costume of blue Hmong, black Hmong, green Hmong or striped Hmong (Hmong Njua or Hmong Leng) Hmong New Year Festival, Ban Nong Hoi Mai, December 2015 (Source: Miss Piyachat Udomsri)

24

2.1.4 Cultural heritage and traditions of the Hmong ethnic groups in Thailand Highland ethnic groups have their own cultural heritage and traditions. Which clearly shows the ethnic identity inherited from ancestors. Including important lifestyle and social characteristics as mentioned in the following verse. 2.1.4.1 Residence 2.1.4.2 Rituals and beliefs 2.1.4.3 Important traditions of the Year 2.1.4.4 Fabrics and outfits

2.3.2.1 Residence Hmong people like to set up villages on high mountains. The housing will set houses around 1000-1400 meters above sea level. Choose a location to hide down from the top of the mountain to provide shelter for wind and rainstorms. If the location is within the circle of two or three peaks, the better. Before settling down in a favorable location Hmong will ask a lot of questions, for example, that if this location is good, why doesn't anyone set up a village here before? Will the distance from the village to the farm be set far enough for the pet not to invade or steal the vegetation to damage? Will there be enough land for farming? If there are relatives requesting to relocate to join the village again and will there be an area suitable for use as a cemetery? The Hmong villages do not have their own specific layout, but they are often set to form a horseshoe. Every house facing out the mountains and must not build overlapping houses. Because they were afraid that it would be in the way of the ghost that must go straight in and out of the door. Hmong villages consist of groups of several houses, each patch will have around 7 -8 houses, with a large house of important people in the middle. Surrounded by the houses of the followers or descendants, because each patch is usually referred to as a family group, each family, or family groups that migrated to join the village at the same period (Siriwan Sukpanit, 1986, 120).

Hmong people choose location to build house carefully and must be a place where the ancestors see it well, not protesting the family members to choose what they see fit and perform the ritual offerings of the grandparents by burning the money to wait to see if there is any sign of disaster or not. If there is not, then will

25

clear the area, dig and fill the soil to the lowest level possible. As for the folk, they will water it and then jab the soil as hard as cement. After that, the building materials must be collected and ready. Men go to forest to cut down trees to make pillars, which, if possible, use hardwood that termites do not eat, such as teak. If there are abundant trees, they will also cut down and saw the walls. Hmong with good standing usually hire Thai people or Karen to saw the wood. If the wood is hard to find, use bamboo to make the wall instead. The roof is thatched from rattan leaves or wooden tiles as can be found. When it is an auspicious time, they will tell the neighbors to build a house which must be completed in one day. After successfully lifting the main pole, the landlord must declare, "I will be here, from now on, all the evil spirits must be avoided." He will build a fireplace and lift the altar or temporary shrine first and then finish building the rest of the house. Once completed, managed to pay respects to the ancestors' shrine, with chicken and hen and performed the ancestral spirits and the spirits of the household spirits to be enshrined in the shrine. Aside from the shrine, He also had to use chicken and hen to sacrifice to the spirits to protect pets and plants in the field, bring fortune to the house. He will hang a wooden sword over the entrance to prevent the devil from entering the house, too. The main hall in the Hmong house, which is used as a place to eat, play and relax for the family, is spacious. The remaining corners are divided into bedrooms. There is an attic to store seeds and tools, which must use the ladders. The items that are kept in the attic are dry, no cockroaches and rats to disturb because of the heat from the sun and smoke from the stove underneath. But it will be all black with soot stains. Most of the striped Hmong house have a single door in the middle of the house on one side which opens to down the hill. Hmong people often have side doors that are used to go in and out most of the time. They will use the front door at the ceremony only. The shrine is close to the sky opposite the front door. Fireplace in the house is divided into 2 large stoves in the middle of the house that are used for cooking food. Setting up a teapot in the evening conversation, must keep the fire to burn. Another stove shirks to the back of the house to cook pork rice and help strengthen the power when having a big party. The foot-pounding mortar is another home appliance that is indispensable to the Hmong people (Siriwan Sukpanich, 1986, 122).

26

Picture 2.12 The fireplace in the Hmong house, Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.13 The fireplace in the Hmong house, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.14 The foot-pounding mortar of Hmong people (Source: Miss Piyachat Udomsri)

27

Picture 2.15 The pig sty area of the house No. 24/2 Moo 6 of Mr.Sayan Rattanadilokkun (Source: Miss Piyachat Udomsri)

Picture 2.16 The chicken coop area of the house No. 24/2 Moo 6 of Mr.Sayan Rattanadilokkun (Source: Miss Piyachat Udomsri)

Picture 2.17 Outside the Hmong's residence (Source: Miss Piyachat Udomsri)

28

2.1.4.2 Rituals and beliefs

Since birth until after death, Hmong people will have important rituals and traditions, which are organized for many people, starting from the ritual of giving birth to a newborn child. It is a ceremony that the Hmong people believe that each person has a personal identity. The baby's parents will ask an adult to give a name and name the newborn baby. After that, let the sacred things in the house know that this house has a new member, to help protect babies from various diseases as well, then the comforting ceremony to expand the morale of the Hmong belief that each person has a morale when people face something that frightens or terrifies. Shocked may cause the morale from the body. After that, Ua Neeb or Necromancy is a ritual of the Hmong people, the ritual or doctor Neeb can enter the communication between the human world and the spirit world. The aim is to treat the illness, especially the bringing of morale back into the body of the sick person, but sometimes Ua Neeb is made to diagnose the illness by itself. When a child is sick, a ceremony for adoptive parents is held, as a ritual that is believed to be able to help treat illnesses of children, especially children or adolescents who suffer from unhealthy medical problems.

Once reaching adulthood, Hmong people then have a wedding ceremony. The wedding ceremony of the Hmong people has 2 main principles as follows: 1. Formal marriage 2. Elope marriage. The essence of the Hmong's wedding ceremony is not only the connection between the relatives of both parties, and the family clan together as a relative. It is also an important step in telling the sacred things of both houses, in which the bride is severed from the relationship with the household ghost of her parents to be under the protection of the household ghost of the man's house instead. After marrying, having a first child, the Hmong people are considered a complete family and their father is an adult. At this time, the Hmong people will have a ceremony to name for the new father. By giving the right to the wife and the relatives of the wife to give the name, because the wife is an important supporter. The tradition must invite father-in-law and mother-in-law to give a new name for their son-in-law. The next ritual is the ceremony of drinking and increasing

29

fortune. It is a ritual for the head of the family to have an illness or an uneasy feeling. This ritual is performed for 3 years. The main step of the ritual is that the participants are invited to sit at the dinner table to drink and blessing to increase luck or fortune.

When it comes to death or funeral ceremonies. According to the rituals of the Hmong, they have to ask for help or labor from people with expertise in various fields to help perform various duties, most of them are outsiders or close relatives who share the same spirit. The ritual process begins with changing the costume of the body. Which is necessary to have clothes and shoes that are mainly made from hemp fiber. Another important thing in the Hmong funeral is the participation of relatives involved in the kinship system to help support the event and encouraging the host as well as checking the completion of the ritual. Next is the ceremony to release the souls of the dead, with the main goal of reincarnating the soul, which is also meant to cleanse or releasing the chains and other bonding while alive, so that the spirits of the dead can travel to the world of the dead and be reborn easily and it is also a ritual to dissolve the mourning between the dead and the living. After the funeral, liberation ceremony for the soul. Next, the Hmong people have a ceremony to worship the spirits of their parents with cows. In this ritual, every son has a duty to worship the spirits of the parents by using cows to worship the soul. The entire ritual process will take about half a day.

Afterward, when the Hmong people have vowed to the gods of the sky to help protect them to survive when traveling and escape from various dangers. The Hmong people therefore have a ceremony to repay the ancestors to repay the ancestors. This ritual does not allow women to participate in the ceremony. Next is the worship of the sacred things of the village. It is a ceremony that the Hmong people believe that there are deities or sacred objects at various points of the house such as small fireplace door, large fireplace, pillars of the house, bedroom, worship shelf. However, the door deity is considered an important deity. Because they must protect the evil that harasses people in the house to cause illness and damage to plants and pets as well.

30

Picture 2.18 The protected door from house No. 24/2 Moo 6 of Mr.Sayan Rattanadilokkun (Source: Miss Piyachat Udomsri)

Picture 2.19 The groom wears Hmong ethnic clothes on the wedding day (Source: Miss Piyachat Udomsri)

Picture 2.20 Hmong wedding ceremony at Hmong Mae Sa Mai Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

31

Picture 2.21 The atmosphere of the wedding ceremony at Hmong village, Mae Sa Mai Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

2.1.4.3 Important traditions of the year In a year, the Hmong people have many traditions related to belief systems, producing fun, and meeting close relatives in the following kinship systems.

Hmong New Year Festival is Held around December to January in the system. However, the duration of the New Year festival is only 3 days, but the celebration or games may be longer. Depending on how big or small the community is, in principle The New Year Festival is an opportunity to celebrate the success of agricultural production in the past year. Before the beginning of the next production season, so the activities organized in the Hmong New Year festival can be divided into 2 types: ritual and games.

Ritual in the new year festival According to the order of time and the process of preparing for the New Year, the Hmong have the main rituals that must be performed. 11 rituals

Comforting ceremony, on the New Year's Eve evening, each household must perform a comforting ceremony. This ceremony covers the morale of every member in the house, morale of cereal crops grown on rice fields, including money that left the house to return to join in celebrating the success of the year together at home. In the group of white Hmong, there are ceremonies to exorcise or purify on the evening of New Year's Eve. Before the ceremony, each household had to make a call and sweep away the evil things in their house. The ritual will recite the poem or remove the guilt in

32

order to sweep away all the evil from the members who enter. Next is the Ua Neeb ceremony. The New Year's Eve will need to change the shelf with new materials and clean the ceremony equipment. In order to let the gods or soldiers help to travel and relax and celebrate the new year in the sky. After the celebration of the New Year is complete, doctor Neeb will perform the ceremony again. In order to receive those gods back to the shrine in the house, believing that they would travel from the sky down along the fabric and hemp fibers. Before eating dinner on New Year's Eve night, Hmong people will have ancestors and sacred worship ceremonies by inviting the deceased ancestors to drink to as a thanks for protecting family members throughout the year, as well as asking to help bring prosperity and help protect family members in the new year. As for the Tsukang Devotional Ceremony, they also performed a ceremonial ceremony to pay tribute to the Tsukang paper money in exchange for the protection of people, money, plants, and pets in the past year.

The Hmong people believe that even though ancestors have passed away, the spirits of each ancestor are still at home, always protecting the children. Therefore, there are rituals that invite ancestral spirits. To come to celebrate eating, drinking and fun in the New Year festival Next is Auspicious ceremony In which the Hmong people believe that the prosperity of the family is there Keep an eye on the house above the door, if in the past year there has been a violation or crossing dirt. Need to have a deity Zeng Meng set up The Hmong people also believe that the ritual will make the cereal crops work well. Money will only flow and the work and livelihood of the people will be prosperous throughout the new year. Aside from worshiping the spirits, ancestors, and sacred things that the household respects in the Hmong Njua family, they often use this auspicious occasion to go back to pay respect to the elders to encourage and ask blessings from the elders of the family, a ceremony for the blessing of the elders will be made while blessing the elderly to have good health, as a guardian for the children to live forever.

When it is time to open the courtyard to play the new year tradition. The elders of the village began to pay respect to the gods and ask permission to

33

bring the plants or pillars decorated with colorful fabric and paper to be hung in the middle of the courtyard, which is the gathering place of the people in the village, called the New Year's post ceremony. This New Year's post ceremony is a symbol of the Hmong ancestors, believing that the New Year's pillar is not only a symbol of traditional games at the village courtyard, but also provides protection for everyone who joins the New Year's tradition as well. The Hmong people also believe that in each area of the river basin or the mountains, there are the gods who are in charge. By the practice, the ritual leaders of the community will perform the ceremonies of the people stationed in the big tree that is strong, the most prominent of the community. The Hmong people call this ceremony the worship of the community. In order to pay homage to the gods for protecting the well-being of the community during the past year and requesting to help protect the next year. The last ritual is the Thanksgiving and Sacred Ceremony. It is a formal ceremony to inform that the New Year celebrations have been completed. From now on, it will leave the house to work on the farm, in the garden and let the ancestral spirits and sacred things to protect as well.

New Year’s games The New Year Festival is a big celebration of the year after being exhausted by the end of the harvest season. As a result, the Hmong people often dress in their own traditional garments that are sewn and decorated beautifully. The competition is the skill of the tailor and shows the family's economic status. However, the Hmong people have improved the traditions and games of the New Year festivities over the years, with more new activities and the revitalization of daily life activities into folk sports games such as the Hmong Daughter Contest, singing and dancing with popular music, crossbow shooting competition, carrying water competition, egg throwing competition and wood wheel racing, etc. This is to preserve the lifestyle in the past and to attract tourists to the Hmong community as well.

34

Picture 2.22 The fried rice competition of the Hmong women in the Hmong New Year event 2016, 12 villages at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.23 The atmosphere of the games of the Hmong women in the Hmong New Year event, 12 villages, 2016, at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.24 Ball throwing in the Hmong New Year's event, 12 villages, 2016 at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

35

Picture 2.25 Top games of the Hmong men and top of the Hmong New Year's event, 5 villages, 2018 at Hmong Village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.26 Hmong tricycle race and Hmong tricycle in the Hmong New Year's event, 12 villages, 2016 at the Hmong village, Nong Hoi Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Prasit Leepreecha and Apai Vanitpradit (2009, 121) said that during the past ten years, the Hmong people in Chiang Mai have mimicked the Seng Meng ceremony of the Chinese people, for the children to worship. The tomb of their parents or ancestors, which is popularly made on the Chinese Sengming Day, which is around April of every year. In one year, life is inevitable, every situation in life, sometimes severe blood loss, muscle wasting, which the Hmong believe that because of a misfortune is causing the accident to occur or, when it happens, often becomes a bad thing that revolves around reappearing to members of a group of brothers and sisters who share the same spirit Must have a tradition to clear bad luck by performing ceremonies on New Year's Eve Because it is believed that it is the day that these fate can be extended Is the residence of the serpent, which is led by the

36

sun, and when the time when new rice or first rice is cooked The Hmong have a new eating tradition. Before eating, the head of the household will perform the offering ceremony to pay respect to the spirits of the ancestors and the sacred things in the household then everyone will eat together. Celebrating the success of agricultural production that year. Aside from eating new rice, the Hmong people also hold ancestral rituals and sacred things in the house with new corn and new cucumbers, too. In addition, Prasit Leepreecha and Apai Vanitpradit said that there is a tradition of eating before the cultivation season. Currently, Hmong people in Thailand, almost every community has stopped operating.

2.1.4.4. Fabrics and outfits

Regarding dressing, the Hmong people attach great importance. It can be considered as folk wisdom that uses arts and sciences to produce fine skills. Hmong people have the skills to sew clothes and make batik fabrics from hemp, which can be seen from the embroidery patterns on both men and women, as well as the handwork that is visible on the fabric that binds children to the back of the mother and hat to wear to babies. The Hmong people in both groups have different costumes, the striped Hmong people. Women will wear short skirts, waxed hemp fabric, indigo dyeing, pleasing around the body, wearing a blouse decorated with a pattern on the chest, radial like a fish tail with a collar resembling a sailor shirt decorated with beautiful patterns but when worn, it will be turned on the inside, girded with a hanging band, decorated with beautiful patterns among young women and the elderly will use black. When girdling will leave the man with a tassel to the back. Men wore black tiger crotch pants, short sleeves, decorated at the waist with embroidery, leaving the shirttail behind, the front is beautiful embroidered. White Hmong group women will wear black or dark blue pants on a normal day. On special occasions, the community will wear a small white hemp skirt with a pleated skirt around the body, wearing a black long-sleeved shirt with a square collar like sailors, emphasizing the beautiful trim around the waist with a front hanging cloth decorated with meticulous patterns. Men dress like

37

striped, but wear black Chinese trousers, longer shirts than striped Hmong men. The Hmong people are familiar with the benefits of hemp fibers as well. However, there are still other ethnicities that are familiar with hemp fibers, such as Lisu ethnicity Akha ethnicity which the fibers of this plant are woven into fabric used to sew clothing made into a bag for packing rice grains corn and opium. It can be said that hemp is an important plant in the traditional way of life of some hill tribes since ancient times. Nowadays, when the academic progress in textiles is more convenient, causing many hill tribes who used to produce cotton fibers woven into clothing such as the Yao ethnic National Lisu Akha ethnic group turned to take advantage of the finished fabric products from the outside a lot but the Hmong are the only hill tribe group that has the most relationship with Ganja than other hill tribes That is, the relationship with Hemp from birth until death, especially women, is still widely used. Hmong women, whether as a small group, white Hmong or black Hmong still wearing skirts made from hemp tree. In the past, clothing worn for the dead of all ages were designated to be made from hemp, only other types of clothing could not be used. Nowadays, the practice has eased as time has passed, only the elderly women are still strictly observed. The Hmong women have prepared new clothes made from hemp, prepared for wearing on their bodies. These clothes are well-preserved and not used before, while white Hmong women had to wear white skirts when they die but it doesn't have to be a new skirt, because the existing white skirt is always new because it is only used once a year.

38

Picture 2.27 Current Hmong women’s dress code in 2018, at Hmong village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.28 Current Hmong women’s dress code in 2018, at Hmong Village, Mae Sa Mai, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

39

Picture 2.29 Current Hmong men's dress code, 2016, at Nong Hoi Mai Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.30 Current embroidered Hmong clothes in 2016, at Nong Hoi Mai Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.31 White Hmong skirt, at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

40

Waxing (São Cangjia) is the production process of ethnic fabric in the highlands, special techniques available only for the Hmong ethnicity. This wax fabric is considered the traditional wisdom of the Hmong people that has been passed on for hundreds of years. In the beginning, the Hmong people that lived in China planted hemp trees to weave fibers into clothing for use in order to make beautiful fabrics as needed. Later, the invention of creating beautiful patterns using candles to boil and melt and then painted on hemp fabric before being indigo dyed from indigo or the natural hump tree in which the wax was written to prevent indigo from sticking to the fabric. When the dyed fabric is boiled, the candle will be melted and the pattern on the fabric will be beautiful. Wax drawing is a talent only for the Hmong women which used in the production of fabrics for sewing skirts after weaving fiber fabrics hemp and iron over the fabric until the texture is smooth, then it will be rolled for gradual writing, which sometimes takes over a year to write that fabric. The writing tools consist of "Jae" or the writing. Shaped like a pen with a horizontal handle "Kang Jia" or wax, a wax container that can be set on fire and a fireplace. Waxed patterns are an extremely valuable art for the Hmong people. They should be preserved before they disappear. The elaborate patterns created into the Hmong fabric are derived from natural imitations, such as spiral spirals, rat footprints, chicken footprints, 8-foot flower patterns, embroidered flowers, petal pattern. Nevertheless, the Hmong fabric pattern also implies hidden meanings, such as the star "Nu Koo" symbolizing the Hmong ethnicity, the star pattern used to be a pattern decorated with the flag of the Hmong people before. Once the Hmong people lost the war, one Hmong soldier tries to protect the national flag by wrapping it around the waist. Since then, to commemorate the bravery of that soldier, the Hmong people then embroider the star pattern on the men's waistband and on the shirt that is worn and the "Lao Ja" pattern is like a piece of wood or letters, it is an ancient pattern showing the symbol of Hmong which is valuable as a cultural identity of the Hmong ethnic groups.

41

Picture 2.32 Wax drawing (Sao Cang Jia) of the Hmong housewife (Source: Miss Piyachat Udomsri)

Prasit Leepreecha (2007, 75- 8 0 ) has pointed out that the fabric produced is not only worn for beauty purposes in 1977-1987, the production of Hmong clothes also gave importance about the history of the Hmong ethnicity as well. That is, the patterns and style that appear on the fabric. Fabric manufacturers also have ideas that try to conceal the history of the story through patterns that are embroidered or waxed onto the fabric. The patterns that appear are based on the nature of the surrounding mountains but in the later stages, the Hmong people designed a new pattern of embroidery by trying to tell a story about the lifestyle that surrounds people which is a picture that shows the relationship of each other more, such as images of people collecting agricultural products in the zoo, trees, houses and people running around, etc. in the same embroidery. In addition, some embroidered cloth tells the story of the migration of Hmong from China to Thailand and the United States. The story on the embroidery was not only the embroidery's intention to save their own memory but also tell the past events of their ethnic group to their children, as well as trying to convey to others that have seen the embroidered fabric to know about their tribe by communicating through the art of embroidery fabric that is a distinctive masterpiece of ethnic groups. As for writing fabric patterns, which is the handicraft work of the Hmong women, although there is no modifying or applying modern production technology systems to convey the meaning of identity and shared history in a

42

commercial context. The patterns written from wax have a history that is the application of the Hmong writing system to apply on the fabric to make them look beautiful works of art. The history of the media has been a story that has interacted with the Chinese for a long time. Prasit Leepreecha explained that The Hmong people apply the text on the fabric because in order to prevent Chinese (opponents) from stealing. Since the era of fighting for area and power in China. The Hmong people try to inherit the story through various storytelling forms and media to provide a mechanism for telling the past to the future, but this effort is currently in the elderly Hmong people. There is concern that the new generation is no longer interested in history and preserving the Hmong identity because they were not interested in stories and the rituals that are all hidden in the history and ethnic identity. In addition, the Hmong identity of the Hmong people is being diluted by the flow of globalization. On the other hand, Hmong people rely on globalization that comes with modern communication technology, reproducing and reconstructing the memories and identities of their own ethnic groups.

Picture 2.33 Dried hemp tree at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

43

Picture 2.34 Yarn from hemp fabric and woven hemp fabric at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 2.35 Hmong weaving machine at Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

44

Picture 2.36 Traditional wax pattern skirt, Pha Nok Kok Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Rujaporn Prachadetsuwat and Nussara Tiangket (2010, 17-18) said that writing wax on a woven fabric for making Hmong's skirts is a distinctive identity of hill tribe handicrafts. If you see a wax writing cloth that resembles a geometric shape, dyed with indigo color, which can immediately tell that is the Hmong fabric handicrafts. The Hmong wax writing is detailed and exquisite. Those who can do it beautifully require a lot of patience and expertise. The important and admirable to the Hmong wisdom is that everything that is used to create handicrafts comes from nature and near things, but the work that appears to be extremely worthy of treatment.

2.2. Related concepts and theories

2.2.1. Art concepts in the community

Art in the community, Pranicha Kalayanamit (2008 , 32-38) said that the "community" in the definition of the government defined that means slum communities, suburban communities, housing communities, including housing, but the word "community" in the cultural sense, describe the implication of a combination of people, which is a common matter, not a personal matter and a group of people with certain characteristics in common. Whether living in the same area or similar, having a similar occupation, creating something together such as relationship, common beliefs and rituals and still maintain the value and cultural heritage, religion and transmission to offspring. Being a community is therefore not

45

constant, it may exist or disappear according to the environment or time, it seems to be contrary to the community in the sense of the government, which uses the size and rules as an indicator of community without considering the commitment of people in society.

Pranicha also said that the word Community Art and the word Community and Art has different meanings, but they appear to be overlapping. Most of them focused on the activity model, rather than on community participation. Participation is a process that encourages, induce, support and create opportunities for villagers both in the form of individuals and groups of people to participate in one or many activities and should be done voluntarily, not by participation in hopes of rewarding. In addition, participation must be consistent with life and necessity, needs and culture of most people in the community, too. Artistic activities are the same, community participation at a very high level is considered an art activity or project called "community art" because communities and artists interact with the creation of art. The levels of participation can be divided into different levels as follows: 1) Information provision 2) Public opinion exposure 3) Consultation 4) Joint planning 5 ) Participation 6 ) Monitoring control by citizens. Therefore, participation is a process of self-expression or self-representation by the community itself, through creative expressions that represent their own purpose. Participation can make the community complete, supports community culture, create unique, legends and stories, express the differences, be a voice for those who do not have and recognizable to people.

Community art, therefore, refers to the use of art as a medium for connecting people in the community to create a learning process between artists who work in art and people in that community through the participation process of both community members and artists. In this regard, participation in the creation of art with the community may be possible, from participation in the informational level to participation in art creation and community responses to art with that community. The implications of Community and Art, the artist will convey the art, even if the art is an individual expression, but the content reflects the society in the era in which it was founded. Therefore, what is behind every piece of art is an indication of the inspiration that artists receive from society and the environment around them.

46

Regarding participation in the past and present, roles are changed in accordance with the changing conditions of society and culture. In the period when the art community was still within the scope of the temple. The collaboration is the painter drawing murals by telling stories or ways of life, society and culture of people in the community to share. Although the villagers were not the creators of the work themselves, they were involved in the story that the painter conveyed and remained as an admirer and preserve the temple environment, although it is participation in appreciation level. The participation of art with the community is divided into 2 types which are 1) The community participates in being an inspiration to create art. In which artists may bring ideas from the community, be it the story of society history Beliefs or ways of life of people in the community to create works of art and displayed in the area of that community. 2 ) The community is involved in the absorption of art is the artist creates art that may be inspiration from the community or not But the work is displayed in the area that people in the community or the area that the general public uses to travel. The work may have the objective of showing the common point of the people in the area or wanting to show some power to the people in that area to know.

Nowadays, what is called art and community may not have the purpose to create art for others to accept. It is a creation of one's own creative desire. The difference between community art and art and community depends on the participation and interaction behavior between viewers and art. For this reason, art plays a role for society, and in which society only if that piece of art is under one of the following conditions: 1 ) Art must influence the thoughts, feelings, and behaviors of 2) The art must be created for the public purpose. 3) The art must show or describe the true social content at that time, the content must be completely free from the subject matter of the artist. It can be seen that community art, public art, and all these artistic activities are about bringing culture to respond to public issues, both socially and politically, which has been started for a long time by many artists and various groups by collaborating with communities and society both in the form of and various creative activities in order to stimulate and encourage society to be aware of what they have and the change of communities and society in a better direction.

47

Ark Fongsmut (2008 , 16) said that, in fact, art and society, whether at the urban level or at the community level, whether in the past or in the present, they have never been divided. Regardless of whether there is an art institution to support it. Although the nature of art and the nature of society will change. Likewise, if studying in the field of art history, then found that art, especially Western art began to get involved in social situations more clearly after World War II, which is related to structural changes, the relationship between art and social classes during the process of artistic development itself. Stepping into a conceptual art in which objects become less important or may not exist at all, but the essence of art appears in the concepts behind that art object.

We will find that art has been connecting people in the community for all ages, since art is a link to beliefs, ideas, and behaviors in the same group of people, they are different in terms of expression. Art has been with humans since the ancient times, whether it be a stone age human living in caves or cliffs or living in the house. For example, humans now use their artistic talents to build and design residences to create tools to facilitate their lives. In addition, art helps to promote and create an artistic atmosphere for the community, art also shows that knowledge and understanding of beauty, aesthetics, and art are things that help humans improve their quality of life.

Therefore, art in the community is very necessary for a society that is interested in the development of people in the sense, because the growth of the country and the community must be systematic. Urban planning requires both science and art together and must also consider the characteristics of people Cultural traditions of community members, determining each area appropriately, in line with living conditions. Art in Community helps to enhance the beauty and vitality and taste for the communities and cities that live.

2.2.2. Community participation concept

Participation, Narinchai Patanapongsa (2004, 3-36) states that participation definition has 4 characteristics as follows: First, participation means gaining more power to think, whether political or the power to decide what to take. Second,

48

participation means participates in equality, freedom and should truly participates, not superficially. Third, participation means participation from the first step of the process to the end of the project. Fourth, participation is often a matter for the underprivileged to divide the power from the superior to improve their way of life. Wiratch (1987, 61, quoted in Narinchai Patanapongsa, 2004, 3) gave the opinion, the definition of participation is a process that encourages, induces, supports and creates opportunities for villagers, both in the form of individuals and groups of people, to participate in any activity, one or more activities that must be made voluntarily, not by participation because hoping for rewards, and most importantly, participation must be consistent with the lives, needs, and cultures of most people in the community.

Narinchai also said that participation is the involvement of people in the decision-making process, project implementation process, and benefit from the development project. It also involves efforts to evaluate the project, or the true meaning of mass participation, as the United Nations Executive Committee for Coordination on Rural Development is a joint effort of the relevant parties that will combine the power, effort, and resources they deem to be used to achieve the objectives they set. Participation is a process by which active participants initiate and act according to their own ideas and judgments, as well as processes they can control. The idea of superficial participation is simply the involvement of certain activities in accordance with the ideas, plans of others, and controlled by others is unacceptable as true participation.

In summary, the meaning of participation is that one party who has never participated in activities or participated in decisions or had joined a little, has joined more with equal freedom, not just superficial participation, but more true participation, and that participation must start from the first step to the end of the project.

Narinchai added that the reason for the need for general participation (why villagers need to participate) is as follows: Citizens are close to the event acknowledging and facing the problem themselves, when continuing to analyze the problem, think and solve it, often self-reliance, limited natural resources, everyone

49

has real concern, must participate, is a management principle based on honesty and justice under democracy, giving a consensus that people who know each other's reasoning often agree to choose the best option, necessary representatives of the public are required to look after their own interests., and community groups to provide support to the decision that, when deciding how it will affect the person or group of people must know the problems and solutions to all around, people may be the cause of the project failure if not to participate.

The basic principles of participation that should be considered are: Believe that humans have equal thoughts and dignity, believe that everyone is not evil since birth, think that humans are no less important than the technology to be used, believe that people in various communities tend to have wisdom that is consistent with the way of life to a certain extent, think that their well-being, greater participation when appropriate, believed that it is quite different to the villagers and the villagers themselves are somewhat different. 8) Participation may take many forms, nothing comes for free, participation must be thought of by others (Narinchai Patanapongsa, 2004, 14-15).

Pros and cons about participation, as for the advantages, it has the following resulting in the exchange of knowledge, enabling some difficult tasks to be accomplished, allowing people to think of themselves, helping them to meet their needs, often saving resources, making sense of ownership, adding good alternatives to make decisions, create consensus, strengthen communities or societies, make the operations of that community or society transparent, making people who may be difficult to accept the project has been supplied and the following are some disadvantages: Making work activities delay or may not occur, causing each party to become frustrated, wasting resources, participation that splits unity, causing each other to waste time, hidden participation for other purposes will make the method of participation wasted, participation will make the expansion of the influence of transnational corporations easily (Narinchai Patanapongsa, 2004, 27-29).

50

2.2.3. Concepts of mixed media art and installation art

Vichoke Mukdamanee said that Professor Silpa Bhirasri has clearly seen that Thai traditional painting has reached its peak in the early Rattanakosin period. The later work was only imitation of the old, not the creation, the lack of new ideas and the lack of development in the form of mere craft. He therefore set up a new curriculum with a combination of education and natural expression in a realistic way and study to gain true value and understand the important elements of Thai painting, which include culture and the environment in the modern times, to provide a basic basis for stepping forward to creating jobs that are unique to yourself or of an independent race. The idea for the development of Thai art is not attached to the same guidelines, but rather the search for new media and ways to convey what they want to express is the most important thing in the art, because this is a measure of the mind that will show us that intellectual development is the heart of the nation's art and culture. The important thing to realize is that creation comes from base of one's own wisdom, not an imitation of the artist's thoughts or styles in the past or the nature of art in the world without knowing who they are. The artist's effort to find creativity in finding new forms of art has been a continuous chain reaction, but in the past, the views that oppose the same process or the creation of the past were attempts to erase the old aesthetic. It can be seen from the creative style of the Dada doctrine that was gathered in Europe in 1906, this group of artists prefer to use clip art and various materials, including ready-made objects, as a medium of expression.

Vichoke Mukdamanee also said that mixed media art, although not accepted in the early days of modern art in Thailand. However, there are many artists use materials in the image background, but with brushes and paint covering over it, using different materials as the image background to have more variety of skin texture. The artist who created the work in this way is Pravat Laochareon, Pichai Nirand and Anand Panin,etc. Later, there are many Thai artists using a variety of materials to create their works. The obvious is Kiettisak Chanonnart from the work "Painting", which uses wood, plastic and aluminum for painting oil on canvas, and the work "Painting" of Thongchai Rakpatum uses sand mixed with glue to sprinkle on the canvas before applying another layer of oil paint. The work of artists that were created later, began to use more materials to create the surface of the paint to

51

increase the influence. Ithipol Thangchalok uses a technique that has a rope embedded on a piece of wood to make a surface before painting in the work titled "Deep Hole of Darkness"

Mixed media art in the art contest. The 27th National Art Exhibition, 1981, defines mixed media, consisting of works using two or more media types in combination. Later, the 28th National Art Exhibition, 1982, improved the definition of mixed media art, including works using various techniques and materials mixed together. After opening up to be creative, creating fine arts by using various media and methods in 1977 to 1987. Arkom Doungchawna used rubber material to burn and cover the frame, while Pravat Laochareon, a Thai artist living in New York, United States, advanced from wall art to Installation art in the work "Black and white and Colors" or "Rembrand Wants Color " 1981, and Pravat also shows mixed performance during creation. There are 2 Thai artists living in the United States, Thana Laohakaikul and Kamol Tassananchalee, who created their works by using mixed media methods and not sticking to the walls of the exhibition room. Work in the installation art and using various materials, some of which are three- dimensional works that require a lot of space. Tuan Trirapichit and Roong Terapichit, two brothers, graphic artists and painters who turned to create works with materials successfully assembled in additional work, color and texture, satisfied to join with the finished material, in order to create a taste based on personal ideas, artists using three dimensional shapes rather than installing on the wall are Montien Boonma, Vichoke Mukdamanee, Kamol Phaosavasdi, Supachai Sukechot, Amarit Chusuwan and Thavorn Ko-Udomvit etc.

Art works from 1982 to 1992, progressing steadily, with the growth of modern technology and the speed of information, allowing exchanges and perceptions of news and information to develop independently. Chalood Nimsamer tried to create mixed media art by using natural materials, ready-made materials from industrial processes, and using the body displayed together with three- dimensional works named "Rural Sculpture". Montien Boonma created three- dimensional works into the process of art, concepts, and create works with the installation art and have experimented with using local materials and objects as well as developing works including images, sounds and smell. Kamol Phaosavasdi

52

created installation art and performance art, while Vichoke Mukdamanee created three-dimensional works that were larger in size, taking up more space, using materials that are industrial and natural materials are combined in installation art. As for Araya Rasdjarmrearnsook, famous female artists from printmaking, interested in poetry, bringing thoughts, dreams and memories to create works that are sad, lonely and mysterious. When she received the scholarship to Germany and returned to Thailand in 1988, Araya turned to creating paintings and installation art. As for Sompop Budtarad, which has been exhibited on a single basis many times, and every time he uses materials and installation that leave the shape of ancient Thai painting, leaving only the concept and philosophical beliefs of Thai. The 37th National Art Exhibition defines mixed media art as a combination of techniques and materials, and forms that cannot be classified as painting, sculpture, and printmaking. The 38th National Art Exhibition, 1992, defines mixed media art as the visual arts that uses many techniques and materials. The 39th National Art Exhibition defines multi-media art as visual arts that uses various artistic processes and materials, excluding computer art and video art. The 43rd National Art Exhibition has defined the mixed media that the works of art using various artistic methods and materials are combined, but in the 45th National Art Exhibition, the committee had a difficult view regarding the duplication of works. Therefore, requires a survey to find conclusions about the definitions of the new mixed media type, until the 46th National Art Exhibition, 2000, defined mixed media as being a work of fine art using various methods of materials through technology.

Nowadays, the word mixed media is widely used and has the definite definition of the word Mixed media in the English dictionary, the definition of Media can be divided into two meanings, which are material that conveys the expression in art and another meaning is the creative processes or methods, including modern media methods that may be sound, light and image from information technology systems that are currently in role. Therefore, the word mixed media used in the Thai art industry means combining both 2 D and 3 D materials, including the use of modern technology media to create artistic works. (Vichoke Mukdamanee, 2012, 13-18)

53

2.2.4. Folklore theory

Folklore theory, analytical methods in mythology folk tale. The researcher review the literature of Professor Dr.Siraporn Nathalang, which is a work of writing that is testimonial. In the document, the first chapter will discuss the status of folklore education in western countries and the status of folklore education in Thailand. Next, is about particles and models for the study of universal thinking and cultural thinking. In this second chapter, presents the folk tale particles, the traditional storytelling, including the classification of storytelling into categories. The third chapter will present the traveling life of the story, theory of diffusion and dispersion, in this chapter, talks about storytellers, discusses the changing nature of the spread of the story, talking about the story break. As for the fourth and fifth chapters, she introduced the grammar theory of the story, the structure theory of the story of Vladimir Proppand the legendary structure theory of Claude Levi-Strauss. As for the sixth and seventh chapters, she said about how the folklore and the current folklore education trend had a role in the society.

The researcher will directly go to the development and status of folklore education in Thailand. Siraporn Nathalang (2014, pages 13-38) said that Folklore in Western countries has been operating for 150 years. As for the Folklore science in Thailand is less than 50 years. Early scholars who saw the importance, such as Phraya Anuman Rajadhon, Teacher Kusuma Na Ayuthaya, Professor Khun Ying Kularb Mallikamas. Later, students in this field directly graduated universities in America, namely Dr.Kingkeo Attagara and Dr. Wannee Wiboonsawasdi Anderson.

Dr.Kingkeo was the person who proposed the term "folklore" to refer to the information which is a cultural product and the word "folklore" to call this science. Siraporn also said that after 1967, Thai scholars began to see the importance of folklore data in order to "Open a new world" for academic purposes in order to seek "New information", causing scholars in Thailand to have academic activities in "Entering village" to collect folklore information in every village’s "Wealth" all folklore information. There are many types of folklore data collected for analysis as follows: First, Folk tales, among all folklore data types, most folklore thesis

54

focuses on folk tales the most. Second, folk music and folk performance. Third, proverbs and riddles. Forth, beliefs, rituals and folk traditions.

Siraporn Nathalang (2014, pages 475-479) also mentioned that Folklore is a subject that studies the culture in the form of human expressions that coexist in society. Especially the artistic expression, from the uses of words, which may be in the form of storytelling, singing lullaby, children's songs, juvenile interactive music, ritual music, proverbial speech, puzzles, the art of performing and dancing, various folk performances, the art of making home tools, weaving, including local food, beliefs and rituals, all of which express the feelings of human beings, human expressions, emotions, thoughts, and beliefs tend to "hide" the meaning and purpose behind art. Scholars who want to understand folklore information need theories or methods of analysis to interpret, search for hidden meanings in various symbolic languages of folklore, reflecting human sentiments in an international dimension and in the cultural dimension. The specific culture of each ethnic group, whether it be the study of particle matter, the spread of the story, the structure of the story, the structure of myths, legends, roles and rituals, the role of folklore and the creation of identity and folklore, and the offering of mental solutions for humans, as well as the adjustment of different types of folklore to suit the taste of the era and the creation of "new folklore" in the context of modern society.

Particle study helps us to see the universal thoughts and imagination of mankind from the past to the present. Even though new tales are created, the human imagination contained in modern tales is no different. Magic particles, various magical weapons, transformation, disappearance, killing the giant, testing the hero's ability can be seen in modern children's stories or cartoons, both in books and on television. At the same time, comparative studies of fairy tales in different cultures helps to see the ideas, fantasies of humans in each culture.

The study of the spread and dissolution of stories helps us to see the universal character of humans as storytellers that naturally adding, reducing or adjusting the details of the story to match the beliefs, culture and familiarity of the narrator. At the same time, accepting and changing the tales received from other regions also reflect the creation and cultural exchange between humans in various groups from

55

the past to the present. In ancient times, we received many stories from India, Persia, China. At present, we accept the stories of cartoons, cartoons, movies, dramas, games, shows from all countries in the West, Korea, China, Japan, to see the source of external cultural ideas that influence the entertainment world. And the thoughts of the people in Thailand today.

The study of story structure and the structure of myths confirms that human beings in some cultures share some ideas and try to communicate them through "Fable Language" or "Legendary Language" Although the structure is "invisible" and "hidden within", it is important to define the story in the story or myth and reflect the ideas that represent society. Therefore, if we can "decipher" language, mythology, or mythology, we will be able to understand "Text from the ancestors" has the symbolic language in fairy tales and legends in the tradition society to hide the thoughts and feelings of the ancestors that are like historical records that even have not been recorded as "Written" but transmitted through "human" various generations by inheriting. People in today's society may have difficulty to "decipher" the symbolic language in fairy tales or legends because the social context has changed, but that makes myths or myths as folklore information that challenges the wisdom of modern people to interpret "Messages from ancestors".

The study of the roles and duties of folklore shows the ways in which humans in various societies use folklore to establish the identity of ethnic or ethnic groups through legends describing the origin of dance, performance in rituals, costume or woven pattern of each ethnic group. In addition, we also see the role of rituals as a cultural mechanism to unite the power to create morale for members of society, both during normal times and in times of crisis, which we can still see the role of rituals for this purpose. Even nowadays, such as the Thai Welcome ceremony, City fate ceremony, River fate ceremony, Exorcise ceremony, Prayer ceremony for the prosperity of the country.

The important role of folklore is to be emphasized especially because it is the duty of the folklore, is to give the "solution" to the human with mental problems. Many types of folklore have opened the world of "alternatives" for humans to shelter and escape temporarily, but it is the "temporary" that humans want when

56

they want to escape from the real world. Humans nowadays still like to listen to fairy tales, sing movies, watch dramas, like to play computer games, which enter into the "virtual" world, whether it be a city-building game, a game that opens the world for players to play different roles of professional people.

As can be seen from Siraporn Nathalang said that modern folklore education, including new scientific methods in folklore education it is a "truth" that tells us that culture does not stand still, but is dynamic and constantly changing, which is probably because the human mind and imagination never stops as long as humans still need a fantasy world, a fun world to balance the real world and as long as human beings still need sacred images when they want to rely on their minds, when they are suffering, or when they want to combine the power of folklore as a cultural mechanism, they still have meaning and play a role in servicing humans in every circumstances.

2.3. Research and related documents

2.3.1. Research (1) Nopparat Kumpa Doctorate Thesis Fine Arts Program Faculty of Fine Arts Chulalongkorn University "Video Art: Tales from the Thai Song Dum Ethnic Fabric Pattern, Nakhon Pathom Province" Concludes that this research aims to research and create video art that reflects the relationship between the pattern, beliefs, ancestor spirits and after-death rituals, which are still important to existence and preserving the identity of the Thai Song Dum ethnic group. The study of Nopparat found that Thai Song Dum ethnic groups believe in the Phaya Than and strictly respect the ancestral spirits, believing in life after death, after-death rituals were performed using cloth and cultural objects created to send the spirits of the deceased back to the Than city as they hoped. The patterns and offerings appear in every ritual with complex and diverse meanings. Nopparat understands the relationship between the pattern of the fabric and the stories related to the after-death ritual by studying the use of t-shirts with eight patterned flowers, which is a symbolic cultural

57

object in the rituals of the Thai Song Dum people in order to be interpreted in the creation of video art. Nopparat uses the imagery theory to design his creations by dividing the structure into 3 parts: fear, hope and happiness which is 10 minutes long to present the state of the deceased with concerns that the soul has not returned to the Than city and the overlapping state of the former, present and future world by designing a surreal state of mind that stimulates the imagination of the audience to reach awareness about the preservation of ethnic culture through post-death rituals of the Thai Song Dum people. ( 2 ) Supranee Srisuayhoot ( 2 0 0 9 ) Master of Arts Thesis Human and Environmental Management Chiang Mai University on "The impact of tourism on the environment and hill tribe communities around the Angkhang Royal Agricultural Station, Fang District, Chiang Mai Province" concludes that this research has three objectives which are 1. To study tourism information 2. To study the effects of tourism 3. To find ways to collaborate with communities to reduce negative impacts and propose guidelines for tourism management that are appropriate for the community, which can be summarized as follows: found that the important attraction factors of the community is the beauty of natural resources and cultural diversity by focusing on preserving the abundance of natural resources and preserving cultural diversity for tourists and communities, which is likely to continuously increase tourist volumes as for tourism impacts, both positive and negative effects causing the community to have to adapt to change with the tourism trend causing the community to turn their attention to the negative effects to find ways to prevent and reduce such impacts. As for finding joint approaches to reduce the negative effects must strengthen the community by developing community organizations in tourism management and restore environmental awareness, ethnic and cultural dignity to be a guideline for tourism management that is appropriate for the community.

(3) Puttinan Mahasarinan (2011) "Costume Design Project from Embroidery Techniques of the Hmong Hilltribes" This project is a part of the study according to the Bachelor of Art Program. Design Department, Department

58

of Thai Art, Faculty of Fine Arts Chiang Mai University, concluded that this research is a costume design project based on the embroidery techniques of the Hmong hill tribe people in order to be suitable for the street and lifestyle of the new generation in order to develop the Thai fashion market to be international. This research studies only the embroidery techniques of the Hmong hill tribe people because the Hmong clothing styles have their own unique characteristics and it can be considered as a valuable work of art, demonstrating the ideas, abilities and skills that have created works by recognizing the value and the importance of inheriting the pattern and pattern of the Hmong costumes in order to preserve and maintain the pattern that is unique not being lost with prosperity, only change the form and add value to the craft.

(4) Rujaporn Prachadetsuwat, Nussara Tiangket and Benjaporn Deekhuntod (2009) A complete report on "Project to collect and study local knowledge of handicrafts of the tribes in the highlands" (Set 3) concludes that this research aims to study and collect the wisdom of handicrafts, fabrics and textiles of the tribes of 2 tribes, namely Palaung and Hmong and develop the personnel in the community to transfer the traditional handicrafts of their own 4 tribes which are Akha, Muser, Kachin and Yao as well as producing media and manuals for use in transferring knowledge of Muser, Akha, Yao and Chin. The study found that the study and collection of wisdom, handicrafts and textiles of the tribes got the method of producing handicrafts, fabric and textiles related clothing from, Palaung Daeng tribal at every step, from fiber preparation, dyeing, weaving, wax writing to making rattan loops for waist wear And obtaining methods for producing handicrafts, fabrics and textiles related to traditional Hmong clothing, from every step Preparation of fibers, weaving, writing wax As well as the beliefs and philosophies that appear in the fabric in terms of suggestions. The researcher suggested that the Royal Project should be used as a source of information for personnel with knowledge and ability to transmit rather than using the target area for promoting handicrafts, since almost all working-age women in this village require labor to look after agricultural crops, while the youth are encouraged

59

to study at a high level. There is little interest in revitalization or promotion at this time and should encourage the elderly but abandoning the production of handicrafts almost entirely to return to be a relay with pride and willingness.

(5) Thanya Promburom and Chanon Chingchayanurak (2007) The complete research report entitled "The possibility of developing local handicrafts and marketing in the Royal Project area: a case study of embroidery and ethnic batik clothing" concluded that this research aims to study basic information about the attitude of the ethnic Hmong towards the production of cultural handicrafts, especially lace and batik, in terms of production capability, problems and barriers to operation, as well as analyzing the market opportunities of cultural handicraft products for the upper-level market. Data from the study are obtained from various sources and in-depth interviews with the officials of the Royal Project Foundation and the Hmong producers at Baan Huai Luek and Sip Song Phatthana. The study found that 1) The Hmong manufacturers are most striped Hmong, they see handicraft production is good thing. Handicrafts are a supplementary occupation that generates additional income. However, there are a few teenagers interested in learning handicrafts because they go to work outside the area and study books. However, Hmong women will relay handicrafts to their daughters at an early age, on average, embroidery at the age of about 10 years, but the writing of candles will be relay during the average teenage age of about 15 years, but this depends on the interest of each person, because candles are hot and it is danger for children. 2) The production potential of the Hmong will be embroidered into every house, especially the elderly who can embroider the candles, but weaving hemp fabric may be some Hmong, Most of the Hmong are embroidered for their own use and sell in small numbers. 3) Problems in the production and marketing of Baan Sip Song Phatthana group found that there are problems with natural dyeing techniques. The paint still falls, but if it is a chemical coating, the paint will not bleed. But tourists do not like the chemical color and the important problem

60

of both groups is the unstable market problem causing lack of production motivation. 4) In marketing, it was found that the distribution of products in both groups had distribution channels through the Royal Project Foundation and tourists visiting the village or near the village during the winter because of being a tourist center.

(6) Sunisa Chanrattanayothin (2003) Thesis on "The impact of tourism on the community: a case study of Doi Pui Village, Suthep Subdistrict, Muang District, Chiang Mai Province" concluded that when traveling to Doi Pui village, the villagers learn to adopt their own cultural characteristics, namely Hmong, to change into products and services to meet the needs of tourists to consume different cultures from themself and there was a scene presenting the real truth to create an attraction for Doi Pui tourist attractions as well as cultural products in Doi Pui village, such as costumes, handicrafts, souvenirs. However, Hmong culture does not lead to all cultural products. For example, in a funeral, this means that the Hmong is aware of what is sold and what cannot be sold. In addition, cultural products sold may be in the community or taken from outside, in which the seller has linked the product to the Hmong cultural identity and the presentation of the true Hmong in the village is not only presented by the Hmong people. People of different ethnic groups have used the Hmong cultural identity for the same trading purposes as the Hmong. Moreover, tourism has an immediate and indirect impact on the economy, society, environment, which have both positive and negative impacts, such as tourism, causing villagers to have many careers related to tourism, resulting in increased income, investment expansion. There are creating traditions, changing status and roles of women and men, social problems and garbage problems etc.

(7) Siriphan Panyakom ( 2 0 0 2 ) Thesis titled "The attitude of Thai tourists towards hill tribe handicraft products in Mueang District, Chiang Mai Province" concluded that this study collected data by issuing questionnaires, respondents are female more than males, status are single, aged 20 to 30 years, the results studying the attitudes and understanding of Thai tourists, it was

61

found that tourists knew the hill tribe handicraft products, woven and embroidered fabrics, such as shirts, weaving type, baskets and silverware such as bracelets more than anything else. The study of the behavior of the purchase of hilltribe handicraft products found that most Thai tourists buy woven and embroidered fabrics, such as the purchase of woven garments, such as buying baskets and silverware, buying bracelets more than anything, each time they buy less than 1000 baht, not the first time the product is purchased, the tourists are satisfied with the price of the product. In the sub - factors of the hill tribe handicraft products, the average level is very satisfied, namely the identity as for the price and location, the average value is satisfied.

(8) Pittaya Pinsan (2000) Thesis on "The pattern of change of hill tribe culture" concludes that the study of the pattern of change of culture of the hill tribe communities in 3 areas, including dress culture, house building culture and consumption culture. The study area is Phaya Kong village, Si Thoi Sub- district, Mae Suai District, Chiang Rai Province, which is a Red Muser tribe that still has a traditional culture. At the same time, a new culture is received from outside the community. Changing the dress culture of the Red Muser tribe. Traditionally, the Red Muser people dress in traditional clothing. Nowadays, dressing has changed because of cultural integration, borrowing the dress culture of the lowland people to full use in daily life and changing some parts, such as wearing traditional clothes but newly tailored to the old, the important condition that changed the pattern was the values of people in the community who accepted the dress culture of flat people, contacting with lowlanders and changing weather conditions due to migration have led to lowlanders dressing up, changing culture of building houses of the Red Muser tribe. The house walls and floors are made of thatched roof, but today there are a few modifications from the original, such as the uses of roofing materials and the use of wood to make house siding is a change of the exterior of the house, the interior has not changed. An important condition that made little change was poverty, and well-off people tend to build low-rise homes. Changes in the consumption culture of the Red Muser hill tribe people. Traditionally, eating was simple, and food sources obtained from growing

62

crops, raising animals, and finding woods for seasonal food. Nowadays, eating has an integrated style, there are food purchases from the vendors who come in to sell, the purchase of ready-made food is an important condition of acceptance, which is the increasing number of people causing the demand for food changes in the physical environment, contact with lowland people by choosing a culture of consumption to solve their problems.

(9) Tussanee Janjija ( 1 9 9 8 ) Independent study, Master of Education Educational Psychology and Guidance Program Chiang Mai University on "Factors Relating to School Absence of Hill Tribe Students at Ban Nam Sot School concluded that this independent study aims to study the opinions of school administrators, teachers and students who are absent from school by collecting data from surveys using tools as questionnaires and interview forms that the researchers created themselves. The data used in descriptive statistics, percentage, and survey results were as follows: The opinions of the school administrators agreed that the factors that the students did not give importance to education for grade 1 -2 students will have many problems in using Thai language and the students did not speak and did not respond. The teachers' opinions were that the factors that students were not responsible for learning, poor grades, having problems speaking Thai and often having unruly friends, poor family, students must help at home to work and the number of teachers is not enough. As for the opinions of the students, most of them are children from the 6th and above, have many siblings, parents are very poor, school supplies are not supported by parents, not intend to study, family parents too spoiled, parents do not stay closely looking after their children, not interested in their children's education and finally, the opinions of parents found that parents are illiterate. Most have problems in communicating Thai language with the school, spoiled the children to come to school, the school does not have a protective fence, so it is difficult to control, the teachers are not enough to teach, therefore the teachers have a lot of teaching burden, resulting in stress and lack of morale.

(10) Leeseuk Rithnatikul (1997) Research report on "Adaptation to a new way of life in the Hmong hill tribe communities Case study of Mueang Chiang

63

Mai District" concluded that the research in this matter has the objectives to study why the Hmong people have to live in the city, study problems and cultural adjustment for survival, impact on traditional culture due to social changes engagement with the original community and adjusting to a new community. The results of the study showed that health care culture uses traditional methods in conjunction with modern medical methods. Regarding politics, the Hmong people in the lowlands use the traditional rules of the society. As for the arts and performances, the Hmong people in Chiang Mai still preserve their traditional art, while some new generations have changed their dance according to the era. In cosmology, the beliefs of the Hmong people in Chiang Mai still have the same beliefs, Hmong people consider coming down to Chiang Mai as a livelihood only, the house on the mountain is a place of worship. In the economy, the transition from subsistence farming to industrialization in the household by connecting trades between the same tribes, between people in the city and between foreigners. At present, the Hmong people have settled in harmony with the lowland people.

(11) Somchit Sadsanyavuthi (1994) Thesis on "The problem of migrating hill tribes to the flat ground A case study of the Hmong tribe, Pong district, Phayao province" concluded that this research aims to know the problems and obstacles, the pros and cons of the Hmong hill tribe immigrants project to settle down in a new plain and also study to see the success of the project whether they can stop the migration and shifting cultivation practices of the hill tribes and also satisfaction in the area of resettlement, including ideas about immigration, migration, and resettlement and the integration of the hill tribes and the flatlands as indicators. The data will be interviewed by the Hmong in the area that has been evacuated from the mountain down to the flat since 1983 onwards by researching from the percentage results. The analysis of the result data appears as follows: The migration of hill tribes into new settlements is not controlled by all hill tribes in the land allotted because the hill tribes were not able to live in a well-allocated environment as they had previously been on the mountain, tend to migrate back up the hill to do the same agriculture. As for the economy, the main factor that hill tribes do

64

not like to live in flat land is that the flat land cannot live as before on the hill and the higher cost of living makes it even more difficult, including obstacles in relation to lowland people with differences in languages, traditions and beliefs, which are important obstacles.

(12) Rattanaporn Atthammarat (1989) Thesis on "Analyzing Folk Hmong Folk Tales" concludes that this study aims to study the living conditions and worldviews of the Hmong hilltribes appearing in 49 folk tales using research methods by collecting Data and research findings are described in the living conditions shown in the Hmong stories. There are small family characteristics that have rules in life systematically from Couple selection The Hmong people prefer choosing a partner for themselves rather than having people to choose. Within the family, having a son is better than having a daughter. The person who is burdened with work and family care is the wife. The Hmong believe in supernatural things and use this to control the behavior of the Hmong people for the convenience of governing. However, the Hmong people do not have religion, the economy is not prosperous. The main occupation is farming, other occupations are forging, trading and hunting. In the worldview, the Hmong people believe that god is the cause of the world, stars and humans as well as able to inspire various events to happen. However, the Hmong people still believe that supernatural things are both beneficial and harmful. Hmong people are often a group of malice and vengeful thoughts, unfaithful, but honest and grateful in the senior system. The Hmong people are far away from the city; therefore, the supernatural things clearly influence the Hmong people.

(13) Somchai Tantisantisom (1984) Thesis on "Using native tales to enhance teaching and reading For grade 2 students Ban Phran Kratai School, Phran Kratai District, Kamphaeng Phet Province" summarizes that the sample were Primary 2, 60 students. When the teaching was finished, there was a post-test to find reading achievement in each group. The results show that the prototype of storytelling after adjusting the level of difficulty of the story, the mean of syllables and syllables is equal to 12/124 which corresponds to Primary 2. Reading progress of students before and after learning in each

65

group was significantly different at the .05 level. Moreover, it was found that reading achievement of students in the experimental group and students in the control group were significantly different at the .05 level. The result is the creation of storytelling lessons to supplement teaching and reading, helping students to read faster and to read better.

2.3.2. Documents and Books

(1) Narupon Duangwiset (2015, 221-252) The book "Ethnicity under the Voice of Ethnicity in the New Liberal World" titled "Ethnicity, Body and Beauty" concluded that ethnic issues, body and beauty are contemporary issues that need to be heard and the experience of ethnic groups with the Hmong to exchange ideas as well as sharing the views on experiences about beauty and culture related to the beauty pageants of the Hmong contest by Dr.Narupon Duangwiset is the interviewer. The person involved in the contest is Mr.Yodying Sanyakul (President of the Miss Hmong Thailand Pageant). Yodying said that the reason for hosting the contest was because of love in ethnicity to see the Hmong people have a stage to express themselves which will make the young people see the value, feel dignified and have self-hope. As for Miss Chadaporn Sansongsiri (Miss Hmong Thailand 2012) spoke of what was received from the contest that this stage was the beginning of enthusiasm and encourages the youth to learn their language and culture. This stage is just the beginning for the new generation to see that our traditions have disappeared. Some young people are almost unaware of their culture and Miss Ratree Saewa (Miss Hmong Thailand 2013) also mentioned that the strengths of the Hmong women are the dress and the language of speech, this stage help preserves the Hmong culture and to raise the level of inequality among Hmong women who are under the power of the Hmong men. As for Dr.Narupon Duangwiset concluded that aesthetic aesthetics in human bodies in each culture are diverse, not one. The dynamic changes according to modern technology. What scholars had to go back to ponder and ask themselves is whether the collection of information about the beauty of contemporary culture, whether in cities, in the local community. The

66

importance of the body in modern times indicates the gender identity, cultural identity and modern identity.

(2) Niti Pawakapan (2015, 49-95) The book "Inviting the Nation and Ethnicity, Chapter 2 on Concepts and Ethnic Debates" summarizes that in this chapter he discusses many important ethnic concepts, from Weber's proposal on ethnicity, original roots, Bart's ideas. Especially in the issue of ethnic identity in two areas and the arguments of scholars who disagree with Bart, with the Karen as an example of a complex ethnic identity. Ethnicity is expressed through language, beliefs, activities, or practices, and ethnic identities may fluctuate or change depending on the interactions between ethnic groups, groups, or even individuals with different ethnic identities and one good example of the complexity of ethnic identity is the Karen people. We may sway the notion of ethnic identity as an idea that ethnicity is a tool for determining social relationships, since this national identity is used according to the situation and is "chosen" to "use" according to the occasion or condition that each individual considers to be beneficial to him, this ethnic identity has many aspects, there is no fixed or original roots. If the dynamics fluctuate over time, the swaying of the ethnic group has a strategy to show the ethnic identity of the person. In conclusion, it can be said that the concept of ethnicity is divided into three major concepts: 1. Primordialism 2 . Instrumentalism 3. Constructivism.

(3) Krongthong Sudprasert (2012, 297-327) The book "Frontier and Crossing the Border" Chapter 9 "Multinational Ethnic Network: Trade of Hemp Fabric and Hemp Products by Hmong Traders" concluded that the fabric trading network, which overlaps with the social networks of the Hmong ethnic groups involved in the relationship with the context of changes that occur both economically and socially in each state, affecting the meaning of the product. On one side, the fabric implies the Hmong identity. At the same time, the Hmong tries to maintain and reproduce the Hmong through the fabric. Krongthong pointed out that today, when entering Hmong market at the Lao Jo Kad Luang alley, will not see the Hmong wearing Hmong clothes. People’s life and culture will move, no longer in the original pattern, but the Hmong

67

culture is not lost in time, but just adjusted according to the context of the city, reflected through product forms of ethnic groups in a new context. The culture is still tied to the core culture. This can be said that the creation of new areas, the nation cannot define ethnic. Life, products and culture move back and forth, hemp fabrics and Hmong products are like creating a new area for the Hmong ethnic and Hmong merchants. In addition, the value is louder than stress. Reproducing the Hmong identity under the form of a Hmong community in a new way. Cyber trading is considered as one example that demonstrates the power of culture that has cross-border communities that weaves production connection, use and distribution through the border line of the national state.

(4) Prasit Leepreecha ( 2 0 1 1 , 1 - 3 6 ) The book " Hmong Laos in Thailand Policies and Actions of the Thai Government (1975- 2 0 0 9 ) " Chapter 1"Hmong ethnic groups in the context of the modern nation state" concluded that this article will answer the question of why it is "Hmong Laos in Thailand". The author presents the phenomenon of migration across the border of the nation state of a group of Hmong from Laos into Thailand to become "Hmong Laos at Baan Huai Nam Khao". The long-term aftermath comes from the colonial colonization, the emergence of a modern national state, the political conflicts that occurred in the Cold War era and the context of current globalization. The author has conceived that in the past, the nature of ethnic groups or cultural groups and societies settled in a wide area and there are frequent migrations and migrations. There is no clear geographical boundary between communities or ethnic groups. In the mid-25th century, modern mapping technology systems were used, the agreement and the demarcation of the country which became the state of the modern nation is based on the physical principle that the main watershed and river line, causing the same ethnicities to become citizens of different countries. Therefore, the migration of ethnic groups in the latter era becomes illegal, although the Thai and Laos governments are able to collaborate and take decisive measures to manage the Hmong Laos migration problem at Ban Huai Nam Khao without prioritizing what they demanded, including the objections of the human rights

68

organization and international as it should be, but paying more attention to the political and trade relations between Thailand and Laos, but nevertheless there is still objection due to the opening of borders under the policy of building the ASEAN Community. The migration of people from one country to another with a better economic and political status inevitably occurs. Therefore, Thailand must be prepared to face the problem of migrants and fleeing from neighboring countries, as well as listening to requests from those who have suffered and increasingly international pressure.

(5) Anan Ganjanapan ( 2 0 0 8 ) An article on "Ethnicity" concluded that the politics of ethnic relations in Thailand, politics began in this way since the beginning of the creation of a nation-state "The otherness" for the people who are away from the middle of the country a hillbilly, further away are called barbarians. The otherness caused people who are driven away from power centers to fall into a powerless state known as the Marginality, which hinders the distant groups from losing their rights from the national state. Moreover, marginality is constantly stressed as the source of various dangers such as opium cultivation, shifting farms and deforestation. Although these images cannot be confirmed academically, the long-established ethnic prejudices lead to a permanent view of the hill tribes causing the hill tribes to be excluded in terms of civil rights, settlement rights and rights to manage resources. When the hill tribes were pressured to move out of the forest because the state did not guarantee the rights of the hill tribes to settle in the forest even though they were before. At the same time, the state is trying to take advantage of the hill tribe culture in the form of ethics to be goods to earn income from tourists, whether clothing, handicrafts and way of life, to create an area like the original community by attracting tourists, but these things reinforce the image of the hill tribes that are stationary. At present, different ethnic groups in the highlands, they do not accept the same side as in the past, but turned together to claim different rights to have as a Thai citizen along with the Ethnic Identity by creating the identity of the hill tribes through rituals and expressions that the hill tribe people are knowledgeable and the potential to conserve forests on one side in respond to the prejudices in the state discourse.

69

The other side is to create the unity of the tribe of the hill tribes themselves. In sociology and anthropology, it is said above that Social and Cultural Space is like an expression of Ethnic and Indigenous Knowledge to define the existence of different cultures and define their own social relationships with other groups in the society, instead of letting others define them alone, which the government must accept as part of civil society. Ethnic diversity in pluralism Nowadays, scholars have turned their attention to equality of each ethnic group with different cultures. If there is no attempt to take advantage of it, some societies can find cultural integration well. Although maintaining each ethnic difference does not always cause conflict, this is because that society respected the rights of ethnic differences equally. In fact, one society can respect a variety of cultures, knowledge, and beliefs. Society calls respect for this diversity "plural society", which often occurs when it develops more democracy.

(6) Prasit Leepreecha (2005, 15-31) (Ethnic Studies and Development Group, Social Research Institute Chiang Mai University) academic documents, ethnic studies and social capital development series no. 4, "Hmong various lives from the mountains to the city" concluded that the Hmong changes exist in 3 phases, namely from the lowland communities in the Yellow River Basin to the mountain people that have to migrate for a long journey through the mountainous forests of southwestern China that connect to the Lanna region, gradually return to the flat ground in the Thai society. At present, important economic, social and political contexts that have changed the main causes of migration into the city are as follows: The first is the ability to develop medicine for smallpox and malaria that occurred after World War II can eliminate the fear of traveling and contact between the highland people and people on the ground more. Second, the law prohibiting the purchase and sale of opium by the Government of Field Marshal Sarit Thanarat in 1958, causing the Hmong and other ethnic groups struggle to find other economic crops to grow instead of opium and transporting goods down from the hill to the city market merchants. Third, the political conflicts or the war over the people between the free world and the communists that occurred around the year,

70

since 1967, in the midst of a race for crowds on both sides, government officials have brought Hmong leaders for training and let the Hmong young people go to school in the city. Fourth, the state's economic and social development policy since the establishment of the tribal housing settlement in 1960 have created a car route that makes contact with the Hmong people on a flat surface, convenient, fast, including the delivery of goods and tourism to the community. Fifth, the resource policy, state environment, forest areas have been declared by forestry agencies to be more conserved forest areas, most of the conserved area will overlap with the living area of the villagers, when the laws became stricter, the society sealed the sin for Hmong and other highland ethnic groups, therefore, the highland people have to find a way out by studying agriculture in the city instead. Lastly, the globalization of capitalism causes the Hmong to read and write by hiring people from the ground to teach or the Hmong people go to study on the flatland instead. Therefore, gradually receiving capitalism into the community coinciding with the economic crisis, causing highland agriculture to fall, resulting in agriculture to survive in the mountains. Most young people are heading to the city to find other careers.

(7) Aranya Siriphon (2003, 27-80) Academic documents on "Opium and the Hmong: Dynamic, Diversity and Complexity of marginalized Identity" concluded that Thai society has chosen to remember the negative and full of ethnic bias simply because looking at various ethnic groups from the superficial external conditions as tribes lagging behind, illiterate, dirty or picking up certain phenomena to accuse them of cutting down trees, destroying forests, destroying watersheds or drug trafficking by ignoring the complexity of the problem, causing the Hmong and the highland people to become "other", which leads to becoming a servant, thanks to statelessness, deprivation of rights and unfair discrimination Policy and Practice, including social development. Should avoid swallowing in order to create a single and stable culture of the nation, but should support the integration of various cultures into a culture of civil society by accepting the rights, knowledge, culture and existence of various groups in order to make people in Thai

71

society feel ownership of their own culture which will lead to continuous cultural creation.

(8) Prasit Leepreecha (2003, 203-252) Academic documents on "The relative identity of the Hmong ethnic groups amid modernity" concluded that the relations of the Hmong ethnic groups, in addition to being a bloodline through direct inheritance from parents and by marriage, are also a matter of cultural identity, which was also created the cultural identity of the Hmong is created and passed on to the new generation in the form of myths and the process of leadership in shaping the people of society into the same ideal group (imagined community). In addition, traditional culture, and traditions in the Hmong people's way of life are all hidden in the implication of reproducing in relation to the identity of the entire family. When the Hmong face the process of creating a nation state and foreign culture in the era of globalization, especially through the mechanism of government institutions, education and religion cause the identity and strength of the kinship system to change dramatically. However, the inclusion of these external factors does not always lead to the weakness and loss of the kinship system in the Hmong society. The Hmong themselves rely on the knowledge and modern technology that comes with those processes to expand the network and strengthen the system of one's own kin, too.

(9) Phaithun Phrommawichit ( 1 9 9 4 , 203- 208) The book "Voices from Ethnicities" titled "Hmong of Laos" The lifestyle of the Hmong and the various ethnic minorities in Laos is living as well as all Lao people. The government provides education and fully encourages government service. Therefore, Hmong people have many administrative positions under state policy, there is no racist or racist separation, causing Laos to have no problems with minorities and all races can maintain their own unique lifestyle. As for Thailand, Hmong people do not have administrative problems except from drugs. Especially the problem of opium trading because many villages of the Hmong in the north located on the route of transporting drugs from Myanmar and Laos. After the government adopted a policy for the hill tribe to stop opium cultivation by promoting the planting of temperate winter

72

plants. Therefore, causing revenue problems, prostitution problems, Aids problem, including migrant workers. Aside from Thailand, in Myanmar, the Hmong people live in Kachin state, near the border with China, but could not escape the dictatorship of Myanmar. In comparison, the Hmong in Laos live better than the Hmong in Myanmar. No need to be oppressed, no need to restrict rights because the Myanmar government does not want minorities to know about governing the country.

(10) Kajadpai Burutpat (1975, 125-152) The book "Minorities in Thailand", chapter 5 , the problem of opium cultivation of the hill tribes in northern Thailand, concluded that smuggling and opium has been around for so long, since the absolute monarchy period. In those days, the government aimed to suppress trade and addictions, without considering the source of opium. Solving the opium smuggling problem is complete, in addition to suppression, it must also be resolved by finding a way for the hill tribes to stop opium and turn to grow other plants instead. However, the government's solutions to this matter are not very successful. Hilltribe merchants are still popular to grow opium widely. This is because the weather and the terrain are very suitable for opium cultivation. Although the establishment of a self-help settlement for hill tribes and the hill tribes for development and welfare of the hill tribes cannot solve the problems of opium cultivation for the hill tribes, but it is considered that the center is an important anchorman, not less. Especially creating an attitude of hill tribe people to feel friendly with Thai people.

2.4. Artists and related artwork The artist's work is another form of play that has a role in the concepts, techniques to help create a comparative perspective. The more similar works, the more creative and developed. The artists who exemplify the creation of works of art here are further discussed.

73

2.4.1. Misha Kahn Misha Kahn, American artists and designers (https://goo.gl/Lbenks, Researched on November 21, 2017) He combines recycled waste with high-class materials, using sand, pallets, wood pallets and pools to mimic the tension between land and sea, simulating a Rockaway beach full of garbage. The work elements of the emerging talent source, the "landscape" is a warning to consumer culture and the devastating impact on the environment. Kahn explores this issue from a different perspective. He draws inspiration from the nature of the object that has been thrown away. "The group of bags has been entangled until now it looks like seaweed," he said. "The toilet seat turned into a surface shell, the fragments of the broken bottles are deformed and shaky until they look like a transparent Kalamari" with a clear connection with the concept of revenge of nature. This creativity is considered an uncontrollable process by his own practice. For him, the predetermined plans that come with most traditional design projects impede their ability for naturalness. His single piece of work was intuitively developed - adapting to the collector's choice but still including external forces. However, destiny, destiny, and abstraction. Kahn's biomorphic works come from superior holistic methods, using crafting techniques such as glass blowing, weaving, casting in bronze and using materials made from recycled materials. The result of the work demonstrates the melodiousness of his own vocabulary and aesthetics.

Based on the analysis of the work of Misha Kahn. The researcher was inspired by the techniques used by local media to create works of art to reflect that concept.

Picture 2.37 Misha Kahn's Midden Heap FRIEDMAN BENDA. New York, 515 West 26th Street (Source : http://www.friedmanbenda.com Researched on November 21, 2017)

74

Picture 2.38 Misha Kahn's Midden Heap FRIEDMAN BENDA. New York, 515 West 26th Street (Source : http://www.friedmanbenda.com Researched on November 21, 2017)

2.4.2 PHASAO and TCHEU Siong (Lao) (Singapore Biennale2016, 2559)

Phasao Lao and Tcheu Siong are a Hmong husband and wife living in Luang Prabang, Laos. They created artwork from textiles that has the concept of movement migration and proposed as a symbol image Hmong history. In their art have a black border showing the symbolism of the soul and different shapes of ancestors, the leader will use the color red to represent strength and courage.

Phasao Lao is a Hmong sorcerer, he collaborated with his wife to prepare for art since 2010 by the media, art, through the identity that comes from the spirit of the wife's dream. Both of their works are unique and distinctive, focusing on the history of the Hmong tribe, which is the birthplace of the family, their language plays an important role in the work as well.

From the analysis of Phasao Lao and Tcheu Siong. The researcher was inspired by the ideas presented by the Hmong people, in order to communicate their history and dreams through the identity and character of their tribe, reflect what artists think of in mixed media, fabric and embroidery.

75

Picture 2.39 Phasao Lao. “History, 2013–2015” Cotton fabric appliqué on cotton fabric (5 pieces) 118 × 107 cm (each) at Singapore Biennale 2016 (Source : Miss Piyachat Udomsri)

Picture 2.40 Tcheu Siong. “Spirit of sky and Earth 3&4, 2016” Cotton fabric appliqué on cotton fabric 351 × 112 cm (each) and “Tree Spirit, 2012” Cotton fabric appliqué on cotton fabric 427 × 322 cm (each) at Singapore Biennale 2016 (Source : Miss Piyachat Udomsri)

2.4.3 Clifford Possum Tjapaltjarri and Warlayirti Artists (http://www.Guringai Festival.com, Researched on October 2, 2016)

Clifford Possum is the most famous contemporary artist living around Papunya, the desert region of northwest of Alice Springs in the northern region of Australia. He is an artist specializing in woodcarving and drawing that uses the art of dots and circles on canvas with acrylic paints by bringing the story of his dream to the most complex point of the paintings that native artists have ever produced. Clifford is considered a talented native Australian artist that has been recognized internationally. Clifford is a spark for new native artists, who are bridging the gap

76

between traditional art and contemporary art in Australia. From the analysis of the artist Clifford Possum. The researcher was inspired by the creation of shapes, geometries, points, circles, and from the ideas presented from tribal stories.

Picture 2.41 Clifford Possum's creative work (Source : https://goo.gl/chi25o and https://goo.gl/cPJfmH Researched on October 2, 2016)

Warlayirti Artists (https://www.rmitgallery.com, researched on October 2, 2016)

Warlayirti Artists who live in Balco, is one of Australia's smallest but most talented art communities.

Balco is located on the periphery of the Tanami Desert and the Great Sandy Desert in northern Western Australia. This remote community is a well-known source of paintings and prints that are appreciated by international art collectors with distinctive patterns and the use of bright, full of energy to tell stories, history, and life of the great artist of the world that is still working in art today.

Founded in 1987, Warlayirti Aboriginal Artist Corporation is located in a small community of indigenous Wirrimanu (Balgo) and serves about 300 native artists from this community of Wirrimanu, Mulan and Kururrrungku (Billiluna) as leaders in that practice, it has become a dynamic center with new art centers, news centers and cultural centers.

From the analysis of the Warlayirti Artists. The researcher was inspired by the creation of shapes, geometries, points, circles, and the presentation of ideas from tribal stories.

77

Picture 2.42 The Art of Balgo at RMIT Gallery. (Source : https://goo.gl/sPsPGM Researched on October 2, 2016)

Picture 2.43 Creative work of Ainsley Mudgedell, Warlayirti Artists (Source : https://goo.gl/ewo9U8 Researched on October 2, 2016 )

2.4.4 Terra Fuller (http://www.textileartist.org, Researched on August 1, 2017)

Terra Fuller graduated with a bachelor's degree at the School of the Art Institute of Chicago, as for the Master of Painting and Printing from Yale University and a master's degree in art management from Indiana University. Terra creates works of art from weaving carpets, local techniques of the Moroccan desert villagers through the experience, she lived together for 27 months, living with women in a cave house. Terra put a lot of effort into the traditional life of the Moroccan villagers. Terra has the local name "Touria". She uses the language Tashelheit, a native language of North Africa.

78

In the harsh desert landscape, carpets are considered the only furniture and art that can allow family members to survive. The woman who gave birth to a child was born on the carpet, children play and grow on the carpet until the age of the elderly who died, it was related to carpet. In fact, the whole life cycle occurs on the carpet, from thought to death. These carpets were the inspiration for Terra's creation. As for the art that is created from the weaving of the carpet, Terra (http://www.terrafuller.com) said that for the art of weaving, it is her new world and she is fascinated by local women who have not studied or trained by the institute of weaving, but these women were trained in weaving skills through knowledge transfer through family members and neighbors, who said that the Moroccan women were her great teachers. Terra likes to sit and work with the villagers because they talk, learn, and exchange lifestyles with each other, villagers will always laugh at her carpet art work because Terra says that her tapestry works are similar to those of prehistoric cave paintings as if she had not been trained before. The inspiration for her work is the general way of life of the villagers in the village such as marriage, agriculture etc.

From the analysis of the artist Terra Fuller. The researcher was inspired by the ideas that artists are interested in the arts and crafts of villages in the desert and the artists entered the experience directly from the real place by living, learning and creating works of art in that village, recorded as motion video. Not only that, the artists also encouraged the villagers to weave the art of carpet weaving in the exhibition and also the famous gallery to add value to the villagers' carpet weaving art.

Picture 2.44 Terra Fuller, Touria Cave Carpet, hand woven carpet, 2009 (Source : https://goo.gl/rL23ge Researched on August 1, 2017)

79

Picture 2.45 Terra Fuller with Boussain family and Touria Cave Carpet, hand woven carpet (Source : https://goo.gl/rL23ge Researched on August 1, 2017)

Picture 2.46 Terra Fuller, Working on Valley of the Roses carpet, 2010 (Source : https://goo.gl/rL23ge Researched on August 1, 2017)

Picture 2.47 Terra Fuller, Tamazight Arranged Marriage Sleeping Mat, outdoors, 2010 (Source : https://goo.gl/rL23ge Researched on August 1, 2017)

80

2.4.5 Participatory Circle Painting featuring artist Hiep Nguyen

( https://www.circlepainting.org/what-we-do.html, researched on February 19, 2018)

Hiep Nguyen is the founder and director of Circle Painting. He holds a master's degree from CSU Long Beach. He is an artist with experience in art and teaching for more than 20 years. He is also a lecturer at national universities and museums in the country and foreign country.

Hiep Nguyen ( http://www.circlepainting.org) said that as an artist, he is determined to develop the project by inviting everyone to create a large community where art guides, connect the spirit of the community. Hiep's motto for setting up Circle Painting is "Art for All, All for Art". Since 2007, Hiep and his team have traveled to countries and foreign countries such as Singapore, Hong Kong and Vietnam by bringing this interesting art to those who do not see themselves as "artists" and change them to see that they are creative and able to be artists. Hiep and his team have changed hundreds of blank walls and sheets to create artistic unity by allowing participants to create fun under the basic circle shape, which is working together with people like no other.

From the analysis of the artist Hiep Nguyen made with the participants. The researcher was inspired by using art to connect people to create art together. Not only that, people also get a new life experience by creating their own works of art.

Picture 2.48 Creating joint art between Hiep Nguyen and the Circle Painting project participants. (Source : https://goo.gl/Wzx9Sy Researched on August 3, 2017)

81

Picture 2.49 Artwork by Hiep Nguyen and participants of Circle Painting Project (Source : https://goo.gl/Wzx9Sy and https://goo.gl/Wzx9Sy Researched on August 3, 2017)

Picture 2.50 Exhibition of artwork of participants in the Circle Painting project. (Source: https://goo.gl/Wzx9Sy Researched on August 3, 2017)

2.4.6 Pinaree Sanpitak (http://www.trfineart.com Researched on April 20, 2017)

Poonnada Saiyod (2013, 47-93) has said that Pinaree Sanpitak is a female artist who creates contemporary art that has been accepted internationally. The artist is interested in symbols that convey the female body and allowing Pinaree to start creating works by conveying stories through images representing the body that communicate sexuality since 1993. Initially, Pinaree presented body parts, the shape of the breast, which is the female genitalia that has a distinctive, creative appearance. In which she is only interested in the shape of the breast. When she looked in the mirror to see her body, she then discovered that her body was a mysterious area, it is truly her own space, but she cannot know all, causing interest in herself. Poonnada also said that these symbols are what the artist wants to

82

communicate about her identity, which born to a female. Body skepticism led her to the point of questioning and trying to find the answer to her womanhood, body, chest, parts were all part of her character, but the reflection of the mirror cannot tell the whole truth. In the year 1994, after she gave birth to her son, her status changed to "mother" by raising her son with her own milk is another inspiration for her to remain attached to this important organ as well as changing the function of the breast and she also uses the symbol of the breast to communicate in a different way. Pinaree's work has developed a creative process, continuous use of symbols in works.

From the analysis of artists I was inspired by techniques that use ready-made materials to create works by using symbols in the presentation and using ready- made materials to create new shapes that is to change the state of the object to create a new element by creating a new perspective for the original object by thinking of the beauty of the shape that the viewer can see and imagine creatively.

Picture 2.51 Temporary Insanity, 2003-2004, Pinaree Sanpitak Techniques Silk, polyester, batteries, motors, audio equipment (Source: https://goo.gl/K158A1 Researched on April 20, 2017)

2.4.7 Jakkai Siributr (http://www.manager.co.th Researched on October 23, 2016)

Jakkai Siributr is currently a lecturer at Thammasat in the field of Pattaraporn Design Art, Faculty of Fine Arts and is also an illustrator as well as an Editor-at- Large for the House Beautiful book. He graduated from the United States in Art and Textile Design, both bachelor's and master's degrees.

83

Hakka (https://goo.gl/tdCvvT, 2016) states that Jakkai is stepping in the way of art people with higher concentration of thoughts every time from the exhibitions that were initially exhibited, with a large proportion of decorative illustrations. Later, adding more meaning when emphasizing the content of pondering on social and cultural issues with a critical critique, combined with the selection of materials and presentation methods that enhance the aesthetics of awareness in a sense, both in terms of cultural characteristics and meanings. He later chose to relate to handicrafts, especially fabric and embroidery. It turns out that he brought crafts and fashion across the art boundary by using it as a medium for ideas, even expanding the scope from two-dimensional visual art to three-dimensional works like sculpture and installation. The creation of art by crafts or using readymade objects of Jakkai is sharp in thought and with a variety of implications, teasing with meaning in society, both from leading culture and folk culture, which cannot be denied as part of the impact of conflicts in society and politics in the past.

“Plunder” The installation art that has been selected to show the Singapore Biennale 2013 by Jakkai Siributr and the installation of government uniform in Thailand, while creating an atmosphere of work through interesting sound effects and is connected with the face that is visible in front. On the back of these uniforms are hand embroidery in the shape of a politician or monk's face in order to convey the changes in politics, government, religion, and culture of Thailand in the past year.

From the analysis of the artist Jakkai Siributr, the researcher was inspired by handicraft techniques, especially the embroidery where he can take crafts across the art borders by presenting as mixed media work and installation art.

Picture 2.52 Jakkai Siributr “Shroud” 2011, Wax hemp on rope 200x200x160 cm. (Source : https://goo.gl/HdMymt Researched on October 23, 2016)

84

Picture 2.53 Jakkai with his creative work (Source : https://goo.gl/AznXFi Researched on October 23, 2016)

Picture 2.54 Jakkai Siributr “Plunder” Installation art (Source : https://goo.gl/37Vgv6 Researched on October 23, 2016)

2.4.8 Exhibition from mountains to arts and crafts (Exhibition from mountains to arts and crafts at The Queen's Gallery, October 7, 2016)

Exhibition “ From mountains to arts and crafts” Held in honor and dissemination of their royal duties in helping hill tribe people to change the traditional cultivation methods from floating and opium farms to sustainable agriculture and handicrafts of each tribe, which generates more income for hill tribe people along with the conservation of forests, water sources in Thailand, the exhibition "From the mountains to the arts and crafts" presents images of contemporary mixed media art. It shows the way of life of hill tribe people in accordance with the Royal Project to help hill tribe people live better.

85

From the analysis of the work "From the mountains to the arts and crafts", the researcher was inspired by the idea of raising the value of hill tribe fabric or ready- made materials to create works of art, which allows the audience to imagine creatively.

Picture 2.55 Video media, the Queen Rama IX appreciating hill tribe fabrics at The Queen's Gallery, Bangkok (Source: Miss Piyachat Udomsri)

Picture 2.56 Mixed media art simulating the motion picture of the Queen’s Rama IX note pad (Source: Miss Piyachat Udomsri)

Picture 2.57 Inside the exhibition at The Queen's Gallery, Bangkok (Source: Miss Piyachat Udomsri)

86

Picture 2.58 "Writing wax fabric" and details of the work at The Queen's Gallery, Bangkok (Source: Miss Piyachat Udomsri)

Picture 2.59 Joining the workshop to make Hmong cloth pleats with mom at The Queen's Gallery, Bangkok (Source: Miss Piyachat Udomsri)

Picture 2.60 Asking for suggestions from Teacher Pornchewin Malipunte at The Queen's Gallery, Bangkok (Source: Miss Piyachat Udomsri)

87

2.5. Research Concepts

History and society and culture of the Folk tales of the Hmong ethnic Hmong ethnic groups groups

Concepts and theories as well as related art works

The process of creating mixed media arts in which the Hmong youth participate

The creation of mixed media art which the Hmong youth are participating to stimulate the awareness of the cultural identity of the Hmong people. Chapter 2

88

CHAPTER 3

Research Method

Dissertation in Art and Design " Hmong Ethnic Folk Tales : Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province" has a purpose to study the context of the history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, including the study of folk tales or stories of the Hmong ethnicity in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, in order to create mixed media art with participation of the Hmong youth by communicating through imagination, stories or ethnic folklore to stimulate the awareness of the cultural identity of the Hmong people. There are steps and method of study consists of the following topics.

3.1 Research format 3.2 Study of concepts, theories, documents and related research 3.3 The Study of Hmong Folk Tales 3.4 Creating a mixed media art with participation with the Hmong youth (Participatory Mixed Media Arts)

As follows

3.1 Research format

Research format is an Art Creative Research to study the context of the history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, as well as studying folk tales or stories of the Hmong ethnicity in the Hmong communities in Mae Sa Mai and Mae Sa Noi villages, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, in order to create mixed

89

media art with participation of the Hmong youth by communicating through imagination, stories or ethnic folklore to stimulate the awareness of the cultural identity of the Hmong people by using the interdisciplinary research methodology by presenting the study results in a descriptive format and presenting creative art.

3.2 Study of concepts, theories, documents and related research

Is a document study to review literature and study the context related to the history, society and culture, including the wisdom and folk tales of the Hmong ethnic groups in Chiang Mai Province both in history and in art history, in order to gain knowledge, facts about concepts and meanings, as well as the value of stories or folk tales, including concepts and theories as well as documents, books, research and art works related to this study from the institution, the library, the department's documents and related organizations, including the Central Library, Chiang Mai University, Faculty of Fine Arts Library, Faculty of Humanities Library, Faculty of Social Sciences Library, Chiang Mai Hilltribe Development and Welfare Center Library and others by using the information to organize, prioritize and present which consists of the following topics.

1) Status, knowledge, history, society, and culture of the Hmong ethnic groups 1.1) History of Hmong ethnic groups in general 1.2) History of Hmong ethnic groups in Thailand 1.3) Hmong ethnicities and various subgroups 1.4) Cultural heritage and traditions of the Hmong ethnic groups in Thailand 1.4.1) Residence 1.4.2) Rituals and beliefs 1.4.3) Important traditions of the year 1.4.4) Fabrics and outfits 2) Related concepts and theories 2.1) Art concepts in the community 2.2) Community participation concept 2.3) Concepts of mixed media art and installation art 2.4) Folklore theory

90

3) Research and related documents 3.1) Research 3.2) Documents and Books 4) Artists and related artwork 5) Research Concepts

As the details presented in the Chapter 2

3.3 The Study of Hmong Folk Tales

Is a study of the entire document section and the field in the context of folk tales of the Hmong ethnic groups, Mae Sa Mai Village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, using physical survey methods to record data of Hmong folk tales, including relevant environmental components by recording data with the Field Records, still images, including the use of participatory observation methods. It is an observation and consideration of the elements of folk tales that appear in Hmong ethnic villages in Chiang Mai Province by using the Structure Observation form as a sample interview using individual interviews with In-depth- interview by specifying the topic of the interview according to the educational objectives. It is an open-ended question divided into questions related to Folk Tales of the Hmong Ethnicities that appear in Chiang Mai are divided into 2 parts as follows: Part 1 History, context, lifestyle and society of Hmong Ethnicities in Chiang Mai and Part 2 Folk Tales of Hmong Ethnicities in Chiang Mai Province, including methods, group conversation. It is a collection of information from conversations of educators in each Hmong village which consists of people, local knowledge groups, folk philosopher, elderly who are knowledgeable about folk tales, lifestyle and Hmong ethnic culture, including group of artists and craftsmen in the local Hmong ethnic communities, which will be a Sample selected by Purposive on conversation about the lifestyle, culture and folk tales of the Hmong ethnicity. Here are the names of the interviewees who are happy to reveal their names as follows:

91

Hmong people who provide folk tales information 1. Mr.Tao Kornkeeratikarn, Age 66, 22/7 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province, talent is a necromancer of the Hmong people. 2. Mr.Chaiwat Feuangfookitjakarn, Age 63, 1 0 / 2 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province, grade 6 education. 3. Mr.Yongchor Saesong, Age 60, 47 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province, gardener, grade 6 education, talent is crossbow shooting. 4. Mr.Sa Saeyang, Age 38, 49/ 5 Moo 6, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province, general contractor, grade 4 education, talent is car repairing. 5. Mrs.Pang Rattanadilokkul, Age 54, 24/2 Moo 10 Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province, produce Hmong candle writing cloth, talent is trading. 6. Mr.Kadzoo Sakittiya, Age 61, Mae Sa Mai Royal Project Development Center, 6 Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, gardener at Mae Sa Mai Royal Project Development Center, talent is the right hand of the King. 7. Mrs.Mee Thanomworakul, Age 40, 64/3 Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, gardener. 8. Mr.Yua Thanomrungreuang, Age 64, 14/1 Moo 6, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, gardener, grade 4 education, talent is playing bamboo mouth organ and singing.

Scholars specializing in highland ethnicities and scholars specializing in folk tales 1. Dr. Prasit Leepreecha, Lecturer at the Department of Social Sciences and Development Faculty of Social Sciences, Chiang Mai University 2. Mrs. Lakkhana Thewa, Director of Jaophorluangoppathum 7 School, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

92

3. Duenchai Watcharaweerakun (Academic Teacher) Jaophorluangoppathum 7 School 4. Anuwat Inchai (Art Teacher) Jaophorluangoppathum 7 School 5. Pornchewin Malipuntha, Instructor at Rangsit University

3.3.1 Examples of collecting folk tales using data recording forms

Data recording form

Name of folk tale Name – Surname of the storyteller Age years old (since ) Occupation Education Talent Address Date of collecting folk tale Folk tale details

Name – Surname of folk tale note taker

3.3.2 Analyzing the folk tales of the Hmong ethnicity, Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

When collecting document and field data in the context of history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, including the study of folk tales or stories of

93

ethnic Hmong in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, the next step is to analyze the important points as follows 1) The history of Mae Sa Mai village Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 2) Context of folk tales 2.1) History of folk tales 2.2) Classification of folk tales 2.3) Storytelling and meanings 2.4) Benefits of studying folk tales 2.5) Inheritance and spread of folk tales 2.6) The value of folk tales 2.7) Study of folk tales and characteristics of folk tales in Thailand 2.8) Folk tales and society, literature, art 2.9) Form of idioms, particles and rules relating to folk tales 2.10) Collection of folk tales 2.11) Current situation and changes in folk tales 3) Study of ethnic Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 3.1) Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 3.2) Analysis of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 3.2.1) Classification of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 3.2.2) Analyze the living conditions of Hmong ethnicity from Hmong folk tales 3.2.3) Analyze the Hmong worldview that appears in the story (1) Relationship between Man and Man (2) Relationship between Man and Nature (3) Relationship between Man and Supernature

94

As the details presented in the Chapter 4 study results

3.4 Participatory Mixed Media Arts with The Hmong Youth

From the selection by analyzing the knowledge from the results of the study of ethnic Hmong folk tales in the previous chapter 4, then selected some of the Hmong folk tales according to human-centered principles, namely the relationship between man and man, the relationship between man and nature and the relationship between man and Supernature. Bring Hmong folktales to participate in artistic activities with the Hmong community for 2 times and then apply the work of the Hmong youth and the researcher combine techniques, style and modern technology, and then install to present the exhibition by presenting mixed media art style, installation art, participatory art and video consisting sound, light and shadow. There are 4 sets of creative works which are work (part 1) creative work set 1, work (part 2) creative work set 2, set 3 and set 4, published in Mueang District, Chiang Mai Province to revive the memories to live closely connected with the people of today and for the new Hmong people to be proud of their wisdom and foresaw the value of preserving that cultural identity for future generations as detailed and methods in Chapter 5.

1) The origin of Concept and the Inspiration to create this artwork 2) Art in participation with Hmong community youth 2.1) The 1st Art in participation activity for Hmong Youth (Document) 2.2) The sketches of the Hmong youth from the 3 selected Hmong folk tales ( 1 ) Sketches of Hmong youth from story about "The reason why Hmong grow rice and corn" (vim lis cas hmoob thiaj cog npleej thiab pob kwg) (2) Sketches of Hmong youth from story about "Why Hmong doesn't have any letters" (ua cas hmoob tsis muaj npe ntawv) (3) Sketches of Hmong youth from stories about "Why can't people see ghosts?" (ua cas hmoob tib neeg tsis pom dab) 2.3) The 2nd Art in participation activity for Hmong Youth (Participate in creating mixed media arts.)

95

3) Creating mixed media art with participation from youth from Hmong community (set 1-4) 3.1) Detailed Explanation of Creative Work (Part 1) Creative Set 1, Sketch of Hmong youth, acrylic paint technique on canvas frames (1) Creative concept (2) Designing the artwork creation (3) Creative process and artwork (3.1) Steps and creative process (3.2) Style, technical material and presentation (3.3) Materials and equipment for creative use (3.4) Artwork size (3.5) Problems and obstacles in creation (3.6) Explain the detail the creative artwork (3.7) Sketches and creative artworks 3.2) Detailed Explanation of Creative Work (Part 2) Creative Set 2- set 4, creative works set of the researcher that the young Hmong participate (1) Creative concept (2) Designing the artwork creation (3) Creative process and artwork (3.1) Steps and creative process (3.2) Style, technical material and presentation (3.3) Materials and equipment for creative use (3.4) Artwork size (3.5) Problems and obstacles in creation (3.6) Explain the detail the creative artwork (3.7) Sketches and creative artworks 4) Exhibition of mixed media art with participation of the Hmong youth 4.1) Dissemination of creative works through exhibition presentations 4.2) Area and publishing exhibition 4.3) Problems and obstacles in the exhibition area 4.4) Summarize the grouping from the selection of ethnic Hmong folk tales and the creation of art

96

5) Summarize the creation of mixed media art with participation of Hmong youth

As the details presented in the Chapter 5 study results

97

CHAPTER 4

Study of Folk Tales of the Hmong ethnic group in Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng District, Mae Rim District, Chiang Mai Province

Is a field study and documentary study in the context of the history of Mae Sa Mai village, Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, and folk tales about basic knowledge about folk tales regarding the meaning, classification characteristics, the meaning of idioms, particles and rules about folk tales, history and ways of studying folk tales, the relationship between folk tales and society, literature, art and the characteristics of folk tales in Thailand, as well as the study and analysis of the case study of the Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, consisting of the following topics: 4.1 The history of Mae Sa Mai village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 4.2 Context of folk tales 4.2.1 History of folk tales 4.2.2 Classification of folk tales 4.2.3 Storytelling and meanings 4.2.4 Benefits of studying folk tales 4.2.5 Inheritance and spread of folk tales 4.2.6 The value of folk tales 4.2.7 Study of folk tales and characteristics of folk tales in Thailand 4.2.8 Folk tales and society, literature, art 4.2.9 Form of idioms, particles and rules relating to folk tales 4.2.10 Collection of folk tales 4.2.11 Current situation and changes in folk tales

98

4.3 Study of ethnic Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 4.3.1 Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province 4.3.2 Analysis of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (1) Classification of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (2) Analyze the living conditions of Hmong ethnicity from Hmong folk tales (3) Analyze the Hmong worldview that appears in the story (3.1) Relationship between Man and Man (3.2) Relationship between Man and Nature (3.3) Relationship between Man and Supernature

Details as follows

4.1 The history of Mae Sa Mai village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

Mae Sa Mai village, Mae Sa Noi village are currently under the administration of Pong Yaeng Subdistrict Administrative Organization, Mae Rim District, Chiang Mai Province, Radaporn Thongma (2012, 7-10) states that Pong Yaeng Subdistrict is older than 400 years, approximately 16 kilometers from Mae Rim District Office. Pong Yaeng District is divided into 10 villages with the Northern border connects with Mae Ram Subdistrict, Mae Rim District, and Samoeng Nuea Subdistrict, Samoeng District. South: connects with Ban Pong Subdistrict, Hang Dong District East: connects with Mae Ram Subdistrict, Mae Rim District and Suthep Subdistrict, Mueang District and West connects with Samoeng Nuea Subdistrict and Samoeng Tai Subdistrict, Samoeng District. The physical condition of Pong Yaeng Subdistrict is a complex mountain with flat plains at the foot of the mountain. Some areas are the responsibility of Doi Suthep-Pui National Park and Mae Sa. The resources are abundant, it is an upstream source of Mae Sa, has a

99

cold climate, most areas suitable for agriculture. The important products are cauliflower, strawberry, chayote tomatoes, corn, rose, chrysanthemum, etc.

Picture 4.1 Weather Map Location of Mae Sa Mai-Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source : google map online)

Prasit Leepreecha and Apai Vanitpradit (2009 , 10-24) said that he history and development of the Mae Sa Mai and Mae Sa Noi communities are compiled from the knowledgeable or elders of the communities who have been in the event or learned the village past from their parents or grandparents. In approximately 1937, The Hmong De, Sae Teo family, led by Mr.Wa Chi Tho, Mr.Chu Pheng Tho, brought 6 relatives and Mr. Cheo Woo Li with 1 household to evacuate from the original base in the village area of Nong Hoi Kao, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. Presently, set up Mae Sa Kao community (1st place), which is approximately 300 meters north of the current Mae Sa Mai village. After that, moved further north about 200 meters to set up the Mae Sa Kao community (2nd place) to avoid soil erosion occurring near the original area. The reason for the evacuation from Ban Nong Hoi Kao to this place is mainly to find rice cultivation areas, corn fields, opium and find cow-raising areas. As for the Hmong Njua, led by Zhu Cha Wang and the Yang family, Mr.Hang. Many Wang households have relocated from Ban Nong Hoi Kao community. Currently, they

100

established Pa Kha community on Doi Mae Sa, approximately 3 kilometers away from Ban Khun Mae Sa Kao, around the year 1943, due to finding opium growing areas and fleeing from smallpox. When the Hmong people in both groups formed a community and made a living on Doi Mae Sa. By the early 1947-decade, Chinese caravans, opium traders, brought raw opium to stay at Pa Kha village to boil the opium before it was sold and fed to smokers in Chiang Mai and throughout the country. At that time, opium was still legal. When the conflicts about the benefits of opium trade occured, the Chinese national council killed 3 people, causing the government to send the Border Patrol Police No. 33 ( Border Police Station) to Mae Rim District for clearance in 1 9 5 1 ( Prasit Leepreecha and Apai Vanitpradit (2009, 10 -24) claimed in Boonserm, 1993 and Anu, 1999: 297), but the Chinese national council escaped beforehand, the Border Police then went to clear the village of Pa Kha, causing the villagers to evacuate to set up a farming area in Doi Suthep, currently is Doi Pui village community, Khun Chang Khian village, while the Hmong village of Ban Khun Mae Sa Kao (2nd place) migrated back and moved to the old village of Nong Hoi Kao, just one year back to the village of Pangkhum in 1953, which is far from the Mae Sa Kao village (location 2), about 1 kilometer. In 1964, another group of Hmong people led by Mr.Chu Teng Song and Mr.Jeh Fua Song, together with the Song family about 5 households also migrated from Baan Dong Sam Muen (old) communities to set up houses at Pang Khum community that make a living, grow peaches, sell to people in a flat area at a good price. Another thing is that Pang Khum village has a convenient transportation routes near the city. When the leaders of all groups agreed that the village communities in the Huai Mae Sa River Basin still have a lot of arable land. Therefore, Mr.Nauhthau and the brothers informed to the Mae Rim District in 1965, after another 2 years, in 1967, the current Mae Sa village was officially named "Mae Sa Mai". The economy has a change in livelihood from self-reliant agriculture, opium cultivation, and animal raising. In 1959, opium is illegal until King Rama IX and the Queen visited the Hmong, Baan Mae Sa Mai and nearby communities, since the year 1969 donated blankets, winter clothes, student clothes, school supplies, medicine, treats, piglets, cassava peaks and lychee trees for the Hmong to replace opium, which is the origin of the Royal Project and later there is a project to promote the cultivation of opium instead of economic crops. When the youth has increased knowledge, some come to study

101

in the flat land combined with the arable land of the village until 2002 onwards, some villagers gathered to create tourist areas and knowledge areas such as coffee plantations, learning centers, folk wisdom of the Hmong people, including building a cultural center and guesthouse in the community for tourism, etc. Basic community utilities in the area of Mae Sa Mai Village. His Majesty the King Rama IX and the Queen initiated the establishment of the Jaophorluangoppathum 7 school on January 28, 1969 (Prasit Leepreecha and Apai Vanitpradit (2009, 10-24), quoted in the Office of the Secretary-General (Book 3), 1996: 354-356). In the following year, both his majesty donated 50,000 baht to build a school in Mae Sa Mai community by allowing the Border Patrol Police (Border Police) Border Patrol Police Division 33 Dara Rasamee Camp to proceed while the villagers helped to transport some material from Baan Pong Yaeng Nok because at that time the road had not been cut to access the village. For this reason, the villagers received the name of the school as "Jaophorluangoppathum 7 School" since then, the first phase the border patrol police will be the teacher. After that the school transferred to the Office of the National Primary Education and changed teachers to civil service teachers since the year 1973 by providing regular teaching and learning until 2003, has expanded to lower secondary education.

Picture 4.2 Jaophorluangoppathum 7 School, 2017 (Source: Miss Piyachat Udomsri)

The basic public utilities of various communities, starting from the temple, Prasit Leepreecha and Apai Vanitpradit also said that The Dhammajarik Project was built to build a hermitage and let Phra Kru Sirichai Khun stationed. In the first phase, the community development was encouraged by sending many Hmong youth men ordained to study in higher education. After graduating, some people become teachers in their

102

communities, but mostly had a job in the city. The road section in 1973, there is a connection between Mae Sa Mai village and Pong Yaeng Nok main road, with the cooperation of villagers, monks, government officials and international organizations, in which the villagers brought the hoe to dig the road and made a wooden bridge as a casual path in the following years, the Department of Highways, under the UN agency, therefore used tractors to plow the road to expand it and for convenience for the project to promote opium crop replacement of the United Nations. However, the road is still a dirt road until 1998. Pong Yaeng Subdistrict Administration Organization has started to budget the construction of concrete roads annually. Up until now, the road to Mae Sa Mai village, Mae Sa Noi village is a concrete road that is convenient for transportation. Health care in 1981, villagers can cure illness at the village health center, but since the roads are now more convenient, villagers used the Pong Yaeng Subdistrict sanitation so the sanitation in the village was canceled in 1997 onwards. In the village, the Royal Project Development Center was also set up. In 2002, the Royal Project began to promote ecotourism in the village by creating a cultural center and guest house in the community. The natural resource conservation department lead the team with a new generation of villages gathered to set up the Baan Mae Sa Natural Resources Conservation Club, in order to campaign for villagers to campaign for the villagers to seriously organize forest resources, together with cooperation with the Forest Rehabilitation Research Unit and the land use research project on highland and sustainable rural development in Southeast Asia. The plumbing and electricity, His Majesty King Rama IX permits irrigation to construct a cement water tank by connecting the mountain water supply to the water tank. After that, the villagers bought the plumbing to continue to their community. As for the electricity, His Majesty King Rama IX and the Queen have royal initiatives for the Mae Rim Electricity Authority to install electricity from Pong Yaeng Nok to reach the community and each roof of the house. Nowadays, most of the villagers are Christian, there are also churches in the village.

103

Picture 4.3 Guest house in the Mae Sa Mai-Mae Sa Noi village viewpoint, 2018 (Source: Miss Piyachat Udomsri)

Picture 4.4 Mountain water supply pipes connected to the people's gardens, 2018 (Source: Miss Piyachat Udomsri)

Picture 4.5 Road to Mae Sa Mai - Mae Sa Noi village, 2016 (Source: Miss Piyachat Udomsri)

104

Picture 4.6 Church in Mae Sa Mai - Mae Sa Noi village, 2018 (Source: Miss Piyachat Udomsri)

4.2 Context of folk tales

4.2.1 History of folk tales

"Tales" according to the Royal Institute Dictionary, 1982 has given the meaning that Tales are stories that have been told, such as Jataka Fable, Aesop Fables (Royal Dictionary, 1982, page 441).

Which corresponds to Kingkeo Attagara (1976, page 11) said that "Tales" is a Pali vocabulary that means story. The writers and storytellers use this word for various types of stories, including novels, short stories, essays, tip, and experiences. The King Rama VI’s royal writing, Tong-In tale is a novel, short story, or archeology story of HRH Krom Phraya Damrong Rajanupab is a true story gained from experience. The royal writing of the story about the story of the Prince (Kromma Muen) Pitaya Longkorn also uses the word tales for different types of stories, but archaeological tales of Somdej Krom Phraya Damrong Rajanupab looks like a real story which provides knowledge in literature, art, and culture. It can be seen that the writer uses the word "tales" for writing various subjects, the writer used mainly to indicate the type of style, the style that appears is a friendly style, verbal tune. The narrator takes advantage of emotions and opinions without difficulty (Prakong Nimmanhemin, 2000, page 5).

Thawat Punnotok (2006, page 2) gave the meaning of the word tales means "A story that has been passed down from word of mouth, through one era to another,

105

through one generation to another until considered a cultural heritage" This story may be called "folk tales", some "folklore".

Wichian Ketprathum 2001, page 1-2) mentioned the meaning of "tales" that according to the Royal Institute Dictionary, 1981, meaning that stories such as Jataka fables, Aesop's fables, and "Tales" in Pali vocabulary means "Storytelling". Writers and storyteller’s "storytelling" are mostly used to indicate the style of rhetoric. The style in which the narrator interprets emotions and opinions.

Prakong Nimmanhemin (2000, pages 5-7) describes the meaning of folk tales that the word tales is a Pali word meaning storytelling. Royal Institute Dictionary Defining the word tales mean stories that have been told, such as Jataka, Aesop's Fables.

Sawat Chantani (1966, preface) has also expressed the viewpoint about the story that "Sometimes a sense of humor is inserted, Wrong with schoolbooks, which must maintain etiquette in writing"

Prajak Prapapitayakon (1984, page 2) mentioned the story in the book of Khun Phaen, the warrior hero, that the tales are prevalent in all parts of the world. From the king to the poor, there is a story that even angels like listening to stories. If humans tell stories during the daytime they will be cursed by the angels because in daytime, angels are busy having to go to guard Shiva so there is no chance to hear the tales that humans tell. The storytelling has existed since ancient times, even in the scriptures which was composed for more than 700 years also said in explanation of the auspicious cause in that era by city in the middle country, people tend to be hired to tell stories in the community such as travelers pavilions, etc., but many people listened to the story, so there was a problem of what is auspicious, a widespread problem to angels and the angels asked the Lord Buddha, The Buddha then performed auspicious ceremony.

The Fine Arts Department (1993, page 6) said in the book "Khun Chang Khun Phaen" that this tradition of hiring a story to tell people to listen. Even in Siam, the country has existed since ancient times until counted as one of the theaters which is often seen at work, such as shaving shaved cork in the evening after the prayer then found someone to tell the story to the guest and still having to reach this level in

106

Rattanakosin. The reason that why humans of all nations and religions like to hear that story (Siraporn Thitathan, 1981, page 35) has concluded that because the story is one of the spiritual food of humans, tales are a collection of imagination and dreams, tales are the way out of the human mind and helps to ease the suffering in the heart.

Which corresponds to the Kularb Mallikamas (1973, pages 99- 1 0 0 ) mentioned in the book Folklore that humans generally want a machine to entertain themselves in their unemployment and another is a consequence of religion which is a story that has power over the human mind and is the cause of many tales.

In the meaning of folklore, Kingkeo Attagara (1974, page 292) said in a folk tale book. Even the meaning of folklore, "tales" has a specific meaning "tales" refers to stories that have been passed down as a cultural heritage, using words as a medium to convey or can be transmitted through a pulpit, but some parts have already been recorded. As the same as Prakong Nimmanhemin (2000, page 6 -7) the word "tales" in folklore means stories that are passed down from one another to another are considered cultural heritage. These tales are called folk tales, some folklore have a specific meaning to a particular type of story, does not have a broad meaning like the word mentioned above. In this case, this type of story is called "Folk Tales"

Most folktales are broadcast by the pulpit. Professor Kularb Mallikamas has given 3 principles of observing folk tales as follows:

Firstly, it is a story with ordinary words in prose, not poetry.

Secondly, it has been spoken by oral tradition for a long time, but later, when writing has developed, it may be written according to the same story that had been told by oral.

Thirdly, it does not appear who the original narrator was, but it is an old story that is heard from a narrator who is a very important person in the past, contrary to modern fiction that the author is known.

The most important characteristic of folk tales is that it must be told by mouth and not knowing who the author is. The story is told from the memory that has been

107

continuously heard, such as the father who told the children to listen to it from grandparents and grandparents have listened to great-grandparents and great- grandfather had heard from others. It is unable to ascertain who the first narrator was. Although there is literature composed by epic poetry named Sri Thanonchai, this literature is also composed based on the story that has already been told. Therefore, it can be considered that Sri Thanonchai is a folk tale. While in folklore, we do not consider the jokes of Pon, Nikorn, Gimnguan as a folk tale. Although, some readers continue to tell the story because it is well known that Por Intalapalit is the author of this joke (Prakong Nimmanhemin, 2000, Page 7).

Which is consistent with Thawat Punnotok (2006, pages 2-3) in folk stories book that discusses the important characteristics, so the folktales are inherited through word of mouth and do not know who the author or the first narrator is. The story of folk tales will spread in society and continue the same story from the grandfather passed the father generation, children, grandchildren to the next endlessly. Although there is a written record in both prose and poetry by using the story outline from the same story that has been passed down to each other, also arranged in folk tales as well. As for the novels or short stories present, we know the author clearly even though the content is similar or different to folk tales, we do not call them folk tales. In the same manner, folk tales that were recorded as literary works in accordance with local prosody, to be used to drive boats at a meeting or to be the prototypes of folk skits. The story of the folk tales used to drive in those communities, the ancestors remembered to tell the story to the children. It can be seen that the folk tales have been changed into written literature and have been transferred back to the pulpit which is a common phenomenon of folk tales.

From many scholars have shown the knowledge of the meaning of folk tales that folk tales are the legacy passed on by the pulpit, from mouth to mouth passing one generation to another. It is a cultural heritage that is told with memory, so it is not known who wrote it. The characteristics of folk tales are short stories that insert humor that is wrong with textbooks that must be maintained. Folk tales are the source of imagination and dreams. Folk tales are the expressions of the human mind to be happy, to help relieve the suffering that is in the mind during leisure.

108

4.2.2 Classification of folk tales

The classification of stories is a classification of folklore for the benefit of education. As for the storytellers themselves, they often do not care what kind of folktale they are. There are many folklorists who classified the folk tales as follows:

4.1.2.1 Wichian Ketprathum said in a folk tale book by referring to Kularb Mallikamas, has categorized folk tales into 4 types as follows 1 ) Classified the tales according to area Is divided according to geographical boundaries, such as India, Islamic countries Italy England Cape Scandinavia, etc. This type of division occurred since the 19th century, but in Asia itself is not mentioned in detail. 2) Classified the tales according to form such as fairy tale This type of storytelling has a relatively long story with many important contents in one story, local tales. Legend, this type of storytelling is shorter than the fairy, usually it is about beliefs, traditions, superstitions, or nationalism that are the basis of local people. Local tales can be further classified, namely tales, explanations of various causes of nature, beliefs, as well as important places, tales about beliefs, ghost stories, superstition tales about buried treasures and manuscripts, the story of a hero that speaks of one's virtue, often have a definite location and time. Most moral stories are short stories intended to teach behavior, including tales about various monks who have supernatural abilities, etc. Myth is a story that the characters are animal. Some stories involve people which can talk and interact between animals and people. There are 2 types which are moral stories and repeated stories. Jest is often a short story. The main point of the story is often not likely to be classified according to the form of the story is used to classify the story of Thailand very much, because it covers almost all Thai stories. 3) Classified by the type of story ( type index) Wichian Ketprathum (2000, page 5) also said that classification, types of fairy tales is divided according to Antti Aarne's improvements in 1910 and Stith Thompson's improvement in 1928. Later, this method was called the folk tale style of Aarne, Thompson. It is to divide the tales in more detail, divided into

109

3 major categories, namely tales about animals, general folk tales and comedic tales. 4) Classified by the essence (motif – index) Is divided to categorize and organize the story clearly for the convenience of investigation and research and comparing the story, the word "essence" means the essence or the important point of that story. The essence consists of three important characteristics: the main character in the story must be strange, stranger than the other. In the story, it may be an angel, a monster, or someone with a special identity that will cause the story to happen and proceed. It may be objects, spells, beliefs or customs. The essence has one event, if a story consists of many events, it means that the story has its essence (Kularb Mallikamas, 1973, pages 113-114). 4.1.2.2 The classification of folk tales by Prakong Nimmanhemin (2000, page 7-29) stated that folk tales can be classified into 11 categories as follows: 1) Wonderful tale means a folk tale which was originally called a fairy tale, which is a translation from the English language, fairy tale. It is a tale about angels, in fact, many stories that are considered fairy tales do not have angels, but it is worth noting that every story of this type of folk tale has stories of miracles and supernatural wonders, and it is quite a long story with many particles or multiple episodes going in a fantasy world without telling the location and time. The main characters of the story have adventures with fate and are rescued by humans or undead. When married, status will improve, related to undead that has magical powers. Therefore, we call this type of storytelling Wonderful tale. 2) Novella This type of story in English is called novella It resembles wonderful tales. There are quite many long episodes, but the difference is that novella progresses in the real world. There is a clear location and character. There may be miracles or wonders, but there are parts that listeners believe are more likely than the supernatural powers that are in the miracle tales, such as Krai Thong, Khun Chang Khun Phaen story, including the story of Phra Lor that has a place with clear characters, as a miracle. The ancient Thai people believe that it exists.

110

3) Hero tale is a rather long story with many episodes, either in the fantasy world or the world that appears to be true. Heroes tale is a series of stories telling the adventures of a single hero many times, often telling the adventures of superhuman heroes. 4) Local tale or Local novel in English, many words are used, including local tradition, local legend แ ล ะ migratory legend. This type of storytelling has an uncertain size, some stories are short, some stories are long, some stories have many episodes. It is often a strange thing that is believed to have happened at a certain place, characters and locations are clearly stated. May be a matter of people in history or important people of the city. The characters may be humans, angels, animals, or nymphs. Local tales will explain the history of what is local, may be something that occurs naturally or is built. Local tales of Thailand, such as the story of the Phraya Kong, Phraya Phan, Phra Ruang, Chao Mae Soi Dok Mak, Thao Kok, etc. The local tales of Thailand may be divided into 5 categories as follows: Tales about religious beliefs, tales about historical people, tales about treasures or mysteries, novellas that happened, tales from well-known literature (Wichian Ketprathum, 2000, page 7) 5) Explanatory is a story that describes the origin or history of things that occur in nature, may explain the origins of some animals. The reason why animals have different characteristics, the origin of plants, stars, humanity, or institutions. This type of story is often short and straightforward to answer the question of why that is. Explanatory of Thailand are told in every region. Most of them are short stories, divided according to the four characteristics described, namely, explain the origin of the name pictures, features and components of humans, animals and plants, describes natural phenomena, describes rituals, traditions, explaining the origin of other things such as food or appliances. 6) Myth is a story explaining the origin of the universe, the structure and system of the universe, humans, animals, natural phenomena such as

111

wind, rain, day, night, thunder, lightning, the history of the history of the elites, hierarchical leaders and the role of humans, as well as customs, rituals and behaviors regarding when it happened, why folk tale in Thailand is well known about is Mekhala Ramasutra. There is also a history of various lunar eclipse, solar eclipse. 7) Animal tale is a story that animals are the protagonists in general, will show the intelligence of one animal and the folly of another animal. The attraction of this type of story lies in comedy from deception or in the unlikely situation of an animal. The animal tales in Thailand are usually a short story, some stories are described as fable or folklore stories as well. It may divided the content into 3 categories as follows: Tales that show the true nature of animals, aim to show that animals change their appearance, but animals refuse to leave their original traits, stories about silly animals, intelligent animals and crafty animals and stories about good animals, etc. 8) Joke in English use the word jest, humourous anecdote, merry tale, numskull tale. The story is often short. The plot is not complicated, there is only one episode. The characters may be humans or animals. The main point of the story is the various possibilities. The classification of jokes in Thailand according to the nature of the story is divided into 2 sub-categories which are stories that are obscene, such as stories about virgins and sensuality, stories that are not obscene, including stories with ideas about intelligence, stupidity, laziness, foreign matters, including bragging too. The concept that is often found in 7 jokes in Thailand are intelligence, stupidity, laziness, sexuality, people with disabilities, people of high social status and foreigners. However, the structure of the jokes will be based on the fate of destiny, wrong turn into fortune, breaking the tradition leads to joy. However, listeners do not mind. 9) Religious tale is a story about religion, but not the deity with the aim of teaching morals to the people, behavioral guidance, create values and indirect norms for society. If it is a Thai tale it will be a story about hell,

112

heaven, or stories of sacred people in religion. The storyline is based on Buddhism, such as do good things and good things will happen to you, do bad things and bad things will happen to you. 10) Ghost stories Ghosts are the protagonists of certain types of ghosts. It is not clear where they came from, how did it happen, but some ghosts are spirits of the dead and come back to haunt the living with various shapes and methods. This ghost story reflects the belief in Thai spirits and ghosts. The ghosts in the story are good ghosts which provides assistance or protection or tell fortune and the evil spirits that haunt the people. Ghosts stories in Thai may be divided into 6 types, namely the ghost of the dead, the ghost of the house (the ghost of the grandparents), the ghost of the tree (dryad), the forest ghost, possessive ghosts (ghoul), miscellaneous ghosts or wandering ghosts (Krasue,Krahang,Imp). 11) Formular tale means a story with a special pattern of storytelling. In this type of storyline, the storyline is of secondary importance to the storytelling pattern. The story is told for fun for the narrator and the audience, some may be used to play games with many types, such as chain tales, a story about a recurring event, or about many things, a distribution in ascending order of number or date, catch tale. It is a story told by a storyteller in order to trick the audience into a clown. The story content is not that much, the narrator also uses the method of listening to the audience. For example, to answer the question, the narrator sometimes requires the listener to say a certain text, unfinished tale, a story that the storyteller tells to tease for fun or because of the annoyance that is often urged to tell a story to show that the story is over, though not likely ending and endless tale, it is a tale that does not have much, often about counting, the narrator is able to tell as long as the audience wants which the story will never end. Normally, listeners are often annoyed to tell to stop, but this kind of story is useful in teaching counting to children.

Wichian Ketprathum (2000, page 9) has suggested that choosing the style of the story must consider the attitude that is included because a story can be arranged

113

in many forms, depending on the purpose of the study. In addition, tales with the same story outline may be in different formats. The researcher should not stick to the style of the story, but should be studied in other ways, such as how the story may reflect the culture of the owner, how it reflects the mind of the person, reflects history, how it reflects geography or to study psychology, sociology, anthropology, as can be seen in many places. This is in line with the opinions of Prakong Nimmanhemin, (2000, page 28-29) that the classification of stories is broadly divided by considering the collection of stories at that time, in which the tales of some countries often have different characteristics, some stories may not be like the one mentioned above. Therefore, the researcher should consider the details of the content, as well as the attitudes of the narrator who listen to the stories they tell.

4.2.3 Storytelling and meanings

Storytelling is a fun activity that humans have done long before the creation of other types of theaters, so it is impossible to determine when humans have known the storytelling since. Storytelling can be told at any place and opportunity, no ceremony required. Therefore, storytelling is widely popular in every nation, language, class, and age. Although the story has many forms and different types, but the original purpose of storytelling is the same which, firstly, is to be a leisure time in business and another to be a religious principle that has an influence over the human mind, such as tales about gods, holy things, and supernatural, etc., which caused stories to be passed on for many generations. Folk tales are the source of various kinds of stories, showing the behavior of both humans and animals, both good and bad, by being tied into stories, connect to show common behavior in the human land or fictional land, in which the content and characters of those tales have stimulated human sentiments to be or not to be, causing fun for the listeners. The storytelling of Thai folktales can be divided into two major characteristics 4.2.3.1 Family storytelling the story telling in the family does not have any ceremonies. There is no need to have a large audience, with only one or two listeners, depending on the audience's interest. As for time and location, storytelling is not limited, may be free time from work

114

or while working at home. It can be said that storytelling can tell every opportunity and every place. The story of the story depends on the relationship between the narrator and the listener, including time and opportunity. 4.2.3.2 Community storytelling Storytelling in the community is quite a ritual. Nowadays, it is not very popular because on the occasion that the villagers come to participate in charity events every day, the host has other entertaining devices such as gramophone, projector screen. The storytelling in various localities in the past, each region is as follows

Central region In charitable events such as ordination ceremonies, Kathin ceremonies, wedding ceremonies, relatives and neighbors will attend at night, the host will often find people to tell stories to the participants, most of whom will also be pilots when the important part of the story will insert the melody. In the end, becoming a Sepaa play such as the Sepaa play of Khun Chang Khun Phaen.

Northern region At the funeral, the host will find a good storyteller in the village to tell stories to the participants. If it is a prose storytelling it will be called "Lao Jia", but if it is Sepaa play, rhyming idiom accompanying music is called "Lao Kao" or "Kao Sor".

Northeast region At the funeral, there will be folk tales as well, which later bring folk books to read in melodies called "Lam". There are many melodies such as Lam Puen, Lam Rueang, Lam Toei, Lam Plearn, etc.

Southern region Folk tales are told as well as in other regions and the introduction of poetry in poetry, which is composed by Kaap poetry such as Kaapyaanii, Kaap Chabang, Kaap Suraangkhanaang as melodious at the meeting called "Book prayer" or "Side prayer".

The meaning of "narratives". Narratives in everyday life have to be related to many narratives, including presenting the content by presenting it in various ways according to the wishes of the author, such as spoken language in conversation, news from radio or television, or the language written in books, newspapers, including storytelling in still images, cartoons, drawings, paintings on church walls,

115

advertisement by the road signs or media that is a mixture of gestures and dialogue in a drama, in the movies, they all use different media and emotions, but all of which is the communication of the narrative to the audience.

Poonsuk (Apawatcharut) Tanphrom (2003, 2-3) said that for Roland Barthes, the story appears all the time, every place in every class of society. It can be said that the story occurs at the same time as humanity. No tribe or nation has no stories, humans of every nation, every class have stories because the story is the presentation of a set of events that have the process of changing from the initial situation to the final situation based on the actions of the characters in the location and time frame. Poonsuk also added that when talking about stories regardless of the nature of the story, about the event (at least 1 event) and that the event can only be told when someone is conveyed to others, such as a journalist, to write in the newspaper, advertisers advertise according to the poster, in pamphlets or on television, the writer writes it into a novel, filmmakers create movies etc.

Sriruan Kaewkangwan (2005, 3-11) said that when humans must communicate, it is necessary to have a way to communicate with each other. The easiest way is to start communication because it is a carry-on the movement of the body with the head, hands, feet, etc. As for recipients of that message by looking such as farewell, nod to accept, nod for disagreement or some societies stick out the tongue to say hello or pointing at face to show dissatisfaction, etc. Therefore, language is important and necessary between humans that interact with each other to give meaning, including being aware of various emotions and feelings.

4.2.4 Benefits of studying folk tales

Thawat Punnotok said that folk tales have received little attention from the younger generation, probably because they are considered outdated, outdated, because there are various forms of entertainment that are better, faster and more convenient, such as internet, television, movies, books, etc., which may be the consciousness of the new generation who do not see the value of Thai folk wisdom that has contributed to Thai society to survive to this day because folk tales are not just about entertaining things but also helps to study and maintain the common

116

behavior of Thai society in accordance with the pattern including creating a bond of love, understanding between individuals and relatives as well. Therefore, the study of folk tales is useful.

The first is to entertain the listeners, which in the Thai rural society in the past preferred to tell stories and listen to the stories as entertainment activities in the community. The second is to provide knowledge because some stories may have intervening knowledge, such as knowledge about tradition, rituals, religion, and history. The third is to give way of living because general folk tales use principles as important concepts, in order to adhere to virtue, even if teased by unjust parties by various trickery, they must endure the obstacles, but with virtue, there will be helpers in the end and bring peace in the end of life. For example, the protagonist in the story is a model for listeners to use in real life.

4.2.5 Inheritance and spread of folk tales

Thawat Punnotok also said that Inheritance of folk tales means storytelling in the society from one mouth to another, from one generation through another generation.

The spread of folk tales means telling stories from word-of-mouth through one local person to another, or through pilgrimage or merchants traveling to various locations.

As it appears that most Thai folk tales have identical or duplicate stories, showing widespread spread. In addition, it is found that folk tales of the neighboring countries match the Thai folk tales, not less, such as Nang Manohra (Appears in Indonesia, Myanmar, Laos, and Xishuangbanna region of China), storytelling animals and fairy tales etc. Nonetheless, local folklore that has spread to other regions that have been passed on or passed down is still different, which is a common phenomenon of folk tales inherited from word of mouth.

Therefore, finding that the same story in the same society has different expressions, which may be different in the sequence of events, emphasizing the behavior of the protagonist of the fair or the wronged, opening the story, closing the story, including the name of the house, name, city, etc. 10 storytellers telling

117

the same story are considered 10 idioms because the stories collected from one narrator or one narrator will have subtleties or different expressions, even if told in the same time period, each folk tale has many expressions as follows. 4.2.5.1 Narrator The narrator has a great influence on the succession of the story, which is very different from the original story, depending on the narrator's memory, including how to convey emotions while telling in which the narrator often uses methods such as summarizing, the sequence of events, adding particle of story, using idioms and tone of voice, using dialect, emphasizing the main points of the story etc. 4.2.5.2 Story The story of the tale, the storyteller may be remembered from others, sometimes the information is incorrect from the previous storyteller, or may be memorized, confused, or may have forgotten some episodes. In addition, it is also usual that storytellers often have experience in knowing stories from many different types of stories from various sources, such as word-of-mouth, listening to the folk tales at the meeting, viewing performing arts, listening to preaching, reading a written story. Therefore, the storyteller receives the story in many styles, many ways, some ways are not clear and communicate, remember the mistake or many stories that do not remember, etc. These are the reasons that make the same folk tale with many different expressions. 4.2.5.3 Listener or receiver The listener has an influence on the content and the storytelling process. That is, the more listener who wants to listen will stimulate the narrator to tell the story, the more the audience questioned the narrator, the more clarity needed. Especially the jokes, the more interested in listening and showing humor, the more narrator shows the jokes. Therefore, the process of storytelling depends not only on the story or the circumstances in the story, but also on the emotions of the narrator and the listener.

118

4.2.6 The value of folk tales

Folk tales have many values, as Wichian Ketprathum (2001, page 9-10) stated as follows 4.2.6.2 Tales are fun and entertaining It is a way to relieve stress and help time pass without being bored. Thai storytelling may be told to the family, such as grandparents or parents telling their children during leisure or at bedtime. 4.2.6.3 Tales help strengthen relationships In the family, some children may consider adults as a person who is gruesome and terrifying, but if adults have time to tell stories to children, fun stories will help children want to be close, reduce fear, adults and children will have good intimacy, even among the adults themselves doing activities together. Listening to the story not only helps the work to be fun, not boring and helps to increase camaraderie. 4.2.6.4 Tales educate and enhance imagination In the story there are characters, which has life as human. Children who listen to the story will have the opportunity to learn human characteristics. Learning about various obstacles as well as overcoming the obstacles of the characters will help to learn more about life in order to apply it in real life. In addition, the tale that has a story of angels, witches, supernatural powers, miracles, wonders are also valuable in enhancing the imagination of children. In other words, the story helps them to know the world, to truly know life and helps them to use imagination, which is important for creativity. 4.2.6.5 Tales give morals and motto Tales do not only provide fun and enjoyment to listeners. There are many tales, especially the motto tales, which give a moral in some way, it helps to instill the morality that the society desires for the listener, such as being honest, obeying the elders, to speak sweetly, to be diligent, to be generosity. The story is like a tool to instill morality and ethics that are social norms. 4.2.6.6 Tales helps to reflect the state of the society in many aspects such as the characteristics of society, the way of life of the people in the

119

society, as well as customs, values, and beliefs. These things always appear in fairy tales. If observed, when analyzing these various tales, it will truly lead to an understanding of the way of life of the local people. Thus, the stories are like a large mirror that helps to reflect oneself. Therefore, tales are valuable thing.

4.2.7 Study of folk tales and characteristics of folk tales in Thailand

Wichian Ketprathum (2000, pages 10-13) said that the study of folk tales began in Europe around the year 1700 - 1800 with the importance of folklore awakening to collected folk tales that have been told, then publish and distributed at that time. The compiler will often recompose it by using their own language, not recorded according to hearsay from the narrator until later, around the year 1900, two brothers, the Grimm family, Jacob and Wilhelm Grimm, have compiled a German folk tale to be released. Both tried to keep the idiom of all the narrators, which Wichian Ketprathum and Prakong Nimmanhemin said in the same direction, that after the collection of folk stories that are widely cast in various countries around the world such as Denmark, Sweden, Finland, England, the Netherlands and the United States and then to study the subject of human society. Moreover, the story of the villagers' story shows the general similarities of the world. Although some teaching styles are somewhat different, but with regards to the method of telling the purpose and the opportunity for the use of folk tales, it is the same.

As for Thailand, scholars who pioneered the story of folk tales was Professor Kularb Mallikamas, she gathered folklores and published in a book called "folklore" in the year 1966. In that book there are 2 chapters, the first chapter on folklore story, and chapter 2 on folk tale. There are approximately 50 examples of stories.

Kingkeo Attagara (1971, page 444) collected and studied literature from houses in Na Pa Subdistrict, Mueang District, Chon Buri Province with the objective to collect literature from the village by analyzing the storyline that has an impact on life relating to religion, organization and ethics of society. There are 4 types of literature collected, namely tales, novels, sermon, and epic.

120

Prachak Saisang (1973, page 227) studied literature collection from Si Khiri Mat Subdistrict Sukhothai Province. Data that includes tales, novels, sermon, and music from the analysis of literature, it appears that Si Kirimat villagers attach great importance to ethics, which is the foundation from Buddhism. Telling stories to be funny, especially in jokes, uses a method of manipulating stories from the truth, sometimes use obscene language. However, these stories have a hidden motto.

Jarunee Kongpolprom (1973, page 247) collected the old city folklore from Mueang Kao Subdistrict, Mueang District, Khon Kaen Province to consider the value of the folklore that has been collected data, consists of Lullaby, Kid tease music, Phaya Khalam and tales. The researchers divided the stories according to the form, consisting of animal stories, folklore tales, jokes, coarse jokes, priests’ jokes, witty jokes, and fairy tale. The researcher analyzed the meaning and studied the value of the story, phrases that reflect moral values, ways of living and customs. The results showed that the folklore of Mueang Kao village has values in philosophy, aesthetics, and ethics, which is an indicator of imagination, well-being, ideology, and standards.

Chansri Supanyakorn (1974, page 265) studied and collected Raman Thai literature of Songkanong Subdistrict, Phra Pradaeng District, Samut Prakan Province found that the main purpose hidden in storytelling, aside from being fun, the story also gives moral and motto. It is a strategy to train the children of the villagers. In addition, the story shows the concepts, standards, and practices in society both past and present.

Chamnan Rodhedpai (1975, page 363) studied Thai literature of Baan Yuan Subdistrict, Chiang Kham District, Chiang Rai Province (Currently a district in Phayao Province). The results of the study showed that the compiled tales show the traditions of Tai Lue culture in many aspects such as the nature of language, life and general life, belief, and religion, etc. Many stories are related to Thai literature about Jataka in Buddhism and foreign literature shows the influence of neighboring countries' culture on Thai literature.

Pranee Khuankaew (1975, page 535) studied the folk literature of "Bud Dam" from Ron Phibun Subdistrict, Ron Phibun District, Nakhon Si Thammarat. In

121

summary, there are 3 important aspects that can be studied: First, Buddhism has an influence on national literary works, second, folk literature reflects the state of life, society, culture, and traditions. It can be said that it is a source of valuable national heritage.

Preecha Uitrakul (1979, page 318) studied local literature in Rangka Yai Subdistrict, Phimai District, Nakhon Ratchasima Province. The conclusion is that folk literature reflects the history and the geographical environment as well as showing the life conditions of the Rangka Yai people in various aspects such as beliefs, traditions, and values.

Verawat Pinkian (1971, page 416) studied the literature category of the Karen people, Suan Phueng Subdistrict, Ratchaburi Province. The results of the research showed that the Karen literature in Suan Phueng District reflects the environment regarding houses and residences, local plants and animals, daily living conditions, occupations and livelihoods in various fields, food, sports appliances, games, dressing, sneaking, proposal, marriage, death, eating wrapped rice tradition and Songkran traditions. In addition, faith, and various values, including some aspects of those Karen tales as well.

Rattanaporn Atthammarat (1989, page 259-217) studied the folk tales of the Hmong hill tribe people. Baan Buak Chan and Baan Buak Toi, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The study found that the living conditions and worldviews of the Hmong people appear in 49 tales, categorized by fairy tale, novella, hero tale, local tale, legend, explanatory and jokes. The living conditions that appear in the story, Hmong people are small families with rules in living systematically from choosing a partner, Hmong people like to choose a partner by themselves. Within the family, there are more sons than daughters. The burden of work and family care is the wife. The Hmong people believe in the supernatural and use it as a tool to control the behavior of the Hmong people, including government, because the Hmong people do not have religion, the Hmong economy does not prosper, the main occupation is farming, but there are other occupations such as blacksmithing, trading and hunting. In the worldview, the Hmong believe that god is the creator of the world, the stars, and humans, as well

122

as being able to inspire events. However, the Hmong people see that supernatural can be good and can be harmful. Hmong people are often vengeful, not quite honest, but has gratitude and belief in the elder system. The Hmong people live far away, so they make the supernatural things clearly influence the Hmong people.

4.2.8 Folk tales and society, literature, art 4.2.8.1 Folk tales and society

Prakong Nimmanhemin (2000, page 71-75) said that folk tales have relationships with society y dividing the issues into 3 points, namely storytelling activities in different societies, the role of folk tales in society and the influence of society on folk tales.

Storytelling activities in various societies. Storytelling opportunities often occur when working together, such as farming, cutting firewood, sewing clothes, and in the winter where is not easy to go, including in limited locations such as hospitals, in detention camps, in detention centers.

The storytelling profession. Storytellers tend to be people whose work or career requires movement, have a chance to meet people and have a lot of experience. For this reason, they tend to be skilled craftsmen, weavers, mariner, sailors, construction workers more than farmer, or if they are farmers, they often have special knowledge and are able to travel, meet people, and also other careers. This also includes the village headman, teacher, and merchant. As you can see, Thai storytellers are often experienced people with a career, allowing them to meet people and there is also a group of doctors or traditional healers that has a chance to read and listened to the scriptures a lot as a storyteller.

Men and women, who are more storytellers? Normally, women and men can be both storytellers. The number of male storytellers is over, maybe because men have more opportunities to travel and meet people. A male storyteller who can read books may have the opportunity to read fable stories from the bible or story books that have been compiled. Men also have the opportunity to share stories in the liquor circle. In addition, some folklores

123

also think that the tales that women tell are often short and not fun. The narrator tends to consider the broadcast as they had heard it, while the tales that men tell are more fun and longer. Men will tell stories in a larger society, so they try to use fun methods of storytelling in order to attract the attention of listeners.

The role of folk tales in society Storytelling takes place on many occasions and plays a different role in society

Entertain Storytelling on various occasions has a role to entertain causing time that is monotonous or awkward to go unnoticed. In Thailand, storytelling is available in the family, such as grandparents or parents telling their children before bed or at leisure. There are some narratives when working together, such as during breaks to eat during the rice season, in ordination or funerals in the north while the neighbors came to help with various tasks such as arranging flowers, rolling cigarettes or wrapping Miang to support guests who come to help, there is a storytelling, in the cold season while baking a fire toasting Khao Lam, sometimes stories with jokes and tales are often told among men in the liquor circle or while resting while traveling, etc.

Helps to strengthen relations In the family, some children may look at adults as a person who is grumbling, bullying, horrible, but if adults have time to tell stories to children, fun stories will help children want to be close, reducing fear or being bored of adults. Adults and children are very close and intimate, causing children to tell stories to adults. It is a by-product of the memory and expression of children, even in the adult group. It is fun to listen to the stories together to help get closer.

Educating and enhancing imagination Tales all have feelings like human beings, undead, all sorts of animals. For this reason, the stories are human-like when children hear and learn about different characteristics, resulting in learning to overcome obstacles, as well as overcoming the

124

obstacles of the characters, it helps to learn more about life, be able to endure and try to overcome when facing the truth. It can be said that the story not only helps to know the world, knows life, but also helps children to know the imagination, which is important for creativity.

Cultivate ethics and maintain social norms Aside from providing fun and enjoyment. It is accepted that many folk tales are valuable in cultivating ethics and maintain social norms. In this regard, many types of stories also instill ethics and good behavior for all groups of humans during their ages.

Social influence on folk tales

Society has many influences on stories such as

Firstly, although the story is a story of imagination, but since the storyteller is a member of society, stories often reflect the characteristics of society, way of life, as well as attitudes and opinions of people in that society, more or less, stories also reflect the attitudes and opinions of people in society towards things such as worldly viewpoint, life, death, nature, people outside of their society, including studying the attitude of people in society from the jokes of every nation.

Secondly, society has changed over time. Social changes inevitably affect the story more or less when there is technological progress. Humans have more facilities. The group listening to stories may change to listen to the radio or watch television instead. Some folk stories were adapted into a television drama, the method of conveying the story changed to be appropriate for the times. We also have contacts with foreign countries. Foreign tales then spread. Some parents may find it suitable for children, so they buy to read. It can be said that children in the city today know foreign tales before Thai folk tales.

4.2.8.2 Folk tales and literature Prakong Nimmanhemin (2000, page 82-84) has said that, in fact, folk tales are one type of literature, that is the literature that is transmitted by

125

mouth called "Pulpit Literature". In a nation or society where no letters are used, there is only this type of literature, but in a nation with letters, there is a type of written or printed literature called written literature, which is consistent with Thawat Punnotok (2006, page 13), which stated that folk tales are a type of literature called " Pulpit Literature" is a literature that has been passed down from tradition. When someone recorded it in alphabet, we called "Written literature" and, if composing a great phrase, is generally accepted, we called it "literature." Therefore, folk tales are a source of written literature, literature and idioms, including the introduction of folk stories into chapters for various local folk performances. Prakong Nimmanhemin said that folk tales and written literature have two types of relationships: Folk tales are the origins of some literature. Commonly written literature comes from many places, such as from the actual events from the poet's imagination and from folk tales. Some folk tales and written literature are closely related, because folk tales are the origins of that literature. Poets from many eras have brought the story of folk tales to be created as written literature, it may be a prose or poetry. Thai written literature originates from many folk tales such as Sepaa Khun Chang Khun Phaen, The royal writing of Inoa, Kraithong and Lilit Phra Lor etc. Examples of local literary works that are sourced from folk tales such as the Kao Sor of the story Tao Noi Ong Kham or the four Champa trees of the north, the story of Thao Khlu, Nang Hua and the story of Pha Daeng Nang Ai of the northeast and the poem of Mr.Dan of the South. Taking folk tales to compose literature may be some parts or adding a longer story that may not be the same. Written literature helps to preserve and be a medium of folk storytelling. The literature originates from some folk house stories are well- composed and melodious sentiment that fascinates the audience to bring the story to tell or continue to sing as a song. In this case, it can be said that written literature helps to preserve folk tales and is a medium to convey that folk tales to remain as well.

126

4.2.8.3 Folk tales and art

If considering some branches of art such as painting and sculpture, it is found that folk tales play no less at all as an inspiration for artists to produce art. Folk tales that have a particular influence are the myth and various monsters, causing artists to imagine and produce many interesting works around the world. Sculptors that got the idea from myth such as the Sphinx in Egypt, the Apollo, the Venus, the monster, etc. In Thailand, sculptures originating from many folk tales are found in museums of ancient cities, the painting influenced by myth such as The Birth of Venus, by Botticelli, Italian painter in the 15th century etc.

In Thailand, the murals in various temples also show that the painter is influenced by Jataka tales and Thai folk tales, such as images of etchings on a stone at Wat Si Chum Pagoda, Sukhothai. The main image is the story of Jataka stories, the murals are images from fairy tales in Chiang Mai such as Wat Phra Singh, there is the story of Sangthong, Tha Kradat Temple has the story of Chao Boon Long, Tai Khun story, a mural in Bangkok depicting stories from folk tales in many places such as Pathum Wanaram Temple has Sri Thanonchai story, Phra Chetuphon Vimolmangklararam Temple has Grandma and Grandpa story. Examples of paintings that have been influenced by another interesting folk tale in Bangkok are murals at the Dragon Temple Kammalawas (Wat Leng Noei Yi) and Tiger God Shrine are paintings about Chinese folk tales such as Shu Wu Shepherd, Sue Tung He play with rats, and the story of a boy raising buffalo and the weaving angels are all folk tales that the Chinese people know well. (Prakong Nimmanhemin, 2000, page 84-85)

4.2.8.4 Folk tales and other types of folklore Besides having relations with the aforementioned literature and art, folk tales also have relationships with other types of folklore such as puzzles proverbs and folk songs. puzzles proverbs that are derived from folk tales such as the Chameleon gets gold. Another story is Goat chasing and some riddles have originated from folk tales such as asking various questions, while folk songs that are from folk tales such as lullaby and various local interactive

127

song, sermon song and fairy tale song of the central region, fiddling song of the north region, Morlam of northeast region, Cha Nong song of the south region are often based on various folk tales, Common tales in music and folk performances in the central region such as the Pleiades, The Twelve Lady's, Krai Thong, Khun Chang Khun Plan etc. (Prakong Nimmanhaemin, 2000, pages 86-87)

4.2.9 Form of idioms, particles and rules relating to folk tales

Wichian Ketprathum (2000 , page 13-14) referred to the word version, a vocabulary used in the same folk tale, but collected from different or from the same storyteller but at different times. A tale that is collected from one narrator or at one time is another version. The same tale but with different expressions may have the same or different characteristics, depending on many reasons, such as the narrator's memory, the sex and age of the narrator, including listeners, local society and culture as told.

As for the word motif, Wichian Ketprathum said that the smallest element that is always found in folk tales are usually something that is outstanding or strange and notably not common. The components classified into particles are divided into 3 types which are

The first type, characters that are strange or special in some way, such as a mean stepmother, the child in a conch, a talking cat.

The second type, object or thing which has distinctive characteristics or strange, including strange tradition and beliefs, such as the magic lamp, house made with bread, choosing a partner by risk steering.

The third type, event or behavior which have distinctive or special characteristics, such as transformation, cursing, flooding of the world, etc.

The rules about folktales. Wichian Ketprathum referred to the Danish folklorist, Axcel Olrik who is the observer from the study of folk tales called the rules about folk tales which can be summarized as follows: Law of opening and law of closing, law of repetition, law of to a scene, law of a contrast, law of twins, the

128

importance of initial, single-stranded, patterning, tableaux scenes, logic, unity of plot, concentration on a leading character, etc.

4.2.10 Collection of folk tales The collection of folk tales should be collected directly from villagers who are storytellers by using a voice recorder to record audio and then take the tape recorder first, then take that sound bar to transcribe it into text again, which has the following notes in principle. 4.2.10.1 The collector must write down the information in accordance with the words of the villagers, must not adjust the idioms or polish the language of the story to be different, although it sometimes consists of dialects or vulgar language or any inappropriate content, one must maintain it in order to maintain the character of the villagers and to have true folklore worth of education. Modifying hearsay to preserve language or sometimes modifying the story to be more polite is damaged because it will damage the character of the villagers, which are the major points of the folklore, and may lose the important characteristics that should be studied for freshness, oldness, etc. of the folklore to deranged. This is an important point in collecting folklore and folk tales. 4.2.10.2 Record the attitude in the story because sometimes the storyteller will show the feeling of appreciative in the story, which is something that can be observed, such as when they act(laugh), when they spoke fast or when they skipped. 4.2.10.3 Observe the audience, where they are listening, when they laugh, when they applauded, parentheses in the story as well. 4.2.10.4 Record the date that listened to or recorded as evidence for data collection, to compare the old, new information. 4.2.10.5 Details about the contributor should be recorded in detail, such as name, surname, age, date of birth, domicile, education, occupation, and talent.

129

4.2.10.6 The name-surname of the notator or data collector should be written once the data has been recorded.

4.2.11 Current situation and changes in folk tales

Data recording form

Name of folk tale Name – Surname of the storyteller

Age years old (B.E. )

Occupation Education Talent Address Date of collecting folk tale Folk tale details

Name – Surname of folk tale note taker

Folk tales have received very little attention from the younger generation. Maybe because it is considered as being outdated because there are various forms of entertainment that are better, faster and more convenient such as mobile phones, iPad, television, movies, books, radio, etc., which may be the consciousness of the new generation who do not see the value of Thai folk wisdom that has contributed to the Thai society to survive to this day is because the folk tale is not just a pleasure, but also helps education to listeners and maintain the common behavior of Thai

130

society in accordance with the pattern, including creating a bond of love and understanding between individuals and relatives as well.

The change of folk tales in the value of providing entertainment to the listeners in the value of the knowledge and in the direction of the way of life. Nowadays, there is a change in listening because nowadays, listeners enjoy entertainment from modern communication tools that are fast, support diversity as can be seen from various applications that make listeners easily access to information that they are interested in, be able to learn past knowledge by listening to folk tales such as customs, rituals, religions, history of other ethnicities and resulting in new learning. Therefore, it is the cause of change and forgetfulness in one's own culture.

4.3 Study of ethnic Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

In this study, discovered Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, totally 9 stories.

4.3.1 Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

Field study to find information about ethnic Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, using the data recording form (section 4.2.10.6.) to record data from interviews with Hmong elders in Mae Sa Mai village, Mae Sa Noi village, who can remember their own folk tales in the form of notes, can obtain information about the name of the folk tale, name-surname, folk tale, age, occupation, education, talent, address, date of folk tales data collection and details of folk tales.

The ethnic Hmong folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, there are 9 stories found in this study. Story 1 The Hmong folk tale “Mr.Chue Nong Bra and Mrs.Mao Kao Zhu”

131

Story 2 The Hmong folk tale "There are men and women" Story 3 The Hmong folk tale "6 stones and 2 elderly people" Story 4 The Hmong folk tale "The orphan and the monkeys" Story 5 The Hmong folk tale "Why Hmong doesn't have any letters" Story 6 The Hmong folk tale "The reason why Hmong grow rice and corn" Story 7 The Hmong folk tale "Why can't people see ghosts?" Story 8 The Hmong folk tale "Owl in the mountains" Story 9 The Hmong folk tale "The dead chef came to sleep with his wife and children"

With details as follows

Story 1 The Hmong folk tale “Mr.Chue Nong Bra and Mrs.Mao Kao Zhu”

The story " Mr.Chue Nong Bra and Mrs.Mao Kao Zhu" , talks about the relationship between a husband and a wife that caused a quarrel and parted.

In the olden days, Mr.Chue Nong Bra and Mrs.Mao Kao Zhu married and lived together. Chue Nong Bra would go out to shoot birds to cook every morning, one day, Mao Kao Zhu came with a dog barking all the way. Chue Nong Bra then put his own pheasant under the bed. The next day, Mao Kao Zhu stepped in but did not bring the dog in, when arrived at the farm, Mao Kao Zhu saw Chue Nong Bra eating the pheasant. Mao Kao Zhu was very sad and said "Let’s divorce" take me back to my parents. Chue Nong Bra then sent her to her parents. When they arrived at a river, Mao Kao Zhu said, "Before we part, can we sing together for the last time?" but Chue Nong Bra said, "We are parting, why do you want to sing together?" Mao Kao Zhu was very sad and jumped into the water because Mao Kao Zhu was the Naga's daughter, but disguised as a human to live with Chue Nong Bra. He was weeping over Mao Kao Zhu, meanwhile, two frogs were walking by. Chue Nong Bra asked for the frogs' help by having the frogs drink all the water in order to find Mao Kao Zhu, his beloved wife. While the frogs were drinking water, Chue Nong Bra laughs at frogs. The frogs sighed and decided to not help. The next day, Chue Nong Bra cried for help from the frogs again. The frogs consumed all the water. Mao Kao Zhu disguise as a human being to meet Chue Nong Bra and told

132

him that "I am married now" Whenever you miss me, put three jars in front of the house and fill all three jars with water, you will see me. After that, Mao Kao Zhu suddenly disappeared. After a couple of days, Chue Nong Bra tried to do as Mao Kao Zhu told. He saw her, he hurried to grab her and grabbed her but could not. Chue Nong Bra cried so much. In the end, Mao Kao Zhu went to live happily with her new husband.

Mr.Tao Kornkeeratikarn, Age 66 22/7 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Necromancer of the Hmong people

Story 2 The Hmong folk tale "There are men and women"

The story "There are men and women", talks about the two lovers who did not marry because their families deprived, the two of them ran away and committed suicide at Doi Pha Kong.

One day, there were a man and a woman ran to Doi Pha Kong because he and she both did not get married. Therefore, causing the woman's parents forbid to marry that man. He and she both said that "Let's run away from our parents" Both of them arranged time to escape in the evening, they both agreed to pack their clothes. On that day they could escape, but both of their parents knew and ran after both of them. Finally, he and she arrived at Doi Pha Kong. Both of them took off their clothes and put on a stone, then they jumped off the cliff at Doi Pha Kong, when both of their parents saw, they cried a lot.

Mr.Chaiwat Feuangfookitjakarn, Age 63 10/2 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Grade 6 education

Story 3 The Hmong folk tale "6 stones and 2 elderly people"

The story "6 stones and 2 elderly people", talks about a pair of elderly people wanting to have children, so they asked the god, the god cast 6 stones into children of the elderly, which their children have different characteristics of each person. One day, all 6 of them went to eat the gods. God was very angry that he could

133

punish them, but he could not. In the end, there was a child telling the truth to the god, so god forgave.

In the olden days, there were two old husband and wife. Both of them had no children, so they asked god if "May god give us two children" One night, the wife dreamed that god had walk to the west to collect 6 stones and then look after them like children, then those stones will become a human. When both of them had done as their wives had said, it became true. The 6 children had a special characteristic that the first one cannot be killed, the second one cannot be burned, the third one cannot drift away, the fourth one body cannot be torn, the fifth one cannot be pierced, and the sixth one cannot be blown away. All 6 of them were twins. One day, they made a mistake to catch the lightning god to eat. When god knew, he made the two old elderly brought their children to god to kill them. When the sixth child heard, he told the first child to see the god. When god cannot kill him, he waits for the second day, in order to burn the first one. When the sixth child heard, he told to sends the second brother and the third day sends the third brother and keep sending until only the sixth remaining. When the sixth child meets the god, the god said "I tried every method to kill but I can’t" he then told the sixth child to tell the truth. The sixth child told the whole story to god, god therefore, ignores the punishment and warns him that if he does it again, it will not be forgiven. Since then, this family has never done anything wrong to god.

Mr.Yongchor Saesong, Age 60 47 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Gardener Grade 6 education Talent, crossbow shooting

Story 4 The Hmong folk tale "The orphan and the monkeys"

The story "The orphan and the monkeys", talks about the orphan who was taken his body by the monkeys to perform a funeral while deep sleep because of his full stomach, when waking up, the orphan became very angry and chased the monkeys and took the money from monkeys as their own.

In the olden days, the orphan has no father or mother. He planted his own rice and corn near the cliffs, he planted corn for a while, the corn was ripe. On the cliff

134

there were many monkeys. When the monkeys see the ripe corn and rice of the orphan, the monkeys then came down to eat corn and rice of the orphan every day. The orphan was very sad that the monkeys came to eat all the corn and rice. After a short time, the orphan went to ask for blessings from the god. The god said, "I am going to kill a large chicken and a fat chicken for the orphan to eat" Once the orphan has eaten the chicken and became sleepy, he then took off his clothes and slept on the monkey's path. When those monkeys walked by and saw they thought that the orphan must be dead already, so they brought the orphan's body to perform a funeral ceremony. The monkeys that were lifting the orphan to the cliff, halfway away, they found that the orphan opened his eyes and told the monkeys, "Lift well, or I will fall" The monkey in front said that the orphan was not dead, but the monkey behind said that the orphan is dead, but most of the monkeys believe that he is actually dead, so they lifted to the highest cliff and performed a funeral, the monkey brought Kik Kun to represent the cow and the monkey went to find lychee to be a representative of the pig, which was able to perform for three days and three nights. Afterwards, the orphan woke up and saw the events. He was very angry. The orphan then chased and killed the monkeys until they all died. Finally, the orphan got the money of the monkeys to create a new life for himself better.

Mr.Sa Saeyang, Age 38 49/5 Moo 6, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province General contractor Grade 4 education Talent, car repairing

Story 5 The Hmong folk tale "Why Hmong doesn't have any letters"

The story "Why Hmong doesn't have any letters", talks about when god grant letters to the Hmong people. The Hmong people keep the letters in the book well by thinking that when there is a free time from work, they will publish the letters. One day the rats were hungry, so they gnawed all of the book causing the Hmong letters to disappear. The god was angry that the Hmong people are not responsible and decided that Hmong people will not have letters since then.

In the olden days, humans were increasingly, unable to remember daily stories and arguing with each other, causing human to come together to present this

135

problem to the god in order to find a solution. God resolved by giving a wonderful textbook to teach humans to know from the written record. Therefore, each nation will have national letters. The Hmong people also obtained the book, they put this book well-hidden because they fear it will be lost and not having free time from work. When the Hmong people are free from work, the book will be published. When it was the time to bring the book out, the rats had already eaten the book. The Hmong people are very sad and went back to consult the god, but god answered "I have already given you the book, but you did not keep it well. You will not have letters like other nations" The Hmong people, when they heard the news, were sad. Finally, a Hmong elder said that "When we don't have letters, we have to use methods of remembering things instead of taking notes" To recall about this great loss, The Hmong people have invented the instrument, "Bamboo mouth organ" when blow, there will be a "Jae Mo Jae" sound which means "rat eats book". It is a warning to the Hmong people to always be aware when they do something, otherwise, they will regret and lose the opportunity.

Mrs.Pang Rattanadilokkul, Age 54 24/2 Moo 10 Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Produce Hmong candle writing cloth Talent, trading

Story 6 The Hmong folk tale "The reason why Hmong grow rice and corn"

The story " The reason why Hmong grow rice and corn" , talks about the Hmong villages, at first, there was a magic plant that has a head of rice and body of corn that can walk down to the ground to grow by itself, but one day, the Hmong people could not finish building the barn, cursing the magic plant that walked into his barn. The magic plant was very angry so it separates its body, part rice and part corn and cannot walk by itself again. Therefore, the Hmong people had to grow rice and corn by their own.

In the olden days, rice and corn were not as fertile as today. There will be only magic plant with rice seeds on top and corn pods on the bottom. When the corn and the rice are ripe it will smell good. Humans want it, but they cannot take it because god separated the magic plant in different places. Making the humans try

136

to plant that magic seeds, until the season when rice and corn are ripe, humans can see and therefore swim across to retrieve the seeds. When two or three seeds of the magic seed were attached to the tail, they were stored. When it is growing season, it will be cultivated and flourished quickly. Once the seeds are distributed all over. The magic seeds, when ripened, they will walk into the barn itself without anyone carrying causing the rice and corn filled the barns of the Hmong people. One year, a lazy Hmong, who had not finished building a barn, cursed the rice and corn with rude speech causing the rice and the corn become angry, and said, "From now on, go and bring your own ones and do not hope that those who choose to grow this plant will get both rice and corn". Since then, the rice and the corn separated, but there are still parts that show that these two plants used to live together: The pollen of the corn stalk is like rice. Humans who get rice and corn must work hard. When the seeds are old, they must harvest by themselves. Otherwise, the grain will fall into the ground and become food for other animals.

Mrs.Pang Rattanadilokkul, Age 54 24/2 Moo 10 Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Produce Hmong candle writing cloth Talent, trading

Story 7 The Hmong folk tale "Why can't people see ghosts?"

The story "Why can't people see ghosts?", talks about in the past, humans and ghosts were able to see each other, often quarreling. The god then made both sides unable to see each other by having each side throw ashes at each other so that they could not see each other, but the ghost lied to god that the ash had been thrown into the eyes, but the truth is, it did not. Therefore, ghosts can see people. As for the humans, were actually thrown ashes into the eye by the ghosts so they could not see the ghosts.

Originally, the Hmong people could see ghosts and the Hmong people were smarter and stronger than ghosts, which will always tease the ghosts. One day, the ghosts could not bear it, so they went to tell god that they were teased by humans. The god then called the Hmong people to ask why they teased the ghosts. The Hmong people therefore said, "They did not, but only some unruly will tease". God

137

then said it would be good if humans and ghosts would not be able to see each other so that there will be no more problems. Therefore, the Hmong people have to throw ash at the ghosts first, but the Hmong people do not want that, the god then let the ghosts throw the ashes at the Hmong people first, but the ghost refused. Therefore, the Hmong people are forced to throw the ashes at ghosts first by throwing them into the eyes of the ghosts, but the Hmong people did not hit the ghost's eyes, but the ghost pretended to be hurled and pretended to see nothing. The ghosts then appeal to god to allow the ghosts to see the Hmong people as before so that they can live. The god then allow the ghosts to see things as usual, while at the same time the spirits can also see the Hmong people, even though the god do not want ghosts to see the Hmong, but because the god did not know that the ghosts lied that The Hmong people throw the ashes into their eyes. Therefore, causing the ghosts to see the Hmong, the ghost then threw the ashes at the Hmong's eyes, until the Hmong people cannot see anything. The god was asked by the Hmong people to make them able to see things in order to survive. The god made the Hmong people see everything except ghosts. Therefore, the Hmong people were not able to see ghosts ever since, but the ghosts can still see the Hmong people.

Mr.Kadzoo Sakittiya, Age 61 Mae Sa Mai Royal Project Development Center, 6 Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province Gardener at Mae Sa Mai Royal Project Development Center Talent, the right hand of the King

Story 8 The Hmong folk tale "Owl in the mountains"

The story "Owl in the mountains", talks about the physical characteristics of an owl, determined by god

In the olden days, there was an owl that lived on the mountain, which on the mountain there was only smog, the owl lived alone on that mountain. When it was time for the owl to cry, the deer became afraid and ran away and bumped into a pumpkin, the pumpkin rolled over the gardener until the farmer accidentally made the ash powder hit the fowl's eyes. The wild fowl could not see and pecked the ground up until the centipede came up and bit the squirrel's feet. The squirrel was

138

hurt at his feet and complained to the angel. The angel then asked, "What were you doing, squirrel?" The squirrel said, "The centipede bit my leg". The angel said, "Go call the centipede". The squirrel then called the centipede to meet the angel. The angel then asked, "Why did you bite the squirrel's legs?" The centipede said, "The wild fowl pecked the ground up". The angel said go and call the wild fowl. The centipede went to call the wild fowl to meet the angel. The angel asked, "Why did you peck the ground?", the wild fowl said, "The gardener made ashes on my eyes, causing me to not see, so I pecked the ground". The angel said, "Go call the gardener", the wild fowl called the gardener to meet the angel. The angel then asked, "Why did you made the ash powder hit the wild fowl's eyes?", the gardener said, "The pumpkin pushed me, so I made the ash powder hit the wild fowl's eyes". The angel said, "Go call the pumpkin". The gardener then called the pumpkin to meet the angel, the angel asked, "Why did you push the gardener?", the pumpkin said that "The deer ran and bumped into me, so I rolled and hit the gardener". The angel said, "Go call the deer". The pumpkin called the deer to go meet the angel. The angel then asked, "Why did you run into the pumpkin?", the deer said, "The owl cried, I was afraid, so I ran and hit the pumpkin". The angel said, "Go call the owl". The deer then called the owl to meet the angel. The angel then asked, "Why did you cry?", the owl said that "I was on the mountain alone, I was scared, so I cried" So the angel punished the owl by snatching the owl's eyes, since then "The owl has big eyes".

Mrs.Mee Thanomworakul, Age 40 64/3 Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province Gardener

Story 9 The Hmong folk tale "The dead chef came to sleep with his wife and children"

The story "The dead chef came to sleep with his wife and children", talks about the dead chef that the spirit still cares about the children and wives at home, so he does not go anywhere.

The chef was sick for many days, causing the chef to eventually die. His wife was very sad that her husband had died, so the dead husband returned home to her

139

and children. The next day, his wife slept in the bedroom and heard the door open, so she secretly saw who is coming. Suddenly, she saw her dead husband lay to sleep with her. She was so shocked that her husband died, but why can he still come here. After that, she and her child fled the house and never returned.

Mr.Yua Thanomrungreuang, Age 64 14/1 Moo 6, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province Gardener Grade 4 education Talent, playing bamboo mouth organ and singing

4.3.2 Analysis of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

(1) Classification of folk tales, Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province

This study classifies stories studied from the field based on the criterion for dividing stories according to the form. The division of stories according to this format includes the structure of the rhetoric with meaning, including the story, character characteristics and character behavior with that format is what determines the differences of each type of storytelling as well. In this study has divided according to the folklore of Prakong Nimmanhemin (2000, page 7-29) which can classify folktales into 11 categories as follows - fairy tale No folk tale found - novella Found 1 folk tale - hero tale No folk tale found - local tradition, local legend and migratory legend Found 3 folk tales - explanatory Found 3 folk tales - myth Found 1 folk tale - animal tale No folk tale found - jest, humourous anecdote, merry tale and numskull tale No folk tale found - religious tale No folk tale found - ghost stories Found 1 folk tale

140

- formular tale No folk tale found

Incidentally, from the classification of folk tales. The researcher would like to classify the Hmong ethnic folklore of Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province and will request specific details in which the researcher can obtain information about ethnic Hmong folk tales as follows:

(1.1) novella, found 1 Hmong folk tale 1) 1 moral story (1.2) local tradition, local legend, and migratory legend, found 3 Hmong folk tales (1.3) explanatory, found 3 Hmong folk tales 1) 1 tale describing the birth of human behavior 2) 2 tales describing natural phenomena (1.4) myth, found 1 Hmong folk tale 1) 1 tale about animals (1.5) ghost stories, found 1 Hmong folk tale

With details as follows

(1.1) Novella

Novella is believed to be a tale from the truth because the scene used is the actual story progression. Most characters are ordinary people, focusing on normal life. The protagonist is able to solve problems with wisdom. Hmong folktales use patience to solve problems related to life. In novella, only 1 Hmong folk tale are found as follows:

- Story 1 Mr.Chue Nong Bra and Mrs.Mao Kao Zhu

With details as follows

(1.1.1) Moral tale Mr.Chue Nong Bra and Mrs.Mao Kao Zhu is a Hmong folk tale that inserts morals and teachings.

141

The story "Mr.Chue Nong Bra and Mrs.Mao Kao Zhu", talks about the relationship between a husband and a wife that caused a quarrel and parted. In the olden days, Mr.Chue Nong Bra and Mrs.Mao Kao Zhu married and lived together. Chue Nong Bra would go out to shoot birds to cook every morning, one day, Mao Kao Zhu came with a dog barking all the way. Chue Nong Bra then put his own pheasant under the bed. The next day, Mao Kao Zhu stepped in but did not bring the dog in, when arrived at the farm, Mao Kao Zhu saw Chue Nong Bra eating the pheasant. Mao Kao Zhu was very sad and said "Let’s divorce" take me back to my parents. Chue Nong Bra then sent her to her parents. When they arrived at a river, Mao Kao Zhu said, "Before we part, can we sing together for the last time?" but Chue Nong Bra said, "We are parting, why do you want to sing together?" Mao Kao Zhu was very sad and jumped into the water because Mao Kao Zhu was the Naga's daughter, but disguised as a human to live with Chue Nong Bra. He was weeping over Mao Kao Zhu, meanwhile, two frogs were walking by. Chue Nong Bra asked for the frogs' help by having the frogs drink all the water in order to find Mao Kao Zhu, his beloved wife. While the frogs were drinking water, Chue Nong Bra laughs at frogs. The frogs sighed and decided to not help. The next day, Chue Nong Bra cried for help from the frogs again. The frogs consumed all the water. Mao Kao Zhu disguise as a human being to meet Chue Nong Bra and told him that "I am married now" Whenever you miss me, put three jars in front of the house and fill all three jars with water, you will see me. After that, Mao Kao Zhu suddenly disappeared. After a couple of days, Chue Nong Bra tried to do as Mao Kao Zhu told. He saw her, he hurried to grab her and grabbed her but could not. Chue Nong Bra cried so much. In the end, Mao Kao Zhu went to live happily with her new husband.

Mr.Tao Kornkeeratikarn, Age 66 22/7 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Necromancer of the Hmong people

142

(1.2) Local tradition, local legend, and migratory legend

This type of story is a story that talks about the locality, believed to be a true story, often mentioning the history of that place, believing in mystery, which is usually about heroes' tales. From finding information about the Hmong folk tales. There are only 3 local tales, which are stories about family relationships and moral teachings, including belief in god, which has the following folk stories: - Story 1 "There are men and women" - Story 2 "6 stones and 2 elderly people" - Story 3 "The orphan and the monkeys"

With details as follows

The story "There are men and women", talks about the two lovers who did not marry because their families deprived, the two of them ran away and committed suicide at Doi Pha Kong. One day, there were a man and a woman ran to Doi Pha Kong because he and she both did not get married. Therefore, causing the woman's parents forbid to marry that man. He and she both said that "Let's run away from our parents" Both of them arranged time to escape in the evening, they both agreed to pack their clothes. On that day they could escape, but both of their parents knew and ran after both of them. Finally, he and she arrived at Doi Pha Kong. Both of them took off their clothes and put on a stone, then they jumped off the cliff at Doi Pha Kong, when both of their parents saw, they cried a lot.

Mr.Chaiwat Feuangfookitjakarn, Age 63 10/2 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Grade 6 education

The story "6 stones and 2 elderly people", talks about a pair of elderly people wanting to have children, so they asked the god, the god cast 6 stones into children of the elderly, which their children have different characteristics of each person. One day, all 6 of them went to eat the gods. God was very

143

angry that he could punish them, but he could not. In the end, there was a child telling the truth to the god, so god forgave.

In the olden days, there were two old husband and wife. Both of them had no children, so they asked god if "May god give us two children" One night, the wife dreamed that god had walk to the west to collect 6 stones and then look after them like children, then those stones will become a human. When both of them had done as their wives had said, it became true. The 6 children had a special characteristic that the first one cannot be killed, the second one cannot be burned, the third one cannot drift away, the fourth one body cannot be torn, the fifth one cannot be pierced, and the sixth one cannot be blown away. All 6 of them were twins. One day, they made a mistake to catch the lightning god to eat. When god knew, he made the two old elderly brought their children to god to kill them. When the sixth child heard, he told the first child to see the god. When god cannot kill him, he waits for the second day, in order to burn the first one. When the sixth child heard, he told to sends the second brother and the third day sends the third brother and keep sending until only the sixth remaining. When the sixth child meets the god, the god said "I tried every method to kill but I can’t" he then told the sixth child to tell the truth. The sixth child told the whole story to god, god therefore, ignores the punishment and warns him that if he does it again, it will not be forgiven. Since then, this family has never done anything wrong to god.

Mr.Yongchor Saesong, Age 60 47 Moo 10, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Gardener Grade 6 education Talent, crossbow shooting

The story "The orphan and the monkeys", talks about the orphan who was taken his body by the monkeys to perform a funeral while deep sleep because of his full stomach, when waking up, the orphan became very angry and chased the monkeys and took the money from monkeys as their own.

144

In the olden days, the orphan has no father or mother. He planted his own rice and corn near the cliffs, he planted corn for a while, the corn was ripe. On the cliff there were many monkeys. When the monkeys see the ripe corn and rice of the orphan, the monkeys then came down to eat corn and rice of the orphan every day. The orphan was very sad that the monkeys came to eat all the corn and rice. After a short time, the orphan went to ask for blessings from the god. The god said, "I am going to kill a large chicken and a fat chicken for the orphan to eat" Once the orphan has eaten the chicken and became sleepy, he then took off his clothes and slept on the monkey's path. When those monkeys walked by and saw they thought that the orphan must be dead already, so they brought the orphan's body to perform a funeral ceremony. The monkeys that were lifting the orphan to the cliff, halfway away, they found that the orphan opened his eyes and told the monkeys, "Lift well, or I will fall" The monkey in front said that the orphan was not dead, but the monkey behind said that the orphan is dead, but most of the monkeys believe that he is actually dead, so they lifted to the highest cliff and performed a funeral, the monkey brought Kik Kun to represent the cow and the monkey went to find lychee to be a representative of the pig, which was able to perform for three days and three nights. Afterwards, the orphan woke up and saw the events. He was very angry. The orphan then chased and killed the monkeys until they all died. Finally, the orphan got the money of the monkeys to create a new life for himself better.

Mr.Sa Saeyang, Age 38 49/5 Moo 6, Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province General contractor Grade 4 education Talent, car repairing

(1.3) Explanatory Is a story that describes things that humans doubt and cannot find an answer to, often a simple storyline. The story will explain the origin of that thing, by finding information about the Hmong folk tale, a story that talks about the occurrence of various things or the origin of various things that have

145

origin, such as in agriculture, Hmong letters, ghosts. From finding information about the Hmong folk tale, there are only 3 stories explaining the reason why there are folk tales as follows: - Story 1 "Why Hmong doesn't have any letters" - Story 2 "The reason why Hmong grow rice and corn" - Story 3 "Why can't people see ghosts?" With details as follows

(1.3.1) Tales describing the birth of human behavior, found 1 Hmong folk tale. It is a tale that tells the origin of Hmong behavior.

The story "Why Hmong doesn't have any letters", talks about when god grant letters to the Hmong people. The Hmong people keep the letters in the book well by thinking that when there is a free time from work, they will publish the letters. One day the rats were hungry, so they gnawed all of the book causing the Hmong letters to disappear. The god was angry that the Hmong people are not responsible and decided that Hmong people will not have letters since then.

In the olden days, humans were increasingly, unable to remember daily stories and arguing with each other, causing human to come together to present this problem to the god in order to find a solution. God resolved by giving a wonderful textbook to teach humans to know from the written record. Therefore, each nation will have national letters. The Hmong people also obtained the book, they put this book well-hidden because they fear it will be lost and not having free time from work. When the Hmong people are free from work, the book will be published. When it was the time to bring the book out, the rats had already eaten the book. The Hmong people are very sad and went back to consult the god, but god answered "I have already given you the book, but you did not keep it well. You will not have letters like other nations" The Hmong people, when they heard the news, were sad. Finally, a Hmong elder said that "When we don't have letters, we have to use methods of remembering things instead of taking notes" To recall about this great loss, The Hmong people have invented the instrument, "Bamboo mouth organ"

146

when blow, there will be a "Jae Mo Jae" sound which means "rat eats book". It is a warning to the Hmong people to always be aware when they do something, otherwise, they will regret and lose the opportunity.

Mrs.Pang Rattanadilokkul, Age 54 24/2 Moo 10 Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Produce Hmong candle writing cloth Talent, trading

(1.3.2) Tales describing natural phenomena, found 2 Hmong folk tales, a story that explains the origin of various natural events.

The story "The reason why Hmong grow rice and corn", talks about the Hmong villages, at first, there was a magic plant that has a head of rice and body of corn that can walk down to the ground to grow by itself, but one day, the Hmong people could not finish building the barn, cursing the magic plant that walked into his barn. The magic plant was very angry so it separates its body, part rice and part corn and cannot walk by itself again. Therefore, the Hmong people had to grow rice and corn by their own.

In the olden days, rice and corn were not as fertile as today. There will be only magic plant with rice seeds on top and corn pods on the bottom. When the corn and the rice are ripe it will smell good. Humans want it, but they cannot take it because god separated the magic plant in different places. Making the humans try to plant that magic seeds, until the season when rice and corn are ripe, humans can see and therefore swim across to retrieve the seeds. When two or three seeds of the magic seed were attached to the tail, they were stored. When it is growing season, it will be cultivated and flourished quickly. Once the seeds are distributed all over. The magic seeds, when ripened, they will walk into the barn itself without anyone carrying causing the rice and corn filled the barns of the Hmong people. One year, a lazy Hmong, who had not finished building a barn, cursed the rice and corn with rude speech causing the rice and the corn become angry, and said, "From now on, go and bring your own ones and do not hope that those who choose

147

to grow this plant will get both rice and corn". Since then, the rice and the corn separated, but there are still parts that show that these two plants used to live together: The pollen of the corn stalk is like rice. Humans who get rice and corn must work hard. When the seeds are old, they must harvest by themselves. Otherwise, the grain will fall into the ground and become food for other animals.

Mrs.Pang Rattanadilokkul, Age 54 24/2 Moo 10 Pong Yang Subdistrict, Mae Rim District, Chiang Mai Province Produce Hmong candle writing cloth Talent, trading

The story "Why can't people see ghosts?", talks about in the past, humans and ghosts were able to see each other, often quarreling. The god then made both sides unable to see each other by having each side throw ashes at each other so that they could not see each other, but the ghost lied to god that the ash had been thrown into the eyes, but the truth is, it did not. Therefore, ghosts can see people. As for the humans, were actually thrown ashes into the eye by the ghosts so they could not see the ghosts.

Originally, the Hmong people could see ghosts and the Hmong people were smarter and stronger than ghosts, which will always tease the ghosts. One day, the ghosts could not bear it, so they went to tell god that they were teased by humans. The god then called the Hmong people to ask why they teased the ghosts. The Hmong people therefore said, "They did not, but only some unruly will tease". God then said it would be good if humans and ghosts would not be able to see each other so that there will be no more problems. Therefore, the Hmong people have to throw ash at the ghosts first, but the Hmong people do not want that, the god then let the ghosts throw the ashes at the Hmong people first, but the ghost refused. Therefore, the Hmong people are forced to throw the ashes at ghosts first by throwing them into the eyes of the ghosts, but the Hmong people did not hit the ghost's eyes, but the ghost pretended to be hurled and pretended to see nothing. The ghosts then appeal to god to allow the ghosts to see the Hmong people as before so that they can

148

live. The god then allow the ghosts to see things as usual, while at the same time the spirits can also see the Hmong people, even though the god do not want ghosts to see the Hmong, but because the god did not know that the ghosts lied that The Hmong people throw the ashes into their eyes. Therefore, causing the ghosts to see the Hmong, the ghost then threw the ashes at the Hmong's eyes, until the Hmong people cannot see anything. The god was asked by the Hmong people to make them able to see things in order to survive. The god made the Hmong people see everything except ghosts. Therefore, the Hmong people were not able to see ghosts ever since, but the ghosts can still see the Hmong people.

Mr.Kadzoo Sakittiya, Age 61 Mae Sa Mai Royal Project Development Center, 6 Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province Gardener at Mae Sa Mai Royal Project Development Center

(1.4) Myth

This type of story has a rather long story consisting of many particles. The scene will be a fictional land without telling the location clearly, weirdly depicting, characters often encounter obstacles first and then succeed. From finding information about folk stories of the Hmong people, a story that talks about the occurrence of an animal species found only 1 Hmong folk tale which has the following folktales as follow.

- Story 1 "Owl in the mountains"

With details as follows

(1.4.1) Animal tale, found 1 Hmong folk tales, the origin of the characteristics of animals, in which god determines the various characteristics.

The story "Owl in the mountains", talks about the physical characteristics of an owl, determined by god

149

In the olden days, there was an owl that lived on the mountain, which on the mountain there was only smog, the owl lived alone on that mountain. When it was time for the owl to cry, the deer became afraid and ran away and bumped into a pumpkin, the pumpkin rolled over the gardener until the farmer accidentally made the ash powder hit the fowl's eyes. The wild fowl could not see and pecked the ground up until the centipede came up and bit the squirrel's feet. The squirrel was hurt at his feet and complained to the angel. The angel then asked, "What were you doing, squirrel?" The squirrel said, "The centipede bit my leg". The angel said, "Go call the centipede". The squirrel then called the centipede to meet the angel. The angel then asked, "Why did you bite the squirrel's legs?" The centipede said, "The wild fowl pecked the ground up". The angel said go and call the wild fowl. The centipede went to call the wild fowl to meet the angel. The angel asked, "Why did you peck the ground?", the wild fowl said, "The gardener made ashes on my eyes, causing me to not see, so I pecked the ground". The angel said, "Go call the gardener", the wild fowl called the gardener to meet the angel. The angel then asked, "Why did you made the ash powder hit the wild fowl's eyes?", the gardener said, "The pumpkin pushed me, so I made the ash powder hit the wild fowl's eyes". The angel said, "Go call the pumpkin". The gardener then called the pumpkin to meet the angel, the angel asked, "Why did you push the gardener?", the pumpkin said that "The deer ran and bumped into me, so I rolled and hit the gardener". The angel said, "Go call the deer". The pumpkin called the deer to go meet the angel. The angel then asked, "Why did you run into the pumpkin?", the deer said, "The owl cried, I was afraid, so I ran and hit the pumpkin". The angel said, "Go call the owl". The deer then called the owl to meet the angel. The angel then asked, "Why did you cry?", the owl said that "I was on the mountain alone, I was scared, so I cried" So the angel punished the owl by snatching the owl's eyes, since then "The owl has big eyes".

Mrs.Mee Thanomworakul, Age 40 64/3 Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province Gardener

150

(1.4.5) Ghost stories

Ghosts are the protagonists of the story. Some ghosts do not clearly appear where they come from, how did it happen, but some ghosts are spirits of the dead and come back to haunt the living, with various shapes and methods. This ghost story reflects the belief in Thai spirits and ghosts. The ghosts in the story are both good ghosts, which provides assistance, protection or tell fortune and the evil spirits that haunt the people. From finding information about folk stories of the Hmong people, a story that talks about the spirits of the dead return to haunt the living, found only 1 Hmong folk tale which has the following folktales as follow.

- Story 1 "The dead chef came to sleep with his wife and children"

With details as follows

The story "The dead chef came to sleep with his wife and children", talks about the dead chef that the spirit still cares about the children and wives at home, so he does not go anywhere. The chef was sick for many days, causing the chef to eventually die. His wife was very sad that her husband had died, so the dead husband returned home to her and children. The next day, his wife slept in the bedroom and heard the door open, so she secretly saw who is coming. Suddenly, she saw her dead husband lay to sleep with her. She was so shocked that her husband died, but why can he still come here. After that, she and her child fled the house and never returned.

Mr.Yua Thanomrungreuang, Age 64 14/1 Moo 6, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province Gardener Grade 4 education Talent, playing bamboo mouth organ and singing

In summary, the analysis of Hmong folklore Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai

151

Province can be divided into 2 parts: the part of the informants of the Hmong folk tale and the category of Hmong folk tale as summarized below.

Part 1 The data were collected from 9 Hmong folktales. The subjects were 6 men aged between 38 years and 66 years old and 2 women aged between 40 years to 54 years. It can be said that those who provide information about ethnic Hmong folk tales will be more men than women and the age of the informants is between 38 years to 66 years.

Part 2 The researcher is able to classify 11 Hmong folklore tales, including fairy tale, novella, hero tale, local tradition or local legend and migratory legend, explanatory, myth, animal tale, jest, humorous anecdote, merry tale and numskull tale, religious tale, ghost stories, ghost stories, formular tale. When visiting the field study, collecting information about the Hmong folktales, it was found that the Hmong folktales of Mae Sa Mai village, Mae Sa Noi village that can be found, classified only 5 types, namely novella, found 1 Hmong folk tale, which is “Mr.Chue Nong Bra and Mrs.Mao Kao Zhu”, local tradition, local legend and migratory legend, found 3 Hmong folk tales: "There are men and women", "6 stones and 2 elderly people" and "The orphan and the monkeys", explanatory, found 3 Hmong folk tales: "Why Hmong doesn't have any letters", " The reason why Hmong grow rice and corn" and " Why can't people see ghosts?", myth, found 1 Hmong folk tale that is "Owl in the mountains" and ghost stories, found 1 Hmong folk tales that is "The dead chef came to sleep with his wife and children".

From the Hmong folk tale data of Mae Sa Mai village, Mae Sa Noi village can see the living conditions of the Hmong people and the worldview of Hmong people through the folklore wisdom and folktales that made the researcher study behind the scenes of the Hmong worldview reflected in understanding. (2) Analyze the living conditions of Hmong ethnicity from Hmong folk tales

The living conditions of the Hmong are minorities that are different from the plain Thai people in general, whether it is spoken language, dress, occupation as well as the way of life of the Hmong people and various things are all things that

152

make life proceed interesting from the living conditions of the Hmong, which from this Hmong folk tale information makes it possible to see the living conditions of the Hmong people, in which these will be behind the scenes of their folk tales by relaying to each other for a long time. At present, the lifestyle has changed dramatically. Therefore, what the researcher will study the living conditions and the worldview of the Hmong people in the past is to go back and study their folk tales, in which the Hmong folk tale is like a large mirror reflecting the living conditions, a long way of life. The study will analyze the living conditions of the Hmong people into the following topics. (2.1) Family institution (2.2) Governing institution (2.3) Religious institution (2.4) Educational institution (2.5) Economy (2.6) Transportation (2.7) House settlement (2.8) Tradition

With details as follows

(2.1) Family institution The family institution is the smallest group society, which is the most important institution for humans since birth. The Hmong families are related to a large family living together with parents, grandparents, aunts, grandchildren, as shown in folk tales that are father and mother with many children. There is a strong bond in the family, such as the folk tales "6 stones and 2 elderly people" and "The dead chef came to sleep with his wife and children" with the following details: In the olden days, there were two old husband and wife. Both of them had no children, so they asked god if "May god give us two children" One night, the wife dreamed that god had walk to the west to collect 6 stones and then look after them like children, then those stones will become a human. When both of them had done as their wives had said, it became true. The 6

153

children had a special characteristic that the first one cannot be killed, the second one cannot be burned, the third one cannot drift away, the fourth one body cannot be torn, the fifth one cannot be pierced, and the sixth one cannot be blown away. All 6 of them were twins. One day, they made a mistake to catch the lightning god to eat. When god knew, he made the two old elderly brought their children to god to kill them. When the sixth child heard, he told the first child to see the god. When god cannot kill him, he waits for the second day, in order to burn the first one. When the sixth child heard, he told to sends the second brother and the third day sends the third brother and keep sending until only the sixth remaining. When the sixth child meets the god, the god said "I tried every method to kill but I can’t" he then told the sixth child to tell the truth. The sixth child told the whole story to god, god therefore, ignores the punishment and warns him that if he does it again, it will not be forgiven. Since then, this family has never done anything wrong to god. The chef was sick for many days, causing the chef to eventually die. His wife was very sad that her husband had died, so the dead husband returned home to her and children. The next day, his wife slept in the bedroom and heard the door open, so she secretly saw who is coming. Suddenly, she saw her dead husband lay to sleep with her. She was so shocked that her husband died, but why can he still come here. After that, she and her child fled the house and never returned. As for the selection of spouses, the Hmong people choose their spouses by themselves and their spouses are chosen by the person designated, which if unsuccessful by their own choice, the parents will be the one who choose. As can be clearly seen in the folk tale of "There are men and women" the story talks about choosing a partner for themselves, but the family does not support parents and therefore unexpected things occur.

One day, there were a man and a woman ran to Doi Pha Kong because he and she both did not get married. Therefore, causing the woman's parents forbid to marry that man. He and she both said that "Let's run away from our parents" Both of them arranged time to escape in the evening, they both

154

agreed to pack their clothes. On that day they could escape, but both of their parents knew and ran after both of them. Finally, he and she arrived at Doi Pha Kong. Both of them took off their clothes and put on a stone, then they jumped off the cliff at Doi Pha Kong, when both of their parents saw, they cried a lot.

The relationships between lovers living together in the Hmong family are both smooth and unhappy relationships, in which the problem is the relationship between a male partner and a female partner arose in an argument that ended in separation. As can be seen in the folk tale “Mr.Chue Nong Bra and Mrs.Mao Kao Zhu”.

In the olden days, Mr.Chue Nong Bra and Mrs.Mao Kao Zhu married and lived together. Chue Nong Bra would go out to shoot birds to cook every morning, one day, Mao Kao Zhu came with a dog barking all the way. Chue Nong Bra then put his own pheasant under the bed. The next day, Mao Kao Zhu stepped in but did not bring the dog in, when arrived at the farm, Mao Kao Zhu saw Chue Nong Bra eating the pheasant. Mao Kao Zhu was very sad and said "Let’s divorce" take me back to my parents. Chue Nong Bra then sent her to her parents. When they arrived at a river, Mao Kao Zhu said, "Before we part, can we sing together for the last time?" but Chue Nong Bra said, "We are parting, why do you want to sing together?" Mao Kao Zhu was very sad and jumped into the water because Mao Kao Zhu was the Naga's daughter, but disguised as a human to live with Chue Nong Bra. He was weeping over Mao Kao Zhu, meanwhile, two frogs were walking by. Chue Nong Bra asked for the frogs' help by having the frogs drink all the water in order to find Mao Kao Zhu, his beloved wife. While the frogs were drinking water, Chue Nong Bra laughs at frogs. The frogs sighed and decided to not help. The next day, Chue Nong Bra cried for help from the frogs again. The frogs consumed all the water. Mao Kao Zhu disguise as a human being to meet Chue Nong Bra and told him that "I am married now" Whenever you miss me, put three jars in front of the house and fill all three jars with water, you will see me. After that, Mao Kao Zhu suddenly disappeared. After a couple of days, Chue Nong Bra tried to do as Mao Kao Zhu told. He saw her,

155

he hurried to grab her and grabbed her but could not. Chue Nong Bra cried so much. In the end, Mao Kao Zhu went to live happily with her new husband.

(2.2) Governing institution

Governing institutions are a unit of social control that coexists under various rules for the Hmong society. There will be patterns that rely on supernatural beliefs, the power over the Hmong's behavior is with the gods and ghosts, in order to use human behavior to eliminate social conflicts. From the information about the Hmong folk tales, it is found that the governing of various behaviors is subjected to supernatural things such as gods and ghosts as can be seen in the folk tale "Why Hmong doesn't have any letters", "Owl in the mountains", "6 stones and 2 elderly people", "The orphan and the monkeys" and "Why can't people see ghosts?" with the following details:

In the olden days, humans were increasingly, unable to remember daily stories and arguing with each other, causing human to come together to present this problem to the god in order to find a solution. God resolved by giving a wonderful textbook to teach humans to know from the written record. Therefore, each nation will have national letters. The Hmong people also obtained the book, they put this book well-hidden because they fear it will be lost and not having free time from work. When the Hmong people are free from work, the book will be published. When it was the time to bring the book out, the rats had already eaten the book. The Hmong people are very sad and went back to consult the god, but god answered "I have already given you the book, but you did not keep it well. You will not have letters like other nations" The Hmong people, when they heard the news, were sad. Finally, a Hmong elder said that "When we don't have letters, we have to use methods of remembering things instead of taking notes" To recall about this great loss, The Hmong people have invented the instrument, "Bamboo mouth organ" when blow, there will be a "Jae Mo Jae" sound which means "rat eats book". It is a warning to the Hmong people to always be aware when they do something, otherwise, they will regret and lose the opportunity.

156

In the olden days, there was an owl that lived on the mountain, which on the mountain there was only smog, the owl lived alone on that mountain. When it was time for the owl to cry, the deer became afraid and ran away and bumped into a pumpkin, the pumpkin rolled over the gardener until the farmer accidentally made the ash powder hit the fowl's eyes. The wild fowl could not see and pecked the ground up until the centipede came up and bit the squirrel's feet. The squirrel was hurt at his feet and complained to the angel. The angel then asked, "What were you doing, squirrel?" The squirrel said, "The centipede bit my leg". The angel said, "Go call the centipede". The squirrel then called the centipede to meet the angel. The angel then asked, "Why did you bite the squirrel's legs?" The centipede said, "The wild fowl pecked the ground up". The angel said go and call the wild fowl. The centipede went to call the wild fowl to meet the angel. The angel asked, "Why did you peck the ground?", the wild fowl said, "The gardener made ashes on my eyes, causing me to not see, so I pecked the ground". The angel said, "Go call the gardener", the wild fowl called the gardener to meet the angel. The angel then asked, "Why did you made the ash powder hit the wild fowl's eyes?", the gardener said, "The pumpkin pushed me, so I made the ash powder hit the wild fowl's eyes". The angel said, "Go call the pumpkin". The gardener then called the pumpkin to meet the angel, the angel asked, "Why did you push the gardener?", the pumpkin said that "The deer ran and bumped into me, so I rolled and hit the gardener". The angel said, "Go call the deer". The pumpkin called the deer to go meet the angel. The angel then asked, "Why did you run into the pumpkin?", the deer said, "The owl cried, I was afraid, so I ran and hit the pumpkin". The angel said, "Go call the owl". The deer then called the owl to meet the angel. The angel then asked, "Why did you cry?", the owl said that "I was on the mountain alone, I was scared, so I cried" So the angel punished the owl by snatching the owl's eyes, since then "The owl has big eyes".

In the olden days, there were two old husband and wife. Both of them had no children, so they asked god if "May god give us two children" One night, the wife dreamed that god had walk to the west to collect 6 stones and

157

then look after them like children, then those stones will become a human. When both of them had done as their wives had said, it became true. The 6 children had a special characteristic that the first one cannot be killed, the second one cannot be burned, the third one cannot drift away, the fourth one body cannot be torn, the fifth one cannot be pierced, and the sixth one cannot be blown away. All 6 of them were twins. One day, they made a mistake to catch the lightning god to eat. When god knew, he made the two old elderly brought their children to god to kill them. When the sixth child heard, he told the first child to see the god. When god cannot kill him, he waits for the second day, in order to burn the first one. When the sixth child heard, he told to sends the second brother and the third day sends the third brother and keep sending until only the sixth remaining. When the sixth child meets the god, the god said "I tried every method to kill but I can’t" he then told the sixth child to tell the truth. The sixth child told the whole story to god, god therefore, ignores the punishment and warns him that if he does it again, it will not be forgiven. Since then, this family has never done anything wrong to god.

Originally, the Hmong people could see ghosts and the Hmong people were smarter and stronger than ghosts, which will always tease the ghosts. One day, the ghosts could not bear it, so they went to tell god that they were teased by humans. The god then called the Hmong people to ask why they teased the ghosts. The Hmong people therefore said, "They did not, but only some unruly will tease". God then said it would be good if humans and ghosts would not be able to see each other so that there will be no more problems. Therefore, the Hmong people have to throw ash at the ghosts first, but the Hmong people do not want that, the god then let the ghosts throw the ashes at the Hmong people first, but the ghost refused. Therefore, the Hmong people are forced to throw the ashes at ghosts first by throwing them into the eyes of the ghosts, but the Hmong people did not hit the ghost's eyes, but the ghost pretended to be hurled and pretended to see nothing. The ghosts then appeal to god to allow the ghosts to see the Hmong people as before so that they can live. The god then allow the ghosts to see things as usual, while at the same

158

time the spirits can also see the Hmong people, even though the god do not want ghosts to see the Hmong, but because the god did not know that the ghosts lied that The Hmong people throw the ashes into their eyes. Therefore, causing the ghosts to see the Hmong, the ghost then threw the ashes at the Hmong's eyes, until the Hmong people cannot see anything. The god was asked by the Hmong people to make them able to see things in order to survive. The god made the Hmong people see everything except ghosts. Therefore, the Hmong people were not able to see ghosts ever since, but the ghosts can still see the Hmong people.

(2.3) Religious institution

Religious institutions refer to teachings that aim to teach good people to be good in society, thus allowing society to live happily together. From the Hmong folk tales, the researcher found that the Hmong people do not believe in any religion, but found that the Hmong people believe in supernatural things, gods, ghosts, etc. When the researcher analyze it together with the field study, the study found that Mae Sa Mai Village, Mae Sa Noi Village has a Christian church in front of the village, according to the observation of the Hmong people today, is mostly Christian However, the Hmong people believe in the supernatural things inherited as before. As can be seen in the folk tale "The reason why Hmong grow rice and corn" and "Why can't people see ghosts?" with the following details:

In the olden days, rice and corn were not as fertile as today. There will be only magic plant with rice seeds on top and corn pods on the bottom. When the corn and the rice are ripe it will smell good. Humans want it, but they cannot take it because god separated the magic plant in different places. Making the humans try to plant that magic seeds, until the season when rice and corn are ripe, humans can see and therefore swim across to retrieve the seeds. When two or three seeds of the magic seed were attached to the tail, they were stored. When it is growing season, it will be cultivated and flourished quickly. Once the seeds are distributed all over. The magic seeds, when ripened, they will walk into the barn itself without anyone carrying

159

causing the rice and corn filled the barns of the Hmong people. One year, a lazy Hmong, who had not finished building a barn, cursed the rice and corn with rude speech causing the rice and the corn become angry, and said, "From now on, go and bring your own ones and do not hope that those who choose to grow this plant will get both rice and corn". Since then, the rice and the corn separated, but there are still parts that show that these two plants used to live together: The pollen of the corn stalk is like rice. Humans who get rice and corn must work hard. When the seeds are old, they must harvest by themselves. Otherwise, the grain will fall into the ground and become food for other animals.

Originally, the Hmong people could see ghosts and the Hmong people were smarter and stronger than ghosts, which will always tease the ghosts. One day, the ghosts could not bear it, so they went to tell god that they were teased by humans. The god then called the Hmong people to ask why they teased the ghosts. The Hmong people therefore said, "They did not, but only some unruly will tease". God then said it would be good if humans and ghosts would not be able to see each other so that there will be no more problems. Therefore, the Hmong people have to throw ash at the ghosts first, but the Hmong people do not want that, the god then let the ghosts throw the ashes at the Hmong people first, but the ghost refused. Therefore, the Hmong people are forced to throw the ashes at ghosts first by throwing them into the eyes of the ghosts, but the Hmong people did not hit the ghost's eyes, but the ghost pretended to be hurled and pretended to see nothing. The ghosts then appeal to god to allow the ghosts to see the Hmong people as before so that they can live. The god then allow the ghosts to see things as usual, while at the same time the spirits can also see the Hmong people, even though the god do not want ghosts to see the Hmong, but because the god did not know that the ghosts lied that The Hmong people throw the ashes into their eyes. Therefore, causing the ghosts to see the Hmong, the ghost then threw the ashes at the Hmong's eyes, until the Hmong people cannot see anything. The god was asked by the Hmong people to make them able to see things in order to survive. The god made the Hmong people see everything except ghosts.

160

Therefore, the Hmong people were not able to see ghosts ever since, but the ghosts can still see the Hmong people.

(2.4) Educational institution

Educational institutions are an important part of teaching people in the country knowledge and love of their duties. The Hmong people is a nation that lives on the hill in Thailand, the government created a school for the Hmong to study in order to educate the Hmong on various matters, including patriotism in Thailand, love in arable areas, love for the royal institution, love for Thai society and love for their own nation. From the field study, it is found that the education of the Hmong people is a curriculum that comes from the central, the flat people, the people on the mountain use the same curriculum, but the Hmong people are different that the Hmong written language uses English alphabet by transliterating the spoken language of the Hmong as shown in the Hmong folk tale "Why Hmong doesn't have any letters" with the following details:

In the olden days, humans were increasingly, unable to remember daily stories and arguing with each other, causing human to come together to present this problem to the god in order to find a solution. God resolved by giving a wonderful textbook to teach humans to know from the written record. Therefore, each nation will have national letters. The Hmong people also obtained the book, they put this book well-hidden because they fear it will be lost and not having free time from work. When the Hmong people are free from work, the book will be published. When it was the time to bring the book out, the rats had already eaten the book. The Hmong people are very sad and went back to consult the god, but god answered "I have already given you the book, but you did not keep it well. You will not have letters like other nations" The Hmong people, when they heard the news, were sad. Finally, a Hmong elder said that "When we don't have letters, we have to use methods of remembering things instead of taking notes" To recall about this great loss, The Hmong people have invented the instrument, "Bamboo mouth organ" when blow, there will be a "Jae Mo Jae" sound which means "rat eats book".

161

It is a warning to the Hmong people to always be aware when they do something, otherwise, they will regret and lose the opportunity.

(2.5) Economy

Economy is a means of human survival in various fields, which is said to be extremely important to human life. The Hmong people lived together for a long time because the Hmong people have production and exchange for sustenance. From the observation of the way of life of the Hmong, every household will produce everything for sustenance, such as gardening, farming, raising chickens or pigs, wax writing cloth, Hmong embroidering cloth, weaving hemp cloth, crafting knives, trading groceries, driving school bus, including fortune-telling, etc. As for the work that appears in the Hmong folk tales, it is found in “Mr.Chue Nong Bra and Mrs.Mao Kao Zhu", "The reason why Hmong grow rice and corn" and "The orphan and the monkeys" with the following details:

In the olden days, Mr.Chue Nong Bra and Mrs.Mao Kao Zhu married and lived together. Chue Nong Bra would go out to shoot birds to cook every morning, one day, Mao Kao Zhu came with a dog barking all the way. Chue Nong Bra then put his own pheasant under the bed. The next day, Mao Kao Zhu stepped in but did not bring the dog in, when arrived at the farm, Mao Kao Zhu saw Chue Nong Bra eating the pheasant. Mao Kao Zhu was very sad and said "Let’s divorce" take me back to my parents. Chue Nong Bra then sent her to her parents. When they arrived at a river, Mao Kao Zhu said, "Before we part, can we sing together for the last time?" but Chue Nong Bra said, "We are parting, why do you want to sing together?" Mao Kao Zhu was very sad and jumped into the water because Mao Kao Zhu was the Naga's daughter, but disguised as a human to live with Chue Nong Bra. He was weeping over Mao Kao Zhu, meanwhile, two frogs were walking by. Chue Nong Bra asked for the frogs' help by having the frogs drink all the water in order to find Mao Kao Zhu, his beloved wife. While the frogs were drinking water, Chue Nong Bra laughs at frogs. The frogs sighed and decided to not help. The next day, Chue Nong Bra cried for help from the frogs again. The

162

frogs consumed all the water. Mao Kao Zhu disguise as a human being to meet Chue Nong Bra and told him that "I am married now" Whenever you miss me, put three jars in front of the house and fill all three jars with water, you will see me. After that, Mao Kao Zhu suddenly disappeared. After a couple of days, Chue Nong Bra tried to do as Mao Kao Zhu told. He saw her, he hurried to grab her and grabbed her but could not. Chue Nong Bra cried so much. In the end, Mao Kao Zhu went to live happily with her new husband.

In the olden days, rice and corn were not as fertile as today. There will be only magic plant with rice seeds on top and corn pods on the bottom. When the corn and the rice are ripe it will smell good. Humans want it, but they cannot take it because god separated the magic plant in different places. Making the humans try to plant that magic seeds, until the season when rice and corn are ripe, humans can see and therefore swim across to retrieve the seeds. When two or three seeds of the magic seed were attached to the tail, they were stored. When it is growing season, it will be cultivated and flourished quickly. Once the seeds are distributed all over. The magic seeds, when ripened, they will walk into the barn itself without anyone carrying causing the rice and corn filled the barns of the Hmong people. One year, a lazy Hmong, who had not finished building a barn, cursed the rice and corn with rude speech causing the rice and the corn become angry, and said, "From now on, go and bring your own ones and do not hope that those who choose to grow this plant will get both rice and corn". Since then, the rice and the corn separated, but there are still parts that show that these two plants used to live together: The pollen of the corn stalk is like rice. Humans who get rice and corn must work hard. When the seeds are old, they must harvest by themselves. Otherwise, the grain will fall into the ground and become food for other animals.

In the olden days, the orphan has no father or mother. He planted his own rice and corn near the cliffs, he planted corn for a while, the corn was ripe. On the cliff there were many monkeys. When the monkeys see the ripe corn and rice of the orphan, the monkeys then came down to eat corn and rice of the orphan every day. The orphan was very sad that the monkeys came to

163

eat all the corn and rice. After a short time, the orphan went to ask for blessings from the god. The god said, "I am going to kill a large chicken and a fat chicken for the orphan to eat" Once the orphan has eaten the chicken and became sleepy, he then took off his clothes and slept on the monkey's path. When those monkeys walked by and saw they thought that the orphan must be dead already, so they brought the orphan's body to perform a funeral ceremony. The monkeys that were lifting the orphan to the cliff, halfway away, they found that the orphan opened his eyes and told the monkeys, "Lift well, or I will fall" The monkey in front said that the orphan was not dead, but the monkey behind said that the orphan is dead, but most of the monkeys believe that he is actually dead, so they lifted to the highest cliff and performed a funeral, the monkey brought Kik Kun to represent the cow and the monkey went to find lychee to be a representative of the pig, which was able to perform for three days and three nights. Afterwards, the orphan woke up and saw the events. He was very angry. The orphan then chased and killed the monkeys until they all died. Finally, the orphan got the money of the monkeys to create a new life for himself better.

(2.6) Transportation Transportation is an important component in every area of life for convenience in economic, social, education, and health. When speaking by observers, the Hmong people have greatly improved communication. In the village, there is a winding asphalt road on the hill, it is a road cut from the main road, which can be conveniently traveled by every type of car. When referring to the Hmong folk tale, it is found that in the past, people traveling on foot because the Hmong people had to relocate their habitat by walking through the forests and trade with other villages on the mountain as shown in the folk tale of "The reason why Hmong grow rice and corn" with the following details: In the olden days, rice and corn were not as fertile as today. There will be only magic plant with rice seeds on top and corn pods on the bottom. When the corn and the rice are ripe it will smell good. Humans want it, but they

164

cannot take it because god separated the magic plant in different places. Making the humans try to plant that magic seeds, until the season when rice and corn are ripe, humans can see and therefore swim across to retrieve the seeds. When two or three seeds of the magic seed were attached to the tail, they were stored. When it is growing season, it will be cultivated and flourished quickly. Once the seeds are distributed all over. The magic seeds, when ripened, they will walk into the barn itself without anyone carrying causing the rice and corn filled the barns of the Hmong people. One year, a lazy Hmong, who had not finished building a barn, cursed the rice and corn with rude speech causing the rice and the corn become angry, and said, "From now on, go and bring your own ones and do not hope that those who choose to grow this plant will get both rice and corn". Since then, the rice and the corn separated, but there are still parts that show that these two plants used to live together: The pollen of the corn stalk is like rice. Humans who get rice and corn must work hard. When the seeds are old, they must harvest by themselves. Otherwise, the grain will fall into the ground and become food for other animals.

(2.7) House settlement

The Hmong settlement of the Hmong people nowadays is based on the vertical layers of the mountains by setting the house in descending order and the door facing into the village. The village leaders choose the most fertile area, the Mae Sa Mai village, Mae Sa Noi village, near the Mae Sa stream, which is the water source of the people of Mae Rim District. Nowadays, many Hmong families move their homes to the ground because they have to do most of their jobs on the flat lands. The Hmong themselves have to change their lifestyle to survive in a flat society as well. When studying the history of the settlement of the Hmong people in the past found that the Hmong people migrated to many places because they used the area to cultivate agriculture and some information said to move away from the epidemic as shown in the folk tale "There are men and women" and "The orphan and the monkeys".

165

One day, there were a man and a woman ran to Doi Pha Kong because he and she both did not get married. Therefore, causing the woman's parents forbid to marry that man. He and she both said that "Let's run away from our parents" Both of them arranged time to escape in the evening, they both agreed to pack their clothes. On that day they could escape, but both of their parents knew and ran after both of them. Finally, he and she arrived at Doi Pha Kong. Both of them took off their clothes and put on a stone, then they jumped off the cliff at Doi Pha Kong, when both of their parents saw, they cried a lot.

In the olden days, the orphan has no father or mother. He planted his own rice and corn near the cliffs, he planted corn for a while, the corn was ripe. On the cliff there were many monkeys. When the monkeys see the ripe corn and rice of the orphan, the monkeys then came down to eat corn and rice of the orphan every day. The orphan was very sad that the monkeys came to eat all the corn and rice. After a short time, the orphan went to ask for blessings from the god. The god said, "I am going to kill a large chicken and a fat chicken for the orphan to eat" Once the orphan has eaten the chicken and became sleepy, he then took off his clothes and slept on the monkey's path. When those monkeys walked by and saw they thought that the orphan must be dead already, so they brought the orphan's body to perform a funeral ceremony. The monkeys that were lifting the orphan to the cliff, halfway away, they found that the orphan opened his eyes and told the monkeys, "Lift well, or I will fall" The monkey in front said that the orphan was not dead, but the monkey behind said that the orphan is dead, but most of the monkeys believe that he is actually dead, so they lifted to the highest cliff and performed a funeral, the monkey brought Kik Kun to represent the cow and the monkey went to find lychee to be a representative of the pig, which was able to perform for three days and three nights. Afterwards, the orphan woke up and saw the events. He was very angry. The orphan then chased and killed the monkeys until they all died. Finally, the orphan got the money of the monkeys to create a new life for himself better.

166

(2.8) Tradition

Traditions are practices that the Hmong people carry on for a long time from their ancestors, in which the Hmong even move to live on flat land, but when the village held an annual tradition, the Hmong people will return to their original homeland, adhering to their original traditions, which will be found in the folk tale “Mr.Chue Nong Bra and Mrs.Mao Kao Zhu” which talks about singing lovers and the researcher found in the folk tale "Why Hmong doesn't have any letters", which refers to bamboo mouth organ, which is a Hmong instrument, including "The orphan and the monkeys", in which this story talks about the funeral arrangements as the story details are as follows:

In the olden days, Mr.Chue Nong Bra and Mrs.Mao Kao Zhu married and lived together. Chue Nong Bra would go out to shoot birds to cook every morning, one day, Mao Kao Zhu came with a dog barking all the way. Chue Nong Bra then put his own pheasant under the bed. The next day, Mao Kao Zhu stepped in but did not bring the dog in, when arrived at the farm, Mao Kao Zhu saw Chue Nong Bra eating the pheasant. Mao Kao Zhu was very sad and said "Let’s divorce" take me back to my parents. Chue Nong Bra then sent her to her parents. When they arrived at a river, Mao Kao Zhu said, "Before we part, can we sing together for the last time?" but Chue Nong Bra said, "We are parting, why do you want to sing together?" Mao Kao Zhu was very sad and jumped into the water because Mao Kao Zhu was the Naga's daughter, but disguised as a human to live with Chue Nong Bra. He was weeping over Mao Kao Zhu, meanwhile, two frogs were walking by. Chue Nong Bra asked for the frogs' help by having the frogs drink all the water in order to find Mao Kao Zhu, his beloved wife. While the frogs were drinking water, Chue Nong Bra laughs at frogs. The frogs sighed and decided to not help. The next day, Chue Nong Bra cried for help from the frogs again. The frogs consumed all the water. Mao Kao Zhu disguise as a human being to meet Chue Nong Bra and told him that "I am married now" Whenever you miss me, put three jars in front of the house and fill all three jars with water, you will see me. After that, Mao Kao Zhu suddenly disappeared. After a

167

couple of days, Chue Nong Bra tried to do as Mao Kao Zhu told. He saw her, he hurried to grab her and grabbed her but could not. Chue Nong Bra cried so much. In the end, Mao Kao Zhu went to live happily with her new husband.

In the olden days, humans were increasingly, unable to remember daily stories and arguing with each other, causing human to come together to present this problem to the god in order to find a solution. God resolved by giving a wonderful textbook to teach humans to know from the written record. Therefore, each nation will have national letters. The Hmong people also obtained the book, they put this book well-hidden because they fear it will be lost and not having free time from work. When the Hmong people are free from work, the book will be published. When it was the time to bring the book out, the rats had already eaten the book. The Hmong people are very sad and went back to consult the god, but god answered "I have already given you the book, but you did not keep it well. You will not have letters like other nations" The Hmong people, when they heard the news, were sad. Finally, a Hmong elder said that "When we don't have letters, we have to use methods of remembering things instead of taking notes" To recall about this great loss, The Hmong people have invented the instrument, "Bamboo mouth organ" when blow, there will be a "Jae Mo Jae" sound which means "rat eats book". It is a warning to the Hmong people to always be aware when they do something, otherwise, they will regret and lose the opportunity.

In the olden days, the orphan has no father or mother. He planted his own rice and corn near the cliffs, he planted corn for a while, the corn was ripe. On the cliff there were many monkeys. When the monkeys see the ripe corn and rice of the orphan, the monkeys then came down to eat corn and rice of the orphan every day. The orphan was very sad that the monkeys came to eat all the corn and rice. After a short time, the orphan went to ask for blessings from the god. The god said, "I am going to kill a large chicken and a fat chicken for the orphan to eat" Once the orphan has eaten the chicken and became sleepy, he then took off his clothes and slept on the monkey's path. When those monkeys walked by and saw they thought that the orphan must be dead already, so they brought the orphan's body to perform a funeral

168

ceremony. The monkeys that were lifting the orphan to the cliff, halfway away, they found that the orphan opened his eyes and told the monkeys, "Lift well, or I will fall" The monkey in front said that the orphan was not dead, but the monkey behind said that the orphan is dead, but most of the monkeys believe that he is actually dead, so they lifted to the highest cliff and performed a funeral, the monkey brought Kik Kun to represent the cow and the monkey went to find lychee to be a representative of the pig, which was able to perform for three days and three nights. Afterwards, the orphan woke up and saw the events. He was very angry. The orphan then chased and killed the monkeys until they all died. Finally, the orphan got the money of the monkeys to create a new life for himself better.

From the Hmong folk tale data at Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, make the researcher see the livelihood of the Hmong people in the past through family, government, religion, education, economy, communication, settlement, houses and traditions, Which is like a Hmong folk tale like a mirror, reflecting the living conditions of how the Hmong people live their lives, because these worldviews are stored in the Hmong's feelings, memories, and then poured out into a story to be passed down to each other by allowing the researcher to imagine according to the era of that folk tale. From the study of folk tales, it can be clearly seen that the Hmong family is a small family living together, which has rules for living based on the supernatural things that hold people to be good people, in which god is the creator of all aspects of life. As for the work, the Hmong are mainly farmers, gardening and trading, but nowadays when observing in the field, Hmong people will have a variety of careers, which can be clearly seen in the homestay business, some families will also work as civil servants. Among other things, the Hmong way of life that appears in folk tales and the way of life that appears in today's society all have basic beliefs about supernatural things that god is the creator of various things through a clear worldview of the Hmong people.

169

(3) Analyze the Hmong worldview that appears in the story

"Worldview" according to the Royal Institute of Thailand has stated that the worldview comes from the word world and view, which means opinion, seeing things, and the English word comes from the word worldview, which means seeing and aware of the world. Each human being interprets things in the world. How the worldview is depends on the culture and environment in that society. This worldview will make us know how humans feel and why is that so? The researcher will not look to the whole world, but will look narrower only to the people living together in different countries in the same district, namely Hmong people living in Mae Rim District, in which the researcher is the people in the area of Mae Rim District, so that the researcher will be able to study and see the worldview of the minorities how they live in the same area. In modern times, prosperity has quickly reached every area, even on the mountain, which is the area of Hmong people with technology making everyone comfortable, it cannot be contradicted, but sometimes it can make people forget about their own culture. The heritage of the culture that reflects the worldview of the Hmong is the folk tale of the Hmong, which helps the local people in Baan Hmong, Mae Sa Mai, Mae Sa Noi, and the researcher to look behind the scenes of life that instilled Hmong.

The Hmong worldview will be an important part of understanding the Hmong’s ideology and how they think, why they had such thought? To study the worldview of the Hmong people, the researcher determines human-centered analysis by studying the following topics: (3.1) Relationship between Man and Man (3.2) Relationship between Man and Nature (3.3) Relationship between Man and Supernature

(3.1) Relationship between Man and Man

The Hmong are a minority society that has their own society and naturally have relationships among their own society and relationships, among others. When analyzing from the Hmong folk tales based on the relationship between humans and humans. The researcher found the

170

information of 3 folk tales in this group which can be analyzed into groups as follows:

(3.1.1) Relationships with families and relatives

The Hmong are closely related in the family between relatives of the same surname, as closely as the researcher analyzed.

Couple selection Hmong people can choose their spouse by themselves but depends on the father and mother who gave birth whether they think it is appropriate or not as the Hmong folk tale "There are men and women", talks about the two lovers who did not marry because their families prevented the two lovers, so they ran away and committed suicide at Doi Pha Kong as the details of folk tales as follows.

One day, there were a man and a woman ran to Doi Pha Kong because he and she both did not get married. Therefore, causing the woman's parents forbid to marry that man. He and she both said that "Let's run away from our parents" Both of them arranged time to escape in the evening, they both agreed to pack their clothes. On that day they could escape, but both of their parents knew and ran after both of them. Finally, he and she arrived at Doi Pha Kong. Both of them took off their clothes and put on a stone, then they jumped off the cliff at Doi Pha Kong, when both of their parents saw, they cried a lot.

From the Hmong folk tale, "There are men and women", you can see that Hmong people can choose their spouse to their liking and can make decisions about various issues that occur.

Spouse relationship. When the Hmong couples live together as husband and wife, they can make decisions in relationships that arise in matters such as when quarrels arise. Hmong women can make a decision to separate from Hmong men, which is to give freedom to the ideas of both sides. As for the Hmong folk tale, "Mr.Chue Nong Bra and Mrs.Mao Kao Zhu", talks about the relationship between a husband and a wife that caused a quarrel and parted as the details of folk tales as follows.

171

In the olden days, Mr.Chue Nong Bra and Mrs.Mao Kao Zhu married and lived together. Chue Nong Bra would go out to shoot birds to cook every morning, one day, Mao Kao Zhu came with a dog barking all the way. Chue Nong Bra then put his own pheasant under the bed. The next day, Mao Kao Zhu stepped in but did not bring the dog in, when arrived at the farm, Mao Kao Zhu saw Chue Nong Bra eating the pheasant. Mao Kao Zhu was very sad and said "Let’s divorce" take me back to my parents. Chue Nong Bra then sent her to her parents. When they arrived at a river, Mao Kao Zhu said, "Before we part, can we sing together for the last time?" but Chue Nong Bra said, "We are parting, why do you want to sing together?" Mao Kao Zhu was very sad and jumped into the water because Mao Kao Zhu was the Naga's daughter, but disguised as a human to live with Chue Nong Bra. He was weeping over Mao Kao Zhu, meanwhile, two frogs were walking by. Chue Nong Bra asked for the frogs' help by having the frogs drink all the water in order to find Mao Kao Zhu, his beloved wife. While the frogs were drinking water, Chue Nong Bra laughs at frogs. The frogs sighed and decided to not help. The next day, Chue Nong Bra cried for help from the frogs again. The frogs consumed all the water. Mao Kao Zhu disguise as a human being to meet Chue Nong Bra and told him that "I am married now" Whenever you miss me, put three jars in front of the house and fill all three jars with water, you will see me. After that, Mao Kao Zhu suddenly disappeared. After a couple of days, Chue Nong Bra tried to do as Mao Kao Zhu told. He saw her, he hurried to grab her and grabbed her but could not. Chue Nong Bra cried so much. In the end, Mao Kao Zhu went to live happily with her new husband.

From the Hmong folk tale, "Mr.Chue Nong Bra and Mrs.Mao Kao Zhu", it can be seen that Hmong people can choose their spouse to their satisfaction, but when the relationship cannot continue, Hmong women are able to make separate decisions with their side. That is to say, both Hmong men and women have equal dignity.

172

(3.1.2) Education relations

Hmong people in folk tales do not see the importance of education, because they saw the importance of making a living more than a career, which the Hmong people believe that everything that happens is the power of god as can be seen from the Hmong folk tale, "Why Hmong doesn't have any letters" cited, when god gave the Hmong letters, the Hmong people keep the letters in the book well by thinking that when there is a free time from work, that letters will be published. One day the rats were hungry, so they gnawed all that book, causing the Hmong letters to disappear. The god was angry that Hmong people are not responsible and decided that Hmong people will not have letters since then, as the details of folk tales as follows.

In the olden days, humans were increasingly, unable to remember daily stories and arguing with each other, causing human to come together to present this problem to the god in order to find a solution. God resolved by giving a wonderful textbook to teach humans to know from the written record. Therefore, each nation will have national letters. The Hmong people also obtained the book, they put this book well-hidden because they fear it will be lost and not having free time from work. When the Hmong people are free from work, the book will be published. When it was the time to bring the book out, the rats had already eaten the book. The Hmong people are very sad and went back to consult the god, but god answered "I have already given you the book, but you did not keep it well. You will not have letters like other nations" The Hmong people, when they heard the news, were sad. Finally, a Hmong elder said that "When we don't have letters, we have to use methods of remembering things instead of taking notes" To recall about this great loss, The Hmong people have invented the instrument, "Bamboo mouth organ" when blow, there will be a "Jae Mo Jae" sound which means "rat eats book". It is a warning to the Hmong people to always be aware when they do something, otherwise, they will regret and lose the opportunity.

From the Hmong folk tale, "Why Hmong doesn't have any letters", it can be seen that the most important thing above all, Hmong people believe

173

that everything happens from the power of god, but now the Hmong people are Thai people who have received an ID card. The Hmong people therefore, see the importance of education in the Thai education system, which can be seen from the field researcher in Mae Sa Mai village, Mae Sa Noi village has Jaophorluangoppathum 7 School, in which the Thai government established a school for Hmong people to be educated in order to be comparable to those in lowland society and for the love of the Thai nation.

(3.2) Relationship between Man and Nature

Organisms are one that occurs naturally, which features concrete and abstract, therefore, humans will naturally relate to nature which is difficult to separate. The Hmong are a group of people that must have a clear relationship with nature, which in the meaning of the word "Hmong" means "rice, shoots, weeds and fields," which refer to the children of the land and indigenous people who originally cultivated rice. The researcher found the information of 4 folk tales in this group which can be analyzed into groups as follows.

(3.2.1) Beliefs about human origin

Before the birth of humans, the Hmong believed that god was the creator of humans as can be seen from the Hmong folk tale "6 stones and 2 elderly people", talks about a pair of old people wanting to have children so they asked the god, in which the gods cast six stones into the children of the elderly, which their children have different characteristics of each person. One day, all 6 of them went to eat the god. God is very angry and punish them but cannot do it. In the end, there was a child telling the truth to god. God, therefore, forgives as the details of folk tales as follows.

In the olden days, there were two old husband and wife. Both of them had no children, so they asked god if "May god give us two children" One night, the wife dreamed that god had walk to the west to collect 6 stones and then look after them like children, then those stones will become a human. When both of them had done as their wives had said, it became true. The 6 children had a special characteristic that the first one cannot be killed, the

174

second one cannot be burned, the third one cannot drift away, the fourth one body cannot be torn, the fifth one cannot be pierced, and the sixth one cannot be blown away. All 6 of them were twins. One day, they made a mistake to catch the lightning god to eat. When god knew, he made the two old elderly brought their children to god to kill them. When the sixth child heard, he told the first child to see the god. When god cannot kill him, he waits for the second day, in order to burn the first one. When the sixth child heard, he told to sends the second brother and the third day sends the third brother and keep sending until only the sixth remaining. When the sixth child meets the god, the god said "I tried every method to kill but I can’t" he then told the sixth child to tell the truth. The sixth child told the whole story to god, god therefore, ignores the punishment and warns him that if he does it again, it will not be forgiven. Since then, this family has never done anything wrong to god.

From the Hmong folk tale, "6 stones and 2 elderly people", it can be seen that the Hmong people believe in nature, the occurrence of humans that are caused by nature, and god created them.

(3.2.2) Beliefs about the origin of animals

The Hmong people believe that everything happens from god as the creator, including the origin of various animal characteristics as can be seen from the Hmong folk tale, "Owl in the mountains", speaks of the physical nature of the owl, determined by god as the details of folk tales as follows.

In the olden days, there was an owl that lived on the mountain, which on the mountain there was only smog, the owl lived alone on that mountain. When it was time for the owl to cry, the deer became afraid and ran away and bumped into a pumpkin, the pumpkin rolled over the gardener until the farmer accidentally made the ash powder hit the fowl's eyes. The wild fowl could not see and pecked the ground up until the centipede came up and bit the squirrel's feet. The squirrel was hurt at his feet and complained to the angel. The angel then asked, "What were you doing, squirrel?" The squirrel said, "The centipede bit my leg". The angel said, "Go call the centipede". The squirrel

175

then called the centipede to meet the angel. The angel then asked, "Why did you bite the squirrel's legs?" The centipede said, "The wild fowl pecked the ground up". The angel said go and call the wild fowl. The centipede went to call the wild fowl to meet the angel. The angel asked, "Why did you peck the ground?", the wild fowl said, "The gardener made ashes on my eyes, causing me to not see, so I pecked the ground". The angel said, "Go call the gardener", the wild fowl called the gardener to meet the angel. The angel then asked, "Why did you made the ash powder hit the wild fowl's eyes?", the gardener said, "The pumpkin pushed me, so I made the ash powder hit the wild fowl's eyes". The angel said, "Go call the pumpkin". The gardener then called the pumpkin to meet the angel, the angel asked, "Why did you push the gardener?", the pumpkin said that "The deer ran and bumped into me, so I rolled and hit the gardener". The angel said, "Go call the deer". The pumpkin called the deer to go meet the angel. The angel then asked, "Why did you run into the pumpkin?", the deer said, "The owl cried, I was afraid, so I ran and hit the pumpkin". The angel said, "Go call the owl". The deer then called the owl to meet the angel. The angel then asked, "Why did you cry?", the owl said that "I was on the mountain alone, I was scared, so I cried" So the angel punished the owl by snatching the owl's eyes, since then "The owl has big eyes".

From the Hmong folk tale "Owl in the mountains", it can be seen that the Hmong people believe that the origin of the characteristics of each animal depends on the god who created things on the world by himself. The portrayal of this story is clear that humans live with nature dependent on nature.

(3.2.3) Relationship with nature

The Hmong are social groups that are closely related to nature, because according to the settlement conditions of the Hmong people and traditions, culture, and occupation, all depend on the nature that is inseparable. As can be seen from the Hmong folk tale, "The reason why Hmong grow rice and corn", cited, in the Hmong village, there was a magic plant that has a head of rice and body of corn that can walk down to the ground to grow by itself, but

176

one day, the Hmong people could not finish building the barn, cursing the magic plant that walked into his barn. The magic plant was very angry so it separates its body, part rice and part corn and cannot walk by itself again. Therefore, the Hmong people had to grow rice and corn by their own as the details of folk tales as follows.

In the olden days, rice and corn were not as fertile as today. There will be only magic plant with rice seeds on top and corn pods on the bottom. When the corn and the rice are ripe it will smell good. Humans want it, but they cannot take it because god separated the magic plant in different places. Making the humans try to plant that magic seeds, until the season when rice and corn are ripe, humans can see and therefore swim across to retrieve the seeds. When two or three seeds of the magic seed were attached to the tail, they were stored. When it is growing season, it will be cultivated and flourished quickly. Once the seeds are distributed all over. The magic seeds, when ripened, they will walk into the barn itself without anyone carrying causing the rice and corn filled the barns of the Hmong people. One year, a lazy Hmong, who had not finished building a barn, cursed the rice and corn with rude speech causing the rice and the corn become angry, and said, "From now on, go and bring your own ones and do not hope that those who choose to grow this plant will get both rice and corn". Since then, the rice and the corn separated, but there are still parts that show that these two plants used to live together: The pollen of the corn stalk is like rice. Humans who get rice and corn must work hard. When the seeds are old, they must harvest by themselves. Otherwise, the grain will fall into the ground and become food for other animals.

From the Hmong folk tale, "The reason why Hmong grow rice and corn", it can be seen that Hmong people have a close relationship with nature, and nature gives benefits and harms to humans. If humans are good people, doing good, thinking good, nature will help to benefit the Hmong people, but when the Hmong people are bad, do not think good, nature will punish the Hmong immediately.

177

(3.2.4) Relations with animals

Hmong people are social groups that live on the mountain top, which is the habitat of nature, trees, streams, small animals, large animals. When the migration of Hmong to find the location of the village occurred Hmong people, therefore, have to live with nature, including small animals and large animals. Therefore, there was a Hmong folk tale that found animals as components in the story as can be seen from the Hmong folk tale, "The orphan and the monkeys", it describes an orphan child taken by a monkey to perform a funeral while deep sleep because of full stomach. When waking up, the orphan was very angry, so he chased the monkeys and took the money of the monkeys as his own, as the details of folk tales as follows.

In the olden days, the orphan has no father or mother. He planted his own rice and corn near the cliffs, he planted corn for a while, the corn was ripe. On the cliff there were many monkeys. When the monkeys see the ripe corn and rice of the orphan, the monkeys then came down to eat corn and rice of the orphan every day. The orphan was very sad that the monkeys came to eat all the corn and rice. After a short time, the orphan went to ask for blessings from the god. The god said, "I am going to kill a large chicken and a fat chicken for the orphan to eat" Once the orphan has eaten the chicken and became sleepy, he then took off his clothes and slept on the monkey's path. When those monkeys walked by and saw they thought that the orphan must be dead already, so they brought the orphan's body to perform a funeral ceremony. The monkeys that were lifting the orphan to the cliff, halfway away, they found that the orphan opened his eyes and told the monkeys, "Lift well, or I will fall" The monkey in front said that the orphan was not dead, but the monkey behind said that the orphan is dead, but most of the monkeys believe that he is actually dead, so they lifted to the highest cliff and performed a funeral, the monkey brought Kik Kun to represent the cow and the monkey went to find lychee to be a representative of the pig, which was able to perform for three days and three nights. Afterwards, the orphan woke up and saw the events. He was very angry. The orphan then chased and killed

178

the monkeys until they all died. Finally, the orphan got the money of the monkeys to create a new life for himself better.

From the Hmong folk tale, "The orphan and the monkeys", we can see that humans are part of nature, in which the researcher observed from the monkeys that live with humans in the same area, so the animals interact with humans in many different ways.

The Hmong are very closely related to the nature because the Hmong are close to nature by looking at the Hmong's living areas located on a hill, in the forest. Hmong people believe that the origin of humans, the birth of animals can happen because god is the creator and nature is important to both benefits and harm.

(3.3) Relationship between Man and Supernature

Since the Hmong people settled in Mae Sa Mai village, Mae Sa Noi village, which is quite far away from the city. Therefore, the Hmong people have a relationship with the supernatural very much. Whether it is about believing in god, belief in the unseen all have a great influence on them because the Hmong people believe that events or phenomena that occur because of gods or ghosts, which are said to be supernatural beyond human vision. The researcher found the information of 2 folk tales in this group which can be analyzed into groups as follows.

(3.3.1) Belief in god

The Hmong people believe that and instill in each other that god is authority over all things and able to use magical powers to create things and the events that happen because of god, in which these beliefs appeared in folk tales as can be seen from the Hmong folk tale, "Why can't people see ghosts?", talks about in the past, humans and ghosts were able to see each other, often quarreling. The god then made both sides unable to see each other by having each side throw ashes at each other so that they could not see each other, but the ghost lied to god that the ash had been thrown into the eyes, but the truth is, it did not. Therefore, ghosts can see people. As for the humans, were

179

actually thrown ashes into the eye by the ghosts so they could not see the ghosts as the details of folk tales as follows.

Originally, the Hmong people could see ghosts and the Hmong people were smarter and stronger than ghosts, which will always tease the ghosts. One day, the ghosts could not bear it, so they went to tell god that they were teased by humans. The god then called the Hmong people to ask why they teased the ghosts. The Hmong people therefore said, "They did not, but only some unruly will tease". God then said it would be good if humans and ghosts would not be able to see each other so that there will be no more problems. Therefore, the Hmong people have to throw ash at the ghosts first, but the Hmong people do not want that, the god then let the ghosts throw the ashes at the Hmong people first, but the ghost refused. Therefore, the Hmong people are forced to throw the ashes at ghosts first by throwing them into the eyes of the ghosts, but the Hmong people did not hit the ghost's eyes, but the ghost pretended to be hurled and pretended to see nothing. The ghosts then appeal to god to allow the ghosts to see the Hmong people as before so that they can live. The god then allow the ghosts to see things as usual, while at the same time the spirits can also see the Hmong people, even though the god do not want ghosts to see the Hmong, but because the god did not know that the ghosts lied that The Hmong people throw the ashes into their eyes. Therefore, causing the ghosts to see the Hmong, the ghost then threw the ashes at the Hmong's eyes, until the Hmong people cannot see anything. The god was asked by the Hmong people to make them able to see things in order to survive. The god made the Hmong people see everything except ghosts. Therefore, the Hmong people were not able to see ghosts ever since, but the ghosts can still see the Hmong people.

From the Hmong folk tale, "Why can't people see ghosts?", can see that originally, humans and ghosts can see each other and causing controversy because ghosts are only scary things. The humans request to the god, the god then made both parties throw the ashes at each other's eyes, in order to not see each other. The ghosts lied to the god that they could not see humans, but the truth is, the ghosts did not get hit by ash, so they can still see humans. Because

180

of that, the Hmong people believed that everything happens from god as the creator.

(3.3.2) Belief in the unseen

In the matter of the unseen, the Hmong people have faith in the unseen, whether they are gods, ghosts or spirits as can be seen from the Hmong folk tale, "The dead chef came to sleep with his wife and children", talks about the dead chef that the spirit still cares about the children and wives at home, so he does not go anywhere as the details of folk tales as follows.

The chef was sick for many days, causing the chef to eventually die. His wife was very sad that her husband had died, so the dead husband returned home to her and children. The next day, his wife slept in the bedroom and heard the door open, so she secretly saw who is coming. Suddenly, she saw her dead husband lay to sleep with her. She was so shocked that her husband died, but why can he still come here. After that, she and her child fled the house and never returned.

From the Hmong folk tale, "The dead chef came to sleep with his wife and children", it can be seen that the Hmong people believe in the dead spirits of their family members. Therefore, to perform various actions, must be careful of the unseen things that follow the humans around.

According to most Hmong folktales, the obvious thing is the belief in the supernatural, which can be divided into levels as follows: The first is faith in the gods, which is the belief in the most important level, which the Hmong people believe that god is the creator of the world, creates humans, takes care of the human world, a judge who gives permission on important matters of Hmong life, the deity is the most important thing and is something that should be respected. The second is the belief in ghosts in general, including household spirits, ancestral spirits, forest spirits, which the Hmong people believe that ghosts are everywhere. Therefore, must be careful of actions, do not make the ghosts angry, should only do good deeds. Otherwise, humans will suffer.

181

The Hmong people still see the benefits of nature and not disrespect nature. The most influential for the Hmong beliefs is supernatural things, the gods that believe very firmly.

182

CHAPTER 5

Creating mixed media art with the participation of the Hmong youths

This chapter is the creation of mixed media art by synthesizing knowledge from the results of the study of Hmong folk tales in the previous chapter 4. Then select some of the Hmong folk tales from the relationship between man and man, the relationship between man and nature and the relationship between man and supernature by bringing Hmong folk tales to the art activities that the Hmong youth participated in 2 times, then applied the creation of the Hmong youth with the researcher to combine the techniques, styles and modern technology and install to present the exhibition, presenting mixed media art forms, installation art, participation art and video forms by disseminating in Mueang District, Chiang Mai Province to revive the memories to live closely connected with the people of today and for the new Hmong people to be proud of their wisdom and foresaw the value of preserving that cultural identity for future generations as detailed and how to proceed as follows.

5.1 The origin of Concept and the Inspiration to create this artwork 5.2 Art in participation with Hmong community youth 5.2.1 The 1st Art in participation activity for Hmong Youth (Document) 5.2.2 The sketches of the Hmong youth from the 3 selected Hmong folk tales (1) Sketches of Hmong youth from story about "The reason why Hmong grow rice and corn" (vim lis cas hmoob thiaj cog npleej thiab pob kwg) (2) Sketches of Hmong youth from story about "Why Hmong doesn't have any letters" (ua cas hmoob tsis muaj npe ntawv) (3) Sketches of Hmong youth from stories about "Why can't people see ghosts?" (ua cas hmoob tib neeg tsis pom dab) 5.2.3 The 2 nd Art in participation activity for Hmong Youth (Participate in creating mixed media arts.)

183

5.3 Creating mixed media art with participation from youth from Hmong community (set 1-4) 5.3.1 Detailed Explanation of Creative Work (Part 1) Creative Set 1, Sketch of Hmong youth, acrylic paint technique on canvas frames (1) Creative concept (2) Designing the artwork creation (3) Creative process and artwork (3.1) Steps and creative process (3.2) Style, technical material and presentation (3.3) Materials and equipment for creative use (3.4) Artwork size (3.5) Problems and obstacles in creation (3.6) Explain the detail the creative artwork (3.7) Sketches and creative artworks 5.3.2 Detailed Explanation of Creative Work (Part 2) Creative Set 2- set 4, creative works set of the researcher that the young Hmong participate (1) Creative concept (2) Designing the artwork creation (3) Creative process and artwork (3.1) Steps and creative process (3.2) Style, technical material and presentation (3.3) Materials and equipment for creative use (3.4) Artwork size (3.5) Problems and obstacles in creation (3.6) Explain the detail the creative artwork (3.7) Sketches and creative artworks 5.4 Exhibition of mixed media art with participation of the Hmong youth 5.4.1 Dissemination of creative works through exhibition presentations 5.4.2 Area and publishing exhibition 5.4.3 Problems and obstacles in the exhibition area 5.4.4 Summarize the grouping from the selection of ethnic Hmong folk tales and the creation of art

184

5.5 Summarize the creation of mixed media art with participation of Hmong youth

Details as follows

5.1 The origin of Concept and the Inspiration to create this artwork

From the study of folk tales about the history, society, culture and wisdom in various aspects of the Hmong people in Chiang Mai, as well as folk tales or stories of ethnic Hmong in the Hmong communities in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, found that the value of folk tales is to learn the identity of the Hmong worldview, which is the background of the way of life, culture and traditions, including the beliefs of the Hmong people that has a relationship with man, the relationship with nature and the relationship with supernature is summarized in the creation of mixed media art works with participation of the Hmong youth. It is a synthesis of information from the study that has been analyzed in chapter 4 by selecting folk tales according to the analysis results in chapter 4, item (3). Analyze the Hmong worldview that appears in the story, which consists of (3.1). Relationship between Man and Man (3.2). Relationship between Man and Nature and (3.3). Relationship between Man and Supernature.

There are steps of the method by starting from the Hmong youth to choose 3 Hmong folk tales that they want to hear (from the total of 9 Hmong folk tales) so that the Hmong youth will be inspired in creating artwork with the researcher of 3 sets related to The relationship between man and man, The relationship between man and nature and the relationship between man and supernature. The result of the Hmong youth choosing folk tales is as follows: (1) The story "The reason why Hmong grow rice and corn" (vim lis cas hmoob thiaj cog npleej thiab pob kwg) (2) The story "Why Hmong doesn't have any letters" (ua cas hmoob tsis muaj npe ntawv) (3) The story "Why can't people see ghosts?" (ua cas hmoob tib neeg tsis pom dab) In which all 3 folk tales have been selected is an inspiration to lead art activities with participation with Hmong youth 2 times at Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province.

185

5.2 Art in participation with Hmong community youth

5.2.1 The 1st Art in participation activity for Hmong Youth (Document)

From the selection of 3 Hmong folk tales. After that, the research process was conducted from the activities of the Hmong community youth and the researcher. The researcher started by searching for the Hmong people who still told the Hmong folk tale in order to bring those stories to share with the Hmong youth. After that, the researcher entered the Hmong village of Mae Sa Mai, Mae Sa Noi to organize an art activity in which the Hmong youth participated in the 1 st (Document) Jaophorluangoppathum 7 School, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The participant with this study was uncle Kadzoo (storyteller) and students in grade 4, grade 5, grade 6, Jaophorluangoppathum 7 School (students interested in art), the activity style is the Hmong elders telling 3 Hmong folk tales that have been chosen by the Hmong youth, then have the Hmong youth draw a line and paint on the canvas frame as the imagination from listening to their folk tales from the Hmong elders. The result of the activity will be the lines drawn from the imagination of the Hmong youth, so that the researcher will use the prototype lines of the youth combined with the imagination of the researcher and then draft them into sketches as mixed media art, with the pictures of the art activities that the Hmong youth participate as follows.

Picture 5.1 Meet the Hmong people who know about their folk tale, captured on April 7, 2017 (Source: Miss Piyachat Udomsri)

186

Picture 5.2 Requesting the support of the director Jaophorluangoppathum 7 School to organize the 1st art project with youth (Source: Miss Piyachat Udomsri)

Picture 5.3 Event location of the 1st Art in participation activity for Hmong Youth, captured on July 13, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.4 The researcher advises the 1st Art in participation activity for Hmong Youth Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

187

Picture 5.5 Hmong elder named "Kadzoo" Hmong folk storyteller Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.6 Hmong youth are listening to their folk tales Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.7 Hmong youth creating sketches as imagined after listening to their own folk tales Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

188

Picture 5.8 Hmong youth creating sketches as imagined after listening to their own folk tales Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.9 Hmong youth creating artwork according to their imagination on canvas frames with acrylic paint Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

189

Picture 5.10 Hmong youth creating artwork according to their imagination on canvas frames with acrylic paint Organized the art in participation activity with Hmong youth between July 13-14, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.11 Hmong youths take pictures with the researcher after creating the artworks Organized the art in participation activity with Hmong youth on July 13, 2017 (Source: Miss Piyachat Udomsri)

190

Picture 5.12 Hmong youths take pictures with the researcher after creating the artworks Organized the art in participation activity with Hmong youth on July 14, 2017 (Source: Miss Piyachat Udomsri)

The result of the activity will be the sketches from the imagination of the Hmong youth, so that the researcher will combine the sketches of the Hmong youth with the imagination of the researcher and bring them to create sketches as a mixed media art.

5.2.2 The sketches of the Hmong youth from the 3 selected Hmong folk tales

Details as follows

(1) Sketches of Hmong youth from story about "The reason why Hmong grow rice and corn" (vim lis cas hmoob thiaj cog npleej thiab pob kwg)

Picture 5.13 - Picture 5.16 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" (Source: Miss Piyachat Udomsri)

191

From Picture 5.13 – Picture 5.16 It can be seen that all 4 images have sketches of the characters that resemble living plants. The trunk is like a stalk of rice, the trunk is like a corn trunk that can walk, and we will see that there are line arts of small animals similar to mice, including the atmosphere. There are sketches of the sun, grass, birds flying far away.

Picture 5.17 - Picture 5.19 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" (Source: Miss Piyachat Udomsri)

From Picture 5.17 – Picture 5.19 It can be seen that all 3 images have sketches of the characters that resemble living plants. The trunk is like a stalk of rice, the trunk is like a corn trunk that can walk, and we will see that there are many circle-shaped lines looks like a hole in the ground, including the line arts of the sun, mountain, atmosphere.

Picture 5.20 - Picture 5.22 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" (Source: Miss Piyachat Udomsri)

192

From Picture 5.20 – Picture 5.22 It can be seen that all 3 images have sketches of the characters that resemble living plants. The trunk is like a stalk of rice, the trunk is like a corn trunk that can walk, and we will see that there are line arts of human figure greeting the plants, including the sketches of the

atmosphere, mountains, sun, streams.

Picture 5.23 - Picture 5.24 Sketches of Hmong youths from listening to the Hmong folk tales from the story "The reason why Hmong grow rice and corn" (Source: Miss Piyachat Udomsri)

From Picture 5.23 – Picture 5.24 It can be seen that both images have sketches of the characters that resemble living plants. The trunk is like a stalk of rice, the trunk is like a corn trunk that can walk, and we will see that there are 2 human shapes standing nearby, including the line arts of the atmosphere, sun, clouds, rain.

In summary, the content of the story explains that originally, rice and corn were the same plant, with both rice and corn. When fully cooked, they often walked into the barn themself, but because a man cursed the rice that came up in the barn while it was not done. The rice punished by separating itself. Anyone who wants to grow it had to harvest by their own.

From Picture 5.13 - Picture 5.24 It can be seen that the sketch of the plant is similar to the corn stalk, the head is similar to the rice stalks. This plant has eyes and a mouth similar to a living face that can walk. In the sketch, there are sketches of 1 species of animals similar to the shape of a rat, near that area is a sketch of a Hmong human, wearing a hat to the garden and the

193

line sketch of the circle shape resembling a soil hole, including sketches of the atmosphere in the Hmong village with mountains, streams, sun, clouds, rain etc.

(2) Sketches of Hmong youth from story about "Why Hmong doesn't have any letters" (ua cas hmoob tsis muaj npe ntawv)

Picture 5.25 – Picture 5.27 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" (Source: Miss Piyachat Udomsri)

From Picture 5.25 – Picture 5.27 It can be seen that all 3 images have drawn sketches of human in vary gestures such as walking, sitting on a chair or the floor. In the sketch, there is a square book and sketches of many mouse- like animals, including the line sketches of the atmosphere, mountains, clouds, wind, sun.

Picture 5.28 – Picture 5.30 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" (Source: Miss Piyachat Udomsri)

194

From Picture 5.28 – Picture 5.30 It can be seen that all 3 images have drawn sketches of human in vary gestures such as walking, sitting on a chair or the floor. In the line sketch, there is a square book and sketches of a big mouse-like animals, gnawing the line sketches of the square shape book and in the sketches there are stripes of the cross, which is a symbol of Christianity, including the line sketches of the atmosphere, mountains, clouds.

Picture 5.31 – Picture 5.33 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" (Source: Miss Piyachat Udomsri)

From Picture 5.31 – Picture 5.33 It can be seen that all 3 images have sketches of big and small mouse-like animals eating the square book, including the line arts of the atmosphere, many trees.

Picture 5.34 – Picture 5.36 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" (Source: Miss Piyachat Udomsri)

195

From Picture 5.34 – Picture 5.36 It can be seen that all 3 images depicting the sketches of human characters in various gestures such as standing, holding a hoe. In the line sketches, a rectangular book is placed on the ground. Nearby, is a sketch of a pencil and sketches of the mouse-like animal, including line sketches of the atmosphere, mountains, clouds, sun, wind, trees, fields, clumps of grass.

In summary, the content of the story explains that the Hmong doesn't have any letters, because when they ask to the god, and hid the book until the rats gnaw it. The god punished them to have no letters.

From Picture 5.25 – Picture 5.36 It can be seen that the sketches of people interacting to each other, there are sketches of animals, which are mice eating a book and in the sketch there is a symbol of Christianity, namely the cross, as well as the line sketches of the atmosphere of the Hmong village, the wind, the mountains, the sun, the trees, the fields, the fields, the grass, etc.

(3) Sketches of Hmong youth from stories about "Why can't people see ghosts?" (ua cas hmoob tib neeg tsis pom dab)

Picture 5.37 – Picture 5.38 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.37 – 5.38 It can be seen that all 3 images of sketches of ghost with different shapes are interacting with every human figure, with the gestures of the ghosts throwing several circle shapes towards humans.

196

Picture 5.39 – Picture 5.41 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.39 – Picture 5.41 It can be seen that all 3 images have sketches of ghost shapes that are interacting with every human figure, with the gestures of the ghosts throwing several circle shapes towards humans. The human sketches have gestures, throwing a small circle shapes towards ghosts as well and seeing sketches of ghosts walking around in the village, including line sketches of the village atmosphere with trees, clouds, sun, flowers.

Picture 5.42 – Picture 5.44 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.42 – Picture 5.44 It can be seen that all 3 images have sketches of ghost shapes with various gestures, such as standing, walking and sitting on the clouds in the sky and there are sketches of humans, including line sketches of the atmosphere, house, tree, clouds, mountains, sun, stars, moon.

197

Picture 5.45 – Picture 5.47 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.45 – Picture 5.47 It can be seen that all 3 images of sketches of ghost with different shapes are interacting with every human figure, with the gestures of the ghosts throwing several circle shapes towards humans. The human sketches have gestures, throwing a small circle shapes towards ghosts as well and seeing sketches of the ghosts that lining up, including line sketches of the atmosphere, clouds and sketches of human or god sitting on clouds floating in the sky.

Picture 5.48 – Picture 5.50 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.48 – Picture 5.50 It can be seen that all 3 images of sketches of ghost with different shapes are interacting with every human figure. Some ghosts throw circle shapes at the human face, some ghosts stand

198

near humans and there are sketches of the human figure standing on the clouds, including the line sketches of the atmosphere of Hmong village, clouds, ground, clump of grass, rice fields, mountains.

Picture 5.51 – Picture 5.53 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.51 – Picture 5.53 It can be seen that all 3 images have drawn sketches of ghost with different shapes, some are walking on the floor, some stood on the ground, stretching their arms to throw a ball towards the sketches of human faces, some floating, including the sketches of the Hmong houses, starry sky, trees, ground, clump of grass, mountains, moon, sun.

Picture 5.54 – Picture 5.56 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why can't people see ghosts?" (Source: Miss Piyachat Udomsri)

From Picture 5.54 – Picture 5.56 It can be seen that all 3 images have drawn sketches of ghost with different shapes. Some are floating, some stood on the ground, stretching their arms to throw a ball towards the sketches of

199

human and there are sketches of a rectangular box near the human sketches, including the line sketches of the atmosphere, slope, mountain, crescent moon, sun, clouds.

In summary, the story explains that people cannot see ghosts because the ghosts throw ashes in their eyes, so they cannot see ghosts.

From Picture 5.37 – Picture 5.56 The sketches of ghosts have variety of characteristics. Close to that is the shape of the human body that interacts with the ghost shape by throwing the circle shapes into a connecting part, some stood beside each other, some face-to-face and still see the shape of a human sitting on a cloud. By analysis, this line sketch is a god sitting on a cloud, including the sketches of the atmosphere of the Hmong village that has a steep slope, the atmosphere of the moon, sun, stars, clouds, trees, mountains, clump of grass, fields etc.

5.2.3 The 2 nd Art in participation activity for Hmong Youth (Participate in creating mixed media arts.)

As the result of the 1 st Art in participation activity for Hmong Youth, the researcher combines the sketches from the imagination of the youth together with the imagination of the researcher to produce 3D structures and then go to the event area to do art activities with the Hmong youth in the 2nd Art in participation activity for Hmong Youth, it was held at the Hmong village, viewpoint at Mae Sa Mai, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The second participant was uncle Chor (Hmong people who brought dried corn plants for Hmong youth) and grade 4, grade 5, grade 6 students of Jaophorluangoppathum 7 School (students who are interested in art). The activity style is the Hmong youth to create mixed media art on 3 D structures with the researcher. The result of the activity was the mixed media art that the Hmong youth participated in, to bring creative artworks with the researcher to the 1st exhibition "IMAGINE FROM THE HMONG'S FABLE" at the Baan Tuek Art Center, Chiang Mai province and the 2 nd "IMAGINE FROM THE HMONG'S FABLE" at the Art and Culture Center, Chiang Mai University, Chiang Mai Province with the pictures of the art activities that the Hmong community members are involved as follows.

200

Picture 5.57 Consult with teachers Duenchai Watcharaweerakun (Academic Teacher) and Teacher Anuwat Inchai (Art Teacher) at Jaophorluangoppathum 7 School on February 20, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.58 - 5.60 Entered the study area of natural materials in the Hmong garden on February 24, 2018 (Source: Miss Piyachat Udomsri)

201

Picture 5.61 - 5.62 Entered the study area of natural materials in the Hmong garden on February 24, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.63 The researcher build a 3D structure with the Hmong people on March 17, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.64 - Picture 5.65 The researcher build a 3D structure with the Hmong people on March 19, 2018 (Source: Miss Piyachat Udomsri)

202

Picture 5.66 The 2nd Art in participation activity for Hmong Youth at the Viewpoint of Mae Sa Mai village Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province (Source: Miss Piyachat Udomsri)

Picture 5.67 Scenery around event location of the 2nd Art in participation activity for Hmong Youth (Source: Miss Piyachat Udomsri)

Picture 5.68 - Picture 5.69 Hmong youth begin to register for activities and receive souvenirs Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

203

Picture 5.70 – Picture 5.71 The youth received a souvenir from Waan, the friend of the researcher Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.72 - Picture 5.73 The researcher advises the 2nd art in participation activity with Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.74 - 5.75 Uncle Chor, the Hmong elder that brought the dry corn which involves folk tales for the youth to see, organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

204

Picture 5.76 3D structure from the line drawings of Hmong youth when listening to their folk tales Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.77 The researcher advises creating artworks with Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.78- Picture 5.80 Some natural materials that are used to create on the 3D structure Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

205

Picture 5.81 - Picture 5.83 Hmong youth start doing art activities with the researcher Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.84 - Picture 5.86 Hmong youth start doing art activities with the researcher Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

206

Picture 5.87 - Picture 5.89 Hmong youth start doing art activities with the researcher Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.90 Hmong youth having fun in art activities Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

207

Picture 5.91 - Picture 5.92 The researcher creates art with Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.93 - Picture 5.94 The researcher creates art with Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.95 - Picture 5.96 Recreation Activities for entertainment of Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

208

Picture 5.97 - Picture 5.98 Recreation Activities for entertainment of Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.99 - Picture 5.100 Recreation Activities for entertainment of Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.101 - Picture 5.102 Part of the artwork of the Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

209

Picture 5.103 - Picture 5.104 Part of the artwork of the Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.105 - Picture 5.106 Part of the artwork of the Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

210

Picture 5.107 Part of the artwork of the Hmong youth Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.108 Give rewards to the Hmong youth who participated in this activity Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

211

Picture 5.109 The researcher take pictures with the Hmong youth and staffs Organized the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

The result of the 2nd art in participation activity with Hmong youth in creating mixed media art with the researcher at the viewpoint of the Hmong village, Mae Sa Mai village, Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The researcher found that Hmong youth are interested in the activity by observing the results of the works of art that are jointly created for 2 days and the Hmong youth in the villages that study at Jaophorluangoppathum 7 School have told to the Hmong youth in the villages who studied in other schools to participate in this activity as well, including the results of the 2nd activity, the researcher also received mixed media art in which the Hmong youth participated in to be used for the 1 st exhibition "IMAGINE FROM THE HMONG'S FABLE" at the Baan Tuek Art Center, Chiang Mai province and the 2nd "IMAGINE FROM THE HMONG'S FABLE" at the Art and Culture Center, Chiang Mai University, Chiang Mai Province, where interested people can continue to participate with the creative work.

212

5.3 The creation of mixed media art works with the Hmong community youth

Is the implementation of the results of the study in step (5.2). Art in participation with Hmong community youth, created with the researcher received mixed media art inspired by 3 Hmong folk stories created together by using art exhibitions to disseminate to the new generation to preserve the way of life, culture, traditions, including the wisdom of the Hmong ethnicity. Going back and reviewing folk tales is equivalent to resurrecting memories to live closely connected with the people of today.

The creation of mixed media art with participation in the Hmong community youth in this dissertation is a work produced by the Hmong youth and the researcher together to create a mixed media art, combining installation art that viewers can engage with the creative work by dividing the creative work into 2 parts.

(Part 1) Creative Work set 1, Sketch of Hmong youth, acrylic paint technique on canvas frames

(Part 2) Creative Work set 2 , 3, 4 , creative works set of the researcher that the young Hmong participate

Details as follows

(Part 1) Creative Work set 1, Sketch of Hmong youth, acrylic paint technique on canvas frames

The original sketch of the Hmong youth, acrylic paint technique on 55 pieces of 30 x 30 cm. canvas frames of the Hmong youth from the 1st Art in participation activity for Hmong Youth at Jaophorluangoppathum 7 School, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. In this activity, the participants were grade 4 -6 students that are interested in art, which the activities will be held in the classroom, in which the researcher controls. The activity will tell stories from the Hmong elders and let the Hmong youth imagine the story into a line sketches before proceeding to paint acrylic on the canvas. The content of folk stories that the Hmong youth listen to is from the selection of the youth themselves that are interested in that story. There are the following Hmong folk tales (1). "The reason why Hmong grow rice and corn" (2). "Why Hmong doesn't have any letters" (3). "Why can't people see ghosts?" by the work of the Hmong youth is the prototype of the creation, Creative Work set (Part 2) Creative Set 2, 3 and 4.

213

(Part 2) Creative Work set 2, 3, 4, creative works set of the researcher that the young Hmong participate

Creative Work set 2 "Fertile" Is an installation, mixed media art from natural material techniques, variable size by location, which is inspired by the Hmong folk tale "The reason why Hmong grow rice and corn" (vim lis cas hmoob thiaj cog npleej thiab pob kwg)

This work comes from the 2nd Art in participation activity for Hmong Youth by the Hmong youth that collaborated with the researcher at the viewpoint of the village. The works in the exhibition hall have the prominent points in the area to look like hens and chicks walking together to find food to eat, which is a familiar sight while in the Hmong village, reflecting the abundance of nature in the Hmong village on the mountain. There are constructions made from natural materials in the Hmong village, such as corn kernels, corn stalks, paddy seeds, rice straws, coconut flakes, bamboo, etc. As for the lighting is bright orange, giving this work set feel more abundance so that the audience in the exhibition hall can get a close touch of the feeling of the Hmong way of life.

Creative Work set 3 "Jear mor jear" Is an installation, mixed media art, natural material techniques, variable size by location, which is inspired by the Hmong folk tale "Why Hmong doesn't have any letters" (ua cas hmoob tsis muaj npe ntawv)

This set of works is a placement of 3D mixed media art in 4 different sizes and various wooden wheels arranged on the area where there is a sawdust wheel pattern. The style of the work comes from unwinding the rats according to the stories of the Hmong people the rats are the animal that ate the Hmong books. In this set, there will be details of the way of life pictures on 4 pieces of 3 D mixed media art and wooden wheels are assemble so that the work can move and make sense of movement of the work, which some inspiration comes from the Hmong games tricycle. The details of the workpieces are constructed with natural materials, sawdust mixed with powder color, coconut flakes, paddy, black rice husk, corn husk, stained glass, wooden wheels, and create the atmosphere of the Hmong village by adding the decorative lights to represent the stars in the night sky in the beautiful Hmong villages in the work.

214

Creative Work set 4 "I am Kadzoo" Is an installation, mixed media art, natural material techniques, in which the audience can participate with the work, variable size by location, which is inspired by the Hmong folk tale "Why can't people see ghosts?" (ua cas hmoob tib neeg tsis pom dab)

This work set is a 6-piece of 3D mixed media art set on the floor and 21 pieces of floating media art. The style of the work comes from the sketches of the ghosts created by the imagination of the Hmong youth that listened to their folk tales. In this work, the audience can participate in the work by throwing a ball into the eye of a big 3 D mixed media art in the shape of a big ghost with a storytelling voice of the Hmong people in their body because with the content of this story that ghosts tease people. Therefore, it is a play that goes back and forth for people to pretend to be ghosts based on the sketches of the artwork of the Hmong youth that has been imagined. The construction of the work is made from natural materials and synthetic materials consisting of sawdust mixed with powder color, corn husk, rice husk, black rice husk, coconut flakes, rice straws, colored lights, speakers, fabric balls. The lighting in the area will be reduced to create the atmosphere suitable for the story in the tale.

Detailed Explanation of creative work (Part 1) and creative work (Part 2)

5.3.1 Detailed Explanation of Creative Work (Part 1) Creative Set 1 , Sketch of Hmong youth, acrylic paint technique on canvas frames

The original sketch work of Hmong youth is the result of the 1 st Art in participation activity for Hmong Youth Jaophorluangoppathum 7 School, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The activity style analyzed the Hmong folk tales that received information of folk tales from the Hmong people by using Hmong folk tales to analyze and distinguish in terms of human-centered relationships, there are 3 groups: the relationship between man and man, the relationship between man and nature and the relationship between man and supernature, in which the researcher let the Hmong youth choose their own folk tales that they want to listen to in each group. Therefore, obtaining 3 folk tales, which are "The reason why Hmong grow rice and corn", "Why Hmong doesn't have any letters" and "Why can't people see ghosts?" by having an Hmong old man

215

named "Kadzoo" who still tells stories to his children to tell the story chosen by the Hmong youth, in which uncle Kadzoo will stand and tell 3 Hmong folk tales in front of the classroom, then the researcher let the Hmong youth imagine their folk tales into sketches on the paper first. After that, let the Hmong youth create the sketches on the canvas frame.

(1) Creative concept From entering the field interview area of the Hmong elders from the Hmong Village, Mae Sa Mai and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. In order to search for the remains of the Hmong folk tales, which are from the oral history of the Hmong elders to the creation of the artistic sketch work from the imagination of the Hmong youth who listened to their folk tales in the 1 st Art in participation activity for Hmong Youth. The researcher is interested in the original sketches of the Hmong youth, inspired the Hmong youth to participate with the researcher to apply their own creative art with acrylic paint on the 30 x 30 cm. canvas frame to be the prototype of the mixed media art and for the exhibition.

(2) Designing the artwork creation (Part 1) Creative work set 1

By bringing the artworks of the Hmong youth that created acrylic paint on 55 pieces of 30 x 30 cm. canvas frames, installed at the eye level on the 24 x 3 meters wall and the television screen is installed to present the 1st Art in participation activity for Hmong Youth, including the 2nd Art in participation activity for Hmong Youth by spending 6 minutes presenting activities with the Hmong youth.

(3) Creative process and artwork (Part 1) Creative work set 1

(3.1) Steps and creative process Bringing the acrylic on canvas work of the Hmong youth who participated with the researcher in the 1 st Art in participation activity for Hmong Youth, which is the result of collecting field data for the exhibition, so the audience can see the conceptual works of mixed media art of the students and the audience will get to see the creations that come from the imagination of the ethic Hmong youth living in the mountains. The creative process also consists of television screens that show videos of art activities

216

with participation of Hmong youth that organized the activities on the hill in Mae Sa Mai village, Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, so that audience can know the creative process before becoming a mixed media art. Installed 55 canvas frames with orange exhibition lights and television screens in the exhibition room on the 24 x 3 meters wall.

(3.2) Style, technical material and presentation

In the style of painting on the canvas frame installed on the exhibition room wall, set the orange light to the painting and editing the 1st and 2nd Art in participation activity for Hmong Youth, presented on the television.

(3.3) Materials and equipment for creative use Television screen and the orange exhibition light.

(3.4) Artwork size 55 pieces of 30 x 30 cm. canvas frames exhibit full area of the exhibition room on the 24 x 30 meters wall.

(3.5) Problems and obstacles in creation

Due to part 1 of the creative work, set 1 is a conceptual work, which have to do the field activities in collaboration with Jaophorluangoppathum 7 School, cooperate with the Hmong students in the school, cooperate with the Hmong and Thai staffs, making the researcher have to plan well in asking for a support letter to do school activities, communicating with the Hmong people, including the preparation of various art supplies which everything mentioned has gone well, but there will be problems in organizing activities during the rainy season, causing the acrylic paint of Hmong youth to slowly dry and about traveling. Therefore, activities should be organized in the summer or winter.

(3.6) Explain the detail the creative artwork

Installation, mixed media art that the Hmong youth participated (Part 1) set 1, is the original sketch of the Hmong youth derived from the 1 st Art in participation activity. The researcher brought the sketches from the

217

imagination of the Hmong youth who have listened to their folk tales combine together with the creativity of the researcher, resulting the artwork that came out in the style of painting by acrylic paint technique, which is the artworks created by the Hmong youth grade 4, 5 and 6 from Jaophorluangoppathum 7 School. As for the exhibition, there are activities presenting on the fieldwork, on the mountain at Jaophorluangoppathum 7 School on television for the audience to see the process of creating the 1st Art in participation activity before bringing the prototype of the work of the youth to exhibit at the art exhibition.

(3.7) Sketches and creative artworks

The 1st Art in participation activity for Hmong Youth (Part 1) Creative work set 1 , work set of sketches of the Hmong youth by acrylic on canvas frames.

Picture 5.110 - Picture 5.113 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

218

Picture 5.114 - Picture 5.117 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.118 - Picture 5.121 Art work of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm., acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

219

Picture 5.122 - Picture 5.125 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm, acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.126 - Picture 5.128 Artworks of Hmong youth, grade 4, from listening to their folk tale "Why can't people see ghosts?" Size 30 x 30 cm, acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

220

Picture 5.129 - Picture 5.132 Artworks of Hmong youth, grade 5, from listening to their folk tale "Why Hmong doesn't have any letters" Size 30 x 30 cm, acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

221

Picture 5.133 - Picture 5.136 Artworks of Hmong youth, grade 5, from listening to their folk tale "Why Hmong doesn't have any letters" Size 30 x 30 cm, acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

222

Picture 5.137 - Picture 5.140 Artworks of Hmong youth, grade 5, from listening to their folk tale "Why Hmong doesn't have any letters" Size 30 x 30 cm., acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

223

Picture 5.141 - Picture 5.144 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm. acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

224

Picture 5.145 - Picture 5.148 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm. acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

225

Picture 5.149 - Picture 5.152 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm. acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

226

Picture 5.153 - Picture 5.155 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm. acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

Picture 5.156 - Picture 5.158 Artworks of Hmong youth, grade 6, from listening to their folk tale "The reason why Hmong grow rice and corn" Size 30 x 30 cm. acrylic on canvas, 2017 (Source: Miss Piyachat Udomsri)

227

Picture 5.159 Artwork of the Hmong youth, which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm., acrylic on canvas and television screen (Source: Miss Piyachat Udomsri)

Picture 5.160 Artworks of the Hmong youth, close up view, which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm. acrylic on canvas and television screen (Source: Miss Piyachat Udomsri)

228

Picture 5.161 - Picture 5.162 160 Artworks of the Hmong youth, left view which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm. acrylic on canvas and television screen (Source: Miss Piyachat Udomsri)

Picture 5.163 - Picture 5.164 Artworks of the Hmong youth, right view which is the prototype of the imagination in the artwork part 2 Size 30 x 30 cm. acrylic on canvas and television screen (Source: Miss Piyachat Udomsri)

229

Picture 5.165 Teacher Anuwat Inchai and the Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 (Source: Miss Piyachat Udomsri)

Picture 5.166 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 (Source: Miss Piyachat Udomsri)

230

Picture 5.167 - Picture 5.168 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 (Source: Miss Piyachat Udomsri)

Picture 5.169 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 (Source: Miss Piyachat Udomsri)

231

Picture 5.170 - Picture 5.171 Hmong youth art owners from Jaophorluangoppathum 7 School seeing their work at the Art and Culture Center of Chiang Mai University on June 18, 2019 (Source: Miss Piyachat Udomsri)

5.3.2 Detailed Explanation of Creative Work (Part 2) Creative Set 2- set 4, creative works set of the researcher that the young Hmong participate

(Part 2) Creative Work set 2 "Fertile" inspiration from the folk tale "The reason why Hmong grow rice and corn" / vim lis cas hmoob thiaj cog npleej thiab pob kwg. By using Hmong folk tales to analyze and classify according to human- centered relationships. This work (part 2) set 2 is a group of relations between man and nature.

(Part 2) Creative Work set 2 is a mixed media art result from the 2nd Art in participation activity for Hmong Youth, which is a work of art synthesized from the original sketches of the Hmong youth from Jaophorluangoppathum 7 School in the 1st Art in participation activity for Hmong Youth. The researcher uses the sketches from the imagination of the Hmong youths that are inspired by the Hmong folk tale "The reason why Hmong grow rice and corn" to synthesize together with the imagination of the researcher into works in this set, which is a mixed media art with 3 - dimensional styles and installed on the floor. In the creative work set 2, the researcher also organized the 2nd Art in participation activity for Hmong Youth, which was organized at the viewpoint of Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The youth groups

232

that participated in this activity with the researcher were Hmong youth in grade 4 – 6, and a phenomenon that occurred during the activity period is that Hmong youths that study in other classes and other schools, which are youths living in this village, also participated in this art activity. The Hmong elders who participated in this time was uncle Chor, an adult Hmong who brought dried corn plants from his gardens for the youth to see the real corn plants. In this activity, the youth will create mixed media art, in which the researcher bring natural materials in the local areas of the Hmong houses to the youth to create on the 3D bamboo structure resulting from the synthesis of shapes from the first activity. The finished work will be on display at the 1st IMAGINE FROM THE HMONG'S FABLE art exhibition at the Baan Tuek Art Center, Chiang Mai Province. The creative work in this set is to continue to exhibit the Pre - Thesis Art Exhibition.

(1) Creative concept

From the 1 st Art in participation activity for Hmong Youth at 1 Jaophorluangoppathum 7 School. The results of the activity are the original sketches of the Hmong youth when listening to their own folk tales, making the researcher bring the sketches from the imagination of the Hmong youth, synthesized together with the imagination of the researcher from the field research, resulting in the 2nd Art in participation activity for Hmong Youth at the viewpoint of Mae Sa Mai Village, Mae Sa Noi Village. This creative work will be a mixed media art in 3 D appearance, installed the structure on the floor, natural material techniques by the Hmong youths and the researcher created together.

(2) Designing the artwork creation (Part 2) Creative work set 2

By bringing the mixed media art that the researcher and Hmong youths created together from the 2nd Art in participation activity for Hmong Youth at the viewpoint of Mae Sa Mai Village, Mae Sa Noi Village, installed on the floor, variable size, natural material techniques on 3D structures.

233

(3) Creative process and artwork (Part 2) Creative work set 2

(3.1) Steps and creative process

Bringing mixed media art, techniques from natural materials from 2nd Art in participation activity for Hmong Youth, which is the creative work with Hmong youths in the field at the viewpoint of Mae Sa Mai Village, Mae Sa Noi Village, exhibit the 1 st IMAGINE FROM THE HMONG'S FABLE at Baan Tuek Art Center, Chiang Mai Province for the audience in the city, on a flat ground to contact and feel the Hmong folk tales of the researcher and Hmong youths, in which the creative process consists of television screen showing videos of art activities with participation of Hmong youth that organized the activities on the mountain in Mae Sa Mai village, Mae Sa Noi, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, so the audience can know the creative process before becoming a participant in this mixed media art.

Installed mixed media art in 3D appearance, natural material techniques with orange exhibition lights and television screens in the 5.70 x 5.70 x 3.50 meters exhibition room, 36 square meters. It is the 3rd exhibition room of the Baan Tuek Art Center, Chiang Mai Province.

(3.2) Style, technical material and presentation

Presented in mixed media art, installation art, natural material techniques, variable size and editing the 1st and 2nd Art in participation activity for Hmong Youth, presented on television.

(3.3) Materials and equipment for creative use

Television screen and the orange exhibition light.

(3.4) Artwork size

Can vary according to the size of the place by displaying the full area on the floor of the 5.70 x 5.70 x 3.50 meters exhibition room, 36 square meters.

234

(3.5) Problems and obstacles in creation

Due to part 2 of the creative work, this creative work set 2 is a field activity in collaboration with Jaophorluangoppathum 7 School, in collaboration with Hmong students in the school, collaborating with the Hmong and Thai staffs causing the researcher to have to plan well, both in asking for a support letter to do school activities, including communication with the father of Mae Sa Mai village, Mae Sa Noi village, as well as the preparation of various art supplies, all of which have gone well, but there will be problems during the activities causing the youth to become tired of doing art. The researcher then have to think about solving problems by adding fun activities, giveaways, give snacks to make the youths alert, lively up to be able to continue creating artwork joyfully and there is also a problem with insects, moths eating corn kernels, which are natural materials, making the work piece broken, causing the researcher to quickly fix for the completion of the work.

(3.6) Explain the detail the creative artwork

Mixed media art in which the Hmong youth participated ( Part 2) Creative work set 2 is a mixed media art, in which the Hmong youth participated with the researcher, which is the result of the 2 nd Art in participation activity for Hmong Youth at the viewpoint of Mae Sa Mai Village, Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. Therefore, resulting in mixed media art, installation style by the techniques from natural materials imported from the Hmong gardens. This time, the artworks are created from the collaboration between the researcher and the Hmong youths from Jaophorluangoppathum 7 School, grade 4, 5 and 6, as well as youths living in Mae Sa Mai Village, Mae Sa Noi Village are also aware of this activity. As for the exhibition, there were presentations of activities occurring on the field, on the mountain, at Jaophorluangoppathum 7 School on television for the audience to see the process of the 1st Art in participation activity for Hmong Youth and the 2nd Art in participation activity for Hmong Youth before bringing the work of

235

youths and the researcher to the 1 st IMAGINE FROM THE HMONG'S FABLE art exhibition, which is the next Pre-Thesis Art Exhibition.

(3.7) Sketches and creative artworks

Mixed media art in which the Hmong youths are involved (Part 2 ) Creative work set 2 is a mixed media art from the 2nd Art in participation activity for Hmong Youth.

Picture 5.172 Sketches of the Hmong youths from listening to the Hmong folk tale, "The reason why Hmong grow rice and corn" in the 1st Art in participation activity for Hmong Youth on July 13 – 14, 2017 (Source: Miss Piyachat Udomsri)

236

Picture 5.173 Hmong youths creating mixed media arts in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.174 The researcher creating mixed media arts with the Hmong youths in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

237

Picture 5.175 Overview of mixed media arts created by the researcher and the Hmong youths in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.176 Take pictures with the participants in this activity in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

238

Picture 5.177 3D creative work simulation (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

Picture 5.178 3D creative work simulation (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

239

Picture 5.179 - Picture 5.181 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

Picture 5.182 - Picture 5.183 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

240

Picture 5.184 - Picture 5.185 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

Picture 5.186 - Picture 5.187 Keeping details of the creative work (Part 2) Creative work set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

241

Picture 5.188 - Picture 5.189 The creation of installed mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

Picture 5.190 The creation of installed mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

242

Picture 5.191 - Picture 5.192 The creation of installed mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

Picture 5.193 - Picture 5.195 Details of the creation of mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

243

Picture 5.196 - Picture 5.197 Details of the creation of mixed media that the youths participated (Part 2) set 2 "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

Picture 5.198 Exhibit at the Art and Culture Center, Chiang Mai University "Fertile", variable size, installation mixed media techniques (natural materials, television screen), 2018 (Source: Miss Piyachat Udomsri)

244

(Part 2) Creative work set 3 "Jear mor jear" Inspired by Hmong folk tale "Why Hmong doesn't have any letters" / ua cas hmoob tsis muaj npe ntawv by using the Hmong folk tale to analyze and classify according to human-centered relationships. This creative work (part 2) set 3 is a group of relations between man and man.

(Part 2) Creative work set 3 is a 3D mixed media art, installation style, which is an artwork that is synthesized from the sketches of the Hmong youths from Jaophorluangoppathum 7 School, in the 1st Art in participation activity for Hmong Youth. The researcher used the sketches from the imagination of the Hmong youths, which is inspired by the Hmong folk tale "Why Hmong doesn't have any letters" to synthesize with the imagination of the researcher into works in this set, which is a 3 D mixed media art placed on the floor with components of natural materials, wooden wheels, sawdust, black rice husk, corn husk, coconut flakes, chopped coconut, paddy, stained glass. The creative work in this set is displayed at the Art and Culture Center, Chiang Mai University in the exhibition titled "IMAGINE FROM THE HMONG'S FABLE II"

(1) Creative concept

From the 1st Art in participation activity for Hmong Youth at Jaophorluangoppathum 7 School, the result of the activity is the sketches from the imagination of the Hmong youths when listening to their own folk tales. The researcher used the sketches from the imagination of the Hmong youths synthesized together with the imagination of the researcher from the field research, resulting in creative work in (Part 2) set 3, which is a 3D mixed media art, installation style that the Hmong youths participated. The natural material technique is a 3 D structure arrangement on the floor which the audience can participate in the work.

(2) Designing the artwork creation (Part 2) Creative work set 3

Using of the sketches of Hmong youths from listening to the Hmong folk tale "Why Hmong doesn't have any letters" to create with the imagination of the researcher, resulting in a mixed media art with participation of the Hmong youths in 3 D appearance, installed on the floor, variable size by location, natural material techniques on 3D structures.

245

(3) Creative process and artwork (Part 2) Creative work set 3

(3.1) Steps and creative process

Bringing the 3 D mixed media art, installation style, natural material techniques from the sketches of the Hmong youths from listening to the Hmong folk tale "Why Hmong doesn't have any letters" to exhibit the 2 nd IMAGINE FROM THE HMONG'S FABLE Exhibition at the Art and Culture Center, Chiang Mai University, Chiang Mai Province, so that the audience in the city on a flat ground to contact and feel the Hmong folk tales of the researcher and the Hmong youths, in which the creative process consists of mixed media art, 3D appearance, installation, which some pieces of work can be moved around and consists of lights, including television screens showing the video of the art in participation activity with the Hmong Youths that organized the activity on the mountain in Mae Sa Mai village, Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, so that the audience will know the creative process before becoming a mixed media art with participation by the Hmong community youth that show this time.

Installed 3D mixed media art, installation style, natural material techniques orange exhibition lights and television screens in the exhibition room that is divided into approximately 5.5 x 17 x 3 meters, which is the 1st floor exhibition room behind, with the total area of 544 square meters of the Art and Culture Center, Chiang Mai University, Chiang Mai Province.

(3.2) Style, technical material and presentation

Presented in a 3D mixed media art, installation style, variable natural materials techniques on 3D structures.

(3.3) Materials and equipment for creative use

Television screen and the orange exhibition light and small bulbs.

(3.4) Artwork size

Can vary according to the size of the place by displaying the full area on the floor of the exhibition room which is divided into approximately 5.5 x

246

17 x 3 meters, it is the 1st floor exhibition room behind, with the total area of 544 square meters of the Art and Culture Center, Chiang Mai University, Chiang Mai Province.

(3.5) Problems and obstacles in creation This creative work Part 2, creative work set 3 found the problem that the wooden wheels, components of the work from the imagination of the researcher wants the creative work can be moved easily. When the mixed media art was completed, resulting in heavy weight making the wooden wheels to support a lot of weight, the creative work is therefore imbalanced and may cause the work to fall, causing the researcher to solve the problem by turning the wooden wheel to a larger size to support the weight of the creative work. Therefore, causing further delays with other creative works.

(3.6) Explain the detail the creative artwork

Mixed media art with participation of the Hmong youths (Part 2) Creative work set 3 is the result of the 1 st Art in participation activity for Hmong Youth from Jaophorluangoppathum 7 School. The result of the activity is the creation of the sketches created by the imagination of the Hmong youth when listening to their folk tale "Why Hmong doesn't have any letters", making the researcher to use the sketches from the imagination of the Hmong youths synthesized together with the imagination of the researcher from the field research, resulting the creative work in (part 2) set 3, which is a 3D mixed media art, installation style, natural material techniques, it is the installation art on the floor contains natural materials, wooden wheels, sawdust, black rice husk, corn husk, coconut flakes, chopped coconut, paddy, stained glass. The creative work in this set is displayed at the Art and Culture Center, Chiang Mai University in an exhibition "IMAGINE FROM THE HMONG'S FABLE II" in which the audience can participate with the work.

(3.7) Sketches and creative artworks

Mixed media art with participation of the Hmong community youth (part 2) creative work set 3.

247

Picture 5.199 Sketches of Hmong youths from listening to the Hmong folk tales from the story "Why Hmong doesn't have any letters" in the 2nd Art in participation activity for Hmong Youth on March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

Picture 5.200 Sketches of the front and sides of the "Jear mor jear" work from 3D programs (Source: Miss Piyachat Udomsri)

248

Picture 5.201 Sketches of the front and sides of the "Jear mor jear" work from 3D programs (Source: Miss Piyachat Udomsri)

Picture 5.202 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

249

Picture 5.203 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

Picture 5.204 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

250

Picture 5.205 "Jear mor jear", variable size, installed mixed media art techniques (natural materials), 2019 “IMAGINE FROM THE HMONG'S FABLE II” exhibition at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

Picture 5.206 Details of "Jear mor jear" in the “IMAGINE FROM THE HMONG'S FABLE II” exhibition (Source: Miss Piyachat Udomsri)

251

Picture 5.207 Details of "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition (Source: Miss Piyachat Udomsri)

Picture 5.208 - Picture 5.209 Details of "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition (Source: Miss Piyachat Udomsri)

252

Picture 5.210 Audience can participate in the work "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition (Source: Miss Piyachat Udomsri)

Picture 5.211 Audience can participate in the work "Jear mor jear" In the “IMAGINE FROM THE HMONG'S FABLE II” exhibition (Source: Miss Piyachat Udomsri)

(Part 2) Creative work set 4 "I am Kadzoo" inspiration from the folk tale "Why can't people see ghosts?" / ua cas hmoob tib neeg tsis pom. By using Hmong folk tales to analyze and classify according to human-centered relationships. This work (part 2) set 4 is a group of relations between man and supernature.

253

(Part 2) Creative work set 4 is a mixed media art, which is synthesized from the sketches of the Hmong youths from Jaophorluangoppathum 7 School in the 1st Art in participation activity for Hmong Youth. The researcher used the sketches from the imagination of Hmong youth, which is inspired by the Hmong folk tale "Why can't people see ghosts?" combined with the imagination of the researcher into works in this set, which is a 3D mixed media art, installation style, which contains natural materials, wooden wheels, sawdust, black rice husk, corn husk, coconut flakes, chopped coconut, paddy, stained glass. The work in this set also consists of red lights, the voice of the Hmong ethnic storytelling of the Hmong elders and the audience can participate with the creative work, which the creative works in this set are displayed at the Art and Culture Center, Chiang Mai University in the exhibition "IMAGINE FROM THE HMONG'S FABLE II".

(1) Creative concept

From the 1 st Art in participation activity for Hmong Youth at Jaophorluangoppathum 7 School, the results of the activity are the original sketches from the imagination of the Hmong youth when listening to their own folk tales. Making the researcher to use the sketches from the imagination of the Hmong youth synthesized together with the imagination of the researcher from the field research, resulting in creative work in (part 2) set 4, which are works of 3D mixed media art, installation style, natural material techniques, it is an art that installs the 3 D structure on the floor and hangs from the beam, which the audience can participate with the creative work.

(2) Designing the artwork creation (Part 2) Creative work set 4

Using the original sketches of the Hmong youths from listening to the Hmong folk tale "Why can't people see ghosts?" to create with the imagination of the researcher. Therefore, resulting in 3 D mixed media art, installation style, variable size by location, natural material techniques installed on the floor and hanging from the beam, the audience can participate with the creative work.

254

(3) Creative process and artwork (Part 2) Creative work set 4

(3.1) Steps and creative process

Bringing the mixed media art, 3D appearance, natural material techniques from the sketches of the Hmong youth from listening to the folk tale "Why can't people see ghosts?" to the 2 nd IMAGINE FROM THE HMONG'S FABLE exhibition at the Art and Culture Center, Chiang Mai University Chiang Mai Province for the audience in the city on flat ground to contact and feel the Hmong folk tales of the researcher and the Hmong youths, in which the creative process consists of mixed media art, 3 D appearance, installation style both arranged on the floor and by hanging from the beam. The structure of the 3D work that is laid on the ground consists of the voice of the ethnic Hmong storytelling from the Hmong elders, including the red lights for the work that is placed on the floor as well. As for the television screen, showing videos of art activities with participation of Hmong youth that organized the activities on the hill in Mae Sa Mai village, Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, organized with other sets of creative work, and the audience can participate in this set by throwing a fabric balls into the eyes of a large ghost-shaped 3D structure arranged on the floor, natural material techniques. Installed mixed media art, natural material techniques with red lights, the sound from the story telling of Hmong folktales from the Hmong elders and the television screen in the exhibition room which is divided into approximately 5.5 x 21.8 x 6 meters, which is the exhibition room on the 1st floor behind, with the total area of 544 square meters of the Art and Culture Center, Chiang Mai University, Mueang District, Chiang Mai Province.

(3.2) Style, technical material and presentation

Presented in installed mixed media art, variable size, natural materials techniques on 3 D structures consisting of sound and light. The audience can participate in the creative work.

255

(3.3) Materials and equipment for creative use

Red lights, radio, television screen.

(3.4) Artwork size

Can vary according to the size of the place by displaying the full area on the floor and hanging from the beam in the exhibition room which is divided into approximately 5.5 x 21.8 x 6 meters, it is the 1st floor exhibition room behind, with the total area of 544 square meters of the Chiang Mai University Art and Culture Center, Chiang Mai Province.

(3.5) Problems and obstacles in creation

This creative work part 2 , set 4 found problems of hanging from the beams of some work piece. The hanging works are heavy. Therefore, cannot be hung on the beams of the art gallery structure and have to solve problems on site immediately, which must build a new structure from box steel to support the weight of work and found problems in moving this work because it was transported to installation in the exhibition corresponds to the rainy season, which makes the researcher concerned about the creative work and must prepare materials, equipment to encase at all times, and still encountered problems of creating art in the rainy season, which cause the creative work to dry slowly, as well as the creations hit by rain as well, and found problems in moving because the work piece is big and heavy, causing the researcher to have many assistants, therefore increasing expenses, including problems in installing red lights that need to measure the size of the electric wire, the electric power so the experts come to install the electricity so there is an additional cost.

(3.6) Explain the detail the creative artwork

Art in participation with Hmong community youth (Part 2) Creative work set 4 is the result of the Art in participation activity for Hmong Youth at Jaophorluangoppathum 7 School. The result of the activity are the sketches from the imagination of the Hmong youth when listening to their folk tales "Why can't people see ghosts?" The researcher used the sketches from the

256

imagination of the Hmong youth, synthesized together with the imagination of the researcher from the field research, resulting in creative works in (Part 2), set 4, which is a mixed media art, in which the Hmong youth participated. There are 3 D structure installation, natural material techniques that was set on the floor and arranged to hang from the beam, contains natural materials, sawdust, black rice husk, corn husk, coconut flakes, chopped coconut, paddy, stained glass, powder color, sound of the ethnic Hmong storytelling, red lights fabric balls, graphic showing symbols of throwing the fabric balls. As for the exhibition of the creative works in this set, will be displayed at the Art and Culture Center, Chiang Mai University in the exhibition "IMAGINE FROM THE HMONG'S FABLE II" in which the audience can participate with the work by throwing the ball into the eyes of a large ghost-shaped 3D structure.

(3.7) Sketches and creative artworks

Mixed media art with participation of the Hmong community youth (part 2) creative work set.

Picture 5.212 The Sketches of the Hmong youths from listening to the Hmong folk tales "Why can't people see ghosts?" in the 2nd art in participation activity with Hmong youth between March 24 – 25, 2018 (Source: Miss Piyachat Udomsri)

257

Picture 5.213 Front and side sketches of the work "I am Kadzoo" from the 3D program (Source: Miss Piyachat Udomsri)

Picture 5.214 Side and back sketches of the work "I am Kadzoo" from the 3D program (Source: Miss Piyachat Udomsri)

258

Picture 5.215 Front of the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

Picture 5.216 Behind the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

259

Picture 5.217 Side of the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

Picture 5.218 Graphic showing engagement with workpieces "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

260

Picture 5.219 Red lights, composition of works "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

Picture 5.220 - Picture 5.221 The audience can participate with the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls),2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

261

Picture 5.222 - Picture 5.223 The audience can participate with the work "I am Kadzoo", variable size, installed mixed media techniques (natural materials, sounds, lighting, fabric balls), 2019 in the exhibition “IMAGINE FROM THE HMONG'S FABLE II” at the Art and Culture Center, Chiang Mai University (Source: Miss Piyachat Udomsri)

5.4 Exhibition of mixed media art with participation of the Hmong youth

5.4.1 Dissemination of creative works through exhibition presentations

1st Dissemination Bringing the work (Part 2) Creative work set 2 "Fertile", inspired by the Hmong folk tale "The reason why Hmong grow rice and corn" / Vim lis cas hmoob thiaj cog npleej thiab pob. It is a Pre-Thesis Art Exhibition in the "IMAGINE FROM THE HMONG'S FABLE I" exhibition at the Baan Tuek Art Center, Mueang District, Chiang Mai Province between October 5 -19, 2018. 2nd Dissemination Bringing the work (Part 1) Creative work set 1 and the work (Part2) Creative work set 2 , 3 and 4 to exhibit the dissertation, Thesis Art Exhibition in the "IMAGINE FROM THE HMONG'S FABLE II" exhibition at the Art and Culture Center, Chiang Mai University, Mueang District, Chiang Mai Province, between June 19-30, 2019.

5.4.2 Area and publishing exhibition

1st Dissemination

The 3rd exhibition room at the Baan Tuek Art Center, Muang District, Chiang Mai Province.

262

2nd Dissemination

The 1 st floor, exhibition room at the back at the Art and Culture Center, Chiang Mai University, Mueang District, Chiang Mai Province.

Picture 5.224 The 3rd exhibition room, floor plan of the Pre-Thesis Art Exhibition IMAGINE FROM THE HMONG'S FABLE I exhibition

263

Picture 5.225 The 1st floor at the back, floor plan of the Thesis Art Exhibition IMAGINE FROM THE HMONG'S FABLE II exhibition

264

5.4.3 Problems and obstacles in the exhibition area

Problems in the placement of creative works, both (part 1) and (part 2), a total of 4 sets of creative works by dividing the description of problems and obstacles as follows:

(1) 1st Dissemination of creative work (Pre-Thesis Art Exhibition) At Baan Tuek Art Center, Mueang District, Chiang Mai Province, according to the concept of Installation Art that describes the placement of works around the wall and the exhibition room to have a consistent relationship. As for the space, there is a limitation that the exhibition room is an open room but has a small size, therefore the creative work is tightly packed on all 4 sides of the wall, resulting in lack of space to walk around and the exhibition room area is the 3rd room which is deep in the back of the building. Therefore making the audience not being aware of this exhibit, including the problem of pigeons living in the Thapae Road area, which is the location of the Baan Tuek Art Center, flying down to eat corn kernels in the mixed media art of the researcher.

(2) 2nd Dissemination of creative work (Thesis Art Exhibition) At the Art and Culture Center, Chiang Mai University, Mueang District, Chiang Mai Province, according to the concept of Installation Art that describes the placement of works around the wall and the exhibition room to have a consistent relationship is quite difficult because in the exhibition area on the 1 st floor, behind the large hall, there are cement pillars of the building lined up, so there is clearly a problem of divided proportion of the area. The researcher had to solve the problems that the pillars were part of the work, that is, to put the work piece (part 2), set 2, set 3 and set 4 together with the pillars, let the pillars show the same story as the work, and another obstacle is the natural light that shines into the exhibition room, which the creative work set (part 2) set 4 does not need a lot of light because darkness needs to create the atmosphere in relation to the content of folk tales that come from the story of ghosts or supernatural things. The researcher solve the problem by not turning the lights in the exhibition area of the creative work (part 2) set 4, but the researcher did not solve the problem well, resulting in creative work (part 2), set 4, still has a light atmosphere, including problems and obstacles in the beams of the

265

building that cannot support the weight of the creative work. The researcher must hurry to fix at the site by constructing pillars and beams from box steel in order to support the weight of the creative work.

Picture 5.226 Showing the small space problem in the 3rd exhibition room at the Baan Tuek Art Center (Source: Miss Piyachat Udomsri)

Picture 5.227 Showing the problems of building pillars in the exhibition room at the Art and Culture Center of Chiang Mai University (Source: Miss Piyachat Udomsri)

Picture 5.228 - Picture 5.230 Showing the solution of the building pillars as part of the creative work (Source: Miss Piyachat Udomsri)

266

Picture 5.231 Showing the solution to the problem of the beams (Source: Miss Piyachat Udomsri)

5.4.4 Summarize the grouping from the selection of ethnic Hmong folk tales and the creation of art

In conclusion, the Hmong youth have chosen the Hmong folk tale to create mixed media art with participation with the Hmong youth, are the Hmong folk tales, "The reason why Hmong grow rice and corn" (vim lis cas hmoob thiaj cog npleej thiab pob kwg), "Why Hmong doesn't have any letters" (ua cas hmoob tsis muaj npe ntawv), and "Why can't people see ghosts?" (ua cas hmoob tib neeg tsis pom dab). In this study, the researcher spoke about human-centered analysis to distinguish the types of information from the Hmong folk tales, thus achieving the following results:

The first type is about the relationship between man and man. Hmong youths are interested in listening to "Why Hmong doesn't have any letters"

267

The second type is the relationship between man and nature. Hmong youths are interested in listening to "The reason why Hmong grow rice and corn"

The third type is the relationship between man and supernature. Hmong youths are interested in listening to "Why can't people see ghosts?"

As a result, the concept of creating mixed media art works with the Hmong community youth by presenting the installation art that the audience can participate, and acrylic painting, including video presentation of the two art activities that the researcher participated with the Hmong youth at Mae Sa Mai and Mae Sa Noi villages, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The creative works are divided into 2 parts which are (Part 1) will be the sketches and the artwork of the Hmong youth, it is considered as creative work set 1 , and (Part 2) will be mixed media art, which the Hmong youth participated with the researcher, it is counted as the creative work set 2, 3 and 4 , a total of 4 creative work sets, in order to be exhibited in the Pre - Thesis Art Exhibition at Baan Tuek Art Center, Mueang District, Chiang Mai Province and to be used in the Thesis Art Exhibition at the Art and Culture Center, Chiang Mai University, Mueang District, Chiang Mai Province as follows.

(Part 1) Creative work set 1 Sketch of Hmong youth, acrylic paint technique on canvas frames

The sketches of the Hmong youth, acrylic paint technique on canvas frames from the imagination of the Hmong youth from listening to their own folk tales from the Hmong elders telling the folk tales / Artworks of Hmong youth as Document.

(Part 2) Creative work set 2, 3 and 4, creative works set of the researcher that the young Hmong participate

Creative work set 2 "Fertile", inspired by the Hmong folk tale "The reason why Hmong grow rice and corn", which comes from referring to the human- centered of relationship between man and nature.

268

Creative work set 3 "Jear mor jear", inspired by the Hmong folk tale "Why Hmong doesn't have any letters", which comes from referring to the human- centered of relationship between man and man.

Creative work set 4 "I am Kadzoo", inspired by the Hmong folk tale "Why can't people see ghosts?", which comes from referring to the human-centered of relationship between man and supernature.

5.5 Summarize the creation of mixed media art with participation of Hmong youth

According to the Doctor of Arts program in Arts and Design Program, Faculty of Fine Arts, Chiang Mai University. It is the process of the Art Creative Research, which has the process of education, consisting of history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai and to study the folk tales or stories of the Hmong ethnicity in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, in order to Analysis and use the results from the first step of the study to Synthesis for the creation of Creative Art. The results of studying and creating art consist of Creative works part 1, set 1 and creative works part 2, set 2, 3, 4, which are the creation of mixed media arts with participation with Hmong youth, which has the concept from the Hmong folk tales in Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, in which folktales are the stories that are passed down from word-of-mouth through one generation to another. It is a cultural heritage that can study the worldview and psychological expression of the Hmong through the Hmong folk tale. The Hmong folk tales of the Mae Sa Mai village, Mae Sa Noi, in which the researcher were able to collect all 9 stories, then classifying the Hmong folk tales, by referring to human-centered, can be divided into 3 groups: the relationship between man and man, the relationship between man and nature and the relationship between man and supernature, in which the researcher brought 3 types of Hmong folk tales to the Hmong youth to choose from to listen to their own folk tales from the Hmong elders who tells the story. Therefore, get all 3 folk stories of the Hmong people which are "The reason why Hmong grow rice and corn", "Why Hmong doesn't have any letters" and "Why can't people see ghosts?" to create mixed media art

269

with participation with the Hmong community youth, which caused the Art in participation activity for Hmong Youth both times at the Mae Sa Mai and Mae Sa Noi villages, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province and bringing the mixed media arts that the Hmong community youths participated with the researcher to the exhibition of creative works in the city of Chiang Mai. The creative work has been synthesized from the sketches, acrylic paint techniques of the Hmong youth combined with the imagination of the researcher through the natural materials available in the Hmong village combined with modern media which are Flat-screen television used to present art activities with participation of Hmong communities youth on the hill in both times, including the combination of lights and sounds to create an atmosphere for the audience to learn about Hmong folk tales through the concept of mixed media arts and through the concept of art that created this time.

270

CHAPTER 6

Summary of studies, discussion of results and recommendations

Dissertation in Arts and Design on "Hmong Ethnic Folk Tales: Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province" have a purpose 1. To study the context of history, society and culture of the Hmong Community including the concept and wisdom of the Hmong people in Chiang Mai. 2. To study folk tales or stories of ethnic Hmong in the Hmong community in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng district, Mae Rim district, Chiang Mai province. 3. To create mixed media art with the participation of youth in the community relay through Hmong folk tales or stories to stimulate realization of cultural identity of the Hmong.

The method of this study is Art Creative Research using Interdisciplinary Research and the presentation of the study in a descriptive format and presenting the creation of art with participation with the community, starting with the documentary, namely books, academic articles, research related to ethnic Hmong, including related art. The data from the field are recorded, participatory observation methods, and methods of interviewing the Hmong people about their history, society and culture of the Hmong community, including concepts and wisdom in various areas of the Hmong people and synthesize the knowledge by selecting folk tales or stories of the Hmong ethnicity in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province as an inspiration and create the artwork " Hmong Ethnic Folk Tales: Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province "

271

6.1 Study summary

(1) Step 1 Study of Folk Tales of the Hmong ethnic group in Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng District, Mae Rim District, Chiang Mai Province

Is a context study about the history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, as well as the study of folk tales of the Hmong people in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, and then analyze and classify the Hmong folk tales into sections as refer to the human-centered.

From the study found that Hmong folk tale, Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The researcher found 9 Hmong folk tales. Most Hmong storytellers are more men than women and the age of the storytellers is between 38 years to 66 years old. The Hmong folk tales can be divided into 5 types which are 1) Novella : found 1 Hmong folk tale, "Mr.Chue Nong Bra and Mrs.Mao Kao Zhu", a moral story 2) Local legend or migratory legend : found 3 folk tales, "There are men and women", "6 stones and 2 elderly people" and "The orphan and the monkeys" 3) Explanatory : found 3 folk tales, "Why Hmong doesn't have any letters", "The reason why Hmong grow rice and corn" and "Why can't people see ghosts?" 4) Myth : found 1 folk tale, "Owl in the mountains" 5) Ghost story : found 1 folk tale, "The dead chef came to sleep with his wife and children". From the analysis of the Hmong folk tales that can be seen in family institution, governing institution, religious institution, educational institution, economy, transportation, house settlement and tradition, which the Hmong folk tales are the background that can study the worldview of the Hmong people how they feel and why they think like that. The study of the Hmong, the researcher determines the human-centered analysis by studying 3 topics as follows: 1) The relationship between man and man, are the Hmong folk tales, "Mr.Chue Nong Bra and Mrs.Mao Kao Zhu" and "Why Hmong doesn't have any letters" 2) The relationship between man and nature, are the Hmong folk tales, "6 stones and 2 elderly people", "Owl in the mountains", "The reason why Hmong

272

grow rice and corn" and "The orphan and the monkeys" 3) The relationship between man and supernature, are the Hmong folk tales "Why can't people see ghosts?" and "The dead chef came to sleep with his wife and children". From the Hmong folk tales, the researcher found that The Hmong people still see the benefits of nature and not disrespect nature. The most influential thing for the Hmong beliefs is supernatural things, the gods that they believed very firmly.

(2) Step 2 Creating mixed media art with the participation of the Hmong youths

A presentation of the results of the study in step (1) synthesized by selecting Hmong folk tales that refers to human-centered as inspired to create mixed media art with participation with the Hmong youths. Presenting the exhibition and disseminating it to interested people in order to stimulate the awareness of the cultural identity of the Hmong people. In the creation of this mixed media art, it is the synthesis of various data from the study that has been analyzed in step (1). In summary, the Hmong youth in Mae Sa Mai Village, Mae Sa Noi Village has chosen their own folk tales, namely the Hmong folk tale, "Why Hmong doesn't have any letters", this story is in the relationship between man and man, the Hmong folk tale, "The reason why Hmong grow rice and corn", this story is in the relationship between man and nature and the Hmong folk tale "Why can't people see ghosts?", this story is in the relationship between man and the supernature. The researcher created a total of 2 parts (Part 1) Creative work set 1, are the sketches of the Hmong youths, acrylic paint technique on canvas frames and (Part 2) Creative work set 2, 3 and 4, are creative works set of the researcher that the young Hmong participate.

(Part 1) Creative Work set 1, Sketch of Hmong youth, acrylic paint technique on canvas frames

The original sketch of the Hmong youth, acrylic paint technique on 55 pieces of 30 x 30 cm. canvas frames of the Hmong youth from the 1st Art in participation activity for Hmong Youth at Jaophorluangoppathum 7 School, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. In this activity, the participants were grade 4 - 6 students that are interested in art, which the activities will be held in the classroom, in which the researcher controls. The activity will tell

273

stories from the Hmong elders and let the Hmong youth imagine the story into a line sketches before proceeding to paint acrylic on the canvas. The content of folk stories that the Hmong youth listen to is from the selection of the youth themselves that are interested in that story. There are the following Hmong folk tales (1). "The reason why Hmong grow rice and corn" (2). "Why Hmong doesn't have any letters" (3). "Why can't people see ghosts?". The work of the Hmong youth is the prototype of the creation, Creative Work set (Part 2) Creative Set 2, 3 and 4 by bringing the works to the 1st and 2nd IMAGINE FROM THE HMONG'S FABLE exhibition.

(Part 2) Creative Work set 2, 3, 4, creative works set of the researcher that the young Hmong participate

Creative Set 2 " Fertile" is an installation, mixed media art from natural material techniques, variable size by location, which is inspired by the Hmong folk tale "The reason why Hmong grow rice and corn". This work comes from the 2nd Art in participation activity for Hmong Youth by the Hmong youth that collaborated with the researcher at the viewpoint of the village. The works in the exhibition hall have the prominent points in the area to look like hens and chicks walking together to find food to eat, which is a familiar sight while in the Hmong village, reflecting the abundance of nature in the Hmong village on the mountain. There are constructions made from natural materials in the Hmong village, such as corn kernels, corn stalks, paddy seeds, rice straws, coconut flakes, bamboo, etc. As for the lighting is bright orange, giving this work set feel more abundance so that the audience in the exhibition hall can get a close touch of the feeling of the Hmong way of life.

Creative Set 3 "Jear mor jear" is an installation, mixed media art, natural material techniques, variable size by location, which is inspired by the Hmong folk tale "Why Hmong doesn't have any letters". This set of works is a placement of 3D mixed media art in 4 different sizes and various wooden wheels arranged on the area where there is a sawdust wheel pattern. The style of the work comes from unwinding the rats according to the stories of the Hmong people the rats are the animal that ate the Hmong books. In this set, there will be details of the way of life pictures on 4 pieces of 3D mixed media art and wooden wheels are assemble so that

274

the work can move and make sense of movement of the work, which some inspiration comes from the Hmong games tricycle. The details of the workpieces are constructed with natural materials, sawdust mixed with powder color, coconut flakes, paddy, black rice husk, corn husk, stained glass, wooden wheels, and create the atmosphere of the Hmong village by adding the decorative lights to represent the stars in the night sky in the beautiful Hmong villages in the work.

Creative Work set 4 "I am Kadzoo" an installation, mixed media art, natural material techniques, in which the audience can participate with the work, variable size by location, which is inspired by the Hmong folk tale "Why can't people see ghosts?". This work set is a 6-piece of 3D mixed media art set on the floor and 21 pieces of floating media art. The style of the work comes from the sketches of the ghosts created by the imagination of the Hmong youth that listened to their folk tales. In this work, the audience can participate in the work by throwing a ball into the eye of a big 3D mixed media art in the shape of a big ghost with a storytelling voice of the Hmong people in their body because with the content of this story that ghosts tease people. Therefore, it is a play that goes back and forth for people to pretend to be ghosts based on the sketches of the artwork of the Hmong youth that has been imagined. The construction of the work is made from natural materials and synthetic materials consisting of sawdust mixed with powder color, corn husk, rice husk, black rice husk, coconut flakes, rice straws, colored lights, speakers, fabric balls. The lighting in the area will be reduced to create the atmosphere suitable for the story in the tale.

6.2 Discussion

This dissertation aims to study and create mixed media arts with the Hmong community youth about Hmong folk tales, in order to stimulate the awareness of the cultural identity of the Hmong people in Mae Sa Mai and Mae Sa Noi villages, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, to be presented, exhibited, and distributed to interested people to understand the cultural identity of the Hmong ethnicity, in which this study is characterized as a creative research that studies the context of the history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, including the study of folk

275

tales or stories of ethnic Hmong In the Hmong community in Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, then synthesized and selected Hmong folk tales from the Hmong youths as inspiration for creating mixed media art with the participation of the Hmong youths, presented and exhibited to disseminate identity and stimulate the awareness of Hmong ethnic identity to interested people.

6.2.1 Discussion of creative works

Discuss materials/equipment used in creative works

Most of the materials used in this creation are natural materials such as sawdust, corn husk, corn kernels, coconut flakes, chopped coconut, black rice husk, rice paddy and bamboo which originated from the way of life of the Hmong community to be consistent with the study from the synthesis of the Hmong folk tales to be created and in creating this research art, including bringing modern materials to present together such as stained glass, steel bars, color lights, flat screen televisions, USB radios, speakers to match the current era.

6.2.2 Discussion, techniques, methods, and atmosphere from the display of mixed media art with participation with the Hmong youths.

The most important part is the background of the creative work that is used in the exhibition, which is the process of participation of the Hmong youth with the researcher. This procedure uses data collection methods from video recording and still image recording, then edited to demonstrate the process of creating mixed media art with participation with the Hmong youth of the activities in both times that held at the area of Mae Sa Mai and Mae Sa Noi villages, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, so that interested people can get to know the process of the researcher involved in this community.

The mixed media art with the participation of the Hmong youth presents the values of the Hmong folk tales that are behind the way of life, culture and traditions that are disappearing to come back to life again. For this reason, the creative work has a way for audience to participate with the work, resulting in creative works inspired by Hmong folk tales and a new phenomenon for the society to stimulate awareness of the Hmong ethnic identity.

276

6.2.3 Discussions of art concepts and theories related to the creation of this work of art

(1) Discussing the structure of the visual arts

Kamchorn Soonpongsri (2013, 211-222) said that various art fields use visual arts principles, assess the value of the achievement of similar tasks, fine arts work also evaluates the value of aesthetic beauty through composition, visual elements, dot, line, shape, color, light and shadow, proportion, texture, including unity, balance, rhythm, etc., to create value. For the elements of work that are necessary to create works of art of the researcher that are important and relevant in this study are 1) Line. Line is the most important visual art, equal to the color and shape. Line can convey emotions and show movement, create different directions, and lines are the link between free space and free space. The lines in this dissertation are 1) Actual Line has length, width as dependent. It is a line that is drawn from a line drawing such as creative work (part 1) set 1: Line art and artwork of Hmong youth from listening to their Hmong folk tales, which is a prototype of the synthesis of the study before coming out as a work of art. 2) Implied Line is a line that does not appear, but showing directions, such as the 2 nd exhibition, is a collection of all creative works of the researcher. The researcher arranged each set of creative work with directions to look at the highlight by using directions that do not need to show the line. 3) Line Form by Edge or contour line. The shape is only the length without the width, such as creative work (part 2) set 4, the line occurs on the floor of the art placement area to show the boundaries of the creative work and express the movement of the artwork. 2) Form. The form is a very important visual element. Especially in sculpture, having 3-dimensional features that take up space in the air, the shape of a real object, the Round Sculpture, such as Creative work (part 2), set 2 , 3 and 4 , which are Free Form work that forms independently of dreams and imagination, it may combine the geometric patterns with organic images and mixed with images as imagined or created independently. 3) Color. Color is the most important visual elements, as well as lines and shapes because it can create important aesthetics in art. Color is a very important part of humans, can be observed from many sciences, seriously studied such as, physics, physiology, including psychology. As for the creative artworks in this time, it is found that every

277

piece of the work of the researcher has color in the creative work to help create emotions for the work to be happy, fun, following the inspiration from the Hmong folk tales. The color will appear to the creative material, which is the color from natural material such as black rice husk, corn husk, corn kernels, coconut flakes, sawdust, etc. However, there will be some surfaces in the creative work in which the researcher brings various powder colors mixed with natural materials to create emotions, diversity, dreams, and imagination to increase in the work by considering the colors of the costumes of the Hmong people 4) Light and Shadow. Light and shadow are important visual elements that can be used to arrange the elements to create aesthetics of the atmosphere well. The sculpture needs real light and artificial light to emphasize beauty, both in volume, texture, and total mass, including the Cast Shadow on the floor that is important in emphasizing the desired feature such as creative work (part 2), set 2, 3, 4 and creative work (part 1) set 1, respectively. 5) Space. There are 2 types of space: 3-dimensional space (width, length, height) and 2 - dimensional space (width, length) which in the creative work of the researcher, every space is created in the creative work so that the space is responsible for creating a sense of aesthetic effect when the audience view the creative work.

(2) Discussing arts in the community and participation

Panicha Kanlayanamit (2008, 32-38) said that the word Community Art and the word Community and Art has different meanings, but they appear to be overlapping. Most of them focused on the activity model, rather than on community participation. Participation is a process that encourages, induce, support and create opportunities for villagers both in the form of individuals and groups of people to participate in one or many activities and should be done voluntarily, not by participation in hopes of rewarding. In addition, participation must be consistent with life and necessity, needs and culture of most people in the community, too. Artistic activities are the same, community participation at a very high level is considered an art activity or project called "community art" because communities and artists interact with the creation of art. The levels of participation can be divided into different levels as follows: 1) Information provision 2) Public opinion exposure 3) Consultation 4) Joint planning 5) Participation 6) Monitoring control by citizens.

278

Therefore, participation is a process of self-expression or self-representation by the community itself, through creative expressions that represent their own purpose. Participation can make the community complete, supports community culture, create unique, legends and stories, express the differences, be a voice for those who do not have and recognizable to people.

Which the creation of this dissertation topic of the researcher is in accordance with the guidelines of the community art that the researcher uses as a conceptual framework for creating works of art from the level of community participation and information provision to the public's exposure and consultation and plan activities, including participating in the created activities to create an expression area of the community.

(3) Discussing mixed media art and installation art

Wichok Mukdamanee (2012, 13-18) said that Nowadays, the word mixed media is widely used and has the definite definition of the word Mixed media in the English dictionary, the definition of Media can be divided into two meanings, which are material that conveys the expression in art and another meaning is the creative processes or methods, including modern media methods that may be sound, light and image from information technology systems that are currently in role. Therefore, the word mixed media used in the Thai art industry means combining both 2D and 3D materials, including the use of modern technology media to create artistic works. As for Installation Art, Veerachak Su-Eantrameti (2014, 271) said that the essence of art is organized in a form, not an art concept, is a form of presentation that specifies a specific area or area, which may be an area inside or outside the building that will interact with the environment. The installation art will allow the audience to enter the exhibition area and can interact with some or all of the work in order to stimulate different experiences and perceptions beyond visibility. The audience can be perceived by hearing, get to know the smell due to the influence of computer and technology advancement. Which the creation of this dissertation topic of the researcher is in accordance with the guidelines of mixed media art and, the combination of both 2D and 3D materials, including the use of modern technology media in creating art. The

279

creative work (part 2), every piece of work is a combination of various materials, both natural materials and modern materials / equipment, resulting in a new meaning that can be consistent with the concepts of creative work and the style of creative work followed the guidelines of the form of installation art on the territory of the creative work can create an experience for the audience of the creative work through seeing, through hearing and through touching. They are all interactions that create value between humans and creative works.

6.2.4 Discuss the area in the exhibition to disseminate the work

The creation of this mixed media art with participation with Hmong youth emphasizes the exhibition area to disseminate the work, which is the Baan Tuek Art Center for the exhibition "IMAGINE FROM THE HMONG'S FABLE I" and the Art and Culture Center, Chiang Mai University for the exhibition "IMAGINE FROM THE HMONG'S FABLE II" by specifying the placement of the floor, wall and hanging by placing all 4 sets (part 1) and (part 2) of the creative works to be in line with the imagination of the Hmong folk tales, as well as focusing on the light on the work (part 1), creative work set 1 and work (part 2), creative work set 2 and creative work set 3 , creative work (part 2) creative work set 4 . The researcher created the atmosphere of light with low intensity for the audience to feel the feelings that the researcher wants to communicate. In the exhibition room area, there are structure of the building pillars causing the researcher to have to solve the problems that the building pillars are part of the creative work to be in line with the imagination of the Hmong folk tale.

6.2.5 Discuss the goal of this dissertation art creation

The dissertation "Hmong Ethnic Folk Tales : Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province" has an objective to study the context about the history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, as well as studying the folk tales or stories of the Hmong ethnicity in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, in order to create mixed media art with the participation of

280

the Hmong youth by communicating through imagination, stories or folk tales to stimulate the awareness of the cultural identity of the Hmong people. Discussed the summary of the answer to the objectives as follows:

1) The display of mixed media art with the participation of Hmong youth in this time is due to the synthesis of knowledge related to history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai by focusing on the study of folk tales or stories of the Hmong ethnic groups in the Hmong communities at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province to stimulate the awareness of the cultural identity of the Hmong people. It is a presentation in the art form inspired by the Hmong folk tales of Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, which no artist has brought the story to the exhibition before. It is the first time that the exhibition is interesting in the novelty of presenting the culture of small groups in the area of large group of people, through installed mixed media arts, natural materials, which the audience can participate with the work. 2) Achieving the goal by organizing the Art in participation with Hmong community youth in Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province that held 2 times, began to organize the Art in participation with Hmong community youth for the first time between July 13-14, 2017 at Jaophorluangoppathum 7 School, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The result of the activity, the youth listened to their Hmong folk tales from the Hmong elders and the youth created sketches art by the imagination of listening to their folk tales into works of art from acrylic paint on canvas frame. The artwork of the Hmong youth is the prototype of creativity in the development of mixed media art of the researcher in the next activity in the 2nd Art in participation with Hmong community youth that was held from March 24 – 25, 2018 at the viewpoint of Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Province, Chiang Mai Province. The results are the Hmong youth create mixed media art from natural

281

materials participated with the researcher. This mixed media art is brought to the exhibition "IMAGINE FROM THE HMONG'S FABLE I" at the Baan Tuek Art Center, Chiang Mai Province and "IMAGINE FROM THE HMONG'S FABLE II" will be displayed at the Art and Culture Center, Chiang Mai University, Chiang Mai Province to disseminate the cultural identity of the Hmong ethnic groups to interested people and those who are interested to be a part of the creative work. 3) Achieve the goal of inviting the Hmong youths, the owners of the acrylic paint on canvas frames to travel and see their own creations and be part of the creations that are displayed at the Art and Culture Center, Chiang Mai University, Mueang Chiang Mai District for the Hmong community to have a good experience, in which the researcher participate in creating art works with the researcher in this dissertation and the Hmong community youth will stimulate the awareness of the cultural identity of their Hmong ethnicity.

6.2.6 Discuss new discoveries or knowledge

From the creation of mixed media art with participation of the Hmong community youth. This dissertation consists of 2 parts, with 4 Creative work set. The new knowledges are as following.

1) The new body of knowledge for collecting information about 9 Hmong folk tales that have been discovered by the researcher, when categorized into 3 groups based on the relation of human-centered relationships, which are the relationship between man and man, the relationship between man and nature and the relationship between man and supernature. Most of the Hmong folk tales consist of the belief in god, which is an important hold on the way of living from the past to the present day, where technology is a component of lifestyle.

2) The new body of knowledge of data collection in the field, which the body of knowledge that the researcher received is the daily life in Hmong styles in Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The researcher went to live with the Hmong every day for 3 days 2 nights to observe and get real information from

282

real-life experiences to convey it as a mixed media art creation which is inspired by Hmong folk tales that is behind the culture, traditions and way of life of the Hmong people.

3) The new body of knowledge of creating mixed media art with participation with Hmong youth. The first is the work (Part 1) Creative work set 1, "Sketches of Hmong youth, acrylic paint technique on canvas frames", which is a result of cooperation from Hmong youths and Hmong elders. The cooperation also includes Jaophorluangoppathum 7 School, Mae Sa Mai Village and Mae Sa Noi Village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province. The second is the work (Part 2) Creative work set 2 "Fertile". The researcher received new knowledge in creating mixed media art with the Hmong community youth. In the meantime, creative activities must be included in the recreational activities for the Hmong community to be motivated to create the works of art in order for the artwork to be well accomplished, which can be said that the successful creative works result from community involvement, resulting in the phenomenon of collaborative creative activities. The phenomenon is a result of the experience shared between the researcher and the Hmong community.

4) The new body of knowledge of the exhibitions that the audience can participate in the work (Part 2) Creative work set 4, "I am Kadzoo", which is the first set of work that the researcher exhibits in the installation art form, in which the audience of the work can participate with the creative work in order for the audience to have a shared experience and causing this exhibition to have a new phenomenon that is a new body of knowledge for those interested to continue to study.

5) The new body of knowledge of using the 9 Hmong folk tales files and video files of the 1 st and 2 nd Art in participation activity for Hmong Youth to the Jaophorluangoppathum 7 School so the teachers will be able to disseminate as a medium of instruction for the Hmong youths in the school.

283

6.3 Suggestions

The dissertation in this study is in the form of Art Creative Research which consists of 2 main steps, which are Step 1: Study the context of history, society and culture of the Hmong community, including concepts and wisdom in various fields of the Hmong people in Chiang Mai, as well as studying the folk tales or stories of the Hmong ethnicity in the Hmong community at Mae Sa Mai village and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province, Analysis for synthesis in the second step. The second step is the creation of mixed media art with participation of the Hmong youth, using the results of the study, Synthesis by selecting Hmong folk tales as an inspiration, then creating Participatory Mixed Media Arts with the Hmong community youth by dividing the following suggestions.

1) To stimulate the awareness of the cultural identity of the Hmong people, there must be cooperation from government and private agencies in order to obtain funding for the conservation of folk tales, ethnic communities, other communities and the dissemination of the research process that is shared with other Hmong communities, including the dissemination of art exhibitions with participation in other provinces in Thailand and abroad.

2) To create mixed media art with participation of Hmong youth (Participatory Mixed Media Arts). Next time should be allocated to the creative work, presentation is reduced because there are too many details of the creative work and there should be more space for the audience to be able to imagine what is happening in that space.

3) Creative Work (Part 1) Creative Work Set 1 “The original sketches and the artwork, acrylic paint technique on canvas frames of the Hmong community” should be requested for funding to use Hmong youths work returns to the Jaophorluangoppathum 7 School.

4) Writing articles in journals. Next time the article should be written in English and submitted to an international journal in order to spread the Hmong cultural identity to be beneficial to the international people who are interested in further.

284

BIBLIOGRAPHY

Anan Kanchanaphan. (2010). Basic concepts of society and culture. 3rd edition. Chiang Mai: Department of Sociology and Anthropology Faculty of Social Sciences Chiang Mai University.

Aniwat Tongsrida. (2010). The loss to decadence. thesis, Faculty of Arts, Department of painting, printmaking, sculpture and painting, Silpakorn University.

Anusorn Limmanee. (2015). State and social change: consideration in the policy and network relationships. 2nd edition, New York: SIAM Review.

Art Thesis Exhibition of bachelor’s degree students. (2008). Faculty of Painting, Sculptures and prints

Silapakorn University [ART THESIS Exhibition 2008]. Bangkok: Faculty of Painting, Sculpture and Graphic Arts. Silapakorn University

Att Fongsmut (2008). Community art echo 476 kilometres. Bangkok: Usakane Publishing.

Bundid Paowattana, and Daungpan Aonwan. (2008). Management Pui as a tourist, cultural and ecological communities. The Hmong Doi Pui, Chiang Mai. The research report, Rajamangala University of Technology Lanna.

Chalad Ramitanon, Napa Vinichaikul and Anan Kanchanaphan. (1985). Basic concepts in anthropology. Academic papers of the Social Sciences Association of Thailand, Bangkok: Chao Phraya Printing

Chamnan Rodhedpai (1975). Thai Lue literature Baan Yuan Subdistrict, Chiang Kham District, Chiang Rai Province. Educational Supervision Document 158th, Educational Supervision Unit Department of Teacher Education.

285

Chansri Supanyakorn. (1974). Raman Thai literature From the Song Khanong district Phra Pradaeng District Samut Prakan Province. Master's Degree Thesis, Prasarnmit College of Education.

Couturier Elisabeth. (2013). Talk about Tribal Art. Paris: Flammarion S.A.

Department of Public Welfare. (2000). Tribal fabric. Bangkok: Ram Thai Press.

Fine Arts Department. (1993). The story of Khun Chang Khun Pan. Bangkok: Silapabankarn.

______. (2009). High economic dynamics trading ethnic identities. Research Report, Economic

______. (2000). Hmong: A variety of life from the mountains to the city. Chiang Mai: Institute for Social Research. Chiang Mai University.

______. (2011). Hmong Lao in Thailand: The policies and actions of governmental Thailand (2518-2552). Bangkok: Arun Printing.

Howard, Michael C. and Howard Kim Be. (2002). Textiles of the Highland Peoples of Northern Vietnam Mon-Khmer, Hmong-Mien, and Tibeto- Burman. Bangkok: White Lotus.

Ithipol Thangchalok. (2007). Teaching and creative approach. Advanced painting. Bangkok: Amarin Printing and Publishing Public Company Limited.

Jarunee Kongpolprom (1973). The value of the Folklore of Muangkow Hamlet Master's Degree Thesis, Graduate School Chulalongkorn University

Jeeraporn Sriwatananukulkit. (2001). Travel with the changes in the Hill tribe community. Chiang Mai: Social Research Institute Chiang Mai University.

John Michael Kohler Arts Center. (1986). Hmong Art Tradition and Change. New York: Sheboygan Art foundation Inc.

Kajatpai Burujpat. (1975). Ethnic minorities in Thailand. 2nd Edition, Bangkok: Prae Pittaya International.

______. (2010). The tribe. Bangkok: Prae Pittaya International.

286

Kingkeo Attagara. (1974). Folk tales. Lecture in the Thai Language Teacher Seminar, Educational Supervisor Unit Department of Teacher Education.

______. (2002). Knowledge and myths about Hmong ethnic groups In the seminar documents for the Cultural Forum Project 1st brainstorming event, Bangkok: Office of the National Culture Commission.

Krongtong Sudprasert. (2012). Multinational Ethnic Network. Hemp cloth merchant and trader of Hmong. Yod Sattasombut, and others. With the border crossing over the border. Chiang Mai: Faculty of Social Sciences Chiang Mai University: 297-330.

Kularb Mallikamas (1973). Folklore. Ramkhamhaeng University.

Kumjohn Sunpongsri. (2013). Aesthetics, philosophy of art, visual theory, art criticism. 2nd Edition. Bangkok: V Print Co., Ltd.

______. (1971). Literature from the home inside. Educational Supervision Document No. 113, Supervisory Unit: Department of Teacher Education.

Leeseuk Rittinetikul. (1997). Adapting to new urbanism in the urban community of ethnic Hmong: a case study in Muang District Chiang Mai. Research Report, Hill Tribe Development and Development Center Chiang Mai.

Lewis Paul and Elen lewis. (1985). Six hill tribes. Chiang Mai: Hill tribe handicraft.

Mallinson Jane, Donelly Nancy, and Hang Ly. (1996). H’mong Batik: A Textile Technique from Laos. Chiang Mai: Silkworm Books.

Meilach, Dona Z. (1973). Contemporary Batik and Tie-dye. Methods, Inspiration, Dyes. New York: Crown.

Nareupon Daungviset, Pichet Saipan, and Somrak Chaishingganon. (2015). Southern ethnic powers. The sound of the ethnic in the world liberal. Bangkok: a printmaking partnership.

Narinchai Pattanapongsa. (2004). Participations, basic principles, techniques and case examples. 2nd Edition. Chiang Mai: Siriluck Printing.

287

Natwipa Jittham. (2001). Study of candle writing on fabric in Hmong village, Doi Pui. Muang District, Chiang Mai Province. Chiang Mai: The Faculty of fine arts.

Niti Pawakarapun. (2015). National and ethnic. Bangkok: Siam review.

Paitool Promvijit. (1994). The sound of distant ethnic. Chiangmai: Mingmaung Printing.

Pinkeaw Reungaramsri. (2003). Identity Ethnic and Marginalized. Bangkok: Plan Printing.

Pittaya Pinnasarn. (2000). The format is changing the culture of his community. Thesis, Master of Education. Chiang Mai University.

Poonsuk (Arpawatcharut) Tunprom. (2003). Storytelling narrative. Chiang Mai: Faculty of Humanities. Chiang Mai University.

Pornsuk Kerdsawang. (2012). Line Color Life. Chiang Mai: Center for Ethnic Studies and Development (Center of Excellence) University.

Prachak Saisang. (1973). Literature from Si Khiri Mat Sub District Sukhothai Province. Master's Degree

Prakong Nimmanhemin. (2000). Folklore Studies. Bangkok: Faculty of Arts textbooks at Chulalongkorn University.

Prajak Praphapitthayakorn (1984). Khun Pan the warrior hero. Bangkok: Chaisiri Printing. Thesis, Prasarnmit College of Education.

Pranee Khuankaew. (1975). Literature from Buddam.Educational Supervision Document No.15, Educational Supervisors Unit Department of Teacher Education.

Prasit Leepreecha and Apai Wanishpradit. (2007). Hmong Local Knowledge, Mae Sa Mai Community. Academic documents, ethnic studies and development. Ethnic Education Series No. 6. National Research Council of Thailand.

Prasit Leepreecha. (2002). The knowledge and myths about ethnic Hmong. In Documentation Seminar cultural arena. What activities, brainstorming sessions 1. Bangkok: Office of the National Culture.

288

Preecha Uitrakul. (1979). Folk literature from Rangka Yai Subdistrict. Educational Supervision Document No. 203, Educational Supervisors Unit Department of Teacher Education.

Punnada Saiyot. (2014). The use of symbols instead of body art of Pinnaree Suntapitak and Watcharaporn Udee. Thesis, Department of Art Theory. Department of Art Theory. Silpakorn University.

Puttinan Mahasarinan. (2011). The costume design of embroidery techniques of the Hmong hilltribe. Chiang Mai: Faculty of Fine Arts Chiang Mai University.

Rattanaporn Atthammarat. (1989). Analysis of Hmong Folk Tales. Thesis, master's degree. Srinakharinwirot University.

Rossarin Gast. (2015). Appropriation Art the art of borrowing. Bangkok: Publisher of Chulalongkorn University.

Rujaporn Prachadetsuwat and Nutsara Tiengket. (2010). Guide to Hemp Cloth Production Writing candles and natural dyeing of the Hmong tribe. The collection and study of local wisdom on the handicraft of the tribe in the Royal Project area and the highland series 3. Institute of Space and Development. (Public Organization).

Rujjaporn Prachadetsuwat, Nutsara Tiengket, and Benjaporn Deekuntod. (2009). A project to collect and study the wisdom of local handicrafts of the tribal area in high (set 3). Bangkok: Institute of research and development at high altitudes (public organization).

Satein Chanta. (2008). Ethnic culture and consumption of ethnic Hmong: The Social, Cultural, and Cultural Dimensions of Biodiversity Management for Sustainable Development. Chiang Mai: Mingmeung Printing.

Sawat Chantani. (1966). Farmers' Tales. Bangkok: Khurusapha Publishing House.

Singapore Biennale. (2016). An Atlas of Mirrors. Singapore: Allegro Print Pte Ltd.

Siraporn Na Thalang. (2014). Folklore Theory Methodology in analyzing myths and folk tales. 3rd edition, Bangkok: Chulalongkorn University Press.

289

Siripan Punyakom. (2002). The attitude of tourists to Thailand hill tribe handicrafts in Chiang Mai. Thesis, Master of Business Administration, Faculty of Business Administration Chiang Mai University.

Smith Sara Ubon. (1991). Introduction to anthropology. Bangkok: Odeon Store Press.

Somchai Tantisantisom. (1984). Using Folktales to enhance teaching reading. For students in grade 2. Baan Phran Kratai school, Baan Phran Kratai district, Kamphaeng Phet. Thesis, Master of Arts. (Education - Teaching) Graduate School. Kasetsart University.

Somjit Sajasunyawut. (1994). The problem of hill tribe migration.: a case study of the Hmong tribe Pong district, Phayao province. Thesis, Bachelor of Political Science Program in Politics and Government Chiang Mai University.

Songwit Cheumsakul. (2011). Highland ethnic identity. Bangkok: The Office of Ethnic Affairs, Department of Social Development and Welfare.

Soontorn Suwanhem. (2009). Belief lifestyle Tribes the creation of contemporary sculpture. Research Report, Faculty of Fine Arts. Chiang Mai University.

Srireun Keawgangvan. (2005). Language and thought We think in language. Bangkok: Chulalongkorn University printing.

Sumat Phulaiyaw and others. (2007). Tragedy marginalized. Chiang Mai: Chutima Printing.

Supang Jantavanit. (2014). Theoretical sociology. 6th edition, Bangkok: V Printing.

Supranee Srisuayhoot. (2009). The impact of tourism on the environment and their communities around the Royal Agricultural Station Ang Khang, Fang district, Chiang Mai. Thesis, Master of Arts. Management Human and Environment Chiang Mai University.

290

Tanyaporn Teerawat. (2009). Transform culture into a commodity: the case study. Horizon Village school and Resort. Thesis, Master of Arts. Department of Media Arts and Design. Faculty of Fine Arts Chiang Mai University.

Tanya Promburom and Chanon Chingchayanurak. (2009). Transform culture into a commodity: the case study. The Horizon Village and Resort. Thesis, Master of Arts. Department of Media Arts and Design. Faculty of Fine Arts Chiang Mai University.

Tassanee Jenjija. (1998). The factor about the lack of Hmong students at Baan Nam Sot school. Thung Chang, Nan. Thesis, Master of Education. Department of Educational Psychology and Guidance. Faculty of Education Chiang Mai University.

Teerayut Boonmee. (2014). Michel Foucault. Edition 2. Bangkok: Vipasa.

Thawat Punnotok. (2006). Learning book Folk Tales. 2nd Edition. Bangkok: Aksorn Charoen Tat.

The biography of Chakri Siribut. (2018). Researched on October 23, 2016, from http://www.manager.co.th

The biography of Clifford Possum Tjapaltjarri. (2016). Researched on October 2, 2016, from http://www.Guringai Festival.com

The biography of Hiep Nguyen. (2018). Researched on February 19, 2018, from https://www.circlepainting.org/what-we-do.html

The biography of Misha Kahn. (2017). Researched on November 21, 2017, from http://www.friedmanbenda.com/exhibitions/upcoming/misha-kahn- midden-heap

The biography of Pinnaree Sanpitak (2018). Researched on April 20, 2017, from http://www.trfineart.com

The biography of Terra Fuller. (2017). Researched on August 1, 2017, from http://www.textileartist.org

291

The biography of Warlayirti. (2016). Researched on October 2, 2016, from https://www.rmitgallery.com

The Department of social development and welfare. (2012). Miao. Bangkok: Veterans relief organization.

The exhibition from the mountains to the arts and crafts. (2016). Queen Sirikit Art Gallery The Queen.

The Office of contemporary art and culture. (2006) .The management of contemporary art branch of the

Visual Arts. Bangkok: vision printing & publishing, media.

______. (2010). The tribe. Bangkok: Prae Pittaya International.

Tribal Development Center in Chiang Mai. (2015). House of highland communities Chiang Mai Province 2015. Chiang Mai: Department of Social Development and Welfare Ministry of Social Development and Human Security.

Twitch Jaturaworapreuk. (1998). Voices from the Edge: the dignity of Lisu people. Chiang Mai: Faculty of Social Sciences Chiang Mai University.

Vichoke Mukdamanee. (2012). Mixed media art and Installation art. Bangkok: Silpakorn University Art Gallery.

Weerawat Pinkhien. (1971). Karen literature from Suan Phueng District, Ratchaburi. Department of Thai Language Faculty of Humanities and Social Sciences Chom Bueng Teacher College

Wichian Ketprathum. (2000). Folk tales (latest edition). Bangkok: Educational development.

The interview

Chaiwat Feuangfookitjakarn. (2017, 21 November). Informant of the Hmong folk tales. interview.

Chor Rattanadilokkun. (2017, 15 March). Gardener. interview.

292

Kadzoo Sakittiya. (2017, 26 January). Gardener, The right hand of the King, Informant of the Hmong folk tales. interview.

Mee Thanomworakul. (2017, 21 November). Gardener, Informant of the Hmong folk tales. interview.

Pang Rattanadilokkul. (2016, 16 April). Production of Hmong candle writing cloth, Trader, Informant of the Hmong folk tales. interview.

Sa Saeyang. (2017, 21 November). General contractor, Mechanic, Informant of the Hmong folk tales. interview.

Tao Kornkeeratikarn. (2017, 21 November). Necromancer of the Hmong people, Informant of the Hmong folk tales. interview.

Yongchor Saesong. (2017, 21 November). Gardener, Crossbow shooter, Informant of the Hmong folk tales. interview.

Yua Thanomrungreuang. (2017, 21 November). Gardener, playing bamboo mouth organ and singing, Informant of the Hmong folk tales. interview.

293

APPENDIX

294

Appendix A

Structured Interview to study creativity about Hmong Ethnic Folk Tales : Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province (for Hmong people who provide information about Hmong folk tales of Mae Sa Mai and Mae Sa Noi village, Pong Yaeng Subdistrict, Mae Rim District, Chiang Mai Province)

295

Data recording form Name of folk tale Name – Surname of the storyteller Age years old (since ) Occupation Education Talent Address Date of collecting folk tale Folk tale’s details

Name – Surname of folk tale note taker

Thank you very much for your cooperation. Piyachat Udomsri

296

Appendix B

Posters, invitation cards, programs and images of the opening ceremony “IMAGINE FROM THE HMONG'S FABLE I” exhibition at Baan Tuek Art Center, Muang District, Chiang Mai on October 5, 2018, including the posters, programs and images of the opening ceremony "IMAGINE FROM THE HMONG'S FABLE II " exhibition at the Art and Culture Center, Chiang Mai University, June 19-30, 2019.

297

Picture Appendix B.1 Exhibition poster “IMAGINE FROM THE HMONG'S FABLE I” (Source: Piyachat Udomsri)

Picture Appendix B.2 Exhibition invitation card “IMAGINE FROM THE HMONG'S FABLE I” (Source: Piyachat Udomsri)

298

Picture Appendix B.3 Program exhibition “IMAGINE FROM THE HMONG'S FABLE I” (Source: Piyachat Udomsri)

299

Picture Appendix B.4 The exhibition opening picture “IMAGINE FROM THE HMONG'S FABLE I” On October 5, 2018 (Source: Piyachat Udomsri)

300

Picture Appendix B.5 Exhibition poster “IMAGINE FROM THE HMONG'S FABLE II” (Source: Piyachat Udomsri)

Picture Appendix B.6 Exhibition publicity postcard “IMAGINE FROM THE HMONG'S FABLE II” (Source: Piyachat Udomsri)

301

Picture Appendix B.7 Online program of the “IMAGINE FROM THE HMONG'S FABLE II” exhibition (Source: Piyachat Udomsri)

Picture Appendix B.8 Program exhibition “IMAGINE FROM THE HMONG'S FABLE II” (Source: Piyachat Udomsri)

302

Picture Appendix B.9 The exhibition opening “IMAGINE FROM THE HMONG'S FABLE II” On June 21, 2019 (Source: Piyachat Udomsri)

303

Picture Appendix B.10 The exhibition opening “IMAGINE FROM THE HMONG'S FABLE II” On June 21, 2019 (Source: Piyachat Udomsri)

304

Picture Appendix B.11 chiangmaicitylife.com broadcast the exhibition “IMAGINE FROM THE HMONG'S FABLE II” https://www.chiangmaicitylife.com/citynow/social-life/live-events/imagine-from-the- hmongs-fable-ii/

Picture Appendix B.12 Received a scholarship for dissertation from the National Research Fund (NRCT) and the Fund for the Promotion of Creative Arts. Statesman General Prem Tinsulanon Foundation

305

Appendix C

Exhibition review of “IMAGINE FROM THE HMONG'S FABLE ll” From the dissertation, Hmong Ethnic Folk Tales : Imagination from Stories towards Mixed Media Art with Participation from Youngsters from Hmong Communities in Chiang Mai Province Honored by Teacher Chatnaphat Panyapetch (Lecturer for general education, School of Liberal Arts, Mae Fah Luang University)

306

Chatnaphat Panyapetch

Lecturer at the School of Liberal Arts Mae Fah Luang University

In the writings on the study of the migration of Hmong in Thailand, it is believed that the settlers began in the late 19th century. The Hmong villages of Mae Sa Mai and Mae Sa Noi Chiang Mai Province In the period around 1937-1965, when comparing this group of Hmong, they lived peacefully and were not threatened by colonists like the Hmong who lived in Laos during the time that the French colonies set up tax offices, exploited until the protest or the Hmong leaders of Laos were finally suppressed and arrested throughout the context of the Cold War in the 1970s of the superpowers with two political ideologies, namely the United America and the Soviet Union Which the Hmong group has been affected by the CIA America used it as a political tool to establish a secret army to fight against communism in Vietnam. But the defeat of the American Vietnam War caused the Laotian Hmong to evacuate to Thailand and remain in a refugee camp near the border, and a lucky part of them settled in the United States. Canada and European countries

The Hmong in Chiang Mai that Piyachat uses as content for creating art projects are not difficult people when compare with Laos Hmong that escaped the civil war and seem to have a more interesting story than the Hmong in Thailand and a more convenient life. Piyachat's Hmong works seem to be cut off from the Hmong in the eyes of the world society as a minority or diaspora living across the overseas from Southeast Asia to a land that gives new opportunity as United States of America.

Hmong are still scattered throughout Southeast Asia on the plateau and there are many groups of Hmong that are still living in camps in Thailand such as Baan Winai Camp, which cannot go anywhere, therefore it is an obstacle to see the inheritance of traditional culture, including some of the Hmong who have the opportunity to move to America, not continuing to inherit from lifestyle changes. As for Piyachat's work, the study of folk tales reflects the advantages of understanding the culture and ritual of the Hmong people in Chiang Mai that may still be practiced and inherited in this era

Piyachat participated the artwork with the Hmong youth, resulting in the awareness of the identity of the new Hmong youth during a changing society, which is the problem of the Hmong displaced throughout the world that who they were. At the same time, the

307

new Hmong youths need to be educated to survive. As for tales, stories, traditions, or pulpits, it is not learned systematically in the filling of modern education, which is another burden for these new Hmong to learn more, but it becomes a question of whether the Piyachat stories brought to study can elevate the problems of the whole Hmong world to create new works of art or not.

“Dia Cha and Norma J.Livo suggest that people use stories to describe what they are, how they behave appropriately and how they should behave, just as the world has created. There is a suitable relationship with the understanding of each audience and readers. We can go back to the original story and discover different levels of life. The basic story helps youth and adults maintain the truth throughout the journey of the human experience." [1]

Piyachat uses art media as a communication tool that is about visual perception, instead of transforming the narrative stories from the pulpits of the people that have never been shown to be portrayed such as shapes, animals and insect, cottage, a plaything that looks simple and innocent, made from seeds, dry plants, hay, most of the color tones are brown, and monochrome is hung in the exhibition space, which may be seen as a legendary storybook for people in the city that have never heard before, but for the new Hmong youth that Piyachat invites to see the event, they were exciting and fun with the presentation.

Fun becomes the essence of the style of work being presented and interprets the audience to participate in the work or become a game to the audience, but asked the audience whether how innocent and fun can be seen from what the audience have seen, created, challenged, changed, and how the Hmong identity is being transformed in today's society. Although the art project is looking to create awareness of the identity of the Hmong people in the new value world because the Hmong experience is not the same as the Hmong tradition, which is sufficient and frozen or not enough to interpret only one story. In addition, the Hmong understanding of images in Chiang Mai today has been created an image of for tourism and is seen as an outsider. At the same time, being swallowed up in a culture with Thai education. If new characters or stories from the Hmong youth or elements in the work setting can reflect the context, the changing identity of the currently active Hmong people will help make this work very interesting that will

308

allow the audience and Hmong people to experience the aesthetic interpretation of tales with many tales to compare with their contemporary life.

1 Dia Cha, Norma J. Livo, (2000). “Teaching with Folk Stories of the Hmong: An Activity Book: Learning through folklore series “. Libraries Unlimited: 29.

309

CURRICULUM VITAE

Name Miss Piyachat Udomsri

Date of Birth May 5, 1984

Education 2015-Present - DFA Arts and Design Faculty of Fine Arts, Chiang Mai University 2007-2010 - Master of Arts (Applied Art Education) Faculty of Decorative Arts, Silpakorn University 2003-2006 - Bachelor of Arts (Thai Art), Faculty of Fine Arts, Chiang Mai University 2002 - Chiang Mai Vocational College 1988-2001 - Dara Academy, Chiang Mai

Career 2012-Present - Lecturer in Computer Graphics and Multimedia Faculty of Information and Communication Technology, University of Phayao 2011 - Art Teacher (Visual Arts), The Demonstration School of Silpakorn University (Early Childhood and Elementary) Primary school Faculty of Education, Silpakorn University

Prestige 2018 - Funded for Capacity Building and Development of New Researchers under the Strategic Direction of Research and Innovation Year 2019 Graduate type, National Research Council of Thailand - Selected to receive funds from the Fund for Educational Art Creation Fund "Statesman Foundation General Prem Tinsulanon" the Year 2018

310

2011 - 1st Prize of the Office of Contemporary Art and Culture Ministry of Culture the 57th National Exhibition of Art - The 57th National Exhibition of Art 2010 - The 56th National Exhibition of Art - The 22nd Art Exhibition "Bring the good things to life" - Funded for Art Education “General Prem Tinsulanonda Statesman Foundation” 2009 - The 21st Fine Arts Award "Bring the good things to life" - The 24th PTT Art Exhibition - The 26th Exhibition of contemporary art by young artists - The 55th National Exhibition of Art 2002 - Selected to publish poster design works on the 20th Art Exhibition, Chiang Mai Vocational College

Solo Exhibition 2019 - "IMAGINE FROM THE HMONG'S FABLE II" exhibition by Piyachat Udomsri. Between 19 - 30 June 2019 at the Art and Culture Exhibition Hall Chiang Mai University, Chiang Mai Province 2018 - "IMAGINE FROM THE HMONG'S FABLE" exhibition by Piyachat Udomsri, Pre-Thesis solo exhibition between 5-19 October 2018 at Ban Tuek Art Center, Chiang Mai

Exhibition participation 2019 - "IMAGINE FROM THE HMONG'S FABLE II" exhibition by Piyachat Udomsri. Between 19 - 30 June 2019 at the Art and Culture Exhibition Hall Chiang Mai University, Chiang Mai Province - "Flowers from the Ceremonies" exhibition at The National Gallery, Bangkok, Between 10-30 September 2019.

311

2018 - CRRU International Conference and Art Work Shop Project Exhibition, 2018: Lanna Identity, Thai Identity & International Identity” "during 12-14 June 2018. at the Art and Culture Center of Chiang Rai Rajabhat University - Art Camp Exhibition, 2018 by the Art Education Fund. “General Prem Tinsulanonda Statesman Foundation” (Fund) at the National Gallery, Chao Fa Road during September 5-30, 2018 - "IMAGINE FROM THE HMONG'S FABLE" exhibition by Piyachat Udomsri, Pre-Thesis solo exhibition between 5 - 19 October 2018 at Ban Tuek Art Center, Chiang Mai 2017 - Art Camp Exhibition, 2017 by the Art Education Fund. General Prem Tinsulanonda Statesman Foundation “Born to pay homage to the land” at the National Gallery Museum, Chao Fa Road during September 6-30, 2560 2016 - The 88th Anniversary of HM the King's, 3/33, by the Office of Contemporary Art and Culture and the Faculty of Fine Arts at the Contemporary Art Gallery Ratchadamnoen, Bangkok. During June 24 - July 17, 2016 2012 - The 2nd Graduate thesis exhibition Faculty of Arts Silpakorn University at the Art and Design Gallery Faculty of Decorative Arts Silpakorn University - Fine Art Exhibition "Meet-Up" by Vermillion Group (Alumni of Faculty of Fine Arts, Chiang Mai University) at Jamjuree Art Gallery 2011 - “30x30 Contemporary Art Charity’s Exhibition” by Artists from Alumni FOFA Chiang Mai University. - The 57th National Exhibition of Art 2010 - OH! Arts Group Exhibition. The 21st Alumni of the Faculty of Fine Arts, 2nd edition OH! Open Head "Open Skull" at the Faculty Gallery of Fine Arts. Chiang Mai University - The 56th National Exhibition of Art - The 22nd Art Exhibition "Bring the good things to life"

312

2009 - The 24th PTT Art Exhibition - The 26th Exhibition of contemporary art by young artists - The 55th National Exhibition of Art - The 1st Thai Painting Exhibition - Lanna Contemporary Art Faculty of Fine Arts Chiang Mai University - Rim Nan Global Warming Exhibition Episode 2 - The 21st Art Exhibition "Bring the good things to life" 2008 - Vermillion's art show "Missing Home" at Chiang Mai University Cultural Center

Books and teaching documents 2014 – Textbook and Teacher's Manual. Photography Courses for Multimedia 1 Mathayom 3 Incubator Development of an integrated career in information and communication technology. Under the project Reform of the curriculum BE 2555 2013 – Textbook and Teacher's Manual. Computer Graphics Composition Course Mathayom 4 Integrated Vocational and Technical Development Program in Information and Communication Technology Under the curriculum reform program BE 2555

Researches, University of Phayao 2016 - Community Enterprise Product Development Project Phu Kum Yao District, Phayao by the budget of 2016

Projects and activities participation 2018 - Artistic Transmission Project with National Artist " 9th create art works with the national artist (Painting)" at Supreme Artist Hall in Pathum Thani " during February 7 – 10, 2018 at the Supreme Artist Hall, Pathum Thani - Art Camp Art Education Fund “General Prem Tinsulanonda Statesman Foundation” 2018, June 21 - 25, 2018 in Songkhla

313

- Participated in CRRU International Conference and Art Work Shop Project 2018: Lanna Identity, Thai Identity & International Identity” During June 12 – 14, 2018 at Art and Culture Center, Chiang Rai Rajabhat University 2017 - Workshop project on line, patterns, candle: Hmong Doi Pui on August 12, 2017, at the Chiang Mai University Art Center - Art Camp Art Education Fund “General Prem Tinsulanonda Statesman Foundation” 2017 at Nan. June 1 – 3, 2017 2016 - Workshop "Chiang Mai Cloth" ethnic group in Chiang Mai on August 28, 2016 at the Chiang Mai University Art Center - Workshop Project "Paper Flower" on September 17, 2016, at the 4-storey building of the Faculty of Fine and Applied Arts. Thammasat University, Lampang Center 2013 - Art Camp Art Education Fund “General Prem Tinsulanonda Statesman Foundation” 2013, July 5 – 7, 2013 at Nakhon Ratchasima

Lecturer 2018 - Lecturer in the Microsoft PowerPoint training program for Medical Instructor and Medical Center Staff, Phayao Hospital on February 15, 2018, at Phayao Hospital - Instructor on "Community Health Education Media" on March 23, 2018, at Faculty of Allied Health Sciences, University of Phayao

314