Sang Sinxay: Inheriting Folk-Literature, Building on Community Based-Theatre
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Sang Sinxay: Inheriting Folk-Literature, Building on Community Based-theatre
1. Pachaya Akkapram , full-time lecture, Applied Drama,Department of Performing Arts, Faculty of Fine Arts, Thaksin University, Thailand, [email protected].
Abstract Sang Sinxay has been a masterpiece literature composed in the era of the Lao Kingdom of Lan Xang. It has still been told year-after-year generations until the present. From our study and site visits, it was revealed that in Dongbang Community, Dongbang Sub-district, Nadoon District, Mahasarakham Province, there are perfect and beautiful mural paintings depicting the Sang Sinxay on the walls of a temple hall. These mural paintings are the prototypes to make leather puppets for shadow play, to create poetry songs for folk singer (Mor Lam), and Isan shadow play (Pramotai Shadow Puppet) of Petch Isan Performance Show (Isan Diamond). Nevertheless, the villagers in Dongbang Community clearly lacked understanding of the gist of Sang Sinxay. Subsequently, this research was aimed at finding strategies in order to create and present the theatrical performance and process which is involved with Sang Sinxay as the essence, and to develop the production and performance under cooperation with the participating villagers, i.e., 15 youths from the Petch Isan Performance Show. The community theatre activities were divided into three phases, namely, Phase 1, to study and analyze Sang Sinxay, Phase 2, to gather and collect concerned community information from the community in order to create new Sang Sinxay, and Phase 3, to practice the play and perform in front of the community. From the research, the production and presentation of the theatrical performance and process “Sang Sinxay” brought up the main issues of “Liars for their own interests” among teenagers, linked and compared the roles of Kumarn Ha(Prince V) – Kuman Hok(Prince VI), and the new version Sang Sinxay was created to represent real individuals, families and community of Dongbang, and the play could communicate existing issues/problems and bring up the lights to the audiences. In addition, the participants could study more Sang Sinxay and deeply learn, understand and realize community problems, leading to the development and changes themselves in a better way.
Keywords: Sang Sinxay, community-based theatre, process-drama, participant, Pramotai (Isan Shadow Puppet)
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 205
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings)
Background Sang Sinxay was praised as the invaluable masterpiece literature which Prakhong Charoenchit (2519) expressed his point of view that “this story was valuable in terms of ruling, and social practices/principles, teaching and morals, most of them can be used in any period of time”. The aim of the story was to encourage the people to live in the society peacefully. As born as Isan region, the researcher has deeply bonded with Sang Sinxay and found that each communities or locals have adapted, modified and transformed the written form of Sang Sinxay in to various forms of cultural arts, such as, folk singing, preaching, Isan shadow play (Nang Pra Mo Thai), mural paintings (Hoop Taem), including the guidelines to lay down the community development strategic planning, and the historical and knowledgeable sources of Thai and Laos. The researchers had an opportunity to visit Dongbang Community, Dongbang Sub-district, Nadoon District, Mahasarakham Provicne and see the mural painting depicting Sang Sinxay on the temple walls at Potharam Temple, which belongs to the community for almost 100 years. This was also the source to produce shadow puppets of Sang Sinxay of Petch Isan Performance Show. The researcher had inquired the villagers about Sang Sinxay and learned that the locals did even not know that the mural painting on the walls was portraying Sang Sinxay, or some locals used to hear Sang Sinxay, but do not have clear pictures or ideas of the story. Therefore, the researcher would like to study on how to convey the food of thoughts, morals, and principles of Sang Sinxay to the community, and make them recognize the value of this literature, enabling them to use the gist of the story in their daily life by comparing the surrounding backgrounds, problems, situations, and bringing up analysis and solutions. As a result, the researcher brought up the drama-process in a way of community- based theatre as a research tool in order to create the process-drama among the teenagers, artists, and villagers as the participants. Through such participation, the participants would be encouraged to learn the value of Sang Sinxay and also link the
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 206
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) thoughts from the literatures and then realize the social issues existing in their community.
Objectives of Research 1. To find out strategies to manage the community-based theatre activities by introducing Sang Sinxay as main story to create and develop a play, co-worked with community participants. 2. To create and present the performance of drama-process “Sang Sinxay which was developed from the process of community–based theatre
Research Methodology This research was divided into three phases which consist of: 1. Review the concerned literature. The researcher studied and analyzed the relevant information as follows: 1.1. From study of Sang Sinxay, it was found that the origin of Sang Sinxay was in forms of both oral and written literature, which was based on were two assumptions. Firstly, Sang Sinxay had been an oral literature without the sources of author, it had been a folk tale which had been told generation after generations of Thai – Laos. This story had been mostly found in the middle of North East. The inheritors had been mostly local artists or local wise man. Secondly, Sang Sinxay was a written literature which had been recorded on palm leaves with Thai-Noy language and made for tied book. It was assumed that the author was Thao Pangkham (Princess Pangkham) who had written it in 1650 in the reign of His Majesty the King Suriyavongsa Thammikarat of the Lao Kingdom of Lan Xang. The story had been duplicated in writing and rewritten in Middle Thai language and publicized until now in the provinces of Khonkaen, Mahasarakham, Roi-et and Kanlasin. The researcher selected a written Sang Sinxay which was rearranged by Man Chongrian as the proceeding of the story was chronologically run along with the concentration of events. Based on the study and analysis of the folk structure pattern of this literature, it was noted that there were interesting motifs which included “abnormal born/charisma-being slandered/misfortune-elimination/banishment– setting off the journey-adventure-fighting-prove oneself”.
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 207
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings)
1.2. Applied Drama and principle of community-based theatre are new academic notion, but not well-known in Thailand. They are used for describing theatre and drama-process which are not followed the conventional theatre in a theatre, as per the description given by Nicholson (2005) “a shorthand to describe forms of dramatic activity that primarily exist outside conventional mainstream theatre institutions, and which are specifically intended to benefit individuals, communities and societies”. The applied drama has expanded the theatrical arts open wide to bridge the other fields such as education, social development, medicine and public healthcare, etc. There are two paths to introduce “theatre” to apply outside the conventional frame. The first one is to apply for academic purpose, and the second path is to adapt the play for a community, mostly involved with dramatic activities to develop individuals, and concerned the people in urban and rural communities, leading community-based theatre, as quoted by Pornrat Damrung (2555) “the community- based theatre is co-working between the theatre people outside community and the locals in community to create a new drama in order to form knowledge, realize a problem and lead to self development of participants, or development in organization in community in a beneficial way”. Therefore, the production of drama-process based on the community theatre would aim to search for issues-problems in a community in order to expose them to the community locals, and make them pay heeds and realize the importance, as well as to create a platform to exchange and express their discussion and opinions among the participants, who have never taken part in the discussion in their daily lives. It is said that the community-based theatre is a theatrical activity to focus on learning and self development of the participants, aimed for changes in individual and community levels.
1.3. According the study at Dongbang Community, Dongbang Sub-district, Nadoon District, Mahasarakham Province, by studying the research works and interviews with the community leaders, locals, scholars and teenagers, it was revealed that in the past, people in Dongbang Community had lived in expanded families with interdependence or kinship ties, respect to seniority and community leaders. The local lifestyles are related with Buddhism, Brahman, spirits. The locals mostly respect to Buddhism and believe in superstition and spirits. There is shaman who will perform the
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 208
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) spiritual functions. The community has also followed the traditional practices of Heat Sib Song Khong Sib Si, which is northeastern tradition for good conducts, and has continued from their ancestors and men will play more political roles than women.
1.4. Agriculture is the major occupation of the locals, namely, rice paddy fields, plantations and cattle farms. In addition, they also work for extra income after the harvesting season, for instance, silk weaving, trading, producing wickerwork. However, the economic and financial position of the locals in the community has not been better, resulting in seeking for loans from both legal and illegal funding sources. As a result, accumulated loans were incurred, leading the locals to migrate to make of their living in the city with a hope to gain more income. The problems in community consists of the ruling issues i.e. selling and buying votes, local politicians’ corruptions, discrimination of the community leader which leads to community separation, lacking moral, honest and fair leaders Juvenile problems include: teenagers do not pay attention to their study, and skip class. The villagers consider that the schooling of the youth is responsible by the academic officers only, but in fact, the youth should be taken care and supported by their family and school, or teachers consider that the school problems i.e. skipping classes, failing the examination cannot be managed and solved.
1. Create and develop drama-process from the community-based theatre. The researcher made a site visit at Dongbang Community to collect information and study the community, and understanding of the villagers and participants toward Sang Sinxay by observation, casual interviewing with the villagers, leaders, teachers at Dongbang Pisainavakarnnusorn School, and youth of Petch Isan Performance Show. The compiled information were then analyzed and concluded and used to design the theatrical activities for a community-based theatre. The activities of creating and developing the community-based theatre were divided into three phases as follows: Phase 1: To study in order learn the value of Sang Sinxay, by encouraging the participants to analyze and learn the story, theme and value. The participants brainstormed their ideas to analyze and link to each issue, and then understand the main theme of the story which was “human being must stand for morale and good- doing”
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 209
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Phase 2: To collect problems from communities. Through this process, the participants were encouraged to study and analyze problems found in the community and introduce them to create the play of Sang Sinxay to reflect the problems to their Dongbang community, by using the activities of drama-process i.e. community maps, community survey, and community study. The participants analyzed and concluded the information and compared the situation and issues with Sang Sinxay’s events, for example:
Issues of Community Events in Sang Sinxay 1. Fighting among teenagers Sinxay fought against Kumbhanda Demon 2. Drug and game addiction among Damka and Noy Huanam was obsessed teenagers about Makkali (tree bearing fruit in a girl shape) 3. Deception among teenagers Kuman Ha and Kumarn Hok lied Sinxay to follow his aunts. 4. Fighting among teenagers to catch Sinxay fought against Damka-Noy other’s girlfriend/boyfriends. Huamnam to catch Makkali. 5. Teenagers have Sinxay fell in love with Kiang Ngern boyfriends/girlfriends in school age. Kiang Kham. Table 1: Comparison between the community issues and events in Sang Sinxay
The issue which was selected by participants to present to the community was “deception” which was compared with the behaviors of teenagers in the community who would tell lies for their own interest, for example, teenager told a lie to parents that he/she went to school and received the pocket money, but in fact, he/she skipped the class and spent the money for alcohol, cigarette and drug etc. Phase 3: To create the drama-process and develop drama work to make a new version of Sang Sinxay by comparing the main theme, messages, and events of Sang Sinxay with the deception among teenagers. The represent of individual and real community events were compared with the old Sang Sinxay in order to create a new Sang Sinxay as follows: Sumontha represents a local who observes behaviors of teenagers/ descendants in community, acting as a narrator. Kumarn Ha- Kumarn Hok represents the teenagers who lied, skipped class, did a gambling, addicted to games and other vices.
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 210
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Phya Kusaraj represents a leader or head family trust in his intimate without rationale judgment. Chaya Ha-Chaya Hok represents modern mothers who spoil their children and take side with their children. Sinxay represents teenagers who pay attention to study, have responsibility and fulfill a success as a result of his hard-working, assiduity and resistance against the incitement. This character was comparable to the teenagers who are interested in studying and behave well for families and society. Kumbhanda Demon and his subordinates represent obstacles and problems in society prove the strength, patience and assiduity of Sinxay. To develop the drama-process, the participants-researcher had sought consultancy from folk singer (Mor lam) to compose the lyrics of Mor Lam (traditional folk song). The new version of Sinxay was adapted from Sang Sinxay authored by Princess Pangkham of Petch Isan Performance Show, and play–Mor Lam which was speaking drama switched with singing folk song . The plot was elaborated as follows: Plot of Drama Sequences Events Opening scene Wai Khru Ritual as per the shadow play of Pramotai, a hermit Notifying the audience appeared on the screen. The character of Palad Tue and Ajarn Pong explained about Sinxay and the background of this project to the audience. Scene 1: Screen of Pramotai Sumontha walked out in front of the screen, shadow play – Sumontha’s room acting as a narrator. The scene of river running slowly was appeared on the screen. (Toey appeared) Notify to the audience. Sumontha was sitting in sad mood, as being worried about Sinxay-Sangthong and See Ho. Palad Tue joined in the Scene (Toey) / asked and greeted Sumontha who was sitting in depressed mood. Sumontha mentioned about the King of Pengjal who always maintained the attribute of Royal Ten Virtues, complained that Sinxay could not return to Pengjal to rule the Kingdom. Palad Tue warned Sumontha not to mention Sinxay as Phya Kusaraj might be angry, and informed that Sinxay would bring misfortune
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 211
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) to Pengjal Kingdom as the Astrologer foretold. Transition From Sumontha’s The Baisri Sukwan procession (welcoming room, changed to Royal Throne Hall, ceremony) proceeded to the Royal Throne Hall Phya Kusaraj’s Palace. to welcome Sumonth.
Scene 2: Royal Throne Hall-Phya Phya Kusaraj sought opinion from Sumontha Kusaraj’s palace about the succession to throne of Pengjal Kingdom granted to Kumarn Ha-Kumarn Hok. Sumontha did not agree and asked Phya Kusaraj changed his mind to entitle Sinxay instead. Phya Kusaraj was upset that Sumontha mentioned about Sinxay and those abnormally- born siblings. Sumontha resisted that Sinxay and his Kumarn Ha-Kumarn Hok made up a siblings helped her escape from Anuradha. lies. Kumarn interrupted Sumontha and presented himself that he was the one who helped Sumotha return to the Kingdom, not Sinxay and his abnormally-born siblings who would brought bad luck (try to please his father)
Chaya Ha-Hok took sides on their sons to reinforce and make Phya Kusaraj trust in Kumarn Ha-Hok. Kumarn Ha-Hok added more reason to put on the weight to their lies, such as, difficulties in setting out journey into the woods, and used it as an excuse and persuaded Phya Kusaraj to understand that Sumontha was just upset as she was not taken a good care during the journey. Sumontha demanded that Sinxay deserves to the justice. Phya Kusaraj questioned reasons why Sinxay did not appear and stand for by himself. Sumontha informed that Sinxay had passed away. Chaya Ha-Hok said that Sumontha wished to possess the treasures and made up a deception about Sinxay to hide her real intention. Sumontha tried to clarify that Kumarn Ha- Hok were not moral and capable ones, but no one believed what her said.
Indra and hermit were shown on the It implied to the audience that “the fact was screen. going to be disclosed”.
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 212
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings)
Scene 3: Throne room – Phya Sumontha has seen those 3 things of casting Kusaraj Palace lots and believed that Sinchai was still alive. Soldiers brought Phya Kusaraj Therefore, it was a chance to tell the truth to Palace three things for casting lots. Phya Kusaraj.
Scene 4: In the forest (by using Pramotai shadow puppet told the story in Pramotai Shadow Puppet) the scene that Sinxay and Sangthong went to Transition scene in the forest- meet Sumontha at the palace in Anuradha. journey of Sinxay- Physical Sumontha confirmed her bravery of Sinxay. struggling Chaya Ha - Hok tried to insist that Kumarn Ha – Kumarn Hok were the warriors and Kumarn Ha-Kumarn Hok lied their mentioned the fighting of Kumarn Ha – Kumarn mother about their journey- Hok during the journey, especially the fighting, while Chaya Ha- Hok slaughtering of snake and giant elephant. thought it was a true story. Sumontha confirmed that the competent person was Sinxay, not Kumarn Ha – Kumarn Hok .
Transition Sinxay fought with Sumontha told the story of adventure – his own desires – mental fighting fighting between Sinxay and subordinates of (by using Pramotai Shadow Puppet). Kumbhanda in several barriers. Phya Kusaraj asked Kumarn Ha – Kumarn Hok about those barriers, but the princes could - Scene of Sinxay vs Ogress not tell the story. (Phya Kusaraj had doubted - Scene of Sinxay vs Nareepon- and the truth gradually was revealed1) Damka (A chance that Sumontha told the truth) -Scene of Sinxay vs Kiengngen- Sumontha mentioned the flawless mind – Kiengkam moral of Sinxay, and connected to the story that the prince no.5 and 6 had assaulted his To ask for the fact about knowledge daughter. - competency Phya Kusaraj asked about the slaughtering of Kumbhanda, but both princes could not answer./(a chance) Sumontha told the trught Try to make a fairy tale in order to that the slaughterer was Sinxay, no the princes. survive and put the blame to others Kumarn Ha – Kumarn Hok told Phya Kusaraj without accepting any offence that they did not want to tell the horrible story. conducted by their own. Sumontha opposed, but the princes accused Sinxay that Sinxay was not poor, but he lived in the crystal palace with his own servants. They accused that Sinxay lied to Sumontha. Transition Fighting with Sumontha told the event that Sinxay killed Kumbhanda Kumbhanda who was very powerful. - To prove the truth about knowledge and competency
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 213
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Scene 5: To reveal a secret Chaya Ha - Hok tried to protect their son/ tried to tell the good behavior of the princes by helping them during the journey from the forest to Pengjal/ confirmed their magic competency. Run away from the truth – Sumontha told that it was the supernatural inevitable lie – desire to survive and power of Sinxay’s art of archery. keep good image of the father’s good Chaya Ha - Hok defended that their princes son used the magic learnt from the hermit. Sumontha asked Kumarn Ha – Kumarn Hok to accept the truth. Kumarn Ha – Kumarn Hok slandered Truth disclosure (Final stage) Sumontha that because she was angry on their assault to Sudachan, she then made up a story to damage their reputation and trust of Phya Kusaraj Phya Kusaraj gave a chance to the prince no.5 and 6 to prove their knowledge and competency in front of him. If they fail to do so, they will be executed.
Kumarn Ha – Kumarn Hok accepted that they didn’t have any knowledge. Phya Kusaraj ordered the princes and their mothers to return to Champa city. Scene 6: In front of the Palace Sumontha talked with Deputy Tue in order -Phya Kusaraj’s parade in order to to end the show with the audiences on how to pick up Sinxay to the town look after children to be a good person/ encourage good man to supervise the community – country for peacefulness. Table 2: Plot Line of Sinxay Drama –Molam (folk singer)
3. Drama Production and Performing Arrangement. 3.1. Drama Production – Process: The folk art was applied by blending with the working method in western style. It focused on participants working with artists in the community. To use the principle of interpretation from drama script, which was a working style of modern drama in the western style, was a key factor in the drama production – process. The operation could be divided into 3 groups as follows: 1. A group of performers – puppeteers: The activities for practicing basic performing skill were conducted such as concentration practicing, imagination building for performers in order the performers could perform and use their imagination to enhance their roles in the puppet show. This could create the movement of puppets and the method of adjusting light and shadow in the form different from the existing one.
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 214
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) 2. A group of musicians – The drama script was studied and understood in order to be able to imagine emotion and feeling incurring in the story, as well as, using the music instead of image- feeling- meaning relating to drama characters and events. The originally mixed rhythm was played by Khene such as rhythm of Lai Sootsanaen, Lai Lamploen, and Lai Thangyao. This could create the sound with the meaning according to emotion and internally mental feeling of characters and stories such as playing Khene with softened voice representing sorrow, dubbing drum and cymbals representing excitement, and cymbals scratching representing the appearance of Indra. In addition, the musical band was also mixed with other musical instrument such as drum, lute, small cup-shaped cymbals, cymbals, and bass guitar in order to provide various voices in the drama. 3. A group of shadow puppet design – Each character still used the existing shadow puppets of Petch Isan band and has built the new shadow puppets with the prototype from Hoop Taem mural paintings at the temple’s wall of Bhotharam Temple such as the mural paintings of palace, forest, and river by using northeastern art painting style.
3.2. Performing Arrangement - Process The performing place is the temple yard where was between the temple and the old temple pavilion. The music and Mor Lam song was played and sung in order to invite the villagers to see the drama. Before the performance was started, the guru worship, called “Yok-Or-Yor-Kru” was conducted. This guru worship was a tradition of Pramotai Shadow Puppet Band. It was started in order, including 1) Opening Show or prelude which was a performance of Pramotai shadow puppet with lyrics worshiping the guru and performing shadow puppet of hermit; 2) Opening the story with the character of Deputy Tue and Teacher Pong as in tradition in order to tell the brief story to audiences, and 3) Starting the drama-process of Sang Sinxay.
4. Summary and Group Discussion After the performance was ended, the discussion on “Sang Sinxay and Problem Reflection of Community” was held. The participants were from the head of education of Dong Bang Sub-district Administrative Organization, village chief, and villagers who attended in the drama performance had participated in the group discussion. It found that the audiences perceived the main issue on drama presentation and had criticized
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 215
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) on the problem in the community such as how to look after children in the family, deception, education, being a good youth. The villagers viewed that these were problems that everybody in the community should cooperate and solve them together. Another group was a group of participants who had exchanged their opinion together in order to summarize what they have learned and changed towards themselves and attitude towards the community. Moreover, it found that the participants could find the self value and moral and virtue after participating in the community base relating to dram process such as
To be more responsible and learn new experiences from the activity. In the future, this would improve one’s own daily life such as paying attention in the class and hard practicing for better Pramotai shadow puppet performance. To open themselves to express their opinion more To be more patient To learn from the action of drama characters. They would know that the prince no.5 and 6 were as teenager in the community and nobody wanted them to skip their class or lie to their parents. To feel more sympathetic on friends because the waiting time caused the work not be progressed To practice on thinking and know what Sinxay had thought To realize the problem in the community since previously it was neglected. But, currently, people knew how the community looked like and wish that problem was reduced.
Conclusion and Discussion 1. The research process could find the method for making and developing the drama-process which was used in the folk literature of Sang Sinxay as a main theme. The method and procedures were as follows: Literature analysis to know the core of thinking-value of the story Study on information of community-participants Exchange knowledge and understanding thinking core – value of Sang Sinxay in order to adjust operating attitude of both researcher and participant group
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 216
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) To compose the new story by using the issue from the community as a key theme and developing to the plot of drama-process focusing on the community Rehearsal and development of drama-process under the experimental guideline which was mixed among folk art cultures such as Pramotai Shadow Puppet Performance, Mor Lam, and modern performance Arrangement of drama-process to communicate and reflect problems of the community, to exchange the attitude between participants, researcher, and audiences in the community, resulting in perception, understanding problems, and leading to the change in the community.
2. The participants had better learned, reviewed, and studied thought and issues in Sang Sinxay and used the result for making a living. In addition, the participants had changed themselves in a better way which reflected the behavior on expression such as being in discipline, being generous, patient, and responsible to duty during participating in the activities. Moreover, the participants could analyze and synthesize the issues in the community in order to solve the problem by using drama as a communication media to the community. 3. Drama script – process which had re-made from the old story to the new one with new concept, characters, and situation in order to reflect the problem in the community effecting to the moral of participants. The participants had concerned or worried about the community and friends in the school. The problematic issues were selected, created, and proposed through drama-process. The key target was to communicate and reflect the problems found in the community to the villagers. Although the villagers had different in moral effect, the most important thing was the participants realizing the problem and participating in learning and trying to communicate in order the villagers in the community would realize the problem and wanted to solve it for their better community. 4. Drama script – process design was mainly from the participants. The researcher shall take the role of process administrator in development and pushing the drama- process to be completed with the clear focused issues. The obtained drama- process was directly from idea – sentiment of participants, while the community concern was clearly and directly communicated. In addition, the presentation pattern should be simply developed with folk style, while it should be developed from raw material that
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 217
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) participants and community already had such as Pramotai shadow puppet performance, Mor Lam singing, and other folk performance. 5. Persons who were artists-lecturers shall study the idea of drama out of the scope of this study in order to clearly understand, as well as, study the information of all participants, artists, villagers, community, and cultural arts shown in the community. The result would be applied for clear planning and target setting, while the development of participants as a center should be focused. Moreover, the development of drama should be based on independent study, cooperative experiment and development of participants and community in order the new style drama could be clear and full of content and entertainment. 6. Working with folk artist was to open a chance to every party to participate in the process of creating drama-process. The new drama script was adjusted from the existing literature and did not narrate as the same as previously inherited. The mixture and blending of knowledge of participants in the process caused the dialogue switched to Mor Lam singing. The researcher was a script writer and folk artists were lyrics composer. The lyrics and rhythm were different from the exiting ones. This was an innovation of dimension to encourage people to create drama together with folk arts. They could think and take action together by focusing on communicating the concern point to the community. Therefore, this drama of Sang Sinxay was created especially for Dongbang community in order to communicate the problem to villagers in the community.
Suggestions 1. To conduct the research and/or to create dram process based on the community should be planned before taking action by surveying and data collecting from the community in every aspect. For the research methodology, the researcher had surveyed the information from villagers in the view of village chief and senior persons, more than youth, especially targeted youths such as teenagers who did not in the class, teenagers who drank alcohol, smoked, and took drugs. In case all information were gathered, the analysis and synthesis on community issue would be in depth and cover every aspect. 2. To produce drama with the community must know how to communicate with people, unit, and organization in the community such as working with Dongbungphisainawakarnnusorn School and Dongbung community. All activities in the
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 218
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) school must be acknowledged since the school is an important place for conducting activities. These would prevent problems during research processing such as problem on processing period, communication and cooperation.
Reference
Boon, R.,& Plastow, J. (2004). In R. Boon & J. Plaslow (Eds.), Theatre for Empowerment. Cambridge: Cambridge University Press.
Chatchawan Kotesongkram. (2007). Aesthetics in Lao Literature of Sang Sinxay and Maha Wetsandon Chadok. Thesis of Master Degree of Thai Majority, Faculty of Humanity and Social Science, Mahasarakham University. [In Thai]
Chuleeporn Wongsenok, (2002). Study and Analysis on Dongbung Community, Moo 5 Dongbung Sub-district, Nadoon District, Mahasarakham Province. Certificate of Project Administration and Assessment, Mahasarakham University. [In Thai]
Chop Deesuankok. (2006). Development of Sinxay: from dialogue to literature and work of art. Copy [In Thai]
. (1997). Draft of Sinxay fairy tale. Copy. [In Thai]
. (1997). Sinxay Folk Literature in Khonkhaen: Khonkhaen Municipality Office. [In Thai]
Duangkae Buaprakone and group. (2004). Project of “:Using Drama for Community Development of Makhampom Drama Group: Case study from 4 working areas with different contexts”, Completed Research Report supported by Thailand Research Fund. [In Thai]
Dungkamon Na Pompetch. (1996). Shell Opening (Amazing Prince’s Adventure) Re- made Story Project:: Amazing Prince’s Adventure. Completed Research Report supported by Thailand Research Fund. [In Thai]
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 219
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Erven van. E. (2001). Community Theatre Global Perspectives. London and New York: Routledge.
Faigin A. D. (2010). Community-Based Theatre and Persons with Psychiatric Disabilities: an Investigation of Individual and Group Development, Social Activism, and Community Integration. A dissertation for the degree of doctor of philosophy, Bowling Green State University
Jaruwan Dharamwatr. Local Literature: Isan Lan Xang. Mahasarakham: Mahasarakham University. [In Thai]
. (1979). Analysis on Folk Take from 3 Villages. Mahasarakham: Publisher of Srinakharinwirot University, Mahasarakham. [In Thai]
Kaewta Chantranusorn. (2007). Sinxay in the context of public culture of Khonkhaen Municipality. In the journal of Humanity –Social Science. 24th Year. Vol.3. [In Thai]
Kanjana Kaewthep. (2002). When media viewed and created culture. Bangkok Metropolitan. Saladaeng Publisher. [In Thai]
. (2009). Small media used for development. Bangkok Metropolitan. Printing Image Partnership. [In Thai]
Korlid Midam. (2010). Process on Creating Nazihut Drama in Muslim Community. Thesis of Master Degree of Performance Communication, Faculty of Mass Communications, Chulalongkorn University. [In Thai]
Kupper, P. Community performance an introduction. New York and London: Routledge.
Man Jongrien. Sang Sinxay for Students. Bangkok Metropolitan. Pitak Aksorn Publisher. [In Thai]
Mayuree Jomsrikrayom. (2002). Study and Analysis on Dongbung Community, Moo 8 Dong Bung Sub-district, Nadoon District, Mahasarakham Province. Certificate of Project Administration and Assessment, Mahasarakham University. [In Thai]
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 220
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Nicholson, H.(2005). Applied Drama: The Gift of Theatre. NY: Palgrave Macmillan.
Patai Phutha. (2011). Background of Northeastern people in the important event of history. Bangkok Metropolitan. Publicher of Tathata Publication Co.,Ltd. [In Thai]
Pitchayanee Cherngkiri. (1999). Study on Thai Tale Literature under the structure theory of Vladimir Propp. Thesis of Master Degree, Thai Language Majority, Faculty of Arts, Chulalongkorn University. [In Thai]
Pornrat Damrung. (2012). Applied Drama. Supporting Documents of Applied Drama Seminar, Master Degree, Drama Arts, Faculty of Arts, Chulalongkorn University. [In Thai]
. (2007). Drama for Youth. Bangkok Metropolitan. Publisher of Chulanlongkorn University. [In Thai]
. (2006). Project on “Re-made Story 4: Sida – Srirama?”. Completed Research Report supported by Thailand Research Fund. [In Thai]
Pramuan Pimsaen. (2008). Sinxay Literature teaching about administration, Literature expressing virtue and morality. Khonkaen: Thai Local Wisdom Inheritance Center, Northeastern Part. Khonkaen. [In Thai]
Prentki, T. and Preston, S. (2010). “Applied Theatre: An Introduction”. In Tim Prentki and Sheila Preston.,ed. The Applied Theatre Reader. NY: Routledge.
Prokong Charoenjitrakram. 1976. Northeastern Literature: Sang Sinxay. Bangkok Metropolitan. Chulalongkorn University. [In Thai]
Siraporn Na Talang. (2009). Folklore Theory and Technique for Analysis of Folk Legend – Tale. Bangkok Metropolitan. Publisher of Chulalongkorn University. [In Thai]
Songwit Pimprakan. (2006). Local Aesthetics Study through Sinxay’s work of art under the populism. Khonkaen University: Cultural Art Office of Khonkaen University. [In Thai]
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 221
7th International Conference on Humanities and Social Sciences “ASEAN 2015: Challenges and Opportunities” (Proceedings) Thompson, James. (2009). Performance Affects: Apllied Theatre and the End of Effect. NY: Palgrave Macmillan.
Villager Media Foundation (Makhampom). Seeds of Wisdom. Activity Manual and Record of Experience on Drama Project for Changes. [In Thai]
. (2011). Sant-Discussion on People Drama: Cross Cultural for Changes. Bangkok Metropolitan. [In Thai]
Watcharaporn Dittapan. (2003). Sangthong Folk Tale: Diffusion and Varieties. Bangkok Metropolitan. The Center of Folklore Research and Dissemination Project on Academic Works, Faculty of Arts, Chulalongkorn University. [In Thai]
Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 222