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A Form of Conservation and Inheritance for Ceremonial Dance

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A Form of Conservation and Inheritance for Ceremonial Dance Asian Social Science; Vol. 9, No. 7; 2013 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education A Form of Conservation and Inheritance for Ceremonial Dance in Ancient Ruins of Southern Isan Manutsawee Srirachlao1, Patamawadee Chansuwan2 & Urarom Jantamala2 1 The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham Province, Thailand 2 Faculty of Fine Arts, Mahasarakham University, Maha Sarakham Province, Thailand Correspondence: Manutsawee Srirachlao, 71 Moo 13, Kaeng Loeng Chan Sub-district, Mueang District, Maha Sarakham, 44000, Thailand. E-mail: [email protected] Received: March 20, 2013 Accepted: April 18, 2013 Online Published: June 1, 2013 doi:10.5539/ass.v9n7p200 URL: http://dx.doi.org/10.5539/ass.v9n7p200 Abstract Ceremonial dance in ancient ruins of southern Isan is a part of culture that has been visible in Thailand since antiquity. Despite changes to the social and cultural landscape of the nation, ceremonial dance has been preserved, although the latest waves of modernity are threatening to destroy the art form. It is now vitally important for local communities to conserve and pass on knowledge of their rituals and customs to future generations. This qualitative research examines the background and current conditions of ceremonial dance culture in order to suggest a model for future preservation, which can be employed by local communities to prevent the disappearance of this ancient art. Keywords: conservation, inheritance, ceremonial dance, southern Isan, ancient, worship 1. Introduction Culture is a necessity of human life that helps humanity and society to higher development by having no end. However, this path to higher development is dependent upon the ability of humans to improve or create appropriate new culture. If the culture is particularly suitable, the society will be able to prosper commensurately. Suitability of culture is the creation of benefits for everyday life in the society (Lengbracha, 1990: 19). Therefore, culture will reflect the quality of people’s lives, as well as the art and culture of the local community, according to the regions of Thailand. The Isan Region, or the Northeastern Region of Thailand, is a large, wide area of many settlements and makes up one third of the land area of the country. There are twenty provinces in the region, which consist of Nakhon Ratchasima, Khon Kaen, Chaiyaphum, Buriram, Yasothon, Surin, Sisaket, Roi Et, Maha Sarakham, Loei, Sakon Nakhon, Nong Khai, Nongbua Lamphu, Udon Thani, Mukdahan, Ubon Ratchathani, Amnat Charoen, Nakhon Phanom, Kalasin and Bueng Kan. Nowadays, the Northeastern Region is developing and promoting tourism in government districts, especially in the lower areas, such as Nakhon Ratchasima, Buriram, Surin and Sisaket. The prominent features in these areas are ancient stone ruins, specifically of Prasat, or ancient temples, which represent the artistic culture of the locality and country. These areas are worth conserving and restoring because they provide cumulative evidence of knowledge, meaning and value of culture from the past until the present. This information can be learnt by future generations in order to make them understand their origins and instill Thai national pride (Tourism Authority of Thailand, 2011: 3). Ancient ruins represent the stories of and pride in the human past, which bring about conscious mental awakening to their own conservation by revealing concepts and methods of practices employed from the past to the present. Various Thai theories concerning the preservation of ancient ruins are found in historical documents, inscriptions and assorted chronicles (Suksawat, 1994: 157). Currently, important ancient ruins are places of faith and worship of the people, who host various ceremonies and rituals in order to show their unconditional belief in these sacred relics. Aside from this, the sites are cultural tourist attractions that give additional value to these ceremonies and transform them into local culture. One such example is the Phimai Tourism Festival in Nakhon Ratchasima. At this festival there are light and sound performances to tell the legend of Vimay Natakan and the act Niramitkam Nuea Lam Nam Mun, which is a story told by dance that was adapted from images and deep, precise study of the period of Emperor Jayavarman VII. The performance is extremely famous and is held annually from the thirteenth to the fifteenth of November in the Phimai Historical Park, Phimai District, Nakhon 200 www.ccsenet.org/ass Asian Social Science Vol. 9, No. 7; 2013 Ratchasima Province. In Buriram Province, a festival is organized in the sacred month of Phanom Rung, which runs from the fifth of March until the fourth of April. This festival is to publicize the importance of Prasat Phanom Rung in order to promote tourism in the temple city. The prominent characteristics to attract the interest of visiting tourists are rituals to give offerings to the sacred relics in the Phanom Rung Historical Park, rituals to give offerings to Pra Jao Prasat Thong and the ritual to offer eight lotus petals to the universal centre of Shiva Lingam, which is a representation of the Hindu deity Shiva, and a sacred relic on Prasat Phanom Rung. Surin Province organizes the ‘Inheritance of the One Thousand Year Legend of Prasat Sikhoraphum’, during which there is a carnival procession of Khmer, Laos, Kuay and Chinese cultures, a ritual to give offerings to Prasat Sikhoraphum and an acting performance, including color, light and sound shows to tell the story of the ‘Inheritance of the One Thousand Year Legend of Prasat Sikhoraphum’ and the act Kasintara Maha Natakam Dam Nan Pan Bi Saiwa Mani Sikhoraphum. Sisaket Province holds the festival entitled ‘Recollection of Prasat Sa Kamphaeng Yai on the second day of the waxing moon in the fifth month of Wissuwa Songkran’. Activities at Prasat Sa Kamphaeng Yai during the festival include rituals to give offerings to Prasat Sa Kamphaeng Yai, seven Sriphrutthesuan carnival processions, an acting, color, light and sound show to tell the story Sirawatri Haeng Sriphrutthesuan, evening meals, the Miss Sriphrutthesuan Beauty Contest and Buddhist prayer song recital competitions (Tourism Authority of Thailand, 1999: 28-9). The organization of religious ceremonies, the promotion of local wisdom related to religious ceremonies and restoration and conservation are achieved by holding ceremonies that represent the beliefs and faith of the local residents. When holding a religious ceremony, the actual practices in the local community and the Buddhist, Brahman or Hindu religions are to be followed, especially during sacred festivals. Tourists visiting outside holy festivals miss the opportunity to experience the ceremonies. In light of this, the lengthening of festival durations would better accommodate locals and visiting tourists, enabling them to participate in religious ceremonies according to their belief at every suitable opportunity. Regarding the organization of rituals and traditions at the various ancient temples, the one imperative feature is ceremonial dancing. These are performances by students, youth and the local community that retell the history and form of ancient Khmer rituals for the benefit of domestic and foreign tourists so to improve their knowledge of ancient ruins in national historical parks. The prominent feature that attracts the interest of the tourists is the ritual of making offerings to spirits, especially ceremonial dance, which not only offers insight into sacred customs, but also highlights the local identity from the architectural and sculptural symbols visible on the ancient temples. The reason for this is that the procedures of each dance at each ancient temple are designed from the evidence available at and on the archaeological sites of the temples, in addition to local beliefs. In order to adapting histories, sculptures, paintings, carvings and archaeological evidence to dancing postures, the creators or designers must know and understand the key principles of the creation without using misconceptions or preconceived ideas. Several experts created performing projects in this manner, such as Lamun Yamakhup and Chaloei Sukhawanit, who, after studying ancient remains and historical objects, were able to create many performances. These performances include Ra Bam Lop Buri, which was created from the idea and model of Phra Prang Sam Yot, Lop Buri Province, and Ra Bam Sukhothai, which was created from the ideas and models of dancing in the sculptures of Sukhothai Province (Sunthranon, 2005: 16-19). As a result of the historical information that has been concretely researched and arranged by historians and archaeologists in the form of documents, essays, current academic work, in addition to the theories, beliefs and customs of local Thai people, concepts of ceremonial dance have been created in order to reflect the identity of the local people in areas of ancient ruins, to coexist with other dances and to gain popularity as a part of the ritual of offering in the festivals that have been inherited until today. Ceremonial dancing performances not only play important roles in worshipping ancient ruins but also act as instruments for perpetuating folk culture and history through dancing postures and melodies, including costumes, which are adapted from models in carvings or sculptures found in the ruins. Thai dancing performances created by famous experts promote national culture and arts in
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