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A Comparative Study on Performing Identity of Khon Ramayana Dance and Fon Phra Rak Phra Ram

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A Comparative Study on Performing Identity of Khon Ramayana Dance and Fon Phra Rak Phra Ram Journal of Engineering and Applied Sciences 15 (3): 838-846, 2020 ISSN: 1816-949X © Medwell Journals, 2020 A Comparative Study on Performing Identity of Khon Ramayana Dance and Fon Phra Rak Phra Ram 1Thanyaluk Moonsuwan, 1Burin Plengdeesakul and 2Pattamawadee Chansuwan 1Faculty of Fine and Applied Arts, Khon Kaen University, 123 Mittraphap Road, Nai Mueang Sub-District, Mueang District, Khon Kaen, Khon Kaen Province, Thailand 2Faculty of Fine and Applied Arts, Mahasarakham University, Talat, Mahasarakham Province, Thailand Abstract: This study aims to: study the history of Khon Ramayana dance of Thailand and Fon Phra Rak Phra Ram of the Lao People’s Democratic Republic; study the current state of Khon Ramayana dance in Thailand and Fon Phra Rak Phra Ram in the Lao People’s Democratic Republic; to compare the identity of Khon Ramayana dance of Thailand and Fon Phra Rak Phra Ram of the Lao People’s Democratic Republic. Tools for data collection consist of observation form interview form and group discussion. Target group consists of four knowledgeable persons or experts in the performance of Khon Ramayana dance and Fon Phra Rak Phra Ram. Performers include 12 actors and musicians of Khon Ramayana dance and Fon Phra Rak Phra Ram. Presentation of the study results is applied with descriptive analysis methods. The study found that Khon is one of the high-class performing arts of Thailand that has a magnificent beauty and a dance style resembling Lakhon Nai (the royal court dance drama play), showing the story sequence like a drama play while Fon Phra Rak Phra Ram is one of the outstanding performing arts in Laos that has been inherited to the present in Vientiane. For the current conditions of Khon Ramayana dance and Fon Phra Rak Phra Ram there are elements of the performances that have changed from the past to the present which was influenced by the culture of performances from neighboring countries. This indicates the identity of Khon Ramayana dance and Fon Phra Rak Phra Ram that both performances still retain the ancient traditions and still an indication of nationality transmitted through the acting style, dance style, narration and dialogue narration, music and costumes which may have some limitations that make the performance somewhat incomplete but still remain exquisite and structured, so, the performing arts are of people’s awareness to be appreciated by the value of arts and culture through the performance of Khon Ramayana dance and Fon Phra Rak Phra Ram. Key words: Comparison, identity, Khon Ramayana dance, Fon Phra Rak Phra Ram, nationality transmitted, limitations INTRODUCTION addition, Ramayana is a literature that not only shows the great power of the monarchy according to the belief that Ramayana (Thai version: Ramakien) is a literature the king is referred to an avatar of god who has come that appears in the Ramayana epic, originated in India. down to overcome misery; it also emphasizes virtue and Ramayana has spread to Suvarnabhumi region where Lao, compassion. Originally, the Ramayana epic literature was Khmer, Thai, Indonesian, Burmese all receive Ramayana purposed for a prayer to worship gods, especially, god epic to create literature or be retold according to their own Vishnu. It has been developed from the prayers to use interpretation and have the title changed due to preferable actors as characters to represent god and to praise the pattern of performances of each country (Aemsaart, gods as well. Later it was adapted to represent the status 2016). and representation of the king who was referred to be a In Thailand, the performance is called “Khon”, part of god Vishnu descended into a human being to playing the Ramayana epic of which the content subdue the sufferings and eliminate the sufferings for resembles Ramayana in neighboring countries. In addition human beings, reflecting merits and god-like power of the to reflecting literary values, the content also points out king. The royal play then became part of the monarchy beliefs, values and ideals of that particular society-loyalty, and symbol of the king used to display in various humility, respect for the oath, gratitude and courage. In ceremonies to strengthen the status of the king that is Corresponding Author: Thanyaluk Moonsuwan, Faculty of Fine and Applied Arts, Khon Kaen University, 123 Mittraphap Road, Nai Mueang Sub-District, Mueang District, Khon Kaen Province, Thailand 838 J. Eng. Applied Sci., 15 (3): 838-846, 2020 different from the general people including kings of the by Khmer by Thailand and by the traditional dance, until other countries. The royal play also has a procedure, developed into a modern dance style of Luang Prabang at pattern and rules that are reserved for a royal use, present. For the dance style, movements can be divided exclusively for the king. according to the 4 main character which are Thao, Nang, In the Lao People’s Democratic Republic, the epic Yak and the monkey and the transfer of the dance is the has been chosen and adapted according to local beliefs transfer of knowledge between the teacher and the and became a literary story known as “Phra Rak Phra student directly, the ‘Fon’ or dance style is therefore, Ram” and “Phra Ram Jataka” which reflect the beliefs unique to each person with the naturalness of using that blend between Buddhism, Brahminism and ghost the body through the dance style of each person respect through the livelihoods of Lao people such as (Lertlam, 2015). honoring the younger people and conservative practice. Therefore, the Khon Ramayana dance and Fon Phra The literature also demonstrates the political, Rak Phra Ram are part of the performing arts that is administrative, economic and lifestyle aspects of the Lao considered the integration of art and science in various society, similar to Ramakien of Thailand. ”Ramakien” is fields including literature, musical work, dancing, an important Thai literature which originates from the craftsmanship and self-identity but still exists under the “Ramayana” that has been influenced by the ancient original literature from the Ramayana epic like other Khmer through the state of Lawoe located in the Chao countries that share similarities in many ways including Phraya river basin, which was in the same age as Angkor the acting style, belief or even the dance style, music in Wat before inheriting later to Ayutthaya period. The early the play. These are interesting issues for the study of the “Ramakien” received from Khmer is considered unique influence and cultural diffusion, relationship of the among the rulers, being performed at ancient rituals such performing arts in various related fields. as “Nang Yai” (Grand Shadow Puppet Theatre) which has With the importance mentioned above, the identity of later evolved into a performance called “Khon” then Khon the performing arts of Khon Ramayana dance and Fon became widely known to wider public and despite having Phra Rak Phra Ram appeared through various areas of been rooted in India, the performance has been created to cultural elements of each country. Culture in performing have a unique style of Southeast Asia that cannot be found musical arts and dance is considered an important tool in anywhere in India. linking good relations between countries and increase the Khon is a show that is not originated from one kind opportunity to exchange knowledge and create a culture of plays but an integration of plays performed at different together, resulting in good relationship that can traditions combined into a new thing called “Khon”. For communicate the identity of the countries with similar instance, the art of narration, dialogue narration, the Na cultures in ASEAN as well as can be disseminated as Phat music and dance styles. Some elements of the knowledge of performing arts in a regional cultural presentation style come from Nang Yai while the art of society including the principles of how to connect, blend costume and acting style associated with rituals come the culture of acting with aesthetics, creating awareness from the Duekdamban play (ChakNakDuekdamban), and appreciation of the good relationship that will lead to martial arts uses of weapons, riveting movements. Some the goal of mutual success in the region. elements are taken from Krabi Krabong performance which the puppeteers applied for some other time until it Objectives: becomes the dance style of the present performers. Khon is not originated from one kind of plays but integrated C To study the history of Khon Ramayana dance of from plays performed at various traditions. The Thailand and Fon Phra Rak Phra Ram of Lao performing arts that should be taken as a model; each type people’s Democratic Republic of the plays is indicated as follows: the art of narration, C To compare the identity of Khon Ramayana dance of dialogue narration, the Na Phat music and dance styles are Thailand and Fon Phra Rak Phra Ram of Lao derived from Nang Yai performance, the art of costume, People’s Democratic Republic the appearance of costumes and performances related to rituals are derived from the Duekdamban play, martial Research framework: For the study titled “A arts, uses of weapons, riveting movements, come from comparative study on performing identity of Khon Krabi Krabong performance. Nang Yai performance Ramayana dance and Fon Phra Rak Phra Ram”, the which is taken to the show is applied for some other time researcher divided the analysis topics into identity of until it becomes the Khon dance style at the later time. Khon Ramayana dance of Thailand and Fon Phra Rak Nang Yai is one of the oldest performing arts of Thailand, Phra Ram of Lao People’s Democratic Republic. featuring the use of big puppets in the show (Tepwong, Conceptual framework is based on identity concept and 2005).
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