SEAMEO-SPAFA Regional Centre for Archaeology and Fine Arts SPAFA Journal is published three times a year by the SEAMEO-SPAFA Regional Centre for Archaeology and Fine Arts. It is a forum for scholars, researchers and professionals on archaeology, performing arts, visual arts and cultural activities in Southeast Asia to share views, research findings and evaluations. The opinions expressed in this journal are those of the contributors and do not necessarily reflect the views of SPAFA. SPAFA's objectives : • Promote awareness and appreciation of the cultural heritage of Southeast Asian countries through preservation of archaeological and historical artifacts, and traditional arts; • Help enrich cultural activities in the region; • Strengthen professional competence in the fields of archaeology and fine arts through sharing of resources and experiences on a regional basis; • Increase understanding among the countries of Southeast Asia through collaboration in archaeological and fine arts programmes. The SEAMEO Regional Centre for Archaeology Editorial Board and Fine Arts (SPAFA) promotes professional competence, awareness and preservation of Pisit Charoenwongsa cultural heritage in the fields of archaeology and Professor Khunying Maenraas Chavalit fine arts in Southeast Asia. It is a regional centre Manote Kongdananda constituted in 1985 from the SEAMEO Project in Zulkifli Mohamad Archaeology and Fine Arts, which provided the acronym SPAFA. 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(662) 280-4030 j Rescue Archaeology/History E-mail: [email protected] j Museum Exhibit, Design and Curatorship Website: www.seameo.org/spafa -i Arts and Culture Management j Performing Arts Management Cover Photographs j Cultural Tours Nipon Sud-Ngam -i Consultancy Services on Teachers Training for Art Curriculum Development SPAFA Journal Volume 9 Number 3 (September-December 1999) CONTENTS 5 Performing Arts during the Reign of King Rama IX Surapone Virulrak 14 Role of the Government Agencies in Documentation and Promotion of the Performing Arts in Thailand Khunying Maenmas Chavalit 20 The World Heritage Education Kit UNESCO 22 Conferences 27 Art on Show 41 World Wide Web Sites 46 Bookmark Performing Arts during the Reign of King Rama IX1 by Surapone Virulrak Ph.D2 Introduction Performing Arts during the Reign of King Rama IX is a research paper undertaken with the aim of studying the activities of performing arts in Thailand since His Majesty the King ascended the throne in 1946 (in 1999 the Thais celebrate his 72nd birthday and the 52nd year of his reign). The research focuses on the development of major theatre genres deriving from this period, including foreign forms which play a significant role in the performing arts culture of the country; information in available documents pertaining to performing arts of this period; interviews and questionnaires; and observation of live performances and videos. The research in this paper is divided into five aspects. First, the description of His Majesty the King's contribution to performing arts. Second, the descriptive analysis of performing arts educa- tion which is definitely a great achievement. Third, a survey of the status of various performing arts being performed in this period. Fourth, the study of rabam or dance set pieces which were choreo- graphed in a large scale. And fifth, an exploration into the characteristics of performing arts during Nora Poom Tewa, a great nora dance guru, performed for His Majesty the King at Chitrlada Palace, 20 March 1971 this reign. performance; these words are used today to Historical Perspective mean group dance, using hand and arm move- Performing Arts in Thailand were mentioned in ments or leg and foot movements. Len pleng stone relics and literature since the Sukhothai (sing song) dance presentation is also be- Period (1328-1350). Rabam, ram, ten are some of lieved to be performed as early as during this the terms which referred to certain kinds of period. 1 A research funded by Office of the National Culture Commission 2 Associate Professor, Chulalongkorn University SPAFA Journal Vol. 9 No. 3 Early Ayutthaya Period (1350-1456) saw with songs, were initiated by King Rama V but more kinds of performing arts: Kanlalen Kong did not become popular. Luang or royal ceremonial dances, nang or During the reign of King Rama VI (1911- shadow puppet, hun or doll puppet and lakon or 1925), performing arts, old and new, were sup- dance drama. Chak nak Dukdamban, or ported substantially by the court and the public ceremony depicting the churning of the ocean alike. Rongrien Pran Laung, the first official to create the immortal spirit, was performed on school for traditional performing arts, especially special occasions. These performing arts were Khon, was established under the royal patron- gradually developed into Khon (masked play), age. Lakon nok (public dance drama) and Lakon nai (court dance drama) during the Late Ayutthaya King Rama VII reign (1925-1935) saw the Period (1456-1767). This period also enjoyed emergence of Lakon pleng, a musical drama various imported performing arts from with western musical ensemble. During this neighbouring countries. reign, the absolute monarchy was replaced by constitutional monarchy. Performing arts, once The Thonburi Period (1767-1782) revived under the patronage and the leadership of the all kinds of performing arts which were monarchs, passed into the hands of the civilian diminished by the war that had caused Ayutthaya government. Kingdom to fall. The government, under a democratic Started in 1782, the Bangkok period has system (in the reign of King Rama VIII, been ruled by King Rama of the Chakri between 1935 and 1946), and the public were Dynasty. During the reign of King Rama I-III interested in new kinds of performing arts. (1782-1852), revitalisation and refinement of the Lakon Luang Wijit or Mr.Wijit Style of Drama performing arts were derived from Ayutthaya or spoken drama, with song and dance express- and Thonburi periods. The Lakon nok baeb ing nationalism, was extremely popular. luang, a mixture of Lakon nok and Lakon nai, Rongrien Nattaduriyangkasat, a school of dance was an innovation of King Rama II to suit his and music, was established. The development court ladies' potential. Lakon chatri, a mixture of Performing arts in Thailand, however, was of nora dance drama of the south and Lakon greatly affected by dictatorship and the second nok, were merged by professional artists in the world war. reign of King Rama III. His Majesty the King and Performing There were various new kinds of perform- Arts ing arts during the King Rama rv and V reigns (1852-1911), with more social freedom and His Majesty the King has been involved in westernisation. The new forms mainly derived performing arts since his childhood. His from early periods, containing or omitting some involvement can be divided into five roles: first, elements to cater to the new social mode. They as the good example of leader of the family; were Lakon pantang, dance drama (flavored with second, as the arts philosopher; third, as the foreign nationalities residing in Bangkok); Lakon great artist of the nation; fourth, as the divine dukdamban (a modification of Lakon nok and king; and fifth, as the royal patron of the arts. Lakon nai, with realistic scenery); Lakon rong Firstly, His Majesty the King, the Queen (an operatta); and Likay (a musical dance drama and their royal children set an example as a interspersed with comedy). Lakon pood, spoken family who always recognise the importance of drama and Lakon pood slab lam, spoken drama the performing arts. Members of the royal 6 SPAFA Journal Vol. 9 No. 3 family have been involved in one kind or contribution to improve the quality of life. In another of the performing arts. At school in one of his speeches, he said: the palace, Crown Prince Maha Vajiralongkorn "...Thus, artists are very important performed Khon masked play on several in order to express with efficiency, occasions. Crown Princess Maha Chakri intention, and sincerity. Most impor- Sirindhorn, as well as Her Royal Highness tantly, artists must intend to achieve Princess Chulaporn, also performed numerous the goal of the arts. The goal is to let Thai dance pieces, and Her Royal Highness other people see the truth (of life). Princess Ubolratna enjoyed classical ballet. And when seeing the truth, the people Their Majesties paid much attention to this will adapt and build themselves for matter by closely observing their children's the better. Arts can also lead to other rehearsals and presiding over their perfor- directions. Arts may also invite other mances.