The Creative Northeastern Thai Folk Performance entitled of Tum-Hom-Aouy-Phorn

Abstract

          The creative Northeastern Thai folk performance entitled “Tum Hom Aouy Phorn” (Gathering for Blessings) was undertaken with the following objectives: 1) to study the conceptual framework and characteristics of traditional Isan foundational dance movements, and 2) to develop a choreographic work in the form of Isan folk dance. The scope of the study focused on the foundational movements of Isan dance as transmitted by Msr. Chaveewan Phanthu, a National Artist in the field of Performing Arts (Mor Lam) in 1993.The methodology of this research consisted of three key approaches: 1) A review of relevant documents, research studies, and interviews concerning the Isan way of life, the art of traditional Isan dance, and theoretical frameworks pertaining to choreographic creation in Thai classical and folk dance. 2) Participatory observation through direct engagement in the practice of foundational Isan dance movements. 3) Application of the study’s findings as foundational information for the creative process in developing the performance.

          The result of studying found that

1. Isan Master native dance which be the lessons in Isan native dance practicing for getting out the same dancing standard, there are 48 dance postures with dancing thoughts in 3 types as 1) Dance posture copied the animal actions. 2) Dance posture copied characters and natural movement in daily lifestyles and 3) Dance posture from the local literature’s thoughts.


2. To create the performance in the Isan native dance, there are 4 steps in working as these 1) The preparing of performance step by naming the set of performance from mixing between
   the middle Thai language and Isan Language in the name of Tum-Hom-Aouy-Phorn which divide
   the performance into 3 parts be the 1^st part Isan Union living, the 2^nd part Dispelling evil out of body, the 3^rd part Asking the blessing from Holy things. 2) Performance designing step, taking Botphraya to be Kon Lum for blessing get along with the melody of Lai Tum Hom this was the new poem and then casting 9 performances as per the main standard then design costumes by blanket Pankung clothes which across the shoulder by Kitt clothes and wearing sarong Sint with hanging Chaypok with Sint Teen Dang clothes, taking hair bun putting RaungPheung flower and Pin with wearing silver jewelry. After that created dance postures and pattern transition by there are 5 thoughts of dance posture designing such as using identity of Isan native Fon, taking Isan master dance, applying from Isan master dance, using dance posture language and using the thought of Fon’s parade in any Isan festival for linking all dance postures. Beside these also taking visual arts theory to design the basic of Thai dancing rows, Morph rowing as arbor, and various morph rowing in the wide ban, in circle and as zig zag for getting the beautiful. 3) Focus group seminar step from honorable persons for evaluate the outcome’s quality and 4) Dissemination this creativity performance of Tum Hom Aouy Phorn.