Short Spear In Thai Classical Dance

บทคัดย่อ

The  purposes of  this  research  was to study:  1)  Create Short Spear in Thai Classical Dance by qualitative Analysis methodology.  Data sources are specialists, artists, staff of teachers in Thai Music and Drama  6 persons.  The tools in research be non-functional questionnaires and observation form of short spear dance in I-NAO literature of Kamangkuning episode. Data analysis through story. The weapon method of short spear there are 3 types are dance posture be the dance with weapons in hands for showing the actor’s skill or his using weapon skill like as Ching Klong and Plockchang dance, war posture be the fighting by weapon battle such as over and under hitting, spear throwing, horse riding posture be the using horse as vehicle in war as standing horse, marching horse, moving horse. The ways in creativity through 3 steps are creating the type of performance, creating the dance postures in each episode, creating the types of rows in dancing.  The creating short spear in Thai Classical Dance was processed as above postures by assemble with the music of these songs ; Phrayadern, Cherd and Sarama songs by setting the 6 actors in leading actors’ costumes with Punjured crown on heads using each a pair of short spears with inserting the horse models on their bodies which are the symbol of the battle by using short spear as the weapon on hors in war.  2) Short spear is in the kind of cut and stab weapon since Ayudhaya era.  From evidences presumed that short spear may not be the origin of Thai weapon as others but may get the prosperity from nearby country in Malayu. Short spear appeared in 4 Thai literatures are Aniruth Kamchan, Ramayana, I-NAO, and Lilittalengpai by mentioning short spear’s roles in 2 types are in getting ready the troops and its using in war of leading actors. 3) Only one literature that mentioned short spear’s role in performance is I-NAO in episode of Kamangkuning war that had its different of identification dance posture from others weapons.  The belief that be the inherit culture since the era of His Magesty the Rama II King Bhabudhalertlarnaphalai until to drama court of Suan Kularb palace and department of Fine Art.