THE CHOREOGRAPHY OF RUM SAAD IN DANCE DRAMA “MANORA”, EPISODE: PHRA SUTHON CHOOSES A PAIR BACHELOR OF EDUCATION PROGRAM IN THAI DANCE EDUCATION, BUNDITPATANASILPA INSTITUTE

Abstract

The objectives of this research aim to 1. examine the background and composition of the dance drama “Manora”, a case study on the episode : Phra Suthon chooses a pair, and 2. analyze the choreography of Rum Saad in this captioned episode as indicated in the 1999 curriculum of Bachelor of Education Program in Thai Dance Education, Bunditpatanasilpa Institute from which the choreography of Rum Saad in the captioned episode has been passed on to Khru Nopparat Suppakarn Wangnaitham, the expert in Thai Classical Dance, as the female protagonist whereas to Khru Venika Bunnak, the National Artist, as the male protagonist.

            The research findings revealed that the Drama Manora’ s script was newly edited with an integration of various dramatic performance arts to become Manora Chatri and Lakorn Nok.  However, both remained maintain the legendary original tradition of Lakorn Chatri such as musical playing with Piphat Mai Nuam – a stringed instrument, used in the original Lakorn Chatri, together with Pi Chawa (clarinet), tone Chatri and tuk drums in an ensemble and using singing songs of Vessukarm and Lakorn Chatri; Rai Chatri, Rum Saad and Chatri Talung.  In view of costume style, dancers wore traditional dancing costumes with an identity decoration of the Drama “Manora”; wearing Sed Phra and Sed Nang (headdress in Nora style) for both Phra (actor) and Nang (actress) while each Sed separately represented who was Phra or Nang) with dressing up in beautiful theatrical costumes particularly designed for Phra and Nang of Lakorn Chatri. 

Considering and analyzing Rum Saad choreography performed in Episode: Phra Suthon chooses a pair in Drama “Manora” as indicated in the 1999 curriculum of Bachelor of Education Program in Thai Dance Education, Bunditpatanasilpa Institute, it was found that the main posture for choosing a pair was influenced by Lakorn Chatri performance and the ones who passed on this knowledge were Khru Mullee Khongprapas who previously used to perform Lakorn Chatri and Khru Lamoon Yamakup, a modifier and designer of choreography. The Rum Saad choreography emphasized on dancing in line with the beat of tone Chatri; 1 beat consisted of Pa ToneTone PaTone TonePa sound.

The main choreography of Rum Saad consisted of 1) 3 master poses of Nora Dance, 2) 4 master poses of Rum Saad Chatri and 3) 2 master poses of the Mae Bot Yai (the master dance regarded as the archetype of the stance in the form of Thai dance)

In Rum Saad song, there were 7 characteristics of combining choreography of Kinnaree that were similar to the one in 4 songs of the standard dance consisting of 1) 4 poses of the Mae Bot Yai song, 2) 1 pose of the Mae Bot Lek song, 3) 2 poses of the Slow song and 4) 2 poses of the Fast song.

The choreography of Rum Saad was divided into 3 characteristics:

1. 1. Rum Saad of choosing a pair performed by single dancer


2. 2. Rum Saad of choosing a pair performed by a couple of dancers


3. 3. Rum Saad of choosing a pair performed by a group of dancers

The deployment of Rum Saad choreography had 3 patterns; 1) Pak Phanang (V shape), 2) semi-circle, and 3) circle. The dancers’ movement was subject to entering and exit of the couple Kinnaree dancers whereas a row movement within the circle had Pra Suthon stand at the center of the circle to allow him to choose Manora to be his partner.