Performance Tactics: Hanuman's Role in Khon's Performance Wirunchambang Episode

Abstract

This research article focuses on the study of Hanuman’s battle choreography in the Ramakien epic, specifically the episode of the Battle against Wirunchambang, following the style of National Artist Khru Kri Vorasarin in the field of Performing Arts (Dance – Khon) in 1988, as passed down through Ajarn Wirot Yusawas, a Thai classical dance expert from Bunditpatanasilpa Institute. The objective of this study is to analyze the performance components of Hanuman’s battle choreography against Wirunchambang in the Ramakien Khon performance. The research employed qualitative methodology, with fieldwork involving dance practice and data collection from academic documents to analyze Hanuman’s battle choreography in this episode.

The findings revealed that the battle choreography in the “Khon Na Cho” style of the Ramakien, episode Battle against Wirunchambang, based on the royal literary version from the reign of King Rama II, is divided into 3 processes: 1) the process of Hanuman’s search for the sacred foam, comprising pursuit and searching gestures; 2) the process of Hanuman’s battle with Wirunchambang, comprising challenge gestures, preparation for battle gestures, fighting gestures, and club-snatching gestures; and 3) the process of killing Wirunchambang, comprising club-striking gestures and Hanuman’s departure gestures. The performance followed the traditional style passed down by Khru Kri Vorasarin from the Royal Entertainment Department, accompanied by traditional Thai percussive music (Phleng Na Phat) appropriate to each scene. The structure of the battle choreography includes patterns from traditional monkey-versus-giant combat, as well as newly created gestures distinctive to the Battle against Wirunchambang episode, namely: the sacred foam search gesture, the backward floating gesture, and the slaying gesture of Wirunchambang.