Development of Mekong Basin Retro Folk Dance Performance Art

Abstract

This research aimed to study the history, elements, roles, and values of retro folk dance performance and to develop the Mekong basin retro folk dance performance art by qualitative research in the areas of Ampher
Phiboonmungsaharn, Ubon Ratchathani Province and Pakse City, Champasak Prefecture. The data was collected from the sample group. The total of 25 individuals in the target group consisted of scholars, artists, and general
people in Ampher Phiboonmungsaharn and Paksa City and could be
categorized into 3 groups; 5 knowledgeable people, 10 performers, and 10 general people. The tools used in collecting data were a structural interview form and an observation form. The data was presented with descriptive analysis. The results revealed as follows: A retro folk dance band called Phiboon Calypso 2499 was established in the year 2005, gathering singers, musicians, and folk dance girls in Ampher Phiboonmungsaharn. It is one of the famous retro folk dance bands of Ubon Ratchathani Province. In Pakse, folk dance has a long history and has been popular until now. The elements of retro folk dance of Phiboon Calypso 2499 were as follows. There were 15 dance postures, most of them using hands freely without fixed formats. The songs and music emphasized on enjoyment. The costume in the early age was homegrown, but later short skirts, short sleeved blouses, and canvas shoes became popular. The folk dance shows were usually performed in various occasions such as traditional religious ceremony, housewarming, wedding, and other joyful festivals. In Pakse, the men’s folk dance posture was rolling hands courting on girls while women’s folk dance posture was tramping and sweeping hands forward according to the rhythm. The songs and music in the past were adagios, revolution songs, and state policy songs. Paslop was the most popular rhythm and became the identity of People’s Democratic Republic of Laos. Men’s costume was
fashionable while women’s costume was sarongs with pedestals. The folk dance shows were usually performed in religious ceremony, traditional
ceremony, and other joyful festivals. Retro folk dance have roles and values in the aspects of belief, culture, social, entertainment, cohabitation,
performance art conservation and inheritance, and development of Mekong basin retro performance art. The 8 postures in 4 rhythms of folk dance were choreographed by the researcher as follows. Wandering Saphue Rapids and Steamed Dumpling were in Off Beat Rhythm. Playing Water in the Rapids and Splashing Water in Songkran Festival were in Tom-tom Rhythm. Playful Running Boy and Girl and Walking Forward to Seek a Mate were in Cha Cha Rhythm. Galloping and Ill-mannered Woman were in Tiptoeing Horse. The costume was developed to be more colorful, beautiful, and fashionable;
flowery designed dress with puff sleeves, bow around waist, flowery small hat on hair, white pearl necklace, flowery earrings, and white shoes. Once the show was performed in the local area, it gained good feedback from the audience. Also, the retro folk dance is beneficial for younger generations to learn and appreciate the aesthetics. As a result, with the retro folk dance
performance as a medium, the cooperation between communities was built.