ARSURAPAT’S TROOPS REVIEW DANCE STRATEGIES IN KHON PERFORMANCE

Abstract

       This research aims to examine the dancing techniques in the scene of Asurapat’s troop in Khon performance. The research is conducted with two objectives as follows: (1) to investigate the background of Asurapat’s role in Khon performance, and (2) to study dancing techniques used in performance of Asurapat’s role in Khon. This present study analyzed the insight from Master Prasit Pinkaew, National Artist in Performing Art (2551 B.E.) whose specialization is in Thai performing art of Khon Ling (monkey role in Khon). The master followed the dancing techniques of Mr. Kree Worasarin, National Artist (2531 B.E.) in Performing Art (Khon). This qualitative study employs documentary research of textbooks, document, academic articles and related studies in the area. In addition, a field study was conducted to observe the practice of dancing techniques and to collect qualitative data for analysis. 

       The results reveal that (1) Asurapat, a half monkey and giant, could be considered as a special character with mixed features of monkey derived from Hanuman which is his father and giant features derived from Banyakai which is his mother. Asurapat; therefore, had a body and hair of giant and face of monkey with white skin. The significant role of Asurapat comes from his position as an army of Phra Prot and Phra Satarut, and as a descendant of Thosakiriwong; (2) the performance of Asurapat’s troop reviewing dance was divided into two parts. The first part as analyzed from the practice of Master Prasit Pinkaew who followed the techniques of Mr. Kree Worasirin was observed to be a direct repetition from his master’s model There are 39 movements in total. The second part was the improved version of dancing techniques to accommodate the instruction according to the curriculum of intermediate Thai traditional dance (2524 B.E.). It could be observed that in the first scene, the dancing of troop reviewing was performed with monkey gestures with giant expressions.