Authors:Athit Sudabut Pages: 1 - 23 Abstract: The purposes of this research were to: 1) study the history and components of Ram Chui Chai (a kind of Thai traditional dance), 2) analyze the components, principle and method in creating Ram Chui Chai Ramawatan, 3) create a performance of Ram Chui Chai Ramawatan. Data were collected from documents, interviews, observations of Thai dramatic arts experts and people concerned to use as information for the creation of the performance. Group conversations were also set up to check the correctness of the performance. The results revealed that Ram Chui Chai was a name of both a song and a dance. The purpose of the dance was to celebrate self-admiration after transfiguration or being adorned. The components of Chui Chai song consisted of - 1) playing Plen Ok (stage entering song) and Pleng Rua. 2) 2 lyrics of Chui Chai song (3 stanzas each) and 2 lyrics of Mae Sri (2 stanzas each). After finishing each stanza of Chui Chai lyrics the pi (reeded wind instrument) would be played to imitate the words of the lyrics. Likewise after finishing Chui Chai songs the Pi Phat (wood xylophone) ensemble would play Chui Chai tune. 3) After finishing Mae Sri song, piphat ensemble would play Mae Sri tune. 4) Exit song (quick and bidding farewell songs). Ram Chui Chai could be classified into 3 types – 1) Full performance, 2) Deleted performance, 3) Chui Chai Phuang (without pi playing to imitate the sung words). The dance could also be divided according to types of performances into 4 group -1) Khon , 2) Lakhon, 3) Ram Chui Chai on special occasions, 4) Ram Chui Chai Burk Rong (a dance before the main performance). For the costumes, they could be either Yuan Khruang (fully dressed) or according to occasions. Musical instruments used were pi nai (reeded wind instrument) played to imitate words sung in the lyrics. Dancers needed to be skillful in Thai dramatic dance. Ram Chui Chai Ramawatan was a solo dance. The lyrics were composed from the history of Phra Ram (the hero in Ramayana). The tunes and dance movements were newly created according the Thai dramatic arts tradition. Ram Chui Chai Ramawatan movements were derived from the major movements of Pra Ram by adapting from the fighting movements and troop reviewing movements designed by the Fine Arts Department. The dance movements could be divided into 4 steps: step 1-entering the stage with Sot Soy movement together with pleng rua (a quick-rhythm song) and face coving gesture with one hand, step 2 – movements according to Chui Chai and Mae Sri songs, and step 3 - movements according to Bat Sakunee song. The costumes used were green with red long-sleeve Kruang Phra, Siraphon, and Chadayotchai (a crown). Musical instruments were those of hard wood xylophone ensemble. Chances of performances were to perform with Ramayana Khon, or on its own performance for the public. In addition, the researcher invented a new costume with an adaption of the traditional costume originally designed by the Fine Arts Department. PubDate: 2021-12-23 Issue No:Vol. 13, No. 2 (2021)
Authors:Thaveep Saowarat, Pongsatorn Phutthakhot, Witchuda Jantarachairot, Anugoon mokchai, Atchareeya Panyamongkol, Tanatchaporn Kittikong Pages: 24 - 54 Abstract: Contemporary performance “Telling - In a Grove” is a practice as research in performing arts. The creative process involved an analysis and reflection in order to develop performance methodology. The project has two objectives; to create a contemporary performance “Telling - In a Grove” from the short story “In a grove” by Ryunosuke Akutagawa and to find out how to best manage this specific creative process. The artistic process devided into 3 steps: (1) Analyze and create script; (2) Experiment with forms and (3) Presentation a performance. The research frameworks including Postmodernism and Social Structure were embraced into creation of the performance with the message – we shall not judge others, as each one has his/her own reason within complex realities. In the part of production management, understanding the form of performance highly affects the communication process, especially to director's direction and style and staff communication. As well as targeting group of audience and marketing design. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Kittipong Keativipak Pages: 55 - 84 Abstract: Example of cultural dimension and local wisdom approach concept to industrial crafts design was part of the research on “The design and development of industrial crafts products from the integration of local wisdom for increasing economic values”. The objective is to obtain industrial crafts products from the integrated and application of local wisdom to create a new industrial crafts product in promoted local arts and crafts to have more products and obtained products that can be developed further including cooperated between the communities in the production of works. Research methodology: This research was qualitative and there are 3 main components in this part. First, Studied research data using Individual Depth Interview and focus group methods. Second, Participatory action research methods for design developed, and selected the arts and crafts community groups in Lampang provinces, amount 4 communities by using the Purposive Sampling method. Third, Questionnaires based for evaluated the studied and opinions of 500 people on industrial crafts products. Results: 1) Focus on the development and creation of new products. The concept of creativity is community product development through knowledge and innovation to become an interesting industrial crafts product different from the original product and creating market opportunities.2) Example of cultural dimension and local wisdom approach concept to industrial crafts products from industrial crafts design framework, amount 2 products by using the cultural dimension of Howdah and Lanna art and crafts. 3) Assessing opinions about industrial crafts products by using the cultural dimension and local wisdom approach at the best level (mean = 4.59). PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Nutthaporn Laosuwan, Ratthai Porncharoen Pages: 85 - 115 Abstract: The objectives of this research were 1) to survey consumers’ demand over the souvenirs of the First Royal Factory at Fang Museum, 2) to design and develop tourism’s iconic souvenir for the First Royal Factory at Fang Museum, and 3) to evaluate consumers’ satisfaction with the souvenirs designed by the researcher. The method of this research was conducted to meet the research objectives as follows: 1) Data were collected using open-ended questionnaire from museum staff and consumer demand data were collected from the sample consumers and tourists visiting the First Royal Factory at Fang Museum. The data collection duration was 3 days. The number of respondents was 30. The sample was selected based on a simple random sampling. The research instruments were a checklist questionnaire and rating scale questionnaire, 2) questionnaire on opinions and suggestions from 3 product design experts, 1 marketing expert and 1 museum specialist. The key informants were selected based on a purposive sampling. The research tool was also rating scale questionnaire, 3) satisfaction survey on the designed souvenirs. The respondents were 110 tourists visiting the First Royal Factory at Fang Museum. The data collection duration was 1 week. They were selected based on a simple random sampling. The research tools were rating scale questionnaire. Data were analyzed using statistics, including average and standard deviation to measure consumers’ satisfaction. Analyzed data were then processed using descriptive statistics. The results of this research indicated that the sample consumers had the highest level of their satisfaction with the designed souvenir under the scoring criteria of 1 = beauty, 2= usefulness, 3= portability, 4= personal use or purchase as souvenir, and 5= suitability. The levels of satisfaction were ranked as follows: The first rank was "Ben - Bennie" screen printed canvas bag set with (=4.48, S.D.=0.72) The second rank was "Beranie" scarf with a dimension of 1x1 m at (=4.34, S.D.=0.75) The third rank was "Bamblue" stationery shelf organizer at (=4.06, S.D.=0.93) The fourth rank was "Birds in Blue" desk lamp at (=4.03, S.D.=0.94) The fifth rank was "Bulbul" 5x7 inches picture frame at (=3.70, S.D.=1.03) PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Sutee Julakarn, Jirawat Pirasant Pages: 116 - 135 Abstract: This research was mixed methods research presented data descriptive analysis. The purpose of the study cultural capital forms of production design in Thai feature films, this research has placed scope of work to study of Thai films from 2002 – 2012 is the industry. Thai feature films have a great response from audiences and very interested in Thai feature films. the researcher used the concepts of value, cultural capital in the analysis of Thai feature films that has content or presentation related to cultural capital, 11 Thai films, and There are 3 Thai films that are outstanding in production design the social context and cultural capital values, including 1) Sibha Kham Doan Sib Ed 2) The Overture 3) Panya Raenu. The results of the study found that the cultural capital forms of production design in Thai feature films. Production design put emphasize on realistic, Create harmony with the characters. Most of the scenes and costumes designs represent of value, cultural capital on create realistic from current events and support the mood of the story as well, such as the film on Sibha Kham Doan Sib Ed. The production designer that period films have requires color tone coverage simulation of locations, equipment to create a realistic story such as a film on The Overture. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Wilailak Binder, Patharaporn Wanuta Pages: 136 - 147 Abstract: The objectives of this research were 1) to study on motifs on celadon products from Sukhothai Province; 2) to design silver jewelry from motifs on celadon products from Sukhothai Province; and 3) to evaluate users’ satisfaction towards the style of silver jewelry from motifs on celadon products from Sukhothai Province. The samples are 30 people. The tool used in this research is the satisfaction evaluation questionnaire. The statistical values used for analyzing the obtained data are percentages, means and standard deviations. The findings from the research show that 1) The motifs on celadon products from Sukhothai Province are black shark minnow fish, fort and bloated back; 2) Silver jewelry set includes a necklace, earrings and a ring, the design principles are used to analyze the simplicity, the materials, the functions, the beauty and the unique; and 3) The experts satisfaction assessment results to the overall feature of the designed product is in the ‘high’ level (=4.04, S.D.=0.68) and the 30 people’ satisfaction towards the overall feature of the designed product is in the ‘high’ level (=3.93, S.D.=0.68). PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Saneh Sompoangeon, Warattha Kongsom Pages: 148 - 174 Abstract: This research aimed; 1) To study information and the guidelines from applying krajood residue 2) To test the effectiveness for the plywood sheet made from krajood residue 3) To design the contemporary lamps made from krajood residue 4) To take satisfaction of the contemporary lamps made from krajood residue. Therefore, there are three groups samples, such as three member representatives of Talaynoi community enterprise, five experts of product design and thirty representatives dwelling in Satorn District of Bangkok. Besides, the purposive sampling was selected, and the tools used in this research are semi-structured interview, Thai industrial standard 876-2547 test. pattern questionnaire, The research results were found as follows; It was found that there is the guideline to solve for the problems by utilizing of the krajood residue. For example, the compressed krajood residue can be brought to make the particle boards with the thickness as 36 x 36 x 1 centimeters. In addition, according to the assessment result of the krajood residue contemporary lamp pattern the suitability was shown in the excellent level, ( = 4.25, S.D. = 0.71). With this case, by using disassembled production methods and the characteristics of the leave projection were brought as the concept of design. What’s more, according to the effectiveness testing result all testing values were shown to be passed with the Thai industrial standard 876-2547. As the result, according to the satisfaction result from the dwelling people at Satorn District the suitability was shown in most excellent level, ( = 4.71, S.D. = 0.45) PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Thairoj Phoungmanee, Kodchasri Charoensuk, Pongpat Laokonka, Naiyana Ajanathorn Pages: 175 - 201 Abstract: This research article, the faculty of researchers, uses the qualitative research methodology in the study. The objective is to 1) study the area and context of Ban Nam Phon art and culture, Chiang Khan District, Loei Province, and 2) to study conservation and development guidelines for the art and culture of Ban Nam Phon, Chiang Khan District, Loei Province. The target population of 24 people in the research has come up with a specific method, using document studies, interviews and meetings as a tool and data collection method. Analyze data by content analysis Present data with analytical depictions. The results showed that: 1) Ban Nam Phon is a village in Chiang Khan District, Loei Province. The village has been established since 1875, with four people surveying the area, and 36 families have been evacuated. The art of the water house culture is distinguished and unique, namely the show of the liver, which has been passed down for more than 100 years, with government agencies and educational institutions constantly gaining knowledge and understanding of the value of cultural art. As a result of the development of education and society, the community lacks interest in the existing arts and culture, which only a small group of people try to inherit. 2) The approach to the preservation and development of the art and culture of Ban Nam Phon, the potential government agencies both in and out of the area, must enter into the recognition and appreciation process to raise awareness of the art culture that is about to disappear. (2) the establishment of a community-based conservation group or tourism management group, (3) studying community work, master conservation and extension of the arts and culture; (6) Education, Research Compiled to create a variety of media for publishing, and (7) Creating a group of youth in the area to have communication skills and cultural art for welcoming tourists. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Vassakarok Kaewloy, Jatuporn Seemuang, Yootthana Chuppunnarat Pages: 202 - 222 Abstract: This article is partial writing of a dissertation entitled ‘Splendid song selection and sound creation of Praya Sanoh Duriyang (Cham Sundaravadin)’. The purpose of this study was: to analyze crucial Khong Wong Yai solo pieces of which Praya Sanoh Duriyang had composed and have been inherited until present days namely Phaya Soke sam chan, Keakmon sam chan, Cherd Nork, and Grouw Nai sam chan. The study was a musical analyzing method particularly using Thai musical systematic approach. The paper is therefore descriptive writing to examine an idealistic construction on a Khong Wong Yai instrument of solo playing. The findings indicated that 1) the solo pieces were composed basing strictly on musical structures and principles of traditional viewpoints and perhaps occasionally using the flexibility of melodic and rhythmic contexts of song styles. 2) Arrangement of melodic equilibration on emphasizing defying-defending musical phases and special techniques. In addition, the sound creation process took up a clearness of Khong Wong Yai sound making and appropriation of physical playing between the techniques and melodic movements. This study tends to present a process of sound creation attentively focus on both melodic phrase units and entire songs. As well as, to maintain the original styles of musical tradition by schooling transmission through merely face-to-face learning methods. The process thus implicates the valuable importance of traditional practices-called oral tradition that is the dominant way of Thai music transmission in terms of preserving idealistic thought of music school in established practices. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Pongsatorn Yoddumnean, Anukoon Rotjanasuksomboon Pages: 223 - 243 Abstract: The research article, Surin Khmer Yikay : Performing Art Heritage of Khmer Community in Thailand, aims to preserve and disseminate the Surin Khmer Yikay performance. This is a qualitative research which focuses on history, performing style, composition, conservation and dissemination of the show. The results of the research showed that Khmer Yikay Khmer is a performing art that has been influenced by many ways. From when the Yikay performance was adopted into the Khmer community until now, its pattern and style have been changed to better suit the people and culture. Khmer Yikay has a unique style of performance by using Khmer language. It’s main characters consist of lead actors, lead actresses, miscellaneous characters and supporting characters performing behind the main actors. The music is mainly played with a bassinet to make a melody and a tambourine drum for the rhythm. The costumes are different according to each character and role. The lead actors and actresses wear a Jada or a high crown, the supporting characters wear a small crown and the miscellaneous characters have their masks covering their faces according to different roles such as hermit, giant or monkey, all performers dressed in local fabric. The show begins with circling to worship in teachers, self-introducing singing and dancing, proceeding singing and flirtation and singing farewell songs to end the performance. Popular stories presented include Thao Promthat Suriyawong, etc. The Khmer Yikay show was very popular. There have been many Khmer Yikay faculty in Surin Province. Unfortunately, its popularity has decreased significantly due to the emergence of other shows, the influence of television and movies, and the lack of inheritance. Nowadays, Khmer Yikay is mostly performed only for demonstrations. The key factor is that the number of those who still perform Khmer Yikay are very few as they age. Education for conservation and publishing is therefore important before Khmer Yikay depleats and fades over time together with the life of the artists. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Songwoot Kaewvisit Pages: 244 - 262 Abstract: The objective of this study was to study the background of "Eng Kor" of the Pu-Ya Shrine. Udon Thani Province To study the colors of the "Eng Kor" pattern, Chao Pu-Ya Shrine Udon Thani Province And to create paintings The tools used for data collection consisted of observational interviews. Researchers have used the theory of cultural diffusion. Concepts of cultural adaptation theory; And aesthetics theory To be used for analysis The study found that "Eng Kor" was first performed in Thailand around 1937-1942 by the Nakhon Sawan Shrine Committee. Which at the same time there was another group of "Eng Kor" in Phanat Nikhom district Chonburi Province, and later in the year 2488, the group "Enggor", Chao Pu-Ya Shrine. Udon Thani Province And considered to be the largest "Engo" group It has the most outstanding performances today. This is because it is a group that has been performing continuously for more than 60 years. Clothing Especially the performer makeup with colors and patterns that blend between old and modern styles. Techniques for using colors are bright, durable and have no side effects on performers. It is also a group that has a spectacular show with a spectacular rhythm of light and sound. In addition, the results of the study "Engko": Colors and Patterns to the Creation of Painting. Also made aware of the importance of activities That can make people in the city of Udon Thani have love Unity The medium is the acting culture "Eng Ko", which is now considered one of the province's unique performance culture. And is a great pride to the community, where the group "Eng Kor", Chao Pu-Ya Shrine Also received invitations to perform in various provinces On a regular basis In addition to promoting the ancient culture of the Chinese people It is also a dissemination of the concept that is connected with the concept of "Confucius" on gratitude, sacrifice and unity. To young people as well Therefore, this study is a major inspiration for the creative process of painting. Which focuses on the expression of beauty through the colors and patterns that appear on the face of the performer "Eng" in order to remind of the unique value that no matter how long time has passed, what has been accumulated from this ancestors will still Persist PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Kritsada Wongkhamchan Pages: 263 - 286 Abstract: The objective of this research was to create a theme song for the "Blues For Montgomery" jazz guitar series, written with the aim of composing the West Montgomery approach. In jazz styles for guitar That are written according to the West Montgomery guidelines Which consisted of song Theme and variation form in the main melody. The main melody was created and developed using a variety of development methods, including repetition of the main melody, the use of the melody development method with the pitch adjustment. Transposition, New Idea), Sequence, Call and Response, Motif Omission, Motif Transformation ,Contrast, etc. The style of playing the guitar in each song is defined as the main melody and variations. In which each chorus has its own style of playing The first part is a single note playing, the second is octave playing, the third is playing solo or block chords according to the West Montgomery guidelines. Used mostly his music There are four compositions in this creative work, composed and arranged for the Big Band Jazz. It consists of four jazz, b-b-pop and hard-bop songs: 1) Blues For Montgomery 2) Blues For Prai 3) Blues For Tong 4) Blues For Wo based on the composition. Jazz chorus Chorus in jazz Melody and rhythm in jazz The framing of the jazz band is 1) the woodwind group there are a total of 5 instruments, including the alto saxophone 1-2 tenor saxophone 1-2 and baritone saxophone 2) brass instrument group there are a total of 8 instruments: trumpets 1-4, trombone 1-3, and bass trombone 3). There are four instruments in total, including electric guitar, piano, double bass and drum set for use in conjunction with sound orientation techniques. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Jadet Tongfueng Pages: 287 - 304 Abstract: This article is a part of research titled “New meaning investigation in original material,” which aimed to 1) Integrate the two materials into creative mixed media art, 2) Investigate new meaning from the overlapping area and packaged materials in the northeast. The research was conducted by adopting a qualitative research methodology. The integration of two materials as creative mixed-arts have been conducted by the field study to exchange material in four overlapping communities. The study results indicated that most of the villagers had related to agriculture occupation resulted in obtained materials were knife, hoe, and shovel. In addition, cooking materials, i.e., earthen steamer and pot, were also found during the study. In the part of new materials, the materials obtained from Ban Chiang village, Udon Thani province, consisted of tire rubber, fan, and electric chain saw. On the other hand, the ancient materials were obtained from Ban Prasat, Nakhon Ratchasima province. After that, the researcher sought to the packaged materials once again in the malls around Khon Kaen province and got instant noodles combined with waste material by adopting the concept from Wabi-Sabi for 17 creative mixed-arts. In the meaning investigation, the new meaning investigation from the overlapping materials and packaged materials in the northeast was employed Semiology theory to find the meaning of 17 creative mixed-arts. The analysis of 17 creative mixed-arts shown that the meaning can form in various aspects with Open-ended characteristics in meaning which would be affected by society, culture, or audiences’ experiences with individual thoughts and interpretation based on each person. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Kriangkrai Honghengseng Pages: 305 - 328 Abstract: Color terms in each society and cultural are difference that depend on environment and context. Thailand as well has difference color terms in each period which classify in any color tones such as Red, Yellow, Green, Blue, White and Black. Especially, Black and Gray there are many color terms which are 26 words such as Peekka, Samrit, Nilkarn, Lookhan, Doklao and Sawat. The history of each color terms are different and related with the wisdom, believe, traditional and Thai way of life. Now a day, Thai ancient color terms were hardly to heard but still appear among Thai craftsman also to older. In the other hand, youth and new generation does not know much of these color terms. So that, should be studying about the history of ancient Thai color terms. Especially, Black and Gray tone as main color that usually used cover with painting, sculpture and Visual Arts. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
Authors:Ratthai Porncharoen, Lui Kansomkrait, Watanapun Krutasaen Pages: 329 - 357 Abstract: This article is part of the research from 360107 Basic Technical Drawing Class aim to teach skills to understand, distinguish and develop between 2 Dimension Technical Drawing to 3 Dimension Technical Drawing. This class is offered to the 1st year student of department of Product design, Faculty of Decorative Arts, Silpakorn University. In This article,the researchers used only the works of the pretest sample of the student before the beginning of this course to interpret the thinking technique between 2 Dimension Technical Drawing and 3 Dimension Technical Drawing present in various perspective angle of simpliflied geometric forms in square cube only in order to have students convey the Technical Drawing from 2 Dimension to 3 Dimension in a given box structure and also 2D shape with front, side and top views will be given to create an end Technical Drawing result. The total out come of the student’s works shown that there are a few correct answer of the 3D Technical Drawings but fairly understand of 2D Drawing but still some misinterpret in directions. The objective on pre evaluation of the students understanding of Technical Drawings dimensions is to best preparations of the content and direction of this course. From many years experiences in teaching this course indicate that not because of the student’s abilities to draw but their lack of learning experience in this practice and the instant test. After the reseacher reveal the right answer to the problem and demonstrate with a few simple example and let the students think and draw step by step , they gradually gain experiences through learning and practicing but still need more time to advance in a more complex 3D Drawing. 10-20 sample of drawings will be used in each test rotate appropriately around each semester. Teaching outcomes at the end of the semester : after students have practiced and gained more learning experience in understanding to read more Technical Drawings, they can achieve to reach the more difficult and complex problem with the high score of the expectation of the Instructor. PubDate: 2021-12-24 Issue No:Vol. 13, No. 2 (2021)
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