Category Archives: Cultures

Kanchanaburi folk dance, Thailand

Kanchanaburi folk dance history

           Folk dance from Kanchanaburi It is a traditional Thai folk dance and performance that is performed in various districts of Kanchanaburi Province. This traditional dance is not widely performed and is on the verge of extinction. During 1961, a Thai-Danish survey team excavated in Kanchanaburi Province to tell the story of prehistoric times. Mr. Chin Dee, the head of the Thai survey team, watched one of the native games played by the villagers of Ban Kao, which Mr. Chin saw and was quite fascinated in because he had never seen Singing and dancing like this before. Rum yew, also known as Kanchanaburi Folk Dance, is the name of this drama.

           Mr. Chin Dee then reported back to the Fine Arts Department that Rum yew was most likely a traditional Thai folk dance and play that was on the verge of extinction, and that Mr. Thanit Yupho, Director-General of the Fine Arts Department at the time, had travelled to see the song playing at Ban Kao village by himself. After seeing it, it was assumed that it was one of the local games on the verge of extinction, so on June 5, 1963, the artists of the Fine Arts Department travelled to Ban Kao, chorakhephuak Subdistrict, Mueang District, Kanchanaburi Province, to practice and inherit the playing of Rum yew by Mr. Thiam Thongpoon, the headman of Ban Kao. Locals had organized for the dancers to demonstrate and transmit the technique on the field in front of Ban Kao Public School. Small songs were a lot of joy to play. In the past, when a band was formed to play, the members would have a good time and may play all day and night.

             The reason for calling this type of play “dance yew” or “dance on cloth” may be due to requests mentioning the poem word “Oi” every time, where people around that area may sing a distorted voice to “yew,” and the so-called “dance on cloth” may be called according to the method of playing that requires a cloth to be draped over or around the shoulder of the person who will Come to be their partner. Let’s have some fun with the cloth.” Following the transmission of the Rum yew, the artists of the Fine Arts Department were brought in to modify the dancing position to make it more beautiful while keeping the original lyrics untouched. Later, on February 25, 1964, the government staged a dance performance for the King and Queen of Malaysia at Thammasat University, which His Majesty King Bhumibol Adulyadej attended on this occasion. As a result, the first dance performance was planned.

Style of performance

              There is no limit to the number of players; the more the merrier. Each party has a petitioner by splitting the players into male and female parties. which will include a song father, a song mother, a son pair, and a dancer, will begin with a loud fanfare of drums for the players and the viewer. Have some fun before the tempo begins to calm down. When the music begins, the male party will come out to sing and dance while wrapping a cloth around the woman’s shoulder. When the woman has finished dressing, she will emerge to dance.

Demonstrate possibilities

             It is often used during the Songkran Festival. statutory holidays Villagers’ auspicious and joyful occasions Sometimes there will be a blend of various traditional games, especially in Phanom Thuan areas such as Ban Thuan, Ban Huai Saphan, Ban Thung Samo, and Ban Nong Pling.

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Boat Floating Tradition, Phu Ket Culture

Boat Floating Tradition

          Boat Floating Tradition It is an ancient tradition that is uncommon among the inhabitants of Koh Lanta. On the full moon days of the sixth and eleventh lunar months, a group of sea people from Koh Lanta and adjacent islands would meet to perform a boat float ceremony to extract Beach area near Ban Saladan. Rong Neng’s rhythm and song are being sung and danced around the hull. Importance The floating custom was passed down from the ancient ancestors who lived in Krabi and neighboring regions. Members of the community and their relatives who have migrated to dwell in the sea and islands of the Andaman Sea will return to their villages at the designated time to execute this rite. On the 13th day of the waxing moon, Chao Le will travel to the region where the ceremony will take place in the morning, with women making dessert and men building and repairing makeshift shelters. Both men and women will meet at the ancestral shrine in the evening to deliver food gifts to their ancestors as an admonition to participate in the boat float event. Some men went out to cut trees on the 14th day of the waxing moon. Women will sing and dance while waiting for wood to build boats on the shore. The parade will then continue around the ancestral shrine before bringing the woods back to make a boat. To serve the spirits of the ancestors through music and tambourines, one band is modern dances with shadow music accompanying the dance. Tor is conducted at the commencement of the boat feast, and a water splashing ceremony is performed at midnight, and the ceremony is repeated in the early morning of the 15th night before the boat is floated in the direction of the wind, ensuring that the boat does not float back to shore. They then separated ways and went to sleep.

Boat Floating Tradition

            Some men go to cut trees and find fan palm leaf in the afternoon of the 15th day of the waxing moon to make ghost-preventing trees for the ceremony at night. In every way, the rite is identical to the boat celebration. Until the light, the doctor’s table will perform a ceremony to conjure holy water to forecast fortunes and salute the members who attended the ceremony before taking a holy bath and dispersing to return home by bringing anti-ghost sticks to be embroidered around the community. The floating boat tradition has been passed down from ancestors and is linked to the legends, beliefs, backgrounds, and lives of all local people. The boat ceremony was held for the aim of sending the spirit back to the ancestral country and sending animals for salvation. “Plajug boats” were used in a floating ceremony. It is made of trotters and rosewood and represents a “vehicle” that will transport the souls of humans and animals to another realm. The boat is adorned with wonderfully crafted pieces of wood in various shapes. The bird on the bow represents “Burong Tor,” the ancestor who can stop the wind and rain, the serrated pattern represents “Bingong Tor,” the shark ancestor, and the snake pattern represents “Ako Beratai Tor,” the ancestor who can stop the rain and wind. Snakes, for example.

Boat Floating Tradition

         Boat Floating Tradition is also a wooden doll in the boat that serves to bear the misfortune of each family member travelling with the boat, as well as numerous offerings that will be brought by the ancestor’s spirit to the old settlement known as “Khunung Rai.” Traditional dances are merged with old tunes and tambourines to create a unique performance. It is a thrilling component as well as an offering to the ancestors. Everyone who dances is thought to get merit. Both worldly and religious leaders, the Tor mor It is said that he can communicate with God and ancestor spirits. Those who have undergone the boat float ceremony are thought to have experienced all of the sorrows. Life in the future will be filled with enjoyment and good fortune in earning a living.

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