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|Title:||Advanced ‘Na Phat’ Dance Patterns: Pleng Tra Category (Male Character)|
|Authors:||Associate Prof. Chommanad Kijkhun (Ph.D.)|
|Abstract:||The research on the topic ‚Advanced ‘Na Phat’ Dance Patterns: Pleng Tra Category (Male Character)‛ aims to explore the background and context of the dance patterns in the category of ‘pleng tra’; including ‘tra nimit’, ‘tra sannibart’, ‘tra phra narai’ and ‘tra choern’; especially in their connection with the accompanying melodic and ‘na thap’ rhythmic patterns. This research uses a qualitative approach as its methodology, as well as creating its own module to analyze the connection. . From the research results, it can be concluded that the advanced ‘na phat’ dance patterns have been considered masterful and revered works, roles strictly for high aristocratic characters or of divinities in the scenes depicting supernatural powers, impersonations and requests for a visit from a god. Moreover, these dancers must be specifically trained by respected masters, pass an invocation ceremony, and always perform with respect and complete the whole piece in a dance. The structure of ‘pleng tra’ comprises a peaceful, polite and humble mode of melodies, with the consistency of a smooth rhythmic tempo, and the application of the ‘tra’ style of ‘na thab’ rhythmic patterns. Most dance movements are borrowed from the ‘mae bhot’ dance vocabularies which do not engage emotional interpretations. In every posture, the levels and the angles of the limbs must be sustained throughout. To retain such postures, extensive training in these positions and movements is undertaken, resulting in physical elegance and musical decorum. Such positions and movements include slanted neck positioning, foot tilting and pacing, as well as hip and knee postures. The duration of each movement in ‘pleng tra’ dances covers at least four units of ‘ching’ rhythmic patterns. The musical rendition of all four patterns must be repeated twice. To make a balance, all movements must also be repeated twice in the opposite direction. The progression from one movement to the next covers four units of ‘ching’ rhythmic patterns (or eight units of common music notation), based on a moderate tempo. All ‘pleng tra’ presentations must be followed with ‘pleng rau’, of which first section is the movement of showing respect in three directions. In the last section of ‘pleng rau’, the dancers must feature ‘rai’ and ‘pong nah’ movements. Moreover, for ‘tra sannibart’ and ‘tra choern’, there are several specific features of the accompanying musical rendition. The dancers who truly understand their melodic and rhythmic obligations can execute their movements precisely as well as complete the piece with grace and beauty. Suggestions 1. More seminars or research on this topic should be encouraged, especially on the issue of classification between the advanced and the elementary patterns of ‘na phat’ dance. This would allow a shared agreement among the performers engaged in both dance and music disciplines. 2. Studies on other ‘tra’ dance patterns should be encouraged, such as ‘tra banthom prai’, ’tra natai bathom silp’ and others which at present are not practiced within the Fine Arts Department units (such as ‘tra phra pikhanet’). 3. More analysis is needed on other ‘na phat’ dance patterns which apply other kinds of ‘na thab’ rhythmic patterns; such as ‘na thab krabong gan’, ‘na thab rua’ and ‘na thab satukarn’. Moreover, some analysis should be undertaken on the group of contemporary ‘na phat’ pieces which have been newly choreographed for various special occasions.|
|Appears in Collections:||งานวิจัย (ภาษาอังกฤษ)|
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