Journal of Music and Performing Arts, Khon Kaen University

A Study of European Music Institutions from the Perspective of Phra Chen Duriyang: An Analysis of His 1937 Travel Report

Jit Gavee — 2025-05-02

This academic article aims to extract knowledge from the travel records of
Phra Chen Duriyanga’s trip to Europe in the year 2480 BE (1937 AD). It focuses on the case of visiting various music educational institutions across different regions. The study found that knowledge gained from traveling to various educational institutions was beneficial to
Phra Chen Duriyanga’s subsequent work, particularly in the knowledge of Western music ensembles brass band and military band. Although it can be inferred that Phra Chen Duriyanga’s already possessed some of this knowledge, it was acquired not through direct travel to the Western countries but through self-research from foreign language textbooks. The knowledge extracted from Phra Chen Duriyanga’s travel records helps to expand the overall understanding of the history of Western music education in Thailand, demonstrating the origins and applications of the knowledge used to develop Western music in Thailand, which has since been further developed up to the present.

The Existence of Hand hammered Gong in Bangkok

Pattharika Nanthawichit — 2025-04-30

The hand-hammered gong is a musical instrument crafted through a combination of science and artistry, with knowledge passed down since ancient times. This study investigates the continued existence of hand-hammered gong craftsmanship in Bangkok through a qualitative methodology, employing documentary research, interviews, and participant observation. The findings suggest that Thai metal craftsmanship—particularly among artisans known as chang bu—dates back to the Ayutthaya period. During the Thonburi era, artisans relocated to the Thonburi side of Bangkok, where this traditional knowledge continued into the Rattanakosin period.

Historical gong production sites were found on both the Thonburi and Phra Nakhon sides of Bangkok. Before World War II, gongs were produced at the house of Sergeant Phuk Khieowwijit in Ban Noen and at the home of Mrs. Thongkam and Mrs. Thongphun in Bang Lamphu. After the war, production continued at the house of Mrs. Ketsorn Khanthiran in Ban Bu and at Mr. Puan Yaembang's residence in Ban Noen—the latter remaining the last family-run site still operating today, now in its third generation.

The sustainability of hand-hammered gong production is currently challenged by rising costs of materials and labor, lengthy production times, a declining number of skilled artisans, and the diminishing transmission of knowledge between generations. These factors have led to the emergence of cast (molded) gongs, which are more economically viable due to lower production costs and visual similarity to hand-hammered gongs, despite offering inferior sound quality.

Nonetheless, hand-hammered gongs remain highly valued by Thai musicians, particularly those crafted by historically renowned makers, due to their superior tonal quality. These instruments are especially preferred for ensemble performances, solo renditions, and for executing specialized playing techniques. For musicians who prioritize sound quality and craftsmanship, the hand-hammered gong continues to be an indispensable instrument.

An Analysis of Poetic Forms in Mo Lam Rueng Tor Khlon

Duangrutai Boonsinchai — 2025-05-01

This research aims to analyze the poetic structures and composition techniques of Mo Lam Rueang To Klon, a traditional form of Northeastern Thai performance poetry. The study employed both documentary research and fieldwork, including observation and interviews with knowledgeable practitioners. Data were analyzed using a descriptive analytical approach.

The findings revealed that the composition of Mo Lam poetry in the Khon Kaen style varies according to the aesthetic sensibility of each composer. The researcher identified three main types of poetic composition: (1) the incorporation of Pali vocabulary into the verses, (2) the use of archaic Isan dialect, and (3) the use of simple, accessible language. Key techniques in composition include identifying the target audience, selecting an understandable and engaging storyline, creating effective titles, structuring the narrative coherently, crafting meaningful verses, and employing appropriate diction to enhance artistic value.

The co-creation process of Wat Bandon’ s Shadow Puppets: Fostering contemporary Arts in the community

Noppon Jamreantong — 2025-04-30

This article is part of the research project titled “Performance Creation as a Creative Cultural Endeavor for the Community: A Case Study of Contemporary Shadow Puppetry in Phra Aphai Mani—The Episode of Sudsakorn Catching Ma Nil Mangkon.” The study aims to collaboratively develop a contemporary shadow puppet performance with the Wat Ban Don shadow puppet troupe in Rayong Province. A practice-based research methodology in the performing arts was employed, incorporating data collection through interviews, experimental choreography, and puppetry techniques conducted by the researcher. The outcomes from the laboratory phase were reviewed and refined in consultation with traditional artists, leading to script revisions for the final performance.

The research findings present a co-creative process with the traditional artists, who are cultural custodians, through three key stages:

Script Development: The script was adapted from the renowned Thai poetic epic Phra Aphai Mani, specifically the episode Sudsakorn Catching Ma Nil Mangkon. The characters include the protagonist (Sudsakorn), the antagonist (Ma Nil Mangkon), a supporting character (the hermit), and an ensemble of various sea creatures.
Choreographic and Puppetry Experimentation: Three shadow puppets were crafted—Sudsakorn, Ma Nil Mangkon, and Sudsakorn catching Ma Nil Mangkon. The researcher designed choreography based on the concept of pas de deuxto highlight the dynamic interplay between characters. The movement vocabulary featured chasing, pursuit, grappling, forceful engagement, riding, and combat.
Collaborative Rehearsals and Performance: The experimental materials were integrated into rehearsals with the Wat Ban Don troupe. The script was refined under the guidance of Master Ampai Boonrod, the troupe's leader, with musical elements incorporated to align the choreography with the troupe’s stylistic traditions. Mr. Mana Luangpon and Mr. Akkarapon Choengkrai supervised rehearsals and stage direction.

The final performance was presented to audiences at the Wat Ban Don Shadow Puppet Museum and in local community venues. These performances aimed to foster community engagement and cultural continuity through contemporary adaptation.

Khrai Nai Baan: Creation of a Gothic play script about sexual prejudice against Sapphism

Apisara Chuathong — 2025-04-30

This research aims to examine the strategies employed in writing a play that centers on lesbian relationships, as well as to explore the creation of a Gothic-style script that addresses gender bias against women who love women. The study adopts Robert Harris’s concept of Gothic literary elements as a principal framework for developing the script, utilizing the symbolism of “ghosts” and “haunting” to reflect gender prejudice.

The scriptwriting process began with an investigation and analysis of the gender bias experienced by lesbian women in both historical and contemporary contexts, which informed the thematic core of the play. The resulting play, Khrai Nai Ban ("Who in the House"), comprises two narrative threads: the primary storyline portrays a contemporary lesbian relationship, while the secondary storyline presents a tragic love story between two women from the past.

The play was performed and evaluated through audience questionnaires. The findings suggest that the play effectively communicates issues concerning lesbian love and gender bias. However, the ghostly symbolism intended to represent such prejudice did not fully resonate with the audience. This shortcoming may stem from the overly conciliatory tone of the dialogue. The protagonist, in particular, should have experienced greater emotional pain to effectively convey the severity and trauma of gender-based discrimination faced by women who love women.