A study of Legends,Wisdoms,Products and Traditional and Contemporary Nangtalung Performances to Create a Map of Nakhon Si Thammarat's Nangtalung

Abstract

          This research aimed to (1) study the history, tales, and wisdom of the shadow puppet (Nang Talung) from the original and modern eras in Nakhon Si Thammarat Province (NST), (2) study the shadow puppet products and performances from the original and modern eras in NST, and (3) create the cultural map of the shadow puppet from the original and modern eras in NST. This qualitative research collected in-depth information using content analysis, participant observation, non-participant observation, and focus group discussion.

          The research showed that: 1) From the history and tales in the original and modern eras, the background of the shadow puppet could be presumed in four streams: first - the shadow puppet was influenced by India; second – the shadow puppet was influenced by Java; third – the shadow puppet was influenced from Nang Yai (an ancient form of shadow play with a giant puppet made of painted buffalo hide) which previously played in the Ayutthaya age, and fourth – the shadow puppet started in Patthalung Province. The shadow puppet’s wisdom in some parts of the creation process has changed depending on the different eras. However, the shadow puppet has been created meticulously in all processes. The creation process was linked with the beliefs of actions and activities that people should or should not perform to be a fortune for the puppeteers, puppet show groups, and puppet performances. These beliefs were various, for example, spirits, holy things, tricks, or luck. 2) The creation process of the shadow puppet products in the original era was as follows: hide preparation, drafting on the hide, hide crafting, hide painting and vanishing, and hide assembling and keeping. Classified by type, nature, and usability, the research found one pattern of the shadow puppet products in the original era, the Nang Ched form. In the modern era, however, making the shadow puppet was more modern by adding the processing part to create three patterns of the shadow puppet products: Nang Ched form, souvenir, and house decoration. One main style in performing the shadow puppet in the original era was playing the shadow puppets with dialog. The language used in the show was the local language (southern Thai). There was no additional performance. Therefore four puppeteers for each show were adequate. In the modern era, the performance style played the shadow puppet mixed with the dialog based on the current situations. The language used in the show was local (southern Thai) mixed with the common language (official language). Moreover, there were other additional performances, such as singing, talk show, and concert. Thus, there were 28 puppeteers for the modern shadow puppet show. 3) The cultural map of the shadow puppet from the original and modern eras in NST included four puppeteers in the original era, 28 puppeteers in the modern age, and five organizations producing shadow puppet products. This cultural map was a tool to preserve, rehabilitate, and continue the art and culture. Furthermore, it could promote cultural entrepreneurs by increasing the value added to the cultural products and services relevant to the shadow puppet, leading to upgrading the community’s economy and local awareness of NST.