Sawsamsai Performing Skill according to Charernjai Sundaravadin’s Method

Abstract

            This article presents the acquaintance with the performing of Sawsamsai according to Charernjai Sundaravadin’s method. It was derived from the accumulation of the author’s researches and thesis during studying undergraduate and graduate program. The additional interviews with five successors who studied Sawsamsai directly under Charernjai Sundaravadin were included. This article is intent to propose the principle of performing Sawsamsai according to Charernjai Sundaravadin’s method in the context of performing tradition, i.e., “sitting posture, holding, bowing, and fingering.” In addition, the context of the ensemble and accompaniment are also integrated. Charernjai Sundaravadin was acclaimed as one of the renowned specialists in Sawsamsai. She was the successor of the 3 remarkable grand masters in Sawsamsai, i.e.1) Kru Luang Pairoh Siaeng Sor (Un Durayachivin) 2) Phraya Phumee Sevin (Jit Jitrasevi) 3) Kru Dewaprasitdi Pattayakosol. She studied, adopted, and utilized her instrumental knowledge in Sawsamsai proficiently. Her “perception, adoption, and harmonization” have been acknowledged as a discipline in performing Sawsamsai in the house of “Sanohduriyang.”In term of succession, she instructed her successors according to their own competences. She embellished them with her delicate and irresistible techniques which adhered very strictly to the main aesthetic element - the harmoniousness.