จากฟ้อนเจิงสู่ฟ้อนผาง : อัตลักษณ์และลีลาการฟ้อนแบบล้านนาของพ่อ ครูมานพ ยาระณะ

Abstract

The Great Master Manop Yarana’s performances of Lanna style
dance called ‘Jerng’ and ‘Phang’ are artistic executions which exhibit
martial techniques as well as grateful dancing styles as for Buddhist
worships. Moreover, those dance executions well reflect artistic and
cultural forms of the Lanna people. This article purports to study
identities and the dancing styles of the Great Master Manop Yarana, the
2005 national artist in performance. He is knowledgeable and capable of
the Lanna dancing, especially the Jerng and Phang dances. He has
conceptually created the dancing styles out of martial arts merged with
beliefs and faiths towards Buddhism. Also, he has integrated those art
forms with his individually unique dancing styles. Those integral styles
then become the contemporary Lanna art forms. As a result, his dancing
patterns have been succeeding to the next generations, conserving, and
inventing up on his styles. Therefore, he was acknowledged as the Great
Master of the Lanna dance. Results of the study reveal that the Great
Master Manop Yarana has revived the Jerng dance by systemically
organized the dancing patterns according to the Nattayasastra principles
and inventing principle postures of the Fang dance out of some principle
postures of the Jerng dance. Also, he brought in wisdoms and capability
of his Jerng dance to associate the Phang dance in order to
communicate the Lanna beliefs and faiths towards Buddhism. Later on,
the Chiangmai College of Dramatic Arts has recreated the Phang dance
on the basis of the Great Master Manop Yarana’s styles. Thus, his Jerng
and Phang dancing styles have significantly influenced the Phang dancing
styles which are formulated by the Chiangmai College of Dramatic Arts.