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Preservation of Traditional Art: The Case of the ... - Wacana Seni

Preservation of Traditional Art: The Case of the ... - Wacana Seni

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13Takako IwasawaYok Chuubua (1922–2006) is ano<strong>the</strong>r master who has made a great contribution to <strong>the</strong> localcultural education <strong>of</strong> nooraa. Yok Chuubua has a rich background in <strong>the</strong> genre and onceworked under Uphatham. In 1985, he was honoured with <strong>the</strong> title <strong>of</strong> National <strong>Art</strong>ist by <strong>the</strong> ThaiNational Cultural Commission. As <strong>the</strong> only nooraa performer holding such a title, he is perhaps<strong>the</strong> most important individual in <strong>the</strong> world <strong>of</strong> nooraa in Thailand today. In 1975, he started toteach nooraa to college students at <strong>the</strong> University <strong>of</strong> Songkhla Province. Since <strong>the</strong>n, he hasbeen invited to various educational institutions located in NakhonSiThammarat, Phattalungand Songkhla so that he may instruct <strong>the</strong> younger generation. Due to <strong>the</strong> great efforts <strong>of</strong> nooraamasters like Uphatham and Yok, a new type <strong>of</strong> nooraa performer has appeared.<strong>The</strong> process <strong>of</strong> teaching nooraa in schools is different from <strong>the</strong> traditional style <strong>of</strong> teaching.<strong>The</strong> instructors are forced to eliminate <strong>the</strong> most important elements connected to rituals, suchas magical spells and incantations. School students do not need to learn any <strong>of</strong> <strong>the</strong> ritual aspects<strong>of</strong> a nooraa performance. <strong>The</strong>y acquire <strong>the</strong> dancing techniques without learning about <strong>the</strong>irspiritual meaning. Through <strong>the</strong> development <strong>of</strong> <strong>the</strong> local cultural education program, <strong>the</strong> publichas been given free access to nooraa, which in turn has enabled nooraa to transform itself intoa different type <strong>of</strong> performance. While <strong>the</strong> music, dancing, and singing have not changed, <strong>the</strong>lessons in schools are oriented towards <strong>the</strong> revival <strong>of</strong> traditions where <strong>the</strong> students recreate <strong>the</strong>nooraa as a new type <strong>of</strong> entertainment.<strong>The</strong> diffusion <strong>of</strong> nooraa into educational institutions is closely tied to <strong>the</strong> tourist industry.Nooraa performed by young schoolgirls is in demand. In <strong>the</strong> south, nooraa is famous as acultural symbol and <strong>the</strong>re are many occasions for <strong>the</strong> new generation <strong>of</strong> nooraa performersto perform. At any event or festival, from small-scale private events to nationwide festivals,people can see nooraa performances. <strong>The</strong>se performances are not only staged by pr<strong>of</strong>essionalgroups but are also put on by semi-pr<strong>of</strong>essional or amateur groups organised by schools. With<strong>the</strong> increase <strong>of</strong> such groups, organised through school activities, a new nooraa associationestablished by <strong>the</strong> general public has emerged in recent years.

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