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

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8Wacana Seni Journal of Arts Discourse. Jil./Vol.7.2008The new style of nooraa that has emerged more recently is called nooraa beap saakhon. It isdifferentiated from the traditional style, nooraa beap booraan (Suphat Naakseen 2539/1996:30). This new style, however, is not completely westernised or modernised. Beap saakhon is amix of traditional and modern /western styles. In 1999, I observed a modern nooraa troupe ina festival held in the NakhonSiThammarat province. The performance was an entertainmentshow without any aspect of ritual performance. The festival that I visited is called Ngaanduan sip 6 (the tenth month festival). It is the biggest local festival in NakhonSiThammaratprovince and normally lasts for ten days annually from evening until midnight. During thisperiod, a large number of people come into the city centre and gather at the biggest public parkin the city, where they can enjoy various kinds of entertainment. People enjoy the spectacle,which includes carnival rides, various booths selling goods, and performance stages. Manytroupes, including those that perform nooraa and shadow puppet theatre, nang talung (whichare cultural symbols in the southern part of Thailand), visit and perform daily. In general, thenooraa and nang talung troupes set up their own stages in vacant lots where they perform allnight long. Nooraa that is performed at such festivals can be largely divided into two groups.One is the traditional beap booraan group and the other is the modern beap saakhon group.The modern nooraa troupe that I observed during this festival built a bigger and moremodernised stage than the traditional one, and had a bigger band that included western musicalinstruments like electric guitars, a synthesiser, and drum sets. In this spectacular show, a largenumber of young girls emerged and started dancing, as in the chorus line of the ‘vaudeville’shows that Guelden had mentioned (Guelden 2005: 184–185).From this case study, we find that the modernisation of nooraa brings with it a remarkablechange in various aspects of the traditional performance, including differences in musicalinstruments, the music itself, and the stage equipment. It should be highlighted that dancingwithout singing the text is also a characteristic of the modernisation of nooraa. Making the
9Takako Iwasawaperformance clearly understandable was an effective way of getting a wider audience (madeup of those who have a smaller knowledge base regarding traditional nooraa performance)interested in nooraa. In the traditional context, nooraa performers are famous for performingtham bot 7 , which means dancing while singing the text. A traditional performer learns a largenumber of song texts in addition to dance techniques, and they have to interpret the song textsin order to choreograph the dances. Audiences also are expected to appreciate the variousinterpretations of the performers in this context. Currently, however, many audiences do notunderstand tham bot as they did in the past. To survive, the modern nooraa performers blendtradition with modern elements, establishing a mixed and eclectic style of performance.At the same time, a traditional revival of nooraa is taking place. Along with the influence ofnationalism, people are inclined to attribute authority and authenticity to the older culture.
Page 1 and 2: 1Preservation of Traditional Art: T
Page 3 and 4: 3Takako IwasawaNooraa in the Tradit
Page 5 and 6: 5Takako IwasawaAudiencesTraditional
Page 7: 7Takako IwasawaRevitalisation of Tr
Page 11 and 12: 11Takako IwasawaRevitalisation of T
Page 13 and 14: 13Takako IwasawaYok Chuubua (1922-2
Page 15 and 16: 15Takako IwasawaFigure 1 Warming-up
Page 17 and 18: 17Takako IwasawaMalaywan was born i
Page 19 and 20: 19Takako IwasawaCategoriesPerforman
Page 21 and 22: 21Takako Iwasawatraditional nooraa

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