DANCE OF NADTAYABUCHA: LOY PRAPUTTABAT NAMTHIP
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Abstract
The Nam Thip Buddha Footprint, located in Tambon Sang Kho, Phu Phan District, Sakon Nakhon Province, is the sole Buddha footprint in Thailand featuring a total of seven imprints. This is regarded as a spiritual foundation for the populace. The Nam Thip Buddha Footprint, including seven imprints, warrants further recognition and promotion. Consequently, the researcher undertook innovative research with the aims of: 1) examining the historical context of the Nam Thip Buddha Footprint at Wat Phra Phutthabat Nam Thip, Tambon Sang Kho, Phu Phan District, Sakon Nakhon Province, and 2) developing a dance performance entitled "Nataya Bucha Roi Phra Phutthabat Nam Thip Dance." This study utilized a qualitative research methodology, gathering data via documents, critiques, and data analysis. It was discovered that in relation to the history of the Phra Phutthabat Namthip (Footprint of the Buddha with Holy Water), Phra Ajarn Boonmee Khemthammo experienced a vision of the Buddha's footprint, prompting him to undertake a journey to locate it. He uncovered seven footprints in Phu Phan District, Sakon Nakhon Province. The tracks indicated a forward ambulation, alternating between the left and right foot. Several footprints suggested heel walking, while the seventh footprint displayed a complete foot impression originating from a cave entrance, accompanied by water coursing along the footprint. Villagers consumed the water from all seven imprints to remedy ailments, resulting in the notable disappearance of numerous maladies. Consequently, it was designated as Phra Phutthabat Namthip. Phra Ajarn subsequently erected a mondop (pavilion) to enclose it. The dance performance "Rabam Natayabucha Roi Phra Phutthabat Namthip" derives its name from the imprint of the Buddha, Roi Phra Phutthabat Namthip. It incorporates contemporary musical melodies blended with Phuthai Sakon Nakhon music. The performance consists of two segments: the first segment narrates the homage paid to Roi Phra Phutthabat Namthip, while the second segment depicts a dance dedicated to worshiping Roi Phra Phutthabat Namthip, encouraging Thai individuals to pay their respects to Roi Phra Phutthabat Namthip. The choreography integrates Phuthai dance motions with contemporary dance techniques. The formation alterations are organized in diverse configurations based on the principles of dance composition, comprising a total of 37 dance moves and 17 rows. The garments are customary village dress donned by individuals attending the worship of Roi Phra Phutthabat Namthip during significant Buddhist festivals. The individuals described are genuine Phuthai people adorned in white long-sleeved blouses, indigo sarongs, white sashes, and silver jewelry including earrings, necklaces, bracelets, and belts. Their heads are embellished with silk bobbins and purple Inthanin blossoms. The cosmetics accentuate attractiveness. The hair is centrally parted, secured at the crown, and fashioned into a bun. All eight performers are female. This performance is suitable for a variety of events.
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