Patanasilpa Journal

- DECISION-MAKING LEADERSHIP OF SCHOOL ADMINISTRATORS KRUNG NAKHON CHON INTER-CAMPUS SCHOOL GROUP

NTAPAT WORAPONGPAT — 2025-06-13

This research aimed to 1) study the level of decision-making leadership styles among school administrators in the Krung Nakorn Chon Inter-School Zone, and 2) compare the decision-making leadership styles of school administrators in the Krung Nakorn Chon Inter-School Zone. This was a quantitative research study utilizing a survey research design for data collection. The research instrument was a 5-point Likert scale questionnaire. The sample consisted of school administrators and educational personnel working within the Krung Nakorn Chon Inter-School Zone. The sample was categorized by their work status, work experience, and school size, which served as the independent variables for the study. The population for this study comprised 212 school administrators and educational personnel in the Krung Nakorn Chon Inter-School Zone.Multistage sampling was employed to select the sample, resulting in a total of 136 participants, consisting of 6 school administrators and 130 educational personnel from the Krung Nakorn Chon Inter-School Zone.The statistics used for data analysis included the Mean and Standard Deviation to address research objective 1. To address research objective 2, independent samples t-tests, One-way Analysis of Variance (ANOVA), and Scheffé's post-hoc test for pairwise comparisons were utilized. The findings revealed that 1. The level of decision-making behavior patterns of educational institution administrators in the Nakhon Chon Campus Cooperative School Group. Overall it is at a high level. 2. Comparison of decision-making behavior patterns of educational institution administrators Group of co-educational schools in Nakhon Chon Campus found that: Educational institution administrators Group of Saha Schools, Krung Nakhon Chon Campus Categorized according to work status has significantly different at the 0.01 level, Categorized according to work experience and the size of the educational institution has no difference in decision-making behavior patterns.

DEVELOPMENT OF AN ONLINE LEARNING MODEL BY CONSTRUCTIVIST APPROACH TO DEVELOP INTEGRATED THINKING SKILLS FOR BUNDITPATANASILPA’S STUDENTS

TAPANEE PUMIPUNTU — 2025-06-13

This study aimed to 1) study the elements in developing an online learning model by constructivist approach to develop the integrative thinking skills for Bunditpatanasilpa’s students. 2) develop an online learning model by constructivist approach to develop the integrative thinking skills for Bunditpatanasilpa’s students. 3) study the results of using the online learning model by the constructivist approach to develop the integrative thinking skills for Bunditpatanasilpa’s students. The research process consisted of three phases: Phase 1: A needs analysis was conducted to identify essential components for developing an online learning model.The sample comprised 242 students from 13 colleges under Bunditpatanasilpa Institute, selected using stratified random sampling based on Krejcie and Morgan’s sample size table. Data were collected using questionnaires and analyzed using percentage, mean, and standard deviation. Phase 2: An online learning model based on the constructivist approach was developed. Five experts were selected to evaluate the model. The evaluation tool was a form specifically designed to assess the effectiveness of the model in developing integrative thinking skills. Phase 3: The model was implemented and evaluated. The sample consisted of 25 students from Roi Et College of Dramatic Arts, Bunditpatanasilpa Institute. An integrative thinking skills test was used as the research instrument. Data were analyzed using descriptive statistics: percentage, mean, and standard deviation. Findings indicated the following:

1. The constructivist-based online learning model consisted of five key components: (1) underlying principles, concepts, or theories; (2) learning objectives; (3) teaching methods and learning activities aligned with the objectives; (4) system organization; and (5) evaluation methods.

2. The instructional method was divided into two stages: (1) preparation before instruction and (2) the instructional process focused on developing integrative thinking skills. The process consisted of seven steps: (1) content study, (2) problem presentation, (3) problem-solving planning and approach selection, (4) data collection, (5) data analysis, (6) conclusion drawing, and (7) evaluation.

3. The results of implementing the online learning model based on the constructivist approach to develop integrative thinking skills among students at Bunditpatanasilpa Institute showed that students demonstrated improved integrative thinking skills with an average score of 65.80 percent for the first test and 72.60 percent for the second test.

EVALUATION OF TEACHER CHARACTERISTICS AND TEACHING PROFESSIONAL PRACTICUM OF GRADUATE STUDENTS IN MASTER OF EDUCATION PROGRAM IN CURRICULUM AND INSTRUCTION, WESTERN UNIVERSITY

นภาภรณ์ ธัญญา — 2025-06-12

This research aimed to evaluate the teacher characteristics and the teaching professional practicum of graduate students in the Master of Education Program in Curriculum and Instruction at Western University. The target group consisted of 15 directors, 15 deputy academic directors, 15 mentor teachers, and 5 supervisory teachers, totaling 50 people. Selected by purposive sampling Research instrument used a questionnaire. Statistics used in data analysis include mean and standard deviation.

The results of the research found that 1) the teaching professional practicum in all and each aspect were at a high level. 2) Teacher teaching professional practicum is also at a high level.

THE ROLES OF PHRA AURAJUNA AND STRATEGIES IN RAMASURA SHING KAEW PRELUDE DANCE

NATTAPONG YOLPRAWES — 2025-06-12

The research article aims to study the history role significance composition analyze the dance postures and dance strategies of Aurajuna in Ramasura Shing Kaew prelude dance.by studying from documents, observation and interviews. The results of the research showed that the story of Mekhala and Ramasun was first found in an illustrated Traiphum manuscript from the Ayutthaya period. It was later composed as a prologue for the royal court theatre, but the script was lost and rediscovered during the Rattanakosin period. performances at Ramasura Shing Kaew is a prelude to the story about the rainy season (Vasant Season). There are 7 parts to the performance 1) The characters are a Phra Aurajuna, Nang Mekhala, and Ramasura. 2) The selection of performers is a Khon Phra. 3) The costume is a standing amulet
with long arms, yellow and red trim. 4) The props are used the Phra Khan. 5) The setting is a sky scene. 6) The lyrics and melody are used the series of Teacher Panya Nittayasuwan. 7) Band is used the Piphat instruments. There are 3 important principles practicing: Pleng-Cha Pleng-Reo, Dance vocabulary and Posture language. and Khuen Loy. The dance procession is divided into 2 parts: Part 1 Chabrabam posture, there are a total of 21 dance postures. and Part 2 Phra Aurajuna fighting Ramasura. There are a total of 86 dance poses. There are 3 performing techniques, including the use of facial expressions and gestures, the use of the Phra Khan. and Khuen Loy.

DEVELOPING PRACTICAL SKILLS IN WAI KHRU CHATRI SONG THROUGH DAVIES’ INSTRUCTIONAL MODEL COMBINED WITH THE STAD TECHNIQUE FOR FIRST-YEAR UNDERGRADUATE STUDENTS AT KALASIN COLLEGE OF DRAMATIC ARTS

PARINYAWAT THANATHANANTHORN — 2025-06-12

This article aims to achieve the following objectives: 1) assess the effectiveness of using Davies’ Instructional Model combined with the STAD technique in teaching the Wai Khru Chatri Song, based on the 75/75 criteria; 2) compare students' academic achievement after the experiment using Davies' Instructional Model with the STAD technique; and 3) examine student satisfaction with learning Wai Khru Chatri songs using Davies' Instructional Model with the STAD technique. The target group comprised 25 first-year undergraduate students in the Thai dance group during the first semester of the academic year 2023, selected purposively.Research tools included: 1) a lesson plan; 2) a practical skills assessment involving singing and dancing; 3) an academic achievement test; and 4) a satisfaction assessment of learning management. Data were analyzed using basic statistics (mean and standard deviation).

The research results indicate that: 1) assess the effectiveness of Developing Practical skill in Wai Khru Chatri Song using Davies' Instructional Model with STAD techniques for first-year undergraduate students at the Kalasin College of Dramatic Arts, achieved an efficiency (E1/E2) of 83.40/84.20, meeting the set efficiency criteria of 75/75. 2) The comparison of students' academic achievement before and after the lesson revealed that the post-test average scores were higher than the pre-test scores. 3) Student satisfaction with the instructional management showed that the overall satisfaction with the learning activities was at the highest level (= 4.65; S.D. = 0.53).

THE DEVELOPMENT OF A PI NAI INSTRUCTIONAL PACKAGE ACCORDING TO MASTER THIAP KHONGLAITHONG FOR STUDENTS OF NAKHON RATCHASIMA COLLEGE OF DRAMATIC ARTS

KIADTISAK PHOSIRI — 2025-06-12

This research is an experimental study with the objective of The Development a Pi Nai Instructional Package According to Master Thiap Khonglaithong for Students of Nakhon Ratchasima College of Dramatic Arts. The study involves evaluating the effectiveness and satisfaction of students in using the instructional packag. The sample group, selected using the purposive sampling method, consisted of 8 student's majoring in Pi-Phat, from both secondary school and vocational certificate programs at Nakhon Ratchasima College of Dramatic Arts in the academic year 2023. Data collection involved the implementation of the instruction package based on the curriculum guidelines of the Master Thiap Khonglaithong. The teaching material endured quality checks, encompassing content accuracy, learning processes, materials, assessment, and evaluation by subject matter expertise. Data analysis utilized the Index of Item-Objective Congruence (IOC), while the effectiveness of the instruction package was assessed based on average scores, and standard deviations.

The research findings reveal the efficacy of producing a basic level Pee-nai teaching kit aligned with the curriculum guidelines of the Master Thiap Khonglaithong for students at Nakhon Ratchasima College of Dramatic Arts, scoring 81.42/82.96. Furthermore, the assessment of students' satisfaction with the basic level teaching kit indicates a notably high level of satisfaction ( = 4.43, S.D.= 0.22).

THE PROCESS OF TRANSMITTING RANAT EK ERFORMANCE BY DR. PITSANU BOONSRIANAN

SUCHANYA KONGSIM — 2025-06-12

This research is a qualitative research with the following objectives: 1) to study history, and achievements of Dr.Phitsanu Boonsrianan, and 2) to study the transmission of the Ranat Ek of Dr.Phitsanu Boonsrianan. The researcher Collected data from documents and surveyed by observe and interview. The finding revealed that he is an expert in playing Ranat Ek and is well-respected in the Thai Classical music society. He used teaching methods, strategies, and integration for college students. It was divided into four parts: 1) Instructor: he has knowledge in theoretical and practical sections, Demonstrating morality, ethics and professionalism as a teacher. 2) Students: he teaches by use one-to-one teaching and demonstrate to students (student-centered learning). 3) Curriculum: contents are organized from beginner level to solo instrument music level in play Ranat Ek. 4) Process: he teaches by start from uncomplicated songs to solo instrument music level, uses various techniques, and behaves in a good role model. In addition, he brought educational technology to develop in Ranat Ek teaching.

AN ANALYSIS OF VOCABULARY IN “EXPERIENCING CHINESE TEXTBOOK FOR SENIOR HIGH SCHOOL LEVEL 1-6” IN COMPARISON WITH CHINESE PROFICIENCY GRADING STANDARDS FOR INTERNATIONAL CHINESE LANGUAGE EDUCATION LEVEL 1-9

YUWADEE WANNAMOON — 2025-06-12

This study aimed to compare similarities and differences of vocabularies in vocabulary indexes and learning lessons of "Experiencing Chinese Textbook for Senior High School Level 1-6" to those of Chinese Proficiency Grading Standards for International Chinese Language Education Level 1-9. The study also aimed to analyze vocabulary items in vocabulary indexes and learning lessons of "Experiencing Chinese Textbook for Senior High School Level 1-6", which have not been found in Chinese Proficiency Grading Standards for International Chinese Language Education Level 1-9.

This study revealed that

1. 2,180 vocabularies out of 3,051 items (71.45%) in vocabulary indexes and learning lessons of "Experiencing Chinese Textbook for Senior High School Level 1-6" were accurate to Chinese Proficiency Grading Standards for International Chinese Language Education Level 1-9. There were only 871 vocabulary items or 28.55%, which were different from those of Chinese Proficiency Grading Standards. Moreover, from all of "Experiencing Chinese Textbook for Senior High School Level 1-6", there were vocabulary items found related to Chinese Proficiency Grading Standards level 1 the most at 73.40%, and those in Level 2-3 of the Standards were found at 54.79% and 42.85% respectively.

2. When analyzed 871 vocabulary items in vocabulary indexes and learning lessons of "Experiencing Chinese Textbook for Senior High School Level 1-6" found unrelated to Chinese Proficiency Grading Standards Level 1-9. It showed that "Experiencing Chinese Textbook Level 6" contained 272 vocabulary items 31.23%, which were the most irrelevant to the Standards, followed by "Experiencing Chinese Textbook Level 5", which contained 208 irrelevant vocabulary items or 23.88%, and "Experiencing Chinese Textbook Level 4" with 168 irrelevant items at 19.17%. However, vocabulary items in "Experiencing Chinese Textbook Level 1" were found unrelated to the standards the least at 1.61%. Furthermore, when data were analyzed in terms of Chinese word compounding, it revealed that 817 items or 93.80% found accurate to Chinese Proficiency Grading Standards.

THE INNOVATION OF DURIYASILPA THIN PAK TAI SUITE

KITTICHAI RATTANAPHAN — 2025-06-12

This creative article on the Innovation of Duriyasilpa Thin Pak Tai Suite is part of doctoral research. Doctor of Fine Arts Program in Music. It aimed to create songs and music as the Innovation of Duriyasilpa Thin Pak Tai Suite. Qualitative research methodology was used by collecting data from three target groups of participants and studying the musical identities of both upper and lower southern groups based on the main components: the bands, the musical instruments, the nathap (rhythmic patterns), the melodies, lyrics, keys, and the musical formations to be synthesized and presented as on-stage musical performance.

The concepts and inspirations for creative music composition are divided into 4 new parts which consisted of 1) Pratombot Duriyasilapa Thin Pak tai, it is to worship sacred things and teachers who gave the knowledge of music to learners; 2) Satayai suebsan ghansangsan, it is to convey the history and importance of southern folk music; 3) Attalak plengtomnong khongprachan, it is to conveys the identity of southern folk drums; 4) Haruhan taibotpleng banlengrom, it is to reflect the mixture of the multiculturalism of music with the southern folk music. These four parts of creative work were designed to show the identity of the southern folk music bands, musical instruments, the rhythms of Natub, the melodies, the lyrics, the tones, and the song forms. These make the song created to be a new dimension of southern folk music which reflects the value of local wisdom in southern folk music. It also meets the needs of the audience nowadays.

TECHNICAL METHODS OF RANAT EK PERFORMANCE PRACTICES FOR THE FIRST YEAR STUDENTS OF THE FACULTY OF ARTS EDUCATION AT BUNDITPATANASILPA INSTITUTE

WATCHARAKORN BOONPENG — 2025-06-12

The research propose was to study Technical methods of Ranat Ek Performance practices for The first year students of the Faculty of Arts Education at Bunditpatanasilpa Institute. Using Thorndike's theory. Collect information from interview and descriptive analysis for study Technical methods of Ranat Ek Performance practices for The first year students of the Faculty of Arts Education at Bunditpatanasilpa Institute.

The research finding was Technical methods of Ranat Ek Performance practices for The first year students of the Faculty of Arts Education at Bunditpatanasilpa Institute include 6 technical methods 1) Khayee-Ku 8 was preparing for a performance and body 2) Sadoar Siang-diew - Ku 8 was the player has skills in using the muscles of the left and right hands. 3) Khab Luk Kham Dok and Ti Wiang between ku-4 and ku-8 was practice of weight training on both the right and left hands of the players. 4) Khayee for long melody were skills in using the muscles of the left and right hands and the practice of correct notes for the player. 5) Ti Yuen Siang by swaping left and right hands for correct notes when player play Ranat Ek. and 6) Wieng Siang in Ku-4 and Ku-8 for correct notes when player play Ranat Ek. In order to be effective, the player should have the basics of playing Ranat Ek and practice regularly.

DANCE CREATIVE WEAPON

KORNKANOK TUBJEEN — 2025-06-12

This research aims to explore the historical background and principles of weapon usage in Thai society, both in military contexts and theatrical performances. The study focuses particularly on the play Inao: The Battle of Kamangkuning as the basis for developing a creative performance entitled “DANCE CREATIVE WEAPON”The research methodology includes documentary study, literature review, analysis of relevant academic work, expert interviews, and the researcher's own experience.

The performance creation process adheres to the seven stages of choreographic composition as proposed by Professor Emeritus Dr. Surapol Virulrak: (1) concept formulation, (2) sketch design, (3) model development, (4) construction, (5) refinement, (6) presentation, and (7) evaluation. The performance features four female performers in traditional royal costume with long sleeves, accompanied by a Pi Phat Mai Nuam ensemble. The performance is divided into five segments: ancient theatrical weapons, spear dance sequence, javelin dance sequence, sword dance sequence, and kris dance sequence. The weapon choreography can be categorized into two main types: weapons used on horseback—such as spears and javelins—for thrusting or throwing at enemies; and weapons used in close combat on the ground—such as swords and krises—for stabbing or slashing. The traditional “Tee Lo” movement is interwoven throughout all weapon sequences, in accordance with conventions of Khon and classical Thai drama. This performance serves as a creative reinterpretation and extension of traditional knowledge passed down by master artists. It is adapted to contemporary Thai societal contexts, which demand concise and impactful performances. This study exemplifies the preservation and development of cultural knowledge in a new performance format suitable for modern Thai society.

CREATING ARTISTIC EXPRESSION : THE STRUGGLE AND RESILIENCE OF ANIMALS TO REFLECT THE SUBTLETIES OF HUMAN LIFE

TEERAWUT NIEMSIM — 2025-06-12

This article presents an artistic creation under the theme " Creating Artistic Expression: The Struggle and Resilience of Animals to Reflect the Subtleties of Human Life." The artwork is a symbolic representation using animals as icons to portray the fight and struggle to survive in society. It touches on themes of greed, envy, anger, and delusion which are causes of insatiability, and the contemporary societal race to outshine others. This is reflected through the forms of wild animals battling for survival, acting purely on instinct without moral accountability. It aims to provide a reflection for humans to recognize, contemplate, and appreciate the values that differentiate us from animals. The creation process involves acrylic painting techniques, creating textures and patterns, transforming these patterns into various animal forms, layering colors to achieve different depths, and using specific brush strokes to convey emotions and feelings unique to the artist.

RELATIVITY OF LIFE IN THE HOMETOWN

NITTAYA SRIKONG — 2025-06-12

creative works “Relativity of Life in the Hometown” has the following objectives: 1. To create traditional Thai paintings on the relationship of ways of life in the origins. 2. To convey impressive memories in their own origins. in the form of traditional Thai painting using the powder color technique on the ground chalk. The inspiration comes from the origin in the southern region of Pak Phanang District, Nakhon Si Thammarat Province, the relationship, memory, way of life and living in harmony with nature, which is a refreshing environment rich in rich and diverse resources. Use the impression of the memory image to create works in the form of traditional Thai painting. presents a variety of lifestyles which consists of houses, people, trees, environment of the hometown.

The results of the creation found that from the creation of traditional Thai paintings on Relativity of Life in the Hometown Able to convey memories that are stamped in their own homeland by using a bird's eye view Makes it possible to fill in the details of the composition of the memories in a variety and completely In order to show the identity of the origin that is diverse and there is a relationship between people and the area. The work also expresses the morning atmosphere of the area and the activities of the people. with the movement of daily life Communicate the joyful feeling of the community atmosphere to the audience.

VARIATION OF STRUCTURAL DIMENSIONS OF CAPITAL LIFE

PANICH PHUPRATANA — 2025-06-12

The "Variation of structural dimensions and lifestyle in the capital" project has been created. The intentions are as follows: 1) to research and evaluate the current story in the capital 2) to use materials to build textures and combining techniques to make 3D mixed-media works of art. It gives the surroundings a realistic sense of roughness, gloss, and roughness, which helps to explain how the environment has changed over the building's lifetime. reflecting both the modern and the ancient in a coexisting culture. It depicts an urban landscape that reflects the changing story of buildings in the capital via the use of multiple art installations to match the installation space and emphasize the comparison between the creative work and the environment of the space. These artistic methods and media, which include painting and sculpture, are combined with the use of materials to create works of art in the form of realism.

The findings demonstrated the creator's use of a variety of methods and media. A variety of artistic disciplines are combined to produce mixed-media 3D works of art. The writers focus on telling tales that influence urban life feelings. observing both prosperity and the concurrent deterioration of structures and means of subsistence. Inspired by the cubic structure that serves as the foundation for a house, the creator recreated the surface and structure of reality. tall building By employing the arrangement of shapes to change little by bit, the focus is on making the progressively changing dimension clear and bringing viewers' attention to the reality about life's uncertainties.

CREATION OF PAINTINGS TO EXPRESS THE BEAUTY IN THE BODY OF PLANTS

THITA KRUTCHUEN — 2025-06-12

The purpose of "Creation of Paintings to Express the Beauty in the Body of Plants" to study and create paintings in a naturalistic style using plants as models. To convey the beauty in every condition of plants and realize the transience of nature and life. By studying the art style of naturalism and the principles of Three Characteristics of Existence in Buddhism. Which consists of 3 characteristics: anicca, dukkha, and anatta. It focuses on the study of anicca. which expresses the ephemeral nature of all things that are governed by the same natural law. That is, there is birth, existence, and extinction.

The results of creativity were found the style of painting is naturalism, which uses plants as models. Expresses beauty in the different conditions of plants. Both newly grown, beautiful leaves and withered, decayed, and decomposed reflect the impermanence. change according to natural laws. It is a painting that is consistent with the principles of the Three Characteristics of Existence. Reflect to realize the value of your own life and that of other living beings. Humans should be mindful and cautious in their lives. Including making benefits before life ends and leaves this world.

CREATION OF 3D DAN KWIAN SCULPTURES USING THE TECHNIQUE OF ENGOBE : ISAN CULTURE

DEN RAKSORN — 2025-06-12

Creation of 3D ceramic sculptures to Dan Kwian clay using the technique of Engobe. With stories of the Isan Culture have a purpose to create works as follows: 1) to create pottery sculptures with stories of the Isan Culture. 2) to create works using the pottery process using Dan Kwian clay and Engobe colored clay technique. By studying Inspirational information Conceptualization of stories, traditions, arts and culture, beliefs, games, occupations, agricultural and local wisdom in life that have the unique style of the Isan people, systematically analyzed and selected To be used in the synthesis of appropriate forms to express the story, content, and form through ceramic sculptures that provide aesthetic beauty. in Symbolic Graphic form Combining influences from Pop Art and Cubism that express the researcher's identity Shape and Form of the researcher with the technique of overlapping refraction styles. Creating a dimension that is worth searching for It is fun and exciting according to the imagination of the artistic and visual elements. for use in communicating content By creating the ceramic process The researcher used local Dan Kwian clay. Through a process of experimentation and testing of properties to be suitable for Slab Forming. in the form of a Round Relief Sculpture and decorated by Engobe colored clay technique to test suitability for creativity and firing the glaze at a temperature of 1,200 degrees Celsius.