DANCE CREATIVE WEAPON

Abstract

         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.