The Significance and the Performance Creation of Chui Chai Nang Adun: Choreography by Sumit Thepwong

Abstract

        This paper aims to study the significance and performance creation concept of a solo Thai classical dance called Chui Chai Nang Adun choreographed by the late Assistant Professor Sumit Thepwong (PhD). The purpose of creating the dance is to feature in one of the episodes in the Ramakian epic in which a female giant demon, Nang Adun makes a point to retaliate Nang Sida. The performance features two poetic forms particularly composed and used as the lyrics in Chui Chai and Mae-Si songs. The linguistically sophisticated script of the lyrics in the performance is attributed to assonance, tonal rhyme, reduplication, and metaphorical words. The pieces used to accompany the performance consist of Rua, Chui Chai, Mae Si, Phleng Rew, and La played by the piphat ensemble (either single or double size). The dance figures are created to communicate the narrative based on the lyrics. Some of the dance moves are repeated in the performance; however, modifications are made to the choreography to avoid the identical repetition. Such modifications are alternating sides, a pause, and modifications to hand, foot, and head movements; also, some of the dance moves from other performances are merged into new choreography. The performer is attired in a red silk top with a green edge and a green silk skirt. The performer wears her hair in a ponytail tied with Tai Chong, a theatrical headpiece, and wearing a theatrical face shield. The attire is in accordance with the portrayal of a lady-in-waiting and inspired by the storyline of the ancient Chui Chai dance regarding the transformed female giant demon. Although the creator of this performance is no longer with us, his top-quality and unique work is still valuable as it portrays the creator’s wisdom in artistic creation in relation to Thai dramatic arts, which should be preserved and inherited as one of the dramatic arts of Thai classical dance community at large.