THE FON TRADITIONAL DANCE IN MOR LAM PERFORMANCES OF MRS. CHAWEEWAN PHANTU (NATIONAL ARTIST OF THAILAND)

Abstract

The objectives of this research article are 1) to study the dance movements in Mor Lam Performances Based on the Style of Mrs. Chaweewan Phantu (National Artist of Thailand), and 2) to examine how these dance movements contributed to the creation of Isan dance by the Roi Et College of Dramatic Arts. This study employed a qualitative research methodology, with data collected through unstructured interviews with guided topics and questions. The interviews were conducted with experts in Mor Lam, Isan music, and Isan dance, followed by inductive analysis and synthesis from descriptive records. The findings reveal that 1) Mrs. Chaweewan Phantu demonstrates expertise in three types of Mor Lam performance: Mor Lam Klon, Mor Lam Rueang Tor Klon, and Mor Lam Ploen. In all three types, dance movements accompany the performances: (1) Mor Lam Klon involves fon o, fon prakop khwan lam, and fon prakop (2) Mor Lam Reuang Tor Klon, and (3) Mor Lam Ploen both feature fon ok chak, fon khao bot, and fon kiao 2) These Mor Lam have been adapted to create two performance pieces by the Roi Et College of Dramatic Arts: fon pha daeng kiao nang ai and fon manora len nam. Both sets serve as models of Isan dance, integrating traditional Isan dance and Thai dance elements, and represent the early developments in Isan folk performances following the establishment of regional colleges of dramatic arts. As a result, these Mor Lam performances have gained widespread popularity and continue to be showcased at festivals both domestically and internationally to the present day.