Removing the Symbols of the A1 Cham Art High Relief Sculptures to Create Drama

Abstract

This research consists purposes were 1. to study the historical background of My Son Cham art and 2. to decode the symbols of high-relief sculpture in My Son-style Cham art and apply them to the creation of a dance performance. This is a qualitative research study using descriptive and analytical methods. Research instruments include interview forms and work recording forms. The target group consists of 7 individuals selected through purposive sampling. The data collected from the research instruments and related documents is analyzed using content analysis. The research results found that 1) the Cham art of Mi-son A1 corresponds to the 10th century. It is an art that was developed from the Cham art of Mi-son A1. It is outstanding in the high-relief sculptures of gods, angels, Gandharvas, apsaras and animals, which were influenced by India. It is considered the era when Cham art flourished because of its beauty with sharp, delicate structures, dimensions that seem to move and philosophy with high artistic ideals. Scholars have divided the Cham art of Mi-son A1 into 2 periods: the first half of the 10th century is the Cham art of Khueang My style and the second half of the 10th century is the Cham art of Cha Kiew style, including the Cham art of Jang Lo style in the late 10th century to the middle of the 11th century and 2) From the research on the Cham art of Mi-son A1, Aphara sculpture by looking at the 108 dance postures or Karana in the Bharata Natyasat scripture and using the semiotic theory, it resulted in the structure of 4 dance postures. When the structure of the dance postures was analyzed again using the aesthetic theory along with the researcher's imagination, it resulted in 8 main dance postures. The researcher will use the main dance postures or the research results to connect with the science of dance arts to design the creative dance.