Studying the Background and Identity of Molam for Creative Performances Oh La Nor

Abstract

This research consists purposes were 1. Study the background and identity of Mor Lam (Isan folk performance art) and 2. to create a contemporary Isan folk dance composition entitled “O La No”. The study employed a qualitative research approach, using interviews and observations as the primary research instruments. The target group consisted of three key informants selected through purposive sampling. The collected data were analyzed through content analysis. The findings revealed that 1) Mor Lam is the most significant traditional folk performance of the Isan people and has long coexisted with Isan society. Its emergence is closely associated with the social and cultural context of Isan communities, whose way of life is characterized by simplicity and joyfulness. After the harvest season, villagers often engage in leisure activities to relax and Mor Lam serves as a form of entertainment deeply rooted in their communal life. Although the exact origin of Mor Lam is unknown, it is believed to have evolved from various traditions. Specifically, it originated from the custom of reading or chanting Buddhist scriptures inscribed on palm-leaf manuscripts (bai lan). Furthermore, Mor Lam in the Isan region can be categorized into five principal types 1.1) Mor Lam Phuen (traditional solo performance) 1.2) Mor Lam Klon or Mor Lam Prachan (competitive or improvisational performance) 1.3) Mor Lam Mu (group performance) 1.4) Mor Lam Phi Fa (ritual or spiritual performance) and 1.5) Mor Lam Thongthin or Mor Lam Chatiphan and 2) The creation of the performance “O La No” was structured according to the fundamental principles of performing arts. In developing a dance composition, it is essential to apply conceptual frameworks grounded in the discipline of performing arts to ensure aesthetic beauty in choreography, expressive body movements, and meaningful gestures that harmonize with other artistic elements. These include the distinctiveness of culture, tradition, music, lyrics, playfulness, and costume design all of which contribute to a refined and meaningful performance. The creative process was guided by choreographic principles emphasizing movements that embody the unique identity of Mor Lam. The gestures, bodily movements, and musical accompaniment were all derived from an in-depth study of traditional Mor Lam and developed through a choreographic creation process. Consequently, the performance was titled “O La No.” The choreography emphasizes expressive gestures of various body parts hands, feet, arms, legs, head, and torso reflecting human creativity and mastery in dance performance. These movements demonstrate individual skill and artistry, cultivated through continuous practice and adherence to the principles of choreographic design. The dance gestures in the performance can be classified into two main categories (1) Free-form dance movements, which are improvisational and not bound by fixed patterns, allowing performers to express their creativity through personal interpretation and (2) Structured dance movements, which follow established forms and traditional frameworks derived from classical dance conventions.