The Legend of the Construction of Phra That Si That Pramanya Wat Phra That Si That Pramanya Champi Sub-district Si That District Udon Thani Province Performance Set Satthakan Si That Pramanya

Abstract

This research consists purposes were 1. to study the legend surrounding the construction of Phra That Si That Pramanya Champi Sub-district Si That District Udon Thani Province and 2. to create a dance thesis entitled Satthakarn Si That Pramanya. This study employed a qualitative research methodology. The research instrument consisted of interview forms and the target group comprised four key informants selected through purposive sampling. Data collected from documentary sources and interviews were analyzed using content analysis. The findings revealed that 1) The legend surrounding the construction of Phra That Si That Pramanya located in Champi Sub-district, Si That District, Udon Thani Province, is an oral folk narrative that corresponds closely with archaeological evidence and local beliefs. This legend has therefore exerted a profound influence on the thoughts, culture, traditions and ways of life of the local people, remaining deeply embedded within the community and 2) The creative dance thesis entitled Satthakarn Si That Pramanya was designed into three performance segments. The first segment portrays the origin of the journey to Phu Kamphra and the royal procession of the ruler of Peng Chang Nakhon Rat, who brought treasures to participate in the construction of Phra That Phanom. The artistic elements, including costume design, props, stage setting and musical style, were inspired by Khmer art. The second segment depicts the king of Peng Chang Nakhon Rat proclaiming the construction of the stupa in accordance with his faith and devotion. The musical composition, costumes, props and stage setting continue to reflect Khmer artistic traditions, while conveying emotions of beauty, reverence, and deep faith in Buddhism and the third segment portrays the townspeople gathering to worship and celebrate the consecration festival of Phra That Si Pramanya. The musical style, costumes, props and stage setting in this segment are based on Dvaravati art. In the concluding section, Khmer and Dvaravati artistic traditions are harmoniously integrated and interconnected, while still preserving the distinct cultural identities of both the Dvaravati and Khmer traditions.