The 1st ICRU International Conference: Sustainable Community Development

Performance Show

The 1st ICRU International Conference: Sustainable Community Development

Cultural Performances
For
The Chiang Mai Rajabhat University International Conference
February 18, 1019
The Opening Ceremony: 09.00 a.m.
Tippayabysrisawan  Dance
This performance symbolizes a warm welcome to all participants to the conference according to the Lanna tradition. The performers symbolizing heavenly angels are bearing the elaborately decorated Bai Sri flower trays to welcome the participants.

Number of performers: 14
Duration: 4.30 minutes
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The Reception Dinner
The first performance: Tippayabuppaauychai  Dance
This dance symbolizes the welcoming of all participants to the conference. It also represents the delicate beauty of freshly blooming flowers. The performance also reflects the motto of Chiang Mai Province, that goes:
Holy Doi Suthep Temple
Graceful Traditions
Charming and beautiful flowers
The precious name of Nakhon Ping
Number of performers: 8
Duration: 5-6 minutes

The second performance: Thai Classical Masked Dance: “The Monkey King Catching
the Fish Princess” Episode
The episode of this classical masked performance is taken from the “Road Building” episode in the Ramayana Hindu Epic. The excerpt is that, after the Demon King abducted Sita to his Longa City in the hope of making her his consort. The divine prince, Rama, and his younger brother, Lakshmana, together with their monkey soldiers, demanded the return of Sita. On their way to the Demon City, the troop was made to encounter such a vast ocean that it would be impossible for the troop to cross. The prince ordered his troop to construct a road across the ocean in order to get to the city.  Sukeep had the Monkey King direct the Kidkin   soldiers and Ninlapat  direct the Chompoo  soldiers. The soldiers were mobilized to construct the road by throwing stones into the ocean. During the construction, the Monkey King quarreled with Ninlapat. The prince then intervened by having Ninlapat return to Kidkin  Town in charge of providing supplies to the army. The Monkey King was ordered to oversee the road construction. However, the construction must be completed within three days, otherwise he would be punished.
During the construction, Supunmudcha, the Fish Princess who was a daughter of the Demon King, received an order from her father to lead her fish subordinates to obstruct the road construction by carrying the stones to the deeper sea. The Monkey King noticed that the stones disappeared whenever they were thrown into the ocean. He then dove into the ocean to investigate and found the Fish Princess and her followers carrying the stones into the deeper sea. He then chased them away, dispersed her followers, caught the princes and made her his consort. He asked his consort to tell her followers to bring back the stones, which she complied.

Number of performers: 2
Duration: 7-8 minutes

The third performance: Sabudchai Drum Performance accompanied by Kingkala Bird Dance and Lion Dance

                In the old days, Sabudchai drum performance indicated an auspicious time to fight in a war as well as to uplift the spirit and morale of soldiers going to war. Nowadays, the performance symbolizes a victory and auspiciousness. Performers now add different and exciting styles by using other body parts like elbows, knees and head, to make the performance more impressive, exciting and popular.
The Kingkala Bird Dance and Lion Dance are usually performed at the end of Buddhist Lent. The Shan ethnic people believe that these two mythical creatures jointly performed their dances as a gesture of worship to the Lord Buddha at the end of the Lent. The performances also symbolize fertility.

The fourth performance:  Kerk Kaew  Karen Dance
Kerk Kaew  is a Karen word, meaning “fluttering cloth”. This performance was created in 2018 by the fourth-year Performing Arts students at Chiang Mai Rajabhat University under the supervision of Acting Sub-lieutenant Ajan Sarayut Ongsangkun and Ajan Jakkrit Sanjai
The performance was based on an analysis of the lifestyle of the Long Neck Karen ethnic group residing at Tongluang Village in Tambon Mae Raem, Mae Rim District, Chiang Mai Province. The dance is based on the life style of young Long Neck Karen women who wear brass coils on their necks to elongate them. The dance postures narrate their daily-life activities like worshiping rice ritual, weaving, farming and performing the fluttering cloth dance as a form of entertainment.

Cultural Performances
For
The Nakhon Sawan Rajabhat University International Conference
February 18, 1019

Chan Sen Buri Dance

                       Chan Sen Buri dance was created in 2001 according to the distributed cultural policy of the Nakhon Sawan Art and Cultural Office, Nakhon Sawan Rajaphat University. The melody of               Chan Sen Buri was composed by Distinguished Scholar Pakorn Rodchaangpeuan. In 2013, Chan Sen Buri dance was improved to engage in teaching and learning of Inventive and Creative Acting course. The costumes and accessories were developed because of the ruined ones. Therefore, the performance costumes were renew by studying from archaeological evidence at Chan Sen museum. The dance was created by Assistant Pnrofessor Nongluck Piyamangkala, an instructor of Classical Dance and Drama, the faculty of Humanities and Social Science, Nakhon Sawan Rajabhat University.

Intraranee Tawee Phrabang Dance

            Archeologists presumed that Woranat Banphot Temple or Wat Khaokob was built in the Sukhothai era as it can be seen that there are many sacred objects which were produced in the Sukhothai era such as Buddha’s footprint, upside down bell-shaped pagoda, reclining Buddha, relic-contained pagoda etc. According to these evidences, the Intraranee Tawee Phrabang dance was inspired to be created with passion and imagination of the producer. The dance was created according to the study of stone inscription as well as ancient objects and remains at Wat Khaokob and various ancient remains in the same era as Phrabang by Ajarn Phatthira Chandee, an instructor of Classical Dance and Drama, the faculty of Humanities and Social Science, Nakhon Sawan Rajabhat University.