The Development of Wat Sa Kaew Orphan Likay Troupes, Pa-mok District, Angthong Province
By Phunthipa mara
ABSTRACT
The research, The Development of Wat Sa Kaew Orphan Likay Troupes, Pa-mok District, Angthong Province, focuses on the development, history, style and components of the troupes.
The research indicates that the troupes were founded in order to develop careers for Wat Sa Kaew orphans. Once, HRH Maha Chakri Sirindhorn performed a private kathina ceremony at Wat Sa Kaew, during which the temple presented to the princess an elaborate likay performance or ‘likay songkrueng’. She was very pleased and decided to patronize that Wat Sa Kaew Orphan likay troupe. The princess named the troupe “The Royal Wat Sa Kaew Orphan Likay Troupe I, under HRH Sirindhorn's Royal Patronage”.
The work of Wat Sa Kaew orphan likay troupes is now primarily for-profit. Only the Wat Sa Kaew Orphan Likay Troupe I, which Mr. Sriprae Naksiri is in charge of, performs traditional likay with adorned costumes. The style and components, then, have adopted modern technology to enhance the flavor of performances. The costumes were adapted to be more modern. The performance style has brought back Likay Louk Bot songs. The Wat Sa Kaew Orphan Likay Troupe I has continued to use Pee Paat ensemble.
Key words: Likay, HRH, necessitates
P Mala:
INTRODUCTION
Performances of Wat Sa Kaew Orphan Likay Troupes, Pa-mok District, Angthong Province were developed from elaborate likay performances, which were once widely popular and well-known. Likay styles and performances have changed. This necessitates studies and conservation of this dramatic art, as well as application of research findings in enhancing quality of modern likay performance.
PURPOSES OF RESEARCH
1. To investigate the history, style, performance procedure and components of likay performances by Wat Sa Kaew Orphan Likay Troupe, Pa-mok District, Angthong Province
2. To analyze changes in peformance style of Wat Sa Kaew Orphan Likay Troupe, Pa-mok District, Angthong Province
3. To conserve Thai likay tradition and utilize research findings in developingThai likay performance styles
EXPECTED OUTCOME
1. To obtain knowledge of the history, style, performance procedure and components of likay performances by Wat Sa Kaew Orphan Likay Troupe, Pa-mok District, Angthong Province
2. To obtain knowledge of changes in peformance style of Wat Sa Kaew Orphan Likay Troupe, Pa-mok District, Angthong Province
3. To conserve Thai likay tradition and utilize research findings in developing Thai likay performance styles
RESEARCH TOOLS AND METHOD
1. Information sources and informants: The researcher employed 2 types of data sources.
Literature: Data was collected from various literature on performances, dance movements, scripts, lyrics, actors/actresses, instruments, costumes, props, stages and influential people in the likay field. The researcher also collected data from articles on likay performance style.
Field research: Observation was carried out and data was collected from five Wat Sa Kaew orphan likay troupes’ 15 performances in Angthong and Ayutthaya provinces. The researcher observed three performances by each of the troupes from October 2007 to October 2008. 2. Questionnaires and structured interviewes: Informants were dividied into three groups as follows:
1) Supervisors of the five Wat Sa Kaew orphan likay troupes; 2) Ten performers from each of the likay troupes which made total 50 informants in this category; and 3) An audience of 100 in which ten were randomly selected twice from the audience of each troupe 3. Data gathering: This process was divided into two stages:
1) Preparation: Sites were surveyed. 2) Research: Research was carried out at Wat Sa Kaew, where those involving in the establishment of the five Wat Sa Kaew orphan likay troupes:
Troupe I supervised by Mr. Sriprae Naksiri whose residence was next to Wat Sa Kaew; Troupe 2 supervised by Mrs. Somjit Cha-luey-aaj whose residence was near a market in Pamok District, Angthong Province; Troupe 3 supervised by Mrs. Samniang Lookpamok whose residence was near Potong School, Potong District, Angthong Province; Troupe 4 supervised by Mrs. Wig To-pra-maan whose residence was near Potong School, Potong District, Angthong Province; Troupe 5 supervised by Mr. Rachain Luke-maharaj whose residence was near Wat Gai-tia, Maharaj District, Ayutthaya Province. 4. Distributing questionnaires: Questionnaires were distributed to those involving in the establishment of the Wat Sa Kaew orphan likay troupes which were divided into three groups: 1) Five groups of Wat Sa Kaew orphan caretakers; 2) 50 likay performers from five troupes, 10 performers from each of the troupes ; and 3) An audience of 100 in which ten were randomly selected twice from the audience of each troupe. 5. Observation: Observation was carried out and data was collected from five Wat Sa Kaew orphan likay troupes’ performances in Angthong and Ayutthaya provinces. The researcher observed three performances by each of the troupes from October 2007 to October 2008. Fifteen shows were observed and studies in accordance with the topics specified. Data was recorded in writing and with the use of audio recording, videotapes and photography during each show.
FINDINGS
Findings from studying Wat Sa Kaew orphan likay troupes include: 1. Origin: Wat Sa Kaew orphan likay troupes were different from professional likay troupes. They originated from a number of orphans in the Wat performing for HRH Maha Chakri Sirindhorn. An elaborate likay performance had been prepared for the Princess. The performance distinguished itself from professional likay troupes, as well as promoted conservation of the ancient elaborate likay tradition. 2. Performers: Most performers in Wat Sa Kaew orphan likay troupes were boys at the age between 8-15. Since all the characters were performed by boys, some feminine actions did not appear very realistic. Training was difficult because it was against performers’ nature. The fact that the troupe members were orphans made their audience sympathetic towards them. The audience was easily moved by sad and dramatic likay scripts. 3. Dancing: Mr. Sriprae Naksiri was renowned as a skilled likay trainer. He taught Wat Sa Kaew orphan likay troupes, most of whom were children and youths, dance movements that were as beautiful as those performed by professional likay performers. 4. Story lines: At the time Wat Sa Kaew orphan likay troupes were the only children likay performances adopting classic literature in developing their likay scripts. This was one of the features of likay songkrueng. The plots adopted were mostly popular stories of the period, such as I-now and Pra Apaimanee 5. Musical instruments: Wat Sa Kaew orphan likay troupes still use the traditional Wong piphat khruang ha commonly called “Wong Najua” to accompany their shows . The ensemble consists of ranad ek (xylophone), ranad toom (alto xylophone), khong wong yai (gong circle), pi nai (bass oboe)
glong thad (a set of two large barrel drums), and ching (small cymbals). It is called “Wong Najua” because the instrument arrangement looks like a gable. Although later on smaller wong piphat mon has been used, the current abbot has insisted that Wat Sa Kaew orphan likay troupes should maintain their unique traditional likay songkrueng elements. The tradition of this type of likay sould be studied and conserved by young generations 6. Values of the audience: The Wat Sa Kaew Orphan Likay Troupe I Mr. Sriprae Naksiri was popular when it was first established. Once its audience was not fascinated by the original likay soungkrueng performance style anymore, Mr. Naksiri adapted it to likay lukebot. Plots were developed and adpated from his experiences. Dramatic romantic stories were particularly preferred by the audience and hosts. All five Wat Sa Kaew Orphan likay troupes, then, performed likay lukebot.
Analysis of Different Likay Performance Styles of: Early Wat Sa Kaew Orphan Likay troupes from 1980 to present were studied. The researcher found that the development and changes could be divided into two phases: in 1980 – 1985 and 1986 – present.
Most of the changes were influenced by professional likay. The adpatations were attempts to bring variety and modernity to the performances for survival and popularity of the five troupes. Only Wat Sa Kaew Orphan Likay Troupe I, which Mr. Sriprae Naksiri is in charge of, performs traditional likay songkrueng with some adaptations to match its audience’s preference. Songs, dances to na paat music and musical instruments, which are main elements of traditional likay, are still maintained.
Analysis of Cultural Strength of Wat Sa Kaew Orphan Likay Troupes, Pa-mok District, Angthong, Province
Likay performances of orphans at Wat Sakaew have retained the cultural identity of the people of Pa-mok District for several generations. The tradition is responsible for strengthening the community’s culture. The researcher conducted an analysis of cultural strength by using “The Cultural Taproot Theory” designed by Kanjana Intarasunanon, (1999: page 70) consisting of eight characteristics:
1. Living the Thai lifestyle
2. Valuing education
3. Searching for knowledge
4. Acquiring values
5. Developing ideology
6. Maintianing culture
7. Following tradition
8. Respecting religions
1. Living the Thai lifestyle: The orphans at Wat Sakaew live simple lives without any support from their relatives. They live on food provided by the temple and donations. The children are well-behaved and frugal. They have been taught to live together with love and unity, and remain supportive to each other.
2. Valuing education: The abbot generally supports these orphans until they complete Matayom Three. They are encouraged to pursue further eductaion with support from the temple or donations if they are devoted and competent. They are taught that education enables them to be good citizens and have quality of life in Thai society.
Apart from schooling, Wat Sa Kaew has tried to develop job skills for the orphans. Craftsmanship and likay performance skills of the orphans at Wat Sa Kaew are quite distinctive and well-known. Their likay tradition has been conserved through generations.
3. Searching for knowledge: Cultural changes neccesitates adaptations of the likay tradition of Wat Sa Kaew Orphan Likay troupes. The troupes, however, never gave up the original likay tradition. Traditional performance procedure has been very well maintained. The abbot gives suggestions for improvement and provides the performers with good teachers. The likay performers at Wat Sakaew are as skillful as professional likay performers.
4. Acquiring values: In likay performances by Wat Sa Kaew orphan Likay troupes, the abbot emphasizes that the original traditions were retained as much as possible, especially paying respect to teachers before each show. This tradition is called “wai krue”. According to the custom of Thai dramatic and musical arts, the statue of the head of the hermit called Po Gae is placed at the back of the stage so that all the performers can pay respect to their teachers. This tradition helps boost morale of the performers. It is believed that paying homage to the Triple Gem, one’s parents and one’s teachers will bring good fortune and encourage the person to express their gratitude which is one of the most essential value of Thai society. The practice of wai krue is part of following and conserving one of the most essential national values.
5. Developing ideology: Developing ideology in likay tradition of Wat Sa Kaew orphan Likay troupes begins from performers. They are encouraged to realize the value and significance of their likay tradition before passing on the knowledge to later generations. Standards of the performance were determined collectively in order to achieve unity of the style. The tradition, then, is introduced to younger generations who will be encouraged to be proud and realize the importance of likay performance with hope that they will develop and promote the tradition in their communities for the future.
Cultural strength is developed by the ideologies of people participating in certain activities and cultures. The orphans at Wat Sa Kaew love the styles of likay performance from the past to the present. These styles reflect ways of life passed on from generation to generation. If their likay tradition is well promoted and conserved, it will remain in will remain a part of Thai society for posterity.
6. Maintaining culture: The popularity of likay performances by the Wat Sa Kaew orphans shows that regardless of changes in our society, the public still values wisdom, cultural conservation, gratitude, simplicity, and support, which are all portrayed in the orphans’ performances.
7. Following traditions: Originally, the purpose of likay performances by the Wat Sa Kaew orphans was simply to entertain the princess HRH Sirindhorn. Later, the abbot realized that the troupe could help develop career opportunities for orphaned children. He arranged to have the troupe perform at local events so that the children would earn some money to cover their personal expenses. The orphans performed in Buddhist events, traditional festivals, and ceremonies such as Loy Kratong, Songkran, ordinations, weddings and memorials.
8. Respecting religions: The Wat Sa Kaew orphans are from different provinces, nationalities and religions. They live together with great repect for Buddhism – without the temple, they would not have shelter, food, knowledge, careers or moral guidance. The foundation of Buddhism facilitates activities and cultural procedures related to the lifestyle and conservation of Wat Sa Kaew orphans’ likay tradition until the present.
From this we can see that the eight characteristics described in Kanjana Intarasunanon’s Cultural Taproot Theory, consisting of living a Thai lifestyle, valuing education, searching for knowledge, acquiring values, developing ideology, maintianing culture, following tradition, and religious values are important factors that allow the Wat Sa Kaew orphans to be part of the cultural strength of Pa-mok district, Angthong Province. They are vital mechanisms in promoting understanding in society forsocial stability and stregth that will lead the nation to future growth.
CONCLUSION
The research indicates that Wat Sa Kaew orphan likay is now primarily for-profit. Only the Wat Sa Kaew Orphan Likay Troupe I, which Mr. Sriprae Naksiri is in charge of, performs the most traditional likay. The style and components, then, have adopted modern technology to enhance the flavor of performances, such as staging, lighting, the sound system, costumes, amplifiers and speakers. The costumes have been adapted to be more modern like those of professional likay. The performance style has brought back the popular choral likay louk bot. Wong piphat mon has been used to accompany performances. The Wat Sa Kaew Orphan Likay Troupe I has maintained likay song krueng identities and continued to use Wong piphat khruang ha commonly called “Wong Najua”. Wat Sa Kaew orphan likay is quite popular among likay audiences. There are some limitations preventing further development of their works:
1. Wat Sa Kaew does not only suppoort orphans, but also a lot of boys and girls that have chosen to live at the temple. Financial burdens and expenses of the temple have increased. Fortunately, they have been covered by donations. If the likay troupes were further developed, they might not be sympathetically supported by the public anymore. Fees for hiring the Wat Sa Kaew likay troupes are determined by the temple which is not profit-driven. Compared to professional likay, their fees are very low. However, if the fees were higher, clients might turn to professional likay troupes instead because the Wat Sa Kaew troupes are somewhat amateur.
2. Most of the members of the Wat Sa Kaew troupes are children living at the temple. The majority of these children are from Northen Thailand, and some are Hill Tribes, which makes training quite difficult. When they grow up they leave the temple, so they are not as skilled and confident as professional likay performers.
3. The performers are school-aged children, and they hae limited time for practice. The temple can only open and close the dorms at certain times. The only time available for practice is evening. Practicing is time consuming, so this further complicates practice and rehearsal times.
From the reasons mentioned above the Wat Sa Kaew likay troupes have potential to develop and meet the same standards as professional likay performers. However, there are some factors and limitations as stated that prevent all the troupes from generation to generation from developing further. The only way that we can help them is to change our attitude and be more supportive because they are capable, and they need serious support. It is the researcher’s opinion that if people take the Wat Sa Kaew orphans seriously because of their abilities, rather than out of sympathy, the troupes will be able to develop much further than they can now.
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