The Essence of the Isan Dance by Chaweewan Phantu, National Artist

Abstract

This research studied the essence of Isan dance by Chaweewan Phanthu, a national artist. Its purpose was. - 1) to study the development in the performing arts of Chaweewan Phanthu, and 2) to study the essence of Isan dance of Chaweewan Phanthu. We reviewed research papers and field data from the sample group of 33 people comprising a group of 7 experts, 6 practitioners, and 20 general informants. Research instruments were a survey, an observation form, an interview form that was both structured and unstructured. The results were presented using descriptive methods. It was found that. - 1) Mor Lam Chaweewan Phanthu was born in the Mor Lam family and was trained since a young age by many master Mor Lam artists from the Isan region, such as MorLam Chalee Damnoen, MorLam Khampha Ritthit, MorLam Boonpeng Pewchaiand Mor Lam Khampun Fungsuk etc. These artists had a graceful personality and melodious intonation that has 25 layers of detailed tremolo, and also aunique melody and style. These musicians are the ones who perfectly preserves the traditional Isan dance posture. 2) the essence of Mor Lam Chaweewan Phanthu’s Isan folk dance is “bow low, wide dance, don’t hold back”, a definition that is at the heart of the Isan dance that has stipulated the holistic aspect of the Isan dance as a model for performing the gestures of the dance. The definition of Mor Lam Chaweewan Phanthu consequently leads to a role that is said to be a “beautiful dance” originating from the process of knowledge and ability in Isan dance, arising from the accumulated experience and expertise. It has been formed into a skill and distinctive character of using the body from the head, hands, arms, shoulders, body, and feet, which are components of the dance style that reflects the local Isan aesthetic.

Keywords

• the essence
• isan dance
• national artis