sang sinxay: inheriting folk-literature, building on...

7th International Conference on Humanities and Social Sciences

“ASEAN 2015: Challenges and Opportunities” (Proceedings)

Faculty of Liberal Arts, Prince of Songkla University, June 5-6, 2015 205

Sang Sinxay: Inheriting Folk-Literature, Building on

Community Based-theatre

1. Pachaya Akkapram , full-time lecture, Applied Drama,Department of Performing Arts,

Faculty of Fine Arts, Thaksin University, Thailand, [email protected].

Abstract

Sang Sinxay has been a masterpiece literature composed in the era of the Lao

Kingdom of Lan Xang. It has still been told year-after-year generations until the present.

From our study and site visits, it was revealed that in Dongbang Community, Dongbang

Sub-district, Nadoon District, Mahasarakham Province, there are perfect and beautiful

mural paintings depicting the Sang Sinxay on the walls of a temple hall. These mural

paintings are the prototypes to make leather puppets for shadow play, to create poetry

songs for folk singer (Mor Lam), and Isan shadow play (Pramotai Shadow Puppet) of

Petch Isan Performance Show (Isan Diamond). Nevertheless, the villagers in Dongbang

Community clearly lacked understanding of the gist of Sang Sinxay.

Subsequently, this research was aimed at finding strategies in order to create

and present the theatrical performance and process which is involved with Sang Sinxay

as the essence, and to develop the production and performance under cooperation with

the participating villagers, i.e., 15 youths from the Petch Isan Performance Show. The

community theatre activities were divided into three phases, namely, Phase 1, to study

and analyze Sang Sinxay, Phase 2, to gather and collect concerned community

information from the community in order to create new Sang Sinxay, and Phase 3, to

practice the play and perform in front of the community.

From the research, the production and presentation of the theatrical

performance and process “Sang Sinxay” brought up the main issues of “Liars for their

own interests” among teenagers, linked and compared the roles of Kumarn Ha(Prince

V) – Kuman Hok(Prince VI), and the new version Sang Sinxay was created to represent

real individuals, families and community of Dongbang, and the play could communicate

existing issues/problems and bring up the lights to the audiences. In addition, the

participants could study more Sang Sinxay and deeply learn, understand and realize

community problems, leading to the development and changes themselves in a better

way.

Keywords: Sang Sinxay, community-based theatre, process-drama, participant,

Pramotai (Isan Shadow Puppet)




Background Sang Sinxay was praised as the invaluable masterpiece literature which

Prakhong Charoenchit (2519) expressed his point of view that “this story was valuable

in terms of ruling, and social practices/principles, teaching and morals, most of them

can be used in any period of time”. The aim of the story was to encourage the people to

live in the society peacefully.

As born as Isan region, the researcher has deeply bonded with Sang Sinxay and

found that each communities or locals have adapted, modified and transformed the

written form of Sang Sinxay in to various forms of cultural arts, such as, folk singing,

preaching, Isan shadow play (Nang Pra Mo Thai), mural paintings (Hoop Taem),

including the guidelines to lay down the community development strategic planning,

and the historical and knowledgeable sources of Thai and Laos.

The researchers had an opportunity to visit Dongbang Community, Dongbang

Sub-district, Nadoon District, Mahasarakham Provicne and see the mural painting

depicting Sang Sinxay on the temple walls at Potharam Temple, which belongs to the

community for almost 100 years. This was also the source to produce shadow puppets

of Sang Sinxay of Petch Isan Performance Show. The researcher had inquired the

villagers about Sang Sinxay and learned that the locals did even not know that the mural

painting on the walls was portraying Sang Sinxay, or some locals used to hear Sang

Sinxay, but do not have clear pictures or ideas of the story.

Therefore, the researcher would like to study on how to convey the food of

thoughts, morals, and principles of Sang Sinxay to the community, and make them

recognize the value of this literature, enabling them to use the gist of the story in their

daily life by comparing the surrounding backgrounds, problems, situations, and

bringing up analysis and solutions.

As a result, the researcher brought up the drama-process in a way of community-

based theatre as a research tool in order to create the process-drama among the

teenagers, artists, and villagers as the participants. Through such participation, the

participants would be encouraged to learn the value of Sang Sinxay and also link the




thoughts from the literatures and then realize the social issues existing in their

community.

Objectives of Research

1. To find out strategies to manage the community-based theatre activities by

introducing Sang Sinxay as main story to create and develop a play, co-worked with

community participants.

2. To create and present the performance of drama-process “Sang Sinxay which

was developed from the process of community–based theatre

Research Methodology

This research was divided into three phases which consist of:

1. Review the concerned literature. The researcher studied and analyzed the

relevant information as follows:

1.1. From study of Sang Sinxay, it was found that the origin of Sang Sinxay was

in forms of both oral and written literature, which was based on were two assumptions.

Firstly, Sang Sinxay had been an oral literature without the sources of author, it had

been a folk tale which had been told generation after generations of Thai – Laos. This

story had been mostly found in the middle of North East. The inheritors had been

mostly local artists or local wise man. Secondly, Sang Sinxay was a written literature

which had been recorded on palm leaves with Thai-Noy language and made for tied

book. It was assumed that the author was Thao Pangkham (Princess Pangkham) who

had written it in 1650 in the reign of His Majesty the King Suriyavongsa Thammikarat of

the Lao Kingdom of Lan Xang. The story had been duplicated in writing and rewritten in

Middle Thai language and publicized until now in the provinces of Khonkaen,

Mahasarakham, Roi-et and Kanlasin.

The researcher selected a written Sang Sinxay which was rearranged by Man

Chongrian as the proceeding of the story was chronologically run along with the

concentration of events. Based on the study and analysis of the folk structure pattern of

this literature, it was noted that there were interesting motifs which included

“abnormal born/charisma-being slandered/misfortune-elimination/banishment–

setting off the journey-adventure-fighting-prove oneself”.




1.2. Applied Drama and principle of community-based theatre are new

academic notion, but not well-known in Thailand. They are used for describing theatre

and drama-process which are not followed the conventional theatre in a theatre, as per

the description given by Nicholson (2005) “a shorthand to describe forms of dramatic

activity that primarily exist outside conventional mainstream theatre institutions, and

which are specifically intended to benefit individuals, communities and societies”. The

applied drama has expanded the theatrical arts open wide to bridge the other fields

such as education, social development, medicine and public healthcare, etc.

There are two paths to introduce “theatre” to apply outside the conventional

frame. The first one is to apply for academic purpose, and the second path is to adapt

the play for a community, mostly involved with dramatic activities to develop

individuals, and concerned the people in urban and rural communities, leading

community-based theatre, as quoted by Pornrat Damrung (2555) “the community-

based theatre is co-working between the theatre people outside community and the

locals in community to create a new drama in order to form knowledge, realize a

problem and lead to self development of participants, or development in organization in

community in a beneficial way”.

Therefore, the production of drama-process based on the community theatre

would aim to search for issues-problems in a community in order to expose them to the

community locals, and make them pay heeds and realize the importance, as well as to

create a platform to exchange and express their discussion and opinions among the

participants, who have never taken part in the discussion in their daily lives. It is said

that the community-based theatre is a theatrical activity to focus on learning and self

development of the participants, aimed for changes in individual and community levels.

1.3. According the study at Dongbang Community, Dongbang Sub-district,

Nadoon District, Mahasarakham Province, by studying the research works and

interviews with the community leaders, locals, scholars and teenagers, it was revealed

that in the past, people in Dongbang Community had lived in expanded families with

interdependence or kinship ties, respect to seniority and community leaders. The local

lifestyles are related with Buddhism, Brahman, spirits. The locals mostly respect to

Buddhism and believe in superstition and spirits. There is shaman who will perform the




spiritual functions. The community has also followed the traditional practices of Heat

Sib Song Khong Sib Si, which is northeastern tradition for good conducts, and has

continued from their ancestors and men will play more political roles than women.

1.4. Agriculture is the major occupation of the locals, namely, rice paddy

fields, plantations and cattle farms. In addition, they also work for extra income after the

harvesting season, for instance, silk weaving, trading, producing wickerwork. However,

the economic and financial position of the locals in the community has not been better,

resulting in seeking for loans from both legal and illegal funding sources. As a result,

accumulated loans were incurred, leading the locals to migrate to make of their living in

the city with a hope to gain more income.

The problems in community consists of the ruling issues i.e. selling and buying

votes, local politicians’ corruptions, discrimination of the community leader which leads

to community separation, lacking moral, honest and fair leaders

Juvenile problems include: teenagers do not pay attention to their study, and

skip class. The villagers consider that the schooling of the youth is responsible by the

academic officers only, but in fact, the youth should be taken care and supported by

their family and school, or teachers consider that the school problems i.e. skipping

classes, failing the examination cannot be managed and solved.

1. Create and develop drama-process from the community-based theatre.

The researcher made a site visit at Dongbang Community to collect information

and study the community, and understanding of the villagers and participants toward

Sang Sinxay by observation, casual interviewing with the villagers, leaders, teachers at

Dongbang Pisainavakarnnusorn School, and youth of Petch Isan Performance Show. The

compiled information were then analyzed and concluded and used to design the

theatrical activities for a community-based theatre. The activities of creating and

developing the community-based theatre were divided into three phases as follows:

Phase 1: To study in order learn the value of Sang Sinxay, by encouraging the

participants to analyze and learn the story, theme and value. The participants

brainstormed their ideas to analyze and link to each issue, and then understand the

main theme of the story which was “human being must stand for morale and good-

doing”




Phase 2: To collect problems from communities. Through this process, the

participants were encouraged to study and analyze problems found in the community

and introduce them to create the play of Sang Sinxay to reflect the problems to their

Dongbang community, by using the activities of drama-process i.e. community maps,

community survey, and community study. The participants analyzed and concluded the

information and compared the situation and issues with Sang Sinxay’s events, for

example:

Issues of Community Events in Sang Sinxay

1. Fighting among teenagers Sinxay fought against Kumbhanda Demon

2. Drug and game addiction among teenagers

Damka and Noy Huanam was obsessed about Makkali (tree bearing fruit in a girl shape)

3. Deception among teenagers Kuman Ha and Kumarn Hok lied Sinxay to follow his aunts.

4. Fighting among teenagers to catch other’s girlfriend/boyfriends.

Sinxay fought against Damka-Noy Huamnam to catch Makkali.

5. Teenagers have boyfriends/girlfriends in school age.

Sinxay fell in love with Kiang Ngern Kiang Kham.

Table 1: Comparison between the community issues and events in Sang Sinxay

The issue which was selected by participants to present to the community was

“deception” which was compared with the behaviors of teenagers in the community

who would tell lies for their own interest, for example, teenager told a lie to parents that

he/she went to school and received the pocket money, but in fact, he/she skipped the

class and spent the money for alcohol, cigarette and drug etc.

Phase 3: To create the drama-process and develop drama work to make a new

version of Sang Sinxay by comparing the main theme, messages, and events of Sang

Sinxay with the deception among teenagers. The represent of individual and real

community events were compared with the old Sang Sinxay in order to create a new

Sang Sinxay as follows:

Sumontha represents a local who observes behaviors of teenagers/

descendants in community, acting as a narrator.

Kumarn Ha- Kumarn Hok represents the teenagers who lied, skipped

class, did a gambling, addicted to games and other vices.




Phya Kusaraj represents a leader or head family trust in his

intimate without rationale judgment.

Chaya Ha-Chaya Hok represents modern mothers who spoil their

children and take side with their children.

Sinxay represents teenagers who pay attention to study, have

responsibility and fulfill a success as a result of his hard-working,

assiduity and resistance against the incitement. This character was

comparable to the teenagers who are interested in studying and behave

well for families and society.

Kumbhanda Demon and his subordinates represent obstacles and

problems in society prove the strength, patience and assiduity of

Sinxay.

To develop the drama-process, the participants-researcher had sought

consultancy from folk singer (Mor lam) to compose the lyrics of Mor Lam (traditional

folk song). The new version of Sinxay was adapted from Sang Sinxay authored by

Princess Pangkham of Petch Isan Performance Show, and play–Mor Lam which was

speaking drama switched with singing folk song . The plot was elaborated as follows:

Plot of Drama Sequences Events

Opening scene Wai Khru Ritual Notifying the audience

as per the shadow play of Pramotai, a hermit appeared on the screen. The character of Palad Tue and Ajarn Pong explained about Sinxay and the background of this project to the audience.

Scene 1: Screen of Pramotai shadow play – Sumontha’s room

Sumontha walked out in front of the screen, acting as a narrator. The scene of river running slowly was appeared on the screen. (Toey appeared) Notify to the audience. Sumontha was sitting in sad mood, as being worried about Sinxay-Sangthong and See Ho. Palad Tue joined in the Scene (Toey) / asked

and greeted Sumontha who was sitting in depressed mood. Sumontha mentioned about the King of Pengjal who always maintained the attribute of Royal Ten Virtues, complained that Sinxay could not return to Pengjal to rule the Kingdom. Palad Tue warned Sumontha not to mention Sinxay as Phya Kusaraj might be angry, and informed that Sinxay would bring misfortune




to Pengjal Kingdom as the Astrologer foretold. Transition From Sumontha’s room, changed to Royal Throne Hall, Phya Kusaraj’s Palace.

The Baisri Sukwan procession (welcoming ceremony) proceeded to the Royal Throne Hall to welcome Sumonth.

Scene 2: Royal Throne Hall-Phya Kusaraj’s palace Kumarn Ha-Kumarn Hok made up a lies.

Phya Kusaraj sought opinion from Sumontha about the succession to throne of Pengjal Kingdom granted to Kumarn Ha-Kumarn Hok. Sumontha did not agree and asked Phya Kusaraj changed his mind to entitle Sinxay instead. Phya Kusaraj was upset that Sumontha mentioned about Sinxay and those abnormally-born siblings. Sumontha resisted that Sinxay and his siblings helped her escape from Anuradha. Kumarn interrupted Sumontha and presented himself that he was the one who helped Sumotha return to the Kingdom, not Sinxay and his abnormally-born siblings who would brought bad luck (try to please his father) Chaya Ha-Hok took sides on their sons to reinforce and make Phya Kusaraj trust in Kumarn Ha-Hok. Kumarn Ha-Hok added more reason to put on the weight to their lies, such as, difficulties in setting out journey into the woods, and used it as an excuse and persuaded Phya Kusaraj to understand that Sumontha was just upset as she was not taken a good care during the journey. Sumontha demanded that Sinxay deserves to the justice. Phya Kusaraj questioned reasons why Sinxay did not appear and stand for by himself. Sumontha informed that Sinxay had passed away. Chaya Ha-Hok said that Sumontha wished to possess the treasures and made up a deception about Sinxay to hide her real intention. Sumontha tried to clarify that Kumarn Ha-Hok were not moral and capable ones, but no one believed what her said.

Indra and hermit were shown on the screen.

It implied to the audience that “the fact was going to be disclosed”.




Scene 3: Throne room – Phya Kusaraj Palace Soldiers brought Phya Kusaraj Palace three things for casting lots.

Sumontha has seen those 3 things of casting lots and believed that Sinchai was still alive. Therefore, it was a chance to tell the truth to Phya Kusaraj.

Scene 4: In the forest (by using Pramotai Shadow Puppet) Transition scene in the forest- journey of Sinxay- Physical struggling Kumarn Ha-Kumarn Hok lied their mother about their journey- fighting, while Chaya Ha- Hok thought it was a true story.

Pramotai shadow puppet told the story in the scene that Sinxay and Sangthong went to meet Sumontha at the palace in Anuradha. Sumontha confirmed her bravery of Sinxay. Chaya Ha - Hok tried to insist that Kumarn Ha – Kumarn Hok were the warriors and mentioned the fighting of Kumarn Ha – Kumarn Hok during the journey, especially the slaughtering of snake and giant elephant. Sumontha confirmed that the competent person was Sinxay, not Kumarn Ha – Kumarn Hok .

Transition Sinxay fought with his own desires – mental fighting (by using Pramotai Shadow Puppet). - Scene of Sinxay vs Ogress

- Scene of Sinxay vs Nareepon-Damka

-Scene of Sinxay vs Kiengngen-Kiengkam

To ask for the fact about knowledge - competency Try to make a fairy tale in order to survive and put the blame to others without accepting any offence conducted by their own.

Sumontha told the story of adventure – fighting between Sinxay and subordinates of Kumbhanda in several barriers. Phya Kusaraj asked Kumarn Ha – Kumarn Hok about those barriers, but the princes could not tell the story. (Phya Kusaraj had doubted and the truth gradually was revealed1) (A chance that Sumontha told the truth)

Sumontha mentioned the flawless mind – moral of Sinxay, and connected to the story that the prince no.5 and 6 had assaulted his daughter. Phya Kusaraj asked about the slaughtering of Kumbhanda, but both princes could not answer./(a chance) Sumontha told the trught that the slaughterer was Sinxay, no the princes. Kumarn Ha – Kumarn Hok told Phya Kusaraj that they did not want to tell the horrible story. Sumontha opposed, but the princes accused Sinxay that Sinxay was not poor, but he lived in the crystal palace with his own servants. They accused that Sinxay lied to Sumontha.

Transition Fighting with Kumbhanda - To prove the truth about knowledge and competency

Sumontha told the event that Sinxay killed Kumbhanda who was very powerful.




Scene 5: To reveal a secret Run away from the truth – inevitable lie – desire to survive and keep good image of the father’s good son Truth disclosure (Final stage)

Chaya Ha - Hok tried to protect their son/ tried to tell the good behavior of the princes by helping them during the journey from the forest to Pengjal/ confirmed their magic competency. Sumontha told that it was the supernatural power of Sinxay’s art of archery. Chaya Ha - Hok defended that their princes used the magic learnt from the hermit. Sumontha asked Kumarn Ha – Kumarn Hok to accept the truth. Kumarn Ha – Kumarn Hok slandered Sumontha that because she was angry on their assault to Sudachan, she then made up a story to damage their reputation and trust of Phya Kusaraj Phya Kusaraj gave a chance to the prince no.5 and 6 to prove their knowledge and competency in front of him. If they fail to do so, they will be executed. Kumarn Ha – Kumarn Hok accepted that they didn’t have any knowledge. Phya Kusaraj ordered the princes and their mothers to return to Champa city.

Scene 6: In front of the Palace -Phya Kusaraj’s parade in order to

pick up Sinxay to the town

Sumontha talked with Deputy Tue in order to end the show with the audiences on how to look after children to be a good person/ encourage good man to supervise the community – country for peacefulness.

Table 2: Plot Line of Sinxay Drama –Molam (folk singer)

3. Drama Production and Performing Arrangement. 3.1. Drama Production – Process: The folk art was applied by blending with

the working method in western style. It focused on participants working with artists in the community. To use the principle of interpretation from drama script, which was a working style of modern drama in the western style, was a key factor in the drama production – process. The operation could be divided into 3 groups as follows:

1. A group of performers – puppeteers: The activities for practicing

basic performing skill were conducted such as concentration practicing, imagination

building for performers in order the performers could perform and use their

imagination to enhance their roles in the puppet show. This could create the movement

of puppets and the method of adjusting light and shadow in the form different from the

existing one.




2. A group of musicians – The drama script was studied and

understood in order to be able to imagine emotion and feeling incurring in the story, as

well as, using the music instead of image- feeling- meaning relating to drama characters

and events. The originally mixed rhythm was played by Khene such as rhythm of Lai

Sootsanaen, Lai Lamploen, and Lai Thangyao. This could create the sound with the

meaning according to emotion and internally mental feeling of characters and stories

such as playing Khene with softened voice representing sorrow, dubbing drum and

cymbals representing excitement, and cymbals scratching representing the appearance

of Indra. In addition, the musical band was also mixed with other musical instrument

such as drum, lute, small cup-shaped cymbals, cymbals, and bass guitar in order to

provide various voices in the drama.

3. A group of shadow puppet design – Each character still used the

existing shadow puppets of Petch Isan band and has built the new shadow puppets with

the prototype from Hoop Taem mural paintings at the temple’s wall of Bhotharam

Temple such as the mural paintings of palace, forest, and river by using northeastern art

painting style.

3.2. Performing Arrangement - Process

The performing place is the temple yard where was between the temple and the

old temple pavilion. The music and Mor Lam song was played and sung in order to

invite the villagers to see the drama. Before the performance was started, the guru

worship, called “Yok-Or-Yor-Kru” was conducted. This guru worship was a tradition of

Pramotai Shadow Puppet Band. It was started in order, including 1) Opening Show or

prelude which was a performance of Pramotai shadow puppet with lyrics worshiping

the guru and performing shadow puppet of hermit; 2) Opening the story with the

character of Deputy Tue and Teacher Pong as in tradition in order to tell the brief

story to audiences, and 3) Starting the drama-process of Sang Sinxay.

4. Summary and Group Discussion

After the performance was ended, the discussion on “Sang Sinxay and Problem

Reflection of Community” was held. The participants were from the head of education of

Dong Bang Sub-district Administrative Organization, village chief, and villagers who

attended in the drama performance had participated in the group discussion. It found

that the audiences perceived the main issue on drama presentation and had criticized




on the problem in the community such as how to look after children in the family,

deception, education, being a good youth. The villagers viewed that these were

problems that everybody in the community should cooperate and solve them together.

Another group was a group of participants who had exchanged their

opinion together in order to summarize what they have learned and changed towards

themselves and attitude towards the community. Moreover, it found that the

participants could find the self value and moral and virtue after participating in the

community base relating to dram process such as

To be more responsible and learn new experiences from the activity. In the

future, this would improve one’s own daily life such as paying attention in the class and

hard practicing for better Pramotai shadow puppet performance.

To open themselves to express their opinion more

To be more patient

To learn from the action of drama characters. They would know that the prince

no.5 and 6 were as teenager in the community and nobody wanted them to skip their

class or lie to their parents.

To feel more sympathetic on friends because the waiting time caused the work

not be progressed

To practice on thinking and know what Sinxay had thought

To realize the problem in the community since previously it was neglected. But,

currently, people knew how the community looked like and wish that problem was

reduced.

Conclusion and Discussion

1. The research process could find the method for making and developing the

drama-process which was used in the folk literature of Sang Sinxay as a main theme.

The method and procedures were as follows:

Literature analysis to know the core of thinking-value of the story

Study on information of community-participants

Exchange knowledge and understanding thinking core – value of Sang Sinxay in

order to adjust operating attitude of both researcher and participant group




To compose the new story by using the issue from the community as a key theme

and developing to the plot of drama-process focusing on the community

Rehearsal and development of drama-process under the experimental guideline

which was mixed among folk art cultures such as Pramotai Shadow Puppet

Performance, Mor Lam, and modern performance

Arrangement of drama-process to communicate and reflect problems of the

community, to exchange the attitude between participants, researcher, and audiences in

the community, resulting in perception, understanding problems, and leading to the

change in the community.

2. The participants had better learned, reviewed, and studied thought and issues in

Sang Sinxay and used the result for making a living. In addition, the participants had

changed themselves in a better way which reflected the behavior on expression such as

being in discipline, being generous, patient, and responsible to duty during participating

in the activities. Moreover, the participants could analyze and synthesize the issues in

the community in order to solve the problem by using drama as a communication media

to the community.

3. Drama script – process which had re-made from the old story to the new one

with new concept, characters, and situation in order to reflect the problem in the

community effecting to the moral of participants. The participants had concerned or

worried about the community and friends in the school. The problematic issues were

selected, created, and proposed through drama-process. The key target was to

communicate and reflect the problems found in the community to the villagers.

Although the villagers had different in moral effect, the most important thing was the

participants realizing the problem and participating in learning and trying to

communicate in order the villagers in the community would realize the problem and

wanted to solve it for their better community.

4. Drama script – process design was mainly from the participants. The researcher

shall take the role of process administrator in development and pushing the drama-

process to be completed with the clear focused issues. The obtained drama- process was

directly from idea – sentiment of participants, while the community concern was clearly

and directly communicated. In addition, the presentation pattern should be simply

developed with folk style, while it should be developed from raw material that




participants and community already had such as Pramotai shadow puppet performance,

Mor Lam singing, and other folk performance.

5. Persons who were artists-lecturers shall study the idea of drama out of the scope

of this study in order to clearly understand, as well as, study the information of all

participants, artists, villagers, community, and cultural arts shown in the community.

The result would be applied for clear planning and target setting, while the

development of participants as a center should be focused. Moreover, the development

of drama should be based on independent study, cooperative experiment and

development of participants and community in order the new style drama could be

clear and full of content and entertainment.

6. Working with folk artist was to open a chance to every party to participate in the

process of creating drama-process. The new drama script was adjusted from the

existing literature and did not narrate as the same as previously inherited. The mixture

and blending of knowledge of participants in the process caused the dialogue switched

to Mor Lam singing. The researcher was a script writer and folk artists were lyrics

composer. The lyrics and rhythm were different from the exiting ones. This was an

innovation of dimension to encourage people to create drama together with folk arts.

They could think and take action together by focusing on communicating the concern

point to the community. Therefore, this drama of Sang Sinxay was created especially for

Dongbang community in order to communicate the problem to villagers in the

community.

Suggestions

1. To conduct the research and/or to create dram process based on the community

should be planned before taking action by surveying and data collecting from the

community in every aspect. For the research methodology, the researcher had surveyed

the information from villagers in the view of village chief and senior persons, more than

youth, especially targeted youths such as teenagers who did not in the class, teenagers

who drank alcohol, smoked, and took drugs. In case all information were gathered, the

analysis and synthesis on community issue would be in depth and cover every aspect.

2. To produce drama with the community must know how to communicate with

people, unit, and organization in the community such as working with

Dongbungphisainawakarnnusorn School and Dongbung community. All activities in the




school must be acknowledged since the school is an important place for conducting

activities. These would prevent problems during research processing such as problem

on processing period, communication and cooperation.

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