Research Article | Open Access
THE CHOREOGRAPHY OF UNAKARN: THE FEMALE CHARACTER WHEN SHE DISGUISED AS A MAN IN THE THAI COURT DRAMA, “UNAKARN PANJI CHOM SUAN KHWAN”
Mananshaya Phetruchee , Sakgavin Siriwattanakula
Pages: 1487-1496
Abstract
This creative research aims to design the movements of Unakarn in the Thai court drama,
“Unakarn Panji Chom Suan Khwan” by essentially based on the Thai court drama literature of King Rama II.
The author synthesized knowledge from texts, academic documents, self-training, experiences from teaching
and performing, observation, expert interviews, and dance evaluations by Thai classical dance experts.
Accordingly, all the data were analyzed to create and design the dance postures. The design was then
qualitatively recorded and presented to the experts for evaluating and confirming the recorded qualitative data.
The data collected from the assessment form were analyzed using basic statistics for the quantitative data
analysis, including mean and standard deviation. The data were also presented by analytical description and
performance. The finding showed that King Rama II created the character Unakarn that was different from Kuda
Narawangsa in the Panji stories (the original version). This character corresponds to the character of females in
Thai traditions as well as the sociocultural context. It makes Unakarn lively and enables Panji to question if
Unakarn is a woman or a man. The character of Unakarn headed to the creation of the female character when
she disguised as a man in the Thai court drama dance style. The choreographer uses three ways for the design: 1.
choreography based on the Tamraram (dance recording textbook), 2. choreography based on the original dance,
and 3. developing from the original dance. This creation is new. The choreographer guarantee that the character
of Unakarn in “Unakarn Panji Chom Suan Khwan” is the most consistent with the Thai court drama literature of
King Rama II. According to the four experts, the performance creation efficiency of “The choreography of
Unakarn in the Thai court drama, “Unakarn Panji Chom Suan Khwan” is considered efficient. The
choreography is rated at the highest level in creativity, with a mean of 4.75 and a standard deviation of 0.50. In
suitability and experts’ satisfaction, the results show the highest with a mean of 5 and a standard deviation of
0.00.
Keywords
Panji, Kuda Narawangsa, Unakarn, Thai court drama, King Rama II