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This research aimed to study its historical
background, elements, roles and values of the
Sean Donta rites of a Thai-Khmer ethnic in Surin
province and to develop performing arts derived
from the rites. Qualitative research methodology
was employed using observation, in-depth interview
and focus group technique. The result reveals
that origin of Sean Donta rites was from the long
past. The ceremony has divided into 2 sessions.
The first session called “Ben-Tuj (Sard-Lek)”, fallen
on 14th and the 15th of the waxing moon of the
10th lunar month. The second session called “BenTomb
(Sard-Yai)” fallen on the 14th and the 15th
of the waning moon of the 10th lunar month. The
rite aimed to pay respect and returned gratitude
to fore-grandparents and ancestors. Happiness,
prosperous, success in careers and wealthy will
benefit to ceremony doers in return. The ceremony
components includes ritual doers, equipment
and place. The ritual doers were usually head of
a family. All relatives are expected to attend the
ceremony. The equipment were divided into 3
categories included sacrifice, oblation and containers.
At family level, the rite was performed at home,
at senior’s home for relative level, and at school,
temple or village hall for community level. The
rite has three parts namely preparation of goods
and foods, performing of the ceremony and
inviting ancestors’ spirit back. The roles and values
of ceremony was a spiritual values considering as
embodiment of love and harmony in family and
among relatives. The rite was also seen as merit
making to ancestors and relatives who passed
away. To doers, as merit accumulation in the future
according to religious beliefs. The performing art
from Saen Donta ceremony was developed from
the following aspects. The Lyrics showed the
ritual practice which conducted in Surin native
Khmer language with four Surin native melodies
included “Kan Truem Srey Yong” (girl in mind),
“Phanom-Sroaj” (sharped mountain), “Kart-Pa-Ka”
(picking flower) and “Sa-norh Weel Thom” (pity
wide field). The music used in the ceremony was
“Kan-Truem”. The ritual costume was the traditional
silk dress of Surin with unique accessories. The
performance equipment includes five “Phan Khan”
trays and Donta bamboo basket. The performance
has divided into 5 sessions. The first session was
invitation and sacrificial taking. The second session
was sacrificial offering worship. The third session
was gathering and happiness expression. The fourth
session was taking sacrificial offering to make merit.
The fifth session was ending posture. The benefit
of creating performance was not only for entertainment
purpose, but it was also an expression
of traditional culture. Moreover, it was a tool to
bring family members, relatives and community
together with love and harmony. |
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