ROLE OF KETSURIYONG BRAHMIN: EXPRESSION OF FEMALE IDENTITY THROUGH A BRAHMIN CHARACTER

Abstract

This research article aimed 1) to study the role of Brahmin Ketsuriyong in the performance of the Suwannahong folk drama (Lakhon Nok), and 2) to analyze the dance gestures and performance methods of the Brahmin Ketsuriyong character in the episode “Chom Tum” This qualitative research collected data through document analysis, in-depth interviews with two experts, and both participant and non-participant observation. Purposive sampling was applied, and the data were analyzed using descriptive content analysis. The findings corresponding to the first objective revealed that the role of Brahmin Ketsuriyong comprised three significant aspects: the role of a woman disguising herself as a male Brahmin for safety, the role demonstrating concealed emotions and feminine mannerisms hidden from others, and the role distinctly expressing femininity when being courted. These aspects reflect the emotional complexity and layered identity embedded within the character.

         The research results revealed that:

1. The Brahmin role of Lady Kesuriyong exhibits three key characteristics: the role of a woman disguised as a male Brahmin; the role that conveys the suppression of feminine emotions within; and the role that distinctly expresses femininity in certain situations, particularly when courted by Prince Suwanhong.


2. The dance movements and acting techniques are complex, drawing upon the phasa tha (gesture language) of the tua phra (male character), such as standing, calling, and walking postures, as well as natayasap (classical dance terminology) including footwork and arm positioning to express the dignity and elegance appropriate to the Brahmin role. Simultaneously, tua nang (female character) gestures, such as those of shyness and gentle resistance, are integrated to reflect the latent feminine emotions within. The study indicates that the combination of tua phra and tua nang movement vocabularies within a single character serves as an essential technique that deepens the portrayal and effectively conveys a diverse range of emotions in accordance with the aesthetics of traditional Thai dance-drama.