The adaptation of Yākhōp’s(Chote Praephan ‘s) popular novel Phuchanasibtid (Conqueror of Ten Directions) to lakhon phanthang (“theatre of a thousand ways”) by Seri Wangnaitham at the National Theatre was a watershed moment in Thai theatre. This fifty-six-episode production, staged regularly over the period 1986–1994, played a pivotal role in the modernization of Thai theatrical arts, while maintaining the aesthetic values of tradition. The production developed a new audience for Thai dance, drama, and music, and opened the door for the incorporation of popular arts, such as the folk drama likay , into the elite National Theatre.

Leh Laweng (The Wiles of Laweng) was a new dance-drama the authors created in 2019 in a post-traditional style of “Lakhon Phanthang” or hybrid dance theatre form. Working in our faculty’s theatre, the authors developed an original woman-centerd plot from the well-known Thai epic poem The Story of Phra Aphai Mani by Sunthorn Phu. Our new four-act script focused on the key, but neglected, figure Laweng – a Western-styled warrior queen – and reworked traditional modes of presentation to better convey a new sensibility for today’s audiences. While performed by traditional performers, cast for their abilities in traditional dancing and their knowledge, without regard to their gender, their acting also incorporated some modern theatrical techniques. The new style of this hybrid Thai dance play sought to convey a new message to contemporary audiences, while retaining key aspects of the Thai traditional form and taking on a more contemporary look. The process of reinventing Lakhon Phanthang into a post-traditional performance allowed artists, academics, and students to enrich their knowledge and through this new hybrid play for today’s audiences.

Gambang Semarang is one of Indonesia’s traditional music which has an instrument made of wood, namely gambang (xylophone). Thai Pi Phat Ensemble has a Gambang-like instrument called Ranat Ek. In the presentation, each of these instruments certainly has a playing pattern that is characteristic of the music itself. This study aims to identify and describe the pattern of traditional music playing in the Gambang Semarang, especially the Gambang instrument and the traditional music of Thai Pi Phat Ensemble, especially the Ranat Ek instrument. The research method used is qualitative with a musicological approach. Data collection techniques were carried out by using observation, interviews, document studies, and Focused Group Discussions. Data analysis was carried out with the stages of data reduction, data classification, and concluding. The results show that the playing pattern of the Gambang instrument in the Gambang Semarang music contains two types of playing patterns, namely sekaran Nglagu and cengkok ajeg. While the playing pattern of the Ranat Ek instrument in the Pi Phat Ensemble consists of kan ti kro, kan ti kep, kan ti siao mue, kan ti sado, and kan ti sabat. The two instruments have similarities and differences in playing patterns which are most likely due to differences in functions and roles in group play.

The Guqin is a string instrument that has been played in China for over 3,000 years. It is famous for its meditative, soothing sound and is frequently associated with Confucianism, Taoism, and Chinese literati culture. The instrument has seven strings that can be plucked with a plectrum or with the fingers. The Guqin’s sound is said to resemble a gentle breeze blowing through the trees, and it is frequently used in Chinese music to evoke feelings of tranquillity and introspection. This study was conducted by statistically analyzing field research data and making recommendations for their educational status. In this study, samples of local Guqin musical instruments were selected, and a field study was carried out for the three local Guqin musical instrument groups, the Guangling sect, the Jiuyi sect, and the Yushan sect. The questionnaire was administered to 180 participants and included a literature analysis. The results of this study show that the province of Guizhou is home to a diverse collection of peoples, and the art of the Guqin is being modernized and incorporated to produce a form of art that the general populace appreciates. It is possible to make innovations and explore ways to form an ensemble using Guqin, Guzheng, Dizi, and other ethnic instruments, hold various Guqin concerts and art festivals, and engage in cultural and artistic exchanges. Guqin music will be celebrated at an increasing number of festivals in the future.