Illustrative Design for Communicating Likay Pa Performance of Thaworn Sunthorn Sin Troupe, Sikao District, Trang Province

Information from the abstract

Likay Pa, also known as Southern Likay, is a traditional performance art influenced by Central Likay but adapted to the cultural context and way of life of Southern Thailand, with partial roots in Persian devotional chanting. Although its presence today is limited to provinces such as Nakhon Si Thammarat, Krabi, and Trang, its evolution reflects the community’s ability to integrate external cultural influences with local knowledge, creating a valuable art form worthy of preservation. The Thaworn Sunthorn Sin troupe in Sikao District, Trang Province—the only remaining Likay Pa troupe in the area—plays a crucial role in transmitting performance knowledge and skills to youth in community schools. In the digital era, illustration design has become an important medium for cultural communication and can be extended into diverse educational resources. This research highlights the identity and aesthetic of the Thaworn Sunthorn Sin troupe through illustrations inspired by the Khaek Daeng chant, developed as learning materials for community and extended opportunity schools. A review of related literature revealed no prior studies focusing on illustration design as a creative approach to communicating Likay Pa. Thus, character-based illustrations serve as a key tool to simplify learning, engage youth in the digital age, and provide accessible educational resources within community schools—the primary target group for sustaining Likay Pa as a living heritage. This research aims 1) to study the components and the preservation model of Likay Pa performance elements by the Thaworn Sunthorn Sin troupe and 2) to design illustrative media representing the Likay Pa performance of the Thaworn Sunthorn Sin troupe in Sikao District Trang Province. A mixed-method research approach was employed, utilizing data recording forms, interviews, and evaluation forms as research instruments. The study was conducted in three phases 1) a document and literature review to identify key components of Likay Pa performance, 2) in-depth interviews with key informants to validate these components, and 3) the design of educational media through illustrative representations of Likay Pa. Findings revealed five core components from the literature 1) performance venue, 2) performing troupe, 3) musical instruments, 4) vocal performance, and 5) costumes. However, key informants confirmed only three components relevant to the Thaworn Sunthorn Sin troupe 1) performing troupe, 2) musical instruments, and 3) costumes reflecting adaptations influenced by changing social, economic, and technological contexts. The final illustrative design, titled Likay Pa the Andaman Wonder, consists of 14 pages 21 x 29.7 cm and features four character prototypes Khaek Daeng dressed in traditional Indian-Muslim attire, wearing a brimless cap, with a thick beard, long robe, and sarong. Yah Yee a Southern Muslim woman in a Yah Yah outfit, wearing a batik sarong and hijab. Chao Mueang wearing a Raj-pattern collar shirt, jongkraben, and a diagonal sash, with a calm demeanor. Se na dressed in a local patterned sarong, with a shoulder draped pha khao ma, and white clown style makeup. The evaluation of the illustrations by three experts yielded an average score of 4.32, rated at a “good” level. Qualitative feedback highlighted that the content adapted from the Khaek Daeng chant was well-sequenced, clear, and easy to understand, though certain lengthy expressions should be refined for greater conciseness. The content was comprehensive, relevant, and aligned with the illustrations, enabling complete comprehension. The design was considered modern and appropriate for the target audience, while effectively reflecting the local identity of Trang Province, particularly through costume details. The chosen color tones were clear and conveyed the geographical context of the study. The use of rounded-head fonts was deemed suitable for readability and consistent with the medium, with suggestions to add shadow effects for enhanced clarity. The semi-formal language was accessible and well-integrated with the illustrations, and the inclusion of local dialect terms with explanatory notes was recommended to enrich cultural value.

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Related topics: Art Education and Development · Artistic and Creative Research · Graphic Design and Typography