Exploring Iconographic Concepts: Analyzing Body Movements in Creative Dance at Phanom Rung Temple, Thailand

Abstract

Background and Objectives: This research article forms an integral part of a comprehensive study titled "An Analysis of Creative Dance from Iconographic Concepts in Buri Ram Province with Laban Notation's Theory." The primary aim of this study is to systematically investigate and analyze the intricate movements of the human body in creative dance performances through the lens of Laban Movement Analysis (LMA)—a well-established theoretical framework widely recognized in the field of dance studies.

Methods: The study focused on four fundamental components of LMA: Body, Effort, Shape, and Space. For the Body component, it was found that, based on the Bartenieff Fundamentals used for scrutinizing the dynamics of individual body parts, the fundamental movements and the choreographic sequences are the bodily expressions that can convey cultural narratives. For the Effort component, this was dissected through its contrasting elements—Flow (free versus bound), Weight (strong versus light), Space (direct versus indirect), and Time (sudden versus sustained)—leading to a nuanced understanding of the dancers' emotional and cognitive expressions. For the Shape component, it was shown that the moving body adapts to external stimuli, environmental contexts, and interactions with other dancers. In addition, it was found that bodily configurations reflect attitudes and emotions, particularly in relation to the Phanom Rung Temple's iconography. For the Space component, there have been movement trajectories within defined spatial dimensions and pathways, reflecting the interpretation via the temple's architectural layout and enhancing the narratives and the concepts through dancing dimensions.  

Results: The analysis shows the complex orchestration and relationship of bodily elements that not only demonstrate the dancers’ technical skills but also reveals a profound connection via the temple's cultural and historical narrative. This intricate interplay between body movement, symbolism, and spatial dynamics shows the dancers' physical embodiment can convey the temple's stable cultural heritage by iconographic interpretation.  

Application of this study: This study makes a significant contribution to the fields of dance anthropology and movement studies, offering a deeper understanding of dance as a medium for cultural storytelling. In addition, it provides valuable insights that can be applied in university-level teaching within Dance or Performing Arts programs, and serves as a reliable academic reference for future research endeavors.  

Conclusions: This study demonstrates Laban Movement Analysis (LMA) can clearly explain the intricate relationship between bodily movement and cultural identity in creative dance performances at Phanom Rung Temple. By dissecting the body movement process into its fundamental components—Body, Effort, Shape, and Space—the research can capture both the technical complexity and the profound expressiveness of movements that reflect the temple’s various cultural and historical heritage. The dancers’ physical movements are shown to serve as a “living archive,” transmitting historical narratives and cultural memory through each gesture and spatial design. Moreover, the analysis highlights how dance functions as a form of cultural diplomacy, bridging local traditions with global audiences and reinforcing the dance’s role as a powerful medium that help preserve, interpret, and develop the cultural heritage to make it have a contemporary feel sustainably. Ultimately, the application of LMA in this context not only deepens scholarly understanding of dance anthropology but also offers a valuable analytical framework for examining the enduring power of creative dance in communicating cultural heritage.