Analyzing the Theme, Narrative Structure, and Choreographic Strategies in a Dance Performance Interpreting the Nativity of Jesus in Catholicism Within the Thai Cultural Context

Abstract

Background and Objectives: The sacred narrative of Roman Catholic Christianity and Thai classical dance can converge within the context of theological embodiment. This study examines the Nativity of Jesus Christ by exploring how core theological concepts of Roman Catholicism—namely the Incarnation, Kenosis, Revelation, Mary as the Mother of God (Theotokos), and Eschatological Peace—can be meaningfully conveyed through the choreographic structure of Thai classical dance. The study is based on the conceptual frameworks derived from Khon and Lakhon Nai, two traditional forms of Thai performing arts. The objectives are twofold: 1) to analyze the theological and narrative dimensions of the Nativity from a Catholic perspective, and 2) to examine how these theological components can be adapted through Thai dance techniques, spatial dramaturgy, temporal structuring, and costume semiotics.

Methods: The study employed a qualitative interpretive research design, integrating theological exegesis, choreographic analysis, and ethnographic inquiry. Hermeneutical inculturation theory, semiotics of performance, and choreographic design theory were utilized as critical frameworks. The data were collected through the textual analysis of key biblical and Catholic doctrinal sources, the analysis of Thai dance movements through Khon and Lakhon Nai, together with semi-structured interviews with theologians and Thai classical dance instructors. The data were analyzed using thematic analysis and hermeneutic interpretation in order to integrate the findings from theological, dance, and ethnographic perspectives. 

Results: Specific stylistic and aesthetic features of Thai classical dance—particularly the codified gestures (phasa ta), hierarchical spatial dramaturgy, cyclical rhythmic patterns (natab), and symbolic costume color palettes—demonstrated a strong capacity to convey theological meaning when adapted to suit the cultural and religious contexts. The Khut Chang Nang gesture embodied Marian consent and receptivity, while Kra-Tai Chom Chan expressed divine humility (Kenosis). Mandala-based spatial formations organized around a Christocentric axis symbolized Incarnation and cosmic renewal, reflecting the liturgical transition from Advent to Epiphany. Furthermore, reflections from both performers and audiences affirm the aesthetic power of the performance in evoking emotions of faith. At the same time, however, they reveal interpretive challenges, highlighting the need for clear dramaturgical framing and contextual presentation in cross-cultural theological dance performance.

Application of this study: This research offers a practical methodological model for the artists, theologians, and scholars engaged in intercultural sacred performance. It contributes significantly to the expansion of methodological discourse within theological performance studies, intercultural dramaturgy, and liturgical arts. In addition, the study demonstrates that indigenous dance systems such as Thai classical dance can serve as a dynamic artistic and theological medium for communicating complex religious content, thereby contributing to the development of art and theology at the international level. It also opens up possibilities for further practice-based experimentation on how traditional cultural systems can function as meaningful restorative media in conveying sacred narratives that are not originally their own within a globalized context.

Conclusions: This study affirms that the adaptation of the Nativity of Jesus into Thai classical dance is both theologically coherent and culturally respectful. This study confirms that the adaptation of the Nativity of Jesus into the structure of Thai classical dance, in a manner aligned with the contemporary context, can be fully realized both theologically and culturally. The research further demonstrates that dance is not merely an aesthetic form of expression, but can also serve as a powerful tool for theological reflection, effectively bridging the gaps between culture, religion, and epistemology. Moreover, it emphasizes that the creative and contextually respectful translation of sacred narratives into the aesthetics of dance can harmoniously enrich both religious and artistic depth. It also encourages sustained interdisciplinary collaboration among choreographers, theologians, and cultural practitioners in order to support ethical and culturally respectful approaches to integrating faith and sacredness through dance performance.