Abstract:
The objectives of this research were 1) to analyze the value of Nora; 2) to analyze transmission of Nora for the preservation of folk culture: a case study of Yok Chubua; and 3) to propose guidelines for the transmission of Nora for the preservation of folk culture. The qualitative data collection consists of articles, observations and in-depth interviews. Forty people were interviewed, including 10 contemporary people, 10 performers, 10 audiences and 10 alumni. And investigate the transmission of Nora for preservation of folk culture by discussion with 7 Nora experts and interview with 4 cultural and educational technology experts. The findings were as follows: 1. There were 6 values of Nora. 1) Nora physical values helped improve physical strength and circulation, resulting in a well-built body. 2) Nora mental values helped improve concentration and mental wellbeing, resulting in a blissful mind. Nora helped cultivate the mind of the performers and the audience. 3) Nora aesthetic values were apparent in the gracious and powerful dancing poses, beads, and heavy rhythm displaying teachings, beliefs, and wisdoms. 4) Nora ethical values were taught through verses explaining moral and ethics that allowed learners to gain insights, leading to self-actualization. 5) Nora craftsmanship values were apparent in the colorful costumes and ornaments which were one of a kind craftsmanship. 6) Nora literary values were apparent in Nora verses using clear local dialects and different prosodies, including 4 syllable poems, 6 syllable poems, 8 syllable poems, and 11 syllable poems. 2. The transmission of Nora for the Preservation of Folk Culture: A Case Study of Yok Chubua covered 3 education streams, including formal education, non-formal education, and informal education. Most learners are in primary education. The teaching methods focused on 4 skills, including dancing, singing, writing, and role playing. His iconic teaching method was combining dancing and singing for time-saving purposes. The learning activities focused on imitating his poems composition style and Mutto recitation. 3. The transmission of Nora for the Preservation of Folk Culture should be accomplished through 3 education streams, including formal education, non-formal education, and informal education. This should be coherent with strategies of Sub-District Cultural Councils. Proposed guidelines for formal education was to increase teaching lessons on Nora in The College of Dramatic Arts to train more Nora teachers to serve the demand. Nora content should be integrated in other courses. Nora events, both on-campus and off-campus, should be organized. Arts and Culture Funds should be established. Researches on Nora should be supported. Proposed guidelines for non-formal education include short courses and occupation training programs, such as dance offerings, headdress making, bead making, and Nora puppet making. Proposed guidelines for informal education included online assembly on Nora for the Preservation of Folk Culture to produce technologically-advanced teaching multimedia for contemporary learning, such as infographics and Nora visual textbooks. The media should be shared online. There should be collaborations among institutions, led by Provincial Cultural Councils and Sub-District Cultural Councils, to promote Nora activities for the transmission of Nora for the preservation of folk culture.