Decoding the Aesthetic Structure and Cultural Value of Thai Archaeological Dances

Abstract

Thai archaeological dances ( Rabam Borankhadi) represent a distinctive artistic endeavour in which archaeological and historical evidence is translated into embodied performance. Since their creation by the Fine Arts Department in 1967, the five dance sets—Dvaravati, Srivijaya, Lopburi, Chiang Saen, and Sukhothai —have served not only as representations of different historical periods, but also as a coherent system of creative interpretation that bridges past material culture and living performance practice. This study examines the shared aesthetic structure underly ing the five archaeological dance sets, with particular attention to choreography, music, costume design, and spatial organisation. It further explores the cultural value of archaeological dances from their original historical context to their contemporary circulation. A qualitative research approach grounded in historical inquiry was employed, drawing on documentary sources, photographic materials, expert interviews in Thai classical dance, and video analysis of official performances produced by the Fine Arts Department. The findings reveal that, despite stylistic variations linked to specific historical contexts, the archaeological dances are unified by a common conceptual framework. Choreographic design is characterised by specialised hand gestures and si gnature movement motifs derived from archaeological evidence; musical compositions share a consistent structural progression while employing period -evocative instrumentation; costume design balances archaeological reference with theatrical adaptation; and spatial organisation emphasises symmetry and legibility. Together, these elements constitute a shared aesthetic structure that enables archaeological imagery to be transformed into coherent performance. From a cultural perspective, the study argues that archaeological dances function both as foundational models for later historically informed dance creations and as a form of cultural soft power. Through their adaptability and recognisable aesthetic identity, archaeological dances continue to mediate between heritage, contemporary creativity, and global cultural circulation.