ABSTRACT

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The Title
The Author
Program
Thesis Advisors
: Samlor - Nang Upiam and Chao Sudhon - Nang Manohra :
The Meaning and Existence in the Social Context of Tai Ethnic Groups
: Mrs. Supin Ritpen
: Mekong and Salween River Basin Studies
: Assoc. Dr. Anatole - Roger Peltier
Chairman
: Assoc. Songsak Prangwatanakun
Member
: Asst. Dr. Pathom Hongsuwan
Member
ABSTRACT
This thesis aimed to analyze the text, its dynamism, meaning and existence of the
stories “Samlor - Nang Upiam and “Chao Sudhon - Nang Manohra” in the social context of the
Tai Yai in Shan State (Myanmar) and the Tai Lue in Sipsongpanna (People's Republic of China).
It was a mixed research method, combining document and field research through observation and
in-depth interviews. The interpretation and analysis were based on theories of folklore as well as
sociology and anthropology. The findings were analyzed and presented by descriptive analysis.
An extensive research revealed that “Samlor - Nang Upiam” is a folk tale of the
Tai Yai that had been passed down orally for a long time until it was written and transformed into
literary work and further developed into various forms of art and cultural media. As to “Chao
Sudhon - Nang Manohra”, it came from Sudhana Jataka of the Panyasa Jataka and was converted
into written and oral literature. This tale seems to refer to the origins of people in the society, and
Buddhist doctrine was used to simplify the narrative.
An analysis of the symbolic meanings showed that both stories have some connections
with each other because Tai people belong to a Buddhist society and share the same culture.
However, when considering social context, it was discovered that the people used these tales
to create tools to negotiate, to contend, to compromise and to reveal their identity to the rulers
in a very subtle way.
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The dynamism of these two stories in the social context comes from many factors.
In Shan State, China and Thailand, Buddhist monks, artists and local leaders play a major role in
reproducing and passing on the story of “Samlor - Nang Upiam” to the people. But in China,
the Government has the policy of making cultural identity into a marketable product to boost
the economy and to build good relationships with the ethnic minorities. The leading artists of the
Tai Lue responded to the policy by presenting “Chao Sudhon - Nang Manohra” in a new form.
This scheme required some changes in the form, the content and the function of literature in the
society.
In the social context, “Samlor - Nang Upiam” and “Chao Sudhon - Nang Manohra”
were transformed by the people into Buddhist tales to confirm their identity in the social space,
to maintain their dignity and to raise their living condition.
As for “Samlor - Nang Upiam” of Tai Yai, it has an aesthetic value, in view of ethics
and good relationships among the family members. The locations indicated in the story are real
and have become sacred places and tourist attractions in Shan State. At the same time,
this famous tale appears as an item of ethnic identity and has served as a symbolic mark under the
rule of the Burmese Government.
In the case of “Chao Sudhon-Nang Manohra”, it has had great importance as a cultural
product because it has a materialistic view of things. At the same time, it serves as a factor to
preserve identity, dignity and pride of the Tai Lue people, especially through the symbol of the
Peacock. This tale created strong unity among the people who had to adjust their existence to
the main policy of the rulers.
Although both classical tales belong to the Tai ethnic groups who share the same
cultural foundations and Buddhist teaching, the roles of each of them are different, depending on
the condition and intention of the local people. In this light, it revealed the value of Tai literature
to its full potential.

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