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1. Introduction

Prime Minister Field Marshall Plaek Phibunsongkhram (hereafter referred to as Phibun) was in office for two non-consecutive terms, 1938 to 1944 and 1948 and to 1957. He was one of the People’s Party, those who staged a revolutionary coup d’etat in 1932 which ended the 700-year old absolute monarchy in Thailand, introducing the constitutional monarchy in the same year. Still, the coup makers paid more attention on political conflict within their party than cultural system so people still lived their lives in the absolute-monarchical way which prioritised hierarchical society, instead of principles of equality and inalienable rights the coup makers were trying to promote. Henceforth, French-educated Phibun made people accept the cultural hegemony of the coup makers through this ultra-nationalistic plan which was influenced by the German-styled chauvinistic nationalistic discourse to benefit the new commoner elite. Nationalism was used to justify the new government’s authority and hinder that of the monarchy.

Apart from destroying the power of the monarchy, he believed a new and developed Thailand would encourage other nations to respect Thailand and, in turn, Thailand would be able to maintain integrity and independence during the war hardship. During these epochs, Thailand underwent an epic transformation to modernise Thailand and inculcate nationalism to survive during the World War II.

Concerning drama, the government’s policy culminated in numerous changes to disseminate nationalism while modernising dramatic art. The Department of Fine Arts formulated directives on patriotic plays by the director-general of the department, Luang Wichit Wathakan, to accomplish the goals.


2. Backgrounds to the policy

2.1 The content

During his first few years in office, the policy was intended to raise public awareness towards greater and civilised Thailand. Thus, the government launched 12 Cultural Mandates to build civilised culture, good way of life and better etiquette.


With respect to art and culture, this hypernationalist campaign lead to the foundation of the National Cultural Council in 1942 because Prime Minister Phibun believed that it could be more powerful in educating people on good manner and behavior. Concerning dramas, Phibun assigned his longtime friend Luang Wichit to act as the first Director-General of the Department of Fine Art. With a 7-year term in office from 1934, Luang Wichit played a pivotal role in spreading nationalist movement in Thailand while also introducing a western dramatic art not only in Bangkok but also the remote countryside where technology was scare and regionalism was greatly high. To him, a piece of artwork is much easier to influence the heart and soul of all Thais to follow nationalist campaigns. More crucially, historical drama was the best way to inculcate abstract ideologies such as nationalism, unity and sacrifice to the Thai people.

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