The Creation of Contemporary Printmaking Art from Semiotic Elements in the Mor Yao Spirit Ritual of the Kaleung Ethnic

Abstract

This research article aims to (1) examine the semiotic structures embedded in the Mor Yao spirit ritual of the Kaleung ethnic group in Nong Sang Subdistrict, Na Kae District, Nakhon Phanom Province, and (2) create contemporary printmaking artworks derived from these ritual signs. Data were collected through documentary research and fieldwork, with key informants consisting of local knowledge holders and ritual practitioners. The analysis was conducted using semiotic theory and presented through descriptive-analytical methods alongside the production of contemporary printmaking artworks. The findings reveal that the Mor Yao spirit ritual has been continuously practiced for over 100 years. It is rooted in beliefs concerning ancestral spirits, Pu Ta and Ya Ban guardian spirits, Buddhist sacred spirits, celestial beings, as well as Phii Haksaa, Phii Fa, and Phii Thaen, all of whom are believed to protect and safeguard the community. The ritual functions as a semiotic system composed of five principal components: space, participants, ritual objects and offerings, temporal structure, and ritual procedures. Each component embodies both denotative and connotative meanings, reflecting the worldview, ethnic identity, and value system of the Kaleung community. In the creative phase, these ritual signs were transformed into two-dimensional contemporary printmaking works characterized by a surreal atmosphere. Circular compositional arrangements and rhythmic line movements were employed to symbolize ritual dance movements, while a dominant palette of white, black, and gold was used to convey purity, mystery, and sacred power. The technique adopted was mixed-media printmaking, integrating traditional printmaking processes with digital printing. This combination conceptually represents cultural continuity and adaptation within a contemporary context. The resulting artworks systematically translate the semiotic meanings of the Mor Yao ritual into contemporary visual language, grounded in a clear theoretical framework, and effectively reflecting the cultural identity of the Kaleung ethnic group in terms of content, form, and aesthetic value.