Folk visual arts is

Transcription

Folk visual arts is

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The Essence of Way of Life Skills Textbook
Art Education
(WS11003)
Primary Level
Non-Formal Education Basic Curriculum of B.E. 2551
(Revised Edition B.E. 2554)
Office of the Non-Formal and Informal Education
Office of the Permanent Secretary
Ministry of Education
Not for sale
This textbook is published with a national budget allocated for the purpose of people’s lifelong learning.
Copyright owned by the Office of the Non-Formal and Informal Education,
Office of the Permanent Secretary, Ministry of Education.
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The Essence of Way of Like Skills Textbook
Art Education (WS11003)
Primary Level
(Revised Edition of B.E.2554)
Copyright owned by the Office of the Non-Formal and Informal Education, Office of the
Permanent Secretary, Ministry of Education
Academic Document No. 16/2555
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Preface
The Ministry of Education has proclaimed the use of Non-Formal Basic Education
Curriculum of B.E. 2551 (A.D. 2008) on the 18th September, 2008 with an aim to replace the
former principles and practices of the Non-Formal Basic Education Curriculum of B.E 2544
(A.D.2001)which was developed in accordance with the philosophical principles and basic beliefs
pertaining to the conduct of the out-of-school learning programs for adult target learners whose
learning practices are to accumulate their knowledge and learning experiences continuously.
In the 2001 fiscal year, the Ministry of Education had set a strategic plan for mobilizing
the educational policy in order to raise the capability and potentiality of the people in terms of
their competitiveness in job performances that enable them to earn an affluent living constantly,
perform with discipline, to have good morality and ethical behavior, and to be aware of selfperformance and responsibility as well as to assist others concerned. In order to respond to the
above-mentioned policy of the Ministry of Education, the Office of the Non-Formal and Informal
Education (ONIE) decided to reconsider the former Curriculum of B.E. 2551 in terms of its
principles and aims, its standard and expected outcomes as well as particular substances of 5
groups of the learning essences to make them more compliant with and be responding to the new
policies of the Ministry of Education. The reconsideration had contributed to the revision of nonformal education text books by adding an integration of more contents and essences of
occupation, morality and virtue as well as integrating the issues concerning readiness and
preparation for Thailand to join with the ASEAN community. In terms of development of the
subject essences, the revision remains to keep the principle and procedures of the former text in
which the learners are to do self-study, conduct learning activities, undertake tests to evaluate
their own understanding, conduct group discussions to share knowledge and experiences among
groups’ members and to acquire additional knowledge from local wisdom and from other sources
of information.
The revision of this text book has received the generous support and collaboration from
various experts and resource people as well as other concerned personnel who kindly provided
useful information and data collection from various sources of knowledge to make the revision
more meaningful. Their helpful information has made the new contents more relevant and
appropriate to the learning standard and indicators of the expected outcomes of each subject
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essence. The Office of the Non-Formal and Informal Education (ONIE) wishes to express its
sincere appreciation for their considerate concern and helpful cooperation. ONIE hopes that these
new revised learning essences will be useful to the learners, the teachers or facilitators as well as
other concerned staff personnel at all levels. The ONIE will be pleased to invite any advice and
recommendations for the improvement of future issues.
(Mr. Prasert Boonrueng)
Secretary-General
November 2011
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Table of Contents
Introduction
Textbook Instruction
Course Structure
Chapter 1 Folk / Local Visual Arts
Topic 1 Folk/local visual arts
Topic 2 Components of visual arts.
Topic 3 Patterns and evolution of the folk visual arts.
Topic 4 Style and beauty of the folk visual arts.
Topic 5 Folk visual arts and costumes.
Topic 6 Residential interior decoration.
Topic 7 Value of folk visual arts.
Chapter 2 Folk Music
Topic 1 Characteristics of folk music
Topic 2 Thai folk music
Topic 3 Music wisdom
Topic 4 Value of folk music
Topic 5 Development of folk music
Topic 6 Value and conservation of folk music
Chapter 3 Folk / Traditional Dances
1. Folk dancing art and local wisdom.
2. Folk dancing art of the North.
3. Folk dancing art of the Central.
4. Folk dancing art of the Northeast.
5. Folk dancing art of the South.
Chapter 4 Production of Musical Instrument
1. Principal factors for occupational performances
2. Recommendation for selecting occupation
3. Flute (Khlui) manufacturing occupation
Page
9
10
15
19
25
37
44
50
58
59
60
83
88
92
99
109
110
112
113
116
119
124
124
125
126
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4. Reed mouth organ (Cann) manufacturing occupation
5. Double-headed drum (Klong Kaek) making
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133
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Instruction for the Use of this Textbook
The Essence of Life skill Textbook on Art Education ทช 11003 for learner who is nonformal education learners.
To study the Essence of Life Skill Textbook on Art Education learner should follow the
following steps.
1. Study the course structure to understand the topic and the essence, expected learning
outcome, and scope of contents of the course in details.
2. Study details of the contents of each chapter thoroughly and do assigned activities.
Check your answer with the answer keys for activities. If their answers are incorrect, they should
go back to study over the lesson again before studying on the next chapter.
3. Do the activities at the end of the lesson to summarize the knowledge of the content
matter again. The do activities of each content can be checked with teachers and friends who have
participated in the course at the same level.
This text book is composed of had 3 chapters as follows:
Chapter 1 Folk/Local Visual Arts
Chapter 3 Folk / Traditional Dances
Chapter 4 Production of Musical Instruments
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Course Structures on Art Education Elementary
Elementary Level
Essence
Having good insight into the moral ethics, appreciating values of the beauty of
the natural environment of symphonic music, folk traditional dances and properly
analyzing them.
Expected Learning Outcomes
1. Able to explain the meaning of nature, the melodic beauty of the visual art,
music and traditional Dances.
2.Able to explain basic knowledge of the visual art, music and folk traditional
Dances.
3.Able to create artwork from basic knowledge of the visual art, music and folk
traditional Dances.
4. Appreciate the value of visual arts, music and folk traditional dances.
5. Able to analyze and make a comment on the visual arts, music and folk
traditional dances.
6. Conserve inherited wisdom of visual arts, music and folk traditional dances.
Scope of Contents
Chapter 1 Folk/Local Visual Arts
Chapter 3 Folk/Traditional Dances
Chapter 4 Production of Musical Instrument
Instructional media
1. Text book
2. Work sheet
3. Activities
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Chapter 1
Essence
Folk/Local Visual Arts
Having good insight into the moral ethics appreciating values of the visual arts, folk arts
and being able to make critical analysis appropriately.
Expected Learning Outcomes
Having knowledge and understanding of the basics of folk visual arts, being able to
describe , create, conserve, analyze and criticize about the beauty of folk visual arts properly.
Scope of Contents
Topic 1 Folk/local visual arts
Topic 2 Components of visual arts.
Topic 3 Patterns and evolution of the folk visual arts.
Topic 5 Folk visual arts and costumes.
Topic 6 Residential interior decoration.
Topic 7 Value of folk visual arts.
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Topic1 Folk/Local visual arts
Folk/Local visual arts
We may divide the meaning of folk visual arts into 2 words which are visual arts and
folk.
Visual Arts refers to the art perceived from vision consisting of general scenery, which
is primarily important, and portrait, caricature, as well as images of objects. We can say that
visual arts are aetistic beauties such as scripture, architecture, printed matters, etc. which can be
perceived from “looking”.
Categories of visual arts
1. Painting means the creation of visual arts on the plane by drawing or painting with a
dragging or paint on smooth surfaces such as paper, canvas, wood and so on to the story and
beauty of emotions and imagination of the painter were classified into 2 type.
Murals at Buddhist Temple Wat Phumin Nan province
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1.1 Drawing is the word used in visual arts to call drawings, line drawings with 2
dimensions having the width and length using various materials such as pencil, pastel, crayons
etc.
1.2 Painting is created on 2 dimensions plane with several colors such as painting with
water color, pastel, oil color, etc.
2. Sculpture refers to the visual arts from molding, carving, casting, welding, etc with 3
dimensions of width, length and thickness such as portrait, animal picture, picture of things, etc.
Sculpture can be classified into 3 types as follows.
Bas-relief Sculpture
2.1 Low reliefs are molding or carving the image curved out only slightly and raised
from the base such as coins.
High relief sculpture
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2.2 High relief are molding or carving shape raised more than half of the
background which can show depth as the actual base such as monumental sculptures etc.
Round relief sculpture
2.3 Floating is the molding or carving that can be seen and touched; the beauty
of the work can be appreciated all surrounding areas such as Buddha etc.
3 Architecture refers to art and science of building that meets requirements of objects
and mind. It is magnificently constructed and can be divided into 2 types as mentioned below:
Thai open architecture
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3.1 Open architecture means the architecture can be utilized such as school
buildings, housing etc.
Closed architecture: Buddha’s relics Chaiya at Surat Thani
3.2 Closed architecture means the architecture that humans can not live in
such as pagoda, monuments etc.
Wood-engraving
4 . Graphic means the artwork created by printing method by pressing a mold on paper
from wood block or plate etc.
The term of folk sometimes refers to the people of any nation who have their mutual
identities such as living, languages, religious and traditions.
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A folk visual art means the arts with beauty, simplicity from the villagers’ skills with
creative and valuable contribution to the aesthetic and functionality according to local conditions.
Professor Silp Pherasri said folk visual arts means folk art in to singing, dancing,
drawing and other activities which come from minds and soul of the people. Most folk arts start
from the villagers’ life style under the influence of well-being, traditions, belief and needs of the
local conditions to use in daily life.
Generally folk arts and handicraft are called handicraft that are produced by villagers.
The invention is based on the technical and creative patterns inherited in the family in which the
main purpose is for everyday living. Similar to traditional concepts and are improved to be
consistent with the local conditions until becoming their own specific identity.
Components of the folk visual arts
Folk visual arts are composed of the following.
1. Work of anonymous artisan made for peoples’ daily life. The beauty is not caused by
the personal desire to express artistic expression but from artistic training and production
from several generations.
2. Art work is a simple model with the natural beauty and has been utilized from the past
until present.
3.It is produced in a large number with normal selling - buying price and the beauty
comes from training and practicing frequently.
4.There is more natural than beautiful.
5. It characterizes of endemic origin or unique habitats.
6. Most of works are made up from the skills.
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Useful hint
Creators of art works are called artists such as painting artist, graphic artist and sculpture
artist; Buddha statue casting is called sculpture and the creator of sculpture is called call
sculptor. The creators of architecture call the architect.
Activities : Have the learners conduct a survey around their community or any place
found to see if there are any visual arts, what types they are and write them down to discuss in the
class.
Topic 2 Components of the visual arts
The components of the visual arts are composed of 7 kinds which are
.
1. Dot refers to the smallest component which is the starting point to the others.
2. Line refers to several dot moving continuously in the space from different directions of
motion.
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3.Color refers to the visible light made into different colors. Colors have an influence on the
sense of vision and cause emotional variety. Painting colors comprise three primary colors
which are red, blue and yellow when mixed together can be different colors.
4. Texture refers to the surface features of the objet with different characteristics such as
smooth, rough, shiny or dull.
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5. Shape refers to the convergence of line which is the boundary of the object that has 2
dimensions which are width and length of 2 sides only.
6. Figure refers to the visible appearance with 3 dimension which are width, length and deep
thickness. thickness deep.
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Useful hint
To bring the visual arts components to outstandingly arrange the parts of story in the
picture appropriately is called picture compositions.
Basic principles of the picture compositions are as follow.
1. Only one main feature
2. Being in unity, the elements of the picture must be in the same story.
3. The overall picture must be harmonious.
4. May have a little conflict of main feature.
5. There is a balance of weight on the picture.
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Activities. Describe the meaning of the compositions arts.
Point refers to ...............................................................................................................................
Line refers to
เ.....................................................................................................................................
Color refers to ...............................................................................................................................
Texture refers to................................................................................................................................
Shape refers to ..............................................................................................................................
Figure refers to.............................................................................................................................
Look at the answer key from Chapter 1 on Topic 2 The components of the visual arts
Topic 3 Patterns and evolution of the folk visual arts
Folk arts is based on the production of hand-made to make it useful. It is considered folk
arts and the evolution of human are originated together. Human has devised the way to create
equipment to help achieve a comfortable lifestyle throughout years such as stone equipment,
excavated ancient pottery etc. so that the beginning of handicraft have been developed since
ancient times. Society in Thailand in the past is a peasant society also known as the agricultural
society. There is self-sufficiency society with four requisites. The production of equipment is to
facilitate their ways of living.
Type of folk arts
Many types of Thailand’s folk arts have existed in every part of local areas
which can be divided into various categories as follows.
1. Painting Arts: Thailand folk painting caused by the local residents who have created works
by using local materials to create such as palm leaves, wood, cotton as writing material for
painting including natural colors such as resin, fruits, soil and color stone powder. They paint
with wood that pound at the tail to make it fuzzy or some kind of fur such as feathers of pig,
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feathers from ear of the cow and rabbit fur which are tired with wood to make the brush or paint
brush. Local painting of Thailand can be divided into 2 categories.
1.1 Movable painting means that humans can carry a piece of arts easily such as khoi
books, Mahachat picture and scripture cabinet (the cabinet that had gold appliqué on black
lacquer) etc.
1.2 Non-movable painting means work of arts that human cannot move or carry since its
was painted on the building such as painting the walls of the temple, painting on ceilings or
balconies of the temple etc.
Movable folk painting
Non-movable folk painting
Thailand’s folk painting is called traditional painting in which work arts are created
traditionally with locals colors powder. To create art works will be leisurely with small-scale. If
painted on the large area such as the wall, it would look small because of many details or
narrative painting. The components are not related to the person in the picture. The face does not
show emotion but will communicate with motion and most of the stories are about the Buddhism,
faiths.
2.The Sculpture: Folk sculpture created to respond everyday human functionality. The most
materials used are local materials appropriate for usage such as bamboo, hard wood, clay and
burning etc. Folk sculptures can be divided into 4 type of application.
2.1 Folk sculpture for temporary decoration is created to be used in rituals or
decoration in a short time such as Tang yuak (carve a pith of a banana stalk), carving vegetables
or fruit and decorated rice offering in various ceremonies and so on.
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Tang yuak
Decorated rice offering
This type of sculpture is refined and highly creative. The manufacturer may do it alone or
in groups.
2.2 Folk sculpture for decorating appliances: To decorate the appliances more
gorgeously.
The examples of folk sculpture for decorating appliances such as engraving on cabinet or bed,
bowl with a supporting stand, jug and boiler etc.
2.3 Folk sculpture for amusement machines. This type of sculpture built for
entertainment by choosing local materials such as clay, bamboo, cowhide, buff and cotton etc. to
create the instrument for various performances.
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The examples of folk sculpture for amusement are such as puppet show, grand
shadow play, shadow play and actor’s mask etc.
2.4 Folk sculpture of plaything and ceremony is created for entertaining the kids or
plaything and entertainment for every body.
This type of sculpture includes engraving chess, small dolls, tukta seang kban
(kind of offering doll of banana bark bowl on the triangle junction or floating on the water) and
the little doll engraved to be palace people etc.
3. Architecture Thailand folk architecture is associated with tradition of Thai people. The
material used are the local materials but the architecture concerning religion and faiths may be
from different materials to show the respect. Thailand folk architecture is divided into 2 types.
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3.1 Folk architecture for Buddhism is built for the usefulness of Buddhist temples and
sacred places
Folk architecture of Buddhism such as the pagoda, hall of a temple, sermon hall in a
monastery etc.
3.2 Folk architecture for residence is created for the benefit of resident. The
construction has been carried on from the tradition and with definite pattern but can be adapted to
meet the needs of the individuals for making used of it. This type of architecture can be seen from
the Thai style house or traditional house according to different regions which are Kalae at the
gable of the house in the central regions the style of the roof are high with gable and thai style
dragon; in the south region, there are hip roofs, etc.
Northern region house
Central region house
South region house
Creations of residential folk architecture the Thai wisdom are built in appropriate
landscape and climate and Thai traditional faiths as well as favoracle things for the resident have
been transmitted.
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4. Graphic folk arts are not much seen in Thailand; most of them will be printed in
fabric created for useful application such as batik fabric printed in the South, which is semi
printed and dyed, Khomapas fabric printed is made from cotton printed in grit, and silk (silk
screen) from Prachuap khi ri Khan province.
Khomapas fabric
Useful hint
Did you know that traditional Thai house is divided into 2 categories.
Ruan kreag sab is one category of Thai residence called Ruan Thai (Thai House) together
with Ruan kreag puk of which its meaning according to the Royal Academy “The house
composed of the parts tied together with rattan”.
Most of Ruan kreag sab have 3 rooms with 8 cubits wide but it will be larger if the owner
has an important position such as a minister. The technicians will be specialized. Before building
it, there are varieties of ceremony. In the central region use Tengrang wood is used to make to do
the floor because it is very hard. In the Northern region they prefer to use Teak wood. The wood
that is not commonly use is such as Hopea odorata because it has blood rubber.
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Ruan kreag phuk is a simple building which is composed of all parts together banded
with rattan or Jark Tork of bamboo ( took a sharp knife to cut bamboo into thin flat strips for
binding or fabricate things). Nails are not used to attach the house. Lattice bamboos called “Far
Kat Tair” (partition made from woven bamboo strips)are used to make the window and the wall
of the house. Either hard wood or strips of split bamboo are used to build the floor depending on
the home ownner’s wealth.
Activities Students observe around their community or around the place of group
study if there are any folk arts compared with the type of folk visual arts of above 4 categories.
Then take notes divided into each topic as following.
1. Date of survey
2. Indentify locations or items that are found.
3. Which category of visual arts
4. Usefulness or value
5. Describe how beautiful or impressive it is.( give reasons).
Folk visual arts and natural beauty had similar magnificence which will be in details
as follows:
Folk visual arts is only type of art format that has little changed and still has traditional
style as long as possible. This valuable characteristic of folk visual arts will be more increasingly
valuable whether in the value of the story, in sight or expression because folk visual arts are the
indication of the humankind that created the folk visual arts.
Most of the folk visual arts are created by emulating or making them in harmony with
nature for the benefits of living and beauty or ideal causing folk visual arts to have prominent and
impressive feature such as the design of fishing equipment will be designed in harmony with the
flow of water making it easy to move.
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The bamboo fish trap designed in harmony with the flow of water
We may analyze and criticize the beauty of folk visual arts with this following
guidelines.
1. The beauty is to analyze and evaluate the skills about composition of arts that the expression
of this arts work are properly beautiful and how much it affects the viewer’s appreciation. The
expression of the beauty of arts are variously different styles. According to the model of the era,
the analyst should also have knowledge and understanding of the arts work.
2. The essence is to analyze and evaluate of each art work that supports the moral and ethics as
well as the purpose of the essence given to the audience which is the essence of nature, society,
religion, politics, wisdom, ideas, imagination and dreams.
3.The emotion is to analyze and evaluate if it encourages the feeling, emotion and deeply
meaningful communication resulting from the expression of the idea and powerful feeling that is
presented in the art work.
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The example of the analysis of folk visual arts is shown from below picture.
Example of analysis. First comment
The Comment
Type of Visual Arts: painting and coloring
1. The beauty: In this picture the painter specialized in skillfully organizing the picture. The
focus is on the big house. The smaller house supported the story. In the picture most of
horizontal lines are used to make a peaceful countryside.
2. The essence: The picture shows the way of life that is close to nature. There are a lot of trees
setting for the entire front and back. There is the stream making cool feeling.
3. The emotion and feeling: The picture gives relaxation. The green tones of the trees make us
feel fresh, peaceful and happy. So do the audience.
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The example of analysis, second comment
The comment
Type of Visual Arts: Round Relief Sculpture.
1. The beauty is a Buddha posture called Pang Mann Wichia with look gorgeous look and perfect
proportion. The arch and dark background makes the Buddha outstanding and more faithful.
2. The Essence is a sculpture that makes the audience respect and have faith.
3. The Emotion and feeling can feel the peace of Buddhism which Buddhists can rely their
minds on.
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Activities. Students analyze and comment on the folk visual arts from the following
picture by using the above principles of criticism and the knowledge studied from subtopic 1.1
to 1.4
Water color Painting painted by Kittisak Butrdeewogs
Comment
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Activities: Students analyze and comment on the folk visual arts from the following
picture by using the above principle of criticism and the knowledge studied from subtopic 1.1 to
1.4
Comment
Scrupture, Phrathartsuthonmongkolkeree Temple, Prae
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1.4
Comment
Imitating natural garden at home
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1.4
Chapel, Chulamanee , Samuthsakorn
(from www.Mayaknight07.exteen.com)
Comment
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picture by using the above principle of criticism and the knowledge of studied from subtopic 1.1
to 1.4
Comment
Basketwork from bamboo, Central part of Thailand
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Activities: Students analyze and comment on the folk visual arts from the
following picture by using the above principle of criticism and the knowledge of
studied from subtopic 1.1 to 1.4
Comment:
The Shadow Show, Southern part of Thailand.
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to 1.4
Comment
Mural, Wat Bankhor, Wangnuor, Lumpang Province.
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to 1.4
Comment:
Painting along the Kora Boat, Pattani Province.
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Topic 5: Folk visual arts and dressing
The meaning of the costume
The costume refers to thing that human used for covering the body. The dress of each
human race can be studied intensively from the literary evidence and history to give guidance to
understand the way of dressing which reflects the condition of human life in the era.
The history of costume
In prehistorical period, human wrapped the body from the natural materials such as
leaves, grass, leather, feathers, soil and colors etc. Some human races know how to make colors
from plants by using it to write or tattoo along the body for decoration instead of the body
wrapper. After that human learned how to adapt the appropriate clothing from the nature making
it easy to dress like tying, binding, weaving, knitting, compression etc. and has evolved gradually
until they know how to cut and sew and eventually becomes technology now.
The difference in dressing
Human beings are creatures who are most vulnerable. It is necessary to have something
cover the body in order to be able to sustain the life. From this need, it is encouraged to dress up
to meet the needs of human beings together with social and other components. The clothes have
different formats according to the following reasons.
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1. The climate: People in the country with a very cold climate wear clothes made from leather or
animal fur to keep their body warm. In regions with hot weather clothing is made from the fiber
of cotton. But in Africa, clothing is not necessary for protection them from the weather but they
prefer admire to use the ornamentation made of stones or glass with different colors which exist
in nature to decorate the body and to be used as talisman to defend themselves from ghosts.
Eskimo live in North Pole, the dress will wrap up tightly to prevent cold weather.
2. Natural enemies: In the tropical regions, human beings have been annoyed by insects.
Therefore, finding the way to eliminate a problem by using the mud to protect the body from
insects. The Hawaiians from the Pacific ocean wear skirts made of grass to protect from insects.
The ancient natives of Japan recognize how to use long pants to protect themselves from animals
or insects.
3. Conditions of work and occupation: Leather and leaves can be used to prevent danger from
the outside such as walking through the jungle to find food. Human used leather and leaves to
protect themselves from the thorn or the bites of animal or insects. Afterwards they can remove
fibers from cotton and silk to weave into fabric known as cotton and silk. On the progress of
technology, there have been many types of production. In 19th century, clothing has more
advanced evolution. Some people create special clothes to suit the needs of the people, who wear
them,. especially those who work in various careers such as sailors, miners, farmers, industrial
workers, military service, police, firemen, etc.
4.Tradition, culture, and religion: When human beings are more intellectual, they gather
together into group so they require to have regulations and rules to live peacefully together,
without aggression on each other. As a result, the regulations for living together eventually
become assimilated to tradition and culture.
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In ancient times, tradition for celebrating such as birth, death, harvest or starting to
develop new relationship with other groups, the human beings decorated their bodies with various
decorations such as feather, leather, body painting, tattoo or piercing sometime they painted on
different parts of the body to indicatethe status or position. Currently, it still remains mostly in
original inhabitant of various countries. Religion has an important role in the dress as well.
5. Demand of attraction from opposite sex: The nature of human beings when growing up, they
demand to get attention from the opposite sex by dressing beautifully to attract the opposite sex.
6. Economy and environment Economic and social status of individual person will be different,
thus causing a different costume. There are several levels of general social classes which can be
divided by economic classes such as matter classes, villagers and laborers. The costume can tell
the status of the persons who wear them.
Body decorations
All human beings have basic awareness of the beauty, more or less depending on the
mind of the person and the environment. So they try to select decorative items to decorate their
body with the aim to enhance the beauty accepted in society or get attention the opposite sex.
In ancient time, using a decoration for the is not common among middle class people in
Thailand. Although the price was not high because in ancient times, there was a law prohibiting
junior government official and common people use expensive jewelry. At the end of Ratanakosin
Era, the ancient rule was abolished to making the ornaments widely used for people in all classes,
which resulted in the competition in creating new ornaments. Several of these ornaments are folk
visual art works, which may be divided into 3 different categories according to the materials used.
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1. The ornamentation made of non-metal: The ornamentation used from main
materials that are not of metal are clay, wood, cloth, colored stone, plant, fiber,
leather, gems, glass, plastic etc. These ornaments can be made from the same
material or combinations of materials. Besides, they can also mixed with metal as
well.
Color stone ornaments thread with rope
Necklace made of leather
2.The ornamentation made of metal The ornamentation made of metals such as gold,
silver, copper, brass etc., which sometimes has more than one type of metal combinations such as
copper alloy which is a mixture of gold and copper, bronze is a mixture of copper alloy and tin.
Some bronze may be composed of zinc or lead.
Ancient gold ornament
Copper alloy belt
3. The decorations marked on the body: Put an object from outside into the body such
as tattoo or implanted of beads or seed under the skin of some African tribes etc. There is also
painting on the body or on the face for tradition or beauty.
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Tattoo for the faith and for beauty
Useful hint
Do you know that color and pattern can be used for decorating the body. Fat people wearing dark
clothes such as blue, red, green, dark gray or black can make them look thinner than wearing light
color clothes and if you wear the long vertical striped clothes, you will look even slimmer. While
the skinny people should wear light color such as white, yellow, pink, blue and cream. Choose
horizontal stripes clothing because it makes your body look bigger.
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Activities
Students take the following materials to design any type of the ornaments to decorate the body by
writing a sketch of the ornamentation and explain design guidelines (without the directions) Then
present the designed ornament in class.
Given material
Bead of various colors
The design guidelines
Small rope
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Activities: Students design any type of the ornaments to decorate the body by
writing down a sketch of the ornaments and explain design guidelines, tell how to make the
ornaments then present them in class.
Given materials
Small ceramic doll about 1 inch high and other materials available in your community.
The design guidelines
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Topic 6: Residential interior design
Decoration is designed for everyday living, especially building and residential area to
achieve a beautiful residence. The decoration design refers to exterior design and interior design.
The process of design
1. Study of the area setting: Check the house, space and entrance, direction of the wind
and sunlight to see which side they come through such as winds are from the south. Study the
direction of the disturbance such as noise, the dust from the road, the side of the building to see
which direction they come from including placing the furniture. Placing and electrical appliance
etc.
2. Requirements: Choose the patterns of design such as Thai patterns or modern
international patterns. Whether the existing furniture can be adapted or not or which style of the
garden is needed such as the shady garden with lot of big trees, flower gardens or Japanese
garden.
The decoration of Thai style bedroom including wall, furniture and other components.
3. Planning: Plan the living area in consistent with the demand such as living room,
kitchen, bedroom etc. Set hedgerow to prevent dust from the road, put trees in the West for shady
area, and set up the places for the entrances and the living section. Arrange the focal point of the
home area such as the point which is clearly visible from the entrance or arrange place a sculpture
and beautiful plants.
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4. The preparation of various details
Prepare the details such as the design in sections according to the predefined plan.
Choose furniture, electrical appliance or materials and plants that can be used for other
components.
The important things to take consideration in overall interior design are the location of
the house, the furnished material, functions of each room, the beauty, the owner’s budget the
appropriateness for the transitional period, gender and age of the user as well as the ideology of
the designer.
The emphasis on landscape conservation
5. Placement of furnishings : General principles to consider placement of furniture in
interior decoration. The aim is to have unity which means the combination of furniture in each
group both for the feeling and the reality such as sofa set, dining set, chair etc. Although all
furnishing will be organized into clear space but all the furniture should not be messily mixed
together which depends on the selection of furniture in each group and the colors chosen as well
as a decoration such as using a carpet in the living room or having a bunch of lights on the dining
table making the living room and dining room have more unity.
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6.The ability of adaptation
It would be great if some pieces of furniture can be used for many functions or positions
such as a small closet in the master bedroom can be used in children’s bedroom when placing
large closet instead, or a rattan chair in the living room can be used in balcony.
7. Balance
The balance placement of the furniture in each room must be taken into consideration by
distribution of furniture to suit the area and do not set all furniture on one side of the room by
unreasonably leaving the other side empty.
8.Organize the path walk in each room
The path walk in each room, path walk from one door to another should be comfortable
and spacious enough without any obstruction while walking past.
Generally, the condition of each room itself will be able to determine how much
furniture is needed; for example, the bedroom must be composed of bed, wardrobe, dressing
table, workingtable and Tv set. The wardrobe must be placed against the wall. The bed must be
placed with the head towards the East or North according to the faith. The Tv. Set should be
placed at the end of the bed for convenient use. Dressing table and worktable must be placed in
the remaining area.
The hall of the house causes a little trouble in organizing, so before placing furniture it
should be carefully planned.
The corridor with is approximately 90 cm width. is the suitable aisle in which its gap
between the table and chair should be about 45 cm. it is within walking space to pass through the
chairs easily. Moreover, guests can easily reach a glass of water, food or ashtray as well.
Large pieces of furniture in the room such as sofas, cabinets, tables, etc. should be placed
in the proper position first in order to be used as a central base in placing small pieces of
furniture. Large pieces of furniture should not be placed together in a group but should be
spreaded out along the floor in order to keep the balance.
However, in normal condition, we should be consider that all guests seated should be
able to reach objects on the side table or in the mid table.
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Placing the appropriate furnishings with good path
The working table is another important piece of furniture in this room. If there isenough
space to put a working table. This working table when it is not in use can be put on the display or
used to place the food before being served at the dining table.
The best furniture or the most beautiful furniture may become the worst if the
background is defective; for example, there are too many contrasting colors or the decoration is
not in coherent with the furniture. Some rooms may seem like having new changes of all furniture
in the room if only the background of the room is converted. The background is important and
help in the interior design as well.
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Useful hint
Home building should be done simultaneously with interior design including installing electrical
wiring and water pipes inside during the construction. If the contractor and interior designer is the
same person, the coordination in this section will run smoothly. The work will be completed
faster including the construction and also helps reduce the budget in building a house.
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Activities
From the following draft plan of the bedroom below, the learners set the furniture
placement based on the design principles that have been studied by draft plan of the furniture
placement in the layout plan then exchange and comment in the study group.
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Topic 7 Cultural values and traditions
Culture refers to patterns of human activities and the symbolic structures making those
activities distinct and important. The way of life, the behavior and what people create by learning
from each other sharing among their own group. Abstract culture means which an object cannot
be seen or intangible but to express the ideas, tradition, culture and patterns of behavior in
succession which is accepted in their group such as religion, faith, attention, attitudes, knowledge
and ability. This type of the culture is essential cause of physical culture. Some cases can be
developed to the civilization; for example building religious places became a National Historic
with historical significance when the time passed..
Ancient remains is developed from the culture
(picture from www.elbooky.multiphy.com)
Tradition is an activity that has been performed traditionally as a unique and it is
important to the society such as the dress, language, culture, religion, work of art, law , morals
and faith..
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Give food offerings to a Buddhist monk is traditionally a succession.
The importance of culture and tradition
Culture is the most important issue in the nation. The nations that lose their own cultures
and traditions, they shall not remain a nation. The nation without cultures and traditions even if
there are the winner in war but they will lose culture and tradition, which is absolutely defeated.
This is because those who have been defeated in culture and tradition, they do not realize why
they fall for example, Tartar had conquered China and set up the Hung Dynasty to rule China, but
finally Chinese which had stronger culture and tradition had absorbed Hung Dynasty into
Chinese. Therefore, it is concluded that culture and tradition are the most important as mentioned
below:
1. Culture and tradition can indicate the differences of people, group of people or
communities.
2. It makes people different from animals.
3. It helps understand everything that we have seen, but how we interpret it depend on
the cultures and traditions of the communities resulting from learning and cultural transferring;
for instance, Thai people saw the rabbit inside the moon but Australians saw a big cat’s eye
looking for prey.
4. Cultures and traditions determine the four requisites such as clothing, food, housing
and medical treatment which are different in each culture such as the basic costume of each
nation, food, house style, faith in medications or the belief in the mysterious things of each
nation.
5. Culture and tradition determine the emotional feeling and emotional control; for
instance, Thai men will not cry in front of the public when they feel sad or regretful.
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6.It determines some of the actions in the community whether they are appropriate or
not. Some action in one society is acknowledged appropriately but it is not acknowledged in other
societies. For instance Westerners, both of men and women, shake their hands and embrace each
other for greeting. Thai people use their hands to pray to each other and say “Sawasdee” and
prefer not to touch their hands especially with more senior people. Japanese people take a bow for
greeting and Maori tribes from New Zealand greet each other by sticking out their tongue etc.
It can be seen that the creators of culture and tradition is human. Society occurs because
of human. Culture, tradition and society all come together. Each society has a culture and if the
society is large or more complicated, there are more cultural and traditional diversity. Culture and
traditions of each society may be the same or different due to the differences in faith, race,
religion and habitat etc.
Characteristics of culture and tradition
In order to understand the meaning of the word “Culture” deeply, the characteristics of a
culture can be described as follows.
1. Culture is the behavior resulting from learning. Humans are different from animals that
they are capable of thinking. They learn to organize their lives for their well beings and know
how to solve problems which are different from the animal that they learn from memory only.
2. Culture is a heritage of society transferring their learning from generation to
generation both directly and indirectly for a continually long period of time.. Human being
convey culture through language.
3. Culture is a lifestyle or a custom of human’s ways of living. If they are born in any
society, they have learned and absorbed the culture of the society they live in. Therefore, the
cultures of each society are different.
4. Culture is not static, human has invented new things and improved properly for the
changing situation and for the suitability and the survival of the society. For example, in former
times, Thai women did housework but the men worked outside to support the family. In contrast,
at the present time social conditions are changed. Women need to work outside to earn more
money to support their family as well. The role of women in Thailand society has changed.
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Thailand tradition: It is a tradition that has been highly influenced by Buddhism. But
the influence of other religions, Brahmanism and the evacuation of foreigners like the Chinese,
affect Thailand tradition as well.
Thailand beautiful traditions that have been carried on are different depending on
people’s faith, commitment to Buddhism and intelligently living in harmony with the seasons and
the nature of the locals in each region around Thailand such as:
The northern part “Bodh Luk Kaew” tradition of Tai people or ethnic tribe in northern
Thailand at Mae Hong Son province.
The north-eastern part “Bun Bang Fai” tradition of Yasothon province.
The central region “Tum Kwan Kgaw” tradition of Ayutthaya province.
The southern part “Hare Pra Khen Thart” of Nakhon Sri Thammarat provice.
Thailand custom and civilization have brought about tourism, which are well known and
impressive for foreigners. It is a precious heritage that all Thai people should conserve and carry
it on forever.
Useful hint
What is the festivals ?................
The festival is the specific period of time to organize the religious ceremony and local festival. It
focuses on setting the date, time and opportunities of each society to organize celebration
activities. The important factors are seasons and faith causing festivals.
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Ancient remains and antiques
The ancient remains is the place that belongs to the ancient, the ancient buildings, the
archaeological sights such as the ancient city, the ancient palace, the old pagoda etc. Almost every
province in Thailand has ancient sources to study and learn to inherit the pride in the ability of
ancestors such as Wiang Kum Kam at Chiang Mai, Ban Chiang archaeological site Phra Nakhon
Dhiri in Phetchaburi province, Yutthahadtee pagoda, the pagoda built to commemorate important
events including ancient palace etc.
The old city of Ayutthaya, is an important archaeological site in Thailand.
In each archaeological sites may contain valuable antiques such as appliance, pottery,
weapon, sacrifices etc. In various areas, there may be antiques such as an ancient boat, ancient
houses, a sculpture, art works since ancient times or a work created by ancient artists. The
equipment that had been used ancient times may become obsolete in the present but they may be
valuable antiques in such as the stone for crushing medicine, the stove equipment used for curing
new maternity, the ancient rice mill, fig-leaf worn by little girl, bracelets, hairpin, the equipment
used in ancient occupations etc.
Antiques means movable properties (property not attached to the land) that are archaic.
Whether an invention or natural occurrence or part of the archaeological site, corpse, animal
remains of which the age or the characteristic of the invention or the evidence about the history of
movable property is useful in art history or archaeology.
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Antiques at Bann Baton at Narathiwat provence.
Benefits of ancient remains and antiques can be summarized as follows.
1. Show the history of the country
The country with a long history must have old age of ancient remains and antique as
well. Therefore, ancient remains and antique can be compared as national evidence.
2. Show honor and pride of the people in the nation. Ancient remains and antique
indicate the development of the society, intelligence and the quality of life of native people in the
past. As the nation has much older age of ancient remains and antique, the people in the nation
would have pride in various sides the evolution of the nation.
3. Related events in the past and present together. Ancient remains and antique are the
evidence which passed through a long period of time. Nowadays people can get to know them
through the past of their nation, which can be used to improve, develop or to solve the mistake in
current situation or imitate and improve for better things in the future.
4.Use to educate the mind of the people’s mind in the nation. The ancient remains and
some places can tell the sacrifice of their ancestors. Some places reminded the people in the
nation and other places are holy places.
The ancient remains and antique are not natural resources which can exist but it is a
cultural resource, that humans use intellect, knowledge and ability to generate them in the ancient
times. The location and article inheritance passed to our generation became the ancient remains
and the antiques. Similarly the buildings and articles that we have created today the ancient can
be remains and the antique of the people in the future. For that reason the ancient remains and the
antique are the historical evidence that tell the history of their ancestors in different levels of the
society. Throughout the small groups to the village, the city and nation and continue to our
period. Therefore, we should participate in preventing the ancient remains and the antique from
being destroyed. Do not remove, scratch or drill the ancient remains and do not store, trade or
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processed the antiques. Please remember that the conservation of the ancient remains and the
antique is the duty of everybody.
Useful hint
The ancient remains of Thailand that have been registered for the world heritage consist of
3 locations.
1. Sukhothai Historical Park and satellite town (Sisatchanalai Kamphaeng Phet)
Sukhothai has a rectangular city plan with about 2 km. in length, about 1.6 km. wide. Inside there
are 26 remaining traces of palaces and temples. The biggest temple is Wat Mahathat.
2. Ayuthaya Historical Park
Ayutthaya is the capital of Thailand in the past from the year 1893-2310 B.E. which was
flourished empire that can be considered as the most prosperous empire in Suvarnabhumi region.
From the survey, it found that there are at least 200 places of the ancient remains.
3. Ban Chiang archaeological sites, Udon Thani province.
Which is one of the major archaeological sites causing us to know people’s ways of living in prehistoric in Thailand which reflects the development of culture in many ways. Ban Chiang culture
covers times more than a hundred archaeological places in the Northeast which were densely
populated areas many thousand years ago.
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Activities
1. Students write a short essay about the cultural traditions or important festivals of your
province. Then discuss it in class.
2. Students gather in groups to visit the ancient remains or the museums. Then discuss in class.
3. Having studied this chapter, the learners do the following exercises:
3.1 Explain the importance of culture and tradition.
3.3 How can students be able to preserve ancient remains and antiques.
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Chapter 2
Essence
Folk Music
Understand and have moral, ethics and admire the beauty of folk music. Be able to
appropriately make a critical analysis.
Expected Learning outcomes
Understanding the basics of folk music and can describe, create, conserve, criticize,
analyze melodiousness of folk music appropriately.
Scope of Contents
Topic 1 Characteristics of folk music
Topic 2 Thai folk music
Topic 3 Music wisdom
Topic 4 Value of folk music
Topic 5 Development of folk music
Topic 6 Value and conservation of folk music
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Topic 1: Characteristics of folk music
Folk music is traditional music of social groups all over the world. Folk music is often
sung along together. Therefore, it may refer to “Folk song”. He characteristics of folk music is
typically as follows.
1. The song as well as how to sing and play the song are usually passed on by words,
singing or performing. Recorded note music is not traditional style of folk music. However, in the
present time some of folk music has been passed on by the note of music already. Thailand folk
music can be seen in the song of Ruea and Antiphonal song. These songs have been played since
ancient times music notes were not recorded or taught.
2. Folk music is often used to play along with other activities; it is not just composed
for listening or appreciateing in the art of music. It can be seen that lullaby composed for singing
and making a child to sleep mode. Rice harvesting songs are used to sing in the rice harvest
festival at the completion of the mission, farmers need to relax together. There are boat songs
used to sing along with sailing the boats in flooding season.
3. The format of folk music is simple; there are usually 2-3 main melodies. Sing it with
changing the lyrics. The Rhythm of the song is usually repetitious again and again. It can be said
that folk music is focusing on the lyrics or amusement of musical composition such as dancing or
Thai dancing.
4. Characteristics of melody and rhythm is in consistent with the activities or
amusement; for example, lullaby songs have slow and cold rhythm because the aim of the lullaby
is to relax the children and make sleep. On the other hand, in Thai folk dance song the melody
and rhythm will be fun and exciting because it encourages everyone to come out for jolly dance.
5. Singing style of folk music is a natural. It does not focus much on the quality of the
voice or techniques. The sound is typically used in folk singing no matter what nations they are it
comes out from the throat not from the stomach or the head, which is the style for their singing art
songs.
6. Most of musical instruments used in folk music are special in each local. There is a
sign or a symbol to let us know which local tribe or language thy belong to. For example, folk
music of the Northeast uses “Khaen” a kind of reed mouth organ in northeastern Thailand, “Pong
lang” a type of musical instrument like round logs tied together by size and sound sequences as
well as the “Ranat” but larger. In the North there is “Sung” which looks like “Krachappi” in the
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cavity shape, flat, round with ventilation holes in the middle with 4 wires, “Salor” is a stringed
instrument which has 2-3 strings like “ Sor au”.
Folk music can be found in every country. This type of music should be studied and
collected as a part of the national culture. For instance, the academic musicians in Hungary,
Kodaly and Bartod, had garthered Hungarian folk music to teach new generations. There are also
many composers taking melody of folk music to their primary melody of the songs they have
composed such as Bartod and Dvorak.
There are many different types of music. Some of them do not need much knowledge and
understanding but we can access and enjoy it. However, there are certain types of music with
sophisticated contents. People who can access to these types of music have to study seriously.
This types of music are musicart such as Western music or classical music and various national
music. Since this type of music theory, content as well as performance is thoroughly complicated,
those who would like to access or appreciate this type of music must study the details of the
music concerning musical features, music history or style of music. It will make them have
listening basis of the particular song. However, only studying it is not sufficient, whoever wants
appreciate this type of music must always listen to it. The appreciation of music cannot be taught
because the feeling occurs in the individual mind of people. Teaching is just a guidance.
Listening to music along with learning the content of the music can help listeners more
appreciate in music by themselves.
Folk music is the music that passes knowledge verbally, learning it through listening
rather than reading. There are not written notes; it is the cultural inheritance of the people from
the past to the present. The music activity helps relax from work and create group entertainment
of the people of local residents. This will cause love and unity in the local heritage to the younger
generations and. becomes the identity of the local successor.
Topic 2 : Thailand’s folk music
Thailand’s folk music can be divided according to the different regions of Thailand as
follows:
1. Central folk music including the categories of musical instruments: plucking,
bowing, striking and blowing. Plucking instruments are such as Thai zither and spinet. Stringed
instruments are treble fiddle and alto fiddle. Rhythmic instruments are the alto xylophone (Ranat
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ek), the alto bamboo xylophone (Ranat thum), gold xylophone (Ranat tong), small alto bamboo
xylophone (Ranat thum lex), gong (Khong), “Mong” double gong with different treble sound,
small cymbal, cymbals and wooden rhythm clappers. Blowing instrument such as flute (khuli),
pipe (Pi). Dominant feature of central folk music is Pi Paat (orchestra consisting chiefly of the
gamelan) which is integrated with the royal music. Development of pipe, drums, xylophone, gong
wong and add more instruments to become large orchestra. The singing is similar to Royal Pi Paat
resulting from of transferring of culture between people and the royal .
Instruments in the Central part
Three – stringed fiddle
Three-stringed fiddle is the fiddle that has the most beautiful shapes used in Thai band
since the Sukhothai period (B.E.1350). Three-stringed fiddle tune the sound between four pairs of
strings used to play in the royal ceremony. Later it is composed into the orchestra.
Treble fiddle
The treble fiddle is another type of stringed instruments played by the fiddle bow with a
sound box made of hardwood, stretches the front with a snake skin and has audio channel on the
opposite side. Its long handle made by hardwood about 60 cm. long. There is a knob on the upper.
Treble fiddle used the silk shear string or ligament string. There are two strings with different
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sizes. The fiddle bow is about 50 cm. long between the string. Treble fiddle has treble sound and
it is used as the main instrument in the stringed instruments.
Alto fiddle
Alto fiddle is a stringed instrument, its sound box is made of coconut shell. The front side
is stretched with cow’s leather, the audio channel is on the opposite side. The long handle is made
from hardwood. The upper side has a knob for stretching the string. Fiddle string is made of silk
shear. The fiddle bow is between the strings. Length of long handle is about 60 cm. and the fiddle
bow is about 50 cm. long Alto fiddle has low bass sound. It can be played along and alternatively
with the treble fiddle.
Thai zither
Thai zither is a stringed instrument used to play by plucking. Usually the height is about
20 cm. and 140 cm. long. The body made of soft wood, dig as a hole with 3 strings first and
second string are made of silk shear. The third string is made of brass. It can be plyed by the left
hand pushing the string to make high or low sound and the right hand plucking the strings which
are made from ivory.
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Flute/khlui
Thai flute is a kind of the Recorder. There are the control to break the wind flow causing
of sound from itself . Unlike the Chinese flute or piccolo, Thai flute has a lot of sizes such as
“Khlui” with bass tone, “Khlui phiang aw” with medium tone, “Khlui lib” with treble tone and
the one with more treble tone is “Khlui kruad or khlui lib krud”. Thai flute is a musical instrument
in string ensemble and Thai orchestra.
Pipe/ Pi
Pi is a blowing instrument with a tongue made of palm leaves to be a sound generator,
which has had quadruple or double-reed similar to the oboe. There are several types such as Pi
nok, Pi nai, Pi klang and Pi mon. he most prominent is Pi nai. Pi nai has only 6 holes for wind
force but can be played up to 22 tone and can imitate people’s voice clearly.
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Alto xylophone/Ranat ek
Ranat ek is a higher tone xylophone consisting of bars made of bamboo or hardwood
such as Chingchan wood 21-22 bars stripe tied together into piece of xylophone and hang it on
the sound box called xylophone track of which its shape is like a boat. Ranat ek’s function to
conduct the band by playing exquisitely. It is usually played in 2 styles one is struck with hard
xylophone hammer called “Pi Paat Mi Khang” and the other is struck with a soft stick called “Pi
Paat”. The soft stick of Ranat ek is lined up from low tone to high tone, from left to right and
tuning by using beeswax mixed with lead powder attached below each head and at end of the
xylophones.
Alto bamboo xylophone/Ranat thum
Ranat thum is made of bamboo or hard wood with 19 bars. Its shape is similar to Ranat
ek but lower and a little wider. Ranat thum is used to play jollily with Ranat ek.
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Gongs/Khong wong yai
Khong wong yai is the main instrument of the gamelan/Pi phat and Thai
orchestra/Mahori used to play the main melody There are 16 tuned bossed gongs consisting of
two major part.
Gongs are the source of sound made from alloy. It look likes round cups, sort out from
big to small gongs, low tone to high tone. At the top bosses used to strike and under the bosses
filling them with lead mixed with beeswax to counterbalance of high or low tone as needed.
Rattan frame/Ruan Khong made of rattan: Made of rattan,the diameter is approximately 1
inch coiled up and secured with the hardwood lathed in to grille pattern and has sharpened
serrated bamboo to stick the structure of gong. To bind the gong with the rattan frame, leather
string can be used with special knot.
Khong wong lek
Khong wong lek is smaller but higher in pitch than Khong wong yai. Both instruments
are played in the same manner, but Khong wong lek can be played faster and more ornate
variation on the principal melody also change the melody from Khong wong yai. Khong wong lek
has 19 tuned bossed gongs.
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Goblet drum/Thon, Timbrel/ Rammana
Thon : The shape look like a small tom-tom made of wood or baked clay. It is stretched the
leather taut with the leather rope. The body’s length is about 34 cm.. It becomes narrow in the
middle; its diameter is 12 cm and the opposite sides of the drumhead are like cylinder shapes
which are similar to the loudspeaker. It is used to play with Rammana.
Rammana : is a small frame drum. The diameter of the drumhead is about 22 cm. It is
used in the stringed instrument (Khruang sai) ensemble.
Double-headed drum/Klong khaek
Klong khaek is a double-headed drum used to play in both gamelan and Thai orchestra.
Sometimes it can played in the stringed instruments. Both drumheads are played with hand. There
are two types of Klong khaek, Klong khaek tua phu has a higher pich and Klong khaek tua mia
has a lower pitch. There are two types of Klong khae; Klong khaek tua phu with a higher pich
and Klong khaek tua mia with a lower pitch.
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Klong song na
Klong song na is a Thai barrel drum which looks like Poeng mang khok. It is stretched with the
leather round the body and used to play in gamelan and sometimes in Thai orchestra.
1. Northern folk music In the early days there were the Percussion instruments such as
the hollow timber used to worship a spirit. Afterwards it has been developed by
stretching the leather on the top of the piece of hollow woods and it becomes to the
instrument called Drums. Later, with the development of the drum patterns are different
like the drum that is stretched on the top with the leather, only at one side such as
Rammana, Glong yao, Glong aeo. And the drum that is stretched on the top with the
leather at two sides such as Glong mong zheng, Glong song na, Ta phon mon. In
addition, there are the percussion instruments made of metal such as Gong,
Ching/Castanets, Chap/Cymbal. The blowing instruments are such as Khlui/Flutes, Ya
ae, Pi nae, Pi mon, Pi surani. Bowed string instruments such as Salo luk ha, Salo luk si
and Salo sam sai. And plucked string instruments are such as Phin phia and three sizes of
Sueng: Sueng noi, Sueng Klang, Sueng yai.The dominant feature of Northern folk music
is taking all categories of music instruments to be integrated.especially in the accents and
melodies that sway with the atmosphere and softness of nature. There is also a mixe of
culture of various tribes linked to the royal court culture and the music can be played
both in courts and in locals with the unique characteristics.
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Northern music instruments
Salo
Salo or Talo is the stringed bowed instrument played with fiddle using the liberal fiddle bow.
The Salo body is the source of the sound made with coconut shell cut and covered with thin
wood. The vocal tract is at the backside. Salo bow is made with teakwood or other hardwoods. It
is usually about 60 cm. long, the knobs on the front preferably made into two strings but there are
some having three strings. At first silk shear is used for a string and after that the wire or the
bicycle brake cable are used. It is assumed that the word “Salo” comes from “Sai lo” or the
bicycle brake cable of the Northern language and finally convered in to “Salo”. There are 3 size
of Salo: Salo lek, Salo klang, and Salo yai sam sai.
Sueng
Sueng is another plucked instrument played by pluck. It is made of teakwood or hardwood. The
vocal tract is at the front . Choose the pitch by Luk sueng or Nom (A small timber on the neck of
Sueng). It is played with the thin horn and had 2 strings made of steel wire such as wire or brass
(At first silk shear was used as a string).
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Khlui/Flutes
They are similar to those of the Central region.
Pipe/Pi
Pi is a single reed. The reed is made of metal like the reed of Khaen ( Lao reed mouth organ). The
body is made of blowgun (Mai sang). At the end of one side it is buried with the metal reed.
When playing it is kept in the mouth to blow at the end of this side. Another side holes are lining
up into 6 holes to force the sound. It is played with both hands to produce the melody. There are 3
types of Pi that are the large size called “Pi mae”, the middle size called “Pi kleang” and the small
size called “Pi koi”. It is played in the band called Chum pi band or Pi chum or it can be played
with the Sueng and Salo.
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Pi nae
Pi nae looks like Pi chanai or Pichawa but it has a bigger size. It is a kind of double reeds made
of hardwood. It is also has holes to force the sound similar to Pi nai. It is played together with
Gongs, Ta lot pot and Klong aw such as playing along with the Thai’s Northern dance. There are
two sizes, the small size is called Nae noi, the big size is called Nae luang.
Phin phia
Phin phia or Phin Fhia and sometimes called Fhia or Phia. The body is made of coconut shell.
When playing, stick the coconut shell closely to the chest, move on-off to achieve the desired
resonance. Initially the young men of the North used to play long with the singing when they are
courting women. There are currently very few players.
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Glong teng thing
Glong teng thing is a two faced tabular drum, made from hardwood such as rosewood or soft
wood like Mai ka noon. The drum head stretched with the drum holder. It is used to mixed with
other musical instruments to composed of rhythm.
Ta lot put
Ta lot pot or Ma lot pot is a two faced tubular drum. Its length is about 100 cm. , the drumhead
stretched with the leather, tied up with the leather robe to press the sound. Its width is about 30
cm.,its narrow side is about 20 cm. The body is made of hardwood or softwood. It is played with
sticks covered with the padding, used “ki ja” (Ground cook rice mixed with ashes) to weigh at the
drumhead.
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Glong tingnong
Glong tingnong is the biggest drum. The body is about 3-4 meters long.It is used to give the
signal at the temple and play a long with the parade and Thai traditional dance accompany with
Ta lot pot, Pi nae, Chap yai and Khong hui. It is played with the sticks and when being played, it
has to be carried.
Glong sabat chai
Glong sabat chai is the drum existing centuries. In the past, it was used to strike out at the war for
the luck and morale of the soldiers in the battle for the victory. The melodies used to strike Glong
sabat chai are 3 melodies which are Chai pa ri, Chai di te and Cha na man.
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2. Folk music instruments of the Northeast : It was evolved over thousands years ago
starting from the use of local materials to imitate the sound of nature, sound of the
wind blew shaking the leaf, sound of the water fall or rain drop, most of which are
short sounds without reverberation. Later it has been made of natural local materials
such as leaves, surface of wood, swamp panic grass, bamboo to make the long flutter
sound. In the third period, it began to use the leather and cuir as the melodic music
instruments with more beautiful shapes such as Krap khu/Clapper, Ranat/Alto
xylophone, Khong/Gongs, Glong/Drums, P/Pipe, Phin, Pong lang, Khaen etc. They
have been integrated in to Northeast folk music band with special characteristics
according the 3 areas which are the northern part of the Northeast and the central part
of Northeast, they are admire Northeastern folk music (Mor rum), which has to be
played with Khaen/Mouth organ and Phin harmonized with the singing . For the
southern of Northeast, they admire the instrumental music of the southern part of
Northeast which is Khmer lineage. They also admire classical Thai orchestra band
and Thai grand orchestra band. People in each group play these kinds of music
joyfully. These are used to play for the amusement, with the performance and in the
ceremony such as Lum pi fa which are played with the Khen to curative treatment
and the traditional funeral of Northeastern part which useTum Nong band to play.
The significant feature of the Northeastern folk music differ from other regions.
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Northeast’s instruments
Huen
Huen is the semi plucking and blowing music instruments. It is made of bamboo or metal,
grooved at the middle in to the reed. When playing Huen, put it into the mouth and pluck at the
end of one side with the thumb finger or fore finger. Use the cheek pouch to be the vocal tract
causing of high pitch or low pitch sounds. It can be plucked imitating a real voice of human
pronouncing the vowel sound. This instruments is played in the Lahu tribe called Pia. This kind
of instrument is not only in Thailand but also in all parts of the world such as Mongolia, Papua
new Guinea, Africa and Europe. It is a type of ancient musical instrument that should be studied.
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Khaen/Mouth organ
Khaen is a musical instrument that is most recognized of the Northern part of Northeast and the
Middle part of Northeast excluding the Southern part of Northeast that is under Khmer influence.
Khaen is a perfect instrument with a history dating back to thousands of years. Khaen is made of
blowgun (The small bamboo). It’s a metal reed,which is made of tin, silver, copper attached
together into “Taokhaen” (depressed area for blowing the breath on middle part of Khaen). Khaen
had many dimenstions such as Khaen 7, Khaen 9. Beside Tao khaen at the top there are holes to
control the sound. To blow at the front of Tao Khaen, both hands are used to hold the Tao Khaen
little slantingly. Khaen is a musical instrument that is played both in chorus melody and making
rhythm itself, which has a miraculous style. The phonology of Khaen is both Diatonic and
Pentatonic with levels of amarelle that can played both in Western and Thai styles including the
same level of the sounds.
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Wot
Wot is the wind instrument that has no reed. It’s a circular panpipe caused by the wind blowing
through a reed wood, Hia wood/Ku kaen wood or bamboo. The side of the hole of wot made is of
small reed wood, short or long orderly arranged by heigh or low pitch of sounds. The pipe is
stuck around a bamboo that is used to be the core attached by Kigsod. There are 6-9 pipes about
25cm. long. When blowing, we have to spin around to make the desired sound.
Phin
Phin is the plucking musical instrument, comprising 2-3 strings that make musical sound. The
part of Phin body uses the same piece of carved wood; there is the tunable fret. The string is
made of metal especially the wire of the bicycle brake. The plectrum made of flat animal horn.
Pong lang
Pong lang is the percussion instrument that is only a striking instrument of Northeastern part by
playing together with Khaen, Phin and other percussion instruments or can be played solo. Pong
lang body is made of hard wood with different sizes arranged with the sequence of sound tied
together with a strong rope into bars of xylophones. At the end of the side with high pitch tied
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with the branch and the other side with low pitch drop down stretched with the player’s thump or
other materials. The instrument is generally played by two players sitting on either side, one is
playing the melody, the other is playing drone accompaniment. Pong lang’s stick is made of
hardwood, its shape is like a hammer played with both hands. Pong lang has no standard size.
Jakhe Kabue
It is the important musical instrument of Cambodia orchestra, is a plucking zither with 3 strings.
In former times, the strings were made of silk yarn but now the bicycle brake cable is used. The
player uses his or her left hand on the fret board while plucking the string with right hand.
Grajabpi
It is a plucking string musical instrument, by using the plectrum that is made of animal horn, the
vocal tract is made of jackfruit wood or teak wood. At the top of the arm 2 tuning pegs and the
strings are inserted into the holes. The player uses his right hand to strike the strings while using
the left hand for pitching the piece.
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Saw Kantrum
It is a bowing string musical instrument made of wood; the sound box is covered with snake skin.
The sound box is on the oposite side of the head. Two metal strings are stretched tightly across
the length of the stick, which is about 60 cm. long. There are the tuning pegs located on external
surface of the fiddle and tied with rope. The different sizes of Saw depending on the purpose of
the creator. The Saw is made in 3 different sizes. They are Tro-chi (small size), Tro-ek (medium
size), and Tro-thom (large size).
Klong-Kantrum
It is a kind of one faced drum made of hollow wood with skin covering the face and stretched
tightly by the rope. It’s found as a percussive instrument in the Kantrum ensemble.
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Pi Salai or Pee Chanai
It is accompanied with Kantrum ensemble. It’s a kind of double reed like Pi nai.
Krab-khoo
Krab-khoo is a pair of hard wooden bars similar to Krab-sepa of the Central region but is smaller.
It is used as a percussion in Kantrum ensemble. It is made into pairs a set and played with both
hands.
3. Southern region’s folk music: it has a simple style of the invention music
instrument from the local materials. It is assumed that the traditional folk music of
Southern part came from the Sakai tribe. They used various of bamboo sizes, cutting
into different sizes with the bamboo cut into straight line or slantingly at the end,
covered with leaves or spathe of plants. It is used to play accompanying with
singing or dancing. Then it has been developed in to musical instrument like Horn,
Wooden rhythm clappers and type of drums. For example, Rammana has been
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influenced by Malay, Glong chatri or Glong Tuk that played accompanying with
Manora dancing, which was influenced by India as well as the blowing instruments
like Pi nok, bowing string instruments like Saw duang, Saw au including the growth
of performing arts and music of Nakhorn Sri Thammarat. It can be said that the
performance in Krung Thunburi period is influenced by the Central region. The
Southern folk music is also played accompanying with other performance such as
Nora music, music of shadow play, the main instrument is Drum, Mong, Ching and
other composition musical instruments. The musical instruments of folk drama are
Rammana, Mong, Ching, Krap, Pi and Ronggeng music that had been influenced by
the dance from Spanish or Portuguese since Ayutthaya period, accompanying music
instruments are Violins, Rammana, Khong or some band including the Guitar.
Ronggeng music is popular among the Thai’s Muslims of Thailand-Malaysia
boundary. The characteristics of the Southern folk music had been influenced by
neighboring countries of many races because of the unique combination that differs
from the other regions in the particular rhythm and hasten, constant and energetic
styles.
Southern Music Instruments
Thap
Thap is an important musical instrument for providing the changes of rhythm and also for
supporting rhythms of Nora ( Southern dance drama ). Thap is like Klong yao but much smaller ,
the length is about 40-50 cm. The body is made of hardwood of a jackfruit tree. A single
drumhead is covered by a thin leather made from langur’s skin or cat’s skin attached to the body
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by cloth strings or rattan strings. Thap is always played in pairs, one has slightly lower pitch
called Luk Thoeng” and the other has slightly higher pitch called “Luk Chap”.
Glong nora
Glong nora or glong nang is used to accompany the Nora dance or Nang ta lung (Shadow puppet)
performance. Generally, the diameters of the drum in both sides are about 10 inches and the
height is about 12 inches. Glong nora is made from the core ofJack fruit tree since it is believed
that it maks a good sound. The drum head is covered with cow’s leather or buffalo’s leather but
the calf’s leather is better, attached with the wooden pegs or in Southern language are called “luk
sak” stretched tightly with the drum head and there are two legs made of bamboo wood stretched
with rope attached to the drum. It is played with a pair of drum sticks. Glong nang that is played
accompany with the shadow play is smaller; its diameter is about 6 inches and about 9 inches in
height.
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Mong, Ching/ Small Cymbals
Mong is a musical instrument that has an important part to play both in melodies and rhythm.
Because the Nora and the shadow play need to sing in harmony with the sound of Mong which
has 2 levels which are bass sound and treble sound. The treble sound is the most important called
“ Seang Khaw Mong”. The Mong stick is covered with the rubber or yarn to make the sound soft
when being played.
Ching/Small cymbals are musical instruments that are played accompanying with Nora or
Shadow play. The musician needs to play to match with rhythm and singing. In former times they
preferred used the large cymbals about 2 inches in diameter but currently the small cymbals with
its diameter about 1.5 inches made of thick brass are used.
Pi
This instrument is important to enhance the audience to be in a sense of euphoria and make the
performer dance with delicate styles. The body is made of hardwood or other heartwoods such as
Lead tree, Mango tree, Mi ruk par or Plum mango tree. Kanphuat pi (the components of Pi which
cause of noise when blowing it’s stuck with Pi body) is made of copper and the reed is made from
palm leaves which are usually taken from the single palm tree because they believe that it will
make melodic sound.
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Trae Phuang or Krap Phuang
Trae phuang or Krap phung is a percussion instrument used to provide rhythmic punctuation
made of hardwood, sized 0.5x2x6 inches.Make a hole in the head on both ends and embroider
with a rope before piling up ten pieces. At the back of the axle of Trae, it is made of metal.
Topic 3 Musical Wisdom
The value of music
Music is the human creation that represents their emotions to environment, nature, and
ways of life reflecting the livelihood, traditions, culture, along with the wisdom of the indigenous
people in various eras. Therefore, music is regarded as one of the historical evidence to which can
be referred. Furthermore, music is considered as the cultural heritage that is worth preserving in
order to further maintain the national identity.
Expressing particular emotional states and being applied in everyday life, music has
many benefits and is used for emotional development, such as,
The benefits of music
1. Help to entertain and relax.
2. Help to calm down and focus on doing activities efficiently.
3. Help in the area of learning development by integrating with other subjects for
utilization in each area.
4. Work as a medium to connect relationships and use as activities that are done
together with families or friends such as singing and dancing together.
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The conservation of musical works
Musical works composed by artists in different eras represent the wisdom of their
ancestors and artists. Moreover, the musical works can tell its civilization and express its national
identity. Thus, they are worth preserving and shall be passed down and further developed in order
to build pride and become the cultural heritage.
There are various ways to preserve and pass down the musical works. The simple ways
for students to exercise are as follows:
1. Study the origin of musical bands that you are interested.
2. Collect and record musical works of interesting artists for using the information on
further studies.
3. If there is a chance, you shall visit the museum regarding the music exhibition in order
to study the information or the history and the evolution of music.
4. Attend music activities, for instance, music performances and memorial exhibition of
artists.
5. If there is a chance to take a course for a musical instrument, especially local musical
instruments, you should pay attention in lessons for passing the music down.
6. Take an interest in your own local music and others.
The core…folk songs
Folk songs produced by local people have been passed down by oral tradition through
hearing and memorization without writing down. It is noted that the origin of traditional folk
songs were not only composed by native people or verbally transmitted, but also written by royal
courts. However, the songs from the royal courts were passed down by verbal memorization and
became the folk songs. Similarly, the case study of Ramthone is the example of regional melody
combination which plays in the local melody line.
The characteristics of folk songs are its simplicity.
The remarkable features of folk songs are its simplicity. If there is any allegory, it will be
easy to interpret, for example,
“พอพี่ควํ่ามือไป น้องก็หงายมือมา...” “พี่นึกรักแม่ตากลมเอย...”
From the above statement, young people could understand the meaning. Its melody is not
careless but perfectly simple which is clear, sharp, and beautiful altogether. Likewise, if this were
the definition, it would be the beautiful definition. In spite of a few words, readers can imagine
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and sense them. In everyday life, we may have a conversation with people who beat around the
bush and are difficult to comprehend. Meanwhile, if the other rearranges the sentence and cut
unnecessary words, it is much easier to understand. The folk songs are like the latter person.
The simplicity of singing and playing
Folk songs have maintained the characteristics of traditional human which may show the
lack of improvement and evolution. In fact, singing accompanied by many musical instruments is
also melodious. On the contrary, singing without or with a few musical instruments such as
playing guitar together with fiddle can create beautiful melody as well. There are various options
to choose from.
However, folk songs is similar the latter option due to people’s way of life.
Consequently, folks or song writers easily compose a song without much preparation. The factors
that help to rhythm a beautiful song are expressions, and hands. Sometimes, the simple rhythm
instruments are accompanied a little such as wooden rhythm clappers, Thai small cymbals, and
drums.
Lullabies and Pleng Pad Kwai are verbally drawn out the notes to create mood and
atmosphere.
Pleng Ten Kum Rum Keaw is used a sickle and rice stalks as performance props.
Pleng Ruea is accompanied with wooden rhythm clappers, Thai small cymbals, and
chorus to make the rhythm more joyful.
Pleng Choi and Pleng Puang Malai is used only hand-clapping.
Lumtat is accompanied with timbrel.
The most important things of chorus are to sing featuring each other in order to make the
song more joyful.
Emphasis on the amusement
Thai folk songs emphasized on two areas that are to convey a message into a doublemeaning and to except the miserable things, for instance, Pleng Choi of Watkoh Publishing
House. When a male singer started singing an introduction, a female singer would reply that
“พี่เอ๋ ยพี่มาถึงจะมาพึ่งของรัก แม่หนูยงั หนัก นํ้าใจ
ไอ้ตรงแอ่งในห่อผ้า พี่เอ๋ ยแกอย่าได้หมาย
พี่พ่ งึ เงินจะกอง พี่พ่ งึ ทองจะให้
พี่จะพึ่งอีแปะ จนใจน้องแกะไม่ไหว (เอ่ชา)”
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A male singer said
“ทําไมกับเงินกับทอง สมบัติเป็ นของนอกกาย
พี่จะพึ่งหนังมาหุ ม้ เนื้อ จะได้ติดเป็ นเยือ่ เป็ นใย (เอ่ชา)
In the between of amusement and misery, the first one must be selected likewise folk
songs. When lyrics have been compared, a message that describes the miserable feelings is less
than an amusing message. Sometimes, the grief brought into a song is made up in order to change
the audience’s mood, for example, Pleng Ruea when an ex-husband came back home and was
depressed because of the deserted house. While the song described about the change and
lonesome that a male singer can manipulate the audience’s compassion, he couldn’t help adding a
playful message, such as,
“.............................................
พิศดูครอบครัวมันให้ชวั่ ลามก มันช่างสกปรกไม่รู้จกั หาย
หม้อข้าวก็กลิ้งหม้อแกงก็กลิ้ง ฝาละมีตีฉ่ิงอยูท่ ี่ขา้ งครัวไฟ
ไอ้ครกกะบากก็เล่นละคร สากกะเบือก็นอนเป็ นไข้
.............................................”
The similarity
A folk in Bangpae, Ratchaburi sang a part of Pleng Choi which ended the song that
“เรามาเล่นกันเสี ยแต่ลมปาก พอเลิกแล้วเราก็จากกันไป...”
Similarly, a folk in Bang Luk Suea, Nakhon Nayok sang their own Pleng Rabum Ban Na
in the introduction that
“เอ๋ ยพี่มาวันนี้ ก็ชวนแม่เล่นระบํา ว่ากันคน (แม่เอ๊ย) ละคําไม่เป็ นไร
เราเล่นกัน กันก็แต่ลมปาก พอเลิกแล้วเราก็จาก จากแม่จากกันไป...”
Why did the singers from different places sing the songs whose lyrics were similar or
almost identical? In fact, there are many folk songs which contain similar messages. Therefore,
the study showed that folk songs composed along the Chao Phraya river and nearby rivers had
built the formation which shared something in common through its transmission from person to
person or group to group and became the harmonized composition.
The common types of folk songs are widely divided into contents and sequences of words.
According to the contents and sequences, the types of retaliating songs, short and long
versions, and the contents of both types may be categorized as follows;
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The long version of retaliating song consists of Pleng Ruea, Pleng Rabum Choarai, Pleng
Puang Malai, Pleng Yhoei, Pleng Nah Yai, Pleng Ten Kum Rum Keaw, Pleng E-Seaw, Pleng
Rabum Ban Na, Pleng Pad Kwai, Pleng Thepthong, Pleng prob Kai, Lumtat, Pleng Aew Klao
Saw, Pleng Choi etc. Most of these songs have to be sung by skillful or professional singers who
can retaliate against each other continually. In order to extend songs, they have to make up stories
or create a set of plays. Therefore, we have the big sets of these songs as a prototype that
comprises of; Ruk Nah Pa Nee set, Su Khor set, Ching Chu set, and Tee Mark Pua set etc. The
pattern of all long versions of retaliating songs containing begins with the Wai Kru Chant, then
the introduction to call girls joining the songs, and respond songs or called “retaliting” which may
last the whole night long.
The short versions of retaliating songs or short lyrics are comprised of Pleng Pistan,
Pleng Rabum, Pleng Ten Kum Rum Keaw, Pleng Songkohlumpuan, and Pleng Chuk Kradan etc.
This type of songs is suitable for amateurs who sings only four to five lines each and ends the
song. Furthermore, it offers opportunities to simply join singing. Lullabies are considered as a
short lyric as well. Anyone can sing the short lyrics, thus it can be sung without formalities or
composing a big set determined the sequences of plays. You can start by forming a group or
singing.
The similarity of lyrics caused a male singer pick up line of one song to add into the
other with unawareness. It is noted that a male singer can sing in various melodies besides his
favorite songs. As a result, it is simple to exchange words. Therefore, we may discover the
similarity of sequences or description among the songs by passing down through a singer’s mind.
On the other hand, the common types of folk songs were written in poems containing a
rhyme in which the last syllable of verses sounds the same such as the sound of Ai or the sound of
Ar. The technical terms of songs called Li poetry, La poetry, Lee poetry, and Loo poetry etc., for
example, Pleng Ruea, Pleng Choi, Pleng Ten Kum Rum Keaw, and Pleng Puang Malai etc. This
style was created because it was easy to rhymes a song. If the versification of the song is
composed in a difficult language, it will effect on singing. The common vowel used in the songs
is Ai.
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Topic 4 Value of Folk Music
Folk music is literary heritage, which was composed by anonymous villagers. Folk song be
composed by a person who is an adept at verse making and a quidnunc, but accidentally or
deliberately the song was beautiful and profound to listeners. Therefore the song got spread
throughout and eventually no one knows who was the composer and when was the song
composed.
Folk songs were composed with simple but profound words. This is what makes folk
music valuable because it is truly one type of art.
Phra Choa Worawong Thoe Krom Mhuen Pittayalongkorn once told a story that he tried
to compose rhythm song and granted to the villagers who can read to sing. But he noticed that it
would be better to let the villagers composed their own song. He then asked the villagers, how
was the song?
All came up with the same answers that the song was full of difficult words and if you want to
court a rural women they wouldn’t understand these difficult words and they wouldn’t know how
to respond. This shows that folk songs used words that are easy to understand but have good point
and it doesn’t need any difficult words to spice up the song.
Type of folk music
We can categorize folk music into categories such as categorized by the length of the
songs, short or long. The example of short songs are Pleng Rabum, Pleng Pistan, Pleng Songfang,
children’s song, Pleng Chuk kradan, Pleng Khaosrong, Pleng Hae Nangmeaw, Pleng Hinlele.
Songs with long lyrics are Pleng Choi, Pleng Ruea, Pleng E-seaw and so on.
The song can also be categorized by the pattern of a poem, which is to organize songs
into the same prosody and same type. Poem can be categorized into three types, which are End
Rhyme Poem, songs with continuous terminal rhyming vowels such as Pleng Choi, Pleng
Lumtad, Pleng Rabum Choarai, Pleng Rabum Banna, Pleang Nahyai, Pleang E-seaw, Pleng
Songkohlumpuan and Pleng Thepthong. All of these songs have the same rhyming in the end.
Though .hen it is put into songs the last three verses should rhyme and relate to each other such as
Pleng Ruea, Pleng Ten Kum Rum keaw, Pleng kortan and Pleng Aew Klao saw.
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Song that doesn’t belongs but has similarities such as children’s song, Pleng Rabum,
Pleng Pistan, Pleng Songfang, Pleng Chukkradan, Pleng Tengumrumkeaw, Pleng Padkwai, Pleng
Probkai, Pleng Hyoei.
To categorized into retaliating songs and normal songs. Retaliating songs are Pleng Choi,
Pleng E-seaw and etc. and Normal songs are songs that can be sing alone or duet or songs that
does not need retaliation such as Children’s song, Pleng khortan, Pleng Chukradan, Pleng Song
fang (usually is a short songs)
Reason we choose to categorize this way was because it is easy to understand and it
complies to each other. Each song is related to one another respectively. Songs that are performed
during festival and seasonal such as Pleng Nhayai is used during khatin Phaba season and rainy
season. After Khatin is harvest season, during this season people usually sing Pleng Keaw Khoa,
Pleng Song Koh Lumpuan, Pleng Song Fang, Pleng Chuk kradan and Pleng Ten kum rum keaw.
After the harvest season, its Songkarn festival, songs performed are Pleng Pistan, Pleng Rabum
Ban Rai, Pleng Puang Ma Rai and Pleng yhoei. Songs that can generally be perform with no
timeline and can be sing anytime are Song for children, Pleng E-seaw, Pleng Rabum Banna,
Pleng Phad Kwai, Plean Prob Kai, Pleng Thepthong, Lumtad, Pleng Aew Kloa Saw, Pleng Khor
Tan and Pleng Choi.
Central Region
1. Dialogue song is retaliating between men and women by singing. To perform courting
we called the leader of both side for men and women “Por pleng Mae pleng”, who are highly
experienced which makes the performance lively and not dull. This kind of performance comes in
varieties of form, which have different style, lyrics and opportunity. Sometimes they might include
music as well as dancing to emphasize on the lyrics such as Lumtad, Pleng Choi, Pleng E-seaw,
Pleng Puang Ma Lai, Pleng Ruea, Pleng Yhoei, Pleng Sha ChaoHong and etc.
2. Pleng Karn Tum Ngarn is a true characteristic of villagers. Moreover, using music to
ease up the tiredness is an intelligence way to cheerfully continue with their work especially
agriculture work. The singers respond to each other and sometimes they used normal words to
mimic or tease such as Pleng Keaw Khao, Pleng Song Fang, Pleng Chuk Kradan, Pleng Song
Kum Lumpuan and Pleng PanFang. The singers also cheerfully clap their hand to match the
rhythm.
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Northern
Another type of singing is by using words, accents and rhythm together with Pi-So which
are called Rark So or Khor So. For “ So U Saow” such as retaliating between men and women,
usually is a poem that was written in advance and then memorized to sing. Only on some
occasions that the verses are responded back without memorizing and those that can do such
things need to have high experience. The song or lyrics that are used usually came from literature
called Phra Law, Noi Jaiya and etc. Way to sing is to utter along with the rhythm and then stop in
some part but the story still continues. There are several ways to write poem of the northern part
of Thailand such as “KumRum” which is a poem with continuous alliteration verses. Some of the
poems were passed on as oral tradition and then memorized into different style such as some are
memorized as folk literature.
North Eastern
There are several songs that sing differently such as Klon Lum that the Mor Lam Klon
will memorize the words and use it as lyrics to sing often accompany by the Khaen. There are
different kind of Klon Sue Khwan which was developed from the Brahman ceremony such as Sue
kwan Boa Soa kin dong, Sue kwan dek, Sue kwan luang and etc. Moreover, there is “Phayha” or
“Paya” which was sung by using one phrase that does not base on rhyming words but based on
the words that are use in daily life combine together to form short Phahya. This had turn into
prosody that is in folk literature such as Phaya Rueng Tao Hueng.
Southern part of Thailand
“Pleng Bok” or “herald song” is a Poetic song that is used in significant singing to
express the wit of a poet. Even if the objective of the song’s meaning is to tell story or spreading
news to people but the way Pleng Bok is sing and perform is not boring at all. There are 2 styles,
which are short version with chorus and long version (to sing a very long song) with chorus.
Pleng Bok band will have Por Pleng or Mae Pleng, chorus, Ching (small cymbals), Krap
(clapper), Pi, Khlui (bamboo flute) and Glong Thab (goblet drum). Pleng Bok does not have or
need any dancing because people will only focus on the poem telling the story.
8 Commandments of folk song in Thailand
1. Most of Thai folk songs are played by teenagers, which are separated into two groups. One
group is all men and the other group is all women. People perform folk song to court about love
and most of the time they didn’t prepare the poem. Traditionally when the men lead the song the
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women response, the lyrics in which the women response express their welcome and sing a poem
music which show how they are politely protecting themselves as a traditional Thai women.
Every Thai both living in Thailand and other countries know that interaction between
men and women during the performance of live poem is part of tradition, which have been
practice from generations to generations. Before there’s a tradition that forbid young people from
seeing each other privately but if they use poem to communicate then courtship is allowed to be
perform directly to each other.
In northern part or northeastern part of Thailand, men and women used local philosophy
called Phahya (During Sukhothai era a stone inscription was inscribed as Praya) to interact
between each other. In northeastern part of Thailand before it was developed like nowadays, they
strictly followed their tradition, so if any youth didn’t use philosophy that are poems to interact
with each other they will be reprimand by the society as a coward, wouldn’t dare to Long Buang
(didn’t dare to start a relationship) and those youth that didn’t get married because they didn’t
know how to respond by using live poem, this is called Tok Buang.
2. Singing Thai folk song expressed the harmony and joy which is in comply with Thai’s
ancient culture custom that was hand down from generations to generations. This is how the artist
expressed their feeling for art.
3. Singing Thai folk song, the leader of the men side is called Por Pleng and for women
side is called Mae Pleng.
Usually, Por Pleng and Mae Pleng are senior relatives of both men and women side. It is
normal for Por Pleng and Mae Pleng to seek for the opportunities to enhance their skills about
married life and sexual relations. These kinds of thing intelligently occur in the lyrics of the folk
music poem. It can be said that Thai people have been teaching their youth about sexual relations
and give sex education through folk songs long before the western does.
4. Before they start their poetry performance younger will pay respect to the senior by
saying apologize poem, incase they might offend the senior during their performance either
physically, mentally or verbally as well as ask for forgiveness. After paying respect to the senior
the singers will turn their face towards the audience presenting themselves, showing modesty with
polite and gentle words and that they are sorry if in any case their live poetry is not smooth and
euphemistic. We can see that Thai people are gentle, polite and modest.
5. According to the tradition when self-presenting ceremony and modesty ceremony end
both side will greet each other with intimidating words.
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6. When there is an opportunity to sing folk song to each other, it is traditional to allow
the women to fully responded back to the men as live poetry. The women are allowed to perform
live poetry showing their love or hatred openly and it will not be considered as spoiling one’s
reputation. This tradition derived from ancient time, allowing women to show their equal rights or
even leading the men.
7. There is another ancient Thai tradition worth mentioning is when the performance of
folk song ends, it is respectful for junior folk singers to apologize to the senior folk singers
because during the live poem performance some words or some action might offend the senior. If
one’s know that their live poetry folk song are not within the standard then one should seek
knowledge and skills from the expertise, prepare, practice and when they’re free from doing their
work at the farm, men will respectfully asking for advice from Por Pleng and a women will ask
advices from Mae Pleng. To prepare and practice several months in advance before the important
day of performing, the women might be a little bit shy but they’ll be ready to confront the men
and ask questions, perform courtship and she will also be ready to response to every style of live
poetry.
Folk song that was sung will be memorable to those who listened and pay attention. Even
though other civilization might influence that individual and it might not be hard for such person
to comply with those traditions. But it will not be easy for that individual to divert to the new
phenomenon if the prototype of folk song that was sung had entered into one’s ear, touched their
heart and flow in their veins.
Topic 5 Development of Thai Folk Song
1. Background of Thai Folk Song
The origination of Thai folk song is mysterious since the tradition was carried on from
generations to generations without any written document. However, it is assumed that such
culture has existed in Thai society for a long time. An example of this includes a Thai cradle song
that was originated from babysitting of Thai mothers. The background and the development of
Thai folk song can be summarized below.
1.1 Ayutthaya period: in early Ayutthaya period, there was a northern Thai
tradition called “Khab Soh” which appeared in Tawa-tosamas (Poem of the Twelve Months) and
Lilit Phra Lor literatures. In addition, the “Pleng Long Ruae” which is a song chanted by males
and females while paddling a boat could also be found in the royal law registered in the period of
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the King Trailokkanat. Then in the late Ayutthaya period of Somdet Phrachaoyuhua
Borommakot, there was “Pleng Thep Thong” which is a song chanted in the celebration of Phra
Buddhabat Saraburi temple. This was mentioned in Punno Wathakamchan of Phra Mahanak, Tha
Sai temple.
1.2 Rattanakosin period: this is the period where varieties of Thai folk song
evidence can be found. During the reign of king Rama I – king Rama V, it is considered to be the
“Golden Age” of retort music which was witnessed in royal ceremonies. In addition, there were
compositions of new songs such as Pleng Choi, Pleng E-Saew, and Pleng Song Kruang which
were popular during the period.
In the early Rattanakosin period, it is evidenced that Pleng Thep Thong, the oldest retort
song carried on from Ayutthaya period, was chanted in the royal cremation ceremony of King
Phraphutthayotfa Chulalok‘s parent. Furthermore, as mentioned in Phra Chetuphon temple’s
inscription, there was “Pleng Prob Kai” which was chanted in the temple celebration during king
Rama I reign. Both songs are also referred to in various literatures such as Oon-rood, Inao, and
Khun Chang Khun Phaen.
During the reign of Phra Bat Somdet Phra Nangklao Chao Yu Hua, a number of retort
songs were mentioned in a poem for royal ceremony called Thawathosamat (twelve months) that
Sakwa, Pleng Krueng Thon, Pleng Prob Kai, and Dok Soi were chanted in Loi Krathong festival.
However, when it comes to the reign of Phra Bat Somdet Phra m Klao Chao Yu Hua, those
popular traditions became unpopular because of “Aew Lao”. King Rama IV was concerned that
other Thai traditional plays would be lost, so there was a prohibition towards Aew
Lao.
In the reign of Phra Bat Somdet Phra Chunla Chom Klao Chao Yu Hua, the king asked
his people to play a traditional folk song while he was at Bang Pa-In Palace in B.E.2426. This
was the first time that the folk song was audienced by the king. Traditional plays were still
popular during the period, especially for amusement shows which include not only Khon (Thai
classical masked ballet), puppet theatre, Nang Yai and Nang Talung (both are shadow plays), but
also newl traditional plays such as Like (music folk drama) and Lamtat (antiphonal singing).
These plays became increasingly popular for locals.
In the reign of Phra Bat Somdet Phra Mongkut Klao Chao Yu Hua, the king attempted to
promote folk plays by adding the lyric of Pleng Prob Kai in his writing, the Shakuntala, by
arranging Phra Han Akard and Nang Oopakosa as plots for Like, and by requesting a Like show
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in the celebration of Chaleemongkolasana Palace in B.E. 2460. The popular folk songs for the
period include Pleng Song Kruang and Pleng Choi which were widely accepted. Moreover, a lot
of folk songs such as the Famer Dance of Mr.Bussaya and Northern barcarole of Mr.Charoen
were published.
Pleng Choi in the TV show “Khun Phra Chuay”
(Taken from www.daradaly.com)
However, during the World War 2 period, western cultures and capitalisms influenced
and created various western amusements and songs such as modern Thai songs, folk dance songs,
and country folk songs which made traditional folk songs gradually unpopular. Furthermore, the
government of Field Marshal Plaek Phibunsongkhram issued the B.E.2495 Royal Decree on the
Establishment of the National Culture which controlled the traditional folk plays, thus the retort
songs were finally lost during the period.
Folk songs have been restored as conserved traditions since B.E.2515. The government
and private sections, as well as those who are interested in, have encouraged a systematic study
and promoted traditional folk songs for a wider acceptance. The retort song, therefore, became
popular as a conserved art but was not widely played as before.
2. Development pattern and purpose of folk song: the development of folk song can
be summarized as follows.
2.1 Ceremonial folk song: certain folk songs are used as a part of ceremonies such as
cremation songs and songs used in restoration ceremonies. Apart from that, there are a number of
folk songs that are related to the beliefs and ceremonies in the past, although it looks like they are
sung for recreational purposes. These include retort songs and songs for folk plays in harvesting
seasons and Songkran festival.
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In traditional Thai society where most people are farmers, their ways of life are closed to
nature and fertilities of plants and crops are the most important factors in living, so people tend to
arrange ceremonies to ask for such fertilities from nature spirits or to create things with the belief
to change such natural conditions; for example, they might create a model of a farm called Ta
Raek (or Ta Haek in north-eastern pronunciation) and plant only 5-6 rice with a belief that if the
first batch of rice is flourish, the rest of the farm will be flourished too.
Ta Raek or Ta Haek ceremony
The well-known ceremonies related to fertility are the ceremony in harvesting season and
in Songkran festival.
Folk song in harvesting season
The most important planting ceremonies are in the harvesting season and before planting
season. In such event, not only will there be ceremonies but the folk songs will also be chanted.
Prior to the planting season each year, farmers will conduct a blessing ceremony for
cultivating tools such as buffaloes, ploughs, and plows and there will be a blessing song for such
ceremony. Moreover, if the rain does not fall as expected, farmers will pray for rainfall. This will
be done in every region (except in southern part of Thailand where rainfall is not a problem) by
various approaches; for example, farmers in the central region will arrange Hae Nang Maew and
Shaping the Cloud rituals (this will be done by shaping clay into a penis or lovemaking couples)
and sing the ritual songs while performing the rituals, farmers in the northern and north-eastern
regions will arrange Hae Nang Maew and Bang Fai (sky rocket) rituals, and dance in the
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ceremony. These rituals are conducted to make villagers feel relieved since they believe that such
rituals will call for a rain and thus, make the rice grow.
Singing and dancing while harvesting
In harvesting season, farmers will arrange a series of rice blessing ritual, Soo Kwan Kao,
Soo Kwan Laan, and Soo Kwan Yoog, to give thanks for spirits belief to provide outputs and to
exorcize evil spirits that will damage crops. Moreover, in the central region, there are songs called
Ten Gum Rum Kiew, Roi Chang, and Kiew Khao to celebrate for the farm outputs. In summary,
singing songs in the harvesting season aims to entertain people and to celebrate crop fertilities.
Folk song in Songkran festival
After farmers work hard in the farm for almost a year, there will be Songkran festival in
summer which comes after harvesting season. The festival, which is a ceremony for fertilities, is
important for folk songs since most of the folk songs, especially for central songs, are sung in this
festival. Folk songs in Songkran festival can be classified into 2 types; retort songs and songs for
traditional amusement.
Singing a retort song
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Retort songs include a short song chanted in the afternoon such as Phitsathan (make a
wish) song and Folk Dance song, and a long retort song such as Puang Malai song and Choi. The
contents for these songs are highly related to sexuality, since it is believed in the past that
fertilities and sexualities are correlated.
Songs for traditional amusement can be classified into 2 groups. The first group is
generally used for an amusement of young people in the afternoon such as dancing songs, while
the second group is used in spiritualism plays in the night such as Mae Sri, Ling Lom, Nang
Kwai, Phee Kradong, and Nang Sak. The latter is a ceremonial plays which reflect the traditional
beliefs in paying respect to spirits who know the flow of nature, so people tend to call for such
spirits to ask problems or to forecast weather.
When considering Thai folk songs chanted for amusement in festivals, it is possible to
conclude that they are a part of rituals for fertility at the beginning; however, when such beliefs
and understandings change in a later period, these songs are chanted only for recreational
purposes.
2.2 Recreational folk song
From the previous role as a part of ceremony, traditional folk songs are currently used for
entertainment purposes. They are arranged in activities to gather members in a group and enhance
their relationship, so most of the songs can be sung in group or party; for examples, songs used in
rice threshing, in Songkran festival, at the beginning and the end of Buddhist lent, and in the
religious ceremony of Surin (Jrieng song), all of which are used to group people up for the
purpose of conducting works or recreational activities.
For traditional folk songs used in activities such as retort songs, each of the villagers will
take part in singing by taking turns as a singer and choruses. Most of the songs are short, easy to
sing, and do not require a specific artist to sing, so they are truly songs for villagers.
2.3 Folk song used in a show
Folk songs used in a show refer to a folk song that is used in a part of the long show that
is performed by actors with a series of content, so the singer will have certain abilities such as
having a good memory, cunning, able to speak skillfully, and able to compose lyrics. Not all the
villagers have such abilities, so there will be a group of performer and audience.
A good singer in a village will usually be well-known by people in the same village and
its neighbors. This type of people if not naturally gifted, he tends to be extremely fond of it and
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well practice. Most of them will find their own teachers. When there is a religious ceremony
where the host needs entertainment, these performers will be hired to group up in a team and sing
a song in response to the other team. These activities were conducted in house or temple courts at
the beginning. Later, they became shows in the playhouse or on the stage, and the Like playhouse.
From king Rama V reign, the central folk songs are influenced by Lakhon Nok (a play performed
by all males) and musical comedies. As a result, traditional folk songs tend to apply Lakhon Nok
in their performances such as singing with a Thai orchestra band and dressing like performers in
Lakhon Nok, and this is called Pleng Song Krueng. Meanwhile in the northeastern region, people
apply folk tales in their singing and call them Lam Puen which became Lam Moo and Lam Ploen.
Moreover, the folk songs used in shows include Soh Muang and Soh Keb Nok. It can be seen that
traditional folk songs have been developed from local specific songs to shows and professional
singings eventually.
Thai traditional folk songs were greatly popular during the king Rama 5 to king Rama 7
reigns and become unpopular after the World War 2 and began to be lost from Thai society.
However, it is the restoration, studying and promotion of the songs that have been started since
B.E.2515 of technocrats and people who are interested that make the songs return and become
popular. Some traditional folk songs have been changed into the country folk songs such as Pleng
Lae, Pleng Like, Pleng Choi, Pleng E-Saew, and Moh Lam (folk singing). These songs were
recorded and distributed throughout the country; for examples, Pleng Lae Buadnak of Waipod
Phetsuphan, Pleng Choi Kub Kaw Phetchakat of Kwanchit Sriprachan, Pleng E-Saew: Dog bites
of Ekachai Sriwichai, and Pleng E-Saew 40-41 of Seri Roongsawang. This makes certain
traditional folk songs remain well known and have not been forgotten like other folk songs.
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Topic 6 : The value and Conservation of Local Folk Songs
Local folk songs are intellectual inheritance of the local and the nation which is of great
value to be conserved. It can be briefly remarked as follows:
1. The value of local folk songs.
Local folk songs are social treasures having been inherited for a long period of time. It
is one of the Thai ways of living with great values to the society. The value of local folk songs to
the society can be classified into 5 categories
1.1 For entertainment: Local folk songs have entertained people from the past to the
present time especially at the times with nothing to entertain people like that in the present time.
Local folk songs is one of the entertainments causing happiness and joy for the people in the
society both as a local play for the youth and as an important factors of the rites. Therefore, it is
considered as one of the entertainments for the local ways of living.
Local folk songs have entertained social members, for example, lullaby, a song to help
babies go to sleep easily, can simultaneously make the singer feel relaxed while singing it. Some
songs sung while children are playing can make them have joy and fun because of their
encouraging rhythms, so children like teasing one another. Some songs like Pleng Patipak have
amusing words for courting the opposite sex to pay attention to them. This type of song is to deal
in rhetoric between males and females. If it is used for entertainment, it can make the audience
laugh since while the singers are singing, they have to dance in free styles. This type of songs
takes an important role in entertaining people.
Nowdays, some local folk songs like lullabies or songs for playing in local styles
may diminish in numbers and roles, but Pleng Patipak has developed to be local show or
enteratainments which can make the audience feel joyful and relaxed. They are still popular
among villagers. Therefore, there are a lot of long folk song parties performing all around when
they are hired.
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An example of Pleng Ea – Saew ( which has beautifully impressive meaning for the
audience : appendix)
( ช ) ตั้งใจหมายมองรักแต่นอ้ งหมายมา
เรื อนผมสมพักตร์ พี่น้ ีรักหลายแรม
ดูหยาดเยิม้ ทุกอย่างนับแต่ยา่ งเจอหญิง
เอียงโสตฟังสารฟังพีข่ านบอกข่าว
ไหน
บุพเพบุญพาโปรดจงได้อภัย
รักยิม้ รักแย้มรักแม่มีเยือ่ ใย
ความสวยทุกสิ่ งพี่ไม่แกล้งปราศรัย
พี่ เป็ นหนุ่ ม นอนหนาวโอ้แม่ ห นู นอน
ให้พี่แนบนอนหน่อยแม่หนูนอ้ ยอย่าหนี ถ้าได้แนบอย่างนี้พไี่ ม่ห่างนางใน
ให้พี่จูบแก้มหน่อยหนูนอ้ ยอย่าแหนง
พอให้พ่มี ีแรงสักหน่อยเป็ นไร
( ญ ) ให้พี่จูบหน่อยว่าหนูนอ้ ยยังแหนง
น้ อ ง ห ว า ด ร ะ แ ว ง พี่ มั น ช า ย ป า ก
ไว
ปากหวานขานวอนฟังสุ นทรประวิง
กลัวไม่รักหญิงจริ งหญิงสังเกตรู ้ใจ
พอแรกเจอะรู้จกั บอกว่ารักลวงโลก
พีม่ นั ชายหมายโชคทําให้หญิงเฉไฉ
ใครเชื่อเป็ นชัว่ ต้องพาตัวตกตํ่า
คบคนหลงคําย่อมมีขอ้ ระคาย
ขี้เกียจรําคาญกลัวเป็ นมารสังคม
พอได้เด็ดดอกดมกลัวจะไม่เสี ยดาย
( Buaphan Suwannayos 2535 B.E.)
In the song, males are trying to court females telling about his feeling and admiring
females’ beauty; females’ answer shows the feeling that they do not trust males’ sweet words.
1.2 For education: local folk songs are creative thinking to transmit their feelings and
thoughts of the community group. They are, therefore, the recorded experience. Local folk songs
recorded knowledge and intellectual wisdom of the community and at the same time they are
valuable to strengthen intellect for the community by educating them both directly and indirectly.
Direct education: refers to teach knowledge directly on both reality and morality
such as nature, the origin of earth and human beings, ways of living, roles and duties in the
society tradition and custom, literature, local sports, ethics,etc.
1.3 For sustaining the nation’s tradition refers to keep or sustain all ideas and deeds
showing Thai ways of living of the people in the society which consists of code of conduct, unity,
progress and good morals.
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The most significant role of local folk songs is to take control of and keep social
standard, to give suggestion as well as identifying appropriate behavior for the society. The
leading singers ( both males and females) not only have beautiful voice and attractive speech but
they also have knowledge of different items and life long experience to stimulate people’s ways
of thoughts to comply with them resulting in their popularity among the people.
Although most contents in local folk songs are about love and sex, they not only
entertain the audience but they also give them some lessons or teach them to appreciate the code
of conduct accepted behaviors. The example of this song is shown in the song “ Tub-su-kho” in
which the female will not run away with her boyfriend because it can be shameful and she must
get married in order to return her parents’ hospitality. The song “ Tub-mark-phua- mark-mea”:
which shows the husband who is in distress because he has an affair with others and
realizes his wrongful deeds. The song “Tub-ching-choo is about taking a lady away from hours.
The example is shown in the following verse.
แม่ฉนั เลี้ยงมาหวังจะได้แทนคุณ
นี่กลับมาเทลงใต้ถุนทําให้ทอ้ พระทัย
ไอ้เรื่ องพานะคุณพี่มนั ก็ดีสาํ หรับแก
สําหรับพ่อและแม่ง้ นั จะเลี้ยงเรามาทําไม
เลี้ยงตั้งแต่เด็กหวังจะได้แต่งได้ตบ
แกจะมาลักพาหลบไม่อายเขาบ้างหรื อไร
พ่อแม่เลี้ยงมาหวังจะกินขันหมาก
ไม่ได้ให้อดให้อยากเลี้ยงเรามาจนใหญ่ ...
This verse mentions the woman’s feeling when her boyfriend asked her to ran away from
him with him. She prefers to get married as her parents wish her to.
1.4 For relieving stress: local folk songs can help relieve stress causing from
work and the problem to earn their living including the depression resulting from custom or social
regulation such as being taken advantage or experiencing low economics etc. Singing local folk
songs or watching the local folk song performance can help audience feel relaxed from work or
tasks and get away with the real life, at least for a while, resulting in releasing stress and
encouraging them to deal with real life in the future.
The example is lullaby in the Northeast in which its content shows a mother’s feeling in
undertaking a family task and being looked down from the society of a widow who has no
husband to protect her as shown local folk song below
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น้อนสาเด้อหล่า น้อนสาแม่สิกอม
( นอนเสี ยลูกน้อย นอนเสี ยแม่จะกล่อม )
แมสิ ไป๋ เข็นฝ่ าย เดี๋ยนหงายเอ๋ าพอ
( แม่จะไปปั่นฝ้ าย เดือนหงายหาพ่อ )
เอ๋ าพอม้าเกียวหญ่า มุง้ หลังค้าให่เจ้ายู ( หาพ่อมาเกี่ยวหญ้า มุงหลังคาให้ลูกอยู่ )
ฝนสิ ฮ้ าํ อูแก้ว สิ ไป๋ ซ่นยูไส
( ฝนจะรั่วรดอู่แก้ว จะไปซ่อนอยูไ่ หน )
คั้นเพินได้กิ๋นชิ้น เจ้ากะเหลียวเบิงต๋ า
( เมื่อเขาได้กินเนื้อ ลูกก็เหลียวดูตา )
คั้นเพินได้กิ๋นป๋ า เจ้ากะสิ เหลียวเบิงหน้า ( เมื่อเขาได้กินปลา ลูกก็เหลียวดูหน้า )
มูพีน่องเฮี้ยนใก้เพิ่นกะซัง
( พวกพีน่ อ้ งเรื อนใกล้เขาก็ชงั )
Besides, local folk songs can help release sexual stress and the prohibition of social
tradition. It is one way to release all stress and react to depression. It is concealed behind the
amusement, audience’s laughs. At that time, they can show their feeling with the singers without
any punishment or against the rules since in the past, Thai society was closed society that people
could not show off their emotion or feeling about sexual needs as seen in many of social values
concerning Thai women ‘s behavior such as not to lose virginity, or not to have sex before the
right time etc. These social values are ethics that can keep them away from and remind them of
sexual feeling or display. Nowadays, people think less about social values and do not strictly
carry on the value like those did in the past. However, most of the Thai people who live in the
country still keep on doing it like those in the past. Local folk songs can be a chance for Thai
society to have the singers and the audiences relieve their stress on love and sex such as frankly
talking about sex, impolite manner, talking about religion as something of ridicule, satirically talk
about persons or organization etc. All these violate social values, but they can relieve depression
and aggression casing both the singers and the audiences to be satisfied and help relieve stress as
seen in the song “Eesaew” below:
ช. ไม่ตอ้ งท้าหรอกน้องเนื้อทองของพี่
รู ้ไหมรู ้ไหมว่าพี่ชายของน้อง
น้องจะมาสู ้จะบอกให้รู้เสี ยก่อน
ขนาดกําแพงเจ็ดชั้นพี่ยงั ดันเสี ยจนพัง
ญ. เอ๊า..จะดันก็ดนั ฉันก็ไม่กลัว
บอกกําแพงไม่ตอ้ งถึงเจ็ดชั้น
เอ้า..ยังงั้นฝ่ ามือของฉันตันตัน
รู ปร่ างอย่างนี้จะท้าพี่ไปทําไม
พี่ไม่เคยเป็ นรองรองใคร
เฉพาะไอ้เนื้ ออ่อนอ่อนจะสู ้ได้ยงั ไง
ก็ไอ้ผา้ นุ่งบางบางจะทนได้ยงั ไง
เอาซิ ตวั ต่อตัววันนี้ฉนั สู้ตาย
ถ้าหากจะดันเอาตรงนี้ก็ได้
แข็งดีก็ลองดันให้มนั ทะลุให้ได้
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ช. บอกว่าฝ่ ามือแล้วตันตัน
ใครจะบ้าไปดันดันกันไม่ได้
ขนาดขู่แบบนี้ยงั ไม่กลัวเลย
โอ้แม่คุณเอ๋ ยใจกล้าเหลือหลาย
ขนาดแม่ววั ติดหล่มยังล่อซะล้มทั้งยืน
พวกคุณตัวยังคืนคืนเงินให้ ฯ
ญ. โอ้โฮโม้ไปมากฉันไม่อยากจะฟัง
เอ้าลองดูให้ดงั กันก็ให้ได้
ขนาดแม่ววั ติดหล่มยังล่อซะล้มทั้งยืน
พวกคุณตัวยังคืนเงินให้
นี่แกยังไม่รู้จกั แล้วขวัญจิต
เฮ้ย…ยาคุมออกฤทธิ์ เอาอยูเ่ มื่อไร
บอกผูช้ ายทุกชั้นที่ฉนั ผ่านมา
ขนาดทหารแนวหน้าฉันยังสู้ได้
ไม่วา่ ตํารวจทหารล่อกันทั้งกรม
ฉันล่อทหารเป็ นลมไปตั้งหลายนาย
(ขวัญจิต ศรี ประจันต์และไวพจน์ เพชรสุ พรรณ , การแสดง)
1.5 For the local press: in the past, most people were poor, uneducated and living a long
way from civilization. Some type of press such as newspaper, radio, and television were different
to access; local folk songs took an important role on spreading the news as well as presenting new
ideas or opinions.
In the past, there was not any press equipment, the villagers used local tradition
concerning language and others to communicate; for instance, a lullaby in the South giving
knowledge and ways of thought or showing opinions to the people or the villagers.
Our role of local folk songs is like a press which spreads news from the society to the
villagers as well as from the government to the people. In addition, local folk songs also express
the people’s opinions to the events occurring in the country.
Nowadays, the press has been a lot more developed. Some types of the press such as
radio or television can spread the news more effectively than local folk songs causing some local
folk songs to take fewer roles from Thai society. However, some types of songs like Morlum
Lum Tud, Eesaew song” as well as Pleng Choi etc. still take roles as the local press since they
have been developed the format and the content to be more modern including the development of
the singer’s expression in persuading the audience.
There are 2 types of local folk songs which are to spread the news and to criticize the
society
As for spreading news, the local folk songs can spread various types of news such as the
song “ Roy Phansa” of Kanchanaburri Province tells people about the “Buddhist Lent Festival” or
the song “Bok” of the south and song “Trus” of Surin Province tell people to know it’s about time
to have “New Year Festival”. Moreover, local folk songs can be an equipment for spreading the
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news of the guardians or the admistratives of the country like “Mor Lum Klon Lum” for planting
vegetables in the time of General Por Phiboon Songkram or “Mor Lum Klon Lum” against
communist and for praising the U.S.A in the time of General Sarit Thanasurach
The following “Eesaew” song of General for Phibbonsongkram to publicize his policy
and create social values
จะพูดถึงเรื่ องวัฒนธรรมที่ผนู ้ าํ ขอร้อง
แก่บรรดาพี่นอ้ งที่อยูใ่ นแนวภายใน
เราเกิดเป็ นไทยร่ วมธงมาอยูใ่ นวงศีลธรรม จะต้องมีหลักประจําเป็ นบทเรี ยนใส่ ใจ
ประเทศจะอับจนก็เพราะพลเมือง
ประเทศจะรุ่ งเรื องก็เพราะพวกเราทั้งหลาย
เราต้องช่วยกันบํารุ งให้ชาติของเราเจริ ญ ฉันจึงขอชวนเชิญแก่บรรดาหญิงชาย
มาช่วยกันส่ งเสริ มให้พนู เพิ่มเผ่าพันธุ์
วัฒนธรรมเที่ยงธรรม์ให้เหมาะสมชาติไทย
----------------------------------------------------------------------------------จะพูดถึงการแต่งกายหญิงชายพี่นอ้ ง
ที่ทา่ นผูน้ าํ ขอร้องแก่พวกเราทั้งหลาย
ท่านให้เอาไว้ผมยาวตามประเพณี นิยม สับหย่งทรงผมเสี ยให้งามผึ่งผาย
จะเที่ยวเอาไว้ผมทัดจะได้ตดั ผมตั้ง
จงเปลี่ยนแบบกันเสี ยบ้างให้ถูกนโยบาย
-----------------------------------------------------------------------In the song, the leader asked all the Thais to maintain our tradition, religion, dressing,
hair style etc in order to make our country civilized.
Besides the above example, there are a lot of songs used to spread the news or the policy
of the government and the guardian as shown in the song “Eesaew” and the song “Choi” below:
เนื่องด้วยผูว้ า่ ราชการจังหวัดสุ พรรณบุรี
ท่านได้มอบหน้าที่ตามที่มีจดหมาย
ท่านผูว้ า่ สุ พรรณให้รู้จกั ท่านทัว่ ถิ่น
ท่านชื่อว่า จริ นทร์ กาญจโนมัย
ให้ขวัญจิต ศรี ประจันต์มาร้องเพลงชี้แจง
เพื่อจะให้แจ่มแจ้งประชาชนเข้าใจ
ให้ฉนั มาขอบพระคุณกันไปตามหัวข้อ
คือ ก.ส.ช. ที่ผลงานเหลือใช้
พูดถึงก.ส.ช.ก็รู้ชดั กันทุกชั้น
เป็ นบทบาทของรัฐบาลที่ต้ งั นโยบาย
จ.จานใช้ดีชาวศรี ประจันต์
นี่กใ็ กล้ถึงวันแล้วเวลา
นี่เลือกตั้ง ส.ข. อีกแล้วหนอพี่นอ้ ง
ดิฉนั จึงได้ร้องบอกมา
วันที่สามสิ บกันยายนเชิญชวนปวงชนให้ไปเลือกกรรมการหนอว่าสุ ขาฯ
ทุกบ้าน
-----------------------------------------------------------------------------
105
The content of the songs is a message from the governor to introduce himself and to
persuade the people to elect local representatives.
Local folk songs not only spread the news but they also criticize different aspects of the
society such as events, national institutes, politics, governing, economics, social problem etc.
Some types of local folk songs such as the song “Eesaew” the song “Choi” now evidently
criticize the society due to the progressive society and political system giving freedom to people
to express their opinions both in their own groups and in public or even the press. Therefore, local
folk singers can freely express their opinions as a common citizen of the country. Besides, local
folk songs are public treasures which all have to take responsibility; the composers or the singers
express their opinion as representative of the community. The example of the song of which its
content criticize the society is as follows:
ลําตัดเรื่ องประชาธิ ปไตย ของขวัญจิต ศรี ประจันต์
การแสดงพื้นบ้านหัวข้อขานเงื่อนไข
กับประชาธิ ปไตยของเมืองไทยวันนี้
ความรู ้สึกนึกไว้วา่ ไม่ได้ของจริ ง
ยังร่ อแร่ รุ่งริ่ งยังไม่นิ้งเต็มที่
ฉันเกิดมาช้านานอายุฉนั สี่ รอบ
เรื่ องระบบระบอบและผิดชอบชัว่ ดี
รู ้สึกยังหน่อมแน้มมอมแมมหมกเม็ด
แบบว่าหาประชาธิ ปไตยจนไหล่เคล็ดยังไม่ สําเร็ จสักที
----------------------------------- -----------------------------------สามัคคีสังฆัสสะคําพระท่านว่า
ตัดโลภโมโทสาแล้วท่านว่าเย็นดี
ไม่แก่งแย่งแข่งขันไม่ด้ือด้านมักได้
ประชาธิ ปไตยก็เกิดได้ทนั ที
แต่คนเราไม่ง้ นั ความต้องการมากเกิน
ยิง่ บ้านเรื อนเจริ ญใจตื้นเขินขึ้นทุกที
มีสติปัญญาเรี ยนจนตําราท่วมหัว
แต่ความเห็นแก่ตวั ความเมามัวมากมี
เจริ ญทางวัตถุแต่มาผุที่ใจ
ประชาธิ ปไตยคงรอไปอีกร้อยปี
---------------------------------------------------------------นักการเมืองปั จจุบนั ก็ผวนผันแปรพรรค พอเราจะรู ้จกั ก็ยา้ ยพรรคเสี ยนี่
บางคนทํางานดีและไม่มีปัญหา
ไม่เลียแข้งเลียขาไม่กา้ วหน้าสักที
คนดีมีอุดมการณ์มกั ทํางานไม่ได้
แต่พวกกะล่อนหลังลายได้ยง่ิ ใหญ่ทุกที...
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The above song tells us about democracy in Thailand nowadays, which is not the real
democracy. People are still greedy and selfish because of the civilization and the materialism.
Good politicians cannot be promoted if they do not flatter the authorities.
From the passage mentioned above, we can see that local folk songs are of great value to
the society and the country. They not only entertain people but they also educate people both
directly and indirectly. In addition, they can make people relieve from stress, sustain the national
tradition as well as acting as a press spreading the news and criticize the society. Local folk songs
not only entertain people but they also create intellectual wisdom for Thai people
Nowadays, local folk songs take fewer roles on the society since there are some other
better things to replace them such as modern entertainments that are better than lullabies or the
songs for performance. There are school systems and more effective communication technology
to replace the press resulting less role of local folk songs except some songs that have developed
their formats and contents suitable for the present society such as the song “Eesaew” that can be
sung in the country styles as sung by many singers such as Ekachai Sriwichai and Seri
Rungsawang etc. These make local folk songs popular and valuable in the society.
2. Conservation of local folk songs
It is impossible to conserve local folk songs to be the same as before, but we can
conserve them to make the neglected tradition exist in the Thai history and society like the
traditional styles. There are 2 types of conservation which are conservation from their originated
forms and applied conservation.
2.1 Conservation from their originated forms is to proceed the forms, the contents, the
method, singing or performing like they were in the past for educational use.
2.2. Applied conservation refers to change the forms and the contents in order to be in
consistent with modern society for sustaining it to have roles in the society.
2.3. Inherit and publicize should be continually done. Usually, most local artists are
willing to inherit local folk songs to those who are interested. However, it is found that there are
no or only a few persons inheriting that tradition. This problem should be solved by publicizing or
encouraging new generation to see its importance and want to conserve and practice it
It is not easy to encourage new generation to practice local folk songs, but one way to do
it is to invite professional artists to demonstrate or perform or invite the expertise artist to train or
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practice groups of students to perform indifferent occasions, which can simultaneously inherit and
publicize it.
However, to inherit local folk songs cannot depend only on local artists due to the
limitation of different factors such as time, place, and budget. To solve the problem, there should
be persons who can train or teach young generation, but to study from theory is not enough; the
teacher should “ do it, see it, and value it from heart”. If the children see and realize its value, they
will be interested in it and continue practicing it in the future.
2.4 Promoting and supporting local folk songs: it is hard task that needs the persons who
sacrifice and put effort into it including cooperation from all sectors. Recently, local folk songs
have been supported from both state and private organizations such as office of National
Tradition, the Traditional Center of the Province, educational institutes, music center, Bangkok
Bank, Office of Electricity Generating of Thailand, etc.
2.5 Promoting local folk songs to be a part of daily life activities. This can be done by
introducing it in joyful activities for private life such as I a birthday party, wedding ceremony,
house – warming, etc, in the activities of different festival such as New Year, Loy Krathong or
Songkran, or in educational institutes like wrist binding ceremony, sports day, graduation
ceremony and in the activities in working place such as a party, a seminar, etc.
2.6 Supporting the local folk songs to be used in advertisement or public relation can be
done both in governmental and private systems. Up to the present time, some sectors of
government offics and private sectors have used local folk songs to advertise and publicize; for
instance, Kwancht Sriprachan was invited from Suphanburi Province to sing local folk songs to
publicize the Province’s works or activities, or the advertising company for the Tiparos fish sauce
used Pleng Lae to create Thai atmosphere. Udom Taephanich sang Pleng Lae in advertising “
Divivde by 2 Project” to launch a campaign for saving energy. Boonthone Khonnum sang Pleng
Lae to advertise Top gum 2 T oil. Moreover, lullabies of the Northeast are used to advertise the
project “ Samnuk Rak Ban Kerd of TAC” All those supports mentioned above are interesting and
should be widely promoted since it will make local folk songs familiar with people and are still
valuable in the Thai society.
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Activity 1
1.1 Have the learners explain each characteristic of local folk music having been studied.
1.2 Have the learners study their local folk music and write it down then discuss it in the
class.
1.3 Have the learners try playing local folk music from the local experts and perform in
the class.
1.4 How can the learners conserve local folk songs? The learners write down a report and
discuss it in the class.
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Chapter 3
The Art of Dance
Main essence
1. Folk dancing art and its local wisdom.
2. Value and conservation of folk dancing art. Culture and ritual of a local wisdom.
Expected Learning outcome
1. Able to explain the history of folk dancing art from different regions.
2. Able to explain the relationships between folk dancing art and culture.
3. Able to explain the relationship between folk dancing art and local wisdom.
4. Able to apply folk dancing art and local wisdom appropriately.
Scope of content
6. Folk dancing art and local wisdom.
7. Folk dancing art of the North.
8. Folk dancing art of the Central.
9. Folk dancing art of the Northeast.
10. Folk dancing art of the South.
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Folk dancing art and local wisdom
Folk dancing art is performed in different regions usually for the purpose of creating fun
and entertainment, for stress reduction or for performance related to the occupations of people in
different regions. Folk dancing art is a performance that reflects on the identity of different
regions of Thailand depending on the geographical characteristic, tradition and culture of the local
society. The art incorporates fun and entertainment with everyday’s ways of life.
Folk dancing art of the North
“Fornt” is a dancing art of the North. The art involves dancing to the music without any
lyrics which is its main identity. Fornt of the northern region has 2 different types which are the
traditional form and the new improved form. The traditional dance includes Fornt Mueng, Fornt
Marn, and Fornt Ngiew.
1. Fornt Mueng refers to the dance of the local. It is a planned form of local dance
which is transmitted from the previous generations through dancing. The dance
includes music and dance without lyrics or songs. Examples are Fornt Leb, Fornt
Darb, Fornt Jerng, Fornt, Pheemod and Fornt Ngan.
Fornt Darb performance
2.
Fornt Marn refers to the dance of Mon or Burma. It is an inheritance of the dance
form and music since the period where the Burmese has a big influence over the
locals. Examples are Fornt Burma, Fornt Pheemeng, Fornt Jard or Jard
performance or Shan musical folk drama.
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3.
Fornt Marn Mongkol
Fornt Ngiew is a performance of Tai or Shan. The format of the performance
includes dancing with the complimentary of different musical instruments such as
tall narrow drum, cymbals and gong. Examples are Fornt Tai, Fornt Ngiew, Fornt
Gingkalar and Fornt Toh.
Fornt Gingkalar
The new improved form is an improvement of the traditional form in order to create a
structure that corresponds with the science of the dancing art. Fornt Leb, Fornt Thien, Fornt
Lorngnarn, improved Fornt Ngiew, Fornt Marnmuichiengta, Zaw dance, Keb baicha dance (Tea
leaves picking), Fornt Saomai are the examples of the improved form of beauty and movement of
the art.
112
Fornt Leb (nails)
History
Fornt Leb is a beautiful dance of northern Thais. The name originated from the
characteristics of the dance where the dancer is wearing artificial nails made up of metal on every
finger except the thumb. The dance is usually performed in the residence of the vassal prince
therefore it is not a very commonly dance to be seen. This dance has widespread to Bangkok
during the reign of King Rama 7 in the year 2470 B.E. Dancing art teachers of the Fine Arts
Department has practiced and preserved this art up until present.
Fornt Leb, the art of the northern region
Musical instrument
Musical instrument uses in Fornt Leb are nare flute, waist drum, cyambals and gong.
Costume
Costume includes round-neck shirt or closed-neck long sleeve button down shirt covered
with breast cloth. Sarong with local vertical patterns is worn with skirt live dress woven with
silk. Hair is worn in a high bun decorated with flowers and bouquets. Necklace and ear rings are
worn.
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Dance
Dances are named as Kung-hun-ron, Riang-morn, Lieb-thum, Sord Soi-mala, Phrom Seenar and Yoong Forn-tharng.
Occasions of the dance
Dances are used in auspicious ceremony and in entertaining and welcoming important
guests.
Folk dancing art of the Central
This is a dancing art and play of local people of the central part of Thailand which is
made up mostly of agricultural workers. The art depicts the lives of people for the purpose of
entertainment and relaxation from work and from after the harvest season. The dance such as
harvest song, sickle dance, therd-therng dance, and yher dance are played. Dancers are dressed
according to the local customs and local musical instruments such as long drum, solo drum,
cymbals, clappers and mong are used.
Yher dance
History
Yher dance is one of the old folk dances originated in Kanchanaburi in Mueng and
Phanom-tuan district and still preserving it until present.
Yher dance
The dancing and singing of Yher start off with an overture to draw the audiences.
The long drum band includes local instruments such as long drum, cymbals, wooden clappers,
gong and flute which are used to precede the rhythm. The performers are made up of male and
female with a main singers from both sides including a chorus. When the participants grew in
number, the long drum will change to a slow rhythm so that the main singers from both sides can
114
counteract. During the singing, the participants will alternate the movement to the opposite side
to put the cloths on the neck of the opposed party which serve as an invitation to dance. The
lyrics are in the tone of flirtation up until the departed ending.
There are no specific patterns of dance movement. The pattern depends solely on the
specific pairs of dancers. The movement involves stepping the leg forward. The Fine Arts
Department conserves the dance by improving the lyrics and movement to make it appropriate for
stage play or outdoor play and makes it one of the most beautiful folk dances.
Costume
Male wears round-neck shirt, loincloth pants and a cloth wrapped around the waist.
Female wears tube-sleeve shirt, loincloth pants and a cloth around the neck. The lyrics use a
simple prosody like other folk songs which ended with the same vowels and refer to as bedhead
poem. The lyrics of Yher will end with the word Yher. The song is called Yher with cloths
placed over the shoulders due to the dancer act of putting cloth over the opposing shoulders of the
dancers. The prosody is only made up of two intervals which are the beginning and the ending
with one single merge. After the end of the two intervals, the male and female chorus will repeat
the singing. The lyrics of Yher song of the Fine arts Department are as follow. *The lyrics are
translated to describe the meaning of the song and not the actual words used in singing.
Male
Come and play the game of placing the cloth upon the shoulders. I’m waiting so
please come quickly and don’t spoil the show.
Female You please reach out your right arm to put the cloth upon my shoulder.
Male
I will place them upon your shoulder.
Female
All of us please come and join them with the dance.
Male
Hurry up beautiful women.
Female
Dance as beautiful as the golden swan.
Male
Dance are such beautiful as half-bird half-human.
Female
Male
Female
Dance in a pair is such pleasant to watch.
I really love you.
Don’t you worry about me.
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Male
Female
I love you truly and will not leave you.
Don’t love me for real and you will leave me.
Male
Female
Male
I carried a big load of love and it is falling.
I can’t believe men of many hearts.
I carried a big load of love, please show me some mercy.
Female
How can I love you when you already have a wife on your lap.
Male
You beautiful, I don’t have a wife.
Female Your wife is at home, why do you leave her there.
Male
Female
Male
Female
Male
Female
Male
Female
If I can tear it up like crab meat, I would.
If your love is real, please hurry and propose.
I will but how much is the dowry.
I only have betel so please hurry up.
Goods are expensive so I will try my best.
I only have betel so please get there.
It might be better if we just escape.
Mom taught me not to believe the words of men.
Male
Mom taught me to just escape together.
Female
Male
Female
Male
Female
Male
Together
Dad taught me to come home now.
Dad taught me to come to my home.
Round and round and it should end now.
So sorry that we have to go separate way.
Time is running up and I have to go.
Let’s join in blessing before we say good bye.
No sadness or sickness and best of luck to everyone.
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Folk dancing art of the Northeast
The dancing art of the northeastern part of Thailand or Isan. It can be divided into two
big cultural groups.
1. North Isan group with a Thai-Lao culture called “Mor-lum, Serng and Fornt” such as
Lum Toey, Lum Long, Lum Klonkiew, Serng Bungfai, Serng Tungtawai, and Fornt Phuthai. The
local instruments used are lute, reed mouth organ, Ponglang, tall drum, cymbals, gong, and
slappers.
Fornt Phutai, Sakon Nakhon province.
2. South Isan group has an influence from the Thai-Khmere group. The play is called
“Ruem” or “Rherm” with an example such as Sark dance or Krado Sark. In terms of
counteractive songs such as Gun-truem, Jereong, and Aryai, the musical instrument of Thai grand
orchestra including bamboo stump, gun-truem drum, aor flute, chalai flute, cymbals and wooden
clappers are used.
117
Ruem Anray or Sark dance
The costume of the Isan dancing art is according to the folk customs. The majority of the
movement and rhythm is concise, fast and fun.
Serng Kratib Kao
History
Serng kratib kao is a recreational play of Phuthai locals who lived in the province of
Sakon Nakhon and its proximity. It is commonly used on celebrations and on public holidays.
The play started with a musical performance from the male performer. He uses a reed mouth
organ, tall drum, cymbals, wooden rhythm clappers, and the sound of gong to create a fun and
entertaining rhythm just as Serng Isan. Female performers will carry kratib kao (container
holding sticky rice) and use them in different dance moves. The meaning of the dance is to bring
food to serve the husband and relatives who went to do rice farming. Serng kratib dance has no
lyrics.
118
Female costume composed of a tube-sleeve shirt and sarong skirt live dress woven with
silk. Hair is worn as a bun decorated with flowers. Ear rings, necklace, bracelet and anklet are
worn. The dancer also carries kratib kao. Male musician is wearing a short sleeves black shirt
and a red loincloth pants or sarong wrapped around the waist.
The dance are used for merit making ceremony, welcoming important guests, cultural
rituals or any occasions promoting Thai culture abroad.
119
Folk dancing art of the South
This is a recreation play and performing art of the south which can be divided into 2
cultural groups: Thai-Buddhist group including Nora dance drama, shadow play (Nung Taloong,),
pleng bork and the Thai-Muslim group including zumpeng, zooloo musical folk drama, Zilah and
rong-ngang.
Rong-Ngang performance
Dancing art of the south can be divided into different types including the traditional type
and foreign influenced type.
1. The traditional type has its pattern from the Ayutthaya era or when Krung Sri
Ayutthaya was conquered. Artists and performers escaped the war and fled to the south. They
introduced the form of drama called Chatree to the southern region together with the traditional
local performance such as suad malai, pleng na, and pleng rua.
2. The foreign influenced type. The south of Thailand is bordered to Malaysia;
therefore, people who live by the border are absorbing the performing culture from Malaysia.
Examples are hooloo musical folk drama, salapae, arware-lootong, kara, grue-thoe and zumpeng.
120
Nora
Zumpeng
History
Nora or Manorah (classical Thai tune) is a superior performance which reflects the way
of lives of people in every southern province. It is a performance that is parallel to the southern
shadow play for ages. The history of Nora is explained by many different legends. One of the
legend stated that the first teacher of Nora, nobleman Suttha, came from Ayutthaya. Prince
Damrong Rajanuphab suspected that nobleman Suttha is a famous dance teacher of late Krung Sri
Ayutthaya who escaped a case and abandoned to Sri Chang Island. The boatmen helped him to
Nakorn Sri Thammarath and continued the teaching of a dance art according to the pattern of Sri
Ayutthaya.
Nora or Manorah in the south
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According to the story of a nobleman, Oophatum Narakorn (Pum Tewa) told in Nuan
Narng Thong Sum-lee. The daughter of prince Sai-far-fard was punished since she consumed the
pollen of a lotus and got pregnant. She was abandoned to Sri Chung Island and gave birth to a
little prince. The little prince was taught the 12 dance postures by his mother. She learned the
moves during the time that an angel came into her dream. She memorized the postures and also
taught the dance to the servants. The little prince later performed in front of Prince Sai-far-fard
which he later realized that the little prince is his grandchild. He sent people to pick up the little
prince back home. Sri Kongka refused to come back home so she was tied up and taken on the
boat. When the boat confronted with the crocodile, the boatmen fought against the crocodile and
created a new dance psoture depicting a crocodile poking posture. The relationship between Nora
and Chatree of the central part is very complicated.
The word Chatree is the same as Chat-tree-ya in south India meaning king or a brave
warrior. Since most of the performance has a king as a role player, the performer is called chattree-ya which later distorted to Chatree or Chatree drama since it involves with a drama.
According to the experts, Nora and Chatree came to the south and the central region right about
the same time. The reasons for the differences are due to the condition of the way of lives, the
different customs of each region and the different popularities. The unique identity of both Nora
and Chatree is in the use of a gong and flute as a based instrument. In the central part, xylophone
is added during the time of King Rama VI. In the past, the word Nora is not used only the word
Chatree. The word is still used during the Ratanakosin period as in the composition by Prince of
the first class Sri Suren.
“ชาตรี ตลุบตลุบทิ้ง
รําสะบัดวัดสะเอวโอน
คนกรับรับขยับโยน
ร้องเรื่ องรถเสนแห้
กลองโทน
อ่อนแปล้
เสี ยงเยิน่
ห่อขยุม้ ยาโรย”
When including Phra Suthon performance with Chatree, the word Manorah Chatree following the
name of the leading actress of Suthon has become a common word. The plot originated from the
south and not from Ayutthaya. Eventually, Nora performance is changed to Phra Suthon. In later
era, other folk literatures has been performed but are still called as Manorah. As time gone by,
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the characteristic of a southern language (speaking the word quickly in short) has distorted the
word and only left with the word “Nora”.
There are all together 12 important postures in Nora performance. Nora dance postures
are taught by using a composition that display varieties of dance moves and are slightly different
from one group to another. The connection of moves, the feet movement, the form of the body,
and the quick movement are taught. In the teaching of the dance, there is a poem that refers to the
costume and grace of the dance. The poem below contained words that describe the movements
and costume. *The lyric taught the dancers about the movement, posture and the costume.
“ครู เอยครู สอน
เสดื้องกรต่อง่า
ครู สอนให้ผผู ้ า้
สอนข้าให้ทรงกําไล
สอนครอบเทริ ดน้อย
แล้วจับสร้อยพวงมาลัย
สอนทรงกําไล
สอนใส่ ซา้ ยขวา
เสดื้องเยื้องข้างซ้าย
ตีค่าได้หา้ พารา
เสดื้องเยื้องข้างขวา
ตีค่าได้หา้ ตําลึงทอง
ตีนถีบพนัก
ส่ วนมือชักเอาแสงทอง
หาไหนมิได้เสมือนน้อง
ทํานองพระเทวดา”
Other than the postures taught by the teachers, there is also an additional creation of
movement. Creation of a specific personal movements are also created such as Wai Kru dance,
Rong Kru dance, Kae Bod dance, Pathombod dance, Thang Jarakay dance (Crocodile poking),
Pleng Koh dance and Klong Hong dance. The costume of Nora includes Thai theatrical crown,
shin-length pants and girdle with custard apple decorated like a Manorah. Lanyards covering the
chest, necklace and long nails are worn.
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Musical instruments are drum, double gong, cymbals and flute which started as an
overture. Singing teachers are invited in front of the curtain to sing and reside. The story is
referred in the local language as “Kumprat nar marn”. Then the performance begins.
Nora of different groups includes 15-20 performers. It is usually made up of male
performers with a small mixed of females.
Nora can be performed in any general occasions.
Learning Activity 1
Learning Outcome
1. Able to explain the history of folk dancing art of each province.
2. Able to perform folk dancing art correctly and appropriately.
3. Know the value and basic conservation of folk dancing art and local wisdom.
Explanation
1. Please explain in brief on the knowledge of Thai dancing art.
2. Students must perform dancing art of their local area by learning about the history,
format of the performance, approach of the performance and practice. Student must
perform at least one performance.
Learning Activity 2
Learning Outcome
1. Able to explain the relationship between local dancing art and local culture, ritual
and wisdom.
Explanation
Allow the students to learn about their local dancing art.
- Which factors influence the origination of a folk dancing art?
- The approach towards conservation of folk dancing art.
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Chapter 4
Constructing folk musical instruments
Factors to consider regarding the occupation.
The most important factor in starting a self-employed occupation is to first consider what type of
occupation you are interested in and the opportunity and requirement for success. The main
factors to consider before staring a self-employed occupation are as follow.
1. Capital is the basic factor of every self-employed occupation. A person much have
plan and foresight in order to know how much capital is needed. In an occupation
that requires less capital, there are also fewer problems. If the occupation requires a
large capital, a person must consider whether they have adequate fund which can
create a bigger problem if lacking. If the fund is inadequate, he must consider about
the source of funding which can come from personal savings, from a bank loan or
from other financial institutions. A person should not invest all their savings in the
initial stage or invest too heavily.
2. Knowledge. If the knowledge is inadequate, a person must gather more information.
Knowledge can come from training in the field of the occupation or being employed
by a company. A person can also practice on his own to build expertise and
experience in that particular field.
3. Management is about the technique and the approach to run the business. A person
must learn how to make plan and determine human resources who can help
contribute and invest in the business. Equipment, tool, and process also have to be
determined.
4. Marketing is one of the most important factors. If the products and services are of
no interest to the customers and don’t create satisfaction, the whole management
process is considered to be a failure. Marketing plan in this highly competitive
economy needs to be considered and developed. The knowledge of the
manufacturing process, packaging and public relations are needed to create demand
in the target market.
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Recommendations for choosing an occupation.
Before choosing an occupation, a person must carefully consider the following advice.
1. Choose a career that you like and are good at. A person must analyze themselves
to understand what occupation they are interested in or are good at. The skills they
possessed and the desire to start a business that is appropriate for themselves and
their family must be considered. Generally speaking, they must consider the types of
occupation in relation to themselves and family members.
2. Personal development is to learn about the details of the intended occupation. If the
knowledge is lacking, a person must learn, train and practice by themselves or
through different organizations. The appropriate knowledge to correctly start the
business can be acquired from the experience of others which can help increase the
chance of success.
3. Consider other related factors such as location, production, sale, distribution,
service, work condition, basic knowledge and capital requirement. If capital is
inadequate, a person must consider where they can get the funding from.
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Flute (Khlui) manufacturing occupation.
Khlui can be classified as follows:
Khlui Lhib or Khlui Lheek or Khlui Gruad is a small flute with a higher pitch compare
to Khlui Piang Or. It is used in the Thai grand orchestra band on a large paired instruments and
paired stringed instruments. It is used as a lead instrument similar to a xylophone or a treble
fiddle. Khlui Lhib is also used in a Java clarinet band because of its similar sound. It can be used
as a background instrument just like a fiddle.
Khlui Piang Or has a mid-range pitch that is popular among casual users. It is used in
Thai grand orchestra band or with other stringed instruments and serves as a follow up
instrument. Khlui Piang Or can also be used in a woodwind Java instruments but is more difficult
to play than Khlui Lhib as the sound range are not the same as other Java instruments. If using
Khlui Lhib in the same way as Khlui Piang Or, the pitch has to be in the higher 4th pair. It can
also be used in Thai orchestra consisting of five groups of wood and percussion instruments as a
front instrument to replace the flute.
Khlui Ooh is a large flute with 3 lower pitch than Khlui Piang Or. It is used in an
ancient Thai orchestra consisting of five groups of wood and percussion instruments that required
a low pitch as a base sound. In the past, it is also used in a large Thai grand orchestra.
Nowadays, finding a masterful player for the instrument is very difficult.
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Characteristics of a good Khlui (flute)
Khlui in general is made of bamboo of a specific breed. At present, most of the khlui are
from Saraburi and Nakorn Ratchasima province. Other than bamboo, khlui can be made of ivory,
chingchun wood or any hardwood. Plastic are also used nowadays.
In terms of quality, a flute made of bamboo is better than flute made from other materials
since bamboo texture has natural ventilation both inside and outside. It can expand its size once
in contact with water which makes it harder to break. In addition, the appearance of the flute can
be nicely decorated. The decorations can be in the design of flower, rock, and turtle’s shell.
Other important characteristic of a bamboo is the fact that they have a joint which can be drilled
for sound adjustment by the last finger. The rest of the joint is used to hold wind and sound to
create a resonant sound. Flute that are made from other materials, the maker might not consider
those important points causing a drop in quality of sound.
As stated above on the importance of creating flute from a bamboo, the rest of the
components have to be considered.
1. Sound. A good flute must have a precise sound from the lowest to the
highest pitch. Every sound must be separated by exactly one sound step according to
the Thai sound system. The 8th pair of sound must be equal and other resemble
sounds has to be the same. The true sound must be crystal clear and not cracked. If
performed with an instrument with an exact sound such as in a gong band or
xylophone, only flute with the same sound can be selected.
2. Wind. A good flute must not use too much wind and have good
ventilation.
3. Characteristics of the wood have to be an old wood or a completely
dry wood. The splinter is delicate with a dark brown or nearly black color. The
gnarl is small and the wood is not too thick or thin. It has to be appropriate to the
size of the flute. If the bamboo is not old or complete dry, the flute can easily break
or can be eaten by a snout beetle. The sound quality can also be affected.
4. Blowing hole should be made of a golden teak because it lacks residue
that could interfere with the wind. Inserting the blowing hole should not be too close
or too far from the edge of the bamboo. If too close, the sound will be dull. If too
far, the sound will be loose.
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5. Open holes on the flute need to be drilled delicately depending on the
size of the bamboo. A flute made in the past has a bigger opening in the inner holes
but the flute made today is not drilled in such a manner since flutes are mass
produced and the makers disregard those details.
6. Selecting a flute that is suitable for the size of the fingers. If the user
has small fingers, he should choose a flute with a small body. If the user has large
fingers, he should select the one with large body.
7. Other components. The color of the texture should be without
blemish or scratch and the wood design must be neat. These characteristics don’t
affect the sound of the flute but the user should consider it in order to find the best
flute for them.
Process of making the flute
1.
Choose the bamboo that is straight and cut it in sections. Select the
bamboo size based on the type of flute you are making.
2.
Put the bamboo under the sun until it changes its color from green to
yellow. This means that the bamboo is completely dry and ready to be made into a flute.
It should be put under the sun for 7-10 days.
3.
Soak coir in the water and then place it over a powdered stone block.
Rub the bamboo until it shines. You can also use a sand scrub before rubbing it with the
powdered stone block.
4.
Apply lard or vegetable oil over the bamboo so that the hot lead can
penetrate over the surface of the bamboo. Use a stick to insert into the bamboo and place
them across the top of the pan which contains a melted lead, then scoop up the lead and
pour it over the bamboo to create a design. This is called design pouring.
5.
Drill holes in good proportion by using a drill to create an initial hole
and then follow through the hole with a sharp iron stick that are intensely burned until the
iron turns red. Use the iron stick to drill the bamboo internode as well.
6.
Use a knife to carve the blowing hole. Teak should be used as it is not
too hard and are easier to carve
7.
Create the blowing hold and plug the top opening. Leave a hole for a
wind to get through when blowing.
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8.
Saw the blowing hole to make it even with the edge of the flute.
9.
Use a knife or a sharp edge iron to drill a parrot mouth by creating a
rectangular shape opening under the blowing hole. The hole is about one inch below the
blowing hole. This is called a parrot mouth hole.
10. Pour small pieces of wax into the internode opposite to the blowing
hole. Estimating that once the wax melted, it should be able plug the wind leakage of the
blowing hole.
11. Use the red hot iron stick and punch it through the internode up until the
blowing hole section. The heat form the iron stick will melt the wax and disperse it
through all the leakages.
12. Once the wax cool down, use the iron stick and clear up the hole
intended for the wind to go through at the blowing hole.
Experience of Barng Sai Kai flute making community.
Khlui Ban Lao (Bang Sy Kai community) is housed between Bang Sy Kai canal and
Hirunrujee temple in Hirunrujee district. It has been said that Laotians in Bang Sy Kai
community are an ancestors from Vientian which are brought into Thailand as a slave. They
brought into Thailand the knowledge of flute making and reed mouth-organ making which is their
folk musical instrument. Since they live in the area of Bang Sai Ky Temple, it is commonly
known as “Lao Village”.
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Mr. Jarin Klinbupha, chief of the community, is the 3rd generation of Laotian. He
received the knowledge of flute making from his grandfather. Mr. Jarin stated that “Bamboo used
in flute making must come from Tai Pikul village, Phra Buddhabaht district in the province of
Saraburi. Once received, the bamboo is cut into the length according to the sections of the
bamboo and baths it under the sun for 15-20 days in order for the wood to be completely dry.
The wood is selected according to the size and usage and then scrubbed until it becomes shiny.
The holes are drilled and the reed-mouth organ is used to determine the sound. The process of
design making is done by a melted lead which is poured onto the flute creating a design such as
bullet wood. Parrot mouth is then carved in order to setup the sound. The blowing hole is created
by carving teak wood or hardwood into the hole and leaves an opening for the wind to go
through. The distance between the mouth of the flute and the parrot mouth should be carved in a
shape of an elephant stomach in order to create a beautiful and resonant sound. The flute will
then be tested to determine the standards of the sound.”
At present, there are altogether 20 households that are in the business of flute
making. Customers usually come and order the flute directly at the village due to the long history
of quality and reputation of “Klui Ban Lao”. The flutes are also delivered to shops selling Thai
musical instruments.
Reed mouth organ (Cann) manufacturing occupation.
Reed mouth organ (Can) is one of the oldest musical instruments. The instrument is very
common in Khon Kaen province and is considered to be the identity of people of Khon Kaen.
It is also considered as the main instrument of the northeast region. At present, reed mouth organ
is widely produced by the people of the Na-wha district of Nakornphanom province.
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The occupation is taken by the whole village. Reed mouth organ is also made in many other
provinces. Reed mouth organ is used in performances such as in a bamboo mouth organ band,
ponglarng band, and folk musical band. It is also used in a ritual of Isan people such as Pheefah
dance and Phuthai dance. In northeastern style singing such as Lumplearn and Lumphuen, reed
mouth organ is use to support the singing and can’t be excluded.
Types of reed mouth organ
Reed mouth organ is a woodwind instrument that required a player to suck in and release
out the air through the blowing hole. Reed mouth organ is made from goocan wood or blowgun
wood of the bamboo family. The wood is widely available in the area of Phupuan mountain in
Roi et province, Nakorn phanom, Lao and the northern part of Thailand. Reed mouth organ is
usually refers to as “Tao”
Reed mouth organ can be categorized into 4 types according to the appearance and
characteristic of play.
1. Six reed mouth organ.
2. Seven reed mouth organ.
3. Eight reed mouth organ.
4. Nine reed mouth organ.
Components of a reed mouth organ.
1. Goocan wood for the body.
2. Taocan wood for blowing.
3. Metal tongue (tongue of bamboo mouth organ).
4. Khee-sood
5. Krua-yarnarng
Experience of local craftsman “The making of Bamboo mouth organ”
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Mr. La Praison, 82 years old, was born in the year 2467 B.E. He lives in 45 Moo 9,
Bann Toongsethi, Nakornchum subdistrict, Kumphaeng Phet district in Kumphaeng Phet
province. He went to Roi et province and saw people making a bamboo mouth organ. He bought
it for home for resale and turns out that the product was selling very well. He decided to make
the reed mouth organ himself by learning it directly from Roi et province. Mr. La Praison
pursues the occupation of reed mouth organ making which is considered to be a wooden or
musical instrument handicraft. The product is a valuable wisdom of the locals.
The manufacturing process is also very local and is made with high delicacy. The sound is
beautiful with varieties of design to choose from. It became a main occupation ever since.
A person who is able to accumulate knowledge and experience to make a living and able
to transmit it to people in later generations through a direct or indirect method is considered as
“Folk philosopher”. The transmission of knowledge has a main principle of preserving the pride
and identity and connecting the past to the present. There is no success formula and the
connection can varies depending on the characteristics of the villages. They help create the local
wisdom. If the wisdom can be inherit and preserve in a systematic fashion, it will create
economic values and increase income for people.
Reed mouth organ is a folk musical instrument. The raw materials came from the natural
environment taken near their home. The raw materials can be found in nearby forest,
homegrown, or bought from nearby regions. Rhuak wood and blowgun wood of the bamboo
family, kheesood or chanrhong, metal tongue, hardwood (for mid section), crossbeam (made from
See-suk bamboo) and fluorite rock (to create tongue) are used.
Knowledge transmission.
1. Teaching the descendants of the family.
2. Being a speaker and teach the art of making reed mouth organ and the playing method
to students in school, to interested parties in the different districts both in and outside of
Kumphaeng Phet province.
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Selling price.
Country folk reed mouth organ (small) 1,200 baht each
Lao reed mouth organ (large) 1,500 baht each
The productivity of reed mouth organ is one piece per week and the average annual income is
30,000 -40,000 baht.
Source of Information.
Sold at the home of uncle Lar Praison, 45 Moo 9, Bann Toongsethi, Nakornchum
subdistrict, Kumphaeng Phet district in Kumphaeng Phet province.
Contact: Reed mouth organ group. 78 Bann Tharua, Moo 1, Tharua subdistrict, Na wha
district. (staff: Mr. Sukorn Chaibin. Tel: 0-4259-7532,0-6218-2817 )
Double-headed drum (Klong Kaek) making
Double headed drum (Klong Kaek) is long, tubed shape percussion instrument. The
leather striking area on both ends are made from calf or sheep skin. The large end is 20 cm wide
and is known as “Nha rui” or Nha mud and the small end is 15cm wide and is known as Nha Tarn
or “Nha Tard”. The body of the drum can be made from different types of wood but usually from
hardwood such as chingchun, marid, payoong, krapee kao kwai, kanoon, sadao, maka, coconut,
palm, and kampoo wood. The edge of the drum is made with a rattan wrapped with leather
around the edge and front of the drum. It is then pulled tightly with small rope-like leather called
“Nhung riad”. The purpose is to increase the volume of sound on the drum surface until reaching
a satisfactory level. The set of double headed drum is made up of two pieces, the high pitch
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(male) and the low pitch (female). The sound is created through striking both sides of the drum
alternately.
Sound characteristics.
- Male double sided drum. The pitch is higher than the female drum. The sound
“ting” is create on the large end and the sound “Joh” is created on the smaller end.
- Female double sided drum. The pitch is lower than the male drum. The sound
“thum” is create on the large end and the sound “Jah” is created on the smaller end.
Playing the instrument.
In striking the drum, both hands are used to strike both of the surfaces according to the
determined rhythm. The small end is stroked by using the index and ring fingers to create a small
and sharp sound. The large end is stroked by the palm of the hand to create a strong and firm
sound. The specific details of the method depend on the directions provided by different teachers.
Successful maker of double sided drum (Klong Kaek)
Kru Saneh Phakpong
Thai musical instrument is a cultural heritage that reflects on the wisdom of people from
past till present. From the historical evidence since Sukhothai period, music and the instruments
are mentioned in the stone inscription. It serves as an evidence of the ancient prosperity and
shows that singing and dancing is one of the personalities that are deeply rooted by Thai people.
The delicacy and charm of a Thai lifestyle is an identity that Thai people can be proud of.
Kru Saneh Phakpong is a master in making Klong kaek. He uses an ancient
approach that is different from other craftsman. In other word, all the process is done by hands
without the use of any modern equipment which is an identity of the ancient approach. The
appearance of the drum is also appropriate and neat since the raw materials are taken from the
natural environment. The edge of the drum is created from bamboo which is different from a
plastic made drum which affects the quality of the sound.
Compositions of Klong Kaek are as follow:
1. The body of the drum. The body is made from hardwood such as phayoong,
chingchun, pradoo and other woods. The wood is carved to form the shape of a tube with the
length of 24 inches. The mouth on the large end is 8.5 inches wide called Nha Rui and the mouth
of the smaller end is 7.5 inches wide called Nha tarn. The width of the body is 10.5 inches and is
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positioned at the 8 inches mark measured from the large end. The identity of Kru Saneh
Phakpong’s drum is a drum that is not too bulging as it will look more appropriate once
completed.
2. The edge of the drum is made from a coiled bamboo wrapped with rattan.
Nowadays, plastic are used instead. The small strings of rattan are wrapped around the coiled
bamboo, the large edge is 9 inches wide and the small edge is 8 inches wide. Cowhide is then
wrapped around the 4 surfaces. The surface after wrapping must be fastened firmly. This is a
local wisdom of Kru Saneh. When the edges are fastened firmly, the drum will be loud and
resound.
3. Rhiad leather is made from buffalo skin that is 2-3 mm. in thickness. It is then cut
into a string of 4 hoon (chinese unit of weight) with the length of 12 meters. The ancient
approach of cutting by using the knife is used instead of modern cutting equipment. The identity
of Kru Saneh is to use a leather piece that is not too large hence making it easier to increase the
sound and preserve the striking surface of the drum especially in the smaller end which uses a
thin leather.
4. Hoo Chong is a part of tying up the knot on both ends of the drum by using the
leftover rhiad leather. The leather are coiled and tied to the metal rings which is an identity of
Kru Saneh since it added to the beauty in gathering the leather. The drum of other craftsman
usually doesn’t include the metal ring but only to fasten the knot. The insertion of coiled leather
into hoo chong depends on the length of the leftovers leather after fastened. It must not be over 2
feet long in order to maintain a good appearance.
Process of Klong Kaek making can be divided into 5 steps.
1. Process of building the drum edge with bamboo.
2. Process of rolling the drum surface.
3. Process of cutting rhiad leather.
4. Process of drum establishment.
5. Process of tugging the drum.
Important process. Edge making and rolling of the surface of the drum.
Identity of double sided drum are the following:
1. The drum is beautiful and has appropriate shape and size.
2. The sound is resonant and loud according to the standard.
3. The drum is durable and long lasting.
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For more information, please contact: Ajarn Poomjai Ruenroeng
Tel.086-3385304 e-mail: ruenroengthaimusic@gmail.com
Price sample of double sided drum.
Width 30 cm. Length 30 cm Height 65 cm
Retail price 1,600 Baht
Selling place.
Drum making occupational group
46 Moo 6, Bann Paknarm, Akaratch subdistrict, Pah Mhok district, Ang Thong province 14130.
Cotact: Mr. Chalerm Phaophayak
Tel: 035 661914, 035 661309, 08 1734 1406, 08 1899 5077, 08 1587 4841
Craftsmen of Thai musical instrument.
There are many shops in Bangkok that retail and wholesale Thai musical instruments.
Suksapan panich in Ratchadumnern and Lardprao road, Siam Vathit in Aroon Amarin road,
Duriyabun in Sukhothai road, Pattanasilp music and art in Sam Saen Bang Krabue,
Pamornrungroj in Central Pinklao and The Old Siam plaza, Somchai music in soi Yang Sutharam
temple in Prannok road near Sam Yaek T-junction are some of the shops. Other than the shop
stated above, the area of Nakornkasem, the back road of the Ministry of Defense, Assadang road,
Klong Lord and Chatuchak are also an example. Addresses of sellers in Bangkok.
Mr. Somchai Kumpalee. 795/3 Soi Wat Sutharam near Sam Yaek T-junction, Prannok
road, Baan Chung Lhor, Bangkoknoi district, Bangkok 10700. Tel: 4112528. Producing all types
of Thai Musical instruments for retail and wholesale. Factory is in Kanchanaburi province. The
shop is called “Somchai music”
1. Mr. Chamrad (technician Nop) Surisaeng. 30 Soi Chaiwattana, Wutthakard road,
Bang koh subdistrict, Bangkunthien district, Bangkok. Tel: 4771359. Producing a quality and
beautiful bamboo stumps with “technician Nop” inscription.
2. Mr. Vinit (technician Lek) Pooksawad. 478/1 Moo 10, Soi Petchkasem 67,
Petchkasem road, Bangkae subdistrict, Bangkae district, Bangkok 10160. Tel: 4215699 01 –
8277718. Producing cymbaloes, bamboo stumps, flutes and three-stringed musical
instruments.
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Nonthaburi province.
1. Ms. A-ngoon Buaiam. 81/1 Soi Mingkwan 5, Tiwanond 2 road, Talad Kwan, Mueng
district, Nonthaburi, Tel: 5261352. Producing ankalungs.
2. Mr. Patana Buatung. 49/2 Moo e, Duriyapun shop, Pracharath road, Talad Kwan,
Mueng district, Nonthaburi, 11000. Producing ankalungs, cymbals and gongs.
Phra Nakorn Sri Ayutthaya provinvce.
1. Mr. Somboon Kerdchan. 34 Moo 7, Phra Kao subdistrict, Bangbarn district, Phra
Nakorn Sri Ayutthaya province. Produce, decorate, lacquer and gild Thai orchestra consisting of
five groups of wood and percussion instruments. Singing.
2. Mr. Prayad (Uncle Tor) Attakrit. 48/12 Moo 2, Tha Wasukri subdistrict, Mueng
district, Phra Nakorn Sri Ayutthaya province. Tel: 035 – 243552. Producing leather pieces for
drum surface.
Suphan Buri province.
1. Mr. Chuan Boonsri. 87 Moo 1, Takra subdistrict, Bangprama district, Suphan Buri
province. Tel: 035 – 587843. Producing ankalungs and xylophones.
Phetchaburi province.
1. Mr. Lop Punyasarn. 50 Moo 1, Huarhong subdistrict, Kaoyoy district, Phetchaburi
province. Producing varieties of drums (tall, khak, tad, took, rammana, perngmarn, tapone).
Nakorn Pathom province.
1. Mr. Saward Munsrichan. 26/37 Bangkaem subdistrict, Mueng district, Nakorn
Pathom province 73110. Tel: 034 – 272881. Producing xylophones.
2. Mr. Chao Chaonapun. 23/1 Moo 6, Ta Talad subdistrict, Sampran district, Nakorn
Pathom province, 73110. Tel: 034 – 321231. Producing different types of fiddles made from
wood and ivory.
Chachoengsao province.
1. Mr. Prayad Jharbkul. 121 Moo 13, Dongnoi subdistrict, Rachasart district,
Chachoengsao province. Producing xylophones.
138
2. Mr. Tong Yoosith. 1 Moo 4, Hualumphong subdistrict, Plangyao subdistrict,
Chachoengsao province. Tel: 038- 853326. Producing xylophones.
Nakhon Nayok province.
1. Mr. Pibul (Keng) Nilvilaipun. 42/1 Moo 8, Srinawa subdistrict, Mueng district,
Nakhon Nayok province, 26000. Tel: 037 – 313261. Producing gongs (Thai and Mon).
Phitsanulok province.
1. Mr. Ploy Umkoom. 215 Moo 6, Huaror subdistrict, Mueng district, Phitsanulok
province, 65000. Tel: 055-213166. Producing fiddles.
Roi Et province.
1. Mr. Ken Somjinda. 39 Moo 5, Srikaew subdistrict, Mueng district, Roi Et province,
45000, Tel:01-4180241. Producing reed mouth organs (can). Mr. Ken is very famous. He once
demonstrated can making in the USA.
Kalasin province.
1. Mr. Pluang Chairassamee (National artist). 229/4 Kasetsomboon road, Kalasin
district, Mueng district, Kalasin province, 46000. Tel: 043 – 820366. Producing lutes and
varieties of ponglang. He also teaches dancing art of Kalasin.
Songkhla province.
1. Mr. Aroon Bunterngsilp. 24/1 Moo 1, Klong Oohtupao subdistrict, Hatyai district,
Hatyat province. Producing gong instruments.
2. Mr. Tham Tongchumnoom. 695 Moo 2, Rattaphum road, Kuanniang subdistrict,
Kuanniang district, Songkhla province. Producing drums.
Chiangmai province.
1. Mr. Boonrath Thiprath. 108 Moo 10, Soi Chomjan, Chiangmaihod road, Padad
subdistrict, Mueng district, Chiangmai province, 50100. Tel: 053-281917. Producing and
repairing all stringed instruments and folk musical instruments (varieties of fiddle).
139
2. Mr. Vithep Kuntima. 106 Moo 20, Baan Numthorng, Sobmaekar subdistrict,
Harngdong district, Chiangmai province, 50200 or Chiangmai College of Dramatic Arts,
Suriwongse road, Haiya subdistrict, Mueng district. Tel:053-271596. Producing stringed
instruments and folk instruments.
Lamphun province.
1. Royal father Phee Sitthima. 49 Moo 10, Nampherpha village, Huakran-Nhong
plasawai subdistrict, Baan Hong, Lamphun province, 51130. Tel: 053-591330. Producing drums
(luang, sabhatchai, sobsatchai, poojae), cymbals and gongs.
Lampang province.
1. Mr. Manop Pondsueb. 833/1 Moo 5, Bann Maetha, Toongfai subdistrict, Mueng
district, Lampang province. Tel: 054-358483. Producing cymbaloes.
End of chapter activities.
Learning outcome.
Able to explain the career opportunity in producing Thai musical instruments.
Explaination Student must answer the following questions.
1. Explain the process of pursuing the occupation in flute (Khlui) making.
2. Explain the process of pursuing the occupation in reed mouth organ (Can)
making.
3. Explain the process of pursuing the occupation in double sided drum (Klong
Kaek) making.
140
References
Jiraphan Somprasong. Arts and Life. Bangkok, Dheves Stationer, 2515.
Charit Darb Kaew. Drawing Scenery. Bangkok, Odian Store, 2541.
Chin Silapabanleng and Vichian Kultan. Musical Arts and Drama. Phra Nakorn, General
Education Department. 2515.
Thavesak Chingkit and Staff. Life Skills Development 2. Bangkok, Watanapanitch Samranratch,
2544.
Thanit U-poh. Dancing Arts. Bangkok, Thailand Cooperatives and Agriculture, 2531.
Sclupture for daily usefulness. Thai Saranuklom for people. Issue 14, Bangkok.
Thai Local Wisdom. Department of Intellectual Proporty. Nonthaburi.
Yosanand Yam Muang and Staff. Visual Arts. First Edition, Bangkok. Thai Wattanapanitch,
2546.
Academic, Department. Theory and Art Critic Operations. Bangkok, Kuruspar Printing, 2532.
Suchart Thao Thong and Staff. Visual Arts. Bangkok. Aksorn Charoentat, 2546.
Apisak Booblert. Drawing. Bangkok, Odian Store, 2541.
Arporn Infahsaeng. Arts History. Bangkok, Dheves Stationary, 2512.
Arporn Infahsaeng. Color Theory. Bangkok, Sermsin, 2510.
141
Production team
Advisors
Mr. Prasert Boonreung
Secretary-General to ONIE
Mr. Chaiyos Imsuwan
Deputy Secretary-General to ONIE
Mr. Watcharin Champee
Deputy Secretary-General to ONIE
Dr. Tongyoo Kaewsaiha
Advisor to ONIE Curriculum Development
Mrs. Rakhana Tantawhuttho
Director of Non-Formal and Informal Education
Development Group
Writers and compilation team
1. Mr. Chamnong Wanwichai
Retired Government officials
2. Mrs. Saranorn Pattanapaisarn
ONIE Chalermphrakiat, Burrirum province
3. Mr. Chaiyan Maneesa-ard
ONIE-Southern Region
4. Mr. Saritchai Siriporn
ONIE-Eastern Region
5. Mrs. Chothip Siriporn
ONIE- Eastern Region
6.Mr. Supachok Srirattanasilp
Non-Formal and
Development Group
Informal
Education
Editors and Reviewers team
1. Mr. Chamnong Wanwichai
Retired Government official
2. Mrs. Saranorn Pattanapaisarn
ONIE Chalermphrakiat, Burrirum province
3. Mr. Chaiyan Maneesa-ard
ONIE-Southern Region
4. Mr. Saritchai Siriporn
ONIE-Eastern Region
5. Mrs. Chothip Siriporn
ONIE- Eastern Region
142
6. Mr. Surapong Manmano
Non-Formal and Informal Education
Development Group
7. Mr. Wiwatchai Chansukhon
Retired Government official
Working Team
Development Group
2. Mr. Supachok Srirattanasilp
Development Group
3. Ms. Wannaporn Pattamanont
Development Group
4. Ms. Sarinya Kulpradit
Development Group
5. Ms. Petcharin Lueangjitwattana
Development Group
Original textbook typists
1. Ms. Piyawadee Kanesom
Development Group
Development Group
3. Ms. Kornwan Kaweewongpipat
Development Group
4. Ms. Chalinee Thamthisa
Development Group
5. Ms. Alissara Banchee
Development Group
143
Cover Designer
Mr. Supachok Srirattanasilp
Non-Formal and
Development Group
Informal
Education
2nd Development and Revision Team
Non-Formal and Informal Education Development Group
2. Mr. Supachok Srirattanasilp
3. Mr. Kittipong Chantawong
4. Mr. Panin Sae-Ng

Folk visual arts is

Transcription

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