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Dorisea Working Paper Competence Network DORISEA – Dynamics of Religion in Southeast Asia 1 DORISEA WORKING PAPER ISSUE 19, 2015, ISSN: 2196-6893 BENJAMIN BAUMANN THE KHMER WITCH PROJECT: DEMONIZING THE KHMER BY KHMERIZING A DEMON 19 DORISEA Working Paper, ISSUE 19, 2015, ISSN: 2196-6893 DORISEA WORKING PAPER SERIES EDITORS Peter J. Bräunlein Michael Dickhardt Andrea Lauser BmBF Competence Network “Dynamics of Religion in Southeast Asia” (DORISEA) The research network “Dynamics of Religion in Southeast Asia” (DORISEA) is funded by the German Federal Ministry for Education and Research (BMBF) and coordinated by the Department of Social and Cultural Anthropology at the Georg-August-University of Göttingen. Scholars from the Universities of Göttingen, Hamburg, Münster, Heidelberg and Berlin (Humboldt University) are involved in several projects that investigate the relationship between religion and modernity in Southeast Asia. How to cite this paper: Benjamin Baumann (2015): The Khmer Witch Project: Demonizing the Khmer by Khmerizing a Demon. In: DORISEA Working Paper Series, No. 19. Research Network DORISEA Dynamics of Religion in Southeast Asia Project Ofice Georg-August-University Göttingen Institut für Ethnologie Berliner Str. 28 FUNDED BY D - 37073 Göttingen Germany +49 (0)551 39 20153 [email protected] www.dorisea.net Competence Network DORISEA – Dynamics of Religion in Southeast Asia 3 BENJAMIN BAUMANN THE KHMER WITCH PROJECT: DEMONIZING THE KHMER BY KHMERIZING A DEMON* ABSTRACT This paper outlines an anthropological reading of Thai ghost films and their uncanny protagonists as a dialecticPhi Krasue synthesizing ethnographic material with film analysis in an attempt to operationalize the premises of the ontological and spectral turns. The paper is the first systematic study of —one of Thailands most iconic uncanny beings— and its cinematic and vernacularPhi Krasue ghostly images. )t grew out of an attempt to make sense of local Khmer-speaking interlocutors acceptance and reproduction of an idiosyncratic origin myth that locates the origin of in AngkorianPhi Krasue Khmer culture. Based on Mary Douglas and Julia Kristevas theories the paper identifies abjection and its essential ambiguity as the logical principle structuring imaginations of in vernacular and cinematic contexts. ) phiargue that the reading of a ghost films social message depends on spectators embodiment of ofvernacular Phi Krasue’s ghostlore and thus on an implicit knowledge of the cultural semantics Thailands manifest. (owever, this paper offers not only a structural explanation for the self-evidence origin in Angkorian Khmer culture, but also for the Khmer-magic link as the most important socio-cultural stereotype characterizing the category Khmer in Thailands contemporary popular culture. Finally, the paper identifies filthiness as the social idiom used to explicate abjection as the logical principle structuring processes of self-formation in contemporary Thailand. * ) thank Peter A. Jackson, Justin McDaniel, and Guido Sprenger for their critical remarks on previous drafts of this paper. INTRODUCTION “The process of generating a language and set of spirited modernities Endres and Lauser , ; institutions for constructing locations and popu- (orstmann , . While the heuristic value of lations as dirty or clean did not simply eliminate framing the multiple socio-cultural configurations traditional notions of filth; it amalgamated these of contemporary Thailand under the encompassing ideas, putting them to new uses.” (W. Cohen 2005, label of modernity is debatable P. A. Jackson , xviii) ; Kasian , -; Pattana ; Taylor , a paradigmatically modern medium—ghost Engaging the Spirit World: film—may indeed help us to grasp their eminently Popular Beliefs and Practices in Modern Southeast spirited character A. A. Johnson ; Meyer , Asia)n their edited volume .[T]he current generation of Thai horror films contains powerful ethnographic material with German anthropologists Kirsten Endres and which one can rethink not only the now classic is- Andrea Lauser argue for the eminently spirited sue in the sociology of religion of the persistence character of contemporary Southeast Asian so- of magic and spirits in an age of post- or late-mo- cieties Endres and Lauser . Following Ro- dernity, but also “the subtle and complex inter- salind Morris Alexander (orstmann adds connection among everyday forms of relatedness that mediation through new media technologies in the present, memories of the past, and the wid- is essential to bring about the contemporary so- cio-cultural configurations EndresDORISEA and Working Lauser Paper, callISSUE 19, 2015, ISSN: 2196-6893 Competence Network DORISEA – Dynamics of Religion in Southeast Asia 4 er [historical and] political context in which they occur (Carsten 2007: 1).” (Pattana 2011, 202) and Lock , -. Givenphi their ontological sta- Phi tus in the various configurations of contemporary Phi is an thatThai shapessociety, aan phi’s analysis of has to acknowledge constitute the major category of uncanny the dialectic of uncanny being and ghostly image protagonists featured in Thai ghost films. contextual meaning in accord- essential but highly relational and contextual cul- ance with the practical requirements of a given tural concept that cannot be translated unambigu- speech event. phi ously Stanlaw and Yoddumnern , . As a The following analysis is an attempt to decipher thick category it continues to challenge anthro- the meaning of a in a particular speech event translatingpologists trying phi to decipher the symbolism of its triesdialectically. to account My forapproach the particularity in this paper of historical is guided various manifestations. Pattana Kitiarsa suggests by the premises of a dialectical structuralism and with the well-known term ghost as it specifically implies vernacular perceptions of contexts and the meaningful actions of cultural identifyghostly presencerepresentations and uncanny of phi haunting Pattana agents in processes of social change (odder ; , . ) follow Pattanas lead in this paper to Sahlins ; Tilley . ) thus try to explain why as ghostly images a particular ghostly symbol is used in a particular on the basis of theirphi uncanninessthevada without implying historical context and how it is related to this con- any moral judgment that differentiates categorical- texts practical requirements. ly between bad and good Rajadhon category, ; phi Tambiah , ; Van Esterik , . PHI KRASUE ) use the adjective ghostly here as a referent to the and to bypass more problematic cate- gories like spiritual or supernatural, which repro- duce the logical premises of modernist rationalism PhiUsually Krasue depicted as a womans flying head with and distort the logic of folk epistemology Levy et phidrawn out and bloody entrails dangling beneath it, al. ; Van Esterik ; White . is one of the andmost the iconic continuous of Thailands pres in orderSimultaneously, to account ) drawfor the a methodological ontological difference bound- . Given the commonality of encounters with this ary between uncanny beingsphi and ghostly images uncanny being in real life - ence of its ghostly images in popular cultural media between encounters with in real life and their it is remarkable that therephi is very little research discursive representations in popular media and be- investigating this specific phenomenon. )n a recent yond. With the term uncanny being ) thus intend to overview of Thailands So Phlainoi describes the meet the demands of the ontological turn Paleček uncanny phenomenon has many in the regional following names way: but usual and Risjord and take things encountered in belief portrays it as a woman that likes to pos- the field seriously without reducing them to our sessPhi Krasueother women. )t likes to eat dirty or filthy modern way of thinking by denying their reality things and is characterized by its appearance as a and exclusively identifying them as symbols or rep- pulsating ball of light. emits this light resentations of something elseGDAT ; cited during its nightly search for food. Especially ru- in Ladwig , -. )n contrast to uncanny be- ral villagers believe in Phithe Krasueexistence of this phi. If ing the category ghostly image is inspired by the they see a large and flashing green light they will premises of the spectralphi in turnpopular and culture thus explicitly and dis immediately think it is . Villagers say designed to address the symbolic and representa- that it moves around as a head with liver, kidneys tional dimension of - and some other entrailsPhi attached Krasue to it. Whenev- course, where ghostly manifestations are always er someone gives birth will smell the constructions embedded within specific historical blood and rush to the place to eat of the woman contexts and invoked for more or less explicit polit- giving birth or the newbornPhi Krasue baby until its victim ical purposes Weinstock , . This distinction between ontology and meta- phor is purely methodological and ) am aware phithat it is haunted by the same scientific rationalism that Ludwig Wittgenstein introduces the term language game impedes an emic understanding of the category to address the contextuality of meaning, linking meaning Bräunlein , . (owever, both categories making to the practical requirements of a given speech event phi Wittgenstein , cited in Rehbein , -. Elab- may help us to frame how uncanny encounters with orating on the late Wittgenstein one may thus identify any are always simultaneously ontological and met- socially meaningful
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