Informal Northern Thai Group Bulletin
August 16, 2014
ATTENTION PLEASE!
WHAT SHOULD HAVE BEEN THE NEXT TALK (381ST) BY CHRISTIAN BOLLIER ON TUESDAY, 19 AUGUST, 2014, “SAVE ELEPHANTS, SYMBOLS OF THAILAND, TO SAVE HUMANITY” IS CANCELLED! THE SPEAKER IS RECOVERING FROM A MOTORCYLCLE ACCIDENT AND WILL BE ABLE TO GIVE THE TALK LATER THIS YEAR. THE "NEXT TALK" (381ST) IS NOW ON SEPTEMBER 9 (SEE BELOW) WE APOLOGIZE FOR ANY INCONVENIENCE AND WISH A QUICK AND GOOD RECOVERY TO CHRISTIAN BOLLIER.
1. MINUTES OF THE 380TH MEETING: TUESDAY 8 JULY, 2014, 7:30 PM : “CASHING IN ON CULTURAL HERITAGE: MUSEUMS AND THE TOURISM INDUSTRY IN CHIANG MAI”. A TALK BY REBECCA WELDON.
2. NEXT MEETING. 381ST MEETING : TUESDAY, 9 SEPTEMBER, 2014, 7:30 PM : “THE TEN PRINCIPLES OF FAIR TRADE”. A TALK BY CHRISTINE GENT.
3. ANNOUNCEMENT (SENT BY LINDSAY FALVEY): 1ST INTERNATIONAL CONFERENCE ON ASIAN HIGHLAND NATURAL RESOURCES MANAGEMENT (ASIAHILAND) - THE EMPRESS HOTEL, CHIANG MAI, THAILAND, JANUARY 7TH TO 9TH, 2015.
4. LIST OF FUTURE INTG MEETINGS.
5. INTG CONTACTS: CONVENOR - SECRETARY - WEBSITE.
1. MINUTES OF THE 380TH MEETING: TUESDAY 8 JULY, 2014, 7:30 PM : “CASHING IN ON CULTURAL HERITAGE: MUSEUMS AND THE TOURISM INDUSTRY IN CHIANG MAI”. A TALK BY REBECCA WELDON.
1.1. PRESENT : Hans Bänziger, Sāngdao Bänziger, David Boggett, James Bogle, Christian Bollier, Manus Brinkman, Fran Collins, Jean-Marc Dubost, Ken Dyer, Jack Eisner, Leo Ellis, Eric Eustache, Elaine Fraser, Louis Gabaude, Pierre Garretta, Michel Garretta, Louis Gooren, Sjon Hauser, Annelie Hendriks, Reinhard Hohler, Roy Hudson, Han Andre Iluh, Brenda Joyce, Don Linder, Anne-Marie Lucas, John Melton, Patric Morel, Jen Russel, Suriya Smutkupt, Tanapong SungKaeo, Derrick Titmus, Ioan Tutumman, Victoria Vorreiter, Wannida Jiratha, Rebecca Weldon, Peter Wolk, Sandra Wright, a total of 37 at least.
1.2. The Talk
If one surveys Thailand on the internet, one is immediately impressed by descriptions of its natural and cultural heritage. The 359,000,000 results on Google are headed by Wikipedia and the Tourism Authority of Thailand (TAT). Moving on past the facts of geography and history and clicking on the site of TAT,1 one is immediately treated to a wonderful photo of bungalows ensconced on a beach with huge boulders at the edge of the sea and a fishing boat in the far distance. Moving down one sees the heading: Top Destinations. And, at the top of the list is Chiang Mai. Chiang Mai is imaged by a photograph of the stupa (Phra Chedi) at Wat Phra That Doi Suthep, located overlooking the city of Chiang Mai in the Doi Suthep-Pui National Park. And, sure enough, if you click on the top destination for Thailand, the page that comes up is introduced by an image of a tourist van traveling on a road through a forested, mountainous area and the statement that “Thailand’s “Rose of the North” is a cultural and natural wonderland with ethnic diversity, a multitude of attractions and welcoming hospitality.”2 If you move down on the page, there is a summary text on the history of Chiang Mai, followed by links to 7 temples, 3 national parks, 1 archaeological site, 2 zoos, 1 memorial garden and a Royal Project. Looking at these beautiful invitations, one keeps in mind the final paragraph of the text describing Chiang Mai: “The old city of Chiang Mai is a showcase of the North’s fascinating indigenous cultural identity that includes diverse dialects, a delectable cuisine, distinctive architecture, traditional values, lively festivals, numerous handicrafts workshops, northern style massage, and classical dances. Chiang Mai is also blessed with pristine natural resources including mountains, waterfalls, and rivers. The presence of numerous hill tribes that feature a wealth of unique cultures enhances Chiang Mai’s distinctive diversity. Hill tribe trekking, often combined with river rafting and elephant riding has always been one of Chiang Mai’s greatest tourist attractions. Nowadays there are innumerable activities and attractions both in the city and the surrounding province, including massage instruction and golf. Moreover, visitors can visit workshops where they can learn about the production of silk or silver, and purchase memorable, hand-crafted souvenirs. With such a diverse range of attractions and an equally grand selection of dining and accommodation options, Chiang Mai is a place where both backpackers and luxury tourists can enjoy the ultimate Thailand holiday.” There are a number of interesting points to note on the webpage. First, nowhere is it mentioned that the name « Chiang Mai » pertains to both the city and the province. Therefore, one can understand the tourist’s confusion when he/she/they arrive in a modern urban complex. The municipality called Chiang Mai has little
1 http://www.tourismthailand.org/home 2 On the "fabrication" of Chiang Mai see: Renard, Ronald D., 'The image of Chiang Mai', Journal of the Siam Society, 87.1 & 2 (1999), p. 87-98. Downloadable at: http://www.siamese-heritage.org/jsspdf/1991/JSS_087_0h_Renard_ImageOfChiangMai.pdf [Editor's note] 2 to do with the nature described in the brochures. Therefore, one can understand why they immediately make for the wats. These temples are the only sites that look Thai, apart from the luxury resorts that comparatively few can afford. In fact, if they had read the Wikipedia article on Thailand before arrival, they would understand that Thailand, in general, is not quite what the official Tourism Authority makes it out to be. In fact, the Tourism Authority of Thailand is an instrument of national economics, in other words, maximizing tourism income to the Gross National Product. Secondly, when one clicks on the link for the National Parks, one is led to a website all in Thai except for the title: « Department of National Parks, Wildlife and Plant Conservation », the logo presides under a tree, over shadows of an elephant, a monkey, some deer and a bird. There is a link for an English version that leads to a link “« in National Parks ». However, there, one is faced with the impossibility to search for « Chiang Mai ». So, thanks to TAT, they are confirmed in the belief that there are national parks and a national park service and trust the tour companies to take them there. Finally, on the side of the webpage there is a menu that offers a list of links: accommodation, transport, activities, special offers, attractions, tours & packages, food & drink, events & festivals, shopping and tourist info centers. It is here that one might find a path to the museums of Chiang Mai. If one chooses attractions, then art, culture and heritage, near the bottom of that list will be a link to « museums ». There, five museums are featured, one of which has been closed for several years. In fact, it would be quite surprising that there are only 5 museums in Chiang Mai, so one might go back to the list of art and culture attractions and search around a bit. This would reveal 4 art and craft centers, 1 art gallery, 1 historical house, 5 historical sites and monuments, 10 landmarks and memorials, and 2 Royal palaces. Of particular interest are the landmarks and memorials and, with this final remark on the official introduction of the visitor to tourism in Chiang Mai, I will leave the realm of TAT and return to the central issue in this paper: Museums and the Tourism Industry. The title of this talk, “Cashing In on Cultural Heritage” focuses upon how the characterization of Thailand as a cultural heritage destination has supported the Thai tourism industry to develop into one of the most successful in the world. According to the World Travel and Tourism Council Economic Impact 2014 Report, the direct contribution, in 2013, to Thailand’s GDP was a little over 1,074 billion THB or approximately 33 billion USD. This income represents 9% of the income generated in the country by industries that deal directly with tourists, including hotels, travel agents, airlines and other passenger transport services, as well as the activities of restaurant and leisure industries that deal directly with tourists.3 If one includes the concomitant capital investment in this sector, along with Government spending and other ancillary income generation, the figure comes to more than twice that much. The total contribution of the Travel and Tourism Industry to the Thai economy in 2013 was approximately 2,401.1 billion THB (20.2% of GDP). Furthermore, the report estimates that direct income generation would increase, in 2014, to 10% of GDP and, by 2024 the total contribution of Travel and Tourism to Thailand’s GDP will be 22.2%. The details are in the chart on the next page. Because of these figures, it is important to understand what is being invested in the very product of the Thai travel industry, in other words, to identify the intersection of income generated by the promotion of natural and cultural heritage by the tourism industry and the preservation and communication of that very heritage by museums, zoos, national parks, government and other cultural and natural heritage preservation organizations, all of which are related within the discipline of museology. In order to explain this, I must introduce you to a bit of the theory surrounding these institutions.
3 http://www.wttc.org/site_media/uploads/downloads/world2014.pdf 3
4
First of all, what are natural and cultural heritage? Natural heritage refers to fauna and flora, geology, landscape and landforms, and other natural resources. Cultural heritage refers to the legacy of physical artifacts and intangible attributes of a group or society: human-made heritage. There is no doubt that both natural and cultural heritage are being marketed by the Thai tourism industry. One just has to look at the myriad brochures and websites that picture temples and dancing along with forest and beaches. Second, what is a museum? According to the International Council on Museums (ICOM): « A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment. »4 Museums do not make profit, they are permanent, they are open to the public; they have collections. They preserve the collections through documentation, preventive preservation and conservation, they promote research on the collections and the heritage embodied within them and they communicate that heritage through exhibitions and activities. Second, what is museology? It is a discipline that has developed out of the study of museums and related institutions. With the establishment, in 1946, of the International Council on Museums (ICOM), a number of International Committees were formed over the years to bring together experts in the field of preservation of natural and cultural heritage. One of the committees was the International Committee for Museology (ICOFOM). In its own words, it describes itself as being « in charge of researching, studying and disseminating the theoretical basis of museology as an independent scientific discipline, critically analyzing the main trends of contemporary museology. » The primary definition of museology in the Key Concepts of Museology is simply the study of museums. However, from the 1980s onward, it was seen as a separate philosophical discipline. From the 1960s in Central and Eastern Europe, museology gradually came to be considered as a genuine field of scientific research (albeit a developing science) and an independent discipline examining reality. This view, which greatly influenced ICOFOM, the International Committee for Museology, in the years 1980-1990, presents museology as the study of a specific relationship between man and reality, a study in which museums, a phenomenon set in a specific time, are only one of the possible manifestations. Zbynek Stránský, a Czech museologist, stated « Museology is a self-differentiating, independent scientific discipline the subject of which is a specific attitude of man to reality expressed objectively in various museum forms throughout history, an expression of and a proportionate part of memory systems. Museology, by nature a social science, pertains to the sphere of mnemonic and documentary scientific disciplines, and contributes to the understanding of Man within society ».5 In this vein, it is interesting to explore how museology operates, generally, in the Thai context and, specifically, in Thai museums. The fact that museums are a main attraction for tourists in many other countries and, yet, routinely avoided in Thailand, is a fascinating situation. The lack of investment in and development of collections is also very interesting. The more successful “museums” are those that have few artifacts exhibited, no collection but have invested in large, impressive photographic and artistic representations of a pedagogical nature, similar to murals in the temple compounds. In fact, they often recreate an environment, like a theme park, the artifact being exhibited in context. The most successful museum in Thailand is the National Science Museum (องค การพิพิธภัณฑ วิทยาศาสตร แห งชาติ) [= Ongkan Phiphitthaphan Witthayasat haeng Chat] in Pathum Thani. In 2013, it was in the top 20 museums in terms of attendance in all of Asia, and the only one in Southeast Asia that made it on to the list, with over a million visitors.6 The most popular exhibits relate to the natural history collections, brought together for research, preservation and exhibition from collections created by government ministries and departments. In Chiang Mai, the most successful museum is the Chiang Mai Zoo. Yes, zoological parks are considered museums. What is not considered a museum, per se, is a temple. However, many temples function, in the Chiang Mai context, very much as a museum, preserving artifacts and documents in storage areas, researching their meaning and exhibiting them as well, on altars, in libraries and as murals on the walls.
4 http://icom.museum/the-vision/museum-definition/ 5 Key Concepts of Museology: http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf 6 http://www.teaconnect.org/pdf/TEAAECOM2013.pdf 5
Some temples also have separate museum buildings where the collections are shared, like that at Wat Ket (Wat Ket Karam) in Chiang Mai7 or at Wat Pong Sanuk in Lampang.8
Then we approach the term tourism. What is tourism? There is the classic definition: The business of providing services to tourists. A more contemporary definition relates to what we call “sustainable tourism”. Sustainable tourism is, according to the World Tourism Organization (UNWTO), defined conceptually as « development guidelines and management practices applicable to all forms of tourism in all types of destinations, including mass tourism and the various niche tourism segments. Sustainability principles refer to the environmental, economic, and socio-cultural aspects of tourism development, and a suitable balance must be established between these three dimensions to guarantee its long-term sustainability »9. The aim of sustainable tourism is to ensure that development brings a positive experience for local people, tourism companies and the tourists themselves.
The relationship between museums and tourism is clear in the Western world. In France, where entrance fees are paid, the visitor contributes around 100 million Euros to the support of an institution like the Louvre. Even specialty museums, like the Musée Guimet – a museum of Asian art – make up to 4 million euros per year. In the British Museum entrance is free, however, it has a £543 million endowment. Operating costs are around £44 million, which averages out to around £1.50 per tourist visit to the UK. This is supported through the government as a percentage of the direct income from tourism. The principle of government spending being linked to revenue in particular industries is an established international norm. In the case of Thailand, in 2013, approximately 5.1 billion THB was spent on cultural services to the tourism industry, approximately 12% of the direct tourism promotion budget of 40 billion THB. This represents approximately 3% of the direct income from travel and tourism based upon the promotion of natural and cultural heritage.
Museums in Chiang Mai As of June 25 of this year, there were 1,357 museums, national, regional and local, registered in Thailand.10 As mentioned above, the museum with the highest number of visitors was the National Science Museum. Most of its visitors were school groups. Other museums, closer to home here in Chiang Mai, received awards and recognition, although the number of visitors was minimal in comparison to other money making tourist attractions. They include the temple museum at Wat Pong Sanuk in Lampang – now an example and teaching space for temple museums in the north. In Chomthong District, the Ban Rai Phai Ngam museum also received notice.11 It is called by some agencies the "Pa Da Cotton Textile Museum" or "Aunt
7 The Wat Ket Karam (วัดเกตการาม) is on Charoenrat road which runs parallel to the Mae Ping river on the left bank. Records say it was built in 1428 and formerly named "Wat Saket" (วัดสระเกษ) and "Wat Ket Kaeo" (วัดเกศแก ว). In spite of a name now unfortunately romanized as "Wat Gate", this temple has nothing to do with a "gate" but with a "keṣa" or "hair" [of the Buddha], the main stupa being a representation of the Cūḷamaṇī Cetiya (in the Tāvatiṃsa Heaven) where a hair relic of the Buddha is said to be enshrined. The Wat Ket chedi has become a pilgrimage center for those born on the year of the Dog. As for the museum, a sign calls it "Wat Gate Khar Rham Museum"! See websites in English at: http://a.northernthailand.com/en/chiangmai-museums-art-a-antiques/museums-in-chiang-mai/345-wat-gate-museum.html; In Thai at: http://www.comingthailand.com/chiangmai/wat-katekaram.html; http://www.oknation.net/blog/print.php?id=189097; http://www.oknation.net/blog/print.php?id=456302. [Editor's note] 8 In Lampang, the Wat Pongsanuk is on the right side of the Mae Wang, i.e. in the former "capital" called "Khelang". It is supposed to have been built at the end of the 7th century by a son of the famous Chamathewi, Queen of Haripunchai/Lamphun. See websites in English at: http://www.thaiticketmajor.com/Travel-News/Wat-Pong-Sanuk:-Saving-a-millenia-old-temple-1899-en.html In Thai: http://www.manager.co.th/Local/ViewNews.aspx?NewsID=9510000136421 http://www.lampang.go.th/travel/weblp/page/page12.html http://www.thetrippacker.com/th/review/id/2456 [Editor's note] 9 http://sdt.unwto.org/content/about-us-5 10 See a database on Thai museums in Thailand at: http://www.sac.or.th/databases/museumdatabase/en/index.php [Editor's note] 11 The Ban Rai Phai Ngam Museum (พิพิธภัณฑ บ านไร ไผ งาม = Phiphitthaphan Ban Rai Phai Ngam) is located between Km.69 to 70 along Chiang Mai-Hot route. See websites in Thai: https://th- th.facebook.com/media/set/?set=a.290280001029589.67860.137490329641891&type=3 6
Da's Textile Museum" because it was established in honor of Saengda Bansit,12 weaver, founder of the Ban Rai Phai Ngam Women's Group (กลุ มแม บ านบ านไร ไผ งาม = Klum Mae Ban Ban Rai Phai Ngam), a group of naturally dyed cotton weavers, and then named "National Artist" in 1986. Beneath her historic home, the cooperative of weavers still produce traditional Lanna textiles. In addition, the Fine Arts Department (Krom Sinlapakorn) runs the 44 branches of the National Museum, conserves registered structures and objects, temples, archaeological and historic sites throughout the country. Chiang Mai is the headquarters of the Fine Arts Department Region 8. In 2013 it was given a budget of 124 million baht, which included renovation of the exhibitions at the Chiang Mai branch of the National Museum as well as conservation of registered sites and continued archaeological excavation and restoration – “for exhibition, development and conservation of cultural heritage”. Chiang Mai has a total of 112 registered museums in the province, with 68 in the Greater Chiang Mai area and 37 in the city itself. One would think that, with Chiang Mai being touted as the « Top Destination » by the Tourism Authority, one would expect a good number of the 2 million visitors here last year to visit the local National Museum. However, in fact, only 100,000 visitors were recorded and less than half of them were foreigners, just under 50,000 or around 135- 140 per day. Most of them were individual tourists, less than half came with tour companies or guides. The most popular museum was, of course, the Chiang Mai Arts & Cultural Center (หอศิลปวัฒนธรรมเมือง เชียงใหม = Ho Sinlapa Watthanatham Mueang Chiang Mai) at the 3 Kings monument.13 However, its number of tourist visitors did not reach 200,000 or 10% of those who came to Chiang Mai. There are many well-run and interesting museums and historic houses in Chiang Mai, but all of them were happy just to see someone come in. Perhaps the one that is the best equipped, but, least visited is the Bank of Thailand Museum. Its textile collection is of international importance, attracting academics from around the world. University museums have interesting collections used for research but it is often hard to contact someone to arrange access. Particularly since the Chinese film Lost in Thailand put Chiang Mai University on the map and they have been inundated by Chinese visitors, access has been strictly controlled. The Lanna Traditional House Museum (พิพิธภัณฑ เรือนโบราณล านนา = Phiphitthaphan ruean boran Lan Na) is just behind the University Art Center and is one of the best exhibitions of northern Thai architecture, but, rarely visited except by Lannaphiles looking for a place to hold a party.14 They may be rented for that purpose… it helps to pay for conservation. The Tribal Museum (พิพิธภัณฑ ชาวเขา = Phiphitthaphan Chao Khao)15 is open again after the fire some years ago and does get visitors heading out toward Mae Rim and Mae Taeng elephant camps. John Shaw’s collection of northern Thai ceramics is one of the most important in the country and also open to visitor, however, upon a recent visit, he shared that few come to see. He has a wonderful website and is one of the foremost experts on the subject, so, the visitor gets a great tour, but, few go to visit.16 Finally, the most popular museum in Chiang Mai is the Zoo, as I mentioned above. Natural history is of great interest, but, apart from the Huai Kaeo Arboretum (สวนรุกขชาติห วยแก ว = Suan Rukkhachat Huai Kaeo),17 and in Mae Rim District, the Queen Sirikit Botanical Garden (สวนพฤกษศาสตร สมเด็จพระนางเจ าสิริกิติ์ = Suan Phrueksasat Somdet Phra Nang Chao Sirikit),18 orchid farms and the Siam Insect-Zoo & Museum (สวนสัตว แมลงสยาม = Suan Sat Malaeng Sayam),19 there are few places to learn about http://www.thaiticketmajor.com/ข าวท องเที่ยว/ชมผ าฝ ายทอมือโบราณที่บ านไร ไผ งาม-พิพิธภัณฑ ผ าป าแสงดา-เชียงใหม -1371.html [Editor's note] 12 แสงดา บันสิทธิ์ (1919-1993), sometimes spelled "Sanda Bansit". See websites in Thai: In Thai: http://th.wikipedia.org/wiki/แสงดา_บัณสิทธิ์ http://www.culture.go.th/subculture3/images/M_images/Sangda.pdf http://www.khaosod.co.th/view_news.php?newsid=TUROamIyd3dNVEF6TURRMU5nPT0= [Editor's note] 13 See: http://www.cmocity.com/indexEng.html [Editor's note] 14 See in English: http://www.chiangmai.bangkok.com/attractions/lanna-traditional-house-museum.htm [Editor's note] In English and Thai: http://art-culture.cmu.ac.th/en/museum/lanna-traditional-houses-museum [Editor's note] 15 See in English: http://en.wikipedia.org/wiki/Tribal_Museum http://www.thailandsworld.com/index.cfm?p=339 In Thai: http://www.hilltribe.org/thai/museum/ http://www.youtube.com/watch?v=62QbAhMuho8 [Editor's note] 16 See: http://www.shawcollection.com [Editor's note] 17 https://th-th.facebook.com/RukkhchatiHwyKaeo [Editor's note] 18 See: http://en.wikipedia.org/wiki/Queen_Sirikit_Botanic_Garden [Editor's note] 19 See in English: http://www.malaeng.com/blog/ [Editor's note] 7 it. The National Science Museum had planned to open a branch up here in Chiang Mai, but, that budget has just been cut. One must ask the question in this context: how should museums and tourism come together? In the Global Code of Ethics for Tourism, enacted by the World Tourism Organization, there are 10 principles that should govern the tourism industry worldwide. The 4th principle deals specifically with the issue of cultural heritage. Tourism is characterized as a user of cultural heritage and a contributor to its enhancement. In particular, « Tourism policies and activities should be conducted with respect for the artistic, archaeological and cultural heritage, which they should protect and pass on to future generations; particular care should be devoted to preserving and upgrading monuments, shrines and museums as well as archaeological and historic sites which must be widely open to tourist visits; » and, germane to this issue, « Financial resources derived from visits to cultural sites and monuments should, at least in part, be used for the upkeep, safeguard, development and embellishment of this heritage. »20 This has been achieved in large part through tourism patronage of museums in the Western world. The tourism industry is a huge support to their work. So, what is the problem between museums and the tourism industry in Thailand, and, specifically in Chiang Mai and the North? One hears nothing but criticism of them when one asks why tour companies don’t patronize them. As a result, very little support is given to those institutions that preserve and protect natural and cultural heritage. To explore this issue, I take the example of a museum that was created to respond to the critics. It took 15 years of planning and implementation in a project, funded by the Tourist Authority of Thailand in reaction to the dissatisfaction of the tour companies. That museum is the Mae Fah Luang Art and Cultural Park (อุทยานศิลปะวัฒนธรรมแม ฟ าหลวง = Uthayan Sinlapa Watthanatham Mae Fa Luang). It was specifically conceived according to Thai museological concepts and is run according to international museum standards. And, yet, despite international recognition and official promotion, between January and June of 2014, it received only 1,186 foreign visitors, of whom only 207 came with tour companies.
An Example: the Mae Fah Luang Art and Cultural Park or the Rai Mae Fah Luang Located in Chiang Rai, 60 kilometers from the Golden Triangle, the Mae Fah Luang Art and Cultural Park (known as Rai Mae Fah Luang locally) is a cultural facility of the Mae Fah Luang Foundation, Under Royal Patronage.21 The Mae Fah Luang Foundation is a non-profit organization, created Under the Patronage of H.R.H. the Princess Mother, the late mother of H.M. the King of Thailand. Originally the location of a boarding residence for hill area students on scholarship, it evolved into a botanical garden and museum because it functioned as a locus of the cultural linkages that lay at the foundation of the social reality in the area. The Youth Leadership Program focused upon enhancing natural abilities and talents of gifted youth from remote villages and enriching the experience of the participants while they attended higher level educational institutions in town. A site was chosen on the outskirts of Chiang Rai in the village of Ban Pa Ngieo, a typical northern Thai community. At the edge of the village rice fields, the property included several huge cotton trees or ton ngieo,22 the tree after which the village had been named. In addition, a bodhi tree, the species under which the Buddha gained enlightenment and to which the villagers had traditionally offered their respects, was also located there. The land was thus deemed appropriate as a location for a Royal Foundation. The leadership of Ban Pa Ngieo took on the mantle of supporters and protectors of the Royal presence. Local government agencies cooperated with the Foundation’s development goals, including the use of equipment to clear and prepare the property for the facilities.
In Thai: http://www.reviewchiangmai.com/602 [Editor's note] 20 http://ethics.unwto.org/en/content/global-code-ethics-tourism 21 In English: http://www.maefahluang.org/index.php?option=com_flexicontent&view=items&cid=71%3Aeducation-attractions&id=113%3Amae-fah- luang-art-a-cultural-park&Itemid=113&lang=en In Thai: http://www.maefahluang.org/index.php?option=com_flexicontent&view=items&cid=71:education-attractions&id=113:mae-fah-luang-art-a- cultural-park&Itemid=113&lang=th [Editor's note] 22 "Ton ngieo" (ต นงิ้ว) may refer to several trees of the genus Bombax of which some are called "cotton tree" in English because it produces a capsule which contains white fibres looking like cotton. In Buddhist cultures, because its trunk bears spikes, this tree is known as the one which adulterous couples will have to climb again and again in hell for thousands of years. [Editor's note] 8
The first structure was built by hill area carpenters, beginning a long-term relationship between the northern Thai villagers of Ban Pa Ngieo and the sons and daughters of the hills. Gardening was a major activity for the student participants in their free time. They added to the botanical collection, bringing plants from their home villages. Dormitories in traditional wood and bamboo architecture, a kitchen and an open-air study pavilion were built in the garden. A library was donated to the project. The Royal presence inspired and motivated the people of Ban Pa Ngieo, who integrated their reception ceremonies with those of the hill people. The lawn and garden area around the ngieo tree became a focal point for ceremonies of respect which culminated in the revival of the traditional wai sa (ไหว สา) processional offering to honor royalty.23 This annual ceremony was held in conjunction with a festival of the arts and, through the years, revived Lanna arts by encouraging participation of northern Thai contemporary artists, writers and musicians, and led to what has now become known as the “Lanna Renaissance”. The wai sa ceremonies also enabled the development of a collection of cultural artifacts, which formed the core of the current collection at the museum. The Ho Kham (หอคำ), the first museum building, was funded by local people. "Ho Kham" means “Golden Pavilion”, a term used to refer to the locus of royal power in the Lanna princedoms, and is a kind of "prasat" (ปราสาท), a pavilion with a spired roof. The interior was modeled upon traditional temple storage buildings and the collection of religious and ceremonial artifacts was respectfully placed upon a raised shelf around the interior perimeter, with no barrier between them and the visitor, as they would have been perceived in the temple environment. Now over 20 years old, the building is beginning to be understood as an example of traditional preservation. It uses indigenous materials and ventilation techniques to control temperature and relative humidity. A digital model is under construction that is being used to evaluate the environmental data collected inside.
How did Rai Mae Fah Luang become a museum? Rai Mae Fah Luang illustrates the process of museogenesis. Museogenesis is a new theoretical concept conceived while working on this project. It is defined as the origin and development of museological thought in a specific cultural context. Museological thought comprises the ideas and theories surrounding the parameters of “the natural and cultural heritage, the activities concerned with the preservation and communication of this heritage, the institutional frame-work, and society as a whole” (Mensch 1992).24 Cultural context is defined by the webs of significance and systems of meaning which are the collective property of a group (See Geertz 1973).25 At Rai Mae Fah Luang, the Mae Fah Luang Foundation explores the symbolism attached to heritage, its management and use and the meaning society finds in this symbolic action. This exploration helps to discern the museological concepts inherent in the community. The principles and objectives of Rai Mae Fah Luang are as follows: fundamental principles: inspiration, creativity, enrichment; final objectives: generation, procreation and evolution of culture. The inspiration to build a Ho Kham at Rai Mae Fah Luang in Chiang Rai generated community consciousness and a sense of identity. This was borne out by the inaugural ceremony: phithi sueb chata or “life prolonging ritual” which was performed to preserve the traditional culture of the area. The Ho Kham allowed the procreation of a traditional approach to preservation. Enrichment of the Ho Kham with a contextual exhibition of sacred artifacts inspires respect, gives value to the intangible, reinforcing creativity, engendering evolution. Management is achieved through the function of facilitation, based in and inspired by principles of freedom and opportunity: kanruam mue (การร วมมือ) or cooperation. It includes the processes of Services, Public Relations, Evaluation and Co-ordination.
23 See modern renderings of wai sa rituals at: http://www.youtube.com/watch?v=LpFjPCumNz4 Or: http://www.youtube.com/watch?v=QMxigSPb_Ss [Editor's note] 24 Mensch, Peter van. (1992) Toward a Methodology of Museology, Ph.D. Thesis, University of Zagreb. Online at: http://www.muuseum.ee/en/erialane_areng/museoloogiaalane_ki/p_van_mensch_towar/mensch04/ 25 Geertz, Clifford. (1973) The Interpretation of Cultures, New York, Basic Books. Online at: http://monoskop.org/images/5/54/Geertz_Clifford_The_Interpretation_of_Cultures_Selected_Essays.pdf 9
Continuity is achieved through the function of experience, based in and inspired by principles of interaction, participation, giving/receiving: thinking together (ร วมกันคิด = ruam kan khit), acting together (ร วมกันทํา = ruam kan tham), exchanging (แลกเปลี่ยนกัน = laek plian kan). It includes the processes of Education, Exhibition, Ceremonies and the Arts. Preservation is achieved through the function of taking care, based in and inspired by principles of taking care (รักษา = raksa) and protection (คุ มครอง = khumkrong) It includes the processes of Collection, Documentation, Research, Conservation and Donation. The museological matrix is grounded in the three basic elements of the Rai Mae Fah Luang institutional structure: the Garden, the Museum an the Youth Leadership Program which bring together nature, artifacts and the human being. The institutional culture is grounded in the functions of facilitation, experiencing and taking care, all elements of local community culture. Rai Mae Fah Luang exemplifies a form of traditional museology, defined as the theory and practice concerning facilitation, experiencing, and taking care of the tangible and intangible culture. Theory is based in the intangible culture. It includes community interaction, participation and anticipation of needs, based upon principles of freedom, opportunity and responsibility. Practice is based in the tangible culture. It includes an acceptance of nature, merit-making and gift-giving, based upon principles of nurturing, creativity and enrichment. This definition accepts that culture is a foundation for sustainable development and that culture has both an intangible and tangible nature.
Management through Facilitation Rai Mae Fah Luang has been open to the public a little over 5 years. The facility is comprised of over 60 structures, plus the garden and the lake, in a total area of 216,000 square meters (135 rai). There is a staff of 60, around half are day laborers who work in the garden. The annual budget is 5,000,000 Baht. Eighty-five percent (85%) of the budget is generated onsite. The remaining fifteen percent (15%) comes from the Mae Fah Luang Foundation operating budget. It is estimated that a 10% increase over the current visitor numbers will allow Rai Mae Fah Luang to become completely self-supporting as it is currently staffed and organized. The achievement of self-sufficiency is seen as a confirmation that the museum is properly grounded in museological principles of the underlying culture. As the culture is sustainable, so is the museum. Facilitation starts within. Meetings are held around an open table and begin with sharing: a cool drink, an unusual flower, a rare object, a newspaper clipping, a book. The first order of business is the calendar of the events. The discussion fleshes out the role of each. Problems are only discussed if they produce work conflicts, otherwise, all are required to find their own solutions. Ethics, however, are actively discussed in the process of evaluation, particularly in so far as they exemplify a point of interaction with the community. The work ethic is posted above the office door: Tham ngan chai mue samong lae hua chai (ทํางาน ใช มือ สมอง เเละหัวใจ) : “When you work, use your hands, your intellect and your heart”. Everyone works as a team; a coordinator is designated for each event. The position rotates among the permanent staff, giving all a chance to experience facilitation and coordination. Depending upon the current workload and schedule, senior staff may assist in a creative or concrete way: a flower arrangement, working sound equipment, greeting guests, or not at all, according to the discretion of the coordinator. Priority is given to delegating responsibility and performance with perfect courtesy to all. Because the basic principles of management are freedom and opportunity, all offers are considered and opportunities to work cooperatively with community members or institutions are valued. Because donations to the Foundation are a way of making merit, the city and provincial officials are always ready to help with maintenance needs that cannot be met through the budget or an outside donation. An example is the cooperation with the local fire department. Because the collection is mostly wood and all the buildings are either completely or partly made of wood, fire is an important hazard. The fire department does regular drills and training with all staff. The lake is our source of water and pumps and hoses are stationed strategically around the facility. The department also inspects and helps maintain the equipment as a community service. Another example is maintenance of the roads and walkways. Once a year, the public works department of the city government comes in to repair them. Problems are seen as challenges; working out the problem is part of
10 the work ethic. An example is the requirement that all performing arts exhibitions be creatively different; we do not do the same program twice. This is a challenge for our electrical engineer who has to plan and reinstall the lighting for almost every event, using limited resources. Self-evaluation is expected in the meeting following each large event.
Continuity through Experiencing The function of experiencing is based in the principles of interaction, participation and giving and receiving. Educational activities include interaction with teachers to achieve the goals of student visits. Exhibits are at a level accessible to children. Opportunities are provided for students to take leadership roles in the activities planned for the visit. Exhibitions have and generate meaning, whether by context or creative juxtaposition. Symbolism is used by incorporating elements of ritual in the exhibition. Sacred space is always sacred and never used for any other purpose. This ensures the preservation of the mechanisms of respect, in the final instance, our best security. The Ho Kham has no barriers between the objects and the visitors and, to date, we have had no untoward incidents The process of exhibition is seen as a dynamic one. The placement of an artifact is related to the effect it has upon the visitor and the community. Phra Phra To, the presiding Buddha image in the Ho Kham, is situated behind a candelabra (sattaphan) which is placed in front of the space used to perform the traditional ritual of respect. The context obliges the visitor to view the Buddha image and one’s relationship to the universe through the lens of the cosmic symbolism of the sattaphan, reinforcing a concept before it is elaborated by the guide. Of course, this is only consciously done by those Buddhists who do bow when they step into the Ho Kham, however, one also notices a reaction on the part of the non-Buddhist visitor. The white sand draws the eyes down as one approaches the door and the upward movement of the cosmic models of the sattaphan and the prasat lead the eyes to the Buddha image residing within. In the case of the sculpture of H.R.H. the Princess Mother, placed in a natural setting as intended, the exhibit has become a focal point for ceremonies. An annual memorial procession takes place in which the Foundation and all the government and community entities in Chiang Rai participate. It has become a moving ritual of performing arts and flower offerings, all presided over by H.R.H. herself. Offering traditional flower arrangements from all sectors of the society and many sub-cultures has generated creativity and the evolution of forms. Holding the ceremony achieves several goals. It serves the purposes of memorialization and memory. It gives meaning and history to the sculpture. It brings the community together in a social event that encourages interaction and innovation through preparation in terms of costume, offerings and performance. The staff of Rai Mae Fah Luang also participate in the community as part of giving and receiving. Artifacts from the collection are often incorporated into these events as part of the nurturing process. Sharing encourages donation and donations have made up a large part of our collecting process. The annual New Year procession in Ban Pa Ngieo is an important event on the calendar. Rai Mae Fah Luang helped to facilitate the cremation of the most revered monk of the village temple by doing research on traditions related to such cremations and revived the use of the Nok Hatsadiling in Chiang Rai.26 One now sees it memorialized upon the new structures in temples around the province. The museum is cooperating with the city government to produce 9 new carriages (one each year, now up to 6) for the annual Buddha image procession. The production of the royal carriage (ratcharot) requires research, artistic design and technical expertise which is facilitated by Rai Mae Fah Luang. The carriages are also housed and maintained by the museum. Finally, in the field of community museums, Rai Mae Fah Luang has received visits from and provided assistance to those in the process of development. The latest project was cooperation with Wat Phra Kaeo in Chiang Rai to catalogue, clean, and exhibit the artifacts in their collection.
Preservation through Taking Care At the core of the museum lie the essential processes of collection, documentation, research and conservation. Rai Mae Fah Luang has both a botanical collection and a collection of artifacts. It also has a photographic archive of activities related to events in the last 30 years, documenting the process of
26 See Editor's note on Nok Hatsadiling below. 11 museogenesis. Based in the principles of nurturing and protecting, objects, information, associated documentation, processes of preserving and ensuring the generation and evolution of meaning are founded in the meticulous systems of collection management and documentation developed at Rai Mae Fah Luang. Employing paraprofessionals who have been chosen for their ability to achieve competency in museum technique, their experience and training are obtained onsite. Research has begun on forms and motifs in the artifacts to draw up stylistic profiles. Finally, a conservation department has been founded and workshops held with the Department of Fine Arts to develop capacity to clean and conserve the collection.
Conclusion
In conclusion, there is no doubt but that the travel and tourism industry is of great financial benefit to the national economy. In addition, it is clear that the tourism industry is also benefiting from the promotion of natural and cultural heritage. It is also clear that the UN World Travel Organization Code of Ethics requires that the tourism industry support those institutions that preserve and protect this heritage. Yet, despite cashing in, in general, on cultural heritage in the country, the tourism industry returns little to museums, even when they are specifically designed to respond to criticisms voiced by that same industry. One can only hope that the industry can re-evaluate its domestic base, its target audience and work together with heritage entities to achieve the joint aim of preservation. This will be a positive outcome that will benefit Thai and foreign visitors alike.
Reference: Weldon Sithiwong, R. (2004) "Museogenesis in Siam", unpublished paper, Theoretical Museology, Reinwardt Academie, Amsterdam.
Editor's note about "Nok Hatsadiling" Nok Hatsadiling = nok/นก (bird) + hatsadi/หัสดี (éléphant) + ling/ลิงค (gender) = "elephant-bird", actually a bird with an elephant trunk. According to a tradition reported in the Northeast of Thailand, the mythical and flesh- eating bird with an elephant's trunk—Nok Hatsadiling—is said to have once upon a time taken away the corpse of a king (in Siang Rung) who was being pulled to the cremation ground, so preventing him to reach heavens or eventually Nirvana. The King's daughter finally managed to shot the bird down, retrieve her father's body, give him a proper cremation, thus initiating the custom of bringing royal bodies, and then members of the nobility, monks of rank or of good repute, to the cremation ground on an elephant-headed bird.
Articles and books: This tale was translated in French by Dr Jean Brengues and published in the Bulletin de l'Ecole française d'Extrême- Orient, Tome 4, 1904. pp. 734-736. This article is perhaps the first description of a funeral with a Nok Hatsadiling to be found in a western language: Dr Jean Brengues, "Les cérémonies funéraires à Ubon", Bulletin de l'Ecole française d'Extrême-Orient. Tome 4, 1904. pp. 730-736. Available online at: http://www.persee.fr/web/revues/home/prescript/article/befeo_0336-1519_1904_num_4_1_1368
อรรถ นันทจักร. การปลงศพแบบนกหัสดีลิงค . มหาสารคาม [At Nanthachak. Kan plong sop baep Nok Hatsadiling. Mahasarakham [n.d.]] [Chiang Mai EFEO library Call: THAI. T. ANTHR. 0754 : Inv. LG 28477]
อรรถ นันทจักร (บรรณาธิการ). รวมบทความว าด วย “นกหัสดีลิงค ”, เนื่องในงาน พระราชทานเพลิงศพ เจ าคุณ อาริยานุวัตร (เขมจารี) ๗ เมษายน ๒๕๓๖, มหาสารคาม [At Nanthachak (Bannathikan). Ruam bot khwam wa duai "Nok hatasiling", nueang nai ngan phra ratchathan phloeng sop chao khun Ariyanuwat (Khemajārī), 7 mesayon
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2536/1993, Mahasarakham] [Chiang Mai EFEO library Call: THAI. T. B. GEN. 4030 : Inv. LG 16161]
ทิว วิชัยขัทคะ. "นกหัสดิลิงค " [A series of articles published in Thai News: 18/05/2531; 22/05/2531; 24/05/2531; 25/05/2531; 26/05/2531; 30/05/2531; 31/05/2531; 30/06/2531; 01/07/2531] [Thiu Wichaikhatkha. "Nok Hatsadiling". 2531/1988] [Chiang Mai EFEO library Call: THAI. T. B. Gen. 3203 : Inv. LG 12256]
อภิปรัชญ คืนดี. ตํานานนกหัสดีลิงค . เชียงใหม 2548 [Aphiprat Khuendi. Tamnan nok Hatasadiling. Chiang Mai 2548/2005] [Chiang Mai EFEO library Call: THAI. T. ANTHR. 0954 : Inv. LG 32649]
อภิธาน สมไจ. งานศพล านนา ปราสาทนกหัสดิลิงค สู ไม ศพ, สถาบันวิจัยสังคม มหาวิทยาลัยเชียงใหม , เชียงใหม , 2541 [Aphithan Somchai. Ngan sop Lan Na: Prasat Nok Hatsadiling su mai sop. Sathaban wichai sangkhom, Mahawitthayalai Chiang Mai, Chiang Mai, 2008] [Chiang Mai EFEO library Call: THAI. T. ANTHR. 0012 : Inv. EFCM 05482]
อภิธาน สมไจ. ปราสาทนกหัสดิลิงค สู ไม ศพ, สถาบันวิจัยสังคม มหาวิทยาลัยเชียงใหม , เชียงใหม , 2551 [Aphithan Somchai. Prasat Nok Hatsadiling su mai sop. Sathaban wichai sangkhom, Mahawitthayalai Chiang Mai, Chiang Mai, 2008]
จดหมายเหตุ พญานกหัสดีลิงค . การออกเมรุ พระราชทานพลิงศพ พระพุทธพจนวราภรณ (จันทร กุสโล) วันที่ ๑๕ ๑๙ มกราคม ๒๕๕๓ [Chotmaihet Phaya Nok Hasadiling. Kan ok men phraratchathan phloeng sop Phraphutthaphotchanawaraphon (Chan Kusalo) wan thi 15 mokkarakhom 2553/2010]
วีรชน อคฺคธมฺโม, พระมหา (คาสอนพันธ ). คุณค าประเพณีปอยล อล านนา : กรณีศึกษาพระครูการุณยธรรมนิวาส (หลวงปู หลวง กตปุญโญ) = Value of Poi-law in Lanna: a case study of Phra Khru Garoonyathammaniwas (Laung Poo Laungkatapunyo), วิทยานิพนธ [...] มหาวิทยาลัยมหาจุฬาลงกรณราชวิทยาลัย, ๒๕๕๔. [Wirachon Aggathammo, Phra Maha (Khasonphan). Khunkha prapheni Poi lo Lan Na : korani sueksa Phra Khru Karunayathammaniwat (Luang Pu Katapuñño). Witthayaniphon [...] Mahachulalongkon ratchawitthayalai, 2554/2011] - Available online at: http://www.mcu.ac.th/userfiles/file/library1/Thesis/1292554.pdf
กาญจนา ชินนาค. "นกหัสดีลิงค: การวิเคราะห ทางมานุษยวิทยา - Husadilingu or Mythical Bird: Anthropological Analysis", วารสารวิชาการ คณะมนุษยศาสตร และ สังคมศาสตร , ป ที่ 3 ฉบับท 1 (มกราคม- มิถุนายน 2550), หน า 52-72. [Kanchana Chinnak. "Nok Hatasadiling: kanwikhro thang manutsayawitthaya", Jounal of Humanities and Social Sciences, Prince of Songkhla University, Pattani, 3/1 (2007), p. 52-72]. - Available online at: http://human.pn.psu.ac.th/ojs/index.php/eJHUSO/article/viewFile/18/28
Websites: http://guideubon.com/news/view.php?t=34&s_id=55&d_id=55 http://guideubon.com/news/view.php?t=34&s_id=52&d_id=52 http://www.guideubon.com/news/view.php?t=34&s_id=52&d_id=52&page=2 http://phichetchai.blogspot.com/2012/05/blog-post_31.html
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YouTube offers now many opportunities to view some spectacular Nok Hatsadiling. See for example one in Mukdahan Province: http://www.youtube.com/watch?v=JikvQ4Qxx3w For those who understand Thai or better Northern Thai language a very beautifully sung hommage to a monk is online at: http://www.youtube.com/watch?v=YTDRTTVQK1s
2. NEXT TALK (381ST): TUESDAY, 9 SEPTEMBER, 2014, 7:30 PM “THE TEN PRINCIPLES OF FAIR TRADE” A TALK BY CHRISTINE GENT
The Talk:
The Ten Principles of Fair Trade - How they have evolved from a system based on trust to that of a robust certified guarantee system, and how they apply to the Fair Trade Organizations of Thailand.
This talk will explain the development of the World Fair Trade Organization principles of Fair Trade. These principles were developed by the members themselves - all dedicated to Fair Trade - some producers and others working with import, wholesale and retail. Many of these trading relationships were started based on trust, and are now being converted to a system with external verification. The auditor examines the whole organization rather than the product and so differs from the dominant models of Fair Trade.
What are the benefits and losses of migrating from the trust based model to external auditing? With over 400 organizations recognized globally and over 120 of these in Asia, all the organizations are now completing this process, including those based in Thailand. The talk is illustrated by the experience of the Northern Thai groups as they work to complete the process and resolve the challenges.
The speaker:
Christine Gent has an outstanding track record in Fair Trade and is one of the “originals” in the field. A designer and expert on the crafts, she has worked as a consultant to many Fair Trade and UN bodies since 1986, and spent eight years as Ethical Trade Development Manager at the Body Shop. She has extensive experience of working across the Indian sub-continent, Central America and Asia working with and training product suppliers on product development, production planning, quality and business management issues. Founder of Fairly Covered, and non-executive director of People Tree UK, she is now Executive Director of World Fair Trade Organization-Asia, representing the 120 WFTO members based in 19 Asian countries, and in the process of setting up the Asian regional office in Northern Thailand.
Publications:
Braithwaite P. & Gent C., (2006) Chapter for Business Unusual ‘Unpicking the Threads’ FLO, IFAT, NEWS, EFTA Braithwaite P. & Gent C., (2005), Cotton Value Chain Analysis, FLO, IFAT, NEWS, EFTA Co-produced, ‘Delivering the Goods’ handbook for Fair Trade suppliers to The Body Shop.
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3. ANNOUNCEMENT: 1ST INTERNATIONAL CONFERENCE ON ASIAN HIGHLAND NATURAL RESOURCES MANAGEMENT (ASIAHILAND) - THE EMPRESS HOTEL, CHIANG MAI, THAILAND, JANUARY 7TH TO 9TH, 2015
Lindsay Falvey (INTG speaker, and Director of the Institute for International Development, Hackney Adelaide) draws our attention to the:
1st International Conference on Asian Highland Natural Resources Management (AsiaHiLand)
to be held at The Empress Hotel, Chiang Mai, Thailand, January 7th to 9th, 2015
Rationale
Highland areas are not only sensitive ecosystems but they are also the home of a vast ethnic and cultural diversity. They also provide important ecological functions such as supplying water and conserving biodiversity, economic functions such as supplying food and attracting tourists, and social functions in being the home people, often belonging to ethnic minorities with distinct culture and traditions. Often marginalized in the national development, highland areas nowadays face the problem of poverty and low education. By exploitation of their natural resources – which are often their only endowment – highland communities often deprive themselves of their livelihoods. Moreover, through their influence on interconnected eco-systems and the regional food trade highlands have a strong influence on the environment and the health of the nation as a whole.
The contribution of the scientific community to sustainable management of resources in mountain areas is the development of systems and innovations, which help highland bio economies to conserve the natural richness of the environment and – at the same time – optimize the income for the people in the highlands. These developments include low emission agriculture in terms of air and water pollution, as well as social equity in development and protection of the natural diversity.
See all details at: http://www.asiahiland2014.agri.cmu.ac.th
4. List of FUTURE INTG MEETINGS: SEPTEMBER 9, 2014
381st Meeting : Tuesday, 9 September, 2014, 7:30 pm : “The Ten Principles of Fair Trade”. A Talk by Christine Gent.
5. INTG CONTACTS : Convenor - Secretary - Website
1) Convenor : Rebecca Weldon : e-mail : < [email protected]>. Mobile : 087 193 67 67. 2) Secretary : Louis Gabaude : e-mail :
Thank you for posting the following announcements wherever you can!
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Informal Northern Thai Group (INTG) 29 years of Talks!
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The Ten Principles of Fair Trade
A Talk by Christine Gent
Tuesday 9 September, 2014, 7:30 pm
At the ALLIANCE FRANÇAISE
131, Charoen Prathet Road, Chiang Mai, opposite the EFEO