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The Participatory We-Self: Ethnicity and Music In THE PARTICIPATORY WE-SELF: ETHNICITY AND MUSIC IN NORTHERN THAILAND A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITYOF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC AUGUST 2017 By Benjamin Stuart Fairfield Dissertation Committee: Frederick Lau, Chairperson Ricardo D. Trimillos R. Anderson Sutton Paul Lavy Barbara W. Andaya Keywords: Northern Thailand, Participatory Music, Lanna, Karen, Lahu, Akha i ABSTRACT The 20th century consolidation of Bangkok’s central rule over the northern Lanna kingdom and its outliers significantly impacted and retrospectively continues to shape regional identities, influencing not just khon mueang northerners but also ethnic highlanders including the Karen, Akha, Lahu, and others. Scholars highlight the importance and emergence of northern Thai “Lanna” identity and its fashioning via performance, specifically in relation to a modernizing and encroaching central Thai state, yet northern-focused studies tend to grant highland groups only cursory mention. Grounded in ethnographic field research on participatory musical application and Mihalyi Csikszentmihalyi’s notion of “flow”, this dissertation examines four case studies of musical engagements in the north as it specifically relates to ethnic, political, and autoethnographic positioning, narratives, and group formulation. In examining the inclusive and exclusive participatory nature of musical expression within various ethnic and local performances in the north, I show how identity construction and social synchrony, achieved via “flow,” sit at the heart of debates over authenticity, continuity, and ethnic destiny. This especially happens within and is complicated by the process of participatory musical traditions, where Thongchai Winichakul’s “we-self” is felt, synchronized, distinguished, and imagined as extending beyond the local performance in shared musical space across borders and through time—even as the “other” is present and necessary for the distinguishing act of ethnic formalization. Though wide-ranging differences persist among the many ethnic groups of the north, they share a common resistance to central “Thainess” and construct this via participatory musical engagement. Regional, local, indigenous, or ethnic identities here are thus formulated through sanuk, the enjoyment of participation, a process of “flow” that enables strong emotional bonds while also potentially exposing communities as fragile, ambiguous, and negotiable. ii ACKNOWLEDGEMENTS In my many years as a graduate student, never have I operated on the assumption that I deserve full credit for “my” accomplishments. As Sondheim reminds us, truly no one is alone. I am indebted to so many who have helped make this work possible. I am ever grateful to the East- West Center for the fellowship (financial, professional, and social) opportunities. This research and fieldwork was also made possible by funds from the Arts and Sciences Student Research Award, the John Young Memorial Scholarship for the Arts, the Foreign Language and Area Studies (FLAS) language grant, the Moscotti Fellowship for Graduate Studies of Southeast Asia, and various scholarship funds from the Music Department at the University of Hawai‘i at Mānoa (Fritz Hart Memorial Scholarship, Donald Matsumori Grant, William Pfeiffer Memorial Scholarship, and the Stephenson Endowed Music Scholarship). To the many friends, neighbors, colleagues, and co-workers in Thailand throughout the last 10 years, I am forever grateful, inspired by, and quite frankly awed by the level of hospitality you offer to others. My colleagues at the Sub-district Administrative Organization of Monjong taught me patience, perseverance, culture, language, and so much more. May, A, Sanei, Mayuree, Amnuay, Ek, Phot, Phan, Nok, Tim, Taek, Nok #2, Chang, Wut, Yaa, Prasert, Suthep, Nim, Thip, and Chaba, I am forever grateful to have had the opportunity to get to know you and your community. Your work and your play (not that they were ever truly divided) inspired me to become more jai yen and seek to understand the meaning and value of mai pen rai. The ever- organized and ordered staff members and affiliated alumni of Khristajak Huay Nam Khao – Somsak, Amphon, “Max,” Pula, Ela, Chi-chi, and so many others – continue to impress me with their dedication to building a better world (with music acting as an integral part). To my good friend and colleague, Chi Suwichan Phattanaphraiwan, I celebrate our mutual accomplishments, iii cherish our collaborations, am amazed at your tireless work to mediate between multiple entities, and look forward to continuing our partnership. Ja-Thaw and Ja-le, I thank you for the warm welcome and the hot tea. And Aju Jupoh is just cool. Plain and simple. It is an honor to know him and to supply him with mangos. I hope I have brought honor to Khru Tom and Khru Aed as a student. Their dedication to their students and Lanna music is inspiring, and I love seeing all the new developments as we stay connected online. Thanks especially to Ajaan Jaroon at Chiang Mai University for introducing us and supporting my endeavors. Chair, thank you for your knowledge, your thoughtfulness, your music, your friendship, and the tenaku. It was a pain to bring back on the plane, but my students love it, and it will remind me always of our journeys together. Special thanks to Khun Alisa at Payap University Archives, who gave me more to read than I could possibly absorb in a lifetime. One final word of thanks goes to our adopted family in Thi Wa Klo: Min, Mayuree, Gift, Pawn, and Waew, you are a wonderful example of trust, hard work, love, and support, and you always make us feel we are home. I’ll be back out there alongside you in your rice fields as soon as my back is working again (7 years of computer posture has wrecked me). คิดถึงทุกคนนะครับ ไม่เคยมีวันลืม! The faculty at the Music Department have also been extremely supportive of this academic endeavor. I can only hope that I have contributed back a fraction in service as a graduate assistant compared to what I have received in opportunity. Thanks especially to Dr. Fred Lau, an excellent mentor and guide who continually pushed me, trusted me, advocated for me, and maintained high expectations throughout this process. Mahalo to Professor Barbara Smith, who founded the ethnomusicology program and continues to guide students by word and example with her keen eye for details and dedication to music here, there, and everywhere. Thanks to Drs. Jane Moulin, Kate McQuiston, Takuma Itoh, and Leslie Wright for the iv opportunity to expand my applications of music and rapport with undergrad students. Each of them helped me to see how our field is intertwined with musicology and applicable across the board. Thanks to Drs. Ric Trimillos, Andy Sutton, Paul Lavy, and Barbara Andaya for the careful readings and insightful comments on this and other earlier works. I am inspired by the breadth of their knowledge and strive to follow their lead. To my student peers and soon-to-be PhDs at UH and abroad – especially Aaron Salā, Larry Catungal, Kirk Sullivan, Kuan Yuan-yu, Heather Strohschein, Yi-Chieh Lai, Candi Steiner, Aaron Singer – I am thankful for the conversations, inspiration, friendly competition, and guidance. You have all encouraged me in ways you may not even realize. Most importantly, this work would never have been initiated, sustained, or finished were it not for the support, patience, and encouragement of my wife, Dr. Lisa Chuang. Her dedication to her studies, her students, and her family is simply incredible. Thailand would not be anywhere near as sanuk without her at my side. There is no one I would rather share these journeys with. Thank you, everyone. v TABLE OF CONTENTS ABSTRACT………………………………………………………………………………. ii ACKNOLWEDGEMENTS………………………………………………………………. iii TABLE OF CONTENTS…………………………………………………………………. v LIST OF FIGURES………………………………………………………………………. x CD TRACKS……………………………………………………………………………... xii CHAPTER ONE: INTRODUCTION…………………………………………………….. 1 Introduction………………………………………………………………………… 1 Literature Review………………………………………………………………….. 5 Ethnographic & Historical Background…………………………………………… 13 Methodology……………………………………………………………………….. 18 Ethnographic Sources………….………………………………………………... 20 Musical Transcription…………………………………………………………… 23 Significance………………………………………………………………………... 23 CHAPTER TWO: LANNA HERITAGE AND THE MUSICAL CONSTRUCTION OF THE MU-HAO (WE-SELF): IMAGINING NORTHERN THAILAND THROUGH PARTICIPATORY MUSIC……………………………………………………………… 28 Introduction………………………………………………………………………… 28 Karaoke: The National and Regional in Song……………………………………... 29 Floating Down the Ping River: Mountains, Flowers, Instruments, & Love Stories.. 38 Long Mae Ping, Take Two: The Invasion…………………………………………. 43 Lanna History (1296-1896, or 1932)………………………………………………. 45 Bring Back the Music……………………………………………………………… 52 vi Music as Social Life: Participating in and Performing the North………………….. 52 Pillar of the North: Sao Inthakhin………………………………………………….. 54 The “Normenon” and the Nation…………………………………………………... 61 CHAPTER THREE: SOCIAL SYNCHRONY AND SYNCOPATION: ETHNIC MUSIC, ACTIVISM, TRADITION, AND PARTICIPATION AMONG THE KAREN IN NORTHERN THAILAND……………………………………………………………. 65 Introduction………………………………………………………………………… 65 Presenting the Karen: Three Exhibits……………………………………………… 66 Tribal Museum, Chiang Mai (A Thai Government Perspective)……………… 66 Ban Tong Luang, Mae Rim (A Local Perspective)……………………………. 71 East-West Center’s Songs of Memory Exhibit (A Karen
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