THE EVOLUTION OF witnessed significant changes from ENTERTAINMENT sacredness to publicity, while the theme have been based so much on daily life activities CULTURE IN THAI that performing artists could really earn their SOCIETY: FROM own livings using their skills and diversify the SACREDNESS TO forms ofperformances more than in the past. POPULARITY1 The critical change in entertainment culture 2 occurred during the reign of King V, ~atarawdee Puchadapirom when the general public began to be able to select and pay for its entertainment. Abstract Consumer behavior has dictated the creation of the modern musical and performing arts. Associated with the religious, The royal court and high dignitaries played animistic, and ritual aspects in an important role in assimilating European everyone's lifestyle, entertainment culture in Thai performances, resulting in culture has evolved to meet the lakom duk-damban (song and dance drama audience's changing preferences and with soft music) and piphat duk-damban different social status in each era. (orchestra with pipes). The standard practice Whether for the royal court or the of royal court entertainment was established commoners, both forms of entertain• and handed down. ment were found complementing each other, resulting in its legacy and Introduction creation ofa new variety. Wathanatham kwam banthoeng 1s a Economic growth not only conveyed compound word combining the terms wealth to people but also produced an 'entertainment' and 'culture'. It refers to increase in entertainment entertainment customs and civilization for performances. In the present public enjoyment. Ratanakosin period, entertainment has Coined in the era of Field Marshal Pibulsongkram, the term wathanatham, 1 As part of my Ph.D. dissertation, The known as 'culture', was defined according to Transformation ofEntertainment Culture the 1942 Culture Act as 'characters that in Society from 1948 to 1975, this indicate cultivation, refmement, perfect article would not have been possible harmony, progress, and morality of the without considerable help and valuable people'. Technically it means 'collective guidance from Associate Professor Dr. behaviors as well as learnt and shared Dhida Saraya, my advisor, and Dr. Sunait knowledge within their own group' (Royal Chutintaranond, my co-advisor. Dr. Dhida Institute Dictionary, 1982: 7). Saraya and I acknowledge the financial support of the Research Fund through the Royal Golden Jubilee Ph.D. Today, wathanatham also indicates the Program [PHD/0 124/254 7]. development of people's ways of living in 2 Lecturer, Department of Music, Faculty society and their expressions regarding of Fine and Applied Arts, livelihood, art, and entertainment preferences. University

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Defined m the Royal Institute Chancellor Somdej Chaophraya Borommaha Dictionary, 1999, wathanatham, or Srisuriyawong (Chuang Bunnag); and Chao 'culture' consists of 'things that create Phraya Thipakornwong, author of Kitjanukit, collective development, i.e., clothing a religion-and-science question-and-answer culture, collective lifestyles such as book published during the reign of King folklore, hill-tribe culture' (2003: Rama IV. 1058). Since culture has to be taught and cultivated, it is associated with a Siam not only embraced European but also particular society, assembles their adopted to Anglicisms such as the term thoughts, beliefs, and traditions, and sivilai, which refers to a cultivated, refmed, conveys these to said society. and modernized culture similar to the Western world's. According to M.R. Kratai Originally, banthoeng means to Rajothai, a linguist in the reign of King Rama entertain for exuberance. In Bradley's V, the term sivilai was associated with the Dictionary of the Siamese Language modem way of life: '[... ] King Rama IV is (1971: 365), kwam banthoeng refers to such an expert in European affairs [ ... ] that 'the joy of the heart', whereas the the sivilai custom came to Siam [ ... ] In the Royal Institute Dictionary of 1999 reign of King Rama V, our customs have defines the term banthoeng as already improved similarly to the European's. 'cheerful, merry, (v.) to entertain, e.g., So what good there is to ask for the swift 'raikan banthoeng' (entertainment civilization of the country?' (Siam Pra-Peth, program)' (2003: 617). vol. II, quoted in Dhida Saraya, 1996: 152)

In brief, wathanatham kwam Apart from modeling after some European banthoeng, or 'entertainment culture' countries, the royal court and high dignitaries in English, indicates the merry preferred to show off the national civilization performances which are parts of through traditional performing and musical people's life with various forms arts which were highly regarded in the depending on their lifestyles, Occident. In 1886, a Siamese ensemble was surroundings, and time span. sent to perform at an exhibition in England. To refer to an advanced stage of social In the beginning, as far as the terms development, the term arayatham was later advancement or civilization were adopted, and promotion and support were concerned, people usually associated poured into the court's performing and them with Chinese and Indian musical arts, an attestation to royal civilization. As trade and other civilization. From King Rama VI's speech, relationships with Europe prospered, ' the country which means to be completely especially in the Ratanakosin period, civilized needs to be merry' some foreign groups .were brought in to (Naikuadhumprae, 1918: 39). Therefore, the settle down in Bangkok, evangelize, performing and musical arts were brought in and teach so much art and science that to highlight the country's progress. the advanced knowledge and technology became talking issues Aimed at studying the evolution of among the members of high society: entertainment culture, this article will discern King Rama IV, then the crown prince; the aspects of musical and performing arts Luang Nai Sith, who later became

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that reflect long-developed Siamese mong khrum, rabeng, kra-ua thang kwai, cultural aesthetics in different social yuan ram khom. 4 backgrounds. In the early Ratanakosin period, various Records of the term dontri date back to amusements in the royal celebrations to the Sukhothai period. It refers to entertain fairgoers were also called musical performances both for pure mahorasop. According to Bradley (1971: pleasure and for ritual accompaniment 508), mahorasop was 'the celebration in the in the animistic belief system. royal funeral such as Icing's funeral', while (Prachoom Silacharuk part I, 1977: today its meaning has been reduced to joyous 66). Associated with several daily life performances, e.g., khan, lakorn' (Royal activities in terms of faith and rituals, Institute Dictionary 1982, 2003: 837). musical arts have witnessed a long development through the evolution of Of any other origins than pure enjoyment, the musical instruments and typical group court and public musical and staged performances. However, in the early performances were meant to accompany Ratanakosin period, ensembles religious rituals. Forced afterwards to recede including stringed instruments and a from solemn events, they were targeted to tuned percussion ensemble, or piphat/ satisfy a wider public. Based on the historical as a whole were called dontri, as in the approach, derived from the concept of expression prakom dontri, which meant changing consumption, the paradigm shift 'to play music' (Bradley, 1971: 217). from solemnization to public entertainment Although more definitions have been led to new entertainment folklore. Gaining a added over time, dontri has the same wider popularity among commoners, certain meaning of sensational melodies and kinds of musical and performing arts required singing (Royal Institute Dictionary, professional performers as well as a larger 1982: 394). variety of performances. As a result, a modem development opportunity was Having been mentioned since the permitted to create various kinds of ensemble Ayutthaya period, the term mahorasop and epic performances such as khan, nang, refers to festivities provided by the hun, lakhorn phun-thang 'historical setting royal court in each ceremony. Coming dance drama', li-kay 'popular folk drama', in the form of performing arts, they lakhorn duk-damban ' song and dance drama include khan 'masked play', hun with soft music' , and lakhorn rang 'dance 'puppet show', lakhorn 'dance drama', drama operetta'. Studying the evolution of nang yai 'shadow play', ngiu 'Chinese entertainment culture from the dawn of Thai opera', tai luat 'tightrope acrobatics', history to the reign of King Rama V, this article will cover the many crucial phases, the substantial growth, and the promotion of royal performing arts as a cultural inheritance 3 Piphat is a used to that underscored the country's civilization. play in rituals and in supporting performances. The early ensemble of pip hat was called pip hat khrueng har, or five instruments ; pip hat consists ofpi 'oboe', ranad-ek 'xylophone', gong, glong 4 These are royal entertainment performances in tahd 'drum', and 'cymbals' . celebration retes.

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Entertainment Consumption: Initially connected with sacred ceremonies From Sacredness to Popularity traditional music and performing art~ complemented rituals, oblations, and merit• making. According to inscriptions from the Associated with Brahman rituals rather Sukhothai period, lyres, gongs, klong, piphat, than and influenced by and dances were involved in the ceremony of animistic beliefs, entertainment culture Lord Buddha's footprint establishment at has shadowed every stage of human Suwannakut mountain (Prachoom Silacharuk life. In the past, laboring on the land, part I, 1977: 66). peasants worshipped inanimate objects ahd natural phenomena, causing basic faith in personal rituals and seasonal Their roles became more exorcism-oriented festivals such as the khwan duen during the Ayutthaya period. Whenever celebration, kon phom fai, kon chuk, inauspicious incidents occurred in the royal funeral rituals, thod kath, thod pha-pa,5 palace, be it death caused by slaves' fighting and the pilgrimage to pay homage to or miscarriage, a ritual concert of ' dances, the Buddha's footprint and his relics. piphat with lyres, gongs, drums, all playing' The sacredness of musical and (Tra Sam Duang Law, vol. ill 1962: 183) performing arts in rituals was long together with offerings were executed to ward established. Some ancient myths off evil spirits. mention that men played musical instruments, sang and danced along for Records from the Ayutthaya period stated that God, or than luang, so that subordinate in case of chasing ill-omens, monks were deities would descend to earth to teach invited to chant 'phra parit' while decorated them to play other instruments such as sets of offerings called bai-sri were arranged drums and gongs, dance, and sing and a piphat ensemble including a vertical songs accompanied by lyre and piphat gong circle (kong wong) were played. ' [ ... ]If ensemble. Therefore, the making of evils are to be warded off houses, orchards , offerings as well as the payment of and fields, invite seven monks to chant 'Phra homage to art gurus or masters by Parit' for three days, make three tiers of musicians and dancers became a offerings, one set ofbai-sri, one duck, one common venue for debuting each new chicken, one bottle of liquor [ ... ] piphat, performance (Prachoom Pongsawadan kong wong, master of ceremony [ ... ] ' (Tra part II, 1963: 143). Sam Duang Law, vol. ill, 1962: 183).

From ritual accompaniment, the traditional music and performances moved on to identify social status. Since the monarch was revered 5 These are names of traditional Thai as a divine being, royal ceremonies had to be rituals. Khwan duen is a celebration at first elaborate to enhance the royal supremacy. In month ofbirth; kon phomfai is the fust this regard, regally exclusive instruments cutting of infants' hair ; kon chuk is the associated with Hindu deities included the cutting of the topknot hairstyle worn by mahorathuk drum, trae 'trumpet', shankha Thai children, to indicate the end of 'conch shell', bandoh, another kind of drum. childhood ; thod kath is the offering of robes to monks during Buddhist lent ; and thod pha-pa is the off-season offering of robes to monks.

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Symbolic of the Ayutthaya kings' from Ramayana. In this staged performance, divinity, trae and shankha ensembles the Hindu gods and demons came to help to were stated by Abbe de Choisy as churn out amarit nectar but ended up fighting follows: to gain possession of it. Winning, the archangel Indra was crowned Lord of Tawatingsa heaven, resulting in the so-called Indra Phisek coronation. Thus, Narayana and lndra embodied the supreme kingship. Successfully attracting every social class, the Ramakian-based performances came in khan 'masked play' and nang yai 'shadow play' . Khan versions were governed by the classic formalisms of narrative verse rai yaa and dialogues, specific choreography, music, and masks.

Recognized as a top-class performance, nang yai originated out of superstitious beliefs. Bandaw Attention was paid both to the creation of a series of deity puppets out of cow leather and When peers of high status all sat to the performing procedure. Only the hide of down in their seats, trae, shankha, a cow bitten to death by a tiger or dying of and mahorathuk drum were blasted miscarriage would be destined for the lsavara out from inside, signaling the and Narayana deities, while tiger or bear king's entrance to the throne hall skins were reserved for the ruesee 'Hermit' [ ... ]. Then, similar sound of trae, puppet by reason of their strength. And as shankha, and mahorathuk drum usual, the show started with paying homage were heard again, signaling the to the Lord Buddha, patron deities, and art royal departure (La Loubere 1983: masters. 374-382). Initiated in the royal court as a key program By the influence of Hindu deities and item in various royal ceremonies, the masked their sacred power, the kings' divinity and shadow plays featured the divine kings' was demonstrated through rituals, grace and omnipotence. Their grandeur and literary works, and performing exquisiteness were so impeccable that arts. Derived from the Indian viewers' thirst outside the palace has never Ramayana depicting the extolled Phra been quenched. Later on, although some Rama, an avatar of the deity Narayana, minor adaptations unavoidably took place the Ayutthaya version of the Ramakian from time to time to please the spectators of epic mirrored the belief in the Siamese different eras,6 the unique and strict kings as the Narayana avatar to rule performing etiquettes have remained intact. and help people. Concerning the performing arts, the Indra Phisek royal ceremony (the coronation of lndra) in Kat Monthien Ban 'royal law' and the 6 The development of nang yai could only be Chak Nak Duk Damban also arose accomplished by inserting dialogues or supporting shows such as rabam, lakhorn, and khon. Khon

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------lakorn nok. 7 But lakorn nai 's formalisms were based on court arts including graceful dancing gestures, lavish costumes, and beautiful music. And, most importantly, the fascinating theme of lakorn nai concerned royal heroes, including the Indonesian E-Nao, the Indian Ramayana, and Oonarut, depicting the deity Krishna, one of the Narayana avatars (Darnrong Rajanubhab, 1965: 1) .

The performing and musical arts played an active role in daily life inside and outside the royal court. Based on collective beliefs, Klton rituals set to traditional music and performing arts were encountered in every stage of life. Eventually, the ceremonial and ritual The traditional overtures by the piphat sacredness has gradually been lost. ensemble were meant to invite gods to preside Seeing its role in ritual accompaniment over the ceremony. Every movement denoted diminish, the performing arts opted for a specific gesture by a deity. For example, the exuberance of a wider consumer ph/eng samur described the deity' s departure base. The former god-praising dance from celestial abodes, ph/eng klom was (rabam) appeared in such merry characteristic of the arrival of the supreme celebrations as Chong Priang god, i.e., Narayana, and ph/eng chamnarn in the Ayutthaya period (Tra Sam was typical of the supreme god's blessing. In Duang Law vol. I, 2515: 141). addition, the slow ph/eng rub phra was

Moreover, other forms of pleasure• arrancred0 to 0crree t the monks' arrival, while oriented entertainment included mahori ph/eng song phra with ph/eng grown nai and 'a stringed instrument ensemble', hun ph/eng cherd tones were played to send them ' puppet show' , and len pleng. 'witty off after the chanting. This implied the return male-and-female duo' . However, the of presiding gods. After the formal religious diversified pleasure-oriented rituals, many forms of performing arts, i.e., entertainments reflected different social lakhorn and rabam ' dances in a group' were classes' preferences. The traditional staged to provide a spectacular closing for court mahori dating back to the such ceremonies as cremation or the Ayutthaya period was not greatly inauguration ceremonies of preaching and appreciated outside the palace. ordination halls and Vihara. La Loubere, the French ambassador to Ayutthaya court, Nevertheless, some folk characteristics mentioned in his letters that 'the lakhorn were able to infiltrate into the palace as troupes were often hired to play in the temple well. Since the Ayutthaya King to celebrate the inauguration of a new church Boromkot's reign, lakorn nai has been or assembly halls where the principal Buddha a perfect blend of masked play and

7 Lakhorn nok are play performances by male that were performed in support of nang yai performers only, focusing on pleasure and fun were later called khon na chor. rather than graceful dancing and beautiful music.

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image was housed' (La Loubere, vol. I, ceremonies reciting a faith healing and joyous 1967: 548). rhythmic verse similar to the feast of Thet Maha Chat or the Sermon of the Great In the Ayutthaya period, commoners Incarnation of the Lord Buddha. enjoyed various kinds of the entertainment: dontri, singing, rabam, Since most of the festivities encouraged lakorn nok, hun, len ph/eng, cham-aut, public participation, the key to their success and mon ram (Mon Dance). La was that the crowd was looking forward to Loubere's record stated that they enjoying themselves by participating in the usually spent their free time in the royal celebration rather than just watching the evening on klong tohn 'single drum' shows. Sponsoring khon 'masked play', nang rhythmic singing (La Loubere, vol. I, 'shadow play', hun 'puppet show', lakhorn, 1967: 305). In 'Kham Hai Kam Khun ngiu 'Chinese opera', and others in various Luang Wat Pradoo ' (1991: royal celebrations such as the Emerald 12), villagers' attachment to music was Buddha celebration in the Thonburi period, represented by the mentioned musical the court acted as main entertainment instrument neighborhoods including provider to local people: thub 'a kind of drum', tohn 'another kind of drum', chang nong 'a small [ ... ] three stages of khon, two stages of mouthpiece instrument played by female dance, one stage of ngiu, one jerking with string', plia 'played by stage of nang klangwan [daytime shadow flicking', and 'flute'. play], and two stages of Laotian puppets. At night, there were nine screens of Thai Although derived from court nang wang ratha, two screens of Chinese entertainment, public performances nang. Altogether there were 11 stages. morphed into a more vulgarized and [ ... ] In the east of the venue, was located colorful version to ensure the one stage of Laotian lakhorn, one stage commoners' satisfaction. The of Khmer lakorn, one stage of Chinese ceremonious rabam left a number of ngiu, and one stage of Vietnamese ngiu. etiquettes behind once it was In all, there were four stages [ ... ] In the performed outside the court. According west, there were one stage of ram wang to La Loubere, the traditional dance ratha, two stages of khon, two stages of outside the court became less formal female dance, one stage of ngiu, one and ended with slapstick comedy: ' [ ... ] stage of Jvlon puppet [ ... ] (Krom Luang the group moved in a circle only [ ... ] Narintharadavee, 1978: 155-56). just a bit more of arm and body contortions [ ... ]. However, two men came on stage to amuse the audience by cracking a joke for coarse merriment'. (La Loubere, vol. I, 1967: 218). Unlike the royal ceremony of tham khwan 'making soul ' accompanied by the exclusive tham khwan tune, the commoners not only welcomed auspicious melodies but also concluded them with the master of

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sakdina gradings recognized individual landholdings according to their social status and titles: royal, civil service, or military. For example, a phrai held the lowest grading of 5. Under this munnai -phrai system, standing at the bottom of the status pyramid topped by the monarch, phrai had the obligation to serve and pay tribute to their superiors in the form of labor and produce.

In the early Ratanakosin period, Siamese trade with foreign countries resulted in economic growth back home. Such powerful high dignitaries as the Bunnag were fully Lakhon involved both in the royal junk trade with and in their own trade with European It can be concluded that in focusing on countries: England, Portugal, etc. Taking preserving divine kingship, the court advantage of the economic expansion in music and performances exemplified , the British commercial hub in the aesthetics of arts and monarchy, Asia, Bangkok became another lively while the public promoted exultation mercantile port and marketplace. In 1826, and merriment. In addition, the more during the reign of King Rama Ill, the Burney the public's quality of life improved, Treaty was signed, allowing the British to the more entertainment they consumed, trade freely with Siam. The expansion of popularized, and eventually diversified. foreign trade also increased consumption The court still conserved the unique among the growing number of well-to-do custom of music and performing arts phrai. Their fortune was confmned by their especially during the Ratanakosin method of religious contribution. The period. wealthier they became, the more merit they made and the more construction and Entertainment Culture in restoration of temples mushroomed. Changing Social Contexts Thipakornwong (1961, vol. 11: 172) recorded (During the Reigns of Kings that: 'some royal family members and high -IV) dignitaries had five temples all newly built and twenty-five renovated. Altogether, they were thirty. And more had been built with the Established in 1782, the new capital of support of royal family members and high Ratanakosin was modeled after fallen dignitaries, Chinese men of wealth, well-to• Ayutthaya and Thonburi, governed by do people, and Buddhist abbots, in the the political, social, and religious garden, the neighborhood, and many towns'. hierarchy of the sakdina system. 8 The The evidence from that time points to several nouveaux riches who could afford to 8 The sakdina system is a political and construct temples: Wat Nai Rong Temple, social hierarchy determined by the amount Wat Mai Yai Fang Temple, and Wat Duang ofland attached to each person according Kae Temple. Economic prosperity was to his status.

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mirrored m the general public's awakening in the performing arts arena religious contributions, improved tempted performers to sharpen their skills in quality of life, and new and renovated ways that could be translated into both fame venues for various religious and finances. Additionally, the performances ceremonies, which were set to the were diversified and popularized. For music of piphat ensembles and example, the typical khon branched out into incorporated theatrical performances, khon nang rao, khon rong nai, and khon nah thus enhancing in proportion the chaw. The original piphat ensemble added a traditional entertainment culture. new aspect to the nighttime ritual accompaniment by playing a hilarious tune to The Development of complement the singing of rhymed poetry. Entertainment Culture The function of the piphat saypa ensemble, Publications which played amusing songs such as pleng saypa for pleasure, changed in the reign of The economic expansion not only King Rama II from simply complementing generated income but also improved the singing of rhymed poetry into double• the public's livelihood. To host a instrument9 in King Rama III's reign. spectacle in a ritual ceremony was Simultaneously, a revolutionary development considered a way to show off one's was also noticed among other musical social status. Although part of performances such as the double-instrument ceremonies and rituals associated with mahori orchestra. Furthermore, phleng sam animistic beliefs, the entertainment chan ' andante' was created to double the productions were designed to satisfy length of the notes from the original phleng the general public, their new patron, song chan ' moderato'. To perform the phleng and were diversified to meet diaw 'solo', musicians had to be able to consumers' varied aesthetic master the instrument to the extent that tactful requirements. At this point, the court• movements (look lor look kat) 10 were created. incubated troupes of artists who dispersed outside for their survival The modem development wouldn't have been started to nurture the professionalism possible without the musicians' devotion, that was instrumental m the motivated by incentives, competitive advancement of entertainment culture. attitudes, and creativity. Mentioned in Saypa The ritual accompaniment music and Kun Chang Kun Phaen, several famous performing arts targeted more at piphat masters in the reign of King Rama III providing the general public with a good time. Pallegoix (1977: 205) commented that, in the reign of King 9 Rama III, the tonsure ceremony was This denotes a medium-sized precussion proportional to the grandness of the ensemble, with another instrument of each kind added, making a pair of each, thus labelled a person: '[ ... ]the rich have and lakhorn, 'double' ensemble. prolong the feast for two or three days, 10 This is a method of music playing which according to their means.' divided the instruments or singers into two groups. If the second group plays or sings the same tunes Owing to the soaring entertainment as the first group, it is called look lor. If the demand in traditional ceremonies, the second group plays or sings in different tunes from the first, then it is called look kat.

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included K.hru Kaew, Khru Pak, Khru they provided to draw people in was the free Thong-in, and Khru Mee Khaek. All of spectacle. Prince Darnrong Rajanubhab them defined their identities, music (1965: 172) mentioned that '[ ... ] owners of schools, and families such as Ban Ka• the gambling house were prone to hire female min style, the Duriya Praneet, the Toh dance-drama troupes to perform in their Sa-nga. premises so that the audiences would proceed to the thua po game'. Considerable growth occurred in theatrical careers because the well• The artists' proliferation in the ceremonies mown lakhorn chao krub recognized and gambling houses was represented by the for its graceful dance, funneled in so first imposition of a khon-lakhorn tax in much revenue for the troupe's artists 1859, which covered popular spectacles at that they were able to build Nai Rong that time: khon, lakorn, ph/eng, khaen, Mon Temple.11 Even some members of the dance, tawai dance, Siamese puppets, nang royal family practiced the dance-drama yai, ngui, Chinese puppets, Chinese nang for hire. Among them were Phra Ong ( 1965: 175). Therefore, Chao Duang Prapha 'Tui' and Phra it is obvious that in the early Ratanakosin Ong Chao Suda Sawan 'Puk', period, professional artists played an active daughters of King Pin Klao (Rama IV, role in the development of popularized 1978: 147). entertainment culture, enabling its growth parallel to the ongoing socio-economic The rising careers of entertainers were expansion. proportional to people's income and to the number of gamblers in the The Development of Court increasingly common gambling houses. Entertainment Thousend Harris, the English ambassador (1961: 70) talked about Although the flourishing entertainment their growth in the reign of King Rama culture offered a new variety of performing IV: 1t is said that over 300 vicious arts to the masses, the classical performances gambling houses were operated on from the Ayutthaya court were resumed as floating houses, and thousands more part of the public festivities in various royal were located on land.' Such large ceremonies. In honor of the king, staged numbers of establishments involved in theatrical performances were including khon, gambling resulted in fierce competition lakorn nai, hun luang 'royal puppet', and for customers, and one of attractions nangyai.

11 King Rama II, as a great patron of classical After King Rama IV had lifted the ban arts, played a vital role in the adaptation, on commoners to own lakhorn nai, a form of royal regalia performed only by the creation, and standardization of entertainment court's female dancers, a new form of culture. As the accompaniment of rituals and entertainment in contrast to the theatrical performances, piphat ensembles commoners' lakhorn nok performed by were adapted to associate with saypa. For male dancers was offered to the public and /akhorn nai, a revision can be observed in a rising career of entertainers was opened terms of plot and choreography. For the royal to female artists. lakhorn troupes, King Rama II even

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recomposed the Javanese tale of E-Nao lakhorn rong 'dance-drama operetta' . and the Indian Ramakian in order to set Additionally, the court and high dignitaries a standard of dancing. After that, some churned out a great variety of productions that famous dancing virtuosos, such as eventually became popular in society. Prince -thuk Montri, Nai Rung, Nai Lakhorn duk-damban 'song-and-dance drama Thong-yu, were responsible for with soft music' is one example. choreographic fine-tuning to set a new Simultaneously, whether khon, lakhom, or standard. By changing the melodies music, the court culture was passed on from and dancing patterns, the folk generation to generation to form the national art of lakhorn nok was designed to identity, an indicator of the country's serve as basic dancing positions and civilization. typically staged in the palace (Damrong Rajanubhab, 1965: 140-42). As a result of the free-trade treaty and Later on, the royal standard of dancing obligations with several European countries was embraced by commoners, leading prior to the reign of King Rama V, Siam was to the broadening of the dance-drama eventually introduced into the world arena. horizon ever since. Realizing the importance of modernization, King Rama V visited Europe twice to The evolution of classical music and strengthen Siamese relationships with dance drama were in debt to the royal European superpowers and to study their court that had played an important role civilization, together with those of their in setting standards while the general colonies in , i.e., Malaya, public entertainment was growing in Singapore, Batavia, Lanka, India, and Burma. forms of diversity in proportion to the economics and according to the In 1868, the state began phasing out slavery public's living standards. and the sakdina system. And, marking the end of the conventional manpower control, the The Evolution and Conscription and Slavery Act was Consumption of Entertainment promulgated in 1905, resulting in a high supply of independent labor. Some turned to Culture during the Period of supplement the agricultural sector by working Modernization in the Reign of as rice farmers, others practiced their careers KingRama V in towns. Being able to freely earn a living along with the increasing economic growth, In the reign of King Rama V, economic the general public had such a better financial expansion together with the abolition security that the first Siamese bank was of slavery and the sakdina system established in this reign. allowed income-earning opportunities and more entertainment consumption Acquiring more consumer power, the general among the genera1 public. Relevant public stepped up to patronize the performing entertainment culture was growing in artists. Parading the candidate (nak) to the terms of diversity and popularity. ordination hall in a temple, the colorful Among the new creations were drama procession gave first priority to merriment in lakhorn phun-thang 'historical setting the ordination ceremony. As a newcomer dance drama', li-kay ' popular folk from the Occident, trae wong 'the brass band' drama', hun kra-bok 'puppet show', was a must to lead and entertain the guests.

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Thoed thoeng 'the drum dance' was lucrative business not only did the theater another thing that was not to be missed. owners good but was also able to bring in so One document indicates that: much new creativity in response to the ever changing demands of the audience that Processions come in many forms conventional entertainment was completely [ ... ] but the usually seen is led by a replaced. European brass band. [ ... ] The other equally important and Although embracing some new styles at the undeniable instrument in the beginning, entertainment in the reign of King candidate procession is the long Rama V was still based on classic plays from drum dance. Three to four long the late Ayutthaya and early Ratanakosin drums are played by members of periods. For examples, lakhorn phan thang the group competing with the beats featured Sam Kok, Rajathiraj, and Phra Lor, of cymbals, gongs, and wooden while the popular li-kay or 'folk drama' rhythm clappers. While hitting the depicted princely heroes such as Kawi, Thina instruments with their hands or Wong, and Sankh Silp- and the hun kra• elbows, they perform playful bok 'puppet show' usually presented Phra A• gestures to make the viewers laugh phai Manee. All of these were recognized for [ ... ] (Latthi Thamniam Tang Tang, their concise plots, lavish costumes, and so 1972: 683-84) on.

Taking different courses, the ritual and Typical of foreign characters, lakhorn phan popular entertainments showed thang paid more attention to the matching themselves in their true colors. The rich national costumes, which distinguished them spent their money on entertainments to from other dramas. In Rajathiraj, the exhibit their financial status. Since the characters were dressed like the Mon but in troupes were hired to perform, their Sam Kok, Chinese costumes were provided. sole entertaining value in the royal As for hun kra-bok, the puppets were scaled ceremonies has become profit-oriented down to a compact size for easier instead of emphasizing the status of the manipulation and amusing presentation. host and audience. The motive for the first paid entertainment at Prince Derived from the Indian chanting in the royal Theater in 1883 was for the rich to funeral ceremony in 1880, the popular li-kay discriminate against the poor. ' [ ... ] it folk drama started with li-kay ban ton, was comfortable for ladies and featuring each ethnic group's language and gentlemen who wished to come and costume, ranging from the Indian and watch the show without having to Burmese to the Chinese and Vietnamese, mingle with smelly-shirted or shirtless along with many others. These addresses in pests [ ... ] therefore, they were willing different languages attested to another aspect to pay for the tickets collected by of the entertainment evolution, which was Prince Theatre at this time' (Siam Sa attempting to satisfy audiences of different Mai Report, vol. II, 1884) nationalities and create performance diversification. Following the debut of the paid spectacle, the custom of entertainment After that, li-kay look bod was formed with consumption changed forever. The the accompaniment of a piphat ensemble.

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Derived from li-kay song krueng, the The royal critiques against foreign dance drama showing lavish costumes impropnetles in local culture affected the made of heavy brocade and adorned high dignitaries' mentality. As a result, an with jewelry, actors of li-kay loog bod entertainment adaptation took place by wore gaudy costumes and interpreted welcoming the realistic acting, concise plot, the tales of lakhorn nok through and quick proceedings of the Western drama sequences of graceful moves. With for the creation of the popular piphat duk• characteristically creative productions, damban, lakorn duk-damban, lakorn rong. swiftly moving, amusing plots, and realistic acting, li-kay, a satirical form Influenced by the Western chorus, the pip hat of lakhorn, became very successful duk-damban ensemble featured a choral with viewers. group singing Thai songs and a deep• sounding or alto-key musical arrangement. High Dignitaries' Thus, it was the classical Thai ensemble with Entertainment Culture European accent. The lakorn duk-damban also followed in the footsteps of the piphat Widely opened to European duk-damban. technologies and cultures, Siam was, nevertheless, not completely Similar to court drama and opera adaptation, Westernized but instead enjoyed a lakhorn duk-damban focused on both graceful perfect harmony of local and foreign dancing and beautiful opera songs performed customs. Once watching a foreign by the actors alone. The proceedings became opera and ballet, King Rama V made a faster for lack of narrative plot, but, without comment on some of their unfitness in question, the audience was able to understand Thai culture: the actors' interpretation.

[ ... ] Farangs jumped up and down, Another opera adaptation was the dance• using quick step. In 's drama operetta known as lakhorn rong. In mind, the gesture could look this kind of performance, the actors sing with disgraceful. Wearing short skirts, the support of a piphat ensemble, but the they danced and indiscreetly lifted realistic acting focused on a realistic setting, them like Samae monkeys. It was a authentic costumes, and swift proceedings. shame for ladies to do so [ ... ] Moreover, lakhorn rong dealt with the theme watching a play called Chatterley of the changing social context, as seen in Sao [ ... ] The ladies wore clinging satin Krue Fah, composed by Prince Narathip trousers [ ... ] danced indecently Praphanphong. [ ... ] It would be considered skirt• less for Thai drama. Surely, Prince The European influence in local Thewes would not allow his actors entertainment reflected a cultural revolution such dressing. Even if he did, the in Thai history. One of the virtues was the actors themselves would not be ability to blend the Western style into the willing [ ... ] (King Rama V, 1970: classical Thai. Therefore, the general public 431-42) was into the novelty. Since culture was symbolic of tl1e national civilization, the entertainment culture was inherited, adapted, and improved by the royal court and high

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dignitaries, so that the classical Thai the trammg and staging of performing and performing arts, including khan, musical arts, especially khan, the Department lakharn ram, and nang yai, highly saw to it that techniques were handed down recognized for their stately production from khan masters: Khun Rabampasa and and the exquisite refinement of their Khun Parnnagnujanekom teaching at the performances, would be passed on residence of Chao Praya Thewetwongwiwat from generation to generation to (M.R. Lam Koonchom). As head of the Khon trumpet the richness of the country's Division in the reign of King Rama V, cultural history. Thewetwongwiwat inherited the art of khan from Krom Pitakthewet (forefather of the The rise of a wide selection of Koonchoms) in the reign of King Rama ill entertainment to meet the general (Thanit, 1991: 48-52). public's demands lessened the role of the courtly performing arts in the Originating in the court of King Rama II, general public's life. The strict lakharn nai derived from the play of Prince formalities of the court obstructed the Singhanat Rajdurongrit, who had adopted entertainment's evolution in different King Rama II's dramatic formalisms. It was social contexts. Khan and lakharn nai later passed on to Chao Phraya had long been reserved for royal Thewetwongwiwat (Damrong Rajanubhab, consumption. Although hired by the 1965: 203). When the performing and musical court to perform only in the festivity arts were transferred to Krom Mahorasop sessions of the royal ceremonies, nang Luang in the reign of King Rama VI, the yai and other forms of entertainment formalisms of court drama since the reign of including rabeng, mang krum, kula ti King Rama II were preserved under the mai, and thang wisai had to follow auspices of the Krom Sillapakom or the Fine court etiquette rigorously. Therefore, it Arts Department. 13 was difficult for them to prosper. Some performance types, such as hun luang Having ripened into another form of 'royal puppet show' became extinct divertissement among high-society members, because their giant size rendered them Thai classical music was promoted to the difficult to manipulate. extent that its customs were established. It is understood that the wide spread of novelty Formerly the main source of distraction entertainments could divert high dignitaries' for commoners, the court interest in Thai classical music, especially the entertainments were replaced due to piphat ensemble uniquely recognized for its the growth of public entertainment, 12 wider range of pitch. Each musician could but their royal and classic values were vary the tune, adapt it to the character of the handed down as a national treasure and instrument, and eventually deliver great fun. eventually nurtured by Krom Soon, piphat ensemble competitions became Mahorasop or the Performing and familiar events. Musical Arts Department. In charge of

12 For instance, in the royal funeral of King 13 The department was originally known in Thai as Rarna V there was no mahorasop, as had Krom Mahorasop Luang. In the reign of King been royal tradition in the past. Rama VII, it was called Krom Piphat and Khon Luang.

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Although the traditional competitions and gwe birth to each school's thang, 14 or occurred quite often, in the new social playing manner and techniques. context in the reign of King Rama V only the rich could afford to patronize Although the manners of melodic execution an artist. A sign of the patron's high differed from school to school, these status, a fostered artist who could masterpieces were considered classic, and defeat all rivals brought the supporter their influence has been handed down from great pride and reputation. Piphat generation to generation. To be widely artists were supported in terms of social acclaimed, musicians, generally, had to learn status and skill sharpening. For playing techniques from fostered artists. As example, Nai Sorn, the talented ranad• students of Phraya Sanoh Duriyang (Cham ek xylophonist, once under the Sunthornwathin), members of the patronage of Prince Phanu Phantuwong Duriyapraneet family even dating back to the Waradej, was showered with a package early Ratanakosin period learnt and inherited of lessons from outstanding masters, an his playing techniques. ordination ceremony, and wedding festivities. Later, he was appointed Derived from the talents of piphat artists Chang Wang Sorn, working as head of under high dignitaries' patronage, different the royal pages. Similarly, Nai Thua, playing techniques initiated in this period the piphat master, conducting the gradually laid the foundation for the national ensemble under the patronage of Prince music ensemble with continued court support Nakornsawan Warapinit, was in the following reigns. Particularly fond of appointed Chang Wang Thua and entertainment culture, which was considered regularly showered with gifts and an expression of the country's civilization, money. King Rama VI gave first priority to the support of the royal ballet troupes and Given such patronage, the artists were musical arts. According to Cha-muen Amorn allowed to dedicate their lives to Darunaruk (Cham Sunthornvej), 'His Majesty creating beautiful music and had many intended to conserve and promote these dance opportunities to start their rise to fame theaters and musical performances for the while performing in major events. prestige of the country' (vol. IV, 1968: 140). Undoubtedly, famous artists-cum• custom setters were found in the reign 14 of King Rama V among those under Thang in music means the specially designed the patronage of such high dignitaries procession of notes in songs. Though played on as Phraya Prasan Duriyasup (Plaek the same instrument to the same song, different thang gave different melodies. Thang was used Prasansup ), ensemble conductor of the not only in piphat but in other kinds of ensemble, crown prince, Chang Wang Thua as well. Nowadays, there are four thang in playing Pathayakosol, ensemble conductor of Thai classical music, designed by the great the Bang Khun Phrom palace, Luang teachers ofpip hat under the patronage of the court Pradith Pairoh (Som Silapabanleng), and the elites in the reign of King Rama V: the ensemble musician of the Burapha thang ofPhraya Prasan Durisub (Plaek palace, etc. Without direct effect on the Prasansub), the thang of Phraya Sanoh Duriyang structural development of piphat, (Chaem Sunthornwathin), the thang of patronage helped improve artistic skills Chang Wang Thua Pathayakoson, and the thang of Luang Pradit Pairoh (Sorn Silapabanleng).

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A royal decree was therefore changed so much that the ceremonial promulgated to regulate their standard solemnity of the earlier culture was replaced practice and to bring competent artists by increasingly popularized forms. Once the together in the palace. A large number public gained more income, the rich liked to of talented musicians were recruited show off their social status by hosting into royal service with incentive titles, ceremonies accompanied by musical and making the court the performing arts performing arts, which resulted in prosperity center with the greatest influence on for the artists and led to these artists' the handing down of artistic tradition.15 devotion to creating a wider variety of entertainment. Without constant promotion by the royal court as a symbol and source of The critical change in Thai entertainment national prestige, the classical culture occurred during the reign of King performing and musical arts would not Rama V. Economic growth and the reform of have been passed on to the present day. the country turned collective amusements into To establish and develop their individual and paid entertainment. foundation in the reign of King Rama Simultaneously, under the influence of V, the high dignitaries' efforts were European civilization, modem Thai historically crucial in transmitting the entertainment produced a perfect blend of arts before European performing arts styles in the national arena. This change infiltrating Thai culture in the forms of marked the beginning of Occidental modem Thai songs, movies, and infiltration into Thai entertainment. Although ballroom dance became widely efforts were made by the authorities and high embraced by society. dignitaries to blend Western culture and create some innovations, the royal court's Conclusion traditions and culture were handed down and systemized so that the standard practice of the Originating as an important part of the classical arts could be established, protected, solemn tradition of religious beliefs, and preserved as part of the Thai national Thai entertainment culture has heritage under the supervision of the Fine developed in response to the public's Arts Department. changing desires. The critical factors influencing these modifications were References based in historical conditions, especially the economic growth of the Bradley, Dan Beech. 1971. Dictionary of the early Ratanakosin period. The court's Siamese Language 1873. Bangkok: role and the behavior of commoners Kurusapa. Choisy, Abbe de. 1977. Journal du voyage de Siam. Translated by San T. 15 . In 1935, the government transferred the Komolbutr. Bangkok: Kaona. [In administration of music and classical Thai]. performing arts from Krom Mahorasop Damrong Rajanubhab, H.R.H. Prince. 1965. Luang to the Fine Arts Department. Artists Tamnan Lakhon Inao. Bangkok: under the patronage of the court were also transferred to the new department. This Khlang Witthaya. [In Thai]. transfer helped the court entertainment culture flourish down to present.

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Darunaruk, Amorn. 1971. The Prachumprakat Ratchakarn ofKing Rama IV. Achievements ofKing Rama 1961. Bangkok: Kurusapa. [In Thai]. VI Bangkok: Kurusapa. [In Rama IV, King. 1978. The Letter ofKing Thai]. Rama IV. Bangkok: Mahamongkut Harris, Thousend. 1961. Daily Report Press. [In Thai]. ofThousend Harris. Translated Rama V, King. 1970. Klai Ban. Pranakorn: by Nanta Woranatiwong. Praepitthaya. [In Thai]. Bangkok: Satsana. [In Thai]. Rama V, King. 1905. The Speech ofKing Kham Hai Karn Khun Luang Wat Rama V [1875-1910}. Bangkok: Pradoo Songtham. 1991. Soponpipattanakorn. [In Thai]. Bangkok: Secretary of the Royal Institute Dictionary 1982. 1982. Ministry Cabinet. [In Thai]. Bangkok: Aksom Charoentad. [In La Loubere, Simon de. 1967. A New Thai]. Historical Relation ofthe Royal Institute Dictionary 1999. 2003. Kingdom ofSiam. Translated Bangkok: Siriwattanainterprint. [In by San T. Komolbutr. Thai]. Bangkok: Kurusapa. [In Thai]. Saraya, Dhida. 1996. Thai Civilization. Latthi Thamniam Tang Tang. 1972. 5111 Bangkok: Muangboran. [In Thai]. ed. Bangkok: Chareonrat Press. Sepa Khun Chang Khun Pan. 1970. Naikuadhumprae. 1918. Mahorasop in Thonburi: Rungwattana. [In Thai). Present Reign. Dusit Samit 1: Siam Sa Mai Report. 1884. Sansernlakhorn 39. [In Thai]. Prince Theatre. Vol. 2. [In Thai]. Narintharadavee, Krommlaung. 1978. Silapakorn, Krom. 1976. Kan Sadaeng The Chronicles ofKrom Luang Natasin lae Dontri Thai. Bangkok: Narinthara Dhevi 's Memoirs Kurusapa. [In Thai]. and the Commentary of King Silapakorn, Krom. 1986. Silapa Wattanatham Rama V. Funeral Ceremony of Thai: Nataduriyangkhasinthai Krung Prachaoborommawongther Rattanakosin. Vol. 7. [In Thai]. Phraongchaowapeebusakorn. Thai Classical Music. 1986. Bangkok: Bangkok: Ammarinkarnpim. Sasana. [In Thai]. [In Thai). Tra Sam Duang Law. 1972. Vol. 1. 2nd ed. Pallegoix. 1977. Laoreuang Krung Bangkok: Kurusapa. [In Thai). Siam.Translated by San T. The Confession of the Residents ofthe Old Komolbutr. Bangkok: Capital and the Confession ofKhun Surnnakpimkaona. [In Thai]. Luang Ha Wat. 1982. Bangkok: Phachum Pongsawadan, Part II. 1963. Khlang Witthaya. [In Thai]. Pranakorn: Kurusapa. [In Tiphakomwong, Chao Phraya. 1961. Thai]. Prarajchapongsawadan Krung Prachum Silacharuk part I, Charuk Rattanakosin. Vol. 2. Bangkok: Sukhothai. 1977. Ed. by Kurusapa. [In Thai). Nakhon Pantunarong. U-Pho, Thanit. 1991. Khan. Bangkok: Phisanulok: Institute ofThai Studies, Thammasart Srinakarintaraviroj University University. [In Thai]. Press. [In Thai).

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