Art Education (WS11003) Primary Level Non-Formal Education Basic Curriculum of B.E

The Essence of Way of Life Skills Textbook

Art Education (WS11003) Primary Level Non-Formal Education Basic Curriculum of B.E. 2551 (Revised Edition B.E. 2554)

Office of the Non-Formal and Informal Education Office of the Permanent Secretary Ministry of Education

Not for sale This textbook is published with a national budget allocated for the purpose of people’s lifelong learning. Copyright owned by the Office of the Non-Formal and Informal Education, Office of the Permanent Secretary, Ministry of Education. 2

The Essence of Way of Like Skills Textbook Art Education (WS11003) Primary Level (Revised Edition of B.E.2554)

Copyright owned by the Office of the Non-Formal and Informal Education, Office of the Permanent Secretary, Ministry of Education Academic Document No. 16/2555

Preface

The Ministry of Education has proclaimed the use of Non-Formal Basic Education Curriculum of B.E. 2551 (A.D. 2008) on the 18th September, 2008 with an aim to replace the former principles and practices of the Non-Formal Basic Education Curriculum of B.E 2544 (A.D.2001)which was developed in accordance with the philosophical principles and basic beliefs pertaining to the conduct of the out-of-school learning programs for adult target learners whose learning practices are to accumulate their knowledge and learning experiences continuously. In the 2001 fiscal year, the Ministry of Education had set a strategic plan for mobilizing the educational policy in order to raise the capability and potentiality of the people in terms of their competitiveness in job performances that enable them to earn an affluent living constantly, perform with discipline, to have good morality and ethical behavior, and to be aware of self- performance and responsibility as well as to assist others concerned. In order to respond to the above-mentioned policy of the Ministry of Education, the Office of the Non-Formal and Informal Education (ONIE) decided to reconsider the former Curriculum of B.E. 2551 in terms of its principles and aims, its standard and expected outcomes as well as particular substances of 5 groups of the learning essences to make them more compliant with and be responding to the new policies of the Ministry of Education. The reconsideration had contributed to the revision of non- formal education text books by adding an integration of more contents and essences of occupation, morality and virtue as well as integrating the issues concerning readiness and preparation for Thailand to join with the ASEAN community. In terms of development of the subject essences, the revision remains to keep the principle and procedures of the former text in which the learners are to do self-study, conduct learning activities, undertake tests to evaluate their own understanding, conduct group discussions to share knowledge and experiences among groups’ members and to acquire additional knowledge from local wisdom and from other sources of information.

The revision of this text book has received the generous support and collaboration from various experts and resource people as well as other concerned personnel who kindly provided useful information and data collection from various sources of knowledge to make the revision more meaningful. Their helpful information has made the new contents more relevant and appropriate to the learning standard and indicators of the expected outcomes of each subject 4 essence. The Office of the Non-Formal and Informal Education (ONIE) wishes to express its sincere appreciation for their considerate concern and helpful cooperation. ONIE hopes that these new revised learning essences will be useful to the learners, the teachers or facilitators as well as other concerned staff personnel at all levels. The ONIE will be pleased to invite any advice and recommendations for the improvement of future issues.

(Mr. Prasert Boonrueng) Secretary-General November 2011

Table of Contents Page Introduction Textbook Instruction Course Structure Chapter 1 Folk / Local Visual Arts 9 Topic 1 Folk/local visual arts 10 Topic 2 Components of visual arts. 15 Topic 3 Patterns and evolution of the folk visual arts. 19 Topic 4 Style and beauty of the folk visual arts. 25 Topic 5 Folk visual arts and costumes. 37 Topic 6 Residential interior decoration. 44 Topic 7 Value of folk visual arts. 50 Chapter 2 Folk Music 58 Topic 1 Characteristics of folk music 59 Topic 2 Thai folk music 60 Topic 3 Music wisdom 83 Topic 4 Value of folk music 88 Topic 5 Development of folk music 92 Topic 6 Value and conservation of folk music 99 Chapter 3 Folk / Traditional Dances 109 1. Folk dancing art and local wisdom. 110 2. Folk dancing art of the North. 112 3. Folk dancing art of the Central. 113 4. Folk dancing art of the Northeast. 116 5. Folk dancing art of the South. 119 Chapter 4 Production of Musical Instrument 124 1. Principal factors for occupational performances 124 2. Recommendation for selecting occupation 125 3. Flute (Khlui) manufacturing occupation 126

4. Reed mouth organ (Cann) manufacturing occupation 130 5. Double-headed drum (Klong Kaek) making 133

Instruction for the Use of this Textbook

The Essence of Life skill Textbook on Art Education ทช 11003 for learner who is non- formal education learners. To study the Essence of Life Skill Textbook on Art Education learner should follow the following steps. 1. Study the course structure to understand the topic and the essence, expected learning outcome, and scope of contents of the course in details. 2. Study details of the contents of each chapter thoroughly and do assigned activities. Check your answer with the answer keys for activities. If their answers are incorrect, they should go back to study over the lesson again before studying on the next chapter. 3. Do the activities at the end of the lesson to summarize the knowledge of the content matter again. The do activities of each content can be checked with teachers and friends who have participated in the course at the same level. This text book is composed of had 3 chapters as follows: Chapter 1 Folk/Local Visual Arts Chapter 2 Folk Music Chapter 3 Folk / Traditional Dances Chapter 4 Production of Musical Instruments

Course Structures on Art Education Elementary Elementary Level

Essence Having good insight into the moral ethics, appreciating values of the beauty of the natural environment of symphonic music, folk traditional dances and properly analyzing them. Expected Learning Outcomes 1. Able to explain the meaning of nature, the melodic beauty of the visual art, music and traditional Dances. 2.Able to explain basic knowledge of the visual art, music and folk traditional Dances. 3.Able to create artwork from basic knowledge of the visual art, music and folk traditional Dances. 4. Appreciate the value of visual arts, music and folk traditional dances. 5. Able to analyze and make a comment on the visual arts, music and folk traditional dances. 6. Conserve inherited wisdom of visual arts, music and folk traditional dances.

Scope of Contents Chapter 1 Folk/Local Visual Arts Chapter 2 Folk Music Chapter 3 Folk/Traditional Dances Chapter 4 Production of Musical Instrument Instructional media 1. Text book 2. Work sheet 3. Activities

Chapter 1 Folk/Local Visual Arts Essence Having good insight into the moral ethics appreciating values of the visual arts, folk arts and being able to make critical analysis appropriately.

Expected Learning Outcomes Having knowledge and understanding of the basics of folk visual arts, being able to describe , create, conserve, analyze and criticize about the beauty of folk visual arts properly.

Scope of Contents Topic 1 Folk/local visual arts Topic 2 Components of visual arts. Topic 3 Patterns and evolution of the folk visual arts. Topic 4 Style and beauty of the folk visual arts. Topic 5 Folk visual arts and costumes. Topic 6 Residential interior decoration. Topic 7 Value of folk visual arts.

Topic1 Folk/Local visual arts

Folk/Local visual arts We may divide the meaning of folk visual arts into 2 words which are visual arts and folk.

Visual Arts refers to the art perceived from vision consisting of general scenery, which is primarily important, and portrait, caricature, as well as images of objects. We can say that visual arts are aetistic beauties such as scripture, architecture, printed matters, etc. which can be perceived from “looking”.

Categories of visual arts

1. Painting means the creation of visual arts on the plane by drawing or painting with a dragging or paint on smooth surfaces such as paper, canvas, wood and so on to the story and beauty of emotions and imagination of the painter were classified into 2 type.

Murals at Buddhist Temple Wat Phumin Nan province 11

1.1 Drawing is the word used in visual arts to call drawings, line drawings with 2 dimensions having the width and length using various materials such as pencil, pastel, crayons etc.

1.2 Painting is created on 2 dimensions plane with several colors such as painting with water color, pastel, oil color, etc.

2. Sculpture refers to the visual arts from molding, carving, casting, welding, etc with 3 dimensions of width, length and thickness such as portrait, animal picture, picture of things, etc. Sculpture can be classified into 3 types as follows.

Bas-relief Sculpture

2.1 Low reliefs are molding or carving the image curved out only slightly and raised from the base such as coins.

High relief sculpture 12

2.2 High relief are molding or carving shape raised more than half of the background which can show depth as the actual base such as monumental sculptures etc.

Round relief sculpture

2.3 Floating is the molding or carving that can be seen and touched; the beauty of the work can be appreciated all surrounding areas such as Buddha etc.

3 Architecture refers to art and science of building that meets requirements of objects and mind. It is magnificently constructed and can be divided into 2 types as mentioned below:

Thai open architecture

3.1 Open architecture means the architecture can be utilized such as school buildings, housing etc.

Closed architecture: Buddha’s relics Chaiya at Surat Thani

3.2 Closed architecture means the architecture that humans can not live in such as pagoda, monuments etc.

Wood-engraving

4 . Graphic means the artwork created by printing method by pressing a mold on paper from wood block or plate etc.

The term of folk sometimes refers to the people of any nation who have their mutual identities such as living, languages, religious and traditions. 14

A folk visual art means the arts with beauty, simplicity from the villagers’ skills with creative and valuable contribution to the aesthetic and functionality according to local conditions.

Professor Silp Pherasri said folk visual arts means folk art in to singing, dancing, drawing and other activities which come from minds and soul of the people. Most folk arts start from the villagers’ life style under the influence of well-being, traditions, belief and needs of the local conditions to use in daily life. Generally folk arts and handicraft are called handicraft that are produced by villagers. The invention is based on the technical and creative patterns inherited in the family in which the main purpose is for everyday living. Similar to traditional concepts and are improved to be consistent with the local conditions until becoming their own specific identity.

Components of the folk visual arts

Folk visual arts are composed of the following. 1. Work of anonymous artisan made for peoples’ daily life. The beauty is not caused by the personal desire to express artistic expression but from artistic training and production from several generations. 2. Art work is a simple model with the natural beauty and has been utilized from the past until present. 3.It is produced in a large number with normal selling - buying price and the beauty comes from training and practicing frequently. 4.There is more natural than beautiful. 5. It characterizes of endemic origin or unique habitats. 6. Most of works are made up from the skills.

Useful hint

Creators of art works are called artists such as painting artist, graphic artist and sculpture artist; Buddha statue casting is called sculpture and the creator of sculpture is called call sculptor. The creators of architecture call the architect.

Activities : Have the learners conduct a survey around their community or any place found to see if there are any visual arts, what types they are and write them down to discuss in the class.

Topic 2 Components of the visual arts

The components of the visual arts are composed of 7 kinds which are

. 1. Dot refers to the smallest component which is the starting point to the others.

2. Line refers to several dot moving continuously in the space from different directions of motion.

3.Color refers to the visible light made into different colors. Colors have an influence on the sense of vision and cause emotional variety. Painting colors comprise three primary colors which are red, blue and yellow when mixed together can be different colors.

4. Texture refers to the surface features of the objet with different characteristics such as smooth, rough, shiny or dull.

5. Shape refers to the convergence of line which is the boundary of the object that has 2 dimensions which are width and length of 2 sides only.

6. Figure refers to the visible appearance with 3 dimension which are width, length and deep thickness. thickness deep. 18

Useful hint To bring the visual arts components to outstandingly arrange the parts of story in the picture appropriately is called picture compositions. Basic principles of the picture compositions are as follow. 1. Only one main feature 2. Being in unity, the elements of the picture must be in the same story. 3. The overall picture must be harmonious. 4. May have a little conflict of main feature. 5. There is a balance of weight on the picture.

Activities. Describe the meaning of the compositions arts. Point refers to ...... Line refers to เ...... Color refers to ...... Texture refers to...... Shape refers to ...... Figure refers to...... Look at the answer key from Chapter 1 on Topic 2 The components of the visual arts

Topic 3 Patterns and evolution of the folk visual arts

Folk arts is based on the production of hand-made to make it useful. It is considered folk arts and the evolution of human are originated together. Human has devised the way to create equipment to help achieve a comfortable lifestyle throughout years such as stone equipment, excavated ancient pottery etc. so that the beginning of handicraft have been developed since ancient times. Society in Thailand in the past is a peasant society also known as the agricultural society. There is self-sufficiency society with four requisites. The production of equipment is to facilitate their ways of living.

Type of folk arts Many types of Thailand’s folk arts have existed in every part of local areas which can be divided into various categories as follows. 1. Painting Arts: Thailand folk painting caused by the local residents who have created works by using local materials to create such as palm leaves, wood, cotton as writing material for painting including natural colors such as resin, fruits, soil and color stone powder. They paint with wood that pound at the tail to make it fuzzy or some kind of fur such as feathers of pig, 20 feathers from ear of the cow and rabbit fur which are tired with wood to make the brush or paint brush. Local painting of Thailand can be divided into 2 categories. 1.1 Movable painting means that humans can carry a piece of arts easily such as khoi books, Mahachat picture and scripture cabinet (the cabinet that had gold appliqué on black lacquer) etc. 1.2 Non-movable painting means work of arts that human cannot move or carry since its was painted on the building such as painting the walls of the temple, painting on ceilings or balconies of the temple etc.

Movable folk painting Non-movable folk painting

Thailand’s folk painting is called traditional painting in which work arts are created traditionally with locals colors powder. To create art works will be leisurely with small-scale. If painted on the large area such as the wall, it would look small because of many details or narrative painting. The components are not related to the person in the picture. The face does not show emotion but will communicate with motion and most of the stories are about the Buddhism, faiths. 2.The Sculpture: Folk sculpture created to respond everyday human functionality. The most materials used are local materials appropriate for usage such as bamboo, hard wood, clay and burning etc. Folk sculptures can be divided into 4 type of application. 2.1 Folk sculpture for temporary decoration is created to be used in rituals or decoration in a short time such as Tang yuak (carve a pith of a banana stalk), carving vegetables or fruit and decorated rice offering in various ceremonies and so on.

Tang yuak Decorated rice offering

This type of sculpture is refined and highly creative. The manufacturer may do it alone or in groups.

2.2 Folk sculpture for decorating appliances: To decorate the appliances more gorgeously.

The examples of folk sculpture for decorating appliances such as engraving on cabinet or bed, bowl with a supporting stand, jug and boiler etc.

2.3 Folk sculpture for amusement machines. This type of sculpture built for entertainment by choosing local materials such as clay, bamboo, cowhide, buff and cotton etc. to create the instrument for various performances.

The examples of folk sculpture for amusement are such as puppet show, grand shadow play, shadow play and actor’s mask etc.

2.4 Folk sculpture of plaything and ceremony is created for entertaining the kids or plaything and entertainment for every body.

This type of sculpture includes engraving chess, small dolls, tukta seang kban (kind of offering doll of banana bark bowl on the triangle junction or floating on the water) and the little doll engraved to be palace people etc.

3. Architecture Thailand folk architecture is associated with tradition of Thai people. The material used are the local materials but the architecture concerning religion and faiths may be from different materials to show the respect. Thailand folk architecture is divided into 2 types.

3.1 Folk architecture for Buddhism is built for the usefulness of Buddhist temples and sacred places

Folk architecture of Buddhism such as the pagoda, hall of a temple, sermon hall in a monastery etc.

3.2 Folk architecture for residence is created for the benefit of resident. The construction has been carried on from the tradition and with definite pattern but can be adapted to meet the needs of the individuals for making used of it. This type of architecture can be seen from the Thai style house or traditional house according to different regions which are Kalae at the gable of the house in the central regions the style of the roof are high with gable and thai style dragon; in the south region, there are hip roofs, etc.

Northern region house Central region house South region house

Creations of residential folk architecture the Thai wisdom are built in appropriate landscape and climate and Thai traditional faiths as well as favoracle things for the resident have been transmitted.

4. Graphic folk arts are not much seen in Thailand; most of them will be printed in fabric created for useful application such as batik fabric printed in the South, which is semi printed and dyed, Khomapas fabric printed is made from cotton printed in grit, and silk (silk screen) from Prachuap khi ri Khan province.

Khomapas fabric

Useful hint

Did you know that traditional Thai house is divided into 2 categories.

Ruan kreag sab is one category of Thai residence called Ruan Thai (Thai House) together with Ruan kreag puk of which its meaning according to the Royal Academy “The house composed of the parts tied together with rattan”.

Most of Ruan kreag sab have 3 rooms with 8 cubits wide but it will be larger if the owner has an important position such as a minister. The technicians will be specialized. Before building it, there are varieties of ceremony. In the central region use Tengrang wood is used to make to do the floor because it is very hard. In the Northern region they prefer to use Teak wood. The wood that is not commonly use is such as Hopea odorata because it has blood rubber.

Ruan kreag phuk is a simple building which is composed of all parts together banded with rattan or Jark Tork of bamboo ( took a sharp knife to cut bamboo into thin flat strips for binding or fabricate things). Nails are not used to attach the house. Lattice bamboos called “Far Kat Tair” (partition made from woven bamboo strips)are used to make the window and the wall of the house. Either hard wood or strips of split bamboo are used to build the floor depending on the home ownner’s wealth.

Activities Students observe around their community or around the place of group study if there are any folk arts compared with the type of folk visual arts of above 4 categories. Then take notes divided into each topic as following. 1. Date of survey 2. Indentify locations or items that are found. 3. Which category of visual arts 4. Usefulness or value 5. Describe how beautiful or impressive it is.( give reasons).

Topic 4 Style and beauty of the folk visual arts.

Folk visual arts and natural beauty had similar magnificence which will be in details as follows:

Folk visual arts is only type of art format that has little changed and still has traditional style as long as possible. This valuable characteristic of folk visual arts will be more increasingly valuable whether in the value of the story, in sight or expression because folk visual arts are the indication of the humankind that created the folk visual arts. Most of the folk visual arts are created by emulating or making them in harmony with nature for the benefits of living and beauty or ideal causing folk visual arts to have prominent and impressive feature such as the design of fishing equipment will be designed in harmony with the flow of water making it easy to move. 26

The bamboo fish trap designed in harmony with the flow of water

We may analyze and criticize the beauty of folk visual arts with this following guidelines.

1. The beauty is to analyze and evaluate the skills about composition of arts that the expression of this arts work are properly beautiful and how much it affects the viewer’s appreciation. The expression of the beauty of arts are variously different styles. According to the model of the era, the analyst should also have knowledge and understanding of the arts work.

2. The essence is to analyze and evaluate of each art work that supports the moral and ethics as well as the purpose of the essence given to the audience which is the essence of nature, society, religion, politics, wisdom, ideas, imagination and dreams.

3.The emotion is to analyze and evaluate if it encourages the feeling, emotion and deeply meaningful communication resulting from the expression of the idea and powerful feeling that is presented in the art work.

The example of the analysis of folk visual arts is shown from below picture. Example of analysis. First comment

The Comment Type of Visual Arts: painting and coloring 1. The beauty: In this picture the painter specialized in skillfully organizing the picture. The focus is on the big house. The smaller house supported the story. In the picture most of horizontal lines are used to make a peaceful countryside. 2. The essence: The picture shows the way of life that is close to nature. There are a lot of trees setting for the entire front and back. There is the stream making cool feeling. 3. The emotion and feeling: The picture gives relaxation. The green tones of the trees make us feel fresh, peaceful and happy. So do the audience.

The example of analysis, second comment

The comment Type of Visual Arts: Round Relief Sculpture. 1. The beauty is a Buddha posture called Pang Mann Wichia with look gorgeous look and perfect proportion. The arch and dark background makes the Buddha outstanding and more faithful. 2. The Essence is a sculpture that makes the audience respect and have faith. 3. The Emotion and feeling can feel the peace of Buddhism which Buddhists can rely their minds on.

Activities. Students analyze and comment on the folk visual arts from the following picture by using the above principles of criticism and the knowledge studied from subtopic 1.1 to 1.4

Water color Painting painted by Kittisak Butrdeewogs

Comment

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge studied from subtopic 1.1 to 1.4

Scrupture, Phrathartsuthonmongkolkeree Temple, Prae Comment

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge studied from subtopic 1.1 to 1.4

Imitating natural garden at home Comment

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge studied from subtopic 1.1 to 1.4

Chapel, Chulamanee , Samuthsakorn (from www.Mayaknight07.exteen.com)

Comment

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge of studied from subtopic 1.1 to 1.4

Basketwork from bamboo, Central part of Thailand Comment

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge of studied from subtopic 1.1 to 1.4

The Shadow Show, Southern part of Thailand. Comment:

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge of studied from subtopic 1.1 to 1.4

Mural, Wat Bankhor, Wangnuor, Lumpang Province. Comment

Activities: Students analyze and comment on the folk visual arts from the following picture by using the above principle of criticism and the knowledge of studied from subtopic 1.1 to 1.4

Painting along the Kora Boat, Pattani Province. Comment:

Topic 5: Folk visual arts and dressing

The meaning of the costume

The costume refers to thing that human used for covering the body. The dress of each human race can be studied intensively from the literary evidence and history to give guidance to understand the way of dressing which reflects the condition of human life in the era.

The history of costume

In prehistorical period, human wrapped the body from the natural materials such as leaves, grass, leather, feathers, soil and colors etc. Some human races know how to make colors from plants by using it to write or tattoo along the body for decoration instead of the body wrapper. After that human learned how to adapt the appropriate clothing from the nature making it easy to dress like tying, binding, weaving, knitting, compression etc. and has evolved gradually until they know how to cut and sew and eventually becomes technology now.

The difference in dressing

Human beings are creatures who are most vulnerable. It is necessary to have something cover the body in order to be able to sustain the life. From this need, it is encouraged to dress up to meet the needs of human beings together with social and other components. The clothes have different formats according to the following reasons. 38

1. The climate: People in the country with a very cold climate wear clothes made from leather or animal fur to keep their body warm. In regions with hot weather clothing is made from the fiber of cotton. But in Africa, clothing is not necessary for protection them from the weather but they prefer admire to use the ornamentation made of stones or glass with different colors which exist in nature to decorate the body and to be used as talisman to defend themselves from ghosts.

Eskimo live in North Pole, the dress will wrap up tightly to prevent cold weather.

2. Natural enemies: In the tropical regions, human beings have been annoyed by insects. Therefore, finding the way to eliminate a problem by using the mud to protect the body from insects. The Hawaiians from the Pacific ocean wear skirts made of grass to protect from insects. The ancient natives of Japan recognize how to use long pants to protect themselves from animals or insects. 3. Conditions of work and occupation: Leather and leaves can be used to prevent danger from the outside such as walking through the jungle to find food. Human used leather and leaves to protect themselves from the thorn or the bites of animal or insects. Afterwards they can remove fibers from cotton and silk to weave into fabric known as cotton and silk. On the progress of technology, there have been many types of production. In 19th century, clothing has more advanced evolution. Some people create special clothes to suit the needs of the people, who wear them,. especially those who work in various careers such as sailors, miners, farmers, industrial workers, military service, police, firemen, etc. 4.Tradition, culture, and religion: When human beings are more intellectual, they gather together into group so they require to have regulations and rules to live peacefully together, without aggression on each other. As a result, the regulations for living together eventually become assimilated to tradition and culture. 39

In ancient times, tradition for celebrating such as birth, death, harvest or starting to develop new relationship with other groups, the human beings decorated their bodies with various decorations such as feather, leather, body painting, tattoo or piercing sometime they painted on different parts of the body to indicatethe status or position. Currently, it still remains mostly in original inhabitant of various countries. Religion has an important role in the dress as well. 5. Demand of attraction from opposite sex: The nature of human beings when growing up, they demand to get attention from the opposite sex by dressing beautifully to attract the opposite sex. 6. Economy and environment Economic and social status of individual person will be different, thus causing a different costume. There are several levels of general social classes which can be divided by economic classes such as matter classes, villagers and laborers. The costume can tell the status of the persons who wear them.

Body decorations

All human beings have basic awareness of the beauty, more or less depending on the mind of the person and the environment. So they try to select decorative items to decorate their body with the aim to enhance the beauty accepted in society or get attention the opposite sex.

In ancient time, using a decoration for the is not common among middle class people in Thailand. Although the price was not high because in ancient times, there was a law prohibiting junior government official and common people use expensive jewelry. At the end of Ratanakosin Era, the ancient rule was abolished to making the ornaments widely used for people in all classes, which resulted in the competition in creating new ornaments. Several of these ornaments are folk visual art works, which may be divided into 3 different categories according to the materials used. 40

1. The ornamentation made of non-metal: The ornamentation used from main materials that are not of metal are clay, wood, cloth, colored stone, plant, fiber, leather, gems, glass, plastic etc. These ornaments can be made from the same material or combinations of materials. Besides, they can also mixed with metal as well.

Color stone ornaments thread with rope Necklace made of leather

2.The ornamentation made of metal The ornamentation made of metals such as gold, silver, copper, brass etc., which sometimes has more than one type of metal combinations such as copper alloy which is a mixture of gold and copper, bronze is a mixture of copper alloy and tin. Some bronze may be composed of zinc or lead.

Ancient gold ornament Copper alloy belt

3. The decorations marked on the body: Put an object from outside into the body such as tattoo or implanted of beads or seed under the skin of some African tribes etc. There is also painting on the body or on the face for tradition or beauty. 41

Tattoo for the faith and for beauty

Useful hint Do you know that color and pattern can be used for decorating the body. Fat people wearing dark clothes such as blue, red, green, dark gray or black can make them look thinner than wearing light color clothes and if you wear the long vertical striped clothes, you will look even slimmer. While the skinny people should wear light color such as white, yellow, pink, blue and cream. Choose horizontal stripes clothing because it makes your body look bigger.

Activities Students take the following materials to design any type of the ornaments to decorate the body by writing a sketch of the ornamentation and explain design guidelines (without the directions) Then present the designed ornament in class.

Given material

Bead of various colors Small rope

The design guidelines

Activities: Students design any type of the ornaments to decorate the body by writing down a sketch of the ornaments and explain design guidelines, tell how to make the ornaments then present them in class.

Given materials Small ceramic doll about 1 inch high and other materials available in your community.

The design guidelines

Topic 6: Residential interior design

Decoration is designed for everyday living, especially building and residential area to achieve a beautiful residence. The decoration design refers to exterior design and interior design. The process of design 1. Study of the area setting: Check the house, space and entrance, direction of the wind and sunlight to see which side they come through such as winds are from the south. Study the direction of the disturbance such as noise, the dust from the road, the side of the building to see which direction they come from including placing the furniture. Placing and electrical appliance etc. 2. Requirements: Choose the patterns of design such as Thai patterns or modern international patterns. Whether the existing furniture can be adapted or not or which style of the garden is needed such as the shady garden with lot of big trees, flower gardens or Japanese garden.

The decoration of Thai style bedroom including wall, furniture and other components.

3. Planning: Plan the living area in consistent with the demand such as living room, kitchen, bedroom etc. Set hedgerow to prevent dust from the road, put trees in the West for shady area, and set up the places for the entrances and the living section. Arrange the focal point of the home area such as the point which is clearly visible from the entrance or arrange place a sculpture and beautiful plants.

4. The preparation of various details Prepare the details such as the design in sections according to the predefined plan. Choose furniture, electrical appliance or materials and plants that can be used for other components.

The important things to take consideration in overall interior design are the location of the house, the furnished material, functions of each room, the beauty, the owner’s budget the appropriateness for the transitional period, gender and age of the user as well as the ideology of the designer.

The emphasis on landscape conservation

5. Placement of furnishings : General principles to consider placement of furniture in interior decoration. The aim is to have unity which means the combination of furniture in each group both for the feeling and the reality such as sofa set, dining set, chair etc. Although all furnishing will be organized into clear space but all the furniture should not be messily mixed together which depends on the selection of furniture in each group and the colors chosen as well as a decoration such as using a carpet in the living room or having a bunch of lights on the dining table making the living room and dining room have more unity.

6.The ability of adaptation It would be great if some pieces of furniture can be used for many functions or positions such as a small closet in the master bedroom can be used in children’s bedroom when placing large closet instead, or a rattan chair in the living room can be used in balcony. 7. Balance The balance placement of the furniture in each room must be taken into consideration by distribution of furniture to suit the area and do not set all furniture on one side of the room by unreasonably leaving the other side empty.

8.Organize the path walk in each room The path walk in each room, path walk from one door to another should be comfortable and spacious enough without any obstruction while walking past.

Generally, the condition of each room itself will be able to determine how much furniture is needed; for example, the bedroom must be composed of bed, wardrobe, dressing table, workingtable and Tv set. The wardrobe must be placed against the wall. The bed must be placed with the head towards the East or North according to the faith. The Tv. Set should be placed at the end of the bed for convenient use. Dressing table and worktable must be placed in the remaining area. The hall of the house causes a little trouble in organizing, so before placing furniture it should be carefully planned. The corridor with is approximately 90 cm width. is the suitable aisle in which its gap between the table and chair should be about 45 cm. it is within walking space to pass through the chairs easily. Moreover, guests can easily reach a glass of water, food or ashtray as well. Large pieces of furniture in the room such as sofas, cabinets, tables, etc. should be placed in the proper position first in order to be used as a central base in placing small pieces of furniture. Large pieces of furniture should not be placed together in a group but should be spreaded out along the floor in order to keep the balance. However, in normal condition, we should be consider that all guests seated should be able to reach objects on the side table or in the mid table. 47

Placing the appropriate furnishings with good path

The working table is another important piece of furniture in this room. If there isenough space to put a working table. This working table when it is not in use can be put on the display or used to place the food before being served at the dining table.

The best furniture or the most beautiful furniture may become the worst if the background is defective; for example, there are too many contrasting colors or the decoration is not in coherent with the furniture. Some rooms may seem like having new changes of all furniture in the room if only the background of the room is converted. The background is important and help in the interior design as well.

Useful hint Home building should be done simultaneously with interior design including installing electrical wiring and water pipes inside during the construction. If the contractor and interior designer is the same person, the coordination in this section will run smoothly. The work will be completed faster including the construction and also helps reduce the budget in building a house.

Activities From the following draft plan of the bedroom below, the learners set the furniture placement based on the design principles that have been studied by draft plan of the furniture placement in the layout plan then exchange and comment in the study group.

Topic 7 Cultural values and traditions

Culture refers to patterns of human activities and the symbolic structures making those activities distinct and important. The way of life, the behavior and what people create by learning from each other sharing among their own group. Abstract culture means which an object cannot be seen or intangible but to express the ideas, tradition, culture and patterns of behavior in succession which is accepted in their group such as religion, faith, attention, attitudes, knowledge and ability. This type of the culture is essential cause of physical culture. Some cases can be developed to the civilization; for example building religious places became a National Historic with historical significance when the time passed..

Ancient remains is developed from the culture (picture from www.elbooky.multiphy.com)

Tradition is an activity that has been performed traditionally as a unique and it is important to the society such as the dress, language, culture, religion, work of art, law , morals and faith.. 51

Give food offerings to a Buddhist monk is traditionally a succession.

The importance of culture and tradition Culture is the most important issue in the nation. The nations that lose their own cultures and traditions, they shall not remain a nation. The nation without cultures and traditions even if there are the winner in war but they will lose culture and tradition, which is absolutely defeated. This is because those who have been defeated in culture and tradition, they do not realize why they fall for example, Tartar had conquered China and set up the Hung Dynasty to rule China, but finally Chinese which had stronger culture and tradition had absorbed Hung Dynasty into Chinese. Therefore, it is concluded that culture and tradition are the most important as mentioned below:

1. Culture and tradition can indicate the differences of people, group of people or communities. 2. It makes people different from animals. 3. It helps understand everything that we have seen, but how we interpret it depend on the cultures and traditions of the communities resulting from learning and cultural transferring; for instance, Thai people saw the rabbit inside the moon but Australians saw a big cat’s eye looking for prey. 4. Cultures and traditions determine the four requisites such as clothing, food, housing and medical treatment which are different in each culture such as the basic costume of each nation, food, house style, faith in medications or the belief in the mysterious things of each nation. 5. Culture and tradition determine the emotional feeling and emotional control; for instance, Thai men will not cry in front of the public when they feel sad or regretful. 52

6.It determines some of the actions in the community whether they are appropriate or not. Some action in one society is acknowledged appropriately but it is not acknowledged in other societies. For instance Westerners, both of men and women, shake their hands and embrace each other for greeting. Thai people use their hands to pray to each other and say “Sawasdee” and prefer not to touch their hands especially with more senior people. Japanese people take a bow for greeting and Maori tribes from New Zealand greet each other by sticking out their tongue etc.

It can be seen that the creators of culture and tradition is human. Society occurs because of human. Culture, tradition and society all come together. Each society has a culture and if the society is large or more complicated, there are more cultural and traditional diversity. Culture and traditions of each society may be the same or different due to the differences in faith, race, religion and habitat etc.

Characteristics of culture and tradition In order to understand the meaning of the word “Culture” deeply, the characteristics of a culture can be described as follows. 1. Culture is the behavior resulting from learning. Humans are different from animals that they are capable of thinking. They learn to organize their lives for their well beings and know how to solve problems which are different from the animal that they learn from memory only. 2. Culture is a heritage of society transferring their learning from generation to generation both directly and indirectly for a continually long period of time.. Human being convey culture through language. 3. Culture is a lifestyle or a custom of human’s ways of living. If they are born in any society, they have learned and absorbed the culture of the society they live in. Therefore, the cultures of each society are different. 4. Culture is not static, human has invented new things and improved properly for the changing situation and for the suitability and the survival of the society. For example, in former times, Thai women did housework but the men worked outside to support the family. In contrast, at the present time social conditions are changed. Women need to work outside to earn more money to support their family as well. The role of women in Thailand society has changed. 53

Thailand tradition: It is a tradition that has been highly influenced by Buddhism. But the influence of other religions, Brahmanism and the evacuation of foreigners like the Chinese, affect Thailand tradition as well. Thailand beautiful traditions that have been carried on are different depending on people’s faith, commitment to Buddhism and intelligently living in harmony with the seasons and the nature of the locals in each region around Thailand such as: The northern part “Bodh Luk Kaew” tradition of Tai people or ethnic tribe in northern Thailand at Mae Hong Son province. The north-eastern part “Bun Bang Fai” tradition of Yasothon province. The central region “Tum Kwan Kgaw” tradition of Ayutthaya province. The southern part “Hare Pra Khen Thart” of Nakhon Sri Thammarat provice.

Thailand custom and civilization have brought about tourism, which are well known and impressive for foreigners. It is a precious heritage that all Thai people should conserve and carry it on forever.

Useful hint What is the festivals ?...... The festival is the specific period of time to organize the religious ceremony and local festival. It focuses on setting the date, time and opportunities of each society to organize celebration activities. The important factors are seasons and faith causing festivals.

Ancient remains and antiques

The ancient remains is the place that belongs to the ancient, the ancient buildings, the archaeological sights such as the ancient city, the ancient palace, the old pagoda etc. Almost every province in Thailand has ancient sources to study and learn to inherit the pride in the ability of ancestors such as Wiang Kum Kam at Chiang Mai, Ban Chiang archaeological site Phra Nakhon Dhiri in Phetchaburi province, Yutthahadtee pagoda, the pagoda built to commemorate important events including ancient palace etc.

The old city of Ayutthaya, is an important archaeological site in Thailand.

In each archaeological sites may contain valuable antiques such as appliance, pottery, weapon, sacrifices etc. In various areas, there may be antiques such as an ancient boat, ancient houses, a sculpture, art works since ancient times or a work created by ancient artists. The equipment that had been used ancient times may become obsolete in the present but they may be valuable antiques in such as the stone for crushing medicine, the stove equipment used for curing new maternity, the ancient rice mill, fig-leaf worn by little girl, bracelets, hairpin, the equipment used in ancient occupations etc.

Antiques means movable properties (property not attached to the land) that are archaic. Whether an invention or natural occurrence or part of the archaeological site, corpse, animal remains of which the age or the characteristic of the invention or the evidence about the history of movable property is useful in art history or archaeology. 55

Antiques at Bann Baton at Narathiwat provence.

Benefits of ancient remains and antiques can be summarized as follows. 1. Show the history of the country The country with a long history must have old age of ancient remains and antique as well. Therefore, ancient remains and antique can be compared as national evidence. 2. Show honor and pride of the people in the nation. Ancient remains and antique indicate the development of the society, intelligence and the quality of life of native people in the past. As the nation has much older age of ancient remains and antique, the people in the nation would have pride in various sides the evolution of the nation. 3. Related events in the past and present together. Ancient remains and antique are the evidence which passed through a long period of time. Nowadays people can get to know them through the past of their nation, which can be used to improve, develop or to solve the mistake in current situation or imitate and improve for better things in the future. 4.Use to educate the mind of the people’s mind in the nation. The ancient remains and some places can tell the sacrifice of their ancestors. Some places reminded the people in the nation and other places are holy places. The ancient remains and antique are not natural resources which can exist but it is a cultural resource, that humans use intellect, knowledge and ability to generate them in the ancient times. The location and article inheritance passed to our generation became the ancient remains and the antiques. Similarly the buildings and articles that we have created today the ancient can be remains and the antique of the people in the future. For that reason the ancient remains and the antique are the historical evidence that tell the history of their ancestors in different levels of the society. Throughout the small groups to the village, the city and nation and continue to our period. Therefore, we should participate in preventing the ancient remains and the antique from being destroyed. Do not remove, scratch or drill the ancient remains and do not store, trade or 56 processed the antiques. Please remember that the conservation of the ancient remains and the antique is the duty of everybody.

Useful hint The ancient remains of Thailand that have been registered for the world heritage consist of 3 locations. 1. Sukhothai Historical Park and satellite town (Sisatchanalai Kamphaeng Phet) Sukhothai has a rectangular city plan with about 2 km. in length, about 1.6 km. wide. Inside there are 26 remaining traces of palaces and temples. The biggest temple is Wat Mahathat.

2. Ayuthaya Historical Park Ayutthaya is the capital of Thailand in the past from the year 1893-2310 B.E. which was flourished empire that can be considered as the most prosperous empire in Suvarnabhumi region. From the survey, it found that there are at least 200 places of the ancient remains. 3. Ban Chiang archaeological sites, Udon Thani province. Which is one of the major archaeological sites causing us to know people’s ways of living in pre- historic in Thailand which reflects the development of culture in many ways. Ban Chiang culture covers times more than a hundred archaeological places in the Northeast which were densely populated areas many thousand years ago.

Activities 1. Students write a short essay about the cultural traditions or important festivals of your province. Then discuss it in class. 2. Students gather in groups to visit the ancient remains or the museums. Then discuss in class. 3. Having studied this chapter, the learners do the following exercises: 3.1 Explain the importance of culture and tradition. 3.3 How can students be able to preserve ancient remains and antiques.

Chapter 2 Folk Music Essence Understand and have moral, ethics and admire the beauty of folk music. Be able to appropriately make a critical analysis.

Expected Learning outcomes Understanding the basics of folk music and can describe, create, conserve, criticize, analyze melodiousness of folk music appropriately.

Scope of Contents Topic 1 Characteristics of folk music Topic 2 Thai folk music Topic 3 Music wisdom Topic 4 Value of folk music Topic 5 Development of folk music Topic 6 Value and conservation of folk music

Topic 1: Characteristics of folk music Folk music is traditional music of social groups all over the world. Folk music is often sung along together. Therefore, it may refer to “Folk song”. He characteristics of folk music is typically as follows. 1. The song as well as how to sing and play the song are usually passed on by words, singing or performing. Recorded note music is not traditional style of folk music. However, in the present time some of folk music has been passed on by the note of music already. Thailand folk music can be seen in the song of Ruea and Antiphonal song. These songs have been played since ancient times music notes were not recorded or taught. 2. Folk music is often used to play along with other activities; it is not just composed for listening or appreciateing in the art of music. It can be seen that lullaby composed for singing and making a child to sleep mode. Rice harvesting songs are used to sing in the rice harvest festival at the completion of the mission, farmers need to relax together. There are boat songs used to sing along with sailing the boats in flooding season. 3. The format of folk music is simple; there are usually 2-3 main melodies. Sing it with changing the lyrics. The Rhythm of the song is usually repetitious again and again. It can be said that folk music is focusing on the lyrics or amusement of musical composition such as dancing or Thai dancing. 4. Characteristics of melody and rhythm is in consistent with the activities or amusement; for example, lullaby songs have slow and cold rhythm because the aim of the lullaby is to relax the children and make sleep. On the other hand, in Thai folk dance song the melody and rhythm will be fun and exciting because it encourages everyone to come out for jolly dance. 5. Singing style of folk music is a natural. It does not focus much on the quality of the voice or techniques. The sound is typically used in folk singing no matter what nations they are it comes out from the throat not from the stomach or the head, which is the style for their singing art songs. 6. Most of musical instruments used in folk music are special in each local. There is a sign or a symbol to let us know which local tribe or language thy belong to. For example, folk music of the Northeast uses “Khaen” a kind of reed mouth organ in northeastern Thailand, “Pong lang” a type of musical instrument like round logs tied together by size and sound sequences as well as the “Ranat” but larger. In the North there is “Sung” which looks like “Krachappi” in the 60 cavity shape, flat, round with ventilation holes in the middle with 4 wires, “Salor” is a stringed instrument which has 2-3 strings like “ Sor au”. Folk music can be found in every country. This type of music should be studied and collected as a part of the national culture. For instance, the academic musicians in Hungary, Kodaly and Bartod, had garthered Hungarian folk music to teach new generations. There are also many composers taking melody of folk music to their primary melody of the songs they have composed such as Bartod and Dvorak. There are many different types of music. Some of them do not need much knowledge and understanding but we can access and enjoy it. However, there are certain types of music with sophisticated contents. People who can access to these types of music have to study seriously. This types of music are musicart such as Western music or classical music and various national music. Since this type of music theory, content as well as performance is thoroughly complicated, those who would like to access or appreciate this type of music must study the details of the music concerning musical features, music history or style of music. It will make them have listening basis of the particular song. However, only studying it is not sufficient, whoever wants appreciate this type of music must always listen to it. The appreciation of music cannot be taught because the feeling occurs in the individual mind of people. Teaching is just a guidance. Listening to music along with learning the content of the music can help listeners more appreciate in music by themselves. Folk music is the music that passes knowledge verbally, learning it through listening rather than reading. There are not written notes; it is the cultural inheritance of the people from the past to the present. The music activity helps relax from work and create group entertainment of the people of local residents. This will cause love and unity in the local heritage to the younger generations and. becomes the identity of the local successor.

Topic 2 : Thailand’s folk music

Thailand’s folk music can be divided according to the different regions of Thailand as follows: 1. Central folk music including the categories of musical instruments: plucking, bowing, striking and blowing. Plucking instruments are such as Thai zither and spinet. Stringed instruments are treble fiddle and alto fiddle. Rhythmic instruments are the alto xylophone (Ranat 61 ek), the alto bamboo xylophone (Ranat thum), gold xylophone (Ranat tong), small alto bamboo xylophone (Ranat thum lex), gong (Khong), “Mong” double gong with different treble sound, small cymbal, cymbals and wooden rhythm clappers. Blowing instrument such as flute (khuli), pipe (Pi). Dominant feature of central folk music is Pi Paat (orchestra consisting chiefly of the gamelan) which is integrated with the royal music. Development of pipe, drums, xylophone, gong wong and add more instruments to become large orchestra. The singing is similar to Royal Pi Paat resulting from of transferring of culture between people and the royal .

Instruments in the Central part

Three – stringed fiddle Three-stringed fiddle is the fiddle that has the most beautiful shapes used in Thai band since the Sukhothai period (B.E.1350). Three-stringed fiddle tune the sound between four pairs of strings used to play in the royal ceremony. Later it is composed into the orchestra.

Treble fiddle The treble fiddle is another type of stringed instruments played by the fiddle bow with a sound box made of hardwood, stretches the front with a snake skin and has audio channel on the opposite side. Its long handle made by hardwood about 60 cm. long. There is a knob on the upper. Treble fiddle used the silk shear string or ligament string. There are two strings with different 62 sizes. The fiddle bow is about 50 cm. long between the string. Treble fiddle has treble sound and it is used as the main instrument in the stringed instruments.

Alto fiddle Alto fiddle is a stringed instrument, its sound box is made of coconut shell. The front side is stretched with cow’s leather, the audio channel is on the opposite side. The long handle is made from hardwood. The upper side has a knob for stretching the string. Fiddle string is made of silk shear. The fiddle bow is between the strings. Length of long handle is about 60 cm. and the fiddle bow is about 50 cm. long Alto fiddle has low bass sound. It can be played along and alternatively with the treble fiddle.

Thai zither Thai zither is a stringed instrument used to play by plucking. Usually the height is about 20 cm. and 140 cm. long. The body made of soft wood, dig as a hole with 3 strings first and second string are made of silk shear. The third string is made of brass. It can be plyed by the left hand pushing the string to make high or low sound and the right hand plucking the strings which are made from ivory. 63

Flute/khlui Thai flute is a kind of the Recorder. There are the control to break the wind flow causing of sound from itself . Unlike the Chinese flute or piccolo, Thai flute has a lot of sizes such as “Khlui” with bass tone, “Khlui phiang aw” with medium tone, “Khlui lib” with treble tone and the one with more treble tone is “Khlui kruad or khlui lib krud”. Thai flute is a musical instrument in string ensemble and Thai orchestra.

Pipe/ Pi Pi is a blowing instrument with a tongue made of palm leaves to be a sound generator, which has had quadruple or double-reed similar to the oboe. There are several types such as Pi nok, Pi nai, Pi klang and Pi mon. he most prominent is Pi nai. Pi nai has only 6 holes for wind force but can be played up to 22 tone and can imitate people’s voice clearly.

Alto xylophone/Ranat ek Ranat ek is a higher tone xylophone consisting of bars made of bamboo or hardwood such as Chingchan wood 21-22 bars stripe tied together into piece of xylophone and hang it on the sound box called xylophone track of which its shape is like a boat. Ranat ek’s function to conduct the band by playing exquisitely. It is usually played in 2 styles one is struck with hard xylophone hammer called “Pi Paat Mi Khang” and the other is struck with a soft stick called “Pi Paat”. The soft stick of Ranat ek is lined up from low tone to high tone, from left to right and tuning by using beeswax mixed with lead powder attached below each head and at end of the xylophones.

Alto bamboo xylophone/Ranat thum Ranat thum is made of bamboo or hard wood with 19 bars. Its shape is similar to Ranat ek but lower and a little wider. Ranat thum is used to play jollily with Ranat ek.

Gongs/Khong wong yai Khong wong yai is the main instrument of the gamelan/Pi phat and Thai orchestra/Mahori used to play the main melody There are 16 tuned bossed gongs consisting of two major part. Gongs are the source of sound made from alloy. It look likes round cups, sort out from big to small gongs, low tone to high tone. At the top bosses used to strike and under the bosses filling them with lead mixed with beeswax to counterbalance of high or low tone as needed. Rattan frame/Ruan Khong made of rattan: Made of rattan,the diameter is approximately 1 inch coiled up and secured with the hardwood lathed in to grille pattern and has sharpened serrated bamboo to stick the structure of gong. To bind the gong with the rattan frame, leather string can be used with special knot.

Khong wong lek Khong wong lek is smaller but higher in pitch than Khong wong yai. Both instruments are played in the same manner, but Khong wong lek can be played faster and more ornate variation on the principal melody also change the melody from Khong wong yai. Khong wong lek has 19 tuned bossed gongs. 66

Goblet drum/Thon, Timbrel/ Rammana Thon : The shape look like a small tom-tom made of wood or baked clay. It is stretched the leather taut with the leather rope. The body’s length is about 34 cm.. It becomes narrow in the middle; its diameter is 12 cm and the opposite sides of the drumhead are like cylinder shapes which are similar to the loudspeaker. It is used to play with Rammana. Rammana : is a small frame drum. The diameter of the drumhead is about 22 cm. It is used in the stringed instrument (Khruang sai) ensemble.

Double-headed drum/Klong khaek

Klong khaek is a double-headed drum used to play in both gamelan and Thai orchestra. Sometimes it can played in the stringed instruments. Both drumheads are played with hand. There are two types of Klong khaek, Klong khaek tua phu has a higher pich and Klong khaek tua mia has a lower pitch. There are two types of Klong khae; Klong khaek tua phu with a higher pich and Klong khaek tua mia with a lower pitch. 67

Klong song na

Klong song na is a Thai barrel drum which looks like Poeng mang khok. It is stretched with the leather round the body and used to play in gamelan and sometimes in Thai orchestra.

1. Northern folk music In the early days there were the Percussion instruments such as the hollow timber used to worship a spirit. Afterwards it has been developed by stretching the leather on the top of the piece of hollow woods and it becomes to the instrument called Drums. Later, with the development of the drum patterns are different like the drum that is stretched on the top with the leather, only at one side such as Rammana, Glong yao, Glong aeo. And the drum that is stretched on the top with the leather at two sides such as Glong mong zheng, Glong song na, Ta phon mon. In addition, there are the percussion instruments made of metal such as Gong, Ching/Castanets, Chap/Cymbal. The blowing instruments are such as Khlui/Flutes, Ya ae, Pi nae, Pi mon, Pi surani. Bowed string instruments such as Salo luk ha, Salo luk si and Salo sam sai. And plucked string instruments are such as Phin phia and three sizes of Sueng: Sueng noi, Sueng Klang, Sueng yai.The dominant feature of Northern folk music is taking all categories of music instruments to be integrated.especially in the accents and melodies that sway with the atmosphere and softness of nature. There is also a mixe of culture of various tribes linked to the royal court culture and the music can be played both in courts and in locals with the unique characteristics.

Northern music instruments

Salo

Salo or Talo is the stringed bowed instrument played with fiddle using the liberal fiddle bow. The Salo body is the source of the sound made with coconut shell cut and covered with thin wood. The vocal tract is at the backside. Salo bow is made with teakwood or other hardwoods. It is usually about 60 cm. long, the knobs on the front preferably made into two strings but there are some having three strings. At first silk shear is used for a string and after that the wire or the bicycle brake cable are used. It is assumed that the word “Salo” comes from “Sai lo” or the bicycle brake cable of the Northern language and finally convered in to “Salo”. There are 3 size of Salo: Salo lek, Salo klang, and Salo yai sam sai.

Sueng

Sueng is another plucked instrument played by pluck. It is made of teakwood or hardwood. The vocal tract is at the front . Choose the pitch by Luk sueng or Nom (A small timber on the neck of Sueng). It is played with the thin horn and had 2 strings made of steel wire such as wire or brass (At first silk shear was used as a string). 69

Khlui/Flutes

They are similar to those of the Central region.

Pipe/Pi

Pi is a single reed. The reed is made of metal like the reed of Khaen ( Lao reed mouth organ). The body is made of blowgun (Mai sang). At the end of one side it is buried with the metal reed. When playing it is kept in the mouth to blow at the end of this side. Another side holes are lining up into 6 holes to force the sound. It is played with both hands to produce the melody. There are 3 types of Pi that are the large size called “Pi mae”, the middle size called “Pi kleang” and the small size called “Pi koi”. It is played in the band called Chum pi band or Pi chum or it can be played with the Sueng and Salo.

Pi nae

Pi nae looks like Pi chanai or Pichawa but it has a bigger size. It is a kind of double reeds made of hardwood. It is also has holes to force the sound similar to Pi nai. It is played together with Gongs, Ta lot pot and Klong aw such as playing along with the Thai’s Northern dance. There are two sizes, the small size is called Nae noi, the big size is called Nae luang.

Phin phia

Phin phia or Phin Fhia and sometimes called Fhia or Phia. The body is made of coconut shell. When playing, stick the coconut shell closely to the chest, move on-off to achieve the desired resonance. Initially the young men of the North used to play long with the singing when they are courting women. There are currently very few players.

Glong teng thing

Glong teng thing is a two faced tabular drum, made from hardwood such as rosewood or soft wood like Mai ka noon. The drum head stretched with the drum holder. It is used to mixed with other musical instruments to composed of rhythm.

Ta lot put

Ta lot pot or Ma lot pot is a two faced tubular drum. Its length is about 100 cm. , the drumhead stretched with the leather, tied up with the leather robe to press the sound. Its width is about 30 cm.,its narrow side is about 20 cm. The body is made of hardwood or softwood. It is played with sticks covered with the padding, used “ki ja” (Ground cook rice mixed with ashes) to weigh at the drumhead.

Glong tingnong

Glong tingnong is the biggest drum. The body is about 3-4 meters long.It is used to give the signal at the temple and play a long with the parade and Thai traditional dance accompany with Ta lot pot, Pi nae, Chap yai and Khong hui. It is played with the sticks and when being played, it has to be carried.

Glong sabat chai

Glong sabat chai is the drum existing centuries. In the past, it was used to strike out at the war for the luck and morale of the soldiers in the battle for the victory. The melodies used to strike Glong sabat chai are 3 melodies which are Chai pa ri, Chai di te and Cha na man.

2. Folk music instruments of the Northeast : It was evolved over thousands years ago starting from the use of local materials to imitate the sound of nature, sound of the wind blew shaking the leaf, sound of the water fall or rain drop, most of which are short sounds without reverberation. Later it has been made of natural local materials such as leaves, surface of wood, swamp panic grass, bamboo to make the long flutter sound. In the third period, it began to use the leather and cuir as the melodic music instruments with more beautiful shapes such as Krap khu/Clapper, Ranat/Alto xylophone, Khong/Gongs, Glong/Drums, P/Pipe, Phin, Pong lang, Khaen etc. They have been integrated in to Northeast folk music band with special characteristics according the 3 areas which are the northern part of the Northeast and the central part of Northeast, they are admire Northeastern folk music (Mor rum), which has to be played with Khaen/Mouth organ and Phin harmonized with the singing . For the southern of Northeast, they admire the instrumental music of the southern part of Northeast which is Khmer lineage. They also admire classical Thai orchestra band and Thai grand orchestra band. People in each group play these kinds of music joyfully. These are used to play for the amusement, with the performance and in the ceremony such as Lum pi fa which are played with the Khen to curative treatment and the traditional funeral of Northeastern part which useTum Nong band to play. The significant feature of the Northeastern folk music differ from other regions.

Northeast’s instruments

Huen

Huen is the semi plucking and blowing music instruments. It is made of bamboo or metal, grooved at the middle in to the reed. When playing Huen, put it into the mouth and pluck at the end of one side with the thumb finger or fore finger. Use the cheek pouch to be the vocal tract causing of high pitch or low pitch sounds. It can be plucked imitating a real voice of human pronouncing the vowel sound. This instruments is played in the Lahu tribe called Pia. This kind of instrument is not only in Thailand but also in all parts of the world such as Mongolia, Papua new Guinea, Africa and Europe. It is a type of ancient musical instrument that should be studied.

Khaen/Mouth organ

Khaen is a musical instrument that is most recognized of the Northern part of Northeast and the Middle part of Northeast excluding the Southern part of Northeast that is under Khmer influence. Khaen is a perfect instrument with a history dating back to thousands of years. Khaen is made of blowgun (The small bamboo). It’s a metal reed,which is made of tin, silver, copper attached together into “Taokhaen” (depressed area for blowing the breath on middle part of Khaen). Khaen had many dimenstions such as Khaen 7, Khaen 9. Beside Tao khaen at the top there are holes to control the sound. To blow at the front of Tao Khaen, both hands are used to hold the Tao Khaen little slantingly. Khaen is a musical instrument that is played both in chorus melody and making rhythm itself, which has a miraculous style. The phonology of Khaen is both Diatonic and Pentatonic with levels of amarelle that can played both in Western and Thai styles including the same level of the sounds.

Wot

Wot is the wind instrument that has no reed. It’s a circular panpipe caused by the wind blowing through a reed wood, Hia wood/Ku kaen wood or bamboo. The side of the hole of wot made is of small reed wood, short or long orderly arranged by heigh or low pitch of sounds. The pipe is stuck around a bamboo that is used to be the core attached by Kigsod. There are 6-9 pipes about 25cm. long. When blowing, we have to spin around to make the desired sound.

Phin

Phin is the plucking musical instrument, comprising 2-3 strings that make musical sound. The part of Phin body uses the same piece of carved wood; there is the tunable fret. The string is made of metal especially the wire of the bicycle brake. The plectrum made of flat animal horn.

Pong lang

Pong lang is the percussion instrument that is only a striking instrument of Northeastern part by playing together with Khaen, Phin and other percussion instruments or can be played solo. Pong lang body is made of hard wood with different sizes arranged with the sequence of sound tied together with a strong rope into bars of xylophones. At the end of the side with high pitch tied 77 with the branch and the other side with low pitch drop down stretched with the player’s thump or other materials. The instrument is generally played by two players sitting on either side, one is playing the melody, the other is playing drone accompaniment. Pong lang’s stick is made of hardwood, its shape is like a hammer played with both hands. Pong lang has no standard size.

Jakhe Kabue

It is the important musical instrument of Cambodia orchestra, is a plucking zither with 3 strings. In former times, the strings were made of silk yarn but now the bicycle brake cable is used. The player uses his or her left hand on the fret board while plucking the string with right hand.

Grajabpi

It is a plucking string musical instrument, by using the plectrum that is made of animal horn, the vocal tract is made of jackfruit wood or teak wood. At the top of the arm 2 tuning pegs and the strings are inserted into the holes. The player uses his right hand to strike the strings while using the left hand for pitching the piece. 78

Saw Kantrum

It is a bowing string musical instrument made of wood; the sound box is covered with snake skin. The sound box is on the oposite side of the head. Two metal strings are stretched tightly across the length of the stick, which is about 60 cm. long. There are the tuning pegs located on external surface of the fiddle and tied with rope. The different sizes of Saw depending on the purpose of the creator. The Saw is made in 3 different sizes. They are Tro-chi (small size), Tro-ek (medium size), and Tro-thom (large size).

Klong-Kantrum

It is a kind of one faced drum made of hollow wood with skin covering the face and stretched tightly by the rope. It’s found as a percussive instrument in the Kantrum ensemble.

Pi Salai or Pee Chanai

It is accompanied with Kantrum ensemble. It’s a kind of double reed like Pi nai.

Krab-khoo

Krab-khoo is a pair of hard wooden bars similar to Krab-sepa of the Central region but is smaller. It is used as a percussion in Kantrum ensemble. It is made into pairs a set and played with both hands.

3. Southern region’s folk music: it has a simple style of the invention music instrument from the local materials. It is assumed that the traditional folk music of Southern part came from the Sakai tribe. They used various of bamboo sizes, cutting into different sizes with the bamboo cut into straight line or slantingly at the end, covered with leaves or spathe of plants. It is used to play accompanying with singing or dancing. Then it has been developed in to musical instrument like Horn, Wooden rhythm clappers and type of drums. For example, Rammana has been 80

influenced by Malay, Glong chatri or Glong Tuk that played accompanying with Manora dancing, which was influenced by India as well as the blowing instruments like Pi nok, bowing string instruments like Saw duang, Saw au including the growth of performing arts and music of Nakhorn Sri Thammarat. It can be said that the performance in Krung Thunburi period is influenced by the Central region. The Southern folk music is also played accompanying with other performance such as Nora music, music of shadow play, the main instrument is Drum, Mong, Ching and other composition musical instruments. The musical instruments of folk drama are Rammana, Mong, Ching, Krap, Pi and Ronggeng music that had been influenced by the dance from Spanish or Portuguese since Ayutthaya period, accompanying music instruments are Violins, Rammana, Khong or some band including the Guitar. Ronggeng music is popular among the Thai’s Muslims of Thailand-Malaysia boundary. The characteristics of the Southern folk music had been influenced by neighboring countries of many races because of the unique combination that differs from the other regions in the particular rhythm and hasten, constant and energetic styles.

Southern Music Instruments

Thap

Thap is an important musical instrument for providing the changes of rhythm and also for supporting rhythms of Nora ( Southern dance drama ). Thap is like Klong yao but much smaller , the length is about 40-50 cm. The body is made of hardwood of a jackfruit tree. A single drumhead is covered by a thin leather made from langur’s skin or cat’s skin attached to the body 81 by cloth strings or rattan strings. Thap is always played in pairs, one has slightly lower pitch called Luk Thoeng” and the other has slightly higher pitch called “Luk Chap”.

Glong nora

Glong nora or glong nang is used to accompany the Nora dance or Nang ta lung (Shadow puppet) performance. Generally, the diameters of the drum in both sides are about 10 inches and the height is about 12 inches. Glong nora is made from the core ofJack fruit tree since it is believed that it maks a good sound. The drum head is covered with cow’s leather or buffalo’s leather but the calf’s leather is better, attached with the wooden pegs or in Southern language are called “luk sak” stretched tightly with the drum head and there are two legs made of bamboo wood stretched with rope attached to the drum. It is played with a pair of drum sticks. Glong nang that is played accompany with the shadow play is smaller; its diameter is about 6 inches and about 9 inches in height.

Mong, Ching/ Small Cymbals

Mong is a musical instrument that has an important part to play both in melodies and rhythm. Because the Nora and the shadow play need to sing in harmony with the sound of Mong which has 2 levels which are bass sound and treble sound. The treble sound is the most important called “ Seang Khaw Mong”. The Mong stick is covered with the rubber or yarn to make the sound soft when being played.

Ching/Small cymbals are musical instruments that are played accompanying with Nora or Shadow play. The musician needs to play to match with rhythm and singing. In former times they preferred used the large cymbals about 2 inches in diameter but currently the small cymbals with its diameter about 1.5 inches made of thick brass are used.

This instrument is important to enhance the audience to be in a sense of euphoria and make the performer dance with delicate styles. The body is made of hardwood or other heartwoods such as Lead tree, Mango tree, Mi ruk par or Plum mango tree. Kanphuat pi (the components of Pi which cause of noise when blowing it’s stuck with Pi body) is made of copper and the reed is made from palm leaves which are usually taken from the single palm tree because they believe that it will make melodic sound. 83

Trae Phuang or Krap Phuang

Trae phuang or Krap phung is a percussion instrument used to provide rhythmic punctuation made of hardwood, sized 0.5x2x6 inches.Make a hole in the head on both ends and embroider with a rope before piling up ten pieces. At the back of the axle of Trae, it is made of metal.

Topic 3 Musical Wisdom

The value of music Music is the human creation that represents their emotions to environment, nature, and ways of life reflecting the livelihood, traditions, culture, along with the wisdom of the indigenous people in various eras. Therefore, music is regarded as one of the historical evidence to which can be referred. Furthermore, music is considered as the cultural heritage that is worth preserving in order to further maintain the national identity. Expressing particular emotional states and being applied in everyday life, music has many benefits and is used for emotional development, such as, The benefits of music 1. Help to entertain and relax. 2. Help to calm down and focus on doing activities efficiently. 3. Help in the area of learning development by integrating with other subjects for utilization in each area. 4. Work as a medium to connect relationships and use as activities that are done together with families or friends such as singing and dancing together.

The conservation of musical works Musical works composed by artists in different eras represent the wisdom of their ancestors and artists. Moreover, the musical works can tell its civilization and express its national identity. Thus, they are worth preserving and shall be passed down and further developed in order to build pride and become the cultural heritage. There are various ways to preserve and pass down the musical works. The simple ways for students to exercise are as follows: 1. Study the origin of musical bands that you are interested. 2. Collect and record musical works of interesting artists for using the information on further studies. 3. If there is a chance, you shall visit the museum regarding the music exhibition in order to study the information or the history and the evolution of music. 4. Attend music activities, for instance, music performances and memorial exhibition of artists. 5. If there is a chance to take a course for a musical instrument, especially local musical instruments, you should pay attention in lessons for passing the music down. 6. Take an interest in your own local music and others.

The core…folk songs Folk songs produced by local people have been passed down by oral tradition through hearing and memorization without writing down. It is noted that the origin of traditional folk songs were not only composed by native people or verbally transmitted, but also written by royal courts. However, the songs from the royal courts were passed down by verbal memorization and became the folk songs. Similarly, the case study of Ramthone is the example of regional melody combination which plays in the local melody line. The characteristics of folk songs are its simplicity. The remarkable features of folk songs are its simplicity. If there is any allegory, it will be easy to interpret, for example, “พอพี่ควํ่ามือไป น้องกหงายมือมา...็ ” “พี่นึกรักแมตากลมเอย...่ ” From the above statement, young people could understand the meaning. Its melody is not careless but perfectly simple which is clear, sharp, and beautiful altogether. Likewise, if this were the definition, it would be the beautiful definition. In spite of a few words, readers can imagine 85 and sense them. In everyday life, we may have a conversation with people who beat around the bush and are difficult to comprehend. Meanwhile, if the other rearranges the sentence and cut unnecessary words, it is much easier to understand. The folk songs are like the latter person. The simplicity of singing and playing Folk songs have maintained the characteristics of traditional human which may show the lack of improvement and evolution. In fact, singing accompanied by many musical instruments is also melodious. On the contrary, singing without or with a few musical instruments such as playing guitar together with fiddle can create beautiful melody as well. There are various options to choose from. However, folk songs is similar the latter option due to people’s way of life. Consequently, folks or song writers easily compose a song without much preparation. The factors that help to rhythm a beautiful song are expressions, and hands. Sometimes, the simple rhythm instruments are accompanied a little such as wooden rhythm clappers, Thai small cymbals, and drums. Lullabies and Pleng Pad Kwai are verbally drawn out the notes to create mood and atmosphere. Pleng Ten Kum Rum Keaw is used a sickle and rice stalks as performance props. Pleng Ruea is accompanied with wooden rhythm clappers, Thai small cymbals, and chorus to make the rhythm more joyful. Pleng Choi and Pleng Puang Malai is used only hand-clapping. Lumtat is accompanied with timbrel. The most important things of chorus are to sing featuring each other in order to make the song more joyful.

Emphasis on the amusement Thai folk songs emphasized on two areas that are to convey a message into a double- meaning and to except the miserable things, for instance, Pleng Choi of Watkoh Publishing House. When a male singer started singing an introduction, a female singer would reply that “พี่เอ๋ยพี่มาถึงจะมาพึ่งของรัก แมหนูยังหนัก่ นํ้าใจ ไอ้ตรงแองในห่ ่อผ้า พี่เอ๋ยแกอยาได้หมาย่ พี่พึ่งเงินจะกอง พี่พึ่งทองจะให้ พี่จะพึ่งอีแปะ จนใจน้องแกะไมไหว่ (เอชา)่ ” 86

A male singer said “ทําไมกบเงินกั บทองั สมบัติเป็นของนอกกาย พี่จะพึ่งหนังมาหุ้มเนื้อ จะได้ติดเป็นเยื่อเป็นใย (เอชา)่ In the between of amusement and misery, the first one must be selected likewise folk songs. When lyrics have been compared, a message that describes the miserable feelings is less than an amusing message. Sometimes, the grief brought into a song is made up in order to change the audience’s mood, for example, Pleng Ruea when an ex-husband came back home and was depressed because of the deserted house. While the song described about the change and lonesome that a male singer can manipulate the audience’s compassion, he couldn’t help adding a playful message, such as, “...... พิศดูครอบครัวมันให้ชัวลามก่ มันช่างสกปรกไมรู้จักหาย่ หม้อข้าวกกลิ็ ้งหม้อแกงกกลิ็ ้ง ฝาละมีตีฉิ่งอยูที่ข้างครัวไฟ่ ไอ้ครกกะบากกเล็ ่นละคร สากกะเบือกนอนเป็นไข้็ ...... ”

The similarity A folk in Bangpae, Ratchaburi sang a part of Pleng Choi which ended the song that “เรามาเล่นกนเสียแตั ลมปาก่ พอเลิกแล้วเรากจากก็ นไป...ั ” Similarly, a folk in Bang Luk Suea, Nakhon Nayok sang their own Pleng Rabum Ban Na in the introduction that “เอ๋ยพี่มาวันนี้ กชวนแม็ เ่ ล่นระบํา วาก่ นคนั (แมเอ๊ย)่ ละคําไมเป็นไร่ เราเล่นกนั กนกั แต็ ลมปาก่ พอเลิกแล้วเรากจาก็ จากแมจากก่ นไป...ั ” Why did the singers from different places sing the songs whose lyrics were similar or almost identical? In fact, there are many folk songs which contain similar messages. Therefore, the study showed that folk songs composed along the Chao Phraya river and nearby rivers had built the formation which shared something in common through its transmission from person to person or group to group and became the harmonized composition. The common types of folk songs are widely divided into contents and sequences of words. According to the contents and sequences, the types of retaliating songs, short and long versions, and the contents of both types may be categorized as follows; 87

The long version of retaliating song consists of Pleng Ruea, Pleng Rabum Choarai, Pleng Puang Malai, Pleng Yhoei, Pleng Nah Yai, Pleng Ten Kum Rum Keaw, Pleng E-Seaw, Pleng Rabum Ban Na, Pleng Pad Kwai, Pleng Thepthong, Pleng prob Kai, Lumtat, Pleng Aew Klao Saw, Pleng Choi etc. Most of these songs have to be sung by skillful or professional singers who can retaliate against each other continually. In order to extend songs, they have to make up stories or create a set of plays. Therefore, we have the big sets of these songs as a prototype that comprises of; Ruk Nah Pa Nee set, Su Khor set, Ching Chu set, and Tee Mark Pua set etc. The pattern of all long versions of retaliating songs containing begins with the Wai Kru Chant, then the introduction to call girls joining the songs, and respond songs or called “retaliting” which may last the whole night long. The short versions of retaliating songs or short lyrics are comprised of Pleng Pistan, Pleng Rabum, Pleng Ten Kum Rum Keaw, Pleng Songkohlumpuan, and Pleng Chuk Kradan etc. This type of songs is suitable for amateurs who sings only four to five lines each and ends the song. Furthermore, it offers opportunities to simply join singing. Lullabies are considered as a short lyric as well. Anyone can sing the short lyrics, thus it can be sung without formalities or composing a big set determined the sequences of plays. You can start by forming a group or singing. The similarity of lyrics caused a male singer pick up line of one song to add into the other with unawareness. It is noted that a male singer can sing in various melodies besides his favorite songs. As a result, it is simple to exchange words. Therefore, we may discover the similarity of sequences or description among the songs by passing down through a singer’s mind. On the other hand, the common types of folk songs were written in poems containing a rhyme in which the last syllable of verses sounds the same such as the sound of Ai or the sound of Ar. The technical terms of songs called Li poetry, La poetry, Lee poetry, and Loo poetry etc., for example, Pleng Ruea, Pleng Choi, Pleng Ten Kum Rum Keaw, and Pleng Puang Malai etc. This style was created because it was easy to rhymes a song. If the versification of the song is composed in a difficult language, it will effect on singing. The common vowel used in the songs is Ai.

Topic 4 Value of Folk Music

Folk music is literary heritage, which was composed by anonymous villagers. Folk song be composed by a person who is an adept at verse making and a quidnunc, but accidentally or deliberately the song was beautiful and profound to listeners. Therefore the song got spread throughout and eventually no one knows who was the composer and when was the song composed. Folk songs were composed with simple but profound words. This is what makes folk music valuable because it is truly one type of art. Phra Choa Worawong Thoe Krom Mhuen Pittayalongkorn once told a story that he tried to compose rhythm song and granted to the villagers who can read to sing. But he noticed that it would be better to let the villagers composed their own song. He then asked the villagers, how was the song? All came up with the same answers that the song was full of difficult words and if you want to court a rural women they wouldn’t understand these difficult words and they wouldn’t know how to respond. This shows that folk songs used words that are easy to understand but have good point and it doesn’t need any difficult words to spice up the song. Type of folk music We can categorize folk music into categories such as categorized by the length of the songs, short or long. The example of short songs are Pleng Rabum, Pleng Pistan, Pleng Songfang, children’s song, Pleng Chuk kradan, Pleng Khaosrong, Pleng Hae Nangmeaw, Pleng Hinlele. Songs with long lyrics are Pleng Choi, Pleng Ruea, Pleng E-seaw and so on. The song can also be categorized by the pattern of a poem, which is to organize songs into the same prosody and same type. Poem can be categorized into three types, which are End Rhyme Poem, songs with continuous terminal rhyming vowels such as Pleng Choi, Pleng Lumtad, Pleng Rabum Choarai, Pleng Rabum Banna, Pleang Nahyai, Pleang E-seaw, Pleng Songkohlumpuan and Pleng Thepthong. All of these songs have the same rhyming in the end. Though .hen it is put into songs the last three verses should rhyme and relate to each other such as Pleng Ruea, Pleng Ten Kum Rum keaw, Pleng kortan and Pleng Aew Klao saw.

Song that doesn’t belongs but has similarities such as children’s song, Pleng Rabum, Pleng Pistan, Pleng Songfang, Pleng Chukkradan, Pleng Tengumrumkeaw, Pleng Padkwai, Pleng Probkai, Pleng Hyoei. To categorized into retaliating songs and normal songs. Retaliating songs are Pleng Choi, Pleng E-seaw and etc. and Normal songs are songs that can be sing alone or duet or songs that does not need retaliation such as Children’s song, Pleng khortan, Pleng Chukradan, Pleng Song fang (usually is a short songs) Reason we choose to categorize this way was because it is easy to understand and it complies to each other. Each song is related to one another respectively. Songs that are performed during festival and seasonal such as Pleng Nhayai is used during khatin Phaba season and rainy season. After Khatin is harvest season, during this season people usually sing Pleng Keaw Khoa, Pleng Song Koh Lumpuan, Pleng Song Fang, Pleng Chuk kradan and Pleng Ten kum rum keaw. After the harvest season, its Songkarn festival, songs performed are Pleng Pistan, Pleng Rabum Ban Rai, Pleng Puang Ma Rai and Pleng yhoei. Songs that can generally be perform with no timeline and can be sing anytime are Song for children, Pleng E-seaw, Pleng Rabum Banna, Pleng Phad Kwai, Plean Prob Kai, Pleng Thepthong, Lumtad, Pleng Aew Kloa Saw, Pleng Khor Tan and Pleng Choi. Central Region 1. Dialogue song is retaliating between men and women by singing. To perform courting we called the leader of both side for men and women “Por pleng Mae pleng”, who are highly experienced which makes the performance lively and not dull. This kind of performance comes in varieties of form, which have different style, lyrics and opportunity. Sometimes they might include music as well as dancing to emphasize on the lyrics such as Lumtad, Pleng Choi, Pleng E-seaw, Pleng Puang Ma Lai, Pleng Ruea, Pleng Yhoei, Pleng Sha ChaoHong and etc. 2. Pleng Karn Tum Ngarn is a true characteristic of villagers. Moreover, using music to ease up the tiredness is an intelligence way to cheerfully continue with their work especially agriculture work. The singers respond to each other and sometimes they used normal words to mimic or tease such as Pleng Keaw Khao, Pleng Song Fang, Pleng Chuk Kradan, Pleng Song Kum Lumpuan and Pleng PanFang. The singers also cheerfully clap their hand to match the rhythm.

Northern Another type of singing is by using words, accents and rhythm together with Pi-So which are called Rark So or Khor So. For “ So U Saow” such as retaliating between men and women, usually is a poem that was written in advance and then memorized to sing. Only on some occasions that the verses are responded back without memorizing and those that can do such things need to have high experience. The song or lyrics that are used usually came from literature called Phra Law, Noi Jaiya and etc. Way to sing is to utter along with the rhythm and then stop in some part but the story still continues. There are several ways to write poem of the northern part of Thailand such as “KumRum” which is a poem with continuous alliteration verses. Some of the poems were passed on as oral tradition and then memorized into different style such as some are memorized as folk literature. North Eastern There are several songs that sing differently such as Klon Lum that the Mor Lam Klon will memorize the words and use it as lyrics to sing often accompany by the Khaen. There are different kind of Klon Sue Khwan which was developed from the Brahman ceremony such as Sue kwan Boa Soa kin dong, Sue kwan dek, Sue kwan luang and etc. Moreover, there is “Phayha” or “Paya” which was sung by using one phrase that does not base on rhyming words but based on the words that are use in daily life combine together to form short Phahya. This had turn into prosody that is in folk literature such as Phaya Rueng Tao Hueng. Southern part of Thailand “Pleng Bok” or “herald song” is a Poetic song that is used in significant singing to express the wit of a poet. Even if the objective of the song’s meaning is to tell story or spreading news to people but the way Pleng Bok is sing and perform is not boring at all. There are 2 styles, which are short version with chorus and long version (to sing a very long song) with chorus. Pleng Bok band will have Por Pleng or Mae Pleng, chorus, Ching (small cymbals), Krap (clapper), Pi, Khlui (bamboo flute) and Glong Thab (goblet drum). Pleng Bok does not have or need any dancing because people will only focus on the poem telling the story.

8 Commandments of folk song in Thailand 1. Most of Thai folk songs are played by teenagers, which are separated into two groups. One group is all men and the other group is all women. People perform folk song to court about love and most of the time they didn’t prepare the poem. Traditionally when the men lead the song the 91 women response, the lyrics in which the women response express their welcome and sing a poem music which show how they are politely protecting themselves as a traditional Thai women. Every Thai both living in Thailand and other countries know that interaction between men and women during the performance of live poem is part of tradition, which have been practice from generations to generations. Before there’s a tradition that forbid young people from seeing each other privately but if they use poem to communicate then courtship is allowed to be perform directly to each other. In northern part or northeastern part of Thailand, men and women used local philosophy called Phahya (During Sukhothai era a stone inscription was inscribed as Praya) to interact between each other. In northeastern part of Thailand before it was developed like nowadays, they strictly followed their tradition, so if any youth didn’t use philosophy that are poems to interact with each other they will be reprimand by the society as a coward, wouldn’t dare to Long Buang (didn’t dare to start a relationship) and those youth that didn’t get married because they didn’t know how to respond by using live poem, this is called Tok Buang. 2. Singing Thai folk song expressed the harmony and joy which is in comply with Thai’s ancient culture custom that was hand down from generations to generations. This is how the artist expressed their feeling for art. 3. Singing Thai folk song, the leader of the men side is called Por Pleng and for women side is called Mae Pleng. Usually, Por Pleng and Mae Pleng are senior relatives of both men and women side. It is normal for Por Pleng and Mae Pleng to seek for the opportunities to enhance their skills about married life and sexual relations. These kinds of thing intelligently occur in the lyrics of the folk music poem. It can be said that Thai people have been teaching their youth about sexual relations and give sex education through folk songs long before the western does. 4. Before they start their poetry performance younger will pay respect to the senior by saying apologize poem, incase they might offend the senior during their performance either physically, mentally or verbally as well as ask for forgiveness. After paying respect to the senior the singers will turn their face towards the audience presenting themselves, showing modesty with polite and gentle words and that they are sorry if in any case their live poetry is not smooth and euphemistic. We can see that Thai people are gentle, polite and modest. 5. According to the tradition when self-presenting ceremony and modesty ceremony end both side will greet each other with intimidating words. 92

6. When there is an opportunity to sing folk song to each other, it is traditional to allow the women to fully responded back to the men as live poetry. The women are allowed to perform live poetry showing their love or hatred openly and it will not be considered as spoiling one’s reputation. This tradition derived from ancient time, allowing women to show their equal rights or even leading the men. 7. There is another ancient Thai tradition worth mentioning is when the performance of folk song ends, it is respectful for junior folk singers to apologize to the senior folk singers because during the live poem performance some words or some action might offend the senior. If one’s know that their live poetry folk song are not within the standard then one should seek knowledge and skills from the expertise, prepare, practice and when they’re free from doing their work at the farm, men will respectfully asking for advice from Por Pleng and a women will ask advices from Mae Pleng. To prepare and practice several months in advance before the important day of performing, the women might be a little bit shy but they’ll be ready to confront the men and ask questions, perform courtship and she will also be ready to response to every style of live poetry. Folk song that was sung will be memorable to those who listened and pay attention. Even though other civilization might influence that individual and it might not be hard for such person to comply with those traditions. But it will not be easy for that individual to divert to the new phenomenon if the prototype of folk song that was sung had entered into one’s ear, touched their heart and flow in their veins.

Topic 5 Development of Thai Folk Song 1. Background of Thai Folk Song The origination of Thai folk song is mysterious since the tradition was carried on from generations to generations without any written document. However, it is assumed that such culture has existed in Thai society for a long time. An example of this includes a Thai cradle song that was originated from babysitting of Thai mothers. The background and the development of Thai folk song can be summarized below. 1.1 Ayutthaya period: in early Ayutthaya period, there was a northern Thai tradition called “Khab Soh” which appeared in Tawa-tosamas (Poem of the Twelve Months) and Lilit Phra Lor literatures. In addition, the “Pleng Long Ruae” which is a song chanted by males and females while paddling a boat could also be found in the royal law registered in the period of 93 the King Trailokkanat. Then in the late Ayutthaya period of Somdet Phrachaoyuhua Borommakot, there was “Pleng Thep Thong” which is a song chanted in the celebration of Phra Buddhabat Saraburi temple. This was mentioned in Punno Wathakamchan of Phra Mahanak, Tha Sai temple. 1.2 Rattanakosin period: this is the period where varieties of Thai folk song evidence can be found. During the reign of king Rama I – king Rama V, it is considered to be the “Golden Age” of retort music which was witnessed in royal ceremonies. In addition, there were compositions of new songs such as Pleng Choi, Pleng E-Saew, and Pleng Song Kruang which were popular during the period. In the early Rattanakosin period, it is evidenced that Pleng Thep Thong, the oldest retort song carried on from Ayutthaya period, was chanted in the royal cremation ceremony of King Phraphutthayotfa Chulalok‘s parent. Furthermore, as mentioned in Phra Chetuphon temple’s inscription, there was “Pleng Prob Kai” which was chanted in the temple celebration during king Rama I reign. Both songs are also referred to in various literatures such as Oon-rood, Inao, and Khun Chang Khun Phaen. During the reign of Phra Bat Somdet Phra Nangklao Chao Yu Hua, a number of retort songs were mentioned in a poem for royal ceremony called Thawathosamat (twelve months) that Sakwa, Pleng Krueng Thon, Pleng Prob Kai, and Dok Soi were chanted in Loi Krathong festival. However, when it comes to the reign of Phra Bat Somdet Phra m Klao Chao Yu Hua, those popular traditions became unpopular because of “Aew Lao”. King Rama IV was concerned that other Thai traditional plays would be lost, so there was a prohibition towards Aew Lao. In the reign of Phra Bat Somdet Phra Chunla Chom Klao Chao Yu Hua, the king asked his people to play a traditional folk song while he was at Bang Pa-In Palace in B.E.2426. This was the first time that the folk song was audienced by the king. Traditional plays were still popular during the period, especially for amusement shows which include not only Khon (Thai classical masked ballet), puppet theatre, Nang Yai and Nang Talung (both are shadow plays), but also newl traditional plays such as Like (music folk drama) and Lamtat (antiphonal singing). These plays became increasingly popular for locals. In the reign of Phra Bat Somdet Phra Mongkut Klao Chao Yu Hua, the king attempted to promote folk plays by adding the lyric of Pleng Prob Kai in his writing, the Shakuntala, by arranging Phra Han Akard and Nang Oopakosa as plots for Like, and by requesting a Like show 94 in the celebration of Chaleemongkolasana Palace in B.E. 2460. The popular folk songs for the period include Pleng Song Kruang and Pleng Choi which were widely accepted. Moreover, a lot of folk songs such as the Famer Dance of Mr.Bussaya and Northern barcarole of Mr.Charoen were published.

Pleng Choi in the TV show “Khun Phra Chuay” (Taken from www.daradaly.com)

However, during the World War 2 period, western cultures and capitalisms influenced and created various western amusements and songs such as modern Thai songs, folk dance songs, and country folk songs which made traditional folk songs gradually unpopular. Furthermore, the government of Field Marshal Plaek Phibunsongkhram issued the B.E.2495 Royal Decree on the Establishment of the National Culture which controlled the traditional folk plays, thus the retort songs were finally lost during the period.

Folk songs have been restored as conserved traditions since B.E.2515. The government and private sections, as well as those who are interested in, have encouraged a systematic study and promoted traditional folk songs for a wider acceptance. The retort song, therefore, became popular as a conserved art but was not widely played as before. 2. Development pattern and purpose of folk song: the development of folk song can be summarized as follows. 2.1 Ceremonial folk song: certain folk songs are used as a part of ceremonies such as cremation songs and songs used in restoration ceremonies. Apart from that, there are a number of folk songs that are related to the beliefs and ceremonies in the past, although it looks like they are sung for recreational purposes. These include retort songs and songs for folk plays in harvesting seasons and Songkran festival. 95

In traditional Thai society where most people are farmers, their ways of life are closed to nature and fertilities of plants and crops are the most important factors in living, so people tend to arrange ceremonies to ask for such fertilities from nature spirits or to create things with the belief to change such natural conditions; for example, they might create a model of a farm called Ta Raek (or Ta Haek in north-eastern pronunciation) and plant only 5-6 rice with a belief that if the first batch of rice is flourish, the rest of the farm will be flourished too.

Ta Raek or Ta Haek ceremony

The well-known ceremonies related to fertility are the ceremony in harvesting season and in Songkran festival.

Folk song in harvesting season The most important planting ceremonies are in the harvesting season and before planting season. In such event, not only will there be ceremonies but the folk songs will also be chanted. Prior to the planting season each year, farmers will conduct a blessing ceremony for cultivating tools such as buffaloes, ploughs, and plows and there will be a blessing song for such ceremony. Moreover, if the rain does not fall as expected, farmers will pray for rainfall. This will be done in every region (except in southern part of Thailand where rainfall is not a problem) by various approaches; for example, farmers in the central region will arrange Hae Nang Maew and Shaping the Cloud rituals (this will be done by shaping clay into a penis or lovemaking couples) and sing the ritual songs while performing the rituals, farmers in the northern and north-eastern regions will arrange Hae Nang Maew and Bang Fai (sky rocket) rituals, and dance in the 96 ceremony. These rituals are conducted to make villagers feel relieved since they believe that such rituals will call for a rain and thus, make the rice grow.

Singing and dancing while harvesting In harvesting season, farmers will arrange a series of rice blessing ritual, Soo Kwan Kao, Soo Kwan Laan, and Soo Kwan Yoog, to give thanks for spirits belief to provide outputs and to exorcize evil spirits that will damage crops. Moreover, in the central region, there are songs called Ten Gum Rum Kiew, Roi Chang, and Kiew Khao to celebrate for the farm outputs. In summary, singing songs in the harvesting season aims to entertain people and to celebrate crop fertilities.

Folk song in Songkran festival After farmers work hard in the farm for almost a year, there will be Songkran festival in summer which comes after harvesting season. The festival, which is a ceremony for fertilities, is important for folk songs since most of the folk songs, especially for central songs, are sung in this festival. Folk songs in Songkran festival can be classified into 2 types; retort songs and songs for traditional amusement.

Singing a retort song 97

Retort songs include a short song chanted in the afternoon such as Phitsathan (make a wish) song and Folk Dance song, and a long retort song such as Puang Malai song and Choi. The contents for these songs are highly related to sexuality, since it is believed in the past that fertilities and sexualities are correlated. Songs for traditional amusement can be classified into 2 groups. The first group is generally used for an amusement of young people in the afternoon such as dancing songs, while the second group is used in spiritualism plays in the night such as Mae Sri, Ling Lom, Nang Kwai, Phee Kradong, and Nang Sak. The latter is a ceremonial plays which reflect the traditional beliefs in paying respect to spirits who know the flow of nature, so people tend to call for such spirits to ask problems or to forecast weather. When considering Thai folk songs chanted for amusement in festivals, it is possible to conclude that they are a part of rituals for fertility at the beginning; however, when such beliefs and understandings change in a later period, these songs are chanted only for recreational purposes.

2.2 Recreational folk song From the previous role as a part of ceremony, traditional folk songs are currently used for entertainment purposes. They are arranged in activities to gather members in a group and enhance their relationship, so most of the songs can be sung in group or party; for examples, songs used in rice threshing, in Songkran festival, at the beginning and the end of Buddhist lent, and in the religious ceremony of Surin (Jrieng song), all of which are used to group people up for the purpose of conducting works or recreational activities. For traditional folk songs used in activities such as retort songs, each of the villagers will take part in singing by taking turns as a singer and choruses. Most of the songs are short, easy to sing, and do not require a specific artist to sing, so they are truly songs for villagers. 2.3 Folk song used in a show Folk songs used in a show refer to a folk song that is used in a part of the long show that is performed by actors with a series of content, so the singer will have certain abilities such as having a good memory, cunning, able to speak skillfully, and able to compose lyrics. Not all the villagers have such abilities, so there will be a group of performer and audience. A good singer in a village will usually be well-known by people in the same village and its neighbors. This type of people if not naturally gifted, he tends to be extremely fond of it and 98 well practice. Most of them will find their own teachers. When there is a religious ceremony where the host needs entertainment, these performers will be hired to group up in a team and sing a song in response to the other team. These activities were conducted in house or temple courts at the beginning. Later, they became shows in the playhouse or on the stage, and the Like playhouse. From king Rama V reign, the central folk songs are influenced by Lakhon Nok (a play performed by all males) and musical comedies. As a result, traditional folk songs tend to apply Lakhon Nok in their performances such as singing with a Thai orchestra band and dressing like performers in Lakhon Nok, and this is called Pleng Song Krueng. Meanwhile in the northeastern region, people apply folk tales in their singing and call them Lam Puen which became Lam Moo and Lam Ploen. Moreover, the folk songs used in shows include Soh Muang and Soh Keb Nok. It can be seen that traditional folk songs have been developed from local specific songs to shows and professional singings eventually.

Thai traditional folk songs were greatly popular during the king Rama 5 to king Rama 7 reigns and become unpopular after the World War 2 and began to be lost from Thai society. However, it is the restoration, studying and promotion of the songs that have been started since B.E.2515 of technocrats and people who are interested that make the songs return and become popular. Some traditional folk songs have been changed into the country folk songs such as Pleng Lae, Pleng Like, Pleng Choi, Pleng E-Saew, and Moh Lam (folk singing). These songs were recorded and distributed throughout the country; for examples, Pleng Lae Buadnak of Waipod Phetsuphan, Pleng Choi Kub Kaw Phetchakat of Kwanchit Sriprachan, Pleng E-Saew: Dog bites of Ekachai Sriwichai, and Pleng E-Saew 40-41 of Seri Roongsawang. This makes certain traditional folk songs remain well known and have not been forgotten like other folk songs.

Topic 6 : The value and Conservation of Local Folk Songs

Local folk songs are intellectual inheritance of the local and the nation which is of great value to be conserved. It can be briefly remarked as follows: 1. The value of local folk songs. Local folk songs are social treasures having been inherited for a long period of time. It is one of the Thai ways of living with great values to the society. The value of local folk songs to the society can be classified into 5 categories 1.1 For entertainment: Local folk songs have entertained people from the past to the present time especially at the times with nothing to entertain people like that in the present time. Local folk songs is one of the entertainments causing happiness and joy for the people in the society both as a local play for the youth and as an important factors of the rites. Therefore, it is considered as one of the entertainments for the local ways of living. Local folk songs have entertained social members, for example, lullaby, a song to help babies go to sleep easily, can simultaneously make the singer feel relaxed while singing it. Some songs sung while children are playing can make them have joy and fun because of their encouraging rhythms, so children like teasing one another. Some songs like Pleng Patipak have amusing words for courting the opposite sex to pay attention to them. This type of song is to deal in rhetoric between males and females. If it is used for entertainment, it can make the audience laugh since while the singers are singing, they have to dance in free styles. This type of songs takes an important role in entertaining people. Nowdays, some local folk songs like lullabies or songs for playing in local styles may diminish in numbers and roles, but Pleng Patipak has developed to be local show or enteratainments which can make the audience feel joyful and relaxed. They are still popular among villagers. Therefore, there are a lot of long folk song parties performing all around when they are hired.

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An example of Pleng Ea – Saew ( which has beautifully impressive meaning for the audience : appendix)

( ช ) ตั้งใจหมายมองรักแตน้องหมายมา่ บุพเพบุญพาโปรดจงได้อภัย เรือนผมสมพักตร์พี่นี้รักหลายแรม รักยิมรักแย้มรักแม้ มีเยื่อใย่ ดูหยาดเยิมทุกอย้ างนับแต่ ย่ างเจอหญิง่ ความสวยทุกสิ่งพี่ไมแกล้งปราศรัย่ เอียงโสตฟังสารฟังพี่ขานบอกขาว่ พี่เป็นหนุ่มนอนหนาวโอ้แม่หนูนอน ไหน ให้พี่แนบนอนหน่อยแมหนูน้อยอย่ าหนี่ ถ้าได้แนบอยางนี่ ้พี่ไมห่ ่างนางใน ให้พี่จูบแกมหน้ ่อยหนูน้อยอยาแหนง่ พอให้พี่มีแรงสักหน่อยเป็นไร ( ญ ) ให้พี่จูบหน่อยวาหนูน้อยยังแหนง่ น้องหวาดระแวงพี่มันชายปาก ไว ปากหวานขานวอนฟังสุนทรประวิง กลัวไมรักหญิงจริงหญิงสังเกตรู้ใจ่ พอแรกเจอะรู้จักบอกวารักลวงโลก่ พี่มันชายหมายโชคทําให้หญิงเฉไฉ ใครเชื่อเป็นชัวต้องพาตั่ วตกตํ่า คบคนหลงคํายอมมีข้อระคาย่ ขี้เกียจรําคาญกลัวเป็นมารสังคม พอได้เด็ดดอกดมกลัวจะไมเสียดาย่

( Buaphan Suwannayos 2535 B.E.)

In the song, males are trying to court females telling about his feeling and admiring females’ beauty; females’ answer shows the feeling that they do not trust males’ sweet words. 1.2 For education: local folk songs are creative thinking to transmit their feelings and thoughts of the community group. They are, therefore, the recorded experience. Local folk songs recorded knowledge and intellectual wisdom of the community and at the same time they are valuable to strengthen intellect for the community by educating them both directly and indirectly. Direct education: refers to teach knowledge directly on both reality and morality such as nature, the origin of earth and human beings, ways of living, roles and duties in the society tradition and custom, literature, local sports, ethics,etc. 1.3 For sustaining the nation’s tradition refers to keep or sustain all ideas and deeds showing Thai ways of living of the people in the society which consists of code of conduct, unity, progress and good morals. 101

The most significant role of local folk songs is to take control of and keep social standard, to give suggestion as well as identifying appropriate behavior for the society. The leading singers ( both males and females) not only have beautiful voice and attractive speech but they also have knowledge of different items and life long experience to stimulate people’s ways of thoughts to comply with them resulting in their popularity among the people. Although most contents in local folk songs are about love and sex, they not only entertain the audience but they also give them some lessons or teach them to appreciate the code of conduct accepted behaviors. The example of this song is shown in the song “ Tub-su-kho” in which the female will not run away with her boyfriend because it can be shameful and she must get married in order to return her parents’ hospitality. The song “ Tub-mark-phua- mark-mea”: which shows the husband who is in distress because he has an affair with others and realizes his wrongful deeds. The song “Tub-ching-choo is about taking a lady away from hours. The example is shown in the following verse. แมฉันเลี่ ้ยงมาหวังจะได้แทนคุณ นี่กลับมาเทลงใต้ถุนทําให้ท้อพระทัย ไอ้เรื่องพานะคุณพี่มันกดีสําหรับแก็ สําหรับพอและแม่ งั่ ้นจะเลี้ยงเรามาทําไม เลี้ยงตั้งแตเด็กหวังจะได้แต่ งได้ตบ่ แกจะมาลักพาหลบไมอายเขาบ้างหรือไร่ พอแม่ เลี่ ้ยงมาหวังจะกินขันหมาก ไมได้ให้อดให้อยากเลี่ ้ยงเรามาจนใหญ่ ...

This verse mentions the woman’s feeling when her boyfriend asked her to ran away from him with him. She prefers to get married as her parents wish her to.

1.4 For relieving stress: local folk songs can help relieve stress causing from work and the problem to earn their living including the depression resulting from custom or social regulation such as being taken advantage or experiencing low economics etc. Singing local folk songs or watching the local folk song performance can help audience feel relaxed from work or tasks and get away with the real life, at least for a while, resulting in releasing stress and encouraging them to deal with real life in the future. The example is lullaby in the Northeast in which its content shows a mother’s feeling in undertaking a family task and being looked down from the society of a widow who has no husband to protect her as shown local folk song below

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น้อนสาเด้อหล่า น้อนสาแมสิกอม่ ( นอนเสียลูกน้อย นอนเสียแมจะกล่ ่อม ) แมสิไป๋เข็นฝ่าย เดี๋ยนหงายเอ๋าพอ ( แมจะไปปั่ ่นฝ้าย เดือนหงายหาพอ่ ) เอ๋าพอม้าเกียวหญา่ มุ้งหลังค้าให่เจ้ายู ( หาพอมาเก่ ี่ยวหญ้า มุงหลังคาให้ลูกอยู ่ ) ฝนสิฮํ้าอูแกว้ สิไป๋ซ่นยูไส ( ฝนจะรั่วรดอูแก่ ว้ จะไปซ่อนอยูไห่ น ) คั้นเพินได้ก๋ินชิ้น เจ้ากะเหลียวเบิงต๋า ( เมื่อเขาได้กินเนื้อ ลูกกเหลียวดูตา็ ) คั้นเพินได้ก๋ินป๋า เจ้ากะสิเหลียวเบิงหน้า ( เมื่อเขาได้กินปลา ลูกกเหลียวดูหน้า็ ) มูพีน่องเฮี้ยนใกเพิ้ ่นกะซัง ( พวกพี่น้องเรือนใกล้เขากชัง็ )

Besides, local folk songs can help release sexual stress and the prohibition of social tradition. It is one way to release all stress and react to depression. It is concealed behind the amusement, audience’s laughs. At that time, they can show their feeling with the singers without any punishment or against the rules since in the past, Thai society was closed society that people could not show off their emotion or feeling about sexual needs as seen in many of social values concerning Thai women ‘s behavior such as not to lose virginity, or not to have sex before the right time etc. These social values are ethics that can keep them away from and remind them of sexual feeling or display. Nowadays, people think less about social values and do not strictly carry on the value like those did in the past. However, most of the Thai people who live in the country still keep on doing it like those in the past. Local folk songs can be a chance for Thai society to have the singers and the audiences relieve their stress on love and sex such as frankly talking about sex, impolite manner, talking about religion as something of ridicule, satirically talk about persons or organization etc. All these violate social values, but they can relieve depression and aggression casing both the singers and the audiences to be satisfied and help relieve stress as seen in the song “Eesaew” below:

ช. ไมต้องท้าหรอกน้องเนื่ ้อทองของพี่ รูปร่างอยางนี่ ้จะท้าพี่ไปทําไม รู้ไหมรู้ไหมวาพี่ชายของน้อง่ พี่ไมเคยเป็นรองรองใคร่ น้องจะมาสู้จะบอกให้รู้เสียก่อน เฉพาะไอ้เนื้ออ่อนออนจะสู้ได้ยังไง่ ขนาดกาแพงเจ็ดชัํ ้นพี่ยังดันเสียจนพัง กไอ้ผ้านุ็ ่งบางบางจะทนได้ยังไง ญ. เอ๊า..จะดันกดันฉันก็ ไม็ กลัว่ เอาซิตัวตอตัววันนี่ ้ฉันสู้ตาย บอกกาแพงไมํ ต้องถึงเจ็ดชั่ ้น ถ้าหากจะดันเอาตรงนี้กได้็ เอ้า..ยังงั้นฝ่ามือของฉันตันตัน แข็งดีกลองดันให้มันทะลุให้ได้็ 103

ช. บอกวาฝ่ามือแล้วตันตัน่ ใครจะบ้าไปดันดันกนไมั ได้่ ขนาดขูแบบนี่ ้ยังไมกลัวเลย่ โอ้แมคุณเอ๋ยใจกล้าเหลือหลาย่ ขนาดแมวัวติดหล่ ่มยังล่อซะล้มทั้งยืน พวกคุณตัวยังคืนคืนเงินให้ ฯ ญ. โอ้โฮโม้ไปมากฉันไมอยากจะฟัง่ เอ้าลองดูให้ดังกนกั ให้ได้็ ขนาดแมวัวติดหล่ ่มยังล่อซะล้มทั้งยืน พวกคุณตัวยังคืนเงินให้ นี่แกยังไมรู้จักแล้วขวัญจิต่ เฮ้ย…ยาคุมออกฤทธิ์เอาอยูเมื่อไร่ บอกผู้ชายทุกชั้นที่ฉันผานมา่ ขนาดทหารแนวหน้าฉันยังสู้ได้ ไมว่ าตํารวจทหารล่ ่อกนทัั ้งกรม ฉันล่อทหารเป็นลมไปตั้งหลายนาย (ขวัญจิต ศรีประจันต์และไวพจน์ เพชรสุพรรณ , การแสดง)

1.5 For the local press: in the past, most people were poor, uneducated and living a long way from civilization. Some type of press such as newspaper, radio, and television were different to access; local folk songs took an important role on spreading the news as well as presenting new ideas or opinions. In the past, there was not any press equipment, the villagers used local tradition concerning language and others to communicate; for instance, a lullaby in the South giving knowledge and ways of thought or showing opinions to the people or the villagers. Our role of local folk songs is like a press which spreads news from the society to the villagers as well as from the government to the people. In addition, local folk songs also express the people’s opinions to the events occurring in the country. Nowadays, the press has been a lot more developed. Some types of the press such as radio or television can spread the news more effectively than local folk songs causing some local folk songs to take fewer roles from Thai society. However, some types of songs like Morlum Lum Tud, Eesaew song” as well as Pleng Choi etc. still take roles as the local press since they have been developed the format and the content to be more modern including the development of the singer’s expression in persuading the audience. There are 2 types of local folk songs which are to spread the news and to criticize the society As for spreading news, the local folk songs can spread various types of news such as the song “ Roy Phansa” of Kanchanaburri Province tells people about the “Buddhist Lent Festival” or the song “Bok” of the south and song “Trus” of Surin Province tell people to know it’s about time to have “New Year Festival”. Moreover, local folk songs can be an equipment for spreading the 104 news of the guardians or the admistratives of the country like “Mor Lum Klon Lum” for planting vegetables in the time of General Por Phiboon Songkram or “Mor Lum Klon Lum” against communist and for praising the U.S.A in the time of General Sarit Thanasurach The following “Eesaew” song of General for Phibbonsongkram to publicize his policy and create social values

จะพูดถึงเรื่องวัฒนธรรมที่ผู้นําขอร้อง แก่บรรดาพี่น้องที่อยูในแนวภายใน่ เราเกิดเป็นไทยร่วมธงมาอยูในวงศีลธรรม่ จะต้องมีหลักประจําเป็นบทเรียนใส่ใจ ประเทศจะอับจนกเพราะพลเมือง็ ประเทศจะรุ่งเรืองกเพราะพวกเราทั็ ้งหลาย เราต้องช่วยกนบํารุงให้ชาติของเราเจริญั ฉันจึงขอชวนเชิญแก่บรรดาหญิงชาย มาช่วยกนสั ่งเสริมให้พูนเพิ่มเผาพันธุ์่ วัฒนธรรมเที่ยงธรรม์ให้เหมาะสมชาติไทย ------

จะพูดถึงการแตงกายหญิงชายพี่น้อง่ ที่ทานผู้นําขอร้องแก่ ่พวกเราทั้งหลาย ทานให้เอาไว้ผมยาวตามประเพณีนิยม่ สับหยงทรงผมเสียให้งามผึ่งผาย่ จะเที่ยวเอาไว้ผมทัดจะได้ตัดผมตั้ง จงเปลี่ยนแบบกนเสียบ้างให้ถูกนโยบายั ------In the song, the leader asked all the Thais to maintain our tradition, religion, dressing, hair style etc in order to make our country civilized. Besides the above example, there are a lot of songs used to spread the news or the policy of the government and the guardian as shown in the song “Eesaew” and the song “Choi” below: เนื่องด้วยผู้วาราชการจังหวัดสุพรรณบุรี่ ทานได้มอบหน้าที่ตามที่มีจดหมาย่ ทานผู้ว่ าสุพรรณให้รู้จักท่ านทั่ วถิ่ ่น ทานชื่อว่ า่ จรินทร์ กาญจโนมัย ให้ขวัญจิต ศรีประจันต์มาร้องเพลงชี้แจง เพื่อจะให้แจมแจ้งประชาชนเข้าใจ่ ให้ฉันมาขอบพระคุณกนไปตามหัวข้อั คือ ก.ส.ช. ที่ผลงานเหลือใช้ พูดถึงก.ส.ช.กรู้ชัดก็ นทุกชัั ้น เป็นบทบาทของรัฐบาลที่ตั้งนโยบาย

จ.จานใช้ดีชาวศรีประจันต์ นี่กใกล้็ ถึงวันแล้วเวลา นี่เลือกตั้ง ส.ข. อีกแล้วหนอพี่น้อง ดิฉันจึงได้ร้องบอกมา วันที่สามสิบกนยายนเชิญชวนปวงชนั - ให้ไปเลือกกรรมการหนอวาสุขาฯ่ ทุกบ้าน ------105

The content of the songs is a message from the governor to introduce himself and to persuade the people to elect local representatives. Local folk songs not only spread the news but they also criticize different aspects of the society such as events, national institutes, politics, governing, economics, social problem etc. Some types of local folk songs such as the song “Eesaew” the song “Choi” now evidently criticize the society due to the progressive society and political system giving freedom to people to express their opinions both in their own groups and in public or even the press. Therefore, local folk singers can freely express their opinions as a common citizen of the country. Besides, local folk songs are public treasures which all have to take responsibility; the composers or the singers express their opinion as representative of the community. The example of the song of which its content criticize the society is as follows:

ลําตัดเรื่องประชาธิปไตย ของขวัญจิต ศรีประจันต์ การแสดงพื้นบ้านหัวข้อขานเงื่อนไข กบประชาธิปไตยของเมืองไทยวันนีั ้ ความรู้สึกนึกไว้วาไม่ ได้ของจริง่ ยังร่อแร่รุ่งริ่งยังไมนิ่ ้งเต็มที่ ฉันเกิดมาช้านานอายุฉันสี่รอบ เรื่องระบบระบอบและผิดชอบชัวดี่ รู้สึกยังหน่อมแน้มมอมแมมหมกเม็ด แบบวาหาประชาธิปไตยจนไหล่ ่เคล็ดยังไม ่ - สําเร็จสักที ------สามัคคีสังฆัสสะคําพระทานว่ า่ ตัดโลภโมโทสาแล้วทานว่ าเย็นดี่ ไมแก่ ่งแยงแข่ งขันไม่ ดื่ ้อด้านมักได้ ประชาธิปไตยกเก็ ิดได้ทันที แตคนเราไม่ งั่ ้นความต้องการมากเกิน ยิงบ้านเรือนเจ่ ริญใจตื้นเขินขึ้นทุกที มีสติปัญญาเรียนจนตําราทวมหัว่ แตความเห็นแก่ ่ตัวความเมามัวมากมี เจริญทางวัตถุแตมาผุที่ใจ่ ประชาธิปไตยคงรอไปอีกร้อยปี ------นักการเมืองปัจจุบันกผวนผันแปรพรรค็ พอเราจะรู้จักกย้ายพรรคเสียนี่็ บางคนทํางานดีและไมมีปัญหา่ ไมเลียแข้งเลียขาไม่ ก่ าวหน้าสักที้ คนดีมีอุดมการณ์มักทํางานไมได้่ แตพวกกะล่ ่อนหลังลายได้ยิงใหญ่ ทุกที่ ...

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The above song tells us about democracy in Thailand nowadays, which is not the real democracy. People are still greedy and selfish because of the civilization and the materialism. Good politicians cannot be promoted if they do not flatter the authorities. From the passage mentioned above, we can see that local folk songs are of great value to the society and the country. They not only entertain people but they also educate people both directly and indirectly. In addition, they can make people relieve from stress, sustain the national tradition as well as acting as a press spreading the news and criticize the society. Local folk songs not only entertain people but they also create intellectual wisdom for Thai people Nowadays, local folk songs take fewer roles on the society since there are some other better things to replace them such as modern entertainments that are better than lullabies or the songs for performance. There are school systems and more effective communication technology to replace the press resulting less role of local folk songs except some songs that have developed their formats and contents suitable for the present society such as the song “Eesaew” that can be sung in the country styles as sung by many singers such as Ekachai Sriwichai and Seri Rungsawang etc. These make local folk songs popular and valuable in the society.

2. Conservation of local folk songs It is impossible to conserve local folk songs to be the same as before, but we can conserve them to make the neglected tradition exist in the Thai history and society like the traditional styles. There are 2 types of conservation which are conservation from their originated forms and applied conservation. 2.1 Conservation from their originated forms is to proceed the forms, the contents, the method, singing or performing like they were in the past for educational use. 2.2. Applied conservation refers to change the forms and the contents in order to be in consistent with modern society for sustaining it to have roles in the society. 2.3. Inherit and publicize should be continually done. Usually, most local artists are willing to inherit local folk songs to those who are interested. However, it is found that there are no or only a few persons inheriting that tradition. This problem should be solved by publicizing or encouraging new generation to see its importance and want to conserve and practice it It is not easy to encourage new generation to practice local folk songs, but one way to do it is to invite professional artists to demonstrate or perform or invite the expertise artist to train or 107 practice groups of students to perform indifferent occasions, which can simultaneously inherit and publicize it. However, to inherit local folk songs cannot depend only on local artists due to the limitation of different factors such as time, place, and budget. To solve the problem, there should be persons who can train or teach young generation, but to study from theory is not enough; the teacher should “ do it, see it, and value it from heart”. If the children see and realize its value, they will be interested in it and continue practicing it in the future. 2.4 Promoting and supporting local folk songs: it is hard task that needs the persons who sacrifice and put effort into it including cooperation from all sectors. Recently, local folk songs have been supported from both state and private organizations such as office of National Tradition, the Traditional Center of the Province, educational institutes, music center, Bangkok Bank, Office of Electricity Generating of Thailand, etc. 2.5 Promoting local folk songs to be a part of daily life activities. This can be done by introducing it in joyful activities for private life such as I a birthday party, wedding ceremony, house – warming, etc, in the activities of different festival such as New Year, Loy Krathong or Songkran, or in educational institutes like wrist binding ceremony, sports day, graduation ceremony and in the activities in working place such as a party, a seminar, etc. 2.6 Supporting the local folk songs to be used in advertisement or public relation can be done both in governmental and private systems. Up to the present time, some sectors of government offics and private sectors have used local folk songs to advertise and publicize; for instance, Kwancht Sriprachan was invited from Suphanburi Province to sing local folk songs to publicize the Province’s works or activities, or the advertising company for the Tiparos fish sauce used Pleng Lae to create Thai atmosphere. Udom Taephanich sang Pleng Lae in advertising “ Divivde by 2 Project” to launch a campaign for saving energy. Boonthone Khonnum sang Pleng Lae to advertise Top gum 2 T oil. Moreover, lullabies of the Northeast are used to advertise the project “ Samnuk Rak Ban Kerd of TAC” All those supports mentioned above are interesting and should be widely promoted since it will make local folk songs familiar with people and are still valuable in the Thai society.

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Activity 1 1.1 Have the learners explain each characteristic of local folk music having been studied. 1.2 Have the learners study their local folk music and write it down then discuss it in the class. 1.3 Have the learners try playing local folk music from the local experts and perform in the class. 1.4 How can the learners conserve local folk songs? The learners write down a report and discuss it in the class.

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Chapter 3 The Art of Dance Main essence 1. Folk dancing art and its local wisdom. 2. Value and conservation of folk dancing art. Culture and ritual of a local wisdom.

Expected Learning outcome 1. Able to explain the history of folk dancing art from different regions. 2. Able to explain the relationships between folk dancing art and culture. 3. Able to explain the relationship between folk dancing art and local wisdom. 4. Able to apply folk dancing art and local wisdom appropriately.

Scope of content 6. Folk dancing art and local wisdom. 7. Folk dancing art of the North. 8. Folk dancing art of the Central. 9. Folk dancing art of the Northeast. 10. Folk dancing art of the South.

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Folk dancing art and local wisdom Folk dancing art is performed in different regions usually for the purpose of creating fun and entertainment, for stress reduction or for performance related to the occupations of people in different regions. Folk dancing art is a performance that reflects on the identity of different regions of Thailand depending on the geographical characteristic, tradition and culture of the local society. The art incorporates fun and entertainment with everyday’s ways of life. Folk dancing art of the North “Fornt” is a dancing art of the North. The art involves dancing to the music without any lyrics which is its main identity. Fornt of the northern region has 2 different types which are the traditional form and the new improved form. The traditional dance includes Fornt Mueng, Fornt Marn, and Fornt Ngiew. 1. Fornt Mueng refers to the dance of the local. It is a planned form of local dance which is transmitted from the previous generations through dancing. The dance includes music and dance without lyrics or songs. Examples are Fornt Leb, Fornt Darb, Fornt Jerng, Fornt, Pheemod and Fornt Ngan.

Fornt Darb performance

2. Fornt Marn refers to the dance of Mon or Burma. It is an inheritance of the dance form and music since the period where the Burmese has a big influence over the locals. Examples are Fornt Burma, Fornt Pheemeng, Fornt Jard or Jard performance or Shan musical folk drama. 111

Fornt Marn Mongkol 3. Fornt Ngiew is a performance of Tai or Shan. The format of the performance includes dancing with the complimentary of different musical instruments such as tall narrow drum, cymbals and gong. Examples are Fornt Tai, Fornt Ngiew, Fornt Gingkalar and Fornt Toh.

Fornt Gingkalar

The new improved form is an improvement of the traditional form in order to create a structure that corresponds with the science of the dancing art. Fornt Leb, Fornt Thien, Fornt Lorngnarn, improved Fornt Ngiew, Fornt Marnmuichiengta, Zaw dance, Keb baicha dance (Tea leaves picking), Fornt Saomai are the examples of the improved form of beauty and movement of the art.

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Fornt Leb (nails) History Fornt Leb is a beautiful dance of northern Thais. The name originated from the characteristics of the dance where the dancer is wearing artificial nails made up of metal on every finger except the thumb. The dance is usually performed in the residence of the vassal prince therefore it is not a very commonly dance to be seen. This dance has widespread to Bangkok during the reign of King Rama 7 in the year 2470 B.E. Dancing art teachers of the Fine Arts Department has practiced and preserved this art up until present.

Fornt Leb, the art of the northern region

Musical instrument Musical instrument uses in Fornt Leb are nare flute, waist drum, cyambals and gong. Costume Costume includes round-neck shirt or closed-neck long sleeve button down shirt covered with breast cloth. Sarong with local vertical patterns is worn with skirt live dress woven with silk. Hair is worn in a high bun decorated with flowers and bouquets. Necklace and ear rings are worn.

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Dance Dances are named as Kung-hun-ron, Riang-morn, Lieb-thum, Sord Soi-mala, Phrom See- nar and Yoong Forn-tharng. Occasions of the dance Dances are used in auspicious ceremony and in entertaining and welcoming important guests. Folk dancing art of the Central This is a dancing art and play of local people of the central part of Thailand which is made up mostly of agricultural workers. The art depicts the lives of people for the purpose of entertainment and relaxation from work and from after the harvest season. The dance such as harvest song, sickle dance, therd-therng dance, and yher dance are played. Dancers are dressed according to the local customs and local musical instruments such as long drum, solo drum, cymbals, clappers and mong are used.

Yher dance History Yher dance is one of the old folk dances originated in Kanchanaburi in Mueng and Phanom-tuan district and still preserving it until present.

Yher dance

The dancing and singing of Yher start off with an overture to draw the audiences. The long drum band includes local instruments such as long drum, cymbals, wooden clappers, gong and flute which are used to precede the rhythm. The performers are made up of male and female with a main singers from both sides including a chorus. When the participants grew in number, the long drum will change to a slow rhythm so that the main singers from both sides can 114 counteract. During the singing, the participants will alternate the movement to the opposite side to put the cloths on the neck of the opposed party which serve as an invitation to dance. The lyrics are in the tone of flirtation up until the departed ending. There are no specific patterns of dance movement. The pattern depends solely on the specific pairs of dancers. The movement involves stepping the leg forward. The Fine Arts Department conserves the dance by improving the lyrics and movement to make it appropriate for stage play or outdoor play and makes it one of the most beautiful folk dances.

Costume Male wears round-neck shirt, loincloth pants and a cloth wrapped around the waist. Female wears tube-sleeve shirt, loincloth pants and a cloth around the neck. The lyrics use a simple prosody like other folk songs which ended with the same vowels and refer to as bedhead poem. The lyrics of Yher will end with the word Yher. The song is called Yher with cloths placed over the shoulders due to the dancer act of putting cloth over the opposing shoulders of the dancers. The prosody is only made up of two intervals which are the beginning and the ending with one single merge. After the end of the two intervals, the male and female chorus will repeat the singing. The lyrics of Yher song of the Fine arts Department are as follow. *The lyrics are translated to describe the meaning of the song and not the actual words used in singing.

Male Come and play the game of placing the cloth upon the shoulders. I’m waiting so please come quickly and don’t spoil the show.

Female You please reach out your right arm to put the cloth upon my shoulder. Male I will place them upon your shoulder. Female All of us please come and join them with the dance. Male Hurry up beautiful women. Female Dance as beautiful as the golden swan. Male Dance are such beautiful as half-bird half-human.

Female Dance in a pair is such pleasant to watch. Male I really love you. Female Don’t you worry about me. 115

Male I love you truly and will not leave you. Female Don’t love me for real and you will leave me.

Male I carried a big load of love and it is falling. Female I can’t believe men of many hearts. Male I carried a big load of love, please show me some mercy.

Female How can I love you when you already have a wife on your lap.

Male You beautiful, I don’t have a wife. Female Your wife is at home, why do you leave her there.

Male If I can tear it up like crab meat, I would. Female If your love is real, please hurry and propose. Male I will but how much is the dowry. Female I only have betel so please hurry up. Male Goods are expensive so I will try my best. Female I only have betel so please get there. Male It might be better if we just escape. Female Mom taught me not to believe the words of men.

Male Mom taught me to just escape together.

Female Dad taught me to come home now. Male Dad taught me to come to my home. Female Round and round and it should end now. Male So sorry that we have to go separate way. Female Time is running up and I have to go. Male Let’s join in blessing before we say good bye. Together No sadness or sickness and best of luck to everyone.

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Folk dancing art of the Northeast The dancing art of the northeastern part of Thailand or Isan. It can be divided into two big cultural groups.

1. North Isan group with a Thai-Lao culture called “Mor-lum, Serng and Fornt” such as Lum Toey, Lum Long, Lum Klonkiew, Serng Bungfai, Serng Tungtawai, and Fornt Phuthai. The local instruments used are lute, reed mouth organ, Ponglang, tall drum, cymbals, gong, and slappers.

Fornt Phutai, Sakon Nakhon province.

2. South Isan group has an influence from the Thai-Khmere group. The play is called “Ruem” or “Rherm” with an example such as Sark dance or Krado Sark. In terms of counteractive songs such as Gun-truem, Jereong, and Aryai, the musical instrument of Thai grand orchestra including bamboo stump, gun-truem drum, aor flute, chalai flute, cymbals and wooden clappers are used. 117

Ruem Anray or Sark dance

The costume of the Isan dancing art is according to the folk customs. The majority of the movement and rhythm is concise, fast and fun.

Serng Kratib Kao History Serng kratib kao is a recreational play of Phuthai locals who lived in the province of Sakon Nakhon and its proximity. It is commonly used on celebrations and on public holidays. The play started with a musical performance from the male performer. He uses a reed mouth organ, tall drum, cymbals, wooden rhythm clappers, and the sound of gong to create a fun and entertaining rhythm just as Serng Isan. Female performers will carry kratib kao (container holding sticky rice) and use them in different dance moves. The meaning of the dance is to bring food to serve the husband and relatives who went to do rice farming. Serng kratib dance has no lyrics. 118

Female costume composed of a tube-sleeve shirt and sarong skirt live dress woven with silk. Hair is worn as a bun decorated with flowers. Ear rings, necklace, bracelet and anklet are worn. The dancer also carries kratib kao. Male musician is wearing a short sleeves black shirt and a red loincloth pants or sarong wrapped around the waist. The dance are used for merit making ceremony, welcoming important guests, cultural rituals or any occasions promoting Thai culture abroad.

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Folk dancing art of the South This is a recreation play and performing art of the south which can be divided into 2 cultural groups: Thai-Buddhist group including Nora dance drama, shadow play (Nung Taloong,), pleng bork and the Thai-Muslim group including zumpeng, zooloo musical folk drama, Zilah and rong-ngang.

Rong-Ngang performance

Dancing art of the south can be divided into different types including the traditional type and foreign influenced type. 1. The traditional type has its pattern from the Ayutthaya era or when Krung Sri Ayutthaya was conquered. Artists and performers escaped the war and fled to the south. They introduced the form of drama called Chatree to the southern region together with the traditional local performance such as suad malai, pleng na, and pleng rua. 2. The foreign influenced type. The south of Thailand is bordered to Malaysia; therefore, people who live by the border are absorbing the performing culture from Malaysia. Examples are hooloo musical folk drama, salapae, arware-lootong, kara, grue-thoe and zumpeng.

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Zumpeng Nora History Nora or Manorah (classical Thai tune) is a superior performance which reflects the way of lives of people in every southern province. It is a performance that is parallel to the southern shadow play for ages. The history of Nora is explained by many different legends. One of the legend stated that the first teacher of Nora, nobleman Suttha, came from Ayutthaya. Prince Damrong Rajanuphab suspected that nobleman Suttha is a famous dance teacher of late Krung Sri Ayutthaya who escaped a case and abandoned to Sri Chang Island. The boatmen helped him to Nakorn Sri Thammarath and continued the teaching of a dance art according to the pattern of Sri Ayutthaya.

Nora or Manorah in the south

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According to the story of a nobleman, Oophatum Narakorn (Pum Tewa) told in Nuan Narng Thong Sum-lee. The daughter of prince Sai-far-fard was punished since she consumed the pollen of a lotus and got pregnant. She was abandoned to Sri Chung Island and gave birth to a little prince. The little prince was taught the 12 dance postures by his mother. She learned the moves during the time that an angel came into her dream. She memorized the postures and also taught the dance to the servants. The little prince later performed in front of Prince Sai-far-fard which he later realized that the little prince is his grandchild. He sent people to pick up the little prince back home. Sri Kongka refused to come back home so she was tied up and taken on the boat. When the boat confronted with the crocodile, the boatmen fought against the crocodile and created a new dance psoture depicting a crocodile poking posture. The relationship between Nora and Chatree of the central part is very complicated. The word Chatree is the same as Chat-tree-ya in south India meaning king or a brave warrior. Since most of the performance has a king as a role player, the performer is called chat- tree-ya which later distorted to Chatree or Chatree drama since it involves with a drama. According to the experts, Nora and Chatree came to the south and the central region right about the same time. The reasons for the differences are due to the condition of the way of lives, the different customs of each region and the different popularities. The unique identity of both Nora and Chatree is in the use of a gong and flute as a based instrument. In the central part, xylophone is added during the time of King Rama VI. In the past, the word Nora is not used only the word Chatree. The word is still used during the Ratanakosin period as in the composition by Prince of the first class Sri Suren.

“ชาตรีตลุบตลุบทิ้ง กลองโทน รําสะบัดวัดสะเอวโอน ออนแปล้่ คนกรับรับขยับโยน เสียงเยิน่ ร้องเรื่องรถเสนแห้ ห่อขยุ้ม ยาโรย”

When including Phra Suthon performance with Chatree, the word Manorah Chatree following the name of the leading actress of Suthon has become a common word. The plot originated from the south and not from Ayutthaya. Eventually, Nora performance is changed to Phra Suthon. In later era, other folk literatures has been performed but are still called as Manorah. As time gone by, 122 the characteristic of a southern language (speaking the word quickly in short) has distorted the word and only left with the word “Nora”.

There are all together 12 important postures in Nora performance. Nora dance postures are taught by using a composition that display varieties of dance moves and are slightly different from one group to another. The connection of moves, the feet movement, the form of the body, and the quick movement are taught. In the teaching of the dance, there is a poem that refers to the costume and grace of the dance. The poem below contained words that describe the movements and costume. *The lyric taught the dancers about the movement, posture and the costume. “ครูเอยครูสอน เสดื้องกรตอง่ ่า ครูสอนให้ผู้ผ้า สอนข้าให้ทรงกาไลํ สอนครอบเทริดน้อย แล้วจับสร้อยพวงมาลัย สอนทรงกาไลํ สอนใส่ซ้ายขวา เสดื้องเยื้องข้างซ้าย ตีคาได้ห้าพารา่ เสดื้องเยื้องข้างขวา ตีคาได้ห้าตําลึงทอง่ ตีนถีบพนัก ส่วนมือชักเอาแสงทอง หาไหนมิได้เสมือนน้อง ทํานองพระเทวดา” Other than the postures taught by the teachers, there is also an additional creation of movement. Creation of a specific personal movements are also created such as Wai Kru dance, Rong Kru dance, Kae Bod dance, Pathombod dance, Thang Jarakay dance (Crocodile poking), Pleng Koh dance and Klong Hong dance. The costume of Nora includes Thai theatrical crown, shin-length pants and girdle with custard apple decorated like a Manorah. Lanyards covering the chest, necklace and long nails are worn. 123

Musical instruments are drum, double gong, cymbals and flute which started as an overture. Singing teachers are invited in front of the curtain to sing and reside. The story is referred in the local language as “Kumprat nar marn”. Then the performance begins. Nora of different groups includes 15-20 performers. It is usually made up of male performers with a small mixed of females. Nora can be performed in any general occasions.

Learning Activity 1 Learning Outcome 1. Able to explain the history of folk dancing art of each province. 2. Able to perform folk dancing art correctly and appropriately. 3. Know the value and basic conservation of folk dancing art and local wisdom. Explanation 1. Please explain in brief on the knowledge of Thai dancing art. 2. Students must perform dancing art of their local area by learning about the history, format of the performance, approach of the performance and practice. Student must perform at least one performance.

Learning Activity 2 Learning Outcome 1. Able to explain the relationship between local dancing art and local culture, ritual and wisdom. Explanation

Allow the students to learn about their local dancing art. - Which factors influence the origination of a folk dancing art?

- The approach towards conservation of folk dancing art.

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Chapter 4 Constructing folk musical instruments

Factors to consider regarding the occupation. The most important factor in starting a self-employed occupation is to first consider what type of occupation you are interested in and the opportunity and requirement for success. The main factors to consider before staring a self-employed occupation are as follow.

1. Capital is the basic factor of every self-employed occupation. A person much have plan and foresight in order to know how much capital is needed. In an occupation that requires less capital, there are also fewer problems. If the occupation requires a large capital, a person must consider whether they have adequate fund which can create a bigger problem if lacking. If the fund is inadequate, he must consider about the source of funding which can come from personal savings, from a bank loan or from other financial institutions. A person should not invest all their savings in the initial stage or invest too heavily. 2. Knowledge. If the knowledge is inadequate, a person must gather more information. Knowledge can come from training in the field of the occupation or being employed by a company. A person can also practice on his own to build expertise and experience in that particular field. 3. Management is about the technique and the approach to run the business. A person must learn how to make plan and determine human resources who can help contribute and invest in the business. Equipment, tool, and process also have to be determined. 4. Marketing is one of the most important factors. If the products and services are of no interest to the customers and don’t create satisfaction, the whole management process is considered to be a failure. Marketing plan in this highly competitive economy needs to be considered and developed. The knowledge of the manufacturing process, packaging and public relations are needed to create demand in the target market.

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Recommendations for choosing an occupation. Before choosing an occupation, a person must carefully consider the following advice. 1. Choose a career that you like and are good at. A person must analyze themselves to understand what occupation they are interested in or are good at. The skills they possessed and the desire to start a business that is appropriate for themselves and their family must be considered. Generally speaking, they must consider the types of occupation in relation to themselves and family members. 2. Personal development is to learn about the details of the intended occupation. If the knowledge is lacking, a person must learn, train and practice by themselves or through different organizations. The appropriate knowledge to correctly start the business can be acquired from the experience of others which can help increase the chance of success. 3. Consider other related factors such as location, production, sale, distribution, service, work condition, basic knowledge and capital requirement. If capital is inadequate, a person must consider where they can get the funding from.

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Flute (Khlui) manufacturing occupation.

Khlui can be classified as follows: Khlui Lhib or Khlui Lheek or Khlui Gruad is a small flute with a higher pitch compare to Khlui Piang Or. It is used in the Thai grand orchestra band on a large paired instruments and paired stringed instruments. It is used as a lead instrument similar to a xylophone or a treble fiddle. Khlui Lhib is also used in a Java clarinet band because of its similar sound. It can be used as a background instrument just like a fiddle. Khlui Piang Or has a mid-range pitch that is popular among casual users. It is used in Thai grand orchestra band or with other stringed instruments and serves as a follow up instrument. Khlui Piang Or can also be used in a woodwind Java instruments but is more difficult to play than Khlui Lhib as the sound range are not the same as other Java instruments. If using Khlui Lhib in the same way as Khlui Piang Or, the pitch has to be in the higher 4th pair. It can also be used in Thai orchestra consisting of five groups of wood and percussion instruments as a front instrument to replace the flute. Khlui Ooh is a large flute with 3 lower pitch than Khlui Piang Or. It is used in an ancient Thai orchestra consisting of five groups of wood and percussion instruments that required a low pitch as a base sound. In the past, it is also used in a large Thai grand orchestra. Nowadays, finding a masterful player for the instrument is very difficult.

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Characteristics of a good Khlui (flute) Khlui in general is made of bamboo of a specific breed. At present, most of the khlui are from Saraburi and Nakorn Ratchasima province. Other than bamboo, khlui can be made of ivory, chingchun wood or any hardwood. Plastic are also used nowadays. In terms of quality, a flute made of bamboo is better than flute made from other materials since bamboo texture has natural ventilation both inside and outside. It can expand its size once in contact with water which makes it harder to break. In addition, the appearance of the flute can be nicely decorated. The decorations can be in the design of flower, rock, and turtle’s shell. Other important characteristic of a bamboo is the fact that they have a joint which can be drilled for sound adjustment by the last finger. The rest of the joint is used to hold wind and sound to create a resonant sound. Flute that are made from other materials, the maker might not consider those important points causing a drop in quality of sound. As stated above on the importance of creating flute from a bamboo, the rest of the components have to be considered. 1. Sound. A good flute must have a precise sound from the lowest to the highest pitch. Every sound must be separated by exactly one sound step according to the Thai sound system. The 8th pair of sound must be equal and other resemble sounds has to be the same. The true sound must be crystal clear and not cracked. If performed with an instrument with an exact sound such as in a gong band or xylophone, only flute with the same sound can be selected. 2. Wind. A good flute must not use too much wind and have good ventilation. 3. Characteristics of the wood have to be an old wood or a completely dry wood. The splinter is delicate with a dark brown or nearly black color. The gnarl is small and the wood is not too thick or thin. It has to be appropriate to the size of the flute. If the bamboo is not old or complete dry, the flute can easily break or can be eaten by a snout beetle. The sound quality can also be affected. 4. Blowing hole should be made of a golden teak because it lacks residue that could interfere with the wind. Inserting the blowing hole should not be too close or too far from the edge of the bamboo. If too close, the sound will be dull. If too far, the sound will be loose. 128

5. Open holes on the flute need to be drilled delicately depending on the size of the bamboo. A flute made in the past has a bigger opening in the inner holes but the flute made today is not drilled in such a manner since flutes are mass produced and the makers disregard those details. 6. Selecting a flute that is suitable for the size of the fingers. If the user has small fingers, he should choose a flute with a small body. If the user has large fingers, he should select the one with large body. 7. Other components. The color of the texture should be without blemish or scratch and the wood design must be neat. These characteristics don’t affect the sound of the flute but the user should consider it in order to find the best flute for them.

Process of making the flute 1. Choose the bamboo that is straight and cut it in sections. Select the bamboo size based on the type of flute you are making. 2. Put the bamboo under the sun until it changes its color from green to yellow. This means that the bamboo is completely dry and ready to be made into a flute. It should be put under the sun for 7-10 days. 3. Soak coir in the water and then place it over a powdered stone block. Rub the bamboo until it shines. You can also use a sand scrub before rubbing it with the powdered stone block. 4. Apply lard or vegetable oil over the bamboo so that the hot lead can penetrate over the surface of the bamboo. Use a stick to insert into the bamboo and place them across the top of the pan which contains a melted lead, then scoop up the lead and pour it over the bamboo to create a design. This is called design pouring. 5. Drill holes in good proportion by using a drill to create an initial hole and then follow through the hole with a sharp iron stick that are intensely burned until the iron turns red. Use the iron stick to drill the bamboo internode as well. 6. Use a knife to carve the blowing hole. Teak should be used as it is not too hard and are easier to carve 7. Create the blowing hold and plug the top opening. Leave a hole for a wind to get through when blowing. 129

8. Saw the blowing hole to make it even with the edge of the flute. 9. Use a knife or a sharp edge iron to drill a parrot mouth by creating a rectangular shape opening under the blowing hole. The hole is about one inch below the blowing hole. This is called a parrot mouth hole. 10. Pour small pieces of wax into the internode opposite to the blowing hole. Estimating that once the wax melted, it should be able plug the wind leakage of the blowing hole. 11. Use the red hot iron stick and punch it through the internode up until the blowing hole section. The heat form the iron stick will melt the wax and disperse it through all the leakages. 12. Once the wax cool down, use the iron stick and clear up the hole intended for the wind to go through at the blowing hole.

Experience of Barng Sai Kai flute making community.

Khlui Ban Lao (Bang Sy Kai community) is housed between Bang Sy Kai canal and Hirunrujee temple in Hirunrujee district. It has been said that Laotians in Bang Sy Kai community are an ancestors from Vientian which are brought into Thailand as a slave. They brought into Thailand the knowledge of flute making and reed mouth-organ making which is their folk musical instrument. Since they live in the area of Bang Sai Ky Temple, it is commonly known as “Lao Village”.

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Mr. Jarin Klinbupha, chief of the community, is the 3rd generation of Laotian. He received the knowledge of flute making from his grandfather. Mr. Jarin stated that “Bamboo used in flute making must come from Tai Pikul village, Phra Buddhabaht district in the province of Saraburi. Once received, the bamboo is cut into the length according to the sections of the bamboo and baths it under the sun for 15-20 days in order for the wood to be completely dry. The wood is selected according to the size and usage and then scrubbed until it becomes shiny. The holes are drilled and the reed-mouth organ is used to determine the sound. The process of design making is done by a melted lead which is poured onto the flute creating a design such as bullet wood. Parrot mouth is then carved in order to setup the sound. The blowing hole is created by carving teak wood or hardwood into the hole and leaves an opening for the wind to go through. The distance between the mouth of the flute and the parrot mouth should be carved in a shape of an elephant stomach in order to create a beautiful and resonant sound. The flute will then be tested to determine the standards of the sound.” At present, there are altogether 20 households that are in the business of flute making. Customers usually come and order the flute directly at the village due to the long history of quality and reputation of “Klui Ban Lao”. The flutes are also delivered to shops selling Thai musical instruments.

Reed mouth organ (Cann) manufacturing occupation.

Reed mouth organ (Can) is one of the oldest musical instruments. The instrument is very common in Khon Kaen province and is considered to be the identity of people of Khon Kaen. It is also considered as the main instrument of the northeast region. At present, reed mouth organ is widely produced by the people of the Na-wha district of Nakornphanom province. 131

The occupation is taken by the whole village. Reed mouth organ is also made in many other provinces. Reed mouth organ is used in performances such as in a bamboo mouth organ band, ponglarng band, and folk musical band. It is also used in a ritual of Isan people such as Pheefah dance and Phuthai dance. In northeastern style singing such as Lumplearn and Lumphuen, reed mouth organ is use to support the singing and can’t be excluded. Types of reed mouth organ Reed mouth organ is a woodwind instrument that required a player to suck in and release out the air through the blowing hole. Reed mouth organ is made from goocan wood or blowgun wood of the bamboo family. The wood is widely available in the area of Phupuan mountain in Roi et province, Nakorn phanom, Lao and the northern part of Thailand. Reed mouth organ is usually refers to as “Tao”

Reed mouth organ can be categorized into 4 types according to the appearance and characteristic of play. 1. Six reed mouth organ. 2. Seven reed mouth organ. 3. Eight reed mouth organ. 4. Nine reed mouth organ. Components of a reed mouth organ. 1. Goocan wood for the body. 2. Taocan wood for blowing. 3. Metal tongue (tongue of bamboo mouth organ). 4. Khee-sood 5. Krua-yarnarng

Experience of local craftsman “The making of Bamboo mouth organ”

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Mr. La Praison, 82 years old, was born in the year 2467 B.E. He lives in 45 Moo 9, Bann Toongsethi, Nakornchum subdistrict, Kumphaeng Phet district in Kumphaeng Phet province. He went to Roi et province and saw people making a bamboo mouth organ. He bought it for home for resale and turns out that the product was selling very well. He decided to make the reed mouth organ himself by learning it directly from Roi et province. Mr. La Praison pursues the occupation of reed mouth organ making which is considered to be a wooden or musical instrument handicraft. The product is a valuable wisdom of the locals. The manufacturing process is also very local and is made with high delicacy. The sound is beautiful with varieties of design to choose from. It became a main occupation ever since. A person who is able to accumulate knowledge and experience to make a living and able to transmit it to people in later generations through a direct or indirect method is considered as “Folk philosopher”. The transmission of knowledge has a main principle of preserving the pride and identity and connecting the past to the present. There is no success formula and the connection can varies depending on the characteristics of the villages. They help create the local wisdom. If the wisdom can be inherit and preserve in a systematic fashion, it will create economic values and increase income for people. Reed mouth organ is a folk musical instrument. The raw materials came from the natural environment taken near their home. The raw materials can be found in nearby forest, homegrown, or bought from nearby regions. Rhuak wood and blowgun wood of the bamboo family, kheesood or chanrhong, metal tongue, hardwood (for mid section), crossbeam (made from See-suk bamboo) and fluorite rock (to create tongue) are used. Knowledge transmission. 1. Teaching the descendants of the family. 2. Being a speaker and teach the art of making reed mouth organ and the playing method to students in school, to interested parties in the different districts both in and outside of Kumphaeng Phet province.

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Selling price. Country folk reed mouth organ (small) 1,200 baht each Lao reed mouth organ (large) 1,500 baht each The productivity of reed mouth organ is one piece per week and the average annual income is 30,000 -40,000 baht. Source of Information. Sold at the home of uncle Lar Praison, 45 Moo 9, Bann Toongsethi, Nakornchum subdistrict, Kumphaeng Phet district in Kumphaeng Phet province. Contact: Reed mouth organ group. 78 Bann Tharua, Moo 1, Tharua subdistrict, Na wha district. (staff: Mr. Sukorn Chaibin. Tel: 0-4259-7532,0-6218-2817 )

Double-headed drum (Klong Kaek) making

Double headed drum (Klong Kaek) is long, tubed shape percussion instrument. The leather striking area on both ends are made from calf or sheep skin. The large end is 20 cm wide and is known as “Nha rui” or Nha mud and the small end is 15cm wide and is known as Nha Tarn or “Nha Tard”. The body of the drum can be made from different types of wood but usually from hardwood such as chingchun, marid, payoong, krapee kao kwai, kanoon, sadao, maka, coconut, palm, and kampoo wood. The edge of the drum is made with a rattan wrapped with leather around the edge and front of the drum. It is then pulled tightly with small rope-like leather called “Nhung riad”. The purpose is to increase the volume of sound on the drum surface until reaching a satisfactory level. The set of double headed drum is made up of two pieces, the high pitch 134

(male) and the low pitch (female). The sound is created through striking both sides of the drum alternately.

Sound characteristics. - Male double sided drum. The pitch is higher than the female drum. The sound “ting” is create on the large end and the sound “Joh” is created on the smaller end. - Female double sided drum. The pitch is lower than the male drum. The sound “thum” is create on the large end and the sound “Jah” is created on the smaller end.

Playing the instrument. In striking the drum, both hands are used to strike both of the surfaces according to the determined rhythm. The small end is stroked by using the index and ring fingers to create a small and sharp sound. The large end is stroked by the palm of the hand to create a strong and firm sound. The specific details of the method depend on the directions provided by different teachers. Successful maker of double sided drum (Klong Kaek) Kru Saneh Phakpong Thai musical instrument is a cultural heritage that reflects on the wisdom of people from past till present. From the historical evidence since Sukhothai period, music and the instruments are mentioned in the stone inscription. It serves as an evidence of the ancient prosperity and shows that singing and dancing is one of the personalities that are deeply rooted by Thai people. The delicacy and charm of a Thai lifestyle is an identity that Thai people can be proud of. Kru Saneh Phakpong is a master in making Klong kaek. He uses an ancient approach that is different from other craftsman. In other word, all the process is done by hands without the use of any modern equipment which is an identity of the ancient approach. The appearance of the drum is also appropriate and neat since the raw materials are taken from the natural environment. The edge of the drum is created from bamboo which is different from a plastic made drum which affects the quality of the sound. Compositions of Klong Kaek are as follow: 1. The body of the drum. The body is made from hardwood such as phayoong, chingchun, pradoo and other woods. The wood is carved to form the shape of a tube with the length of 24 inches. The mouth on the large end is 8.5 inches wide called Nha Rui and the mouth of the smaller end is 7.5 inches wide called Nha tarn. The width of the body is 10.5 inches and is 135 positioned at the 8 inches mark measured from the large end. The identity of Kru Saneh Phakpong’s drum is a drum that is not too bulging as it will look more appropriate once completed. 2. The edge of the drum is made from a coiled bamboo wrapped with rattan. Nowadays, plastic are used instead. The small strings of rattan are wrapped around the coiled bamboo, the large edge is 9 inches wide and the small edge is 8 inches wide. Cowhide is then wrapped around the 4 surfaces. The surface after wrapping must be fastened firmly. This is a local wisdom of Kru Saneh. When the edges are fastened firmly, the drum will be loud and resound. 3. Rhiad leather is made from buffalo skin that is 2-3 mm. in thickness. It is then cut into a string of 4 hoon (chinese unit of weight) with the length of 12 meters. The ancient approach of cutting by using the knife is used instead of modern cutting equipment. The identity of Kru Saneh is to use a leather piece that is not too large hence making it easier to increase the sound and preserve the striking surface of the drum especially in the smaller end which uses a thin leather. 4. Hoo Chong is a part of tying up the knot on both ends of the drum by using the leftover rhiad leather. The leather are coiled and tied to the metal rings which is an identity of Kru Saneh since it added to the beauty in gathering the leather. The drum of other craftsman usually doesn’t include the metal ring but only to fasten the knot. The insertion of coiled leather into hoo chong depends on the length of the leftovers leather after fastened. It must not be over 2 feet long in order to maintain a good appearance. Process of Klong Kaek making can be divided into 5 steps. 1. Process of building the drum edge with bamboo. 2. Process of rolling the drum surface. 3. Process of cutting rhiad leather. 4. Process of drum establishment. 5. Process of tugging the drum. Important process. Edge making and rolling of the surface of the drum. Identity of double sided drum are the following: 1. The drum is beautiful and has appropriate shape and size. 2. The sound is resonant and loud according to the standard. 3. The drum is durable and long lasting. 136

For more information, please contact: Ajarn Poomjai Ruenroeng Tel.086-3385304 e-mail: [email protected] Price sample of double sided drum. Width 30 cm. Length 30 cm Height 65 cm Retail price 1,600 Baht

Selling place. Drum making occupational group 46 Moo 6, Bann Paknarm, Akaratch subdistrict, Pah Mhok district, Ang Thong province 14130. Cotact: Mr. Chalerm Phaophayak Tel: 035 661914, 035 661309, 08 1734 1406, 08 1899 5077, 08 1587 4841 Craftsmen of Thai musical instrument. There are many shops in Bangkok that retail and wholesale Thai musical instruments. Suksapan panich in Ratchadumnern and Lardprao road, Siam Vathit in Aroon Amarin road, Duriyabun in Sukhothai road, Pattanasilp music and art in Sam Saen Bang Krabue, Pamornrungroj in Central Pinklao and The Old Siam plaza, Somchai music in soi Yang Sutharam temple in Prannok road near Sam Yaek T-junction are some of the shops. Other than the shop stated above, the area of Nakornkasem, the back road of the Ministry of Defense, Assadang road, Klong Lord and Chatuchak are also an example. Addresses of sellers in Bangkok. Mr. Somchai Kumpalee. 795/3 Soi Wat Sutharam near Sam Yaek T-junction, Prannok road, Baan Chung Lhor, Bangkoknoi district, Bangkok 10700. Tel: 4112528. Producing all types of Thai Musical instruments for retail and wholesale. Factory is in Kanchanaburi province. The shop is called “Somchai music” 1. Mr. Chamrad (technician Nop) Surisaeng. 30 Soi Chaiwattana, Wutthakard road, Bang koh subdistrict, Bangkunthien district, Bangkok. Tel: 4771359. Producing a quality and beautiful bamboo stumps with “technician Nop” inscription. 2. Mr. Vinit (technician Lek) Pooksawad. 478/1 Moo 10, Soi Petchkasem 67, Petchkasem road, Bangkae subdistrict, Bangkae district, Bangkok 10160. Tel: 4215699 01 – 8277718. Producing cymbaloes, bamboo stumps, flutes and three-stringed musical instruments.

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Nonthaburi province. 1. Ms. A-ngoon Buaiam. 81/1 Soi Mingkwan 5, Tiwanond 2 road, Talad Kwan, Mueng district, Nonthaburi, Tel: 5261352. Producing ankalungs. 2. Mr. Patana Buatung. 49/2 Moo e, Duriyapun shop, Pracharath road, Talad Kwan, Mueng district, Nonthaburi, 11000. Producing ankalungs, cymbals and gongs.

Phra Nakorn Sri Ayutthaya provinvce. 1. Mr. Somboon Kerdchan. 34 Moo 7, Phra Kao subdistrict, Bangbarn district, Phra Nakorn Sri Ayutthaya province. Produce, decorate, lacquer and gild Thai orchestra consisting of five groups of wood and percussion instruments. Singing. 2. Mr. Prayad (Uncle Tor) Attakrit. 48/12 Moo 2, Tha Wasukri subdistrict, Mueng district, Phra Nakorn Sri Ayutthaya province. Tel: 035 – 243552. Producing leather pieces for drum surface.

Suphan Buri province. 1. Mr. Chuan Boonsri. 87 Moo 1, Takra subdistrict, Bangprama district, Suphan Buri province. Tel: 035 – 587843. Producing ankalungs and xylophones.

Phetchaburi province. 1. Mr. Lop Punyasarn. 50 Moo 1, Huarhong subdistrict, Kaoyoy district, Phetchaburi province. Producing varieties of drums (tall, khak, tad, took, rammana, perngmarn, tapone).

Nakorn Pathom province. 1. Mr. Saward Munsrichan. 26/37 Bangkaem subdistrict, Mueng district, Nakorn Pathom province 73110. Tel: 034 – 272881. Producing xylophones. 2. Mr. Chao Chaonapun. 23/1 Moo 6, Ta Talad subdistrict, Sampran district, Nakorn Pathom province, 73110. Tel: 034 – 321231. Producing different types of fiddles made from wood and ivory.

Chachoengsao province. 1. Mr. Prayad Jharbkul. 121 Moo 13, Dongnoi subdistrict, Rachasart district, Chachoengsao province. Producing xylophones. 138

2. Mr. Tong Yoosith. 1 Moo 4, Hualumphong subdistrict, Plangyao subdistrict, Chachoengsao province. Tel: 038- 853326. Producing xylophones.

Nakhon Nayok province. 1. Mr. Pibul (Keng) Nilvilaipun. 42/1 Moo 8, Srinawa subdistrict, Mueng district, Nakhon Nayok province, 26000. Tel: 037 – 313261. Producing gongs (Thai and Mon).

Phitsanulok province. 1. Mr. Ploy Umkoom. 215 Moo 6, Huaror subdistrict, Mueng district, Phitsanulok province, 65000. Tel: 055-213166. Producing fiddles. Roi Et province. 1. Mr. Ken Somjinda. 39 Moo 5, Srikaew subdistrict, Mueng district, Roi Et province, 45000, Tel:01-4180241. Producing reed mouth organs (can). Mr. Ken is very famous. He once demonstrated can making in the USA.

Kalasin province. 1. Mr. Pluang Chairassamee (National artist). 229/4 Kasetsomboon road, Kalasin district, Mueng district, Kalasin province, 46000. Tel: 043 – 820366. Producing lutes and varieties of ponglang. He also teaches dancing art of Kalasin.

Songkhla province. 1. Mr. Aroon Bunterngsilp. 24/1 Moo 1, Klong Oohtupao subdistrict, Hatyai district, Hatyat province. Producing gong instruments. 2. Mr. Tham Tongchumnoom. 695 Moo 2, Rattaphum road, Kuanniang subdistrict, Kuanniang district, Songkhla province. Producing drums.

Chiangmai province. 1. Mr. Boonrath Thiprath. 108 Moo 10, Soi Chomjan, Chiangmaihod road, Padad subdistrict, Mueng district, Chiangmai province, 50100. Tel: 053-281917. Producing and repairing all stringed instruments and folk musical instruments (varieties of fiddle). 139

2. Mr. Vithep Kuntima. 106 Moo 20, Baan Numthorng, Sobmaekar subdistrict, Harngdong district, Chiangmai province, 50200 or Chiangmai College of Dramatic Arts, Suriwongse road, Haiya subdistrict, Mueng district. Tel:053-271596. Producing stringed instruments and folk instruments.

Lamphun province. 1. Royal father Phee Sitthima. 49 Moo 10, Nampherpha village, Huakran-Nhong plasawai subdistrict, Baan Hong, Lamphun province, 51130. Tel: 053-591330. Producing drums (luang, sabhatchai, sobsatchai, poojae), cymbals and gongs.

Lampang province. 1. Mr. Manop Pondsueb. 833/1 Moo 5, Bann Maetha, Toongfai subdistrict, Mueng district, Lampang province. Tel: 054-358483. Producing cymbaloes.

End of chapter activities. Learning outcome. Able to explain the career opportunity in producing Thai musical instruments. Explaination Student must answer the following questions. 1. Explain the process of pursuing the occupation in flute (Khlui) making. 2. Explain the process of pursuing the occupation in reed mouth organ (Can) making. 3. Explain the process of pursuing the occupation in double sided drum (Klong Kaek) making.

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References

Jiraphan Somprasong. Arts and Life. Bangkok, Dheves Stationer, 2515. Charit Darb Kaew. Drawing Scenery. Bangkok, Odian Store, 2541. Chin Silapabanleng and Vichian Kultan. Musical Arts and Drama. Phra Nakorn, General Education Department. 2515. Thavesak Chingkit and Staff. Life Skills Development 2. Bangkok, Watanapanitch Samranratch, 2544. Thanit U-poh. Dancing Arts. Bangkok, Thailand Cooperatives and Agriculture, 2531. Sclupture for daily usefulness. Thai Saranuklom for people. Issue 14, Bangkok. Thai Local Wisdom. Department of Intellectual Proporty. Nonthaburi. Yosanand Yam Muang and Staff. Visual Arts. First Edition, Bangkok. Thai Wattanapanitch, 2546. Academic, Department. Theory and Art Critic Operations. Bangkok, Kuruspar Printing, 2532. Suchart Thao Thong and Staff. Visual Arts. Bangkok. Aksorn Charoentat, 2546. Apisak Booblert. Drawing. Bangkok, Odian Store, 2541. Arporn Infahsaeng. Arts History. Bangkok, Dheves Stationary, 2512. Arporn Infahsaeng. Color Theory. Bangkok, Sermsin, 2510.

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Production team

Advisors

Mr. Prasert Boonreung Secretary-General to ONIE Mr. Chaiyos Imsuwan Deputy Secretary-General to ONIE Mr. Watcharin Champee Deputy Secretary-General to ONIE Dr. Tongyoo Kaewsaiha Advisor to ONIE Curriculum Development Director of Non-Formal and Informal Education Mrs. Rakhana Tantawhuttho Development Group

Writers and compilation team

1. Mr. Chamnong Wanwichai Retired Government officials 2. Mrs. Saranorn Pattanapaisarn ONIE Chalermphrakiat, Burrirum province 3. Mr. Chaiyan Maneesa-ard ONIE-Southern Region 4. Mr. Saritchai Siriporn ONIE-Eastern Region 5. Mrs. Chothip Siriporn ONIE- Eastern Region Non-Formal and Informal Education 6.Mr. Supachok Srirattanasilp Development Group

Editors and Reviewers team

1. Mr. Chamnong Wanwichai Retired Government official 2. Mrs. Saranorn Pattanapaisarn ONIE Chalermphrakiat, Burrirum province 3. Mr. Chaiyan Maneesa-ard ONIE-Southern Region 4. Mr. Saritchai Siriporn ONIE-Eastern Region 5. Mrs. Chothip Siriporn ONIE- Eastern Region 142

Non-Formal and Informal Education 6. Mr. Surapong Manmano Development Group 7. Mr. Wiwatchai Chansukhon Retired Government official Working Team Non-Formal and Informal Education 1. Mr. Surapong Manmano Development Group Non-Formal and Informal Education 2. Mr. Supachok Srirattanasilp Development Group Non-Formal and Informal Education 3. Ms. Wannaporn Pattamanont Development Group Non-Formal and Informal Education 4. Ms. Sarinya Kulpradit Development Group Non-Formal and Informal Education 5. Ms. Petcharin Lueangjitwattana Development Group

Original textbook typists

Non-Formal and Informal Education 1. Ms. Piyawadee Kanesom Development Group Non-Formal and Informal Education 2. Ms. Petcharin Lueangjitwattana Development Group Non-Formal and Informal Education 3. Ms. Kornwan Kaweewongpipat Development Group Non-Formal and Informal Education 4. Ms. Chalinee Thamthisa Development Group Non-Formal and Informal Education 5. Ms. Alissara Banchee Development Group

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Cover Designer Non-Formal and Informal Education Mr. Supachok Srirattanasilp Development Group

2nd Development and Revision Team

1. Mr. Surapong Manmano Non-Formal and Informal Education Development Group 2. Mr. Supachok Srirattanasilp Non-Formal and Informal Education Development Group 3. Mr. Kittipong Chantawong Non-Formal and Informal Education Development Group 4. Mr. Panin Sae-Ng Non-Formal and Informal Education Development Group 5. Ms. Petcharin Lueangjitwattana Non-Formal and Informal Education Development Group