Spirit Mediumship in Thailand A Performance Theory Approach R. Patamajorn SPIRIT MEDIUMSHIP IN THAILAND A Performance Theory Approach R. Patamajorn SPIRIT MEDIUMSHIP IN THAILAND A Performance Theory Approach A Thesis Submitted to The Institute for Ethnology Faculty of Behavioural and Cultural Studies The University of Heidelberg For The Degree of Doctor of Philosophy Under The Supervision and Guidance of Professor Dr. Klaus-Peter Köpping By R. Patamajorn (M.A. Sociology, M.A. Anthropology) August 2007 iv Contents Preface……………………………………………………………………... viii Introduction………………………………………………………………… 1 Part I Theoretical Considerations Chapter 1 Theoretical Issues……………………………………………… 16 1.1 Performance Theories ………………………………………………... 16 1.2 Spirit Possession……………………………………………………… 21 1.3 Gender Theories………………………………………………………. 25 1.4 Ethnicity………………………………………………………………. 29 Chapter 2 The Discussion of Spirit Mediumship Studies………………….. 34 2.1 General theoretical discussion………………………………………….. 34 2.2 Thai Possession Studies………………………………………………… 39 2.3 Comparative Summary of General Studies and Thai Cases……………. 44 Part II The General Phenomena Chapter 3 The Spirit Medium in Thai Society…………………………… 48 3.1 The History of Spirit Medium………………………………………… 48 3.2 Spirits and Séances ……………………… ………………………….. 55 3.3 Spirit possession in the Context of Social and Cultural Change……… 61 Chapter 4 The Phenomenon of Spirit Mediumship in Amphoe Muang Nakhon Pathom Province………………………………………………………. 66 Part III Theoretical Summary of Specific Case Studies Chapter 5 The Case Study Approach………………………………........... 80 5.1 How to become a spirit medium………………………………………. 80 v 5.2 Biography…………………………………………………………….. 95 Chapter 6 Spirit Medium in Ritual Action……………………………… 108 6.1 How to be a Successful Spirit Medium……………………… 108 6.1.2 Essential Factors…………………………………………… 108 6.1.2.1 Ability of Performance…………………………………… 109 6.1.2.1.1 Feature of Performance: The Depiction of Each Case Study 109 6.1.2.1.2 Comparison of the Similarities and Differences in Specific Case Studies………………………………………………………….. 127 A. Type of god or “Tep”……………………………………. 127 B. Ritual Location and Set Up……………………………… 127 C. Appearance………………………………………………. 130 D. Manner: Behavioural Changes……………………………. 130 E. Calling: Entering Possession……………………………... 132 F. Clients…………………………………………………….. 133 G. Assistant …………………………………………………. 134 H. Reasons for Ritual Sessions……………………………….. 135 - Annual Ceremony: Wai Khru Ritual………………. 136 - Routine Possession Ritual………………………….. 142 6.1.2.2 Advertisement……………………………………………….. 161 Chapter 7 Possession Ritual and Ethnic Group……………………………… 165 7.1 A Thai Style of Spirit Medium and a Thai Ethnic Group……………. 166 7.2 A Chinese Style Spirit Medium and a Chinese Ethnic Group …….. 167 7.3 To Weld Thai and Chinese Ethnic Groups……………………….. 171 Chapter 8 Spirit Mediumship and Gender……………………………………. 173 8.1 Gender: The Transvestite and Correspondence…………………. 173 8.2 Negotiation Means………………………………………………. 175 8.3 Menstrual Blood and Purity: Inequality between Males and Females in Ritual Performance…………………………... 179 8.3.1 Meaning and Value…………………………………………….. 179 8.3.2 Pollution and Taboos………………………………………….. 180 vi 8.3.3 Female Status and Oppression………………………………… 182 Conclusion General Discussion of Cases……………………………………………….. 184 Concluding Remarks on the Specific Case Studies ……………………….. 201 Appendix: Thai Terms Used in the Text.................................................... 206 Bibliography……………………………………………………………….. 210 List of Illustrations Figures 1 Announcement: No Spirit Possession among Thai and Chinese Announced on 12th January of Bangkok Era 109…………………………………………… 50 2 Announcement of Metropolitan Constabulary Announced on 28th February of Bangkok Era 110………………………. 52 3 Kumara Image…………………………………………………………... 58 4 King Wejsuwan Image…………………………………………………... 60 5 The Blind Female Spirit Medium……………………………………….. 99 6 Sadej Pee Chinnarach’s Tam Nak……………………………………… 111 7 Kuan Ü’s possession service place…………………………………....... 123 8 Picture of Dressing Mode………………………………………………. 125 9 Chinese posterities pray in the spirit medium’s possession room before the beginning of possession ritual……………………………… 126 10 A nail chair……………………………………………………………... 128 11 A knife chair……………………………………………………………. 129 12 “Joss house” The altar for inviting a god to possess…………………… 138 13 Blessing………………………………………………………………… 140 14 Spirits Dance No.1……………………………………………………. 141 15 Spirits Dance No.2……………………………………………………. 141 16 Healing Ritual…………………………………………………………. 150 17 A Charm of Rolled Cord………………………………………………. 154 18 Charm Fabric No.1…………………………………………………….. 154 19 Charm Fabric No. 2……………………………………………………. 155 20 Climbing a knife ladder………………………………………………... 157 21 Piercing with sharp knifes……………………………………………. 158 22 Cutting the tongue……………………………………………………… 158 23 Magazine about Spirit media………………………………………….. 162 24 Visiting Cards………………………………………………………….. 162 25 Handbill for Advertisement…………………………………………… 163 26 Picture of Prakan Possession (a man in red cloth)……………………. 166 vii Tables 1 Spirit Media: 38 Cases……………………………………………... 67 2 Styles of Possession............................................................................. 70 3 Gender of Spirit Media……………………………………………. 73 4 Gender of Spirit Media and Their Gods……………………………. 73 5 Education Level of Spirit Media……………………………………. 74 6 Conditions Preceding Initiation........................................................... 74 7 Age at Initiation……………………………………………………... 76 8 Marital Status……………………………………………………….. 76 9 Problems of Clients…………………………………………………. 143 10 The split summary of male and female spirit medium........................ 183 11 Possession Ritual as Technologies of Power and Self ……………… 200 Diagrams 1 Spirit medium’s body……………………………………………….. 25 2 Possession Room of Umadevi………………………………………. 110 3 Sadej Pee Chinnarach’s Service Office…………………………….. 112 4 Possession Room of Sadej Pee Chinnarach………………………… 113 5 Sum Por Khong’s Area……………………………………………… 115 6 The Possession Room of Sum Por Khong………………………….. 116 7 Por Poo Yai’s place…………………………………………………. 119 8 Possession Room of Por Poo Yai…………………………………… 120 9 The Area of Kuan Ü’s Place………………………………………… 122 10 The Possession Room of Kuan Ü………………………………….... 124 11 The diagram of the ritual place……………………………………… 137 12 The words on charm fabric No.1……………………………………. 155 13 The words on the red charm fabric………………………………….. 156 viii Preface As in a great theater where everybody is an actor, all of them presenting various types of performance, a chosen group acts as if they were gods or goddesses, following the traditions of various cultures. Their performances are very popular and have been demanded by audiences over many years. The audiences are made up of people who are clients and devotees and the special actors, or spirit media, have performed for them time and again. The intention of these performances is not for entertainment like other dramas where actors play a comedy or tragedy organized by the director of the presentation. Although sometimes these miraculous performances excite the audiences, the actors’ main purpose is to convince them that they have sacred gods in their bodies, are truly possessed and it is not deception. It seems that spirit media attempt to repudiate the fact that their actions are not drama, however the transformations that take place in their visages, movements and tone of voice are different from conventional acting and these changes are the influence of the gods who inhabit them. However, as long as scientific method is unable to substantiate the reality of soul and spirit, I still contemplate spirit mediumship from the viewpoint of performance through the human body, which is full of colour and action and depends on the interaction between the possession practitioner and others around them. Under the influence of Buddhism in Thai society, spirit media cite the maxims of Buddhism for their actions. On some occasions monks are invited to participate in their rituals. This implies that spirit media do not reject the main religion, but they accept the Buddhists and have borrowed their principles. Opinions on the main pattern of the spirit mediumship phenomena, from research articles, show that in many societies people go through a similar transformation or “turning point” to become spirit media. Women are the most popular possession practitioners. However, the details are different in each cultural context. As performers “spirit media” are exactly in the subjectivity corner. Their performance as gods has consequences for them and at the same time they are within a social construction. It has been helpful to compare the distinction between male and female spirit media. Through the eyes of the ethnologist, all the movements of my performers and their audiences have been observed and discussed both when they were performing on stage and also after the performance was over. There was close interaction between the researcher and the spirit media, their clients, entourages, family and other people in the community. Long term studies have contributed to the perception of the whole picture of change and development of the spirit media studied. I am most grateful to have been allowed to take photos and videos. Although in some cases they did not allow me to do so, nevertheless they gave me the opportunity to observe and interview spirit media. Besides wishing to thank the spirit media and all other informants that I met, from whom my research on the topic of spirit mediumship in Thailand developed, as mentioned above, I should also