Art Education WS 11003

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. แม่ฉนั เล้ียงมาหวงั จะไดแ้ ทนคุณ นี่กลบั มาเทลงใตถ้ ุนทาํ ใหท้ อ้ พระทยั ไอเ้ ร่ืองพานะคุณพี่มนั กด็ ีสาํ หรับแก สาํ หรับพอ่ และแม่ง้นั จะเล้ียงเรามาทาํ ไม เล้ียงต้งั แต่เดก็ หวงั จะไดแ้ ต่งไดต้ บ แกจะมาลกั พาหลบไม่อายเขาบา้ งหรือไร พอ่ แมเ่ ล้ียงมาหวงั จะกินขนั หมาก ไม่ไดใ้ หอ้ ดใหอ้ ยากเล้ียงเรามาจนใหญ่ ... 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

102 นอ้ นสาเดอ้ หล่า นอ้ นสาแม่สิกอม ( นอนเสียลูกนอ้ ย นอนเสียแม่จะกล่อม ) ( แม่จะไปป่ันฝ้ าย เดือนหงายหาพอ่ ) แมสิไป๋ เขน็ ฝ่ าย เด๋ียนหงายเอ๋าพอ เอ๋าพอมา้ เกียวหญา่ มุง้ หลงั คา้ ให่เจา้ ยู ( หาพอ่ มาเกี่ยวหญา้ มุงหลงั คาใหล้ ูกอยู่ ) ฝนสิฮ้าํ อูแกว้ สิไป๋ ซ่นยไู ส ( ฝนจะรั่วรดอู่แกว้ จะไปซ่อนอยไู่ หน ) ค้นั เพินไดก้ ๋ินชิ้น เจา้ กะเหลียวเบิงต๋า ( เมื่อเขาไดก้ ินเน้ือ ลูกก็เหลียวดูตา ) ค้นั เพนิ ไดก้ ๋ินป๋ า เจา้ กะสิเหลียวเบิงหนา้ ( เม่ือเขาไดก้ ินปลา ลูกก็เหลียวดูหนา้ ) มูพีน่องเฮ้ียนใกเ้ พิน่ กะซงั ( พวกพีน่ อ้ งเรือนใกลเ้ ขาก็ชงั ) 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. ไมต่ อ้ งทา้ หรอกนอ้ งเน้ือทองของพ่ี รูปร่างอยา่ งน้ีจะทา้ พไี่ ปทาํ ไม รู้ไหมรู้ไหมวา่ พี่ชายของนอ้ ง พ่ีไม่เคยเป็ นรองรองใคร นอ้ งจะมาสู้จะบอกใหร้ ู้เสียก่อน เฉพาะไอเ้ น้ืออ่อนอ่อนจะสู้ไดย้ งั ไง ขนาดกาํ แพงเจด็ ช้นั พย่ี งั ดนั เสียจนพงั ก็ไอผ้ า้ นุ่งบางบางจะทนไดย้ งั ไง ญ. เอา๊ ..จะดนั ก็ดนั ฉนั กไ็ มก่ ลวั บอกกาํ แพงไมต่ อ้ งถึงเจด็ ช้นั เอาซิตวั ตอ่ ตวั วนั น้ีฉนั สู้ตาย เอา้ ..ยงั ง้นั ฝ่ ามือของฉนั ตนั ตนั ถา้ หากจะดนั เอาตรงน้ีก็ได้ แขง็ ดีก็ลองดนั ใหม้ นั ทะลุใหไ้ ด้

103 ช. บอกวา่ ฝ่ ามือแลว้ ตนั ตนั ใครจะบา้ ไปดนั ดนั กนั ไม่ได้ ขนาดข่แู บบน้ียงั ไม่กลวั เลย โอแ้ ม่คุณเอ๋ยใจกลา้ เหลือหลาย ขนาดแม่ววั ติดหล่มยงั ล่อซะลม้ ท้งั ยนื พวกคุณตวั ยงั คืนคืนเงินให้ ฯ ญ. โอโ้ ฮโมไ้ ปมากฉนั ไมอ่ ยากจะฟัง เอา้ ลองดูใหด้ งั กนั กใ็ หไ้ ด้ ขนาดแม่ววั ติดหล่มยงั ล่อซะลม้ ท้งั ยนื พวกคุณตวั ยงั คืนเงินให้ น่ีแกยงั ไม่รู้จกั แลว้ ขวญั จิต เฮย้ …ยาคุมออกฤทธ์ิเอาอยเู่ มื่อไร บอกผชู้ ายทุกช้นั ที่ฉนั ผา่ นมา ไม่วา่ ตาํ รวจทหารล่อกนั ท้งั กรม ขนาดทหารแนวหนา้ ฉนั ยงั สู้ได้ ฉนั ล่อทหารเป็นลมไปต้งั หลายนาย (ขวญั จิต ศรีประจนั ตแ์ ละไวพจน์ 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 จะพดู ถึงเรื่องวฒั นธรรมที่ผนู้ าํ ขอร้อง แก่บรรดาพีน่ อ้ งที่อยใู่ นแนวภายใน เราเกิดเป็นไทยร่วมธงมาอยใู่ นวงศีลธรรม จะตอ้ งมีหลกั ประจาํ เป็นบทเรียนใส่ใจ ประเทศจะอบั จนกเ็ พราะพลเมือง ประเทศจะรุ่งเรืองกเ็ พราะพวกเราท้งั หลาย เราตอ้ งช่วยกนั บาํ รุงใหช้ าติของเราเจริญ ฉนั จึงขอชวนเชิญแก่บรรดาหญิงชาย มาช่วยกนั ส่งเสริมใหพ้ นู เพมิ่ เผา่ พนั ธุ์ วฒั นธรรมเท่ียงธรรมใ์ หเ้ หมาะสมชาติไทย ------------------------------------------ ------------------------------------------ จะพดู ถึงการแตง่ กายหญิงชายพ่นี อ้ ง ที่ทา่ นผนู้ าํ ขอร้องแก่พวกเราท้งั หลาย ท่านใหเ้ อาไวผ้ มยาวตามประเพณีนิยม สับหยง่ ทรงผมเสียใหง้ ามผ่งึ ผาย จะเท่ียวเอาไวผ้ มทดั จะไดต้ ดั ผมต้งั จงเปล่ียนแบบกนั เสียบา้ งใหถ้ ูกนโยบาย -------------------------------------- ----------------------------------- 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: เนื่องดว้ ยผวู้ า่ ราชการจงั หวดั สุพรรณบุรี ทา่ นไดม้ อบหนา้ ที่ตามท่ีมีจดหมาย ท่านผวู้ า่ สุพรรณใหร้ ู้จกั ท่านทว่ั ถิ่น ท่านชื่อวา่ จรินทร์ กาญจโนมยั เพือ่ จะใหแ้ จ่มแจง้ ประชาชนเขา้ ใจ ใหข้ วญั จิต ศรีประจนั ตม์ าร้องเพลงช้ีแจง ใหฉ้ นั มาขอบพระคุณกนั ไปตามหวั ขอ้ คือ ก.ส.ช. ท่ีผลงานเหลือใช้ พดู ถึงก.ส.ช.ก็รู้ชดั กนั ทุกช้นั เป็นบทบาทของรัฐบาลที่ต้งั นโยบาย จ.จานใชด้ ีชาวศรีประจนั ต์ นี่กใ็ กลถ้ ึงวนั แลว้ เวลา นี่เลือกต้งั ส.ข. อีกแลว้ หนอพ่นี อ้ ง ดิฉนั จึงไดร้ ้องบอกมา วนั ท่ีสามสิบกนั ยายนเชิญชวนปวงชน- ใหไ้ ปเลือกกรรมการหนอวา่ สุขาฯ ทุกบา้ น ---------------------------------------- --------------------------------------

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: ลาํ ตดั เร่ืองประชาธิปไตย ของขวญั จิต ศรีประจนั ต์ การแสดงพ้ืนบา้ นหวั ขอ้ ขานเง่ือนไข กบั ประชาธิปไตยของเมืองไทยวนั น้ี ความรู้สึกนึกไวว้ า่ ไมไ่ ดข้ องจริง ยงั ร่อแร่รุ่งริ่งยงั ไมน่ ิ้งเตม็ ที่ ฉนั เกิดมาชา้ นานอายฉุ นั สี่รอบ เรื่องระบบระบอบและผดิ ชอบชวั่ ดี รู้สึกยงั หน่อมแนม้ มอมแมมหมกเมด็ แบบวา่ หาประชาธิปไตยจนไหล่เคลด็ ยงั ไม่ - สาํ เร็จสักที ----------------------------------- ------------------------------------ สามคั คีสงั ฆสั สะคาํ พระทา่ นวา่ ตดั โลภโมโทสาแลว้ ท่านวา่ เยน็ ดี ไมแ่ ก่งแยง่ แขง่ ขนั ไม่ด้ือดา้ นมกั ได้ ประชาธิปไตยก็เกิดไดท้ นั ที แต่คนเราไมง่ ้นั ความตอ้ งการมากเกิน ยง่ิ บา้ นเรือนเจริญใจต้ืนเขินข้ึนทุกที มีสติปัญญาเรียนจนตาํ ราท่วมหวั แตค่ วามเห็นแก่ตวั ความเมามวั มากมี เจริญทางวตั ถุแต่มาผทุ ่ีใจ ประชาธิปไตยคงรอไปอีกร้อยปี ------------------------------ ----------------------------------- นกั การเมืองปัจจุบนั ก็ผวนผนั แปรพรรค พอเราจะรู้จกั กย็ า้ ยพรรคเสียนี่ บางคนทาํ งานดีและไม่มีปัญหา ไมเ่ ลียแขง้ เลียขาไม่กา้ วหนา้ สักที คนดีมีอุดมการณ์มกั ทาํ งานไมไ่ ด้ แต่พวกกะล่อนหลงั ลายไดย้ ง่ิ ใหญท่ ุกที...

106 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.

108 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.

109 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.

110 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.

112 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.

113 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.

116 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.

119 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.

120 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

121 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 ราํ สะบดั วดั สะเอวโอน ออ่ นแปล้ คนกรับรับขยบั โยน เสียงเยนิ่ ร้องเรื่องรถเสนแห้ ห่อขยมุ้ 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 เสด้ืองกรต่อง่า สอนขา้ ใหท้ รงกาํ ไล ครูสอนใหผ้ ผู้ า้ สอนครอบเทริดนอ้ ย แลว้ จบั สร้อยพวงมาลยั สอนทรงกาํ ไล สอนใส่ซา้ ยขวา ตีค่าไดห้ า้ พารา เสด้ืองเย้อื งขา้ งซา้ ย ตีค่าไดห้ า้ ตาํ ลึงทอง เสด้ืองเย้อื งขา้ งขวา ตีนถีบพนกั ส่วนมือชกั เอาแสงทอง หาไหนมิไดเ้ สมือนนอ้ ง ทาํ นองพระเทวดา” 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.

124 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.

125 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.

126 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.

127 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”.

130 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”

132 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.

133 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.

137 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.

140 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.

141 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 Mrs. Rakhana Tantawhuttho Director of Non-Formal and Informal Education 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 Education 6.Mr. Supachok Srirattanasilp Non-Formal and Informal 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

6. Mr. Surapong Manmano 142 7. Mr. Wiwatchai Chansukhon Working Team Non-Formal and Informal Education 1. Mr. Surapong Manmano Development Group 2. Mr. Supachok Srirattanasilp Retired Government official 3. Ms. Wannaporn Pattamanont 4. Ms. Sarinya Kulpradit 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 3. Ms. Kornwan Kaweewongpipat Non-Formal and Informal Education 4. Ms. Chalinee Thamthisa Development Group 5. Ms. Alissara Banchee Non-Formal and Informal Education Development Group Non-Formal and Informal Education Development Group Non-Formal and Informal Education Development Group Non-Formal and Informal Education Development Group Non-Formal and Informal Education Development Group Non-Formal and Informal Education Development Group

Cover Designer 143 Mr. Supachok Srirattanasilp Non-Formal and Informal Education 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