Mor Lam and Monks

Mor lam, is a northeastern Thai tradition that is slowly dying due to the influence of pop music. It would be wonderful if a new generation of Isaan youngsters with talent could add new energy to this lyrical art.

An unforgetable talent that had helped keep this artform current was Pumpuang Duangjan, R.I.P. While there are current artists like Jintara Poonlarp, Siriporn Ampaipong, and even a Dutch singer Christy Gibson, these studio-produced mor lam pales in comparison to the excitement and appreciation of a spontaneous talent shown in the live sparing of a mor lam contest or performance among the Isaan people.

I was fortunate enough to witness one such performance at a young age.  Maybe multimillion Thai pop music studio businessmen can be tipped to fund these contests in the Isaan country side, in the way that Nelson Mandela did for South African rugby, as shown in the movie, Invictus, not only to promote the goodwill of Luk Tung, a local musical genre not imported from abroad, but to give a sense of pride in cultural identity of the young, as well as to discover new natural talent.

I had always thought that this musical form is in some ways similar to modern rap, only much more traditional. It challenges its performers to dig up the best use of language and rythm on the spot. The best perform from a memory or repertoire of word play, rythm, rhyme and metaphors. It's what I would call a neobaroque form of entertainment because the musical accompaniment is simple and repetitive yet intuitive and spontaneous. It's a whole performance that engages and pulls in its viewers or in this case audience and listeners.



So what does mor lam performances have to do with monks? 

I just recently read the history of Phra Ajaan Mun Bhuridatta Thera (1870-1949), the most venerable founder of Thailand's famous forest monk tradition. Here's what http://www.accesstoinsight.org/ says,

The unusual style of Phra Ajaan Mun's sermons may be explained in part by the fact that in the days before his ordination he was skilled in a popular form of informal village entertainment called maw lam. Maw lam is a contest in extemporaneous rhyming, usually reproducing the war between the sexes, in which the battle of wits can become quite fierce. Much use is made of word play: riddles, puns, innuendoes, metaphors, and simple playing with the sounds of words. The sense of language that Ajaan Mun developed in maw lam he carried over into his teachings after becoming a monk. Often he would teach his students in extemporaneous puns and rhymes. This sort of word play he even applied to the Pali language, ...

The best of buddhist teachings comes from oral traditions, in the forms of rhetorics, whether in the Tibetan debating or in this case the teachings of humble monks of Isaan origins, that towers above the more conventional Thervada style of Thailand's center. The language of mor lam and the language of forest monk tradition is Lao, which is (central Thais would probably love to deny) the true origin of the Thai language. Acharn Mun and other forest tradition monks had so internalized the teaching of the Buddha, which they had learnt in Pali, but it was practice and practice (of meditation) that allowed them to master the knowledge and thereby able to transmit in simple yet enlightening forms (in Lao) to their students and the common people. 

An interesting note to leave, pondering on oral tradition, links to languages, and preservations of cultures.

Acharn Mun passed away in 1940 at Wat Pa Suthawat, Sakon Nakhon. A small museum was built in his honor where there is an exhibit of his personal belongings and a brief account of his life.

Wax image of Pra Acharn Mun Bhuridatto, 

at Wat Pa Suthawat, Sakon Nakhon

Naga Fireballs

This festival celebrates one of Thailand’s most curious natural phenomena – the Naga Fireballs of Nong Khai. Taking place during the full moon of the final day of Buddhist Lent, small balls of fire rise from the Mekong River and plunge upwards of 300 metres into the night sky. The fireballs appear as eerie blobs of red, blue, pink or green light that hang in the air for around 10 seconds.

An interesting cultural event, the natural wonder of Bang Fai Phaya Nak, “Naga Fireballs,” is held in Phon Phisai district of the northeastern province of Nong Khai along the Mekong River, at the end of the three-month Buddhist Lent, or Ok Phansa, in October around 10-16.

Local residents seem to believe that the fireballs belong to the Naga, the king of serpents. This natural wonder is linked to a legend dating back to the Buddha’s times. It is said that the Buddha went to heaven to instruct his mother in his teachings. He spent three months there until his mother attained enlightenment. On the full-moon day of the eleventh lunar month, the Buddha returned to earth and celestial beings built a golden and silver staircase for him to come down. With his loving kindness, the Buddha created a miracle by opening a view of the three worlds, namely heaven, the earth, and the underworld. All nagas living in the underworld admired the Buddha for the gratitude he showed towards his mother, so they blew out flames from the bottom of the river to celebrate.

The origin of the fireballs has been much debated. One scientific study shows that the fireballs are caused by the sun warming organic matter on the riverbed, causing it to decompose into flammable phosphine and methane gas and combust in the presence of ionised oxygen. This explains why the fireballs are of uniform color, do not emit flares, smoke, or sound, and eventually dissipate without a trace. Tracking studies have indicated that the phenomenon occurs from March to May, and September and October, when the earth is closest to the sun. Naturally, the findings have been disputed by Nong Khai residents, who see their time-honored beliefs challenged by what they view as attempts to portray them as superstitious country bumpkins.

The Naga Fireball Festival also features a bazaar, a food fair, a contest of floating and illuminated boats in worship of the Naga, long-boat races, and a light and sound show. Although there are several viewpoints for watching the natural wonder of the Naga fireballs, a great number of fireballs are usually seen in Phon Phisai district.

About 600 kilometers from Bangkok, Nong Khai is situated on the bank of the Mekong River, which stretches 4,200 kilometers through six countries, namely Cambodia, China, Laos, Myanmar, Thailand, and Vietnam. As it is not far from Vientiane, the capital of the Lao People’s Democratic Republic, Nong Khai is regarded as a gateway to Vientiane. From the province, people can cross the Mekong River to Laos over the Thai-Lao Friendship Bridge. The phenomenon of Naga fireballs can be seen from both the Thai and Lao sides.

The following video from Youtube was recorded on October 14, 2008.

Yi Peng Lantern Festival, Chiang Mai

Yee Peng Lanna festival or Loy Kratong festival is an ancient and traditional festival which has been continued since the past.  It is usually celebrated on the first full moon of November.

In a past, according to sermons story told by abbots, of the last earthly existence of the Lord Buddha. The Lanna people celebrate this holy day by decorating temples or Viharns with banana tree and sugar cane.  The main entrance of the Temple is also decorated with candle, moonshines. The people launch fire-kites, fire crackers and float offerings along the canals or rivers.

Yi Peng Lanna festival is also a kind of a Buddhist ceremony and Lanna people believed that it is an opporutunity for them to make merit, listen to sermons, and to pay respect to the Buddha.

Congratulations for 40 years volunteership: National Museum Volunteers

I was pleasantly surprised to rediscover the National Museum Volunteers through their website and receive the delightful news of their 40th anniversary which will be celebrated through a variety of activities and products which are announced through their website: http://www.museumvolunteersbkk.net/

Another favorite organization of mine that if I were living in Thailand, I would be a regular member of is The Siam Society.

On the banks of Nong Harn Lake

I was born in Sakon Nakhon, a Northeastern province of Thailand some two hundred kilometers off the great Mekhong River close to important crossings to Laos.  I never really lived there since my father's job took us away when I was only two years old, but both my parents have extensive families and deep roots with this sleepy town on the banks of Nong Harn Lake.  During numerous visits over the years, I searched for stories of its history again and again, always finding something new to learn about this outpost where the Royal family deemed important enough to build their winter palace in the Phu Pan mountain range.

The present day city took its time in picking up a more urban life.  It had remained nearly unchanged over some twenty or more years as I was growing up.  It was only in the late nineties that some modernization and renovation works seem to have caught up a bit, changing Sakon Nakhon's once familiar landscape into something a bit more exciting than the sleepy town it once was.  However, anyone who visits Sakon Nakhon and gets to know its people soon discovers that its more interesting stories are hidden in its people's memories of historical events that have touched this surprising well visited place over centuries.

I've visited Wat That Choeng Chum with my mother several times to pay respects to the Buddha image in its main hall and as well as to receive blessings from its abbots.  Of course, my mother kept stressing how important it all was to me but that didn't sink in until I read Eye Witness's Thailand guide book. Isn't it strange how growing up with certain sights/monuments you don't really value its importance until something/someone forces you to look at it with new eyes?

Sakon Nakhon turns out to be a very ancient place with prehistoric ancient cave painting and its most prominent monuments dating back to the 11th century.  The 'living' evidence of this is the Phra That Narai Cheng Weng, built by the princess whose name was given to this Kmer style Hindu religious monument.  A lintel hangs over its entrance showing Vishnu dancing to the destruction of the universe as he tramples the head of a lion.

The main temple hall of another landmark in Sakon Nakhon is the Wat Pra That Choeng Chum.  It was built during the time of Ayudha but with a Lao styled chedi.  If you plan to visit this temple, make sure to look for the hidden door (behind the main Buddha image) which is occasionally open for you to enter the ancient prang where you may find an ancient Kmer inscription at the base of its entrance.  Within the prang are several Lao and Kmer Buddha images.

Sadly one evidence of the city's antiquity that has been altered by approaching urbanism is the square-shaped, double-layered Koo Muang (คูเมือง) or ancient moats that once encircled a city center, a very common characteristic of old cities in the Southeast Asian peninsula.  It is now just a common road.  It is also believed that the inland pond, Sra Pan Thong, just off the banks of the Nong Harn Lake was built around the same period.  Centuries later it still offers the surrounding residence a perfect place to spend a romantic afternoon with your date or just for a round of daily exercise.

There's much more to write about Sakon Nakhon's history and I'll be posting them in patches.

I just wanted to leave a note for anyone interested in visiting my hometown.  Planning to visit Thailand's provinces during their famous festival seasons is the best way to catch the lively vibe of many of these far away and usually sleepy places.  Sakon Nakhon's festivals are the Red Cross Fair, So Ram Luk Festival, Boon Bangfai or Rocket Festival (at Amphoe Phang Kone), Boat Race festival, and its famous Wax Parade Festival.  You can look out for the events with a fellow blogger passionate about the place: http://sakonnakhon-live.blogspot.com/

P.S: Don't go back home without some georgeous Madmee silk or village woven naturally dyed cotton, or some of Sakon's delicious isaan sausages.

New Year 2007

I was in Thailand since November, and am now in Mexico, have a lot to write about but no time.

Just to mark the new year, I would like to post the following text by
Mettanando Bhikku sent to me by an old friend I met in Bangkok. Happy New Year to all!

THE YEAR AHEAD: Buddha's blessings for the 'double James Bond year 2-007'

Nothing in the world takes place without meaning; and there are always reasonsbehind every event. This belief is shared by most religious traditions: Buddhism, Christianity, Islam and others. Hinduism, in particular, deeply holds that names and numbers are holders of the elements intrinsic to particular persons and events. Therefore, names are very important.

Following this line of thought, the upcoming year of 2007 can, indeed, be very adventurous, as it does not only mean the 2007th Year of Our Lord, but also the double James Bond Year.

As the curtain on the Year of the Dog 2006 draws to a close, it leaves many items of unfinished business; some will be neglected and forgotten while others will escalate into crises to threaten the world.

As the momentum of the Year of the Dog is being transferred to the Year of the Pig, certain factors will determine the course of life of millions on the rollercoaster's rails of public conspiracy, concealment, surprises and adventures. 2007 will be a golden year for those who believe in the Chaos Theory, wherein humankind is moving closer. On the bright side, 2007 will be a good year of creativity, heroism and bold international operations.

In spite of the upcoming uncertainties and adventures, the teachings of the Lord Buddha will be the refuge and security of mind for millions. Since the Buddha said explicitly that the mind is the leader of all things, when the mind is beautiful, life is also beautiful. Beauty of life depends on the beauty of mind. Having said that, it does not mean that problems are to be seen as a part of the beauty. When problems are solved we add more beauty to our lives. The more beauty we add to our lives, the more beauty we add to the whole world.

The key to success in life is wisdom; that paves the way to proper approaches to problems, the so-called dukkha in Buddhism. The word is often mistranslated in English as ''suffering'' or ''pain''. This leads to a pessimistic interpretation of Buddhism as a whole. In practice, Buddhists tend to have a dread of dukkha and are inclined to let go of dukkha as they feel that it is the only way possible. Etymologically, dukkha has nothing to do with pain or suffering. It actually means ''a bad space'', which is a technical term employed by craftsmen to describe a phenomenon when two objects which are supposed to fit in with each other fail to do so. The idiom, ''To put a square peg into a round hole'', appropriately describes
the original meaning of the word dukkha.

Therefore, dukkha should neither be seen as something frightening or worrisome. Rather, the Buddha told us that dukkha is a challenge that we all should strive to overcome. The way to achieve this potential is neither through fate nor arbitrary means, but via a systematically approached set of principles called the Four Noble Truths. These Truths mandate the detection of dukkha and its root cause(s), which then permits their eradication based on the practical protocol it suggests: the Fourth Truth, which is the Eight-Fold Noble Path.

Dukkha if left unattended becomes a catalyst for decadence of all kinds: mental, personal and social. The best way to deal with dukkha is by protection: identify its future trends and nip it in the bud before it can trigger further decay.

Through the lens of the Four Noble Truths, reality is a dynamic network of causality, a complex chain of cause and effect. Nothing came to existence without cause and when an effect is produced, it simultaneously affects other phenomena to rise.

2006 has seen many unfinished dukkhas, both at the global and national levels.

Regarding environmental issues, governments of many countries, especially the European Union, are aware of the looming disaster of global warming. The trend of climatic change is clear, and it is getting worse every year. While EU countries are trying to impose a ''green tax'' on their people to curb the continuous rise of greenhouse gases, the United States has remained quiet even though its energyconsumption is proportionally triple that of other developed countries.

Terrorism and the crisis in Iraq still remain unresolved issues of the world, not to mention the building up of nuclear capabilities of North Korea and Iran, which can easily tip the military balance of the world forever.

Domestically, more social unrest is looms for Thailand. Drafting of the new constitution can easily spark off another political crisis, whereas the investigations into corruption cases by the government is hardly leading to any clear conclusion. The influence of the deposed prime minister lingers on in many institutions and can cause further instability for the government at any time.

Consider the meaning of 007: a licence to kill. But the licence to kill also implies the opposite: the licence to preserve and enhance future life.

So, as we approach the ''double James Bond year'' when all uncertainties are possible, Buddhists can have no greater blessing than the Dharma. With ''Life is Beauty'' well established in our hearts, all dukkha can be systematically solved with hope, courage and creativity. It is a good time to renew our way of thinking for the good of our health and beauty in our heart. Always look to the bright side of life!

Mettanando Bhikkhu is a Thai Buddhist monk and a former physician. He studied at Chulalongkorn University, Oxford and Harvard, and received a PhD from Hamburg. He is special adviser on Buddhist affairs to the secretary-general of the World Conference of Religions for Peace.

Traditional Thai Dance Forms

Interesting read about how they used to dress thai dancers in the old days, and someone's efforts in reviving it: "Reviving a Thai art one stitch at a time" By Seth Mydans, International Herald Tribune.

The cat book of Siam

Cont'd from my previous post, the promised cat poems.

What amazes me when I read the number of poems from "The Legend of Siamese Cats" is how the poems, even if they repeat similar decriptions of certain kinds of cats, were written in different ways, revealing the creative use of words with different "authors". Names of "authors" are rarely recorded in ancient Thai literature. I can imagine that as the manuscripts gets copied, each copier who was creative enough would have added some of his own poetry. Depending on whose was most poetic, his was probably more copied and therefore endured via recieving the honor of being copied in other people's verses.

It's sort of similar to what we're doing with blogs, except nowadays we have to declare who we are in some way for readers to trust our authenticity.

The poem I'm posting here is Kaap Chabang on the "Benefits and Drawbacks of Cats"

The first cats referred, this treatise describes in their forms
Black on body, beautiful face two paws, stomach, back and tail
Nine places clear as cotton wool, eyes like jewels compared
Melodious voice, much loved by humans female and male
Whoever intends to raise them will become a master, promoted
Servants, retainers, wealth will come continually ample
With prosperity and dignity, enemies will not come near
Raising them yields results as the masters say in the treatise

One with white body, fine all over, and black in nine places
Like a piebald horse, whoever feeds it well, will trade swell
Much riches and treasures will be found, everything will come
That person is a rich man, for a good cat benefits its owner

One named fine sapphire, entirely, claws and tongue, fine black
Whichever cat you meet, black as they say, must be looked after
It will bring you all, retainers and food in ample amounts
With power, happiness, and welfare against danger

One copper, luminescent, claws, tongue and teeth as dyed red
Who raises it will gain great rank, a general or minister

One lao of flower of clear color, off-white fur, see black mixed
Who finds one, hurry to support it, that cat brings happiness
Women, men everywhere will cherish it, as this cat has charm
Loved all over by the people, both female and male

One called the jewel cat, of white body, with eyes like gems
Four black feet, ears and tail black as if ink applied
Has incalculable value, will bring great gain, more property
Who raises it will gain power, retainers and all good things

One a mercury color, a glowing shine, as if applied
Feed it well and great benefits rush in, raise it, do not doubt

One called Mongkol Amphai, the treatise says is auspicious
Black body, white neck round, good for the raiser, great wealth

One with a hourse-saddle mark, fine face with two black eye rings
Worth 100,000 gold tamleung, it brings its owner honour

One is black around the body, of great beauty, strange,
Who feeds it will have rank, power, with people fearing

One glows black all over, its nose clear white, a lovely face
Who raises, gains rank in seven months, the lords grant fortune

One with marks all over, its nose clear white, a lovely face
Who raises, gains rank in seven months, the lords grant fortune

One with marks all over, flashing beauty, strange,
Who feeds it will have rank, power, with people fearing

One glows black all over, its nose clear white, a lovely face
Who raises, gains rank in seven months, the lords grant fortune.

One with marks all over, flashing beauty, they say has dignity
Who raises, will be a minister, or chief of council, with rank

One marked large on mouth and nose, who finds it, should care for it
Will get land, fields, riches, a commoner becomes a master

One with underbelly markings is good for trade by boat
Merchants raise it hoping the cat is a bank of gold and silver

One has the line all along, good by the book, will further the family
With rank and power, replete, on an eternal base

One with amusing feet, they say to keep only for queen's lines
This cat brings virtue, so kindly do not endanger it

One marked on two ears, the treatise says should be raised by monks
For studying well, without forgetting with success as desired

They repeat in the books, one must study, raise and all will follow
Even in death, never discard the ghost, bury it, and keep the bones
In a pot to keep, which is also a virtuous act
When keeping do not despise it, or hit it, but care for it with love
Give it fine food, rice and fish, service it with everything replete
The cat will prosper, do not fret, or doubt the text

There are many more bad cats with tiger patterns,
They eat their young and have still births
Red tail markings of loss, twisted white tails, they say let go.

Here endeth the cat treatise, the bad and good in summary.

This particular poem didn't give the names of most of the cats, but other texts name 17 auspicious cats and 6 kinds of bad cats.

Just to show their poetic names, the 17 are: Ninlarat (Dark Sapphire), Wilat (Beauty), Suphalak(Excellent) or Thong Daeng (Copper), Kao Taem (Nine Points), Maaleht (Flower) or Dork Lao (Lao Flower), Saem Sawet (Alternate White), Ratanakamphol (Jewelled Cloth), Wichien Maas (Moon Diamond), Ninlajak (Sapphire Circle), Mulila, Krop Waen (Spectacle Frame) or Aan Maa (Horse Saddle), Pat-sawe (White Line) or Pattalort (Line Throughout), Krajork (Sparrow), Singha Sep (Lion), Karawek (Bird of Paradise), Jatubot (Four Feet), Konjaa (Sarus Crane)

Even the bad have exotic names. Six bad cats: Tupphalaphet (Weakness), Phan Phayak or Lai Sewa (Tiger Breed), Pisaat (Fiend), Hin Thot (Bad Stone), Korp Phleng (Fire Raiser), Nep Saniat (Dagger)

I wonder how these verses were used. Unless you were a cat breeder there isn't much use. I don't think cat breeding could have been such an important job (even if you could sell one cat for 100,000 gold pieces), but the survival of these texts certainly means that there was an abundance of them. An abundance of texts, but because of the nature of medium they were preserved in, never as ubiquitous as books in the west, and so Thailand was more of an oral society and a literate one.

These cat poems needed to be shared by being read aloud. I think they could have been tools for young students to learn how to memorize (and eventually read and write) since these cat poems didn't serve any practical purpose like buddhist texts or housebuilding manuscripts. They certainly are entertaining and the motivation of knowing your cats would be an incentive young ones to learn the verses.

Boon and Baramee

Western non-bhudhists will find it very hard to understand the origin of King Bhumibol's power and influence over the Thai people. Their history of fuedalism and monarchical institutions would make it is very difficult for them to see how the Thai monarchy can be anything more than an institution.

The love and trust given by the Thai people to King Bhumibol is reserved for this King alone, and gained only after the people have had many years to observe his untiring dedication to the people. We are all aware that this King's accession to the throne was not a fait accompli. He earned due respect because of his sincerity towards the people.

Foreigners demean the intelligence of the 60 million Thai people when they think that we worship him just because his official name includes the title "Devaraja". Which other King overlooks his own security and travels miles in insurgency infested remote and marginalized villages to learn about their conditions first hand, who kneels on the dirt countless of times to touch and recieve the caress of the people? I've travelled with my father, a provincial government officer, on many of these occasions and saw with my own eyes, felt with my own feelings his true intentions. I will not allow ungrounded criticism for the sake of criticism to brand my feelings a foolish lie. Which other King personally and individually hands out graduation papers to the countless educated from their universities? As I grew up, seeing his many deeds on tv was a common sight, but there were also several occasions throughout the years where with enough resourcefulness I could have been in his presence. This kind of royalty exists only in fairy tales for the West, but we Thais are fortunate to have lived it for 60 years of our connected lives.

If we look back in Thai history, there are enough historical accounts of unfit Kings who were disposed of for a number of reasons. Doesn't that say that we are not totally uncritical of rulership? The King, as a key symbol for the Thai people, is a process that was created over a very long, long process, (700 years) unbroken by foreign colonization of which the Thai people are very well aware that they share a part it its legitamacy. Circumstance of King Prajadhipok's Succession and King Ananda's succession are good enough examples.

We don't blindly worship the King as if he were some "god", like some King bashers like to say. These people don't understand that as Bhuddists we don't believe in any "God". Yes, we're all atheist. We believe in each individual's personal responsibility for the health and development of his own soul. We believe in karma. We believe in the power that good karma accumulates, we call it "boon" and "baramee", and it is not only reserved for kings.

Every single individual accumulates this according to his/her deeds. Therefore we belief that men with good standing or "baramee" such as the king is proof of their accumulated good karma, or he won't be in that position. That baramee is what we respect. We also believe that those merits that an individual has earned, his/her boon-baramee can be shared with us when we participate in it. Bad karma is paid back on its own mechanism, for that reason we reserve our criticism of wrong doing even as we find the right moment to take action to correct the wrong.

The Thai people do not think that the King can do no wrong. It's that King Bhumibol has never actually done any wrong for us to criticise him. I'm pretty sure that if any Thai ruler committed a legitimate offense against the people, the people will find a way to effectively deal with it the way Taksin has been dealt with, the way we are not blind and are dealing with the coup in our own Thai way. The people, however, aren't perfect, and need their time to build institutions for that outlet. How many hundreds of years did it take the West to put into place their concepts and institutions for democracy? At least 200 years, at most 400 years. Isn't it imperialistic to try to impose on other cultures one's own way of thinking and doing?

We, the Thais are very aware that we are fortunate to have one of the few rare good rulers as our ruler. We are proud of that. What's wrong with loving a just and righteous ruler? Would all these foregin critics be happier if there weren't any such rulers left in the world, because they would just about tear anyone who tries to be perfect so that they can prove that nobody's perfect?

Rao rak Nai Luang. 60 years is a good time for us to declare that, isnt' it?

Khon masks, puppets, archetypes and Thai leadership

A talk I attended a week ago gave the definition of an archetype as that unchanging pattern of energy that grips us. When we act out of our normal ordinary character, we are in the force of an archetype. These are the gods that Greek mythology gave a multitude of names. For example, there are archetypes of anger, love, the hero and his quest, chaos, death and destruction, etc. All cultures have some ancient understanding of these forces giving them different names but the forces are the same.



In Thai cosmology, a popular expression of these archetypes are expressed in the "Khon" - masked dance of the Ramakien, a version of Ramayana that was adopted into Thai literature with Thai personality and characteristics since the times of Sukhothai and Ayudhya. King Rama I composed a comprehensive literary version that present day Thai dance and theater base their acts on.



There are several links on the internet about Ramakien, some of which I've listed below. However, what delighted me the most was this website of the "Joe Louis Theater".



In 2001, I visited Burma. Apart from the Shwegadon Pagoda, the most memorable impression I had of Burma was its marionette tradition. Even in the form of its touristic presentation, it indicated a highly developed art form that amazing integrated music, song, dance, theater and puppetry. When I got back to Thailand, I tried to find what I could about Thai puppetry. Sadly, all I found were empty dolls sold as tourist souvenir. I visited the National Museum where there was an exhibit of some Thai puppets that were rescued and restored and was told that there had been only two performances long over because there wasn't enough people who knew how to control the puppets. Now, they have this excellent website and a theater that gives daily performances which doubles as a museum where you can see a demonstration of how the puppets are made and manipulated!









Well anyway, this recent discovery of what archetypes actually represent had me thinking about Thai Khon masks. When I was working in Thailand, I heard on several occasions people referring to their work persona as a Khon mask. Khon masks are highly respected in Thailand, you can only wear one if you've done a ceremony in respect of its spirit, or it is said that you will be possessed by bad spirits. And of course, being a mask, it's not the real you. Each job position required a different mask.



From an admiration of our Prime Minister, Thaksin Shinawatra for his perseverance in politics, to many indulgent forgivings for his foul ups, to outright outrage at how he's mishandled the Southern Muslim incidents, to pity for his being put on the tough spot when the Tsunami hit.... well, I realized that we're all participating in some archetypal forces here. PM Thaksin himself, I am sure, doesn't know what has him in its grip. He's like someone who unknowingly put a Khon Mask over his head without having done the right dedications to its spirit, not really understanding what the spirit of this particular mask that he chose would ask of him. Any wrong moves, and the spirit punishes severely. However, he did chose the mask, and he'll have to wear it until its energies plays out its complete act.



Links to Khon masks and Ramakien websites:



Khon masks

Khon masks



The poetic of Ramakien, presented by Northern Illinois University, Center for Southeast Asian Studies, I recommend again, is an excellent source for language and culture of Southeast Asia, including images of mural paintings.

A Muay Thai website that explains how the Wai Kru Dance of Muay Thai is related to the Ramakien tradtion.

Mahidol University's Ramakien websitet explains its connection to religious tradition and other art forms.

The six faces of Hunuman, the Thai's favorite character in Ramakien.

The Concept of the Thai Spirit

“Spirit is a power that causes, through its working from outside, changes and engenders unequal, asymmetrical relations within the individual as well as social groups. It is an ambiguous, external power, and affects directly or indirectly the individual and social relations, irrespective of whether it is institutionalized or not. This power of spirit is explicit when it attacks a person unpredictably or punishes him in response to his neglect of ritual duties. Such workings of spirit can cause instability, or destruction or, even worse, tatal collapse of internal equilibrium, which normally is believed to be maintained within the individual and social groups.



A person intrinsically has his or her own internal equilibrium, constituted of the relationship between khwan (soul) and rangkai (soul), which is always vulnerable and exposed to external power represented by various forms of spirit. …khwan as a popular notion refers to the collective soul entity believed to be firmly located within the person’s body. The firm unity of the soul entity and body provides health, while the drifting away of soul from body that could occur upon intrusion of external power, or through interference from other influential forces, can result in ill-health or even death. It is this idea of unity of soul and body which forms the basis of the stability of the equilibrium and its breakdown in association with external forces.”



from "Thai Construction of Knowledge,

ed. by Manas Chitakasem and Andrew Turton, London: SOAS, 1991."