Busy Times Here In Isaan - Tamboon Roi Wan (Bone Party)

This week has been very busy for us with a combination of personal, religious, family, and cultural activities.

Wednesday was the second day of "Tamboon Roi Wan" and "Tamboon Jaak Khao" for three of Duang's relatives.

In early January of this year, we attended the funeral of PooPaw Veeboonkul.  The funeral was documented in my blog entry, "Yet Another Lao Loum Funeral" Feb 1, 2013  http://hale-worldphotography.blogspot.com/2013/02/yet-another-lao-loum-funeral.html  It is now 100 days from the funeral and in the Lao Loum culture time for a unique ritual called "Tamboon Roi Wan" sometimes referred to as "Bone Party".

"Tamboon Roi Wan" is the funeral anniversary party that has been written about many times in "Allen's World".  Tamboon Roi Wan is a merit making ritual that is held 100 days after the cremation of the body.  If for some reason, typically financial, that the ritual can not be held 100 days after the cremation, the ritual can be held at a later date and is called "Tamboon Jaak Khao". Whether 100 days or many years after the cremation, the ritual is identical and the merit is the same.

Villagers Gambling As Part of Tamboon Roi Wan

The two day ritual is a time for family, friends, and neighbors to eat, drink, socialize, gamble, and participate in religious ritual.  It is a grand party.

The first day of Tamboon Roi Wan or Tamboon Jaak Khao is spent eating and drinking.  The host family has the responsibility of feeding and supplying drink to all the guests.  Pavilions are set up in the front yard or if there is insufficient room in the yard, pavilions are set up in the street in front of the home.  Round tables covered with fabric and rented plastic chairs are set up underneath the pavilions. Bottles of beer, Lao whiskey, drinking water, and soft drinks along with a small metal bucket of ice are placed on each table.  As the drinks are consumed, they are quickly replaced.  Trays of food such as laab moo (a shredded pork dish), Chinese cabbage and assorted greens, raw beef paste with chili, fried chicken, fried pork skin, pauk pauk (spicy papaya salad), som tom palaa (soup with fermented fish sauce), mushroom soup with red ant eggs, along with small packets of sticky rice.

Spirit Houses (Ban Phii) for the Dead 

Taking advantage of the Songkran holiday and the coinciding 100 day anniversary of PooPaw's cremation, the family also conducted "Tamboon Jaak Khao" for PooPaw's mother and father.  Combining rituals and celebrations is typical here in Isaan for it lowers the overall costs - for the family as well as the guests.  For these celebrations there is a great deal of peer pressure for all family members to attend.  Guests also make donations and offerings as part of the rituals.  Since many family members had traveled to be in Tahsang Village for Songkran, the timing was good to have the "bone party".  By combining three rituals into one, the family reduced its costs significantly.

The first day of the ritual in addition to eating, drinking and gambling was spent in decorating the main pavilion as well as constructing Ban Phii (spirit houses) for each of the deceased people.  In the main pavilion where the ritual would take place, raised bamboo platforms were placed.  The Ban Phii were placed on the platforms.  In front of each Ban Phii a large photo of the deceased person was placed.  Food offerings and glasses of drink were also placed in front of the photographs.  Stalks of bananas were hung from the pavilion framing.  Offerings to be made to the Monks at the conclusion of the ritual were displayed around the Ban Phii.  The offerings included nesting metal food containers, toiletries for the Monks, towels, electric fans, religious decorations, blankets, small square pillows (mons), woven reed mats (sahts).

During the course of the two day ritual, the stack of mons grew larger and larger.  Each person who made an offering gave it with a mon.  Duang and I made an offering of money.  The offering of cash can not just be handed over as bare cash.  The cash is placed inside the envelope that contained our invitation to attend the ritual.  The envelope is then placed upon one of our many mons and given to the people who manned a table at the entrance to the main pavilion.  The mon was placed upon the growing pile of pillows to the side of the Ban Phii.  The envelope was opened and the amount of the offering and our names were logged into a notebook that would be given to the Monks.  People who could not afford cash offerings, donated rice.  Those donations were also logged into the notebook and the rice added to a large sack along with previous donations.

On the first day, some men were occupied making some fancy paper decorations that were to hang from the main pavilion framework.  The decorations were fancy cut outs of green, yellow and red papers. I am constantly amazed at the artistic and handicraft abilities of the Lao Loum people.

Around 10:30 A.M. two plastic chairs were brought together facing each other.

Family Sprinkles Water On Bones Contained In Brass Chedi

A pressed metal decorative bowl filled with drinking water was placed on one of the chairs. A metal tray was placed upon the other chair.  Three small brass chedi each containing bone fragments from each of the deceased people were on the metal tray along with a metal cup containing dainty white flowers call "Daug Mai Kao".  Duag Mai Kao flowers and leaves are used as offerings in Buddhist rituals.  The metal tray also had a fourth brass chedi with its top removed.  Bone fragments from all three deceased people had been placed inside of the opened chedi.  The metal serving tray also had some Daug Mai Kao leaves on it.

Family members approached the plastic chairs and reverently sprinkled water using the daug mai kao flowers on the bone fragments while chanting words along the lines of "Good Luck to you, I miss you, Buddha take care of you. I wait for you to be born again, You not worry, Family is OK"  Each person chants their own special incantation to the spirits.  At the end of Songkran the brass chedis will be interned in a larger family chedi at the local Wat.

"Rocketman" Chanting While Holding Saisin

At the conclusion of this portion of the ritual, a typical merit making ritual of offering food to the Monks was conducted.  Once again I had the pleasure of seeing "Rocketman" and the other Monks from the "inside" Wat along with the Monks from the "outside" Wat of Tahsang Village.

After finishing eating the Monks, all but three, returned to their respective Wats.  The three Monks who remained were special "singing" Monks from a third Wat.  The Monks set up their sound system and sat in very ornately carved wood golden chairs to perform the special four hour allegorical merit making performance of grieving and Buddhist tenants.  Although I have read that Buddhist Monks are not supposed to sing this was the at least third example that I had witnessed Monks singing - things are not always the way that they are supposed to be.  perhaps the is a dispensation because it is traditional Lao religious "singing" rather than modern pop songs or hip hop.

I ended up sitting next to the large gong at the base of one of the Monk's chairs.  I ended up having to hit the gong throughout the four hour ceremony.  At first the Monk that I was sitting next to gave me the sign to bang the gong.  Later people in the audience gave me the sign to bang the gong three times - once for Buddha, once for the teachings of Buddha, and once for the Buddhist religious community (Sanga).  After awhile I believed that I had figured out for myself when to "bang the gong".  To me it seemed that it was time to bang the gong whenever one of the Monks was singing particularly well - long drawn out warbling drawn out wide tonal range - in other words whenever they had the feeling or I had the "feeling".  I think it was somewhat like a fundamental Christian tent revival meeting when someone shouts out "Amen!" or "Hallelujah!"  People told my wife that I did a good job and that I understood how to bang the gong even when our four year old grandson was sleeping on my lap.

Women Participating In Special "Singing" Merit Making While Betel Nut Chewing

The last 30 to 40 minutes of the special merit making with the singing Monks involved feeding the spirits and making offerings to the spirits.  This portion of the ritual started with trays of food and glasses of drink being placed before each of the photographs of the deceased people.

Food To Feed the Spirits of the Deceased Is Placed Before their Photographs

Candles are lit and placed upon the trays of food and drink while family members hold burning Joss sticks to offer the food to the spirits.

After the food and drink had been offered to the spirits, the Monk who was the female voice of the singing ritual commenced to sing a mournful traditional Lao lament of death. - very similar to this song but without the musical accompaniment. http://youtu.be/jzImU9seLWU (Vin yan Mae) "The Mother's Spirit.

As the Monk sang, family members paid their respects to the deceased while holding burning Joss sticks.

Unlike at the cremation ritual, it is during this portion of the Tamboon Roi Wan and/or Tamboon Jaak Kho that there is an outpouring of emotion and grief.  Men and women alike cry as they listen to the mournful laments and think of the deceased.  It is a very moving and touching.  Our grandson sat and attentively observed the ritual - some how instinctively knowing that seriousness and significance of what was transpiring before him.

The merit making ritual ended around 3:30 P.M. when the people returned to socializing, gambling, and drinking.  The children returned to the roadsides to toss water on passing vehicles and people.

At 9:00 P.M. the next element of the "Bone Party" commenced.  Duang's brother had been hired to put on one of his "Molam Lao" shows.  The village street had been blocked off and a large stage erected in the middle of the street.  The show was scheduled to run until around 4:00 P.M. but as so often happens here in Isaan, the police shut down the how before its scheduled completion because of the number of fights.

Lead Female Performer Backstage

The propensity for violence at these shows is widely known.  We asked our 4 year old grandson if he wanted to go to the show.  He said "No, I want to go home and sleep.  There are too many fights!"  There were several policemen at the show as well as one of the large paddy wagons to detain and transport offenders.  The problems during this show started after I had left.  Tahsang Villagers and their rivals from another local village kept getting into fights and ignored the police.  There has been bad blood between the villages since the murder of one villager by a member of the other village.  When people refused to cooperate with the police, the police shut the show down.

A Dancer Backstage

Performing A Song With Khene

It had been quite a party - a Bone Party or Party Phii (Spirit Party).  It was a party that involved the entire community as well as the large extended family of the deceased.  Just as Thai food is a melange of various colors, textures and flavors ranging from sour to sweet, spicy to bland, the party encompassed a wide range of emotions and activities.  There was the solemn respect for the deceased, the sense of community, the reminders of life is suffering, the open displays of grief, the homage to Buddha and spirits, and finally in the end the joy and energy as well as enthusiasm of the Lao Loum culture.  People of all ages participated in all aspects of the day.  Death is not kept hidden from children.  From an early age children are aware of the inevitability of death.

A Rare Day

Dancers Make Final Adjustments Prior to Climbing On Stage

Yesterday was a rare day for my wife and me.  We attended one of my brother-in-law's Morlam Shows.  That in itself is not so rare in that we attend most of his shows.  This show was held during the day while most of his shows are held at night typically starting at 9:00 P.M..  This show being in the daytime did not make for our rare day.  We attended the entire show which is a rare occurrence for us.  We never stay for the entire show at night for two main reasons.

The first reason that we do not stay for the entire show at night is that the shows are 6 to 7 hours long!  The show does not end until 3:00 or 4:00 A.M.  It was not all that long ago that I would party in Brasil or Vietnam until 6:00 A.M. or 7:00 A.M. but I was not driving then either.  Here in Thailand you can run into unannounced night roadblocks where all drivers have to blow into a device for alcohol.  I do not want to complicate my stay here by getting a DUI either rightfully or wrongfully.  In my opinion it is easier and best to just avoid the entire situation.

The second reason that we never stay for an entire show is that we leave when the fights start.  For a night show the fights typically start about three hours into the show.

Yesterday was rare in that there were no fights.  The show was conducted on the grounds of a neighborhood Wat northwest of Udonthani.  The Wat was having its annual festival and my brother-in-law was hired to put on the official entertainment.  I use the term "official entertainment" because the entire event is entertaining at least to me.  With it being daylight and my decision to not drink, there was very little that went on that I did not observe - and it was all very entertaining,

The purpose of the festival is to raise money for the Wat and I also suspect for the people to have some fun. Perhaps even an effort to build or to maintain a sense of community for the villagers and other local communities.  The head Monk of the Wat spoke with the village Headman and the Headman collected 100 baht from each household to help pay for the Mohlam show. Mohlam?  Yes and it is also spelled as  Yes, that is a problem in Thailand of anglecizing Thai words; there are many different English spellings for the same Thai word.   Several different spellings for the same type of ethnic music is not all that big of deal if you are not obsessed with "proper" spelling.  However different spellings can be a serious problem and definite source of frustration in reading street signs and maps.

Inside the Bot, Villagers Offer A "Money Tree" to the Monks

We arrived at the Wat around 10:00 A.M.  A small group of people were marching around the Bot, worship hall, carrying "money trees". We all know that money does not grow on trees, perhaps it grows on a certain weed, but not on trees.  But in Thailand money is placed on trees as offerings to the Monks.  Typically the "tree" is a banana stalk that has holes poked into it. Pieces of split bamboo are stuck into the holes.  Each "branch" of split bamboo has a baht note in between the two pieces of the bamboo.  Sometimes a tree is fashioned out of rice straw.  Banknote offerings are placed on the trees and after a procession the festooned trees are brought to the Bot to be offered to the Monks as part of a merit making ritual.

Villager Offers Money Tree to Monk

Monks Performing Merit Making Ritual

The show started around 11:00 A.M.  I was pleased to see a familiar face, the khene player that I had photographed in Si That last month.  Since it was a day show, he had brought his wife and young daughter. The dancers that my brother-in-law had hired for the day were new people.  My brother-in-law lives on a small street in the center of Udonthani, a street populated by singers, dancers, and musicians.  When my brother-in-law has been booked for a show, he, sort of like in a pick up game of basketball, contacts the people that he knows to put the show together.  If they are unavailable, they most certainly know others who are available for the performance.  He contracts with specialty companies for the scaffolding, stage, sound system, and sometimes, the band.

The Khene Player Backstage

As always, I had access backstage of the show.  Backstage is far from glamorous.  Backstage is a series of woven reed mats placed upon the rough ground.  The performers apply their make-up, eat their provided meal, and change their costumes upon these mats amongst the the scaffolding bents that support the stage, lighting, and large speakers.  A large tarp is strung between scaffolding and other objects to restrict access to the area.  The roadies during the show rest in hammocks strong in or beneath the large truck that carries the gear.

The performers change their costumes underneath large pieces of cloth that they wrap around themselves.  As provocative as their dance movements, song lyrics, and dialogue on stage are, the performers are very modest.  At a vast majority of the shows, the dancers wear a beige leotard, pantyhose, and either panties or short shorts underneath their dance costumes.

Prior to the start of the show offerings are made to the spirits backstage.  Prior to climbing up to the stage for their first dance, the dancers kneel and offer their respect to the spirits.

Lead Female Performer Sings Backstage Prior to Her Grand Entrance

There is also another ritual to these shows that I find fascinating   For their first song of the show, the singer will sing the song hidden from the sight of the audience - sort of setting the stage for a grand entrance.  After completing about 3/4 of the song, the singer will climb the stairs up to the stage to the applause of the crowd.  It is all great theater and quite entertaining.

One of Many Policemen In Attendance Yesterday

Yesterday there was a large contingent of Police on hand along with a large "paddy wagon" conspicuously placed for everyone to see.  Surprisingly there were no fights for the entire day.  It was not because people were on their best behavior or that they were not drunk.  As always is the case at these shows, there was a great deal of drinking at the festival.  People were constantly drinking beer, whiskey and Lao Lao (moonshine type whiskey).  As the day wore on the people became more and more vocal as well as demonstrative of their good feelings for each other. here in Isaan it is common to see people hugging each other and trying to help each other walk as they get drunker and drunker. It is in these situations that the fights typically break out.

Besides the rare occurrence of watching the entire show and not witnessing any fights, yesterday also had a rare occurrence  it rained.  It actually rained for about two and one-half hours - very rare for March.  It was not a heavy rain.  It was more like a heavy drizzle.  It was enough to stop the live performance for one-half hour while people grabbed a pavilion from elsewhere on the Wat grounds and install it over the stage to shelter the performers and musicians.  The pause did not affect the audience in the least.  They kept dancing to the prerecorded music that was blared over the sound system.

One of the dangers at these events, is people throwing empty bottles during fights.  Yesterday there was a system in place to minimize that risk.  A man and his son spent the day wandering around collecting the empty bottles.  Well the boy spent the day collecting the bottles while his father split his time between collecting bottles, dancing, and emptying some bottles.

The boy was around 10 years old and rather rare for a Thai child - obese.  He resembled the television character "Pugsley Adams" form the 1960s series The Adams Family. I suspect that one reason that he is over weight is attributable to the way that he collects the bottles.  He gathers the bottles in a white plastic bag  and brings them to his father's somlaw (three wheeled motorcycle with attached wagon).  He would then inspect every bottle.  When he found a bottle that still had a little liquid in it, he carefully poured the contents into a large plastic cup.  He would then stir the contents of the cup with great gusto and gleefully drink his cocktail of beer, whiskey, and Lao Lao. He then would set about to find some more bottles, often dancing a little jig along his way.

Like all the shows that we attend, there were people of all ages there.  The children seem to especially enjoy these events.  They wander about eating ice cream, fruit, and other foods.  They also exert some independence by exploring the venue albeit still under the watchful eyes of their family. They make friends with other children and end up playing with balloons and other toys that are sold by vendors at the event.

As the afternoon wore on, the audience became more and more entertaining.  One man was dancing with his shirt off.  He used his shirt pretty much like a majorette uses a twirling baton - twirling it around in the air above his head, passing it from one hand to the other hand between his legs and the piece de resistance - throwing it high up into the air and catching it with one hand.  It was very entertaining for my wife and me.  I believe that it was very embarrassing for his family or friend.  Another man. not much more sober, attempted to remove the dancing majorette.  After about 10 minutes of struggling and stumbling, he finally succeeded in removing the dancing majorette.  Both of the men were not seen again.

This by no means ended the off stage entertainment.  The lady boys who had been drinking all day long along with their female friends were putting on quite a dancing demonstration.  By this time the onstage performance had reached a fevered pitch - one song after another song with no interruption   The go-go girls danced for at least an hour and one-half without interruption   Their pelvic thrusts along with the animated movements of the khene player only seemed to whip up energy and mania of the audience more.  It was truly amazing. The cool weather and moisture in the air did nothing to dampen anyone's spirits.  From our sheltered position underneath the head Monk's cabin, Duang and I had a great viewing vantage.

I did not drink any alcohol - not that I do every time that I go out or especially when I am not driving.  It just wasn't proper for me yesterday.  The head Monk and I had hit it off.  He brought me a container of soy milk for me to drink earlier in the day.  When it started to rain, he invited us to sit on his porch. Later he brought me a large bottle of orange Fanta to drink.  Still later, he brought me a large bottle of Coke, ice, and drinking water.  He was very friendly and I felt very bad that I could not understand most of what he was saying.  I kept trying to get Duang to translate but it was very difficult for her- logistically.  Monks are a higher status than other Buddhist people and are always to be at a higher level than the common people.  The Monk insisted that I sit next to him on the bench.  As a devout Buddhist, Duang could not bring herself to sit next to me to translate or to stand next to me. Sitting on the floor at our feet was not a very good option because of the sounds of the show made it very difficult for her to hear what we were saying.  It was also difficult for her to find a spot to sit on the floor because of the children that I had invited up to share the Coke with.  For many children, a soft drink is a rare treat.  No matter the case, we managed to show our appreciation and give thanks to the Monk for his kindness as well as to answer many of his questions.

The show concluded at 5:00 P.M. and after paying off his performers, my brother-in-law joined us for the trip back to Udonthani.

Although it had been a rare day in the sense of seeing an entire show without any fights on a rainy March day, our day had been no more interesting than any other day here in Isaan. Without a job now, our priorities remain the same everyday - to enjoy ourselves.

New Photographs Posted - Isaan Go-Go Girls

Dancers Putting On Their Dancing Boots Backstage

Nineteen recent photographs have been added to my gallery of Go-Go Dancers on my photography website. Click on the link below to view the entire gallery.

Isaan-Go-Go-Girls

Same Old Thing, The Joy Is Seeing It Differently

Khene Player Performing During Morlam Lao Show

Last week we attended one of my brother-in-law's Morlam Lao shows in the village of Si That here in Isaan.  The show was part of a festival at a Wat in the area.  The festival was raising funds for the local Wat.  Although the show was free, the performance attracted people to the Wat grounds where they could purchase  handicrafts, food, drinks, play carnival type games such as "Pop the Balloons with darts", or just plain out make a donation to the Wat while they were there.  The key was to get the people through the gates.  A Morlam Lao show here in Isaan is always good to attract a crowd.

I have lived in Thailand for five years now and I don't know how many of these shows that I have attended other than it has been quite a few.  These shows are performed for all kinds of reasons such as weddings, house warming, Monk ordination celebrations, anniversary of deaths, running for political office, giving thanks for winning an election, local festivals, certain holidays, fundraisers for Wats, and I guess for no other reason than they are fun.

I am fortunate that my brother-in-law earns his living as an entertainer.  I am made aware of many of these shows.  Most of these shows are small village events without any advertising other than word of mouth.  With his involvement in may of the shows and with Duang's large extended family, there seems to be ample mouths to get the word to me.  I enjoy these shows very much - the music, the pretty girls who perform, and interacting with the people.  I also enjoy getting out with the local people and dancing "fawn Lao" style.

Dancer Applying Make-up Backstage

I always bring my camera gear to photograph the shows.  I enjoy taking photographs at these venues.  After so many of these shows, you would thing that I would run out of enthusiasm for the photographic opportunities a show presents.  yes there are the ubiquitous shots of performers applying make-up backstage, putting on their platform go-go boots, and the dancers performing.  I am fortunate in that I can go back stage at will and photograph the performers. But perhaps I am most fortunate in that I am able to see each show as a unique event with its own individualized photographic opportunities.

A Dancer Ready To Go Up On Stage

My photographic style is constantly evolving so with each show I am striving to experiment with different techniques or perhaps different angles for the photographs.  Often the dancers and performers are different who will also often inspire me.  Best of all, it seems that someone will always capture my focus for the duration of the show.  The center of my attention can be a dancer, a singer, someone in the crowd, a musician or even some aspect of that particular show.  No matter the case, it makes each show that I photograph "different and special" for me - my personal spin on a well used phrase over here of "same same, but different"

"Same same, but different" can be an aggravating phrase to many, but for me it captures some of the allure of living here in Isaan.  Thai food is renown for the varied textures and flavors of each individual dish. The simplest of dishes is actual quite sophisticated for the palate.  Well life is also quite remarkable when you allow yourself to fully explore it and delve deeper beneath its surface. "Same same, but different" exemplifies the possibilities for us.  What may seem banal and common place, can be stimulating and rewarding if we just allow ourselves to recognize and appreciate its subtleties.

Khene Player In Si That

For the show in Si That, the khene player became the focus of my photography efforts that night.  We had given him a ride from Udonthani to Si That along with my brother-in-law and his manager.  The khene player was very quiet and reserved on the hour drive out to the show venue.  He was very reserved as he sat upon a saht behind the stage applying his make-up. Unlike my brother-in-law who uses a more traditional flat white pancake make-up for his performances - thing along the lines of Dracula, the khene player used darker tones of make-up to accentuate the contours of his face.  This made for better portraits in that it created greater contrasts and implied shadows on his face.

Once the khene player had changed into his "work clothes" and completed his make-up he looked completely different than the person who sat behind me in the truck.

Once he grabbed his khene and went up on stage he was a different person than the person who sat behind me in the pick up truck.  He had been completely transformed.

So what is the khene and what significance does it have to Morlam Lao music?  The khene is a reed instrument.  It is the ubiquitous instrument of Lao music and in many aspects it helps to define Lao culture.  The khene is to Lao music what the lead electrical guitar is to rock and roll music.  Besides playing the melody, the khene player, like the lead guitarists, also creates the environment in which the singer performs.  The khene player dances, struts, and jumps about the stage as he plays.  His pelvic thrusts accentuate parts of the melody. He or she are entertainers as well as musicians.  This guy was very good so I had plenty of good opportunities to photograph him.

Facial Expressions Are Essential Too

So it was a Morlam Lao show the same as so many others that I had attended.  It was the same but different at least for me because of the khene player.  Focusing upon him during that show had revealed to me an aspect of the shows that I had not fully experienced before. It was an experience that I am pleased to share with others.

When I was working, I essentially had the same duties and responsibilities on my assignments for the last fifteen years of my career.  I never grew tired or bored with the assignments, "same same' as they were because although they were "same, same" they were also different.  Although the duties and responsibilities were the same, the magnitude of the projects were greater but more importantly the environments were very different.  For last ten years of my career those same duties and responsibilities were being performed overseas in the midst of different cultures.  The satisfaction and stimulation that I sought came not from achieving what I was accustomed to but from achieving it with all the challenges presented by unique cultures and situations.

So what does "same same but different" have to do with photography, my former career, this blog and perhaps you?

Well, they are all connected.

It is about enjoying life by exploring it deeper.  It is about not taking things for granted and willing assuming that it is all the same.  It is also about learning, continually learning.  It is about learning to appreciate and value the differences and subtleties that surround us

The joy is not in the comfort of the "same same" but in exploring and discovering the "but different"

One of my reasons for writing and maintaining this blog is to share the "but different" that I have found in "Allen's World"

The Beat of a Different Drum

Two nights ago, we attended a a traditional Mahlam Lao show in Nongdaeng Village located here in Isaan, the Northeast of Thailand.  The show which started at 21:00 would run until 03:00 or 04:00 - that it is the way it is here in the Lao Loum culture.  The people work hard and when they decide to party, it is an all out, no holds barred event.  I experienced the same spirit the two times that I lived and worked in Brasil.

The show was part of the merit making event to mark the death of one one Duang's relatives some twenty years ago.  In the Lao Loum culture here in Isaan, there is a merit making ritual after a person has been cremated.  This ritual which can and is often viewed as a party is typically about one year after the cremation but the real determining factor is when the family is capable of paying for the event.

The event is very much like the celebrations for a son becoming a Monk, or a couple getting married.  Canopies are erected in the front yard or if the front yard is not large enough - in the street in front of the family home.  Round tables and plastic chairs are set up beneath the canopies at which guests can eat and drink.  Underneath one of the canopies accommodations are made for the visit from the Monks - do to their status, Monks are seated at a higher level than the laypeople.  This most typically accomplished by erecting an elevated wood platform reserved for the Monks.  The platform in covered in cloth and sahts (woven reed mats).  Small squares of higher value fabrics or decorated textiles designate the area for each Monk to sit.

Sometimes if a special merit making service is to be conducted, such as a sermon, or what I refer to as a "morality play", the participating Monks are seated in an ornate gold colored raised throne like chair where they can sit with their legs crossed.

Off to the side and in back of the home there are canopies for preparing and cooking food for all the guests. People typically arrive around 08:00 and will stay until 20:00 or even much later if there is a show associated with the celebration.  For the entire time, people are eating and drinking.  Each table, at a minimum, typically has a 1.5 liter bottle of Coke, 1.5 liter bottle of Sprite, a couple bottles of drinking water, a couple bottles of Leo Beer, and perhaps a bottle of whiskey with "Lao Lao" being the type of choice.  Young girls ensure that there is plenty of ice at each table for the soft drinks, and beer.  People here drink their beer "on the rocks" and their whiskey "neat" or "straight up".  Empty bottles are quickly replaced.

As new guests arrive, they are quickly ushered to a table to be start eating and drinking.  The food is ethnic cuisine and typical consists of 7 or 8 dishes or rather different items.  There is a difference between "dishes" and 'items"  many of the foods are eaten with the hand so there may not be an individual dish for each guest. The guests will make a small ball of sticky rice in their hand and dip the ball in a common bowl of whatever at the center of the table.  Often soups are consumed from a common bowl at the table with each guest having their own spoon.

The celebration that we attended on the 12th was a grand event.   After the day events we returned to our home to freshen up and get some rest for the night's activities.  We returned for the night show.

The night show was a more traditional Lao music event.  The music was based upon the ubiquitous Lao musical instrument, the khene.  The singing was a sort of Lao rap except that for the most part there were no set lyrics.  The performer made up or rather adlibbed the words to suit the occasion or moment.  The singing style is also long and drawn out with a great deal of warbling as well as tonal range - again very Lao.

Besides the khene, the music is performed by conga type drums, and cymbals.  This is the accompaniment that you would find in traditional Lao villages.  In a concession to evolving times and mores, the group also had a couple of electric guitars, keyboard, and drum set for some of their songs. There were also four go-go dancers.

I was most impressed by the traditional drummer playing the two conga style drummers.  He was a show  unto himself.  I almost took as many pictures of him as I did of the go-go dancers.

The drummer had a distinctive face.  His age and face reflected a life of many experiences and I suspect more than a few adventures.  He performed on the drums with a zest and confidence that a lifetime of experience allows - confidence, uniqueness, and individuality.

I have written most recently twice about little "Eat" from Tahsang Village marching to the beat of a different drummer.  I had also mentioned that as a person who has marched and sometimes danced to the beat of a different drum, I had appreciation for little "Eat".  Well at the night show I found a man who marched, danced, and even played a beat to a different drum.  What could be better than that?  Imagine being comfortable and confident enough to march and dance enthusiastically to your beat on your own drum.  That truly must be a component of being "free".

Kissing the Drums In Appreciation

The drummer danced around his drums playing them with his hand and striking their sides with a drum stick.  The drums bore the scars of many a performance.

Playing the Drum With His Forehead

As part of his performance the drummer also would strike the drums with his forehead.  At other times he would "dry hump" his drums.

Add caption

He would also, on occasion, direct a pelvic thrust towards one of go-go dancers, perhaps all four of them.

Mahlam Lao shows are akin to vaudeville shows - singing, dancing, stand up comedy, music, and always a definite bawdy element.  Many of the jokes at best are double entendre and many times risque.  Many of the lyrics song between the male and female singers have to do with things of a sexual nature.  Sometimes the  female singer will try to grab the male singer by his genitals but seems to always not to succeed much to the delight of the crowd.  The male will sing about what he would like to do and can do to the female singer.  He will sometimes bend down to try to get a better glimpse of her but she always manages to foil his efforts - again the amusement of the crowd.  The antics are never obscene and often remind me of how close friends and family after a few drinks might joke and tease each other.

The Audience Loving the Show

The drummer was demonstrating his freedom to be himself.  It was comforting as well as reassuring to me to see that such diversity in culture still exists and to know that in areas such as Isaan are thriving.

There seems to be pressure in these modern times to develop a more homogeneous mankind perhaps in the belief that the more people are alike, the less conflict there will be. That scares me for it is the diversity of mankind and especially their culture that adds to the richness of living - for everyone.

There is no one culture that has the optimal solutions or even answers for all peoples.

There is no culture, let alone any society, that can best meet the needs and wishes of all peoples.

Seeing the drummer the other night - marching, dancing, and playing to the different beat of his own drum, gave me optimism that we hopefully will never get to "One World"

In "Allen's World" I am free to be me but even more importantly, you are free to be you.

New Photos Added - Isaan Go-Go Girls

Ten new photographs from last night's Mahlam Lao stage show have been added to the gallery - "Isaan Go-Go Girls"

http://hale-worldphotography.smugmug.com/People/Isaan-Go-Go-Girls/8185157_q4YxR#826378674_f82CZ

Yes, They Khene

Last Sunday, around 7:30 P.M., we received a phone call from Duang's brother, "Number 4", asking us to attend a performance that he was giving in Udonthani that night at 9:00 P.M. I always enjoy the shows as well as the very interesting people watching opportunities that the audiences always provide so we accepted without hesitation.

Well it turned out that the performance was not exactly in Udonthani, as in the city of Udonthani, although we had to drive through the city to get to the location. However, the village was in Udon Thani Province so perhaps it was our misinterpretation. Fortunately his girlfriend waited for us in her car inside the city so that we could follow her to the performance.

The performance was held in a small farming village typical of this area of Isaan - in the middle of the rice paddies, narrow streets, and a combination of raised wooden houses and concrete block homes.

Upon arrival we realized that this was another funeral celebration. Several awnings had been erected with guests seated at tables that had bottles of beer as well as whiskey set upon them. Some young women and young men were busy bringing food to the guests.


Off to the side of the awnings and next to the house was a long table. Upon the table were three "bahn" (Thai) "hehan" (Lao). These are handcrafted spirit houses made largely out of banana stalks and bammboo. They are quite ornate and are used as and in offerings to the spirits. Next to each bahn was a framed photograph of a deceased family member. Small yellow candles were burning in front of the photographs.

The people of Isaan, the ethnic Lao Loum, believe that the spirits of deceased people need to be nourished with food and drink. As part of their Buddhist beliefs, the people believe that they can assist their ancestors in the after life by earning "merit" for them. Buddhists believe that we are in a continuous cycle of of birth, death, and rebirth until we reach enlightenment. Until we reach enlightenment, our new life's status is determined on how we lived our last life and how much "merit" we had gained. Living relatives can earn merit for themselves as well as for their specified departed loved ones by making offerings in their name and honor. Often these celebrations are held one year following the person's death however the ceremony is quite often delayed until the family can save enough money to afford it.


Part of the celebration involves having a group like Duang's brother's to perform. It is quite interesting to see go-go dancers, electric guitars, and electric organ perform in an event associated with death. One thing for certain is that at these events there will be playing of the khene.


The khene is a free reed bamboo musical instrument. It is the quintessence of Lao culture and the Lao experience. The khene, which is also spelled "kaen", "khen", and "khaen" is a mouth organ comprised of several bamboo tubes of various lengths, each with a free reed inserted in them connected to a hardwood chamber. The instrument has been around for thousands of years and is considered the mother of Lao music.

Kaens come in various sizes but all sizes share the similarity of being constructed of two rows of bamboo tubes. There is a 6 tube size, 14 tubes, 16 tubes, and 18 tube size. The length of the khene is related to the number of the tubes with the 18 tube version also being the longest of the instruments.

The khene is played by blowing into the central chamber and using the fingers of both hands to change the notes. The instrument is related to the harmonica and accordion of Western music. The sound, to me, is a very rhythmic "sing-song" sort of like a "Hee-Hawing" or braying of a donkey. I find the music to be rather hypnotic and I can easily accept as well as recognize its ancient heritage.

As part of the morlham shows that are widely held throughout Isaan, a portion of the show is focused around the traditional music of Laos or more specifically "Lao" people. Laos is a political demarcation determined in a large part by the European colonial powers. The ethnic Lao people, in particular the Lao Loum, Low Land Lao, inhabit Northeast Thailand as well as Laos. The shows typically start off with rocking electrified music complete with go-go dancers. After about three or four of these songs, which seem intended to get every one's attention as well as to stir them up, the tribute to the Lao traditions starts. The recognition of today's music's origins as well as honoring the Lao Loum heritage involves singing with only a khene as accompaniment. The songs initially are performed by either an older man or woman. They sing traditional songs in the traditional style. The traditional style involves an introduction that involves the extended pronunciation of words in a sort of warbling tone. Each word is stretched out using the singer's complete range until it seems that they will run out of breadth. After the introduction, the singer sings in such a manner that their voice is almost as much an musical instrument as singing the words. As much as I detest American "Rap" and "Hip Hop" (I won't call them music), the traditional Lao music is similar in that it tells stories with the verses often being created on the spot. I am pretty certain that the violence and vulgar lyrics of the modern form is not used in the Lao.

For funeral celebrations the traditional portion is a greater part of the performance. I get the feeling that the traditional music serves as a link and bridge to the past a manifestation of the bonds that keep the family traditions alive. After several traditional songs, the band will play several modern songs - several of which utilize the khene. Since the khene is not an amplified instrument, the khene player will either stick a microphone in his belt or the singer next to the khene player will use their microphone to ensure that the audience can hear the khene.


After completing the modern music set, the performance returns to a very traditional ritual. The relatives of the deceased go up on stage and kneel facing the audience. The relatives have offerings of food, drink, and items such as sahts (woven reed mats) and mohn (ornately decorated small rectangle pillows)set before them along with a framed photograph of the deceased. A singer then will perform several traditional Lao songs in the warbling lament style with only the amplified khene providing the accompaniment.

After the offering ritual, the show returns to it's modern music. The khene player provides great entertainment during the modern songs. Whereas during the traditional music, he was very still and respectful, during the modern songs, he, as we used to say back in Rhode Island - "He gets down and dirty". The khene player dances and prances around the stage while playing. Quite often he accentuates a hard drum beat of the song with a severe pelvic thrust usually in time with similar motions by the go-go dancers. At times the khene player will jump into the air and move his feet through a bicycle motion while playing. On some songs that have fast driving beats, he keeps time to the beat with a flury of pelvic thrusts while playing. No one gets offended. In fact the more antics like this that he does, the more the audience goes up to the stage to give him money.


Yes he khene ("can" - a play on words, they are pronounced the same) and he does.