The Band

Shan Musician - A Leaf Blower

As some people get to be around my age, they talk about "getting the band back together".

No, this blog is not about a group of middle aged or older men hoping to possibly recapture the enthusiasm, glory, and vitality of a long past time.  This blog is not about the Windjammers or Mustangs from my high school years or my fraternity band the "Wazoos".  This blog is not even about "The Band" that was so instrumental in the music scene of 1968-1975 or is it even about "We're An American Band" a song made famous in 1973 by Grand Funk Railroad.

This blog is about today.  It is not about glory.  It is about a band, a simple and humble band ... a Shan band.

On Thursday, the second day of the Poi Sang Long Festival, we returned to Wat Hua Wiang at a more reasonable hour to witness the start of the procession through the center of the city.  We arrived about an hour before the scheduled start of the procession so there was plenty of time as well as opportunities to photograph the people.

Towards the front of the second wave of the participants in the procession, we found a decorated flat bed truck ... and a familiar face.  Seated at the head of the flat bed, was the very same leaf blower musician that we had seen four years ago.  Time had been kind to this man.  He looked exactly the same.

A Violin Type Instrument With Attached Sound Horn and Microphone 

The band that he plays in had changed somewhat.  There was now a keyboard and banjo joining the traditional drum, guitar like stringed instrument, and a violin type instrument.  All the musicians were dressed in traditional Shan clothing.

Another Stringed Instrument in the Band

The stringed instruments were very interesting.   The violin type instruments had a metal sound box that transitioned into a sound horn - a sort of mechanical amplifier.  A small microphone was attached inside of the sound horn to allow electrical amplification of the sound.

The banjo also had a electrical hook up to allow for electrical amplification of its sound.

Electrical amplification was necessary because the band provides the traditional Shan music during the course of the procession.  Periodically along the procession route, a large troupe of Shan women, dressed in traditional Shan costume, perform traditional dances to the band's music.  In between the dance stops, the band performs traditional music to entertain the crowds along the streets.

Drummer Tunes Drum With His Hammer

My taste in music is very eclectic although it excludes jazz, hip hop and rap.  The Shan music is very ethnic in it sounds.  It resembles, at least to my ears, Chinese music which is understandable because the Shan people originally migrated from China to Burma (Myanmar) before immigrating to Northern Thailand.  Leaf blowing also is a part of some Chinese ethnic music.  The Hmong as well as the Shan peoples still utilize leaves in their ethnic music.  The sound from blowing on leaves is squawking sound however the skilled musician can make the sound over a wide frequency and actually carry a tune with them.  The melding of the instruments created a "Toto, I have a feeling we're not in Kansas anymore" moment.

I enjoyed listening to the Shan music.  Like other ethnic music, the Shan music captures and defines the unique aspects of a people's culture.  It serves as a link to a shared common experience and past while serving as a bridge to the future.  Ethnic music is also a celebration of the diversity of mankind.  It is a celebration that I hope continues forever.  I do not want to live in a homogenized world, a world of common government, common laws, common thought, common lifestyles and worst of all common culture.  At my age I do not have to worry about living in a homogenized world but I have concerns for the world that my grandchildren and their children or grandchildren could find themselves in.

People like the members of the Shan band are on the front lines maintaining and sharing their unique cultures. We are all enriched by their efforts.

"Allen's World" is a large world with many fascinating people and many diverse unique cultures to experience and to strive to understand.  It is an interesting place that is open to all, not just me and my wife, to explore, to cherish, and to appreciate.  The most important step in what can be a wonderful journey for any one is that first step outside of their comfort zone.  I hope to see more fellow travelers on some these back roads - roads outside of their comfort zones.

The Singing Monks of Isaan

Monk Singing His Role As A "Father" - At This Point A " Dead Father" In A Dream

I have had the elements of this blog organized in my mind for almost a month now.  The combination of a desire to complete editing and post processing all the photographs associated with this blog entry along with some inexplicable reticence to finalize the blog have delayed me until today.

Today, as it turns out, was worth waiting for.  As you can tell from the title this blog entry is about singing Monks - Buddhist Monks.  Most people are familiar with the chanting of many sects of Christian Monks.  Back in the 1960's there was a famous "Singing Nun". On the cable news today there was story about an Italian Monk who has signed a recording contract.  Buddhist Monks are renowned for their chanting.  On the Internet you can find many videos and mp 3 recordings of Buddhist Monks chanting.

Buddhist Monks singing?  I suspect that not many people are familiar with Buddhist Monks singing.  If you research on the Internet you will undoubtedly quite easily find that Monks are not supposed to sing.  Well there are many things that Buddhists as well as Buddhist Monks should or should not do. The practical application and inclusion of local customs and practices make defining Buddhist practices in short universal statements difficult.  Think in terms of a house - the foundations of homes are basically the same.  The functions of a house are the same.  However there are many different appearing structures built upon a foundation to serve the function of a house.

I have written several times about rituals or elements of rituals that although they were performed by Buddhists and in some cases in which Buddhist Monks participated, they were not part of Buddhism.  The  tying of strings around the wrists of laypeople, the sprinkling of holy water on laypeople, the wearing of amulets, idols, talisman  and use of fireworks are all vestiges of earlier animist and Hindu beliefs and practices to the local cultures which are Buddhist today. Buddhism is an an tremendously tolerant "religion" in that these practices are not condemned but assimilated and accepted into the Buddhist practice for they give the local people confidence and inspiration to continue along on their Buddhist path.

Last month we attended a special merit making event in Tahsang Village for some of my wife's relatives.  The special merit making ritual is difficult to describe in a few words - it is essentially a big party to mark the death of a relative.  The party is not to celebrate the death per se but it is an occasion to assist the spirit of the departed on its journey to its next life by making offerings to and for the spirit as well as the local Monks.

These events are quite common here in Isaan.  Theoretically these events are held around one year after the person has died.  But the reality is they are held when the family can financially afford to pay or finance them.  For the event we attended last month, Duang's Aunt was holding the event for her husband who died 10 years ago and for her mother who died 20 years ago.  Due to the cost of such events they are some times combined with another occasion which requires a big "celebration".   In the case of  Duang's Aunt last month, her son was also becoming a Monk.  The event lasts all day and all night with it completing the next day.

We arrived in the morning to participate in the offering of food to the Monks and cutting of Duang's nephew's hair in preparation to becoming a Monk. In the early afternoon  three throne like chairs were set up underneath the main canopy.  These golden intricately carved wood chairs are used for Monks to sit cross legged upon while reading or lecturing the scriptures.  However on that day, I learned that they are also used for another purpose - for Monks to sit in while they sing.

After the chairs had been set up, three Monks that I had never seen before arrived.  These Monks brought their own microphones, amplifiers, mixing boards, and computers.  They even had a young man to set it up for them.  I knew that I was about to learn something new.

From Duang, I learned that these Monks were from another village and they go and put on a "show" for people.  The "show" turned out to be a morality play - a play about life and Buddhist family values.  One Monk played the part of a father.  The second Monk played the part of a son.  The third Monk, the youngest played the part of the mother.  Most of the performance was song with dialogue providing transitions between the songs.

According to Duang we were witnessing "Nangmakao".  A performance usually takes 4 hours. Due to the need to parade through the village as part of the Monk Ordination ritual later in the afternoon, this performance was cut down to three hours.  It is a story about a mother, father, grown-up son, and grown-up daughter. The daughter is "no-good" in that she talks bad to her parents and does not take care of her parents.  "Take care" involves financially, and materially supporting your parents. It runs the gamut from giving them money each month to cooking and cleaning as necessary to keep your parents well.  In the Lao Loum culture the burden of this is the responsibility of the youngest daughter but expected of all the children.  So in this story the daughter is especially bad - not respecting and taking care of her parents and not doing it as the youngest daughter.  The son on the other hand is a good person.  He takes care of his parents.  The songs deal with what the daughter does not do and should do.  The songs from each family member's perspective deals with their sadness and disappointment that the daughter does not have a "good heart".

A Monk. in the role of "Mother" Cries About Her Children

As part of the morality play, the son dreams that his mother and father die.  The spirits of his deceased parents want food and money for their journey to the next life but are not able to get them.  The son, who was a good son but not a perfect son, is devastated at the loss of his parents.  He laments the times that he did not respect them and the fights that he had with his father.  The mother cries as she sings about all the times her children did not visit her and take care of her. The father is more angry in his singing and laments about how sad and how much the mother cries because of the children.  Despite the son and daughter being wealthy, the father sings that they do not want to take care of their parents apparently telling them to go away like dogs in the street to get food  This is definitely not nice in any culture - for sure!

The son wakes up from his dream and kind of reads the riot act to his sister about taking care of their parents.  The daughter turns a new leaf and starts to pray to Buddha every day and takes care of her parents like she is supposed to  do.  The son also takes care of his parents and becomes an even better son.

The songs are sung in the style of traditional Mahlam Lao but without any musical accompaniment.  The songs are sung with a great deal of warbling and tonal range.  This link is one of the songs that the Monks sang but without the instrumental accompaniment.   http://youtu.be/OnoSvHUVHGo

As the Monks performed, laypeople would approach them, and place money offerings to the Monks in the cloth bag that hung from each golden throne.  The Monks would then place "Saikaen" in the offering plate for the layperson.  "Saikaen" are braided string bracelets over which the Monks have recited scriptures and chanted over.  They are worn by people for good luck and fortune.  They are dropped on an offering plate to ensure that Monks have no physical contact with women.  For larger offerings to Monks or from a Monk, the object is first placed on a folded cloth which the recipient will then pull towards them to accept the offering.

Duang Accepts "Saikaen" From Singing Monk

At the beginning of the performance, two trays of food and drink were placed on the raised platform where the Monks had been previously seated.  The food and drink were offerings to the spirits of the deceased husband and deceased mother of Duang's aunt.

At the conclusion of the Nangmakao, a special merit making ritual was performed for the benefit of the two departed spirits.  Laypeople burned Joss Sticks as the Monks chanted about the spirits going up rather than hanging around now that they have been given food, money, and the Monks have taken care them

Merit Making Ritual for the Departed Spirits.

There was not a dry eye underneath the canopy - it was quite emotional and sad.

I earned some merit too, not necessarily in terms of the Buddhist religion, but with my in-laws when Duang noticed and pointed out to everyone that I was crying too as I was taking photographs.

It was a very moving experience.  The youngest Monk, who played the role of the Mother, gave Duang his card.  I told her that when I died I wanted them to do their singing for me but I was not planning on it being any time soon.  I also had Duang tell him that if she died before me, I would become a Monk and he and I could go to all the villages to make people cry with our singing.  We all had a good laugh.

Spirit Houses Constructed for Merit Making Ritual

The next morning the spirit houses specially constructed for the departed people along with the money offerings, rice, sahts (woven reed mats), mons (pillows) and other offerings collected from the laypeople would be paraded through the village on their way to be presented to the local Monks on behalf of the departed spirits as well as donors.

Last weekend, we attended in Nongdaeng Village another ritual for the spirit of a departed relative.  The most recent ritual was for the death of a mother 5 years ago.  This event also included singing Monks but different ones than at the December ritual.  This time there was also the full 4 hour version of the "Nangmakao".  Once again it was a very interesting, and moving experience.

Monk Singing "Father" Role of Nangmakao in Nongdaeng Village

Our grandson, Peelawat who will be 4 years old next month, seemed to enjoy the performance.  He split up his time on my lap, as I took photographs, and on Duang's lap where she instructed him in worshiping   He also got to eat ice cream and drink Coke so he was happy the entire four hours.

Peelawat learning to Chant In Pali

A Monk Singing As Part of Merit Making Ritual

Family Making Offerings to Spirit of Their Grandmother

Food Offerings for the Spirit

So although Monks are not supposed to sing, apparently the local custom in Isaan allows them to sing in order to instruct the Lao Loum laypeople the teachings of Buddha and to assist people to make merit for the departed.

This is the way that life is here in Isaan.

There is always something new to witness and learn even if you think that you have seen it all.

Things are not always the way they seem or as simple as they appear at first.

There are many levels of understanding and as you delve deeper into the details of the culture, the richer the world around you becomes and the fuller your life becomes.

There is no need for any of us to watch a "reality show", for real life is waiting for each one of us if we but open our eyes, ears, and mind.

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.

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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.

Wai Khru Ram Muay

 

 

In yesterday's blog, I wrote about the students of Tahsang Village performing "Wai Khru Ram Muay".

The complexity, beauty, and hypnotic nature of the ritual is dificult for me to describe in words.  I know that my description of the music as being like "snake charmer" music did not do it much justice.

Today I found a very good clip on Youtube that shows a Wai Khru Ram Muay performed by three fighters.  In a Muay Thai match, the Wai Khru Ram Muay would be performed inside of the ring by the two fighters after they had first entered the ring and paid respects to each of the corners of the ring.  In a Muay Thai match, the fighters may or may not perform their Wai Khru Ram Muay at the same time or in unison. Their movements are highly individualized but share common elements.  Besides paying respect to Buddha, their teachers, their trainers, their country, there is a certain psychological intimidation element to the Wai Khru Ram Muay.

The link to the Youtube video is below:

http://www.youtube.com/embed/OPK5JtxjIM0

Our four year old grandson, Peelawat, performs his own versions of the Wai Khru Ram Muay; I suspect it is something that he has picked up from the older boys at school.  This weekend, I will share this video along with some others of Wai Khru Ram Muay with him and show him a special movement - "Chang" (elephant).

Duang and I attended a match in Pattaya.  The fighters were performing their Wai Khru Ram Muay when one of the fighters went to his knees bent his forehead to the mat and rose his torso upright with his right arm and hand placed at his chin to simulate an elephant's trunk - the place went crazy.  I have practiced the movement ever since and now that he is four, I will pass it along to Peelawat.

I think that it is going to be another great weekend.

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.

Hmong Music

Almost two years ago Duang and I ventured to Chiang Mai to visit the Hill Tribe people as well as to celebrate my birthday. I had contacted a tour company that I had previously used on three trips to Maehongson and one trip to Chiang Rai.

One of the many highlights of our trip to Chiang Mai was a visit to a Hmong village on a mountain top outside of the city. Our guide attended university with one of the village leaders who was working on opening up his village to tourism. The Hmong were once very much involved in the cultivation of opium poppies and production of heroin. The illicit trade has been largely eradicated and programs instituted under Royal sponsorship to provide other income streams for the Hmong people.

As we drove up the mountain towards the village, we saw evidence of some of these programs. Large fields of flowers and associated small support buildings for a commercial nursery clung to the steep hillsides. In other areas large plots of cabbages were growing on the steep hill sides.

We arrived at the village and were met by two of the village elders dressed in traditional Hmong clothing. They lead us on a walking tour of the village and tours of some of the homes. We watched a woman working on producing batik cloth with traditional Hmong designs. She was using a stylo and melted bees wax to make intricate geometric patterns on white cotton cloth. Later the cloth would be dyed to produce a distinctive blue on indigo fabric.

After awhile, we were informed that there would be a special party in honor of our visit and my birthday. The festivities commenced with a welcoming ceremony and show put on by the villagers.

The village Headman played traditional music a large as well as long reed instrument called the "qeej". The qeej is played by a combination of blowing and sucking air in and out of the qeej. The qeej is often used to perform traditional music at Hmong funerals and at New Years celebrations. Traditional music is played mostly for ceremonial purposes and our visit was apparently considered cause enough.

Hmong music is an extension of the Hmong language. Each note represents a word. To the Hmong people the qeej sounds are a speech. To me the qeej was unlike any music that I had ever heard before. To me it lacked the harmonics and melody that we associate with music. It was interesting for sure. Qeej players are story tellers who perform centuries old songs. They often dance as they play the 5 to 6 foot long reed instrument. The village Headman was no exception. He danced as he played. He danced in a very fluid and graceful manner as he managed to keep the qeej mainly parallel to the ground. He turned quickly to the left, to the right, and in complete circles as he played.

The Hmong people are mostly Animists and believe that when the qeej is played, ghosts will go after the musician. To prevent the spirits from following him, the musician dances in a circle to lose the spirits.

After the qeej music, a village woman in traditional Hmong clothing played a "ncas dai npib" (mouth organ). The ncas dai npib is the Hmong equivalent of the Jew's harp. The ncas is a very thin metal blade that has several slots cut into it. It is placed in front of the musicians open mouth with one hand and struck with the other to produce a very soft almost like a whisper sound. The ncas is used for private communication. It is specifically used in courting rituals. A young Hmong girl will go to sleep or pretend to go to sleep inside her parent's home and her suitor will appear outside the window to tell her of his love, admiration and what ever else will likely work for him using the ncas. Again the music notes are words so a great deal can be conveyed by the song.

Another part of the villager's show was a man leaf blowing - "daj plooj". He used a banana leaf held between his thumbs to create music by blowing air across the leaf's edge. We were told that people can communicate from mountain to mountain using leaf blowing. He was able to effortlessly make some very large sounds of different pitches and tones. Despite never being very successful back in New England with "grass blowing", I accepted the offer to demonstrate my leaf blowing. Through much patient assistance and advice, I was able to get a sound, more of a squawk out of the banana leaf much to the delight and amusement of the Hmong villagers. I don't know if it was my labored efforts or the actual sound that was so funny. Knowing now that tones are also words, my "music" may actually have been saying something funny or embarrassing.

There was also a demonstration of swordsmanship. Again there were fluid and graceful movements utilized to show the villager's prowess with the Hmong sword. Fortunately, I was not asked to demonstrate my swordsmanship.

At the conclusion of the show, we went inside for a sit down dinner. From community bowls, we shared a very tasteful meal of chicken, forest soup, rice, green beans, and other vegetables. The food was washed down with bottomless small cups of rice wine. The liquid was called "wine" but it was more like vodka in taste as well as strength. The rice wine was produced in the village and was quite potent - I suspect around 60 to 80 proof. The food and drink was very conducive to lively and animated conversation.

We learned about the King's program to provide alternatives to growing poppies for the Hmong people. One of the village men had been selected to receive silversmith training. He had gone to Bangkok to be taught silversmith techniques. He became quite adept at it and was part of the Royal artisans producing intricate as well as delicate pieces of silver jewelry. He showed us some of his work and it was very impressive. His hope is to set up a shop and school in the village to train other people of his village. The villagers asked us about our lives and families. It was a very nice evening - good food, good drink, and great people.