Giving Thanks for Granted Favors

Here in Isaan spirituality plays a very important role in the day to day activities and rituals of the Lao Loum people. Many of my blogs describe my experiences as well as observations contributable to the amalgamation of Buddhism, Hindu, and Animist beliefs here in Northeast Thailand. The life of the Lao Loum people is anchored and validated by their faith.

A big aspect of Lao Loum belief is requesting Divine intervention into their daily life. People make offerings and pray for favors such as obtaining money, getting a job, finding a spouse, recovery from physical ailments and all the other reasons that many people in other places in the world pray for. I have witnessed Go-Go girls making merit prior to performing on stage. Performers in my brother-in-law's Mahlam Lao shows make an offering prior to the start of their performance. In some entertainment venues, a wood or stone linga (phallus) is placed in a shrine area to solicit good luck and fortune for the business and workers. This object is part of a small shrine, generally ascribed to being Buddhist, at which incense is burned, candles are burned, soft drinks, glasses of water, shots of alcohol, and garlands are offered. It is somewhat complicated although the shrine is mostly attributed to Buddhism, in fact most of the elements as well as ritual is derived from prior Animist, Brahman, and Hindu beliefs.

The role of spirits in their daily life is often manifested to Lao Loum people in their dreams. Dreams and the interpretation of dreams is a serious concern to the inhabitants of Isaan. There is a government sponsored daily lottery in Thailand with many of the numbers selected by people being based upon their recent dreams. Often the interpretation of dreams leads people to pray to counter the dream's phophetized future. Often Monks are consulted to determine what the future may hold for an individual. Reading of palms, interpretation of wax drippings into water, consulting tables of numbers, card reading and shaking of numbered strips of bamboo or plastic to obtain a prediction of the future, are all utilized to help provide direction and assurance to one's present life. As a Westerner, I find this interesting but not very plausible. As a person who has lived here for approximately four years and with intimate knowledge of some specific predictions, I still don't believe in the process but I am respectful of the beliefs.

All this leads us to our task for 01 April here in Udonthani. A year ago on a rainy night in June, Duang and I went to a special shrine here in Udonthani. The shrine is located at the north end of city center at the boudary of Nong Prajak Park. The shrine is dedicated to the the founder of Udonthani, Prince Prajak. It is a very popular shrine for the local people. There are hundreds if not thousands, of animal statues placed at the shrine in appreciation for answered prayers. Other offerings such a coconuts, food, soft drinks, along with garlands are also widely spread around the small shrine. I was leaving for the United States the next day to attend my divorce hearing. At the time, I thought that the purpose of the visit and the offerings was to seek good luck and safety on my journey. On 31 of March, Duang had a dream related to her incantations of that evening. When she awoke on April 1, she realized that her prayer that I would choose return to her and remain in Thailand had been granted but that she had not made an offering in recognition and thanksgiving.

We went to a specialty shop that sells concrete animals and figurines for the purposes of making offerings at shrines. Duang purchased an elephant and a zebra as well as a couple of human figurines. The elephant and the zebra were each about two feet long and one foot high. The cost was roughly $15 USD total. I am somewhat familiar with the idea behind offering a statue of an elephant. The elephant is a sacred symbol in Thailand with origins for this going back to Brahman and Hindu beliefs. I am at a loss to explain the significance in offering a zebra statue. At the shrine there are also many horse statues for which I also can not explain either the significance or reason.

Duang and her brother made the offering while I kept busy taking some photographs.

New Photographs Added - "Isaan Go-Go Girls"

Thirty-three new photographs from the Song Poo Day celebration have been added to the gallery "Isaan Go-Go Girls"

http://www.hale-worldphotography.com/People/Isaan-Go-Go-Girls/8185157_q4YxR#826377375_BYvud

Song Poo Day - 2010 (2553)

Tuesday was Song Poo Day in Tahsang Village. I have had some difficulty over the past three years understanding exactly what Song Poo Day is about. At first I thought it was to commemorate one of Thailand's greatest poets. I then thought that it marked the official end of the Songkran (Thai New Years) holiday in April. Well this year, Duang threw me a curve ball when she informed me that Songpoo Day was Tuesday, 30 March. Since Songkran starts in the middle of April, my latest theory on the purpose of Song Poo Day was invalidated. I asked Duang what we would do for Song Poo Day. She told me that all people go to take care of Buddha and put water on Buddha. This is exactly what we have done for the past two years during Songkran or Thai New Years.

During Songkran, in April, people return to their homes to pay respect to the elderly people and people of recognized higher status by pouring cool or cold scented water over their hands to help them deal with the high temperatures at the end of our dry season. Sometimes a little bit of the water is sprinkled on the neck or back to help cool the person off. Typically some scented powder is also respectfully applied as a cooling aid. During Songkran the Buddha statues are also washed with water. These are the traditional rituals of Songkran. Just as with the rituals associated with Christmas, the rituals and intent of Songkran have been secular hijacked. The traditional rituals remain and are widely practiced but are overwhelmed by hordes of people throwing water at each other and any and all vehicles of conveyance that enters within their range. There are skirmishes tantamount to roving water wars along the streets of the cities. Even in out of the way places in the middle of nowhere throughout Thailand you will encounter groups of small children with a 55 gallon barrel of water patiently waiting for someone or something to pass so that can toss water at. There is one infamous story during one Songkran, a Bangkok fire truck was commandeered by civilians and used against the crowds. While in Maehongson during a Songkran, Duang and I witnessed a fire truck spraying people with water but it was being operated by the firemen!

My discussion with Duang did little to clarify my understanding of what Song Poo Day was all about. It had become time to seek outside help. Duang suggested that we call our good friend who has provided translation services in the past for us. We called her and Duang had to explain what Song Poo Day was all about in Lao so that I could be told in English. Apparently Song Poo Day is celebrated only in Isaan, an apparent Lao Loum practice. Perhaps the reason for Song Poo Day is to focus solely on the washing of the Buddha statues and the associated merit making rituals. Oh yea - it also is the opportunity for the local community to come together and have a big party! The actual date for Song Poo Day in Tahsang Village is set by the Abbot of the local Wat after consulting the moon and stars, wax droppings in water, and other measures employed to tell the future.

We returned to Tahsang Village early in the morning to participate in the merit making ritual of offering food to the Monks. Many of the villagers were already at the Wat when we arrived at 7:30 A.M. We participated in the typical morning merit making ritual.

After offering food to the Monks, the people busied themselves preparing for the day's celebration. Some children were busy filling small plastic bags with water from a large clay pot used to collect rain water during the rainy season. Yellow "dawkkhun"(?) blossoms were added to the individual bags as well as to the water in the clay pot. These flowers are now in full bloom. These flowers are referred to as "King's Flowers" because the King was born on a Saturday which in Buddhism has yellow as its color of the day. The flowers are large clusters hanging from trees throughout Thailand. The children's mother had large bunches of the flowers and was busy spreading them around the Buddha statues set upon the low wood shelf that I wrote about in my last blog. Other people were occupied setting up their little booths from which they passed out food and drinks that they had donated to the celebration. At the far end of the grounds, roadies from Duang's youngest brother's show were getting out of their hammocks where they had slept the night. They had to put the minor finishing touches on the stage for the day's Mahlam Lao show. One of the highlights of the celebration was his scheduled 6 hour show.

Soon the performers for the show arrived. I went back stage to photograph the girls putting on the make-up. After awhile I was joined by our 13 month old grandson, Peelawat. He was quite content to sit on my lap while I was photographing. To keep him entertained, or rather to stop him from staring at the girls, I taught him how to have fun with sticks, dirt, and hands. Duang came and relieved me of babysitting duties so I returned to the main area where people had started to pour water on the Buddha statues.

There was also a procession of the villagers around the outdoor statues. The people circled the area three times and were carrying a "money tree" created from a banana stalk. Split slivers of bamboo with paper money inserted between them are stuck into the banana stalk to create a "Money Tree" which is offered to the Monks in a merit making ritual. Three locally crafted gunpowder rockets were also carried around in the procession.

Around 10:00 A.M. the Mahlam Lao show started. After three songs, the show stopped as the first two of the three rockets were launched. All three were supposed to launched in succession but technical difficulties were encountered in launching the third rocket. After a wait of five minutes during which the ignitor was replaced, the last rocket was successfully launched. The number three has a great deal of religious significance in that it represents "Buddha", "Buddha's teachings", and the "Buddhist Religious Community". After the successful last rocket, a man behind me set off a "Whizzer" firework from one of the columns of the Bot that is under construction. "Whizzer" fireworks are a flat spinning fireworks that makes a squealing sound as it shoots high into the sky. At its apogee it explodes in a large bang. They are also utilized during Monk Ordination, Wedding, and Funeral Processions to keep the evil spirits away. Well this firework was fired off too late. The evil spirits had already gotten to it. The firework misfired and rather than shooting straight and high into the sky, it shot off low forcing me to duck and landed inside the back of the truck where some of the show equipment was located along with one of the roadies. The firework landed on a heavy blanket and started a smoldering fire. The roadie grabbed the firework just as it exploded. He covered his face and dropped to the bed of the truck. I didn't want to do it but since I had been not drinking like most of the villagers and since I know more about first aid than they do, I ran over to the truck to assist the roadie. He fortunately had only a small burn on his arm and soon was joking about the incident. With that excitement out of the way the party and show started back up.

Just like in America the show started without much audience participation. Despite the driving beat of the music, the gyrations of the dancers, and ribald antics of the performers, people just sat and politely watched. After about two hours the effects of all the alcohol from beer and whiskey drinking kicked in. The young bucks moved up to the area in front of the stage. Soon they were having their dance competition in sort of an informal mosh pit. Further back underneath the large shade trees women were standing up and dancing. After awhile they were joined in dancing by some of the men. Eventually they were joined by the only foreigner in attendance. Although he had not been drinking, one of his in-laws had the band play his favorite song - a song that can not be listened to without dancing - dancing Lao style. The song is about eating fresh water snails, one of the staples of the Lao Loum diet here in Isaan but the name for fresh water snails is also a double entendre for a part of the female anatomy. It is the number one party song around here and a sure way of getting people up and dancing.




I wandered around photographing the show from different angles. I came upon an empty whiskey bottle and from past experience I knew that I needed to give it to one of the policemen in the area. Empty bottles are removed as part of a disarmament program. Empty bottles end up getting thrown or used during fights. Later I came upon an empty beer bottle next to a group of guys but far from a policeman. I picked it up and placed it in a box along with the other empties. I pantomimed to the men that they were not to throw the bottle or break it over anyones's head. They thought that it was hilarious and offered me a drink. I declined - there are too many roadblocks around now with police checking for alcohol among other things.

We had a great time watching the show and sitting with friends and family. Around 2:30 the sun and heat got to be too much and I indicated to Duang that we should go home. On our drive back to Udonthani, I indicated to Duang how wonderful the day had been, how much fun everyone had, and mentioned that the Tahsang Villagers had been so well behaved. Duang said "Yes Tahsang Village and Non Mahka Village good. No pompain (No complain) Not like Nong Daeng Village - No good. People drink too much want boxing all the time."

We were home no more than 15 minutes when Duang got a phone call. Some Nong Daeng villagers had shown up at the show and there were some fights, fireworks thrown and Police had fired some shots in the air. Fifteen minutes later she got a call that the narrow road to Nong Daeng Village was blocked with people and Police. There were some reports of people with guns. Nothing developed further and we joked about it was good that Duang listened to her husband. In the past it has been Duang who told me when it was time to leave because of violence. She didn't cut me much slack though and reminded me that I had to listen to her too.

So of all the shows that we have been to during the past three years, the number of shows without a fistfight or more remains at one. I thought we had gotten to two on Tuesday but the law of averages or probability prevailed so the count remains at "one".

The Night Before Songpoo

It was the night before Songpoo and call kinds of creatures were stirring throughout Tahsang Village ...

Monday night, 29 March, was the night before Songpoo Day here in Isaan. There was a full moon (duangchan) on 30 March so there was close to a full moon on Monday night. It was determined that because of the imminent start of Songpoo Day as well as the state of the moon, that a special, once a year, religious ritual would be conducted at the Buddhist Wat that is located outside of Tahsang Village.

Tahsang Village is a small Lao Loum village here in Isaan which has two Wats, (Buddhist Temples) for the benefit of the villagers. One temple is located inside of the village limits and the second temple is located outside of the village on the edge of flood plain/swamp that is accessed by a narrow rough dirt road through the village sugar cane fields and rice paddies.

We have attended rituals and celebrations at both of the temples over the past three years, but Duang favors the Monks at the "outside" Wat. Her preference has something to do with religious practices and behaviors. I don't get involved in those types of issues but if I had to choose it would be the "outside" Wat. My choice has nothing do with religious practices. I would prefer the "outside" Wat because it is the temple where "Rocketman" resides. "Rocketman" is a Monk that supervises the construction and launching of Tahsang Village's gunpowder rockets. For me he appears to be a larger than life character and I always enjoy my visits with him.

Duang and I arrived in Tahsang Village with a load of water, soft drinks, and snacks for the Monks as well as the villagers for the evening ritual and for Songpoo the next day. We stopped at Duang's parent's home to pick up our 13 month old grandson, Peelawat and Duang's mother for the drive out to the Wat.

The Wat was filled with people of all ages, chickens, and some dogs scurrying about. Many of the Wat's Buddha statues had been relocated to a temporary low wood shelf surrounding the ruins, seem to be ancient to me, of a previous Wat on the site. I have seen previous ruins in Chiang Rai area and they were listed as being from the 1400's. The purpose of placing the statues outside was to prepare for Songpoo Day. On Songpoo Day, villagers as part of their merit making ritual pour water over the statues to wash and cool them.

On Monday night many people were occupied setting up booths and stalls for the next day's celebration. Most of the booths were to be used to distribute donated soft drinks and food during the Songpoo Day celebration. One booth was already in operation - a sort of "game of chance" booth very similar to booths that we had seen during the past few months. People pay a small sum of money and get a short piece of drinking straw with a piece of rolled up paper inside of it. Once the paper is unrolled, a number is revealed. The number corresponds to a number assigned to many prizes. You win the prize that corresponds to the number on your piece of paper. The profits from the booth are used to support the upkeep of the Wat.

This Wat needs a great deal of support. The Wat's Bot, main worship hall, was a very old rustic cinder block building in need of a great deal of repair. It needed so much repair, that it has been demolished. A new Bot is being constructed. The site of the old Bot has been raised about a meter which is a good idea due to its close proximity to the water. New concrete foundation beams have been installed and the recycled concrete columns from the previous Bot have been set. The project is being performed by donated labor so it is a very slow process.

For the evening ritual, a temporary Bot was constructed. Several canopies, like those used for wedding and funeral celebrations were erected to provide shelter from the sun and remote possibility of rain. The first canopy was dedicated to the Monks and Buddhist statues. The back side of this canopy was sheathed with bright orange fabric to create a wall behind the raised wood platform upon which the Monks would sit. Very fine nylon nets, the type used to capture rice kernels that fall off the sheaves in preparation for threshing, were placed upon the ground beneath all of the canopies. Woven sahts some of them 30 feet (10 meters) long were placed on top of nylon net to create a floor for the worshippers. Just as in permanent Bot structures, people remove their shoes or more likely flip flops upon entering. In the corner of the raised wood platform reserved for the Monks, there were two richly lacquered etagere upon which Bhudda statues were placed. The etageries are often placed in richer people's homes to create a worship area in their home. In front of the statues there were other objects associated with worship and ritual such as candles, vases, flowers, incense holders, and a large pressed metal elaborate bowl.

Upon entering the area, I immediately noticed something new and very different. There was a grid suspended above the area where the worshippers would be seated. The square grid was created using cotton string - cotton string that used to used by meat cutters in older days and refereed to as "butcher's string" At the intersection of the crossing strings, long pieces of vertical drops of cotton string were tied to the elevated grid. The elevated grid was connected to the statues on the etagere with the same type of cotton string. Another cotton string ran from the statues to a ball of string placed on the platform where the Monks would be seated. I had witnessed the string from the statues to the Monks many times before but this was the first time that I had seen a grid of string above the worshippers and the statues. I believe that the use of the cotton strings has more to do with the vestiges of Animist beliefs than Buddhism. Cotton strings are used, sometimes in Bai Sii rituals, to bind the 32 spirits within people to ensure health, wealth, and good luck.

I got to take care of Peelawat during what ended up to be a two hour ritual. That was fine with me. Peelawat is a very good boy who is satisfied to just sit in my lap which still leaves my hands free to take photographs. I show him some of the photos in the screen on the back of the camera which keeps him entertained while he sucks his thumb. We sat up front next to off to the side of the Monk's platform. This was a good place to take photographs and a great location for both Peelawat and me to observe what was going on. I do have to say though that he stares much more than I do.

About one hour into the ritual the worshippers unravelled the vertical strings from the suspended grid and looped the free end of the string around their head. Relatives took care of putting the string around the head of children. As is typical at Lao Loum ceremonies, most of the men sat separate from the women and children. The other aspects of the evening's ritual were familiar to me. Just as when we had our house blessing ritual, Duang's uncle, the Abbot, allowed burning candles to drop wax into a large pressed metal ornate bowl. The shape of the wax that solidifies in the cool water is interpreted by the Monk to determine the future. Since the ritual was rather long, Peelawat got tired, perhaps from the hypnotic chanting in Pali by the Monks and villagers, and without crying decided to take a nap.





I placed him upon the saht in front of me with one of his blankets. He slept very peacefully until Rocketman walked around sprinkling people including me and Peelawat with the water from the large bowl - very similar to sprinkling of Holy Water in Catholic ritual. When the water blessing hit Peelawat he became startled and woke up. I calmed him and reset him upon the saht where he promptly returned to sleep. When Rocketman returned on his second pass to bless everyone, he had a big grin and seemed like he was going to get Peelawat and me once again. I said "No, the baby is sleeping" He laughed along with everyone else because he was only joking - apparently Peelwat and I only needed the one blessing!



At the end of the two hour ritual, people cut the vertical cotton strings and brought them up to the platform to have either the Abbot or Rocketman tie the string around their wrist. Duang and I were doubly blessed - the Abbot and Rocketman each tied a string around our wrist.

Apparently the ritual with the string around the head is a special ritual and only observed once a year. It was very interesting and with taking care of Peelawat very enjoyable.

Saht Weaving - The Rest of the Story

On Friday I wrote about "Saht Weaving Time" based upon my observations that day as well as several occasions observing Lao Loum women creating sahts over the past two years here in Isaan. In writing Friday's blog, there were many questions that I realized that I did not have the answers to. How long does it take to make a saht? How much does it cost to buy one? What type of weaving is employed to create a saht? How is the warp set up? How is the saht removed from the loom? How do the people keep the completed saht from unravelling?

If no one else was interested, at least I wanted to know the answers to these questions. There were two avenues available to me to find the answers to these questions. The first was to do some research on the Internet. I am amazed at how the Internet has contributed to and improved our life. When I first started out as a field engineer before fax machines were commonplace, there were many times when we needed technical information to do our jobs. Often the technical information was not readily available, i.e. on a drawing or in a catalog, physically located at the job site. We would have to find a possible source for the information, call or write to the possible source to confirm they had the information, and then wait one or two weeks for the information to arrive - if it actually arrived. Not so these days. As I sat in Udonthani, Thailand in my home on Saturday, I decided to learn something about weaving. I wanted to know and more importantly better understand what I had been observing and writing about. In writing this blog I have written that I describe what I have seen and what I have experienced. I don't necessarily understand, believe or can explain everything. I try to make no attempts to justify or rationalize however I do have the personal goal of ensuring that what I write about is accurate. It is important to me to communicate accurately about the sights, events, sounds, smells, and beliefs that I have encountered. I leave it up to the individual reader to determine their own sense or version of reality and truth. For a minute or two on the Internet I can better ensure what I describe is accurate. So it was with weaving last weekend.

Duang and I returned to Tahsang Village on Saturday to tend to family business. As I normally do on our excursions about Isaan, I brought my camera. The two sisters that had dyed the Ly plants earlier in the week were now busy weaving sahts from the dried reeds. I spent a good part of my time in the village photographing and trying to understand the process.

Today we returned to the village specifically to take our 13 month old grandson, Peelawat, to the clinic. Since we left on a semi-emergency basis, I did not bring my camera today. This ended up being an opportunity for me to better observe the process and get my questions answered without getting distracted by my photography efforts. Since Peelawt ended up getting an injection at the clinic while Duang held him he had difficulty sleeping during the afternoon and preferred my company to Duang's. Peelawat and I sat in a chair outside next to the weavers and watched them for two hours. It was a nice afternoon - watching the weaving, giving Peelawat comfort, and having him give me his version of "kisses" (gently bumping heads together followed by a wide grin).

Sahts are woven on a rough lumber framed horizontal loom about 6 feet wide by 9 feet long placed on the ground. The members of the loom are fastened together with a combination of large nails and rope - as is the case in Isaan whatever is available is used as long as it is fit for purpose. The looms are a simple rectangular frame - two parallel or close to parallel pieces of lumber set on edge and two cross members set flat at each end of the rectangle. The looms are often set up underneath the shade of a large tree in some one's yard. When there is a threat of rain the looms are set up underneath the extended overhang or a house roof or underneath an open sided structure often found on the grounds of local Wats.


At the head of the loom where the weaving commences there is a stiff solid wire rod about 1/8 inch in diameter that runs along the edge of the cross member. The rod is kept in place and is guided through a series of small nails that have bent over to form rough semi-circles along the cross member edge. At the other end of the loom, which I will refer to as the "foot of the loom" there is a row of small nails more like upholstery brads than construction nails partially driven into and running over the top of the foot cross member about 1/2 to 3/4 inches from the edge of the wood. The nails are roughly 1/2 inch on centers along the width of the loom. Often the loom is tied to a tree or set up against a couple of iron spikes driven into the ground to provide some additional resistance to movement of the loom during the weaving process.

The saht is woven using plain weave also referred to as tabby weave and sometimes as taffeta weave technique. Plain weave is a very basic weaving technique - a process where the lengthwise threads, referred to as "warp", and the crosswise threads referred to as "weft" are in a crisscross pattern. The weft threads go over and under the warp threads in an alternating pattern across the width of the textile.

After setting up the loom, the saht weaving process with installing the lengthwise threads (warp). For sahts the warp is not actually a thread but is a string. Plastic string typically about 1/32 inch (1 mm) in diameter is used. The plastic string is generally not a high quality mono filament line that is used to crochet fishing nets but is a higher quality than the polyethylene strapping used in packaging. The warp can be of any color with yellow, blue, and black chosen the most frequently. Spools of this type of plastic string are readily available from small hardware type shops in the larger villages and cities. The spool of warp is often set inside of a small plastic bucket to keep it clean and away from the marauding chickens searching for food. The warp runs from the bucket up and over a low hanging tree limb or roof beam down to the foot of the loom. The free end of the warp is placed through a hole or slot in a flat board that in textile weaving is called a "rigid heddle". The rigid heddle is a flat board about 16 inches tall and the width of the desired saht width. Along the width of the heddle are a series of alternating small diameter holes and narrow slots. The holes in the heddle prevent the warp thread going through them from changing their relative elevation whereas the warp threads that pass through a slot are free to change their relative elevation as limited by the slot. After passing through the first hole in the heddle, the warp thread is pulled along the length of the loom to the head.

The free end of the warp thread (plastic string) is then passed over the top of the small diameter rigid rod and looped pulled back towards the foot of the loom. When the warp string encounters the heddle once again, it is run through the slot adjacent to the hole that it previously passed through. When the free end of the warp reaches the foot of the loom a second time, the warp is trimmed to allow the warp to be tied off to each of two adjacent nails. The weaver pulls on the warp to ensure that the warp is taut. I doubt that I could pull the warp tighter than the Lao Loum woman can with their bare hands and fingers. This process of through a hole, over the rod at the loom head, through a slot, and both ends being tied off at the foot of the loom is repeated until all holes and slots of the heddle have a single warp thread running through them.

The heddle is used in conjunction with a piece of bamboo about 4 to 6 inches in diameter to lift alternative warp threads to create a space between the threads. This space between the alternating threads across the width of the textile, called "shed" is where the weft (Ly reeds) are inserted during the weaving process. One of the women worked the heddle while the other woman who sat to the right of the first woman ran the weft (dried reeds) through the shed. After selecting the proper colored reed, the weft feed bent on end of the selected reed over the blunt point of a long and narrow strip of bamboo. Using the bamboo strip she slid and pushed the reed across the shed to the far end of the textile's width. The heddle operator used her left hand to grasp the bent end of the reed and release it from the bamboo strip. The other woman then slid the bamboo strip from the shed and prepared the next reed for insertion. The heddle operator in the meantime used both hands to align and position the inserted reed. With a hand on top of each end of the heddle, she forcibly pulled the heddle towards her to push and compact the new reed agaist the reeds that had been previously woven into the textile. She then slid the heddle away from her to prepare a new shed for the next reed. After each reed has been compacted into place, the women braid the ends of the previous past two reeds to create a braided edge along both sides of the growing textile. This process continues for approximately two hours when the saht was completed.

After the last reed was woven into place, the women used some old thin knives to trim the reed ends along the sides of the saht that protruded past the braided trim. Both knives were too dull to accomplish the task so one of the sisters took them to the back of the house and rubbed them on a rock to sharpen them. Upon completing the trimming of the side, one woman slid the small diameter steel rod from the head of the loom thus releasing that portion of the saht from the loom. At the foot of the loom, the other sister cut the paired warp threads at about six locations. After cutting a pair of warp threads and before cutting the next set of threads, she tied the threads together using a square knot to prevent unraveling. After tying off the last set of warp threads, she cut off all the remaining warp threads releasing the saht from the loom and leaving the saht with a fringe on that end of the textile. Later that fringe is braided and trimmed with a series of cotton strings to create protective edge.

Each saht takes around two hours for two people to weave. Sahts are sold for 80 to 100 baht (about $2.50 to $3.00 USD) for the typical sized saht.

Saht Weaving Time

I have recently written about the diminished activity in the fields and waterways of Isaan coinciding with the rising temperatures as well as the dry season. This does not mean that there is not plenty going on to witness, observe or photograph in the rural villages of Isaan.

As you drive through the small villages that are scattered along the back roads of Isaan, you will find bunches of reeds laid out along side of the village streets drying in the sun. These are the marsh reeds, called "Ly" (?) that are used to weave the ubiquitous Lao Loum textile called "Saht". I read that the Khene musical instrument defines the essence of Lao culture. My opinion is that if the khene defines than the saht reaffirms the essence of Lao Loum culture. The saht is a scatter rug, a substitute for carpeting, an offering to Monks, a place to eat your meals, a place to drink, a substitute for a mattress, and a gift. People in Isaan villages place sahts upon the floor of their home to eat their meals. Sahts are placed inside of hammocks to create beds for babies and toddlers. Some people sleep atop sahts placed upon the floors of their home. Sahts are placed upon the floor of Buddhist temples for the worshippers to kneel and sit on. People place sahts on the ground for sitting on at outside shows as well as outdoors concerts. The body is placed upon a saht inside of the coffin prior to cremation.

Sahts are a multifunctional woven read mat that is typically around 39 inches wide and around 57 inches long. The width of the saht is restricted by the height of the Ly plant at harvest time. The Ly plant is cultivated very much like rice is here in Isaan however it does require more and a more reliable source of water than rice. It is harvested every four months - roughly Mid-March, Early-August, and December.

When the plant is about four feet high, it is cut using sickles that are also used to harvest the rice crop. The light heads are cut off the reeds and the reeds are laid out flat along the side of the street or in people's compacted dirt yards to dry out in the sun. Isaan villagers do not have lawns. Their yards are compacted dirt that they often sweep with long handcrafted brooms to remove leaves that fall from surrounding trees. Roving groups of chickens also assist in maintaining the yards.

During hot and sunny weather like we experience in March and April, the reeds are dry in three to four days. Later when the weather is not so sunny or dry, it takes one to two weeks for the reeds to dry out. After drying out flat, some villagers hang the sheaves of dried reeds over the top of their bamboo fences to protect the reeds from wandering water buffalo, cattle, dogs, as well as chickens. The local children seem to be well trained and avoid damaging or soiling the reeds along the street.

Most people dye the dry reeds before weaving them. I guess it is like any personal endeavor and enterprise, the villagers want to add some personal touch and style to their product. I have seen some plain dull brown sahts but not very many of them. Most of the finished sahts are very colorful. They typically are a mixture of orange, red, yellow, and blue. Just as with the local cotton and silk weavers, the saht weavers have the designs and patterns of their textile memorized. I have watched cotton and silk weavers here in Isaan as well as in Laos, and I am continuously amazed at how they can create such colorful as well as intricate patterns from only their memory. Saht weaving is a great deal easier for me to try to comprehend. The design and patterns are created using single reed of one color whereas in certain silk weaving some of the individual threads are multi-colored. Most sahts have no more than 4 distinct colors. I have seen some silk weaving involving 8 different colors.

Last week during one of our trips out to Tahsang Village we saw two of the village women busy with dying some dry Ly reeds. As so often is the case here in Isaan as well as in neighboring Laos, the Lao Loum people make do with what they have or with what is readily available. They were using a commercial water based dye that requires hot water. To heat the water they had built a small wood fire. In Thailand, as well as the rest of Southeast Asia, people are free to perform outdoor burning. Most people in the villages cook their meals outside over small wood or charcoal fires. The wood fire that the village women had built for dying the reeds was comprised of several logs each about 4 to 6 inches in diameter. As the wood underneath their pot of boiling by the small fire, the women maintain the fire simply by pushing the remainder of the logs to the center of the flames.



For a container to boil the water and dye mixture in and to contain the reeds, the villagers used a large metal container that had been used to store cookies. The container was about 4 to 5 gallons capacity. For stirring the mixture and removing the hot dyed reeds, the villagers used two pieces of readily available local bamboo. One of the women, gathered a sheave of dried Ly reed and twisted it together as she placed it into the pot of boiling dye mixture. She used a bamboo stick to ensure all and every part of the reed bundle was submerged into the red liquid. After about two minutes in the pot, the woman removed the reed sheave, now a shiny brilliant red, from the pot using the two pieces bamboo as a pair of long chopsticks. Carefully using the pieces of bamboo, she carried the steaming mass of stringy red reeds over to the other woman. The second woman was busy untangling the reeds and laying them out in the sun to dry once again. It is important that the reeds not be bent or twisted for weaving. After cooling the reeds will be hung to complete drying out.

Weaving of the Ly reeds into sahts is performed at people's homes and in covered areas at some village Wats. The weaving is a two person operation typically older women. They weave the reed upon a home made loom made from rough lumber and pieces of bamboo. The looms are set up on the ground. Plastic string is strung through a wide piece of wood with a series of holes drilled in it from one end to the other end of the frame. One person takes a colored reed to be woven into the saht. The selected reed is attached to a thin bamboo stick and pushed along the width of the textile between the two layers of the plastic string. The second woman manipulates the wide board to push the new reed up against the previously woven reeds. They talk and gossip all the while that they are working. Neighbors and family members often stop by to socialize with the weavers as they toil.

New Photos Added to Gallery, "Isaan Go-Go Girls"

New photos from this weekend's Mahlam Lao Show in Ban Non Makha have been added to my gallery, "Isaan Go-Go Girls"

http://www.hale-worldphotography.com/People/Isaan-Go-Go-Girls/8185157_q4YxR#534645833_s5QuD

In addition prices for all prints, larger than 4"x6", have been significantly reduced