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Wednesday, December 29, 2010
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Tuesday, November 30, 2010
Monday, November 29, 2010
Chinese music in Thailand
This article published in
MANUSYA: Journal of Humanities. Vol.10 No.2 September 2007,
Bangkok, Thailand. A COMPARATIVE STUDY OF CHINESE MUSICAL ACTIVITIES IN CHINESE AND THAI CULTURAL CONTEXTS Jintana T. Barton*
Abstract
This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. Thai society uses Chinese music in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the Khim is the most popular Chinese musical instrument among Thai people. The Khim has been an integral part of Thai classical music for more than one hundred years. Chinese music has become an important cultural integral of both Thai and Chinese cultures.
Introduction
Music has been and remains, regardless of sporadic and temporary repression, a part of Chinese culture. It is one of the most important legacies of China’s past. Music has been mankind’s vehicle for transporting stories, poems and language forward and has helped define culture since long before written history. It has been a key to define Chinese’s culture in the mainland and in Chinese immigrant societies throughout the world.
The cultural influence of original Chinese music, especially Southern music such as Chaozhou music, has been compared to that of Chinese music as it has developed in Southeast Asia and specifically Thailand. Chinese music is important as an influence in the cultural development of both societies – the cultural influence is perhaps even more important than that of the music itself. Because Chinese music has many activities in Thai culture and society, this research will study the activities of Chinese music in Chinese culture and society, and determine if the effect in the two cultures is the same or different, and what the factors are that change it.
Chinese music in China and Thailand
Music as a part of Chinese culture
In ancient times, the Chinese thought music was a necessary subject that man should study and it is recorded in the Book of Rites[1] (礼记 /Lǐjì/) that: ‘Scholars don’t leave their musical instruments without a reason.’ Music is one part of the literati’s way of life and music has been very important in the life of people in China.
Confucius (circa 551-479 BC), the great Chinese philosopher, was an important influence on the spirit of the Chinese people and made significant contributions to the civilization of the world. He taught the ‘Six Arts’ (六艺/Liù yì/): ritual, music, archery, chariot riding, calligraphy, and computation. It is also clear that he regarded ritual (morality) as the most important subject, and music as the second most important. He emphasized music, and included music in his educational process.[2]
This research focuses on the Chaozhou and Shantou region.[3] The combined region of Chaozhou and Shantou is the original homeland of the majority of Chinese who immigrated to other parts of Southeast Asia and particularly into Thailand. The combined region is generally referred to as ‘Chaozhou.’
Chaozhou has a wealth of cultural heritage that fostered the Chaozhou dialect, Chaozhou opera, Kongfu tea drinking social customs, Chaozhou folk music, and finally, the unique Chaozhou cuisine. Chaozhou people developed the use of the ‘Kongfu tea’ drinking custom as a social and cultural activity that combines the discussion of politics, family, and social topics including music. They also love to play and listen to ‘Chouzhou music’ both during and outside teatime.
Chaozhou people consider Chaozhou opera and music as symbolic of their homeland spirit.[4] Wherever Chaozhou people settle, they take their musical cultural heritage with them. Chaozhou music is a genre of folk music of Guangdong province in the Chaozhou-Shantou region where the Chaozhou dialect is spoken. Following is the footsteps of Chaozhou people, the music has spread to southern Fujian province, Taiwan, Hong Kong, Macao and Southeast Asia.[5]
Chaozhou people enjoy studying their traditional Chaouzhou music. The Chaozhou and Shantou area is often called ‘Chaozhou - the land of music.’[6]
Chinese music as an imported culture in Thailand
Many Chinese migrated into Southeast Asia including what is now Thailand. In the thirteenth century A.D., Chinese traders began setting up societies in Thailand’s early trading towns at and near Sukhothai during the Sukhothai period (1279 - 1438 A.D.). Later, during the Ayuthaya period (1350 - 1767 A.D.) the Chinese were allowed to develop large Chinese communities in the downtown area, while other foreign communities were required to locate outside the town walls. King Tak Sin, a descendant of Thai-Chinese ancestry, established the Thonburi period (1767 - 1782 A.D.).
During the Rattanakosin (Bangkok) period (1782 AD - present), many Chinese immigrants settled in Bangkok, especially in the period of King Rama I (1782-1809 AD). Chinese people received permission from the King to relocate their community to the Yaowaraj area. It is there today and is still called the ‘Chinatown’ of Thailand. The majority of Chinese immigrated to Thailand following the end of the Second World War, (1945), since there were no restrictions on immigration at that time. Today, direct descendants of the Chinese make up over 14 percent of Thailand’s population.[7]
Chinese immigrants brought their own ceremonies and entertainment with them into Thailand and have inserted the music that supported these ceremonies into their new land and new culture. These include Buddhist ritual music, Chinese New Year parades, opening ceremonies (for a new business, new school, new building), funeral rites, plays and operas.
After Sino-Thai diplomatic relations were established in 1975, both Thai and China initiated many art and culture exchanges. Chinese music has become well known in Thailand through culture exchange and mass media performances, so Thailand has recently been exposed to arts and culture from many parts of China, not just the Chaozhou region.
Due to the globalization of world communications, young people in Thailand have seen the Twelve Girls Band on MTV. They have come to like Chinese traditional music rhythms and have adopted them in modern ways including both new instruments and playing methods. For example, some Thai groups are learning to stand up when playing Thai classical instruments instead of being seated as before.[8]
Chinese musical activities in China and Thailand
The activities that occur along with Chinese music include dance, drama, opera, and ceremonial prayer or chant. Chinese music activities can be divided into four general categories as described below.
Music for accompaniment
Music in Lion Dance
The Lion Dance combines art, history, and martial arts into an extraordinary performance. Normally, the performers have some martial arts training, as the dance requires suppleness, flexibility, fitness, strength and balance. Every type of movement has a specific musical rhythm and the music mimics the movements of the lion.
The drumbeat follows the lion and the cymbals and gong players follow the drum. The whole dance requires precision and each member of the team to be in unison. The Lion Dance is an important tradition and folk art in China, usually performed along with the Dragon Dance on auspicious occasions.
The Lion Dance requires the skills of two performers. One, handling the lion’s head, leads the dance and shows the lion’s emotions, and the other one plays the body and the tail. They hide under an elaborate cloth cover attached to the head. The Lion Dance is accompanied by musicians playing a drum, a gong and cymbals, and is guided by a man usually holding a fan who entices the lion.
During the dance in China the lion tries to catch the money or green vegetable that is hung over the building’s entrance. Sometimes, when the money is held very high, as when offered from an upstairs window, performers may stand on one another’s shoulders to catch it. Taking the green vegetable (or money) means ‘getting rich - good business’, and the lion throws an apple to the owner of the store (the apple conveys peace). In Thailand lion dancers try to grab only money from high places, and one does not see them grabbing green vegetables or throwing apples as is done in China.
Chinese musical instruments in the Lion Dance include a big drum, a gong and cymbals. The music for the Lion Dance is easy and simple.
In China dance groups are found all around the country. Local communities, schools, colleges and universities all organize Lion Dance groups.
The Dragon and Lion Dance group at South China Normal University, Guangzhou was observed and studied. This group is a student activity that performs on various occasions and joins the annual Lion and Dragon Dance competition. During Chinese New Year, Lion Dance groups go to perform on the street or in markets and malls. A company sponsors some groups. For example the Budweiser Beer company sponsored a Lion Dance for a Chinese restaurant in Guangzhou. In China the Lion Dance and musician groups walked into the mall and visited every place in the mall (restaurants, pubs, bars, department store), whereas the Lion Dance in Thailand only dances in front of the mall or department store.
The Lion Dance in Thailand is organized by Chinese and Thai community societies. Most of the dancers and musicians are amateurs. For example in Bangkok’s Chinatown, a teacher from the Guangzhao Society helped train Traitmitr Middle School’s Lion Dance. The group learned how to dance and practiced diligently to perform for the Chinese New Year festival in Bangkok’s Chinatown. I found that the Guangzhao Society’s lion dance style and rhythm of the music in Bangkok and Guangzhou the same, especially when the dancer starts to dance. They have a boxer style exercise that they do before they put the lion head on.
Lion dancers and musicians are local Thai students or workers. The Lion Dance also takes part in Thai cultural activities, such as Khao Phansa[9] which marks the beginning of the Buddhist lent when the lion dance is featured in processions for the ceremonial candle (Tian Phansa) that is brought to the temple. It also features in the Songkran Festival[10] and the procession when the bridegroom brings a dowry over to the bride’s parents before the wedding ceremony takes place (Khan Mak[11]).
The Thai Lion Dance ceremony usually has a photo of a Chinese Deity or famous Thai monk on the front of the big drum. Before they perform, dancers show their respects by burning incense and offering liquor. This was not observed in China.
In China, Lion Dance competitions are held in many regions of the country. In Thailand, Lion Dance competitions are also organized, but commercial firms and enterprises usually host these competitions. Local Thais set the rules of the competition. Thailand’s Lion Dance competitions not only have Lion Dances, but they also show people-on-people acts with up to five people on one another’s shoulders without props. This is frightening to watch, as the topmost person is usually a very small child. This activity was not observed in China.
Music in the Dragon Dance
The Dragon Dance is an important folk/traditional performance art in China. It was originally performed to please the dragon, which is the deity of water, to ask for rain during drought years. Gradually it became an entertainment and dance form for festive occasions, usually during the Spring Festival (Chinese New Year) and Lantern Festival (the first full moon after Chinese New Year).
The dragons built for the dance, usually ranging from several meters to more than 100 meters long, are mainly made of bamboo, wood, cloth and paper, and are elaborately painted. There are poles attached to the belly of the dragon. During the performance, performers hold the poles and raise the dragon, starting the grand dance to the beat of roaring drums. Sometimes a man raises a pearl (a large white ball) and entices the dragon to follow his rhythm.
Chinese musical instruments used for the Dragon Dance include drums, a gong and cymbals. The musical accompaniment for lion dancing is easy and simple. A Dragon Dance requires a large number of dancers, so sometimes a leader blows a whistle to maintain rhythm.
In China, Dragon Dance groups are found around the country, similar to the Lion Dance groups. Local communities, schools, colleges and universities organize Dragon Dance groups in China, whereas Chinese societies, Chinese shrines and a Chinese foundation organize the Dragon Dance in Thailand.
In China dragon dancers perform for various occasions, especially Chinese festivals (Spring Festival and Lantern Festival), opening ceremonies of sports competitions, and grand opening ceremonies for a building or a department store. In Thailand the Dragon Dance is often performed in the Chinese Spring Festival cerebrating a Chinese shrine or birthday of a Chinese deity. Because of its auspicious implications, the Dragon Dance also serves in Thai cultural activities, such as ceremonies in the royal palace. In May 2005, a dragon dance group was part of a special procession organized to celebrate the joyous occasion of the birth of the son of Crown Prince Maha Vajiralongkorn.[12]
The Dragon Dance group of South China Normal University in Guangzhou consists of ten dancers (nine dancers hold the dragon’s body and one leader holds the pearl). A group of ten dancers is the standard size for competitions in China.
There are male and female Dragon Dance groups in China. In some cases Dragon Dance groups comprising elderly women, were found in many regions of China, but such groups have not been formed in Thailand.
In China, Dragon Dance competitions are held in many regions of the country. The China Dragon and Lion Dance Association organizes these competitions. Such competitions are not held in Thailand.
Thai Dragon Dance groups in Nakhon Sawan add Naga or Praya Naga[13] into the group. There are often two high-poles and the dragon and the Naga intertwine and dance on these poles. The Dragon and Naga dancing together in Chinese festivals is an example of the intermingling of Thai and Chinese cultures.
As a sign of purification, the dancers and musicians of the God and Goddess Golden Dragon Dance Group from Pak Nampho in Nakhon Sawan province must abstain from eating the meat of cows, buffaloes, tortoises, frogs and eels, during the period of practice until the performance. This practice was not observed in China.
Music in Yingge Dance
The ‘Yingge dance’ (英歌舞 /yīnggē wǔ/) is popular in the Chaozhou, Shantou region and in the two cities of Puning and Chaoyang of Guangdong Province.
Performers of “Yingge” hold two sticks. The performers’ faces are made up to mimic heroic characters of the famous tale Outlaws of the Marsh[14](水浒传 /Shuǐhǔ zhuàn/).
The most important Chinese musical instrument used in the Yingge dance is the drum, sometimes joined by a gong and cymbals. In China, Yingge dancers perform for various occasions, especially Chinese festivals (Spring Festival and Lantern Festival) and grand opening ceremonies (International, national, state level, e.g. arts fair, sports competitions), but in Thailand, the Yingge dance is performed as a Chinese cultural activity, e.g. Chinese festival and Chinese shrine ceremonies.
In the Chumsang Yingge group in Taklee, Nakhon Sawan, the dancers are mostly young Thai men. They dance in the procession of Chinese deities, and after they dance all morning, they change the rhythm of the music to a modern song for dancing like the melody of a disco dance. By then, they are dancing happily, and are often a little tipsy.
Music in Chaozhou Opera
The Chinese musical instruments used in Chaozhou opera are generally divided into two parts, one side is the string ensemble group (弦诗乐/Xiánshī yuè/) and the other side is the percussion group or drum and gong group (锣鼓队/Luógǔ duì/).[15]
In China, on the street at the Shantou seashore about 6-8 Chaozhou opera and music groups can be seen every morning. Each group has more than one hundred members. The groups not only sing Chaozhou opera to the accompaniment of live Chaozhou music, but also play cards and mahjong, and drink Kongfu tea while enjoying conversation and exchanging local gossip. Most members are retired people; however, some are actors, musicians and workers who come to join the group and learn how to sing Chaozhou opera. They come to join the group every morning and the activity lasts from 8 AM until noon everyday. They have to move the musical instruments after each exercise. They have a donation box to help defray expenses.
Chaozhou opera in Thailand is sung in both the Chaozhou dialect and Thai language, but mostly Chaozhou, especially when Thai people hold Chaozhou opera performances for charity. They sing more and more in the Thai language, because it is easier for amateurs to learn the lines in a shorter time, and sometimes there are attempts to use Thai musical instruments in the Chinese music group during charity performances.
Chaozhou opera sung in a foreign language in China has not been found. Musical instruments in Thailand and China are similar; however, they use the cello, a western stringed instrument, in the Chinese music group, but no other foreign instruments.
In Bangkok, most of the members of Chaozhou opera are late middle aged. Many of them are of Thai-Chinese descent, and some are Chinese from Shantou. They all speak Chaozhou dialect and come to sing Chaozhou opera specifically. Many of the members are well-to-do well-dressed businesspeople. Besides singing Chaozhou opera and playing Chaozhou music, they may enjoy a beer or drink Chinese tea and spend time socializing.
Music for Entertainment
Chinese music in teahouses and restaurants
In China, Chinese folk music is usually played in teahouses or Chinese restaurants in five - star hotels. Solo Guzheng and string ensembles (2-3 women playing Chinese erhu, pipa or yangqin) were often observed in Guangzhou and Shantou.
In Bangkok, solo guzheng and solo yangqin are common in Chinese restaurants. In Bangkok’s Galaxy restaurant Chinese musical instruments are used in the band, e.g. erhu, guzheng, flute and yangqin. Chinese musical instruments played by Thai musicians often present Thai popular songs, Chinese, Japanese, and also popular Western songs according to the nationality of the guests (June 25, 2004).
Amateur musical groups as a hobby
There are many musical groups in Shantou City. Many of the members are people who retired from various careers including musicians, artists, politicians, doctors and government officials. In Chaozhou, each small village has a Luogudui (gong and drum ensemble). The musicians are students, farmers or workers in the village. They practice after dinner, and play in the Spring Festival. They usually join the parade or procession of Chinese deities.
In Bangkok, Ji Tai Kor’s string ensemble has an activity on weekends and members are mostly middle-aged people of Chinese descent. In Chon Buri’s San De Shantang’s Chinese music group, the musicians are local students (8-17 years old). Some are descendants of Chinese immigrants, but most are Thai workers or children of farmers. The music class is sponsored by the San De foundation. The foundation has a van to pick up the students and drive them back home after class. The songs that they learned were Chaozhou folk songs, and some Thai songs, such as the National Anthem, Sadudi Maha Raja or a salute to The King and Queen of Thailand, and the Royal Anthem.
Chinese music in commercial enterprises
Chinese folk music concerts are usually recorded for commercial reproduction. It is a thriving business since Guangdong province has many joint venture companies and industrial factories. There are many varieties of Chinese folk music records in Chinese markets - for example: ‘Enjoy Chinese Classical Music,’ ‘Guangdong Music,’ ‘Chaozhou Music,’ ‘Folk Music,’ and ‘Nationally Acclaimed Music Masters.’
In Thailand, there are some cassette-tapes and CD’s of Chinese folk music, e.g. khim (butterfly-shaped dulcimer) played by Silaphii Tramond, a Thai classical musician and music teacher. Guzheng and erhu played by Li Yang and Li Hui, a well-known Chinese musician, can be found in the Thai market. They perform both Thai popular and classic songs in the recordings. Guzheng and erhu or Thai fiddle (Soo Duong) played by Thai musicians, performing Thai classical songs and mixed with Thai percussion (drum and ching or Thai cymbals), also can be found in the market.
Music for ritual or merit
Music in the Kong-tek Ceremony
Kong-tek (‘功德’/gōngdé/ in Mandarin) is a Chinese funeral ceremony originally held in Southern China, especially in the Shantou, Chaozhou region. Chinese musical instruments used in the Kong-tek ceremony are similar to those used in Chaozhou opera and can be divided into two parts. One side is a string ensemble, and the other side is a percussion ensemble.
During the Chinese Cultural Revolution (1966-1976), the government endeavored to eliminate all cultural practices, ceremonies and traditional rites deemed to promote superstitions. Emphasis was placed on Socialist ideology in accordance with the teachings of Mao Tse Tung. At present, however, places like Shantou and Chaozhou have recovered much of their culture including the resurrection of this ceremony. The revival can be seen as an attempt on the part of today’s people to preserve the rich cultural heritage that China is renowned for.
Wu Qicheng, a Chinese musician who played the big drum in the ‘Chengde Moral Pavilion’ in Huatuo village, Shantou, explained that “The Kong-tek ceremony music ensemble has many sizes involving anywhere from three to fifteen people. The Kong-tek ceremony is held seven days after the death” (February 22, 2005). The ceremony observed for this research was held at the Jinsha Funeral Hall and Chengde Moral Pavilion.
A Kong-tek ceremony conducted by Sambaogeng, a well-known Kong-tek group in Thailand, was observed in October 2004. The group had 16 men, including professional musicians and laymen.[16] This Kong-tek group has been invited to tour Thailand and internationally. They were dressed and decorated for the Kong-tek ceremony in very beautiful and colorful costumes. Colorful dress for the Kong-tek ceremony was not observed in China.
In Thailand, some Kong-tek groups have adopted Chinese popular melodies for chanting in the ceremony instead Chinese traditional melodies.[17] This was not observed in China.
Shen Mu-sheng, a Thai national, and ethnic Chinese musician, said,: “I have performed the Kong-tek ceremony for 30 years. I have tried to shorten the duration of the ceremony, and also to make it appear more solemn” (August 25, 2004). This indicates an evolution in Thai culture not observed in China.
Xu You, a Chinese musician in Puning, visited Thailand in 1993, and during his visit he joined a Kong-tek ceremony group in Chon Buri. He said: “I played music in a Kong-tek ceremony once while I visited Thailand - I found the ceremony to be shorter, and the music simple. I was able to play with them without any rehearsals” (March 21, 2005).
The Thai musicians and laymen in Kong-tek groups are professional, but they do this as a sideline career. Most of them have their own business or small store, and the Kong-tek ceremony is usually conducted at nighttime, so it is easy to manage their time. However, in Shantou, Kong-tek musicians make it their only career. The Chinese Kong-tek is normally performed in the Moral Pavilion or local Funeral Hall, so all of the musicians work for the Moral Pavilion.
In Thailand the Kong-tek is held in both Thai and Chinese circles, either at a Chinese temple or a Thai Buddhist temple, and is attended by both Chinese descendants and Thai people. Today live Chinese music is performed in Kong-tek ceremonies only, because Chinese opera is not often performed on stage in the present time.[18]
There is a Kong-tek ceremony in a Thai temple around Bangkok almost every night and the musicians who play for the Kong-tek seldom have the opportunity to perform Chaozhou opera, which they prefer. It is unfortunate that the number of skilled musicians is very limited in Bangkok.
Often the royal Thai family includes a Kong-tek ceremony as part of their funeral services. This included the funeral of the Princess Mother of King Rama IX, and most recently, Khun Poom Jenssen, a grandson of Thailand’s present King who was killed in the tsunami that hit Phuket in December 2004. At his funeral there was a Kong-tek funeral ceremony sponsored by the Chinese Businessmen’s Society. The Royal Kong-tek ceremony comprised a large number of musicians and laymen.
Buddhist ritual music
The larger ceremonies that take place in a Chinese temple usually have musical accompaniment when the monks pray or chant. In both Thailand and China, the groups that play in these temples have been hired or they may be local groups in the area who have been invited to perform as the temples do not have resident bands or groups.
Chinese musical instruments in Buddhist ritual music comprise the drum, gong, cymbals and the yangqin (Chinese dulcimer) or suona (Chinese wind instrument). Sometimes the erhu is added. Music ensembles can be large or small.
Chen Tianguo and Su Miaozheng, two Chinese scholars, have collected and recorded Buddhism chants, and arranged them into music notes. They taught Chinese monks and Buddhist chant groups how to sing in consistent tones and rhythms. They did this job to organize a systematic chant class in the Kaiyuan Temple in Chaozhou. This class was observed in November 2004. No such classes are found in Thailand.
In October 2004, a performance of Buddhist music was organized by the Guangdong Buddhism Association, and performed by the Guangdong Buddhism music group. The group performed various forms of Buddhist chants from Mahayana, Hinayana and Tibetan Buddhism. The show presented Buddhist music, chants and dances. The performers were Chinese monks. This concert presented many kinds of Buddhist chants from China. This Buddhist music group toured China. This kind of concert is not observed in Thailand, but would be well received.
Music for learning
Music has been a popular form of cultural expression since at least the time of Confucius and many Chinese parents send their children to music classes. In Guangzhou, many parents want their child to learn to play western music, especially the piano. It is usually only when they cannot afford the cost of instruments or study fees that they turn to Chinese classic or folk music.
In Shantou, it is the guzheng, which is the most popular Chinese folk music instrument that Chinese girls love to play. A guzheng class home school at Jin Xin Dasha, Shantou was observed in December 2004. There was a large class (8 students) and a second class for a single student. Huang Guanying, the guzheng teacher, said: “The little girls love to study guzheng, because its sound is very beautiful, and it is easy to learn. A guzheng instrument is not too expensive. I teach both in Chaozhou dialect and Mandarin. The parents like to understand what I teach their child, so they can be a tutor at home in the familiar language” (December 12, 2004).
In Bangkok, guzheng is also the most popular Chinese musical instrument. The Oriental Chinese Academy in Bangkok has 120 students in its guzheng class. Guo Yunxiang, a Chinese music teacher from Shantou, has taught Chinese music in Bangkok for almost 20 years. His class is a large class, but he also teaches one-on-one in a large room so that others can observe.
A Chinese music class in Bangkok was observed in a Chinese language school located in one of the big department stores. This music class is a private class where Thai people like to learn to play as a hobby. A study fee is charged. There are many Chinese music classes organized by Chinese foundations that are free of charge. Some classes only teach and prepare the music group to perform for festivals, and some classes are held to teach poor children how to spend their free time and educate them about arts and culture. In some classes in Nakhon Sawan the student is given a little money to take home after class, so there are many poor children who join this kind of class.
Chinese musical instruments in Thai culture and society
The Chinese musical instrument that is most popular in Thai culture is the khim (butterfly-shaped dulcimer). The khim is a borrowed word from the Chinese Fujian dialect meaning music or musical instrument that is equivalent to ‘琴’ /qín/ in Mandarin. Immigrants brought the khim to Thailand from China. It was played in Chinese opera, and became very famous and popular in Chinatown in the Bangkok period. Thai classical musicians have adopted the khim to play in Thai classical music ensembles for most of the past 100 years. Thai composers have composed many Thai songs using the khim as a solo instrument.
Incidentally, the khim (butterfly-shaped dulcimer) was not seen in China, but is still played and made in Thailand, and Thai children love to learn khim, because it is easy to learn. The price is also not too expensive.
The khim has been developed and integrated into Thai culture over the past hundred years. They are made in many shapes and sizes and the painting on the khim box is a Thai style painting. Today Japanese cartoon pictures are stuck on khim boxes and the box is very colorful and exciting for children. Many schools in Bangkok offer khim classes. Khim teachers are Thai, and they learn to play Thai classical songs, not Chinese songs.
Thai musicians acquired the ‘khim’ in order to play along with Thai-Chinese music many decades ago and later the ‘khim’ has merged into Thai culture and ceremonies. It is interesting to note that ‘khim and zheng are both Chinese words for the name of a Chinese musical instrument and appear in the Thai dictionary today. Many Thai classical songs are named ‘Chin’ and are often observed in Thai classical music. Thai musicians enjoyed Chaozhou opera songs and the Chinese style rhythm that they incorporated into their own compositions. They composed these Thai songs having a Chinese style rhythm and named them ‘chin,’ which means ‘Chinese.’ Recently Thai musicians are trying to use pipa, erhu, dizi and muyu (wooden fish) in their music, but continue to play while sitting on the floor, which is Thai style rather than standing which is the new Chinese style.
Conclusion
The research found that some Chinese music activities have become ingrained in Thai society and has taken a prominent part in Thai cultural activities: e.g. the Lion Dance presented in the Khao Phansa, Songkran Festival, and the processions of Khan Mak. Some Dragon Dance groups add Praya Naga into the compositions. The Dragon and Naga dancing together is a sign of the combination of Thai and Chinese cultures.
Chaozhou opera in Thailand is sung in both the Chaozhou dialect and Thai language, but Chaozhou opera sung in a foreign language has not been found in the Chaozhou-Shantou region. The Kong-tek ceremony is held in both Thai and Chinese circles, either at a Chinese temple or a Thai Buddhist temple, and also serves in the royal Thai family’s funeral ceremonies. We also found that the khim, the most popular Chinese musical instrument among Thai people, has merged into Thai culture.
The migration of Chinese culture into Thailand has followed the immigrants who brought their music and family customs. However, the evolution of cultural trends is different between the immigrant societies and Mainland China.
For example:
- In China Chinese students are motivated to study music both as a career and as a hobby. Chinese scholars also research Chinese folk music instruments with the aim of developing new and modified musical instruments and instrumentation. Musicians are developing new techniques in their performances and often find a new style to present in their concerts.
- Whereas in Thailand people study Chinese music primarily for recreation or as a hobby. There are a few professionals, but there is not enough of a market to support many. Thailand uses the talent available for ceremonial and social events. The style of Chinese music in Thailand is a more conservative style, and the Thai-Chinese musicians do not experiment much due to the lack of competition and public motivation. Most of their motivation comes from their community, family, temple or just love of the music.
In many instances local Thai customs have influenced the original Chinese interpretation of music in religious ceremonies and processions honoring deities and expressions of local legends.
Finally, it was observed that the cultural influence of Chinese music on Thai culture is in proportion with the fourteen percent of the Thai population having Chinese origins and honors those traditions. However, the Thai way of absorbing the best of immigrating cultures while retaining a uniquely Thai application of the cultural impact of Chinese musical heritage remains consistent with historical trends in Thailand.
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Hanchu, Chen. 2005. Chaosu Congtan
[Talk about Traditional in Chaozhou] Shantou: Shantou Daxue chubanshe.
Huang, Teng. 2002. Chaoshan Wenhua
Yuanliu 2002. [The Resource of Chaozhou and Shantou’s Culture]. Guangzhou: Guangdong Gaodeng Jiaoyu Chubanshe.
Liewen, Fang. 2000. Chaoshan Minsu
daguan [Intriduction to Chaoshan Folklore]. Shantou: Shantou Daxue Chubanshe.
Lin Lunlun, Wu Qinsheng. 2001.
Chaoshan Wenhua Daguan [Research of Chaozhou and
Shantou Culture]. Guangzhou: Huacheng Chubanshe.
Markman, Veekiat. 1996. The Reflection
of Music culture from “Chowzhow
Chinese Opera”: A Case study of
“Lhao Buang Nee Choong Pung”
Group. Master of Arts, (Culture
study). Mahidol University. Nakorn Pathom, Thailand.
Miaozheng, Chen Tianguo Su. 1998.
Chaozhou Yinyue Yanjiu [Chaozhou Music Research] . Guangzhou: Huacheng Chubanshe.
. Chaozhou Yinyue. 2004.
[Chaozhou Music] Guangzhou: Guangdong Renmin
Shubanshe.
Sukhumvat, Songphon. 2002. A Chao
Zhou Music: Case Study of klong Toey Liang Lag
Heng Ensemble. Master of Arts, (Music). Mahidol University. Nakorn Pathom,
Thailand.
Wang Yao-Hua, Du Ya-xiong. 2004.
Zhongguo Chuantong Yinyue
Gailun [A Brief History of Chinese Traditional Music], p 286. Chuanzhou: Fujian Jiaoyu Chubanshe.
Weishen, Wang. 2004. Chaoshan Suyu
Wenhua Qutan [Talk about Culture and Idiom in
Chaozhou and Shantou Region], Shantou: Shantou Daxue Chubanshe.
Zai-sheng, Liu. 2004. Zhongguo Gudai
Yinyue Shi jianshu [Brief in Historical of Ancient
Chinese Folk music] Beijing: Renmin Chubanshe.
Zhongguo Lishi Wenhua Mingcheng:
Chaozhou. 2002. [Chinese Cities of Historical and Culture Fame: Chaozhou ] Suzhou: Guwuxuan chubanshe.
http://chaoju.shantou.gov.cn/ (May 12,
2006)
http://en.wikipedia.org/wiki/Thai_Chinese
(July 12, 2007)
http://www.chaoju.com/ (July 2, 2005)
http://www.csfqw.com/music/default.html
(July 10, 2006)
066_1.html (June 8, 2005)
http://www.thaikids.com (April 20, 2007)
____________________________
*Assistant Professor, Department of Eastern Languages, Faculty of Arts, Chulalongkorn University.
[1] Book of Rites - the records of ritual of the Zhou Dynasty.
[2] Liu Zai-sheng. (2004) Zhongguo Gudai Yinyue Shi jianshu. [A Brief History of Ancient Chinese Folk music] Beijing: Renmin Chubanshe, p. 79.
[3] This area, located in the northeastern part of Guangdong province, is where most of the Chinese immigrants in Thailand originally came from.
[4] Lin Lunlun, Wu Qinsheng. (2001) Chaoshan wenhua daguan [Chaozhou and Shantou culture]. Guangzhou: Huacheng chubanshe, p 270.
[5] Wang Yao-Hua, Du Ya-xiong. (2004) Zhongguo Chuantong Yinyue Gailun [A Brief History of Chinese Traditional Music] Chuanzhou: Fujian Jiaoyu chubanshe, p 286.
[6] Chen Tianguo Su Miaozheng. (2004) Chaozhou yinyue [Chaozhou music] Guangzhou: Guangdong Renmin shubanshe, p.15
[7]http://en.wikipedia.org/wiki/Thai_Chinese (July 12, 2007)
[8] Thai classical music is traditionally played by musicians who are seated on the floor or a chair.
[9] Khao Phansa, or the beginning of the Buddhist Lent, is the time when all Buddhist monks are required to remain in their temples. People usually make merit by offering a large candle to the temple.
[10] The traditional Thai New Year which falls in April.
[11] A part of the Thai wedding ceremony.
[12] A new Prince was born to Crown Prince Maha Vajiralongkorn in April, 2005.
[13] Naga is the snake-like God of Rivers
[14] One of the Chinese classical novels, written in late Yuan-early Ming Dynasty by Shi Nai-an
[15] Veekiat Markman. (1996) The Reflection of Music culture from “Chowzhow Chinese Opera”: A Case study of “Lhao Buang Nee Choong Pung” Group. Master of Arts, (Culture study). Mahidol University. Nakorn Pathom, Thailand. p.30
[16] Laymen are the group of men who chant and perform during the Kong-tek ceremony.
[17] Songphon Sukhumvat. 2002 A Chao Zhou Music: Case Study of klong Toey Liang Lag
Heng Ensemble. Master of Arts. (Music). Mahidol University. Nakorn Pathom. Thailand, p.6
[18] Songphon Sukhumvat. (2002), p.5
Thursday, November 25, 2010
Wednesday, November 24, 2010
THE KHIM IN THAI CULTURE
This article published in
Journal of Liberal Arts.Thammasart University,
Vol. 8 N0.1 January-June 2008,
Bangkok, Thailand
THE KHIM IN THAI CULTURE:
ADOPTION AND ADAPTATION*
Jintana T. Barton**
1. Introduction
The Khim was introduced to Thailand from China, and has been adapted somewhat to accommodate local musical a styles. It is known in Cambodia by the same name[1]. It is a musical instrument originating from Persia, and was brought to Asia over the famous trade route known as the Silk Road (which was both over land and water). The same instrument is known in Europe as a “Hammered Dulcimer/ Cimbalom”, in India as a “Santur”, and in China as a “Yang Chin”[2]
The Thai adopted the Khim from China. Over the past 100 years, the Khim has been adapted, improved and developed several times by Thai musicians. It has become a Thai classical music instrument, which has developed a uniquely Thai character and expresses a strong sense of being Thai in its sound.
“Khim” is a borrowed word from the Chinese Fujian dialect or 琴 /qín/ in Mandarin. “琴 /qín/” means 1) zither with 7 strings, or 2) general name for stringed instrument.
The Khim was actually called a Yangqin, in the original Chinese which used a Chinese character “洋 /yáng/ ” meaning “stringed instrument (dulcimer) that came from abroad by sea”. Originally “Yangqin” came from abroad by the sea (over the water portion of the “Silk Road”), but now the Chinese use the character “扬 /yáng/” instead.
In the spoken language of Chinese 琴 /qín/ can be the abbreviated form for 洋琴/yángqín/, but the 琴/qín/ has two meanings. It can also mean “zither with 7 strings”. Thai people misunderstood about the Khim and Yangqin used in the masterpiece of Chinese Classical novels the tale of “The Three Kingdoms”. In that novel Zhu Geliang (Kong Ming) played the Qin to fool Sima Yi. Thai people thought Zhu Geliang had played the Yangqin but the Qin is a stringed instrument, played by picking, while the Yangqin is a stringed instrument played by striking.
2. Adoption of the Khim in Thai society
As we know the Khim was brought to Thailand from China, and the Chinese originally adopted it from Persia. Exactly when the Khim came to Thailand is a topic on which Thai scholars differ.
Montrii Tramod (2522:71): “Khim came to Thailand at about the King Rama 4th period (1851-1868 AD). It was brought by Chinese merchants, and later, around King Rama 6th period (1910-1925 AD), Thai musicians adopted the Khim into Thai Classical music groups, and it was named ‘String ensemble with Khim’.”
Chanok Sagarik (2548:687): “The butterfly Harp traveled through China and into Thailand during the early Rattanakosin period.”
Nopadon Thippayarat (2544:52): “Khim came to Thailand at least around the late Ayutthya period.”
I agree with Nopadon. I believe that the Khim came to Thailand around the late Ayutthya period, as it came along with Chinese music as part of Chinese opera troops. Chinese opera was very popular in the Ayutthya period[3], and Chinese immigrants during the Ayutthya period came from the Fujian province and their dialect was Chinese Fujian. Since “Khim” is a borrowed word from the Chinese Fujian dialect meaning music or musical instrument it seems logical that the Khim was brought to Thailand along with the Opera Troops.
In the late Ayutthya period Thai classical musicians loved to compose Thai songs with a foreign accent. For example, many include accents of Laos, Cambodia, and Chinese (Chin). We find that the Thai song named “Chin Khim” is an old song dating from the Ayutthaya period[4].
The Khim become popular in Thai society around the mid Rattanakosin (Bangkok) period (King Rama 5-7). Thai people started to play Thai songs using the Khim and changed the way they performed musical compositions and developed a tuning method that is a uniquely Thai style[5].
In the King Vatchiravud (King Rama 6th 1910-1925A.D.) reign, Thai musicians adopted Khim into a Thai Classical music ensemble named “String ensemble with Khim” [6].
Phunphid Ammadtayakul (2524:198) said; “In 1924 when King Rama 6th was sick, the Department of Music arranged an ensemble with Khim to perform in the room next door to the king’s bedroom in the Phyathai palace (now Phra Mongkut hospital). They used a piece of suede placed on the Khim strings when they played to make the sound soft and not too loud. Since then the Khim has become popular in Thai society”.
3. Adaptation of the Khim
Thai musicians and composers have created a uniquely Thai style of Khim music that has become popular in Thailand and surrounding countries. It has become a global phenomenon by following Thai immigrants and has become an expression of Thai culture wherever Thai shows and performances are conducted.
3.1. Materials that make up the unique sound of the Khim
There have three kinds of materials that make the sound of the Khim.
3.1. 1. Stringed-Khim
In ancient times, Khim’s strings were made from brass, but the brass was ductile and easy to break and not pliable, so the tone was not constant, and needed to be tuned often. The brass strings produce a duller sound than the new stainless steel strings later introduced by the Thai musician and instrument craftsman. The stainless steel strings produce a bright and soft tone, are not easy to break and have a constant tone.
Stringed-Khim’s sticks (hammers) originally made from bamboo look like the Chinese Yangqin’s sticks. When struck on the brass strings, the sound is too loud and strong, so the Thai musician uses a small piece of leather or rubber to cover the end of the hammer-tips - then when it strikes the strings, the sound is more soft and beautiful.
3.1.2. Metal Plated Khim
The sound of this kind of Khim is made from metal plates, such as iron, aluminum or brass. The form of the tones are similar to a stringed-Khim when struck on the plates, but the sticks are different. The sticks are made from bamboo or rattan and the tips are covered by small round-shaped rubber. It looks much like a xylophone. The metal plated Khim is not popular because it is very heavy, and is not convenient to carry.
3.1.3. Tube Khim
The Tube Khim is made from several pieces of aluminum tube, played by striking on the aluminum tube; the sticks are the same as the stringed Khim’s sticks. It has a beautiful sound like the mobile or wind chime, and it is very light and easy to carry. Chanok Sagarik invented the Tube Khim. He was inspired by the wind chime and experimented with it for a long time before he finally presented Thailand with a new style of Khim.
Chanok Sagarik (2005:687): “Due to the tropical climate and temperature of Thailand, the strings needed to be retuned rather often. Now, this new invention – Khim Lot- (Tube Khim) – retains the sound of the original without the need for constant re-tuning.”
3.2. Shape of Sound box
There are three shapes of the Khim’s sound box.
3.2.1. Butterfly shape
The butterfly-shaped Khim is the original shape that came from China, and this shape is still popular. It is a basic shape that Thai people love to make, and this kind of sound box is a standard Khim in music competition. Khim in butterfly shape is a small size and has two bridges with 7 notes and 42 strings
3.2.2. Irregular rectangle shape (Trapezoid)
An irregular rectangle-shaped Khim is a bigger size and has two bridges with 9, 11, 15 notes. Sometimes it is made into a compact cased Khim, or portable Khim, and it is convenient to carry anywhere.
3.2.3. Oval shape (Fancy Khim)
Oval-shaped Khim or fancy Khim is a new design. It came to the Thai market in 1993 and this shape is very attractive for children as it looks like a toy for them. The fancy Khim’s boxes are often painted with deep or bright colors, such as bright pink or bright blue. On the box they often stick a cartoon and change the stickers as often as they please or when a new character appears in the cartoon world (for example Japanese cartoons that are popular for the day or the character which children love, such as Kitty, dogs, fish, tanks and soldiers). The oval-shape Khim is a small size that has two bridges with 7 notes and 42 strings, so it is suitable for a small child. Sakdecha Suwanpingkan said: “some children who are only 4-5 years old had to have this instrument after seeing one so they could begin to play. Normally we begin teaching children at the age of seven”[7].
3.3. The Bridge (Fret) of Thai Khim
Thai Khim has two bridges and many notes on the bridge.
3.3.1. Two bridges with 7 notes (7 frets hammered dulcimer) and 42 strings
3.3.1. Two bridges with 7 notes (7 frets hammered dulcimer) and 42 strings
The 42-string Khim is a standard size that is popular among the primary students for beginning lessons in Thai classical music. It is easy to buy and the price is reasonable.
3.3.2. Two bridges with 9 notes (9 frets hammered dulcimer) and 54 strings
The 54-string Khim is very popular among Khim musicians, because it has more sound selection. This kind of Khim does not have the Khim’s sound hole (loudspeaker hole), but two long holes under the face of the Khim.[8]
3.3.3. Two bridges with 11 notes (11 frets hammered dulcimer) and 66 strings
The 66-string Khim is a large instrument and a very heavy one. The musician who plays this kind of Khim should be a very good musician who has a high degree of performing skill. Since this Khim has so many strings, it can be tuned to the level of international scale.[9]
Thai craftsmen have made the giant Khim, with two bridges with 15 or 20 notes, but the giant Khim is not popular with the average player. It is made for special musicians and is used only for special occasions.
Today there is the Khim Chromatic[10] (ขิมโครมาติก); it has many strings through the hole under the bridge. It also called Khim lod chong (ขิมสายลอดช่อง; the strings pass through the hole under the bridges). Khim Chromatic has four sizes; a) Two bridges with 12 notes and 42 strings, b) Two bridges with 14 notes and 84 strings, c) Two bridges with 16 notes and 96 strings, d) Two bridges with 18 notes and 108 strings. The Khim Chromatic can be tuned to international scale and can play western music easily.
The Thai Khim has only two bridges; thus it is different from those in China and many other countries who have adopted more than two bridges, and the bridge can move for re-tuning. Sometimes the bridges are slid during play to change scale during the performance.
3. 4. The design art of Khim’s sound box
The original design art or painting on the Khim from China was eight Chinese immortals Khim ( 八仙琴 /bā xiān qín/ ขิมโป๊ยเซียน).
When Thai craftsmen started to make the Thai Khim themselves in Thailand, they painted Thai-style arts on the sound box, such as Theppanom (เทพพนม), Music Celestial (คนธรรพ์).
Today the Khim is not only a musical instrument, but requires a highly defined craft. It can represent Thai fine arts. Since Thai people love the Khim so much, craftsmen design the Khim’s sound box in many styles. For example the use of mother of pearl inlay is a method of covering the sound box; sometime they add a photo, and the name and surname of the owner on sound box.
The instrument craftsmen often design the Khim’s sound box with lacquer and gold and a painted image of “Ganesh” (God of Art, God of Victory) on the box.
Thai craftsmen also design the Khim’s sound hole (loudspeaker hole) in many styles, such as the name and surname of the owner, a character from Ramayana, or a Thai lady.
3. 5. Tuning system
The original Khim’s tuning system was a Chinese tuning style, but later Thai musicians adapted by changing the string and tuning sound to Thai style, the sound of “Peang - oh (เพียงออ/ Thai flute tune)”; but now the Khim has so many strings, it can be tuned to the level of international scale, especially Khim Chromatic or big size Khim with two bridges with 11,14,16,18 notes. This kind of tuning can provide western music, so the Khim can play eastern or western music.
3. 6. The way to perform the Khim in Thailand
In Thailand it is traditional for the player to sit on the floor. Even though the Thai adopted Khim from China, they prefer to play in a uniquely Thai style. Today the Khim musicians in Thai classics still sit on the floor to play the instrument, but the Khim musicians in modern bands have changed to sit on a chair or even, in some modern music bands, prefer to stand.
4. The Role of Khim in Thai culture
Thai Classical musicians adopted the Khim to play in Thai Classical music ensembles for most of the past 100 years. It has had an important role over the past hundred years in Thailand.
4.1. Khim in Thai language
Khim is a borrowed word from the Chinese Fujian dialect. Khim is defined by the Royal Institute’s Thai Dictionary version as “a Chinese music instrument - its shape looks like a half moon – it is played by striking on its strings”.[11]
Khim is a popular nickname used by the Thai people. By looking for the word “Khim” in a Google website, we found that Khim was used as a nickname on the web abroad, and also found that Khim was used as a compound word defining a women’s name, such as: Khim-on(ขิมอร), Khim-khae(ขิมแข), Khim-mai (ขิมไหม). Khim is also used as a compound word for family names, such as: Khim-thong(ขิมทอง), Khim-sii-thong(ขิมสีทอง), Suk-khim(สุขขิม), Pead-khim(แพทย์ขิม).
Khim has appeared in Thai melodies such as; “Chin Khim-yai”(จีนขิมใหญ่) (meaning Chinese big dulcimer), it was used in a popular Thai classical song from the Ayutthya period, and “Chin Khim-lek”(จีนขิมเล็ก) (Chinese little dulcimer), was composed by Phra Praditpirho in the reign of King Rama Ⅳ.
4.2. Khim in Thai literature
Khim also was placed in Thommayantee’s famous Thai novel “Kuukarm”(คู่กรรม). The story was about the romance and tragedy of a young Thai lady and Japanese gentleman during the 2nd World War, set in Thailand. From this point on it can be said that the Khim also became a part of the way of life of Thai people.
This novel became a movie and television series and every time it was shown, it made Thai people crazy for the music of the Khim. Many left the theatre determined to learn how to play the Khim, especially the girls, and we called the craze “Khim fever”. The Khim has become the best seller of all Thai classical musical instruments.
4.3. Khim in Thai classical music
Since the time that the Khim was adopted from China, it has become a popular Thai classical music instrument. In 1924 Master Montrii Tramod, a Thai musician and composer, adopted Khim into the Thai classical music world. The resulting combination was called a “String ensemble with Khim”. The Khim has remained a principle Thai classical musical instrument even since, and Thai musicians have arranged many songs for Khim such as Lao pan, Phya Sok, Nok Khamin and Khaek mon.
4.4. Khim in Thai modern music
At first the Khim was adopted in to Thai classical music, but now is played in Thai modern music including folk music, popular music and green music (music for relaxing, healing, soothing, and meditation).
Thai people love Khim, so Thai musicians mix the Khim in many music styles because of the beautiful sound: soft and gentle. It can make listeners have a peaceful mind, and feel relaxed. The Khim is also part of Thai modern music, such as the album The Spell of Whispering, where the Khim is the leader of the band; it showed a Thai style and the melody is very beautiful and relaxing. The songs in this album were composed by Chamras Saewataporn and it is very popular abroad.
4.5. Khim in the Thai Community Product Standard project
The Khim as a butterfly shaped dulcimer is listed in the project of The Standards for Community Products[12]. Therefore the standard of a good Khim is well known among music composers and instrument craftsmen in Thailand. This project is a responsibility of the Ministry of Industry with the aim of upgrading the quality of community products to a national and international level. These standards are designed to help each community generate more income by using local intelligence to turn the local resources into value-added products that are uniquely Thai. The butterfly shaped Khim is now a recognized national standard product.
4.6. Khim in special project “Music Competition”
The Khim is a musical instrument that is always used in music competition, for example “Thailand Youth Music Competition”, “Thailand Eastern Region Thai classical music Competition”, “Set-trade Youth music Contest”, and “Thailand Sorn-Thong Thai Classical Music Competition”.
4.7. Khim in today’s public affairs
Today the Khim is a musical instrument that has become common as public entertainment. It represents Thai classical music in the mind of the general public and we found that the Khim is performed in many public places. It is played solo to show that it is true Thai music. It is often heard in Thai restaurants, lobbies of five star hotels, formal symphonic settings, airports and the big malls and many places that attract foreign guests. In other words, it has become an unofficial national musical symbol for Thailand.
4.8. Teaching and Learning the Khim
The Khim is such a popular musical instrument that Thai people love to start to learn Thai classical music[13] on it at a young age. Many schools and organizations provide Khim classes for hobbyists. This includes primary schools throughout Thailand and especially in Bangkok. There are many private music schools and foundations that provide Khim classes, such as Baan Keng Khim, Ban Kru Keng, Lhuang Praditpirho Foundation, Montrii Tramod Foundation and many more. We found that the students who want to learn to play the Khim are both children and adults, with more and more adults learning as a hobby in their old age.
Since the Khim is a popular music instrument it is often selected as the first instrument for Thai children on which to begin their music studies, especially Thai classical music. It is easy to learn and not too expensive to buy. A Khim costs about 3500 baht (110 US dollars) and it is easy to find a teacher or school and the study fee is reasonable.
The Baan Keng Khim music school has a special Khim class for hyperactive children. The report said that the hyperactive children had better concentration and improved moods, because they seem to relax and develop a peaceful mind during their practice. This school also teaches the Khim for people who plan to go abroad, specifically as a means of spreading the appreciation of the Khim as a cultural export. Sureerattana Choomnog said the Khim is a musical instrument that can be performed solo and it is very popular to play in Thai restaurants and other Thai venues abroad. Many young people like to learn to play the Khim to use as a sideline and part time job during their studies and work abroad.[14]
Thai people are learning to play the Khim both as a hobby and as a career. Recently we have found that many Thai students, who love music and love the Khim, are learning to perform the Khim as a career. Both Mahidol University and Chulalongkorn University’s Faculties of Education provide a foundation for professional studies. They both have a Thai classical music degree majoring in the music and performance of the Khim.
There are many kinds of teaching media for assistance in learning to play the Khim including handbooks for learning, Video CD’s (“learn how to play the Khim”) and a computer program is available for learning how to play the Khim produced by The Luang Praditphairoe Foundation.
5. Conclusion
The Khim has been developing over the past one hundred years in Thailand. They are made in many shapes and sizes and the painting on the Khim sound box is a uniquely Thai practice. Japanese cartoon pictures are often stuck on Khim boxes and the box is very colorful and exciting for children. This provides them a means to express their modern day culture and is an expression of their favorite trends in art, literature, cartoons and TV shows.
Today the Khim in Thailand is not only a musical instrument, but it also shows Thai arts or traditional handicrafts, such as the arts of mother of pearl inlay, woodworking and the appliqué of lacquer and gold. The figure of “Ganesh” (God of Art, God of Victory) is a popular icon for the instrument’s decoration.
Many countries in Southeast Asia have adopted the Khim from China, including Malaysia, Singapore, Cambodia and Thailand. We found that only Thailand has adopted, adapted, modified and developed the Khim into a uniquely national style instrument and method of performance.
The Khim has become a musical instrument of the world, not just China and Thailand. It has many forms and variations of design, style and use around the world. The Khim will continue to develop and change as has been shown by the evolution of the dulcimer from a Chinese instrument into the (Thai) Khim. Originally of course, the Chinese had adopted this instrument from Persia, so it was first named Yang-Chin (meaning “dulcimer from abroad”)
However the Thai style instrument and music will continue to evolve in Thai culture and will, as its popularity continues to grow, make its mark as a cultural export as it merges with the world interest in the Khim being expounded by such institutions as the “Cimbalom World Congress”.
In the meantime, the Khim, both as an instrument and music style, has become an established cultural icon specifically representing the large Chinese percentage of Thailand’s population, but more recently as an icon of the Thai nation as a whole. It will continue to evolve and remain firmly entrenched in Thai culture.
*Presented at The Syncretism in South and Southeast Asia: Adoption and Adaptation of South and Southeast Asian Association for the Study of Culture and Religion. Bangkok, Thailand. May 22-24, 2007.
** Assistant Professor, Chinese Section, Department of Eastern Languages, Faculty of Arts, Chulalongkorn University.
[1] http://www.hobgoblin-usa.com/info/glossary.htm#Y (July 20,2007)
[2] Chanok Sagarik. 2005 “A New Invention of a Thai Hammered Dulcimer”, Journal of the Royal Institute of Thailand, Volume 30, No 3, 2005(July-September2005) P. 687
[3] Sayamol Charoenratana. 2001. “Teochiu Chinese Opera” as a Social Drama: Ethnic Symbol of Thai-Chinese People. Master of Arts, (Anthropology). Chulalongkorn University. Bangkok, Thailand.
[4]Tramod Montrii and Vichein Kulthan 2523 Listen and Appreciate Thai classical songs. Bangkok: Thai Khaseam, 2523, p 312
[5] Nopadon Thippayarat. 2532 “The Role and Duty of Khim in Thai Classical music”.
Bangkok: The 32th Thai classical music for university students, Bangkok, 2532, p52
[6] Chanok Sagarik. 2005, p 679.
[7] “Khim Fancy made Thai Classical music for the young generation” Make Money Volume 6, Issue 64, January 2005 p 36
[8] Chanok Sagarik. 2005, p 682
[9] Chanok Sagarik. 2005, p 682
[10] Interview Vasu Thaveelab, March 11, 2008.
[11] The Thai dictionary the Royal Institute’s version. 2525, p 146
[13] http://www.thaiwatid.com/ July 19,07
[14] Matichon daily, June 15, 2007 P 36
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