Lam Siphandon

The Local Lao Mor Lam in Champasak Province, Lao People’s Democratic Republic

Abstract

This research aimed at examining the evolution, composition and socialization roles of Lam Siphandon : The Local Lao Mor Lam Siphandon in Champasak Province, Lao People’s Democratic Republic. The methodology of ethnomusicology qualitative research was used in this research, The data was collected during a field study through observations and interviews, then analyzed and presented by means of a descriptive analysis. The research results revealed that Lam Siphandon’s evaluation was divided in accordance with its development stages. At the beginning stage, in 1900, Lam Siphandon originated from Lam Som which had belonged to Pho Thao Som. It was known for its distinctive style of speech rhythm similar to reading literature, folk tales, moral teaching in traditional events and various festivals and ceremonial occasions such as Buddhist ordination ceremonies, Kathin (the annual robe-presentation ceremony), and religious ceremonies dedicated to the ancestors. Later, Pho Thao Som changed the method of reading by shifting the tonal pattern between a high tone and a low tone alternately, but still keeping the distinctive slow genre for which Lam Som is famous. Lam Siphandom, on the other hand, was a more concise and faster genre than Lam Som. Lam Siphandon was performed in pairs, consisting one male and one female entailing an exchanging dialogue on a particular topic relevant to an event, for example, Lam to pay respect to teachers, Lam to ask for news, Lam for courtship, Lam to ask questions, Lam to bless the host, and Lam for farewell. The instruments accompanied Lam Siphandon were Khaens. During the transition period, in 1925, Pho Vanna Kaewpilom introduced some changes to Lam Siphandom by rejuvenating the rhythm to be more lively and faster, and bringing percussion instruments to be played together such as drums and large cymbals, resulting in a more exciting and entertaining performance. In contemporary period, since 1990, different Lam genres such as Lam Cing, Lam Tung Wai and Lam Khon Sawan have been performed intermittently during a Lam Siphandon performance in order to diversify the performance. Components of Lam Siphandon are lyrics, rhymes, contents of the lyrics, Rhythm and Melody. The musical instruments used in the performance was Khaen-paed (bamboo mouth organ with 8 couples of tubes) which were two cubits and one palm span in length. Mode (Lai) of play known as Lai Soi was preferred by female Mor Lams, while Lai Poei with a higher tone than Lai Soi was more popular among male Mor Lams. Lam Siphandon’s socialization roles are to purify the mind, to foster intelligence, and to discipline behaviors.