ข้อตกลง
1. บทความทุกบทความจะได้รับการพิจารณาจากผู้ทรงคุณวุฒิ (Peer review) ที่ตรงตามสาขาวิชา โดยทุกบทความจะต้องผ่านการพิจารณาจากผู้ทรงคุณวุฒิ อย่างน้อยบทความละ 3 ท่าน
2. บทความ ข้อความ ภาพประกอบ และตารางใด ๆ ที่ตีพิมพ์ในวารสารอารยธรรมศึกษา โขง-สาละวิน เป็นความคิดเห็นส่วนตัวของผู้เขียน กองบรรณาธิการไม่จำเป็นต้องเห็นด้วยเสมอไป และไม่ใช่ความรับผิดชอบของ กองส่งเสริมศิลปวัฒนธรรม มหาวิทยาลัยนเรศวร ถือเป็นความรับผิดชอบของผู้เขียนแต่เพียงผู้เดียว
3. บทความจะต้องไม่เคยตีพิมพ์เผยแพร่ที่ใดมาก่อน และไม่อยู่ระหว่างการพิจารณาของวารสารฉบับอื่น หากตรวจสอบพบว่ามีการตีพิมพ์ซ้ำซ้อน ถือเป็นความรับผิดชอบของผู้เขียนแต่เพียงผู้เดียว
4. บทความที่ส่งถึงกองบรรณาธิการ ขอสงวนสิทธิ์จะไม่ส่งคืน
Molam music: From Subalternity’s Aesthetics becoming a World Music
หมอลำ: จากสุนทรียศาสตร์แห่งการกดทับ สู่การเป็นดนตรีแห่งอัตลักษณ์
Keywords:
Molam music, subalternity, counter hegemony, world musicAbstract
The main objective of this article is exhibited an interaction between Thai state’s hegemony by the traditional top-down approach policy implementation which affected to some people became the subalterns and the using of Molam music as major counter state hemenony’s mechanisms of subaltern group. The research found that Molam music became the otherness’s music with a historical entry point produced by Thai state. After the ill-fated revolt of Chao Anuwong (King of Vientiane) in 1826, Thai state (Siamese) signified the playing of Molam music (Eaw Lao Pao Khaen) was the prisoner of war music. During 1900-1903in the governance reformation of King Rama V (King Chulalongkorn), Molam musicbecame the resistance music against Siamese’s centralization policy by communicating the resistance faith and ideology among Phi Bun Rebels (holy man rebels) in the Northeastern of Thailand.During the 1980s and 1990s, Molam music adapted themselves to changed circumstances and became a cultural goods in the form of an applied Molam (Molam pra yook) or modern Molam (Molam pra sing). After the 2000s, Molam music became a world music by adapting themselves to various forms of modern and western music but the Thailand Northeastern’s identity remained under the competition in the capitalist globalization market.
This article aims to show challenges in the counter hegemony concept of Antonio Gramsci which focused on two major counter hemenony’s mechanisms, there were; an alliance and intellectuals. This article exhibits that ethnic music is one of such counter state hemenony’s mechanisms of subaltern which driven by the power of music expressing a subaltern’s way of life, faith and ideology.
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References
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F. Keyes, C. (2009). Local ideas in the Northeast of Thailand. In Rattana Tosakul (edited). Mekong Sub-Region Social Research Centre : Ubon Ratchathani University, 50-65.
Forgacs, D. (2000). THE GRAMSCI READER Selected Writings 1916-1935. New York: NEW YORK UNIVERSITY PRESS
Frith, S. (1996). Music and identity. In S. Hall & P. Du Gay (Eds.), Questions of cultural identity. Thousand Oaks, CA: Sage Publications, 110.
Frith, S. (1987). “Towards an aesthetic of popular music”, in R. Leppert and S. McClary (eds.) Music and Society: The politics of composition, performance and Reception. Cambridge: Cambridge University Press.
Gramsci, A. (1971), Selections from the Prison Notebook. In Quintin Hoare & Goffrey Nowell (edited and translated). London : Smith Lawrence and Wishart.
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Saengthong, S. (2004). Thai political music. Music Journal, College of Music, Mahidol University, Years 10 Volume 12. Nakhonpathom : Mahidol University, 1-14.
Samutkhup, S. et al. (2001). Mawlum cing isan : bodies and voices in a modernized performing art from notheast Thailand. Nakhon Ratchasima : Suranaree University of Technology.
Sarika, K. (1991). Songs Of Phupan. Bangkok : Sarika publishing.
Sassoon, A.S. (1982). Approaches to Gramsci. London: Writers and Readers.
Schwarzmantel, J. (2015). Routledge Guides to the Great Books : The Routledge Guidebook to Gramsci’s Prison Notebooks. New York: Routledge.
Semyaem, A. (2013). Voice of Khean in Thai-Laos Politics. Retrieved 19 July 2017 from https://e-shann.com/?p=1979
Simon, R. (1982). Gramsci’s Political Thought An Introduction.London: Lawrence and Wishart Ltd.
Sriboonnak. K. (2003). Development of Isan folk songs (molam klon phleng khorat chariang be rin). Faculty of Humanities and Social Sciences Buriram rajabhat University, 50-51.
Sukprasert, P. (2016). The alchemists. From https://www.bangkokpost.com/print/948237/
SURF MUSIC. (2014). Western greeting when they listening to the Molam-Inter! Retrieved 19 July 2017 from https://www.surf935.com/the-paradise-bangkok-molam-international-band/
ThaiPBS. (2016). Road of Molaminter “Rasmee Wayrana”. Retrieved 9 July 2017 from https://news.thaipbs.or.th/content/251955
Thammawatra, J. (1983). “Molam” in Thai Culture. Bangkok : Siam Offset Co., Ltd., 50.
Wong-inta, A. (2016). Because I have a heart for the music “Rasmee Isan Soul”. Retrieved 19 July 2017 from https://waymagazine.org/rasmee-isan-soul/
Wongnang, A. (2012). Faith of the Maitreya and the resolution in Mahasarakham. Retrieved 19 July 2017 from https://esan108history.blogspot.com/2012/08/
Wongthes, S. (1989). Singing Dance: Siamese Music and Dance. Bangkok : Ganesh Printing.
B. Common, T. (2553). Music and Culture: the roles of Lanna music and artists in an articulation of Lanna cultural identity. Bangkok : Dhurakij Pundit University, 337-346.
Boonchuay, S. (2016). Thai’s Molam international style with the reflection of World Music. Global Village Daily on September 18, 2016. VOICE TV 21.
Boonsri, A. (1997). “Molamsing”. Matichon Daily newspaper, February 26, 1997, 9.
Boraphet, B. (2014). American Dangerous - American Gangster from Caravan to Carabao. Retrieved 9 July 2017 from https://mgronline.com/entertainment/detail/9570000060304
Buddharaksa, W. (2557). A SURVEY OF GRAMSCI'S POLITICAL THOUGHT. Bangkok : sommadhi
Chanaphan, J. (2017). Why King Rama 4 was not allowed to play Eaw Laos. Retrieved 6 June 2017 from https://www.silpa-mag.com/club/art-and-culture/article_6320
Coutinho, C. N. (2013). Gramsci’s Political Thought. Chicago: Haymarket Books.
F. Keyes, C. (2009). Local ideas in the Northeast of Thailand. In Rattana Tosakul (edited). Mekong Sub-Region Social Research Centre : Ubon Ratchathani University, 50-65.
Forgacs, D. (2000). THE GRAMSCI READER Selected Writings 1916-1935. New York: NEW YORK UNIVERSITY PRESS
Frith, S. (1996). Music and identity. In S. Hall & P. Du Gay (Eds.), Questions of cultural identity. Thousand Oaks, CA: Sage Publications, 110.
Frith, S. (1987). “Towards an aesthetic of popular music”, in R. Leppert and S. McClary (eds.) Music and Society: The politics of composition, performance and Reception. Cambridge: Cambridge University Press.
Gramsci, A. (1971), Selections from the Prison Notebook. In Quintin Hoare & Goffrey Nowell (edited and translated). London : Smith Lawrence and Wishart.
Green E. M. (2011). “Subaltern Politics” in The Encyclopedia of Political Science, ed. George Thomas Kurian, et al. Washington, DC: CQ Press
Hargreaves, J. D., Miell, D. & Macdonald, R. (2002). ‘What are musical identities, and Why are they importance?’, in Musical identities. New York: Oxford University Press
Harvey, D. (2007). A Brief History of Neoliberalism. Oxford: Oxford University Press.
Katasila, W. (2006). The Roles of Molam Ratree Srivilai a Pioneer in lam Sing Performing Art. A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree Master of Arts, Major Thai Studies (Humanities), Mahasarakham University, 118-120.
Komchadluek. (2002). Queen of Molamzing “Ratri Sriwilai”. Komchadluek newspaper issued on March 5, 2002, 5.
Limsiri, N. (2542). The significance of the rebellions in the Northeastern provinces of Thailand B.E. 2325-2445. A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree Master of Arts, Department of History, Graduate School, Silpakorn University.
Limsuwan, U. (1994). “Laos” in Vision of the Rulers in the Rattanakosin Period. Presented in Partial Fulfillment of the Requirement for the Master of Education Degree in History. Srinakharinwirot University, 70.
lips-mag. (2016). The Magic of MOR-LAM Music. Retrieved 19 July 2017 from https://www.lips-mag.com/people/The-Magic-of-MOR-LAM-Music
Luepradit, A. (2018). Local Accent Going Global. Retrieved 19 July 2017 from https://www.bangkokbiznews.com/news/detail/714928
Meechai. T. (1999). Thai Local government before the Siamese revolution of 1932 (B.E. 2435 - 2475) Retrieved 9 July 2017 from https://kpi.ac.th/media/pdf/M7_43.pdf
Natsupa and Sapphayasan. (1984). Beliefs of Maitreya and “Phu Me Boon” rebels in Thai Culture. Bangkok : Sangsanbooks, 232.
Petchlertanan, T. (2007). "Reason" for coups in modern Siam/Thailand : document and analysis. Bangkok : Textbooksproject Foundation.
Phattaradetphaisan, A. (2010). Molam Rock: Marginal Culture with Khamron Sambunnanon. Dialectical column, Siamrath Newspaper on Friday, October 1, 2010.
Prachachat Online. (2015). Thai’s Molam go inter, the Paradise Bangkok Molam International Band at 2016 Glastonbury Festival. Retrieved 9 July 2017 from https://www.prachachat.net/news_detail.php?newsid=1448885607
Preechajareoun, S. (1980). Lao Phaen song: Songs that reflect the spirit of local people struggle. Bangkok : Chaiwatthana Printing.
Saengthong, S. (2004). Thai political music. Music Journal, College of Music, Mahidol University, Years 10 Volume 12. Nakhonpathom : Mahidol University, 1-14.
Samutkhup, S. et al. (2001). Mawlum cing isan : bodies and voices in a modernized performing art from notheast Thailand. Nakhon Ratchasima : Suranaree University of Technology.
Sarika, K. (1991). Songs Of Phupan. Bangkok : Sarika publishing.
Sassoon, A.S. (1982). Approaches to Gramsci. London: Writers and Readers.
Schwarzmantel, J. (2015). Routledge Guides to the Great Books : The Routledge Guidebook to Gramsci’s Prison Notebooks. New York: Routledge.
Semyaem, A. (2013). Voice of Khean in Thai-Laos Politics. Retrieved 19 July 2017 from https://e-shann.com/?p=1979
Simon, R. (1982). Gramsci’s Political Thought An Introduction.London: Lawrence and Wishart Ltd.
Sriboonnak. K. (2003). Development of Isan folk songs (molam klon phleng khorat chariang be rin). Faculty of Humanities and Social Sciences Buriram rajabhat University, 50-51.
Sukprasert, P. (2016). The alchemists. From https://www.bangkokpost.com/print/948237/
SURF MUSIC. (2014). Western greeting when they listening to the Molam-Inter! Retrieved 19 July 2017 from https://www.surf935.com/the-paradise-bangkok-molam-international-band/
ThaiPBS. (2016). Road of Molaminter “Rasmee Wayrana”. Retrieved 9 July 2017 from https://news.thaipbs.or.th/content/251955
Thammawatra, J. (1983). “Molam” in Thai Culture. Bangkok : Siam Offset Co., Ltd., 50.
Wong-inta, A. (2016). Because I have a heart for the music “Rasmee Isan Soul”. Retrieved 19 July 2017 from https://waymagazine.org/rasmee-isan-soul/
Wongnang, A. (2012). Faith of the Maitreya and the resolution in Mahasarakham. Retrieved 19 July 2017 from https://esan108history.blogspot.com/2012/08/
Wongthes, S. (1989). Singing Dance: Siamese Music and Dance. Bangkok : Ganesh Printing.
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Published
2018-06-11
Issue
Section
บทความวิจัย (Research Article)
