Introduction. Bird Representations

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1 The Japan Foundation Asia Center Asia Fellowship Report Maria Christine Muyco The Royal and the Laymen Divide: Bird Music-Dances in Central Thailand as Markers of Place and Migration by Maria Christine Muyco and Sanchai Uaesilapa Introduction The strong bird called Garuda is embedded in Central Thailand s royal houses, temples, public buildings, and even in paper bills. Juxtaposing this with the image projected in the khon, or masked theatre dance, the signification of power of this mythical bird is mixed in with mysticism. The source for its existence is imagined, deeply embedded in narratives such as Indian literature, or epic tales. This half-bird half- human is among other dual beings (or in some cases, beings with multiple human and animal parts) that were ascribed a purpose and meaning in the context of cultural divinity. The collaborative efforts of our article commenced at the Faculty of Music and Performing Center (MUPA) of Burapha University of Chonburi, Thailand. This new yet promising center for scholars and artist-performers is robust and energetic given its international hostings of events every year. Series of discussions for this article were centered on ideologies found in bird music-dances and how these influence placemaking. Divisibility is a way of explaining distinctions between sound and materials that produce sound as well as the visible aesthetics of dance. We can directly say distinctions or differences but divisibility is referred here as parts of a whole. In Mathematics, we say, four is divisible by two, or four can be divided into two but nevertheless, they belong to a single unit. Divisibility does not only apply to binary classifications but also in plural divisions, which are perceived among elements of nature and myth, bodies that are composed of various parts and combinations, as well as in compositions of music and dance that require various strata of constructs and performability. Bird Representations Of all bird images, Garuda is particularly the most grand considering its size. 1 Also, this grandness is emphasized in superlatives employed in narratives about it, its birth, and ancestry. Consider that the length of time for Garuda s morphing or growth is a thousand century. Also it descended from a powerful ancestry being the children of Katsayop (a powerful sage who is believed to be seen now in the Northern sky, as the pole star) and Kadrū, one of Katsayop s favorite wives 2 who is a goddess herself according to Sanskrit literature. Garuda s enormous size almost covers an entire space as seen by one s pair of eyes (as they say figuratively, as far as the eyes can see ) and it can cover the sun s rays with its wings spread out. The presentation of Thailand s national symbol Garuda is always within a khon (formal theater) using mask, which is considered sacred. Well built and fit, the dancer is trained well to wear weighty clothing and heavy mask. Also, the dancer must have an ability to move 1 The author of the book entitled Garuda (2012) quotes the reference Trai-phoom Phra ruang, the earliest vernacular Buddhist literary work written in Thailand (c. 14 th century). It approximates Garuda s body at 16 kilometers long, and his wings of the same span. He is a gigantic creature. 2 Her sister is Vinatā, the mother of nagas, snakes who occupy the underworld.

2 around while breathing through the little holes of the mask. These little nostril holes are the only ones open in all the other parts of the head mask, which has a 360 degree circumference. Figure 1: The 360 degree-mask of Porramet Maneerat, the performer of Garuda dance in MUPA, July 6, In Sanskrit literature, Garuda is tasked as divine messenger of Vishnu. It is also his vehicle when going places (Vishnu drives on top of its shoulder). This massive bird is the strongest challenger of the naga (snake), which was born from the sister of its (Garuda s) mother. Thai classical bird dances serve the purpose of the ruling power. And within the roster of repertoire and characters are more layers of choices that should suit certain occasions and favored stories from the Ramayana. Sociologically, artistic directors or managers of royal dancers deliberate on the repertoire that should suit the occasion and taste of the audience, whose status is noted (or of which preference is observable). Aside from Garuda, there is also the literature-inspired story of Manorah set into royal dance. A half-human, half-bird, Manorah is considered the most beautiful of her female siblings and inhabits the interiors of the Himalayas mountain. A story about her is narrated in another section of this paper. Another royal bird dance is referred to as the Nokyoong, or Peacock Dance, where the peacock is transformed from a reincarnated god. A hunter spots her and follows her; he gets charmed with her beauty. Thus in the dance, a hunter joins her in the dance space after her solo performance that displays her feathers and grace.

3 Figure 2: Top left is Porramet Maneerat who performed the Garuda dance. Nokyoong, or the peacock dance is shown in the center (Isaree Teeho as performer) with Chayakarn Mukkuntod on her right side as Manorah, and on her left, Manit Theppatimaporn, representing the hunter of Manorah. On the extreme left shows Maria Christine Muyco; on the extreme right is her collaborator for this research, Sanchai Uaesilapa, the dean of MUPA. Given the case of Garuda, Manorah, and the Peacock, the bird dances of Central Thailand are thus constructed in the ideological strands of divisibility that embody the sacredness in human; and inversely, human as part of the divine, or the spiritual world. A bird messenger, in whatever form, mediates these multiple worlds. Establishing Consonance in Music Instruments In Thailand s royal dance, divisibility is not only as perceived as a notion but a structure that contributes to the understanding of how timbral colors are created. The pi phat ensemble that accompanies the bird-themed royal dances observes aspects of contrasts in sound. According to MUPA s Music director and teacher Mr. Chittep Kittipan, the pi phat balances the dual aspect of tonality and colors, which are reflected in drum sizes and instrument pairings. Apparently, there are 2 types of xylophones, the ranat ek-strongir (high pitch) made of bamboo and the ranat thum (low pitch) made of wood. There are also gongs and drums: ta phon, a double-headed drum and the Klong ta pone, a pair of singleheaded drums alternately played together. These are instruments with sounds arranged in hierarchical manner: from the ching (finger cymbals) with high pitch down to the drums that provide the base. Such hierarchy is seen in courts with kings and subjects. Figure 3: Bamboo xylophones and gong instruments of MUPA.

4 Divisible aspects in Instrument Combinations Ranat ek (high pitch) Ranat thum (low pitch) 1st drum head of ta phon 2nd drum head of ta phon (double headed drum) (double headed drum) Ta phon (double-headed drum) Klong ta pone (single-headed drum) Ching (finger cymbals) Chap (medium sized cymbals On the other hand, there is a combination of certain sounds that establishes a homogeneous timbre via the type of mallets used for the xylophones. As illustrated below, the louder instrument such as the pi is combined with sound produced by playing a hard mallet on both sizes of the xylophones. However, when aiming for a softer timbre, the softer mallets are evenly played on both ranats to match the softness of the klui (flute). Pi (oboe) Klui (flute) Hard mallet used in ranat (xylophone) Soft mallet used in ranat (xylophone) Kittipan introduced MUPA s Pi Phat music ensemble that accompanies their bird dances. With Garuda, their instrumentation consists of 2 types of bamboo xylophones, the ranat ek (high pitch) and the ranat (low pitch). The use of mallets is crucial to the timbral character of the music. The hard one produces a loud and relatively high pitch production of sound given the punctuating effect of hard wood over bamboo. On the other hand, the soft mallet produces a softer and relatively lower pitch production of sound than the hard mallet given the subtle effect of padded wood over bamboo. The hard mallet is normally paired off with a reed wind instrument called Pi and the soft mallet is paired off with a woodwind instrument called klui. Adding to the texture is the bowed instrument called Khruang sai. As to percussion instruments, choosing the type of drums to be used depends on the piece selected for the dance. There is the ta phon, a double headed drum treated as a single unit of instrument placed in a frame; whereas the Klong ta phon, is a pair of single-headed drums alternately played together. Drums are used for ritual music called na phat (sacred music for action of character). A monk ceremony is one example of ritual music. Another is Garuda dance where ta phon is used; this bird dance is considered ritual music. There are certain pieces without drumming; however, a pair of finger cymbals takes the role of a time-keeper. It is interesting to note that it signals the end of the pattern; unlike the marking of a down beat in most western music, Thai music marks the last beat. This determines that the time cycle is about to repeat. In Garuda, the lower pitched drum (also has big resonance) produced by ta phon provides the music s basic pattern; we hear this as repeated beats forming an ostinato. The pattern becomes the basis for the footwork of the dancer in motion as well as a form of preparation for the big thump as Garuda stomps his foot. Here, the dancer is stationary, or is in a stayin-place stance. He lifts his foot one after the other alternately. On the other hand, the khlon ta phon supports and variates on the basic beats of ta phon. With the entry of an elaborative rhythm, drummers start on the cycle, with or without

5 changing patterns. Then the dancer moves in double time and moves out from a former stationary place. Thai Bird Dances in Folk and Classical Forms Uaesilapa (Interview video, July 6, 2016) explains that the tradition of bird dance in Thailand particularly in classical dance is grounded on concepts based on Buddhism and Hinduism. The bird is a creation of the most high. So in the hierarchy of Thailand spirituality, the creator occupies the highest level of the spiritual and physical world and this creator has created the bird. Thus, the presence of Garuda bridging two realms -- the earth and the cosmos -- expresses human life and sacredness reflecting the daily life of the Thailand people. Aside from stories derived from Sanskrit literature, there are interesting values entrenched in bird dance. One is the exercise of wisdom. This is exemplified in the story about a king who has seven daughters. These daughters are all half-bird, half-human living in the Himalayas. Among all of them, Manorah, the youngest is said to be the prettiest. One day, a hunter saw her bathing by the pond. He was able to capture her and brought her to another kingdom on earth. Here, the prince saw her and wanted her for a wife. They were married and the prince was happy with her. However, the prince went to a far away place in duty to defend his kingdom from war. The prince s mother-in-law and family were envious of Manorah s presence in the kingdom as she is the center of the prince s attention. And so his family connived with his court advisors to devise a way to get rid of her. They told the king that he could die unless Manorah was burned to death. And so, the king asked her to sacrifice herself by throwing herself in a fire. He was expecting her to succumb to this royal order and also being his wife, she was expected to follow as a form of obedience. However, Manorah was not an ordinary being; the prince missed out that she came from a higher plane of existence. The Himalayas is a place of divine creatures and spirits. Manorah is partly divine and she has the enlightenment and wisdom to think through things and exercise her power to transform. Thus, she chose to change herself into a bird. She wished for wings to be able to fly far away from that place and escape the fire of death. There are many versions of this story in other Southeast Asian countries such as in Laos and India. However, in Thailand, they see this story as a lesson in Buddhist spirituality. This brought in guidance to Thailand people that it is important for one to develop and use one s wisdom in order to live in propriety and gain enlightenment. Thai bird dance has sociological relevance and function. For whom and for what purposes, one s status is linked to particular types of dances and type of bird. Royal dance is political and has the King s support. On the other hand, folk dance has the support of laymen as it reflects the narratives of day-to-day living and practically manifesting work-related themes. Stories are different among folk bird dances unlike in Royal dances where literature such as the Ramayana serves as the foundation for Royal court dances. In MUPA, students study Thai classical and folk dances. According to Uaesilapa (ibid, 2016) folk dances have basic structures compared to royal dances. However, students who take folk dances for their Concentration study (academic majors may have various Concentrations) are taught other related courses such as history of folk dances and the relevance of dance in the society. These complementary courses make folk dance study

6 more meaningful to students. The performances of students outside the academe provides for the education of masses as these students are equipped of informing them about the background of folk dances. In Thailand universities that focus on Performing Arts, there are attached categories of music and dance that delineate between classical and folk tradition. Educators and their students have been conditioned to think of the classic and folk divide. However, there are also forms of support for folk music and dances as educators and students also attend activities that promote these cultural expressions such as folk arts festivals. Schools try to create equality between these forms by creating programs that encourage people to have an equal regard for their art. When they are onstage, there is a sense of leverage among people. Uaesilapa (ibid, 2016) recounts the experience of watching folk dances. He noticed that folk dance seemed uninteresting when they were doing it in their community. But when these are staged, the audience appreciates them. Given the respect to tradition, Thailand s royal patrons, the government, academic institutions and other supporters have their own share of efforts in keeping the traditionally accepted form of a bird music-dance, or what is perceived as original by respected and recognized practitioners of that expression. Synchronizing Music and Dance There is a distinction between the Khon, or masked dance and Lakorn, or dance theatre. Choreographers think of ways to represent the characters of Garuda and Manorah, as well as the Nokyoong, a Le Kohn peacock dance. Characterization is played out through the language of the body. Movements signify certain messages that project images (e.g., power), feelings (e.g., anger), and ideas (e.g., flight to a place) that may have a context of a story or sometimes without it. Thus in the Garuda dance, there is the phra, or male movements and the khon, or movement of the giant, which is also considered a demon. These are open in terms of gesturing the arms in embracive or stretched out fashion; whereas the legs are open like a reverse letter V bent halfway down implying that the dancer is ready for action. We see this position in most war ritual dances such as the Maori s haka (male posture dance of New Zealand). In preparation for a battle, they open their arms and legs, rhythmically shout, and stomp their foot. The position motivates readiness and bravery, a conditioning of the mind and body as a precedence to war. Also this can be seen in Japan s Sumo wrestling fight. In Thai s term, men execute the liam (open angle of legs); as to their arms, they do the wong, or the curve.

7 Figure 4: Porramet Maneerat performs the Garuda dance during the collaboration of the authors. This photo has incidentally produced the reflection of Garuda s wingspan that seems to accompany the covered radiance of the sun. The female, or nang (female) on the other hand, shows her chip finger gesture, which consists of thumbs in closed fingers, and opened index fingers. She has closer-to-body expressions as seen in her lop, or non-angular leg movement (Rutnin, 1996: xvii). Figure 5: Chayakarn Mukkuntod as Manorah shows her chip finger gesture (thumbs in closed fingers, and opened index fingers) and lap liam (non-angular legs movement). Musical instruments between the Khon and Le Khon are the same but the repertoire is different as there are levels of social status attached on these dances. Relatedly, structures of society resonate music and dance, sociologically informing each other in terms of tradition as well as changes through choreographic innovations. We see these new creations in modern dances and more so in dance theatres although they are not customary of royal performances, or presentations made in front of Thailand s royalty, prime minister and his constituents, diplomatic officers and guests. This article will show an example of the dance figures of the Garuda dance in relation to space (in this case, the dance stage) and in relation to music. Below is a pose (music is as

8 well in a pause or fermata. ). The Garuda dancer trains his body to the phra, or male and the yak, or giant (demon) category of movements. As mentioned earlier, he opens his arms and does the wang, or curve. It is also noticeable that his fingers are curled like an eagle s claws, shaking them once in awhile, as if projecting terror. Figure 4: Example of the wang and liam In the next figure, dance sequences are provided. Marked via numbers (1-12), these sequences feature the dancer s entry to stage, to center, left and right sides, moving around the back and going back to the center, as well as roving around to signify its territoriality of space (or figuratively, its dominion of the universe). 1.Entrancestrides 2.Posesopen positionbody Center* Exit stage *Variationsofstepsinthecenter:openarmsandlegs,moveforwardwitharmsto front,thenmovebackwardsopeningarmssideways The music with dance movement sequences from given pictures/figures:

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10 Figure 5: Transcription of dance figures and music based on the presentation of dances in MUPA in July The music score shows various motivic elements that are related to movement. For instance, the glissandi are played synchronizing with the dancer s movement back and forth as he steps one foot at a time then poses, showing his wang and liam. The pose is marked with a stomp, an accented eight note that also divides sections of the piece (bar number 11, 19, and 25). It is also in a way a cadential cue before the musicians start to play again. This stomp is alternated between sections that guide the dancer s movement from left to right, as well as in roving around the dance space. The base line, which is the ta phon, or drum provides two types of attacks, the accelerando (this occurs when the dancer shakes his body prior to a wang and liam), and constant 2- eight note beats repeated alternately, providing the dancer with motion to and fro the dance space, as well as for him to go back to the center. The central space is important. This is where the point of destination is. From here, the dancer goes to his right side (our left when we look at his figure) then moves from the back

11 of the central space going to the left side, where he moves back and forth again before the pose for wang and liam. Majority of the motivic elements can be perceived as forms of musicians improvisations. However, they can be considered as motivic as they are repeated and are guide patterns for improvisation. These motives are gestural (sometimes called gestural motives in contemporary music compositions) as the motives themselves display movements of up and down, left to right, and repeated passages that synchronize with Garuda s motions. In reciprocation, Garuda also keeps time with the music being played by the ensemble. Conclusion Ideologies in the case of the aforementioned dances are embedded in Thailand s birdrelated myths, or narratives that propagate the belief for the spiritual realm in touch with earthly life. These (ideologies) are not separate from the country s public governance as the belief in divinity positions hierarchy (ruler-subjects), an important and clear line for people to follow, thereby stabilizing organization and order among them. In the making of place, Thailand maintains its identity through its classical (royal) music and dance, and establishes in a certain manner the country s presence as a powerful nation. We can see placemaking in Thailand s efforts of maintaining a kingdom, keeping its royal history and lineage intact, and projecting their King as divine. The efforts extend to diplomatic relations co-opting cultural performances to deliver its national and international socioeconomic and political agenda. The connection of music and dance is relevant to the understanding of how Thailand projects itself to its people and to other countries. The music as produced by an ensemble of instruments maintains its organizational structures to create harmony among various timbres. It supports dance in terms of mobilizing its acts of capacities (e.g., flight, stomping, roving around). It serves as a foundation, or a bed of sound, for the dance to base its sequence and completion. On the other hand, dance provides music the cue for its flow and continuity. Instruments adapt to movements and also guide the dancer s movements in its halts and goes, forward and backward motions, and other configurations of space or play of peripheries. Thailand places the bird particularly Garuda in positions of visibility as seen in buildings, edifices, and official infrastructures of the country. And this is as well resonated in the spiritual lives of the people as temples make its presence felt. The making of place can be seen as part of the nationalizing efforts of Thailand to embrace its populace into a unitary space where a royal court rules above everyone else and its citizens follow the court orders. However, in the academe and performance institutions, these efforts are not seen as stringent and enforcing. The love for classical dance in honor of the royalty reigns above the rule, which may seem constricting to others in light of public governance. And because there is the privilege for people to harness their talents and skills, there is an opportunity for education, employment, and elevation of the self with the society. As one of Thailand s music composers has one time exclaimed (personal conversation with Anna Jaesiri, June 2015): I love our King I love our Queen; she said this with much fondness and explained that her music has flourished with the support of the royal family.

12 The royal dances representing part-birds and part-human/divine cultivate the people s sense of formalism and social aspirations, building status quo that is not attained only through wealth and power, but as well through education and opportunities for recognition. Bibliography Charassri, Naraphon. Narai Avatara: Performing the Thai Ramayana in the Modern World. Amarin Printing and Publishing Public Company Limited Ginsburg, Henry. Thai Art and Culture: Historic Manuscripts from Western Collection. Thailand: Silkworm Books, Olsen, Andrea with Caryn McHose. The Place of Dance. Middletown, Connecticut: Wesleyan University Press, Rutnin, Matani Mojdara. Dance, Drama, and Theatre in Thailand: The Process of Development and Modernization. Revised edition. Thailand: Silkworm Books, (unidentified author). Garuda. Book on Demand Ltd., Discography Interview videos, July 6-12, 2016 The collaboration was arranged through the kindness of Koji Nakano and Japan Foundation Asia Center (JF AC) funded the project.