Sound and Singularity

In Thai society, the dominance of Standard Thai has become so entrenched that various domains of sound have increasingly centered on the discourse of Thai language and culture. This emphasis can be traced back to nationalist initiatives that established notions within the framework of Thainess, promoting a unified Thai language and culture. The predominance of hyper-centralized Thai, particularly Bangkok Thai, has reinforced the singularity of Thainess, thereby diminishing the visibility and viability of regional and minority cultures.

This panel explores how Thailand’s cultural landscape, spanning the North, South, Northeast, and Central regions, attempts to challenge the singularity of Standard Thai. We delve into the works of Thatchatham Silpsupan on Chiang Mai sound artists, Jaruwan Duangkhamchan’s examination of ritual sounds and digital music in Isan culture, Kornphanat Tungkeunkunt’s analysis of Chinese broadcasts in Bangkok, and Pongthep Jitduangprem’s study of music practices in Pattani.

Chiang Mai Sound Artists - Assistant Professor Dr.Thatchatham Silpsupan

Chiang Mai, a province in northern Thailand, has emerged as a hub for sound artists seeking to develop aesthetics beyond conventional institutional frameworks. In this context, these artists have cultivated lateral practices that decentralize traditional concepts of production. They do not rely on established infrastructure for creative sound and performance; for instance, they forgo the use of expensive microphones or Dolby Atmos systems. As a result, Chiang Mai offers an alternative space where sound artists can create their work on their own terms while remaining critical of centralized politics and the state.

The ritual sounds and digital music in Isan culture - Jaruwan Duangkhamchan

Sound or music is an essential aspect of human culture, often appearing in rituals that involve interactions with various supernatural powers. Whether in religious ceremonies or in the worship of deities, sound or music serves as a bridge between humans and the divine, creating a more sacred atmosphere. This presentation focuses on exploring the diversity of sounds in contemporary rituals, which cross cultural boundaries and adapt to modern contexts, reflecting a social landscape increasingly shaped by digital technology.

In the local culture of Isan, sound or music is integral to various important ceremonies, including daily rituals, rites of passage, healing rituals, and entertainment, as well as in the treatment of diseases. Music is also closely connected with religion and beliefs. Notably, religion and monks play a significant role in supporting and preserving the existence of folk music bands, such as the Glong Yow band.

Chinese Sound and Thai State - Assistant Professor Dr. Kornphanat Tungkeunkunt

Thailand, known as Siam until 1939, remained an independent nation while much of Asia endured Western or Japanese imperialism during the colonial era. Taking pride in never having been colonized, Thailand places great importance on its national language. Policies and regulations regarding foreign broadcasts in Thailand were frequently reconsidered and revised, for example, advertisements using amplifiers in languages other than Thai were prohibited. However, driven by profit, government organizations established their own radio stations and granted licenses for the Chinese communities to broadcast in their own language. By the 1950s, Chinese broadcasts had become so popular that they attracted large numbers of advertisements, generating significant income. The Thai government, however, soon began to express concerns about the pervasiveness of Chinese broadcasts. Consequently, the government eventually terminated all leasing contracts with Chinese broadcasters, except for Rediffusion, a semi-private Chinese radio station. This presentation examines why the Thai state was so fixated on Thai versus non-Thai broadcasts, and reconsiders the relationship between sound and state.

Sound from Pattani, Sound from students - Dr. Pongthep Jitduangprem

Sound from Pattani, land of different cultures between Muslim, Chinese and Bhuddhist. The sound of the ritual and rhythm of life were mixed with richness. The sound of the societies from different cultures presents diversity and also different languages from other southern provinces of Thailand. Local people habitually live in risky situations in everyday life for some reason with the state, but they have their own culture, living, and arts strongly. The music creativity camp under the guidance of Bachelor of Music course, was made for Princess Galyani Vadhana Institute of Music (PGVIM) students to learn how beautiful sounds and culture are in Pattani, moreover, study living and sharing together with friends from Prince of Songkhla University, Pattani campus (PSU), and students from secondary school in the area. The final presentation, they present the 5 new songs influenced by community study in Music Arts Craft Coffee and Book (MACCaB#2) about Pattani beauty, the sea, languages, culture and living together with respect then the music invited audience sang songs together. In conclusion, Creative music activities appreciation in the field may be trying to be interdisciplinary thought with the benefit of mankind, but it is also making the sound’s singularity for music education.

Conclusion

Sound and Singularity explores four perspectives that challenge the centralization of the Thai state: Chiang Mai sound artists, Isan ritual sounds, Chinese broadcast, and the soundscape of Pattani. These perspectives highlight how the cultural practices in society are shaped more by the context of diversity than by the state's push for singularity. Each of these areas strives to maintain its own unique identity within its respective space, even as it navigates the broader pressures of centralization.

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