Identity Urak Lawoi Music

Abstract

The purposes of this research were to study 1) the musical identity and 2) the relationship between the music and the lifestyle of Urak Lawoi. The study was qualitative research in musicology. The participants were those with expertise, practitioners, and related people with long experience in Urak Lawoi music. Data were collected based on the relayed advice of people in the community, most frequently named people, and the unprecedented events or venues while meeting the expertise by accident. The instruments used to collect data included a survey, an observation form, and interviews. The data were analyzed using ethnic identity concepts. The areas selected were 1) Ban Laem Took-Kae in the area of Rawai beach, Mueang, Phuket, 2) Ban Sangka-u House, Ko Lanta, Krabi, and 3) Ko Lipe, Mueang, Satun.
The results of the study showed that 1) the musical identity was based on the principles of sound source which were divided into four types including Khee-Se, Rue-Khu, Pa-Lu, Ka-To, and the appearance of the musical band was divided into three types: Ba-Lad-Ru-Ngeng, Ba-Lad-Bra-Na, Ba-Lad-Kha–Yok and the identity of the song could be categorized according to the purposes of the play, such as La-Khu-Ta-Bo and La-Khu-La-Mai, specific music used in ceremonies, such as La-Khu-Bra-Wad and La-Khu-Ta-Be. 2)The relationships between the music and the Urak Lawoi lifestyle. The relationship between the music and the Urak Lawoi lifestyle could be divided into two main types: music and sacred things which were supernatural and unable to experience and music and the coexistence of people in the society.