Khub Ngum Performing Art Culture in the Laos People ’S Democratic Republic

Abstract

The purpose of the study was to 1) musical from Khub Ngum performing art culture in Laos PDR. 2) Roles, inheritance, Khub Ngum, a performing art culture in Laos PDR. 3) Changes in Khub Ngum, a performing art culture in Laos PDR. This was a qualitative research. The instruments were a survey questionnaire, an interview form, an observation form, and group discussions. The data were both gathered by the methods of document analysis and field collection. The data were analyzed following the research purpose and presented in descriptive analysis.
The results of the study indicate that:
1. The Khub Ngum performing art is Phaya (Proverbs) and improvisation of Mor Lam singing are used. Used Pentatonic Scale. The melody of Khub Ngum has a mixed appearance, that is, Disjunctive, Undulating, Ascending and Terracing.
2. In terms of the roles of performing art, Khub Ngum serves in entertainment, moral teaching, and ritual activities in the community and society. Regarding inheritance, both verbal and written inheritance of the art in private and public sectors were found.
3. Khub Ngum has been changed and adapted to social and cultural situations. In the pre-revolution era, Mor Lam-Fai-Chai drove the Khub Ngum performance accompanied by Mor Lam-Fai-Ying signing Phaya. Later in the post-revolution era, the Khub Ngum performance was used in official policy declarations. At present, both singers take turns in the Khub Ngum performance. The content of Klon Lam (Lyrics of Mor Lam songs) depends on the context of the performance.