Culture and Music of The Lahu Ethnic Group in Mae Na Sub-District, Chiang Dao District, Chiang Mai Province

Abstract

This study was a qualitative research with the purposes of: 1) studying the social life and music culture of the Lahu ethnic group in Mae Na Sub-district, Chiang Dao District, Chiang Mai Province, and 2) transcribing traditional music into music notation for the publication of the ethnic group’s music.

The research methodology involved various data collection techniques, including interviews, observations, note-taking, and audio recordings. The study focused on the Lahu ethnic group residing in Mae Na Sub-district, Chiang Dao District, Chiang Mai Province. The sample population consisted of local figures such as the village headmen, local scholars, and Lahu music experts from the area. The primary informants were divided into three main groups: 1) Local community leaders, including village headmen and Lahu scholars from the Mae Na Sub-district; 2) Lahu musicians from the Mae Na Sub-district; and 3) Academics with expertise in folk music, including three lecturers from the Department of Western Music, Chiang Mai Rajabhat University. The research was conducted over the period from October 2020 to September 2021.

The study's findings revealed that the Lahu Yi, also known as the Red Lahu, ethnic group primarily resides in "Ban Pa Lo," which is a part of Mae-Mae Village. Most of the Lahu people in this region practice Buddhism, and ghost worship is not a part of their religious practices. It is also uncommon for the Lahu people to wear traditional tribal costumes. The primary occupation of the Lahu community is agriculture, with many residents cultivating tea and coffee. In addition, many households operate homestays, providing accommodation services to visitors. Regarding traditional customs, only two major ceremonies are still actively practiced among the Lahu people in this area. The first is the "Kin Wor" ceremony, a New Year celebration that lasts seven days. The specific dates for the ceremony depend on the readiness of the community to carry out the preparations. The festivities include the Ja Kue dance, which takes place in the early evening and reflects the diversity of the community's livelihoods. This dance serves as a form of entertainment and a celebration of the village’s agricultural successes. The second important tradition is the new rice-eating ceremony, which is held annually between September and October. This ceremony is a way for the Lahu people to worship the gods and ask for permission to consume the remaining rice and other agricultural products. Additionally, it marks the preparation of the land for planting the next rice crop.

One of the key musical instruments in Lahu culture is the "Nor," a traditional woodwind instrument made from a gourd shaped like a tusk, with five bamboo pipes attached. The “Nor” produces five notes, corresponding to the musical pitches C, D, E, F, and G. The instrument uses free reeds, which generate sound when air is either blown or sucked through them. Each of the five pipes is equipped with a reed, and the thickness of the reeds varies across the pipes. Playing the 'Nor' requires mastering two key techniques. First, proper grip and finger placement are crucial for producing the correct sound. The left hand controls the pipe's holes with the thumb, index, and ring fingers, while the middle and little fingers help support the pipe. The right hand supports the instrument and controls the pipe with similar precision, with the thumb and middle fingers working together, while the index, ring, and little fingers support the gourd. To enhance the melody, the right thumb flicks or slaps the end of the pipe to create a subtle vibrato. Second, wind control is vital for maintaining a continuous melody. The performer must skillfully blow and suck air through the reeds, adjusting both the duration and intensity of the airflow to produce varying musical effects. In the village of Ban Pa Lo, there is currently only one individual capable of playing the "Nor." The primary melodies performed on the "Nor" are the Nee Ma Ha Wae and the Ja Kue. The Ja Kue is typically played after the "Kin Wor" ritual as part of the New Year celebrations. An analysis of the Nee Ma Ha Wae melody reveals that it follows a monologue format, with one central theme repeated throughout the piece.

Culture, traditions, rituals, and beliefs are dynamic, and constantly evolving in response to environmental and external factors. In the past, the Lahu people primarily relied on nature for their livelihood, engaging in agriculture and using natural materials to build their homes. Over time, they transitioned to other occupations, such as operating homestays, and made their houses more stable. Additionally, their clothing has evolved to resemble that of lowland people, which can be seen as borrowing or adapting elements from neighboring cultures. Introducing technological advancements and modernity into the area has further influenced this adaptation to the changing environment. To adjust to this "contemporary culture," it is important to balance preserving the original culture and incorporating external cultural influences. Despite regional differences in culture and tradition, the Lahu people continue to maintain their core rituals. Furthermore, the songs performed in various ceremonies remain similar, reflecting the beliefs that have been passed down through generations. Therefore, transcribing Lahu folk songs into international musical notation serves as a way to keep these traditions from disappearing and to connect the cultures and traditions of the Lahu people across different regions.