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\u00a0Although Khon and Nora are often proclaimed as the greatest feats of classical Thai theatrical arts, those who admire legacies of Thai culture would find that another, Northeastern art form by the name of Mor Lam [\u0e2b\u0e21\u0e2d\u0e25\u0e33] is as enthralling. In Isan, as Northeastern Thailand is also often called, Mor Lam is often considered the pinnacle of regional theater, harboring the adoration of Isan people as the Khon and Nora do for Central and Southern Thais.<\/span><\/p>\n <\/p>\n Mor Lam is a combination of two Thai words. \u201cMor<\/em>\u201d [\u0e2b\u0e21\u0e2d] can refer to someone blessed with knowledge. \u201cLam<\/em>\u201d [\u0e25\u0e33] means to sing in a certain tune or rhythm. The words Mor Lam can refer to two different, but related, things. First, as we have discussed it so far, Mor Lam can refer to a genre of Thai theatrical arts. However, Mor Lam can also refer to the practitioners of the Mor Lam genre, who are imbued with the knowledge to perform.<\/span><\/p>\n <\/p>\n The Origins of Mor Lam <\/strong><\/span><\/p>\n There are no definitive records of where Mor Lam began. However, many speculate that the first performance was conducted as part of a religious procession. Speculators theorize that while people were wishing for blessings from deities, they were most likely reading ancient scriptures to make their prayers, and because the readings presented a compilation of entertaining stories, believers ultimately incorporated storytelling tones, vocal techniques, and percussion instruments into their recitations.<\/span><\/p>\n <\/p>\n Others, however, believe that Mor Lam originated from an evening activity in Isan, when people gathered at sunset to relax and catch up. Under this theory, people took turns sharing the highlight of their laborious day or week, or sometimes just tidbits they found interesting. Through Mor Lam, they were uplifted and able to enjoy a little bit of entertainment and humor.<\/span><\/p>\n <\/p>\n [cr. nairobroo.com]<\/p>\n <\/p>\n Those who presented themselves as good storytellers often drew large crowds. Ultimately, they rehearsed enough to become storytellers performing at lively pageants. Those who did not have such a platform would still be able to set up their own makeshift show, turning Mor Lam into a viable profession.<\/span><\/p>\n <\/p>\n Even though Mor Lam might have begun as a slow and unusual activity to end the day, it later evolved into an active performance. Performers, knowing that their popularity depended on their use of gestures, rhyme, and melody, became conscious about their game. For those sharing stories from a canon \u2014 which became a practice (an example of a story sometimes used was Karaket <\/em>and Sinsai<\/em>) \u2014 they learned how to draw out short stories to suit the demands of audiences, who had begun to crave more. Plus, as showing became an important element of the entertainment, the storytellers began to enact the roles of the heroes and heroines while they sang. They also began to include instruments, the popular ones being the seung<\/em>, the saw u<\/em>, the pi<\/em>, and the khaen<\/em> \u2014 a combination of string and wind instruments. Of all these, the khaen is the most iconic for Mor Lam.<\/span><\/p>\n <\/p>\n Different Styles of Mor Lam<\/strong><\/span><\/p>\n Early Mor Lam performances were referred to as \u201clam puen\u201d [\u0e25\u0e33\u0e1e\u0e37\u0e49\u0e19], which featured stories from Buddhist literature, such as the Jataka Tales, or local stories. Typically, there was only one performer, a man accompanied by the khaen. He would use a versatile loincloth called \u201cPa kao ma\u201d as a prop to play the roles of hero, heroine, or warriors.<\/span><\/p>\n <\/p>\n Nowadays, Mor Lam is performed by both men and women and is usually much flashier. Having both genders has allowed Mor Lam to include more storylines, particularly romance. Furthermore, having a mixed-gender cast allows for more relatability with the audience.<\/span><\/p>\n <\/p>\n Chaweewan Dumnern, the Queen of Mor Lam [cr. Thai PBS]<\/p>\n <\/p>\n Today\u2019s Mor Lam is performed in various styles. Each category bears its own unique characteristics and techniques. Broadly speaking, Mor Lam can be divided into Mor Lam koo [\u0e2b\u0e21\u0e2d\u0e25\u0e33\u0e04\u0e39\u0e48] -paired Mor Lam- and Mor Lam moo [\u0e2b\u0e21\u0e2d\u0e25\u0e33\u0e2b\u0e21\u0e39\u0e48] – group Mor Lam, with more than two performers. Over those two categories, some common styles of Mor Lam are:<\/span><\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Other types of Mor Lam are Mor Lam pee fah [\u0e2b\u0e21\u0e2d\u0e25\u0e33\u0e1c\u0e35\u0e1f\u0e49\u0e32] and Mor Lam yao [\u0e2b\u0e21\u0e2d\u0e25\u0e33\u0e40\u0e2b\u0e22\u0e32]. These two sub-genres are meant for healing the sick and predicting the weather. The length of these performances tends to vary, as there is no set standard. The procession is led by the main storyteller who welcomes blessings from spirits and is followed by an ensemble of female dancers.<\/span><\/p>\n <\/p>\n Musical Changes and Mor Lam<\/strong><\/span><\/p>\n Music, as can be induced, is central to Mor Lam. What started off as a set-up of only traditional instruments has changed along with the waves that ebb and flow through Thai culture. For instance, instruments such as the guitar, keyboard, drums, and trumpets were incorporated when Thai country music and rock bands gained mainstream popularity.<\/span><\/p>\n <\/p>\n A good example to see how music has changed throughout the history of Mor Lam is with Mor Lam ploen. Unlike the most traditional Mor Lam, Mor Lam ploen performances are typically started by performers playing a hit country song to draw in crowds. It is the Mor Lam performer themselves, and the musicians who play for them, who adapt their skills and instruments to perform the country piece, using modern instruments, such as the guitar, trumpet, saxophone, and drum sets. Dancers \u2014 typically dressed in glitzy, over-the-top costumes \u2014 known as harng krueng<\/em> [\u0e2b\u0e32\u0e07\u0e40\u0e04\u0e23\u0e37\u0e48\u0e2d\u0e07] (normally associated with country music) come and dance for Mor Lam ploen, too.<\/span><\/p>\n <\/p>\n Modern Mor Lam singers [cr. Youtube: Grammy Big]<\/p>\n <\/p>\n Mor Lam Sing, which emerged in Khon Kaen Province, is another example of how Mor Lam music has changed and adapted to new times. However, it is not only an example of how Mor Lam has changed, but also an example of how Mor Lam changes other aspects of Thai culture. The soaring popularity of Mor Lam sing has catalyzed a region-wide attachment of the \u201csing\u201d style to other, non-Mor Lam genres of music, even including shadow puppet performances, which are traditionally more sedate and \u201cproper\u201d.<\/span><\/p>\n <\/p>\n Mor Lam in Modern Thailand<\/strong><\/span><\/p>\n Present-day Mor Lam looks very different from Mor Lam at the beginning. Troupes, particularly the lucrative ones, have largely adapted new performance techniques. Lively music played by a full ensemble of modern instruments sometimes opens the show. A stage decorated with bright lights creates a vibrant backdrop. Harng krueng fully dressed in glitzy costumes even make the atmosphere appear like the Carnival in Brazil.<\/span><\/p>\n <\/p>\n <\/p>\n![\"\"](\"https:\/\/thailandfoundation.or.th\/wp-content\/uploads\/2021\/10\/\u0e2b\u0e21\u0e2d\u0e25\u0e33-2-768x512-1.jpeg\")
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