Transmission of traditional Lanna music in Chiang Mai: Continuity and change in a contemporary urban environment

Akins, Joel; Binson, Bussakorn

doi:10.1016/j.ccs.2011.08.001

Cited by 3 publications

(3 citation statements)

References 7 publications

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“…Several universities offer courses in Lanna music, or in some cases Lanna music is admitted into the scope of pre-existing courses among Music Appreciation, Music and Rituals, or Ethnic Music (Akins, & Binson, 2011). Lanna music is taught both to students of Thai or Western music, or to non-music students.…”

Section: Lanna Music As a General Subjectmentioning

confidence: 99%

“…Subsequently, in 1997, a state-constituted initiative was created, which was fuelled by the works of various historians, conservationists, artists and locals, in order to revive the Lanna tradition. The Lanna renaissance was carried out through different means such as preservationist work, research, activities, recontextualisation and education (Akins & Binson, 2011;Pitupumnak, 2017;Kanteewong, n.d.). During this time, numerous groups and organisations committed to the preservation and transference of the Lanna culture were formed, including: The Center for the Promotion of Arts and Culture, the Lanna Wisdom School and various community music projects.…”

Section: Introductionmentioning

confidence: 99%

“…In the academic sphere, there has been a surge of interest in Lanna music both in Thailand and abroad. (Akins & Binson, 2011;Dyck, 2010;Pitupumnak, 2014) From the music education perspective, Lanna music is transmitted in two ways: the formal and informal education (Akins & Binson, 2011). The informal education of Lanna music includes self-learning, musical training at the house of music masters, musical learning as part of communal activities and so forth.…”

Section: Introductionmentioning

confidence: 99%

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Paradigm for the development of a Lanna music curriculum in Higher Education in Northern Thailand

Pitupumnak

2018

MJM

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This article reviews the status of Lanna music in higher education, offering suggestions for the development of Lanna music in Northern Thai universities. The researcher adopts a phenomenological method, utilising data from a number of interviews (N=20) and observations. The results suggest that Lanna music in higher education plays a significant role in shaping the cultural identity of the community. This unique style of music is often taught as a core area of study, as an extension to existing music curricula, or is being offered elsewhere as a general subject of study pursued by non-music students. In the development of Lanna music curricula, the main objective is to sustain musical traditions, musical creativity and to promote professionalism in performance. The curriculum needs to consider the readiness of the elements, especially those pertaining to culture and community, which form the foundation of knowledge. The curriculum should develop learners on the basis of their interests and potentials and promote a local program which is attentive to local contexts. Finally, the curriculum should consider the diversity of culture and needs of the community.

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Section: Lanna Music As a General Subjectmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Paradigm for the development of a Lanna music curriculum in Higher Education in Northern Thailand

Pitupumnak

2018

MJM

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Traditional Musics in the Modern World

Leung

2018

Traditional Musics in the Modern World: Transmission, Evolution, and Challenges

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Performing Silat in Malaysian diasporic communities in Australia: a cultural heritage analysis of identities, performance and self

Affifudin¹

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Malaysian students who come to study in Australia have been organising cultural festivals for more than 20 years. These festivals host cultural heritage performances that represent the various ethnicities found in the Malaysian homeland. However, very little is known about the way these diasporic performances differ from those in the homeland, and whether any differences could jeopardise the Malaysian identities they are supposed to represent. I investigate the role of intangible cultural heritage performances in developing a sense of identity amongst diasporic communities by focusing on the performance of the martial art of Silat in three Malaysian festivals in Australia. The martial art of Silat is acknowledged in Malaysia as both a Malay cultural heritage and a Malaysian national heritage. Silat contains the typical fighting skills and strategies that can be found in other martial arts. However, the culture of Silat has also the element of performance. In Malaysia, Silat is traditionally performed either in private or public contexts. As a Silat practitioner, I have personally experienced performing Silat in my homeland, Malaysia, and in the diasporic context of Australia. Festivals have become key events for diasporic and multicultural communities to represent and accentuate their cultural identities. In the absence of tangible heritage objects and monuments, diasporic communities have relied on intangible cultural heritage to connect with their homeland, as well as to negotiate their own self-identities in their diasporic settings. Malaysian migrants and temporary students in Australia have both contributed to the representation of their national and ethnic identities through festivals, such as the Fiesta Malaysia in Melbourne; the Citra Malaysia in Brisbane; and the Malaysia Festival in Sydney. Using participant observation in Melbourne, my own participation as a Silat performer in Sydney and Brisbane, and numerous interviews with other performers, audience members, and festival organisers, I investigate how the performance of Silat in Malaysian festivals reflects the diasporic and multicultural identities of Malaysian communities in Australia. I demonstrate that negotiations between the different stakeholders are very significant in establishing the representation of identities through intangible cultural heritage performances. Diasporic cultural festivals also allow various performers to negotiate their ideas and skills, and fuse them in order to produce distinct cultural heritage performances. I conclude that Silat performances in Australia are not the same as those in the homeland. Despite the differences, I argue that heritage performances in the diaspora can still be considered as 'authentic' Malay and Malaysian heritage. I discuss these results using the concepts of performance, authenticity and identity within a cultural heritage methodological paradigm. iii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person e...

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Transmission of traditional Lanna music in Chiang Mai: Continuity and change in a contemporary urban environment

Cited by 3 publications

References 7 publications

Paradigm for the development of a Lanna music curriculum in Higher Education in Northern Thailand

Paradigm for the development of a Lanna music curriculum in Higher Education in Northern Thailand

Traditional Musics in the Modern World

Performing Silat in Malaysian diasporic communities in Australia: a cultural heritage analysis of identities, performance and self

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