THAILAND 🇹🇭 | "Nang Hai" & "Mak-Kub-Kab" Isan traditional dance

"Nang Hai" & "Mak-Kub-Kab" in Isan cultural performing arts.

"นางไห: Nang Hai" and Ram Deed Hai.

It was found that the musical band culture in the North Isan influenced by Laos is the combination between the musical instruments made by folk wisdom and the popular traditional music as nowadays we call Pong Lang band.

Ram Deed Hai first appeared in 1985. Afterwards, it has been changed from using a male jar player to a female jar player.

✦ Niya (Cherdchu) Rangsena, a second year high level student of Kalasin College of Dramatic Arts (วิทยาลัยนาฏศิลปกาฬสินธุ์) at that time, invented the performance of Ram Deed Hai in order to attract the audience. Two institutes that sent the performance in the event promoting Isan culture (held by the Tourism Authority of Thailand) were Roi-Et College of Dramatic Arts (วิทยาลัยนาฏศิลปร้อยเอ็ด) and Kalasin College of Dramatic Arts (วิทยาลัยนาฏศิลปกาฬสินธุ์).

As all performers were females, this outstanding piece was then widely appreciated. Later, the musical instruments have been developed to include the acoustic lute and the bass lute which produced the fine melody. The role of the jar’s sound then was reduced so the jar players didn’t need to stick their posture to the melody production.

This made Nang Hai (female jar player) can move freely in many postures and made the show more interesting. Nang Hai became the leading role of the band from then on. 📌

The essence of Ram Deed Hai is the dance with non-regulation of dramatic elements but maintaining the main dramatic structure. The performers have to focus on the hip movement based on Thai classical dance and Thai Isan folk dance. They also have to understand the rhythm and the musical structure as well as invent the improvisational movement according to other elements.

The performers should produce the creativity and the identity in their postures such as Jeeb alternating with Tangwong, beckoning or sprinkling fingers, crossing hands playing jars and lifting jars in many postures.

For legs and feet movement, it includes lowering the knees, dragging the feet, lowering and stretching the legs while kicking the feet in accordance with the hip and head movement, releasing the weight to the legs to stably support the postures of leaning back, slanting and twisting the body.

The performers can change their posture and reduce pains and aches during the change of rhythm by moving thoroughly the stage such as walking up and down, walking around the jars, dancing with the musicians (Nai Kro: นางเกราะ and Mo Kan: หมอแคน) who are flirting with them, and dancing accompanied by Pong Lang, Isan folk band. For the costume, they use traditional materials.

ไหซอง: The jars are mostly decorated with the fabrics similarly to the flowers or painted into many coloring designs. The structure of Ram Deed Hai became the essence for the choreographer to further create the performance of Ram Deed Hai in Thai Isan folk dance and various Thai contemporary dance styles in the present.

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✦ “หมากกั๊บแก้บ: Mak-Kub-Kab” is a percussion instrument made of hardwood and featured in 2 varieties: short and long. Its history has not been evidently documented.
The performance has no fixed pattern, depending on more occasions and the performers’ wits and improvisation.

Mak-Kub-Kab is a percussion instrument used as part of the rhythm section in performances in Isan. A preliminary survey has indicated that it is played to accompany Mor Lam performances called “Mor Lam Kub Kab”(Charoenchai Chonphairot, 1983), to accompany Nang Pramothai performances, to accompany a Pong Lang band, and to be part of Nang Hai performances.

Mak-Kub-Kab is an ancient performance with no evident record of its history.
At present, Mak-Kub-Kab can be performed locally on all occasions and in all places, generally in traditional festivals for merit-making in Isan.
Mark-Kub-Kab acts as a colorful rhythm section whose performers can be both male and female.

Although it was originated at a local level with no fixed performance pattern, Mark-Kub-Kab has started to play a more prominent role as an established performance, and its movements have recently been documented more clearly and systematically as a performing art.

✦ Nowadays, Mark-Kub-Kab is very popular in Isan folk bands, especially in Pong Lang bands where it is performed together with Nang Hai. In addition, it is performed in other types of performances as mentioned earlier, but the contexts and details of those performances are still unclear.
Due to its significance shown above, the researchers were interested in studying Mak-Kub-Kab in the Isan culture in terms of its history and roles in folk performances.

 

✦ Also, Mark-Kub-Kab features in Mor Lam Plern and Pong Lang performances. In the culture of Pong Lang performances, Mark-Kub-Kab is featured in 2 phases.

The first phase is the Mark-Kub-Kab Lam Plern performance in the form of a Pong Lang performance (Roi Et College of Dramatic Arts) derived from the old concept of Mark-Kub-Kab in the Mor Lam Plern performance by Sao Noi Phet Ban Phaeng Group.

The second phase is the latest development of Mark-Kub-Kab in a Pong Lang band featuring the performance of the instrument together with that of “Nang Hai”. This type of performance is the most popularPong Lang performance of today’s time.

Mark-Kub-Kab is rarely played with other instruments as part of a musical ensemble. Its main purpose now is to feature in a show.

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