Mor lam
Mor lam (Thai/Isan หมอลำ) is an ancient Lao song form of Laos and Isan (Northeastern Thailand). Mor lam means expert song, or expert singer, referring to the music or artist respectively. Other romanisations used include maw lam, maw lum, moh lam and mhor lum. In Laos, the music is known as Lao lam.
Traditionally mor lam was extemporaneous singing accompanied by the khene, a free reed mouth organ, but the modern form is most often composed and uses electrified instruments. Musically it is characterised by quick tempi and rapid delivery.
As well as the usual theme of unrequited love, mor lam reflects the difficulties of life in rural Isan and Laos, leavened with wry humour. The music has gained a profile outside its native regions thanks to the spread of migrant workers, for whom it remains an important cultural link with home.
Development
Some scholars have proposed that the origin of the form was in shamanistic chants: one variant, the lam phi fah, involves elderly women dancing and chanting to propitiate spirits. Other varieties have similarities to Central Thai lam tad, suggesting that lam is a formalized courting rite. One of the most popular styles of traditional mor lam, mor lam glawn, is a vocal "battle" between a man and a woman, who alternately improvise songs teasing and mocking one another (cf. the Rap Olympics). Other traditional forms are: mor lam mu (folk opera); mor lam soeng, for a dance ensemble; and lam phun, in which a male singer recites local legends or stories from the Jataka. Lam in Laos is more traditional than in Thailand, where it has evolved more under greater exposure to Central Thai luk thung and to western pop music. Even in Laos, however, the music is beginning to change under the influence of Thailand. Mor lam sing is the newest version: it prominently features electrified instruments and bawdy content and presentation.
Performance
After Siam extended its influence over Laos in the 18th and 19th centuries, the music of Laos began to spread into the Thai heartlands, even King Mongkut's vice-king Pinklao becoming enamoured of it. In 1865 however, following the vice-king's death, Mongkut banned public performances, citing the threat it posed to Thai culture and its role in causing drought.
Thereafter performance of mor lam was a largely local affair, confined to events such as festivals in Isan and Laos. However as Isan people began to migrate to the rest of the country, the music spread with them. In 1946 a performance took place at the Rajdamnoen Boxing Stadium in Bangkok which was first advertised by sound trucks. Migrant Lao, upon hearing their music, followed the trucks to the stadium where nearly three thousand people heard the performance.
Even then, the number of migrant workers from Isan remained fairly small, and mor lam was paid little attention by the outside world. This began to change in the late 1970s and early 1980s, when more and more people left Isan in search of work. Mor lam performers began to appear on television, and the genre soon gained a national profile. The music remains an important link to home for Isan people in the capital, where mor lam clubs and karaoke bars act as meeting places for migrants.
Live performances are often large-scale events, involving several singers, a dance troupe and comedians. The dancers (or hang khreuang) in particular often wear spectacular costumes, while the singers may go through several costume changes in the course of an evening.
Characteristics
Music
The vocal line is characterized by staccato articulation and a great tonal range, the singer rapidly shifting between a limited number of notes. There are sudden tempo changes from the slow introduction to the faster main section of the song. Almost every mor lam song features the following bass rhythm, which is often ornamented melodically or rhythmically, such as by dividing the crotchets into quavers:
Instruments
The traditional instruments of mor lam are:
- the khene: a mouth pipe organ, consisting of around fourteen bamboo tubes above a mouthpiece;
- the phin: a lute, normally three-stringed;
- the ching: small bells resembling cymbals;
- the sor: a bowed string instrument;
- panpipes; and
- hand drums.
Most commercial artists now use at least some electric instruments, most often a keyboard set up to sound like a 1960s Farfisa-style organ; electric guitars are also common. Other western instruments are also becoming popular, such as the saxophone and the drum kit.
Sections
There are four main sections to a mor lam song, although not all appear in every song:
- The talk section consists of words spoken to a bare accompaniment; it is relatively uncommon (sample).
- The gern is a slow, sung introduction, generally accompanied by the khene, and often including the words o la naw ("oh fate") (sample).
- The lam is a rap-style chorus (sample).
- The plaeng is a sung verse (sample).
The samples are in Ogg format. The first is from Tolasap Jaak Faen Gao by Banyen Rakgan, and the remainder from Peemai Jaisalai by Dokfa Petcharaphupan.
Content
Mor lam songs are most often in the Lao or Isan language, or in a mix of Isan and Thai. As in most popular musics, unrequited love is a prominent theme in mor lam. However, this is laced with a considerable amount of humour, as in song titles such as Rock Salaeng's I Want to Get a Foreign Husband, and Jintara's Jeans that Belong to the Past. Many songs feature a loyal boy or girl who stays at home in Isan, while his or her partner goes to work as a migrant labourer in Bangkok and finds a new, richer lover.
Recordings
As few mor lam artists write all their own material, many of them are extremely prolific, producing around four albums each year. Major singers release their recordings on audio tape, CD and VCD formats. The album may take its name from a title track, but others are simply given a series number.
Mor lam VCDs can also often be used for karaoke. A typical VCD song video consists of a performance, a narrative film, or both intercut. The narrative depicts the subject matter of the song. In some cases, the lead role in the film is played by the singer. In the performance, the singer performs the song in front of a static group of dancers, normally female. There may be a number of these recordings in different costumes, and costumes may be modern or traditional dress. The singer often wears the same costume in different videos on the same album. The performance may be outdoors or in a studio; studio performances are often given a psychedelic animated backdrop.
Videos from Laos tend to be much more basic, with lower production values.
Some of the most popular current artists are Banyen Rakgan, Chalermphol Malaikham, Jintara Poonlarp and Siriporn Ampaipong. 2001 saw the release of the first album by Dutch singer Christy Gibson.
Further reading
- Broughton, Simon (ed). World Music Volume 2. Rough Guides (2000).