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Performing Arts Domain
Intellectual Cultural Heritage
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4. Pi Phat Duekdamban ensemble
First created during the reign of King Rama V
by HRH Prince Naritsara Nuwattiwong in 1898.
The Pi Phat Duekdamban ensemble was conceived to
accommodate the newly emerged type of musical
drama - a hybrid of Lakhon Nai and the Western opera
- which was devised by Chao Phraya Thewetwongwiwat
(Mom Ratchawong Lan Kunchon). As the venue
for the new type of musical drama, Chao Phraya
Thewetwongwiwat bui l t a new theat re hal l
wh i ch he named “Duekdambam Theat re” .
The name caught on and was applied also to the
new type of the musical drama and the ensemble.
Pi Phat Duekdamban ensemble comprises Ranat Ek,
Ranat Thum, Khong Wong Yai, Ranat Thum Lek, Khlui
Phiang O, Khlui U, So U, Ta-phon, Klong Ta-phon,
seven Khong Hui, and a pair of Ching.
5. Pi Phat Nang Hong ensemble
The Pi Phat Nang Hong
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ensemble was conceived
specifically for woeful occasions. It is a combination
of the Pi Phat ensemble and the Bua Loi ensemble
which features a Pi Chawa, two Klong Malayu,
a Khong Meng. The name “Bua Loi” comes from the fact
that the Phleng Rua Sam La tune in the Phleng Pra-khom
suite is always followed by the Bua Loi tune before
other tunes will be played. Pi Phat Nang Hong therefore
includes the Pi Chawa and the Klong Malayu from
the Bua Loi ensemble, but excludes the Khong Meng;
whi le some inst ruments that are typical of
the Pi Phat ensemble, namely Pi Nai and Ta-phon,
are also excluded, although Klong That is still used
in the Pi Phat Nang Hong ensemble in several
regions of the country. The name “Nang Hong”
comes from the fact that the performance custom
prescribes that the Phleng Rueang Nang Hong (a tune
with unique rhythmic pattern called Nang Hong) must
be played.
6. Pi Phat Mon ensemble
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This sub-type mixes some musical instruments
from the Pi Phat Mai Khaeng ensemble - Ranat Ek,
Ranat Thum, Ranat Ek Lek and Ranat Thum Lek - with
some of those of the Mon ethnic group - Pi Mon,
KhongMonWong Yai, KhongMonWong Lek, Ta-phonMon,
Poeng Mang Khok, and three Mong. The percussion
section comprises Ching, Chap Lek, Chap Yai ,
and Krap. The performance custom follows that
of the Thai traditional music. The ensemble can play
at various occasions. It features at the festivals and
auspicious ceremonies of the Mon Thai people.
It can perform as an accompaniment to singing in
a conce r t and L i - ke pe r f o rmance . I t can
play at woeful occasions such as at funerals when the
Buddhist monks deliver the funeral chant and at
cremation ceremonies.
Today, Pi Phat ensemble has become less popular
because of the changes in social values and people
today hardly hire a Pi Phat ensemble. The sub-types
such as the Pi Phat Mai Khaeng, Phi Phat Se-pha, Pi Phat
Duekdamban, and Pi Phat Nang Hong have become
rarities. In some instances, the Government agencies
and theprivate sector support the formation, andorganize
educational demonstrations, of these ensembles.
However, these instances are not brought forth through
a cultural process or folk way. As an intellectual cultural
heritage, Pi Phat ensemble therefore warrants urgent
safeguarding and proper management.