Sawasdee
Every culture has its form of greeting, a way to introduce oneself or to pay formal respects to an elder. In most cases in the western world, the greeting is a handshake, although Russia, of course, drops its 'Iron Hand' when it comes to greetings when people kiss and hug each other warmly. This is probably due to the climate, a friendly embrace being necessary to keep each other warm during the introductions. The Eskimos rub noses as that is the only part of the anatomy that is not covered by layers of polar Bear Hide, while the Maori of New Zealand charge at their guest with spears while pulling faces - a show to frighten off those whose intentions are not genuine. However the act is so amusing that most people fall about laughing at the spectacle, thereby breaking the ice and making the introduction much more enjoyable. And so it goes around the world. In Thailand, the ceremony is far more complex because the traditional form of greeting is both formal and polite with the precise degree of respect conveyed in the expression.
Known as the "Wai", the greeting is actually both warm and charming, especially when accentuated with that magical smile that is so famous in this mystical land. In general, the Wai is performed by joining the hands at the palms and raising them to a position somewhere between the chest and forehead. One should be aware of the status of the person being 'wai-ed' for the exact position of holding the palms. Good friends would position the palms somewhere in the chest area because they are equals and know each other well. The opposite of that is when wai-ing Buddha images, when the palms, cupped in the shape of a lotus blossom would be brought all the way to the forehead while bowing the head. This can be done in a number of ways, standing for example, while walking past a Buddhist temple or from a kneeling position when in the temple. Kneeling is much more formal and comprises of three sets of wais, bowing the head all the way to the floor on each occasion. This form of paying respect is also used when wai-ing the deceased; standing while a procession passes, or kneeling if the deceased is laid out, however the wai would only be performed once.
Within the family, the wai is extreme to say the least. Young children wai their parents bringing the palms all the way to the forehead as a sign of respect and obedience. As they get older the wai will be come less extreme... but not by much. And of course, the parents do not return the wai. School is much like home, a place of learning and discipline, consequently children will wai their teachers as they wai their parents and same goes for employees when meeting their employer and the Thai of all ages and rank respectfully wai to monks. In all cases (the teacher, the employer and the monk) the wai will never be returned. In informal gatherings of equals, the wai will also be performed, everyone wai-ing each other but in a relatively casual way, the palms being positioned somewhere in the chest area. This is similar to western high society where ladies will greet each other with a peck on the cheek while the men either pat a shoulder or offer a brief handshake.
The wai is taken very seriously among the Thai that is, and from this brief description you will realize the awkwardness that will be suffered by a Thai who incorrectly wais. However as a visitor you will not offend any Thai when making a wai when meeting a Thai. The Thai are very pleased when visitors make the effort to participate in their traditions, be it performing a wai greeting, or quietly observing a ceremony in a temple. It is perfectly acceptable for foreigners to shake hands when greeting the Thai as well. A nod of the head in a slight bow is also an acceptable response to a wai from, say a waiter or the doorman at the hotel.
Of course, if you are Russian, then you may try a couple of kisses on the cheek and you will probably get away with it, but go easy on the hug. The Thai are generally smaller than the average Westerner. Likewise, the Eskimos among you could risk a quick rub of noses but again, the Thai nose is generally smaller and you could get so close before touching that it would become a kiss. And of course it is possible that a Maori warrior could not get a visa because he would truly frighten the Thai consul as the Thai are extremely wary of things that resemble 'pii' (ghosts and demons).
Oh yes, I nearly forgot ... The Wai means "Hello" but it also means "Goodbye"
Known as the "Wai", the greeting is actually both warm and charming, especially when accentuated with that magical smile that is so famous in this mystical land. In general, the Wai is performed by joining the hands at the palms and raising them to a position somewhere between the chest and forehead. One should be aware of the status of the person being 'wai-ed' for the exact position of holding the palms. Good friends would position the palms somewhere in the chest area because they are equals and know each other well. The opposite of that is when wai-ing Buddha images, when the palms, cupped in the shape of a lotus blossom would be brought all the way to the forehead while bowing the head. This can be done in a number of ways, standing for example, while walking past a Buddhist temple or from a kneeling position when in the temple. Kneeling is much more formal and comprises of three sets of wais, bowing the head all the way to the floor on each occasion. This form of paying respect is also used when wai-ing the deceased; standing while a procession passes, or kneeling if the deceased is laid out, however the wai would only be performed once.
Within the family, the wai is extreme to say the least. Young children wai their parents bringing the palms all the way to the forehead as a sign of respect and obedience. As they get older the wai will be come less extreme... but not by much. And of course, the parents do not return the wai. School is much like home, a place of learning and discipline, consequently children will wai their teachers as they wai their parents and same goes for employees when meeting their employer and the Thai of all ages and rank respectfully wai to monks. In all cases (the teacher, the employer and the monk) the wai will never be returned. In informal gatherings of equals, the wai will also be performed, everyone wai-ing each other but in a relatively casual way, the palms being positioned somewhere in the chest area. This is similar to western high society where ladies will greet each other with a peck on the cheek while the men either pat a shoulder or offer a brief handshake.
The wai is taken very seriously among the Thai that is, and from this brief description you will realize the awkwardness that will be suffered by a Thai who incorrectly wais. However as a visitor you will not offend any Thai when making a wai when meeting a Thai. The Thai are very pleased when visitors make the effort to participate in their traditions, be it performing a wai greeting, or quietly observing a ceremony in a temple. It is perfectly acceptable for foreigners to shake hands when greeting the Thai as well. A nod of the head in a slight bow is also an acceptable response to a wai from, say a waiter or the doorman at the hotel.
Of course, if you are Russian, then you may try a couple of kisses on the cheek and you will probably get away with it, but go easy on the hug. The Thai are generally smaller than the average Westerner. Likewise, the Eskimos among you could risk a quick rub of noses but again, the Thai nose is generally smaller and you could get so close before touching that it would become a kiss. And of course it is possible that a Maori warrior could not get a visa because he would truly frighten the Thai consul as the Thai are extremely wary of things that resemble 'pii' (ghosts and demons).
Oh yes, I nearly forgot ... The Wai means "Hello" but it also means "Goodbye"
The flag
The flag of Siam was originally a white elephant on a red background. However, in 1916 King Vajravudh was touring a flooded region and saw the flag flying upside down as a distress signal. Since he didn't like the idea of the national flag being used in that way, he designed a new flag that was symmetrical and would not look different if turned from top to bottom. The new flag was adopted 28 September 1917. The only country in Southeast Asia to remain independent during the colonial period, and until 1939 officially known as "Siam" (now Muang Tai, "Land of the Free," or Pratet Tai, "Free Kingdom"), Thailand has been strongly influenced by both China and India but is fundamentally a sub-Indian civilization, based on Buddhism and using a version of the Devanagari (Sanskrit) alphabet, adapted from Cambodian. A Buddhist historical Era is still used in Thailand. In fighting with Vietnam for influence over Cambodia and Laos, the Vietnamese were not even regarded as properly Buddhist, because of the more Confucian basis of Vietnamese government. Nevertheless, Siam was more closely in contact with China than with India, has long been the home of a large Chinese community, and in 1575 even requested a new royal seal from China, to replace the one lost to the Burmese in 1569. So we really have a phenomenon of Indian and Chinese cultural spheres overlapping. It is noteworthy that both Laos and Cambodia were vassals of the original Bangkok kingdom but were lost to the French colonial empire in Vietnam.
Thai National Anthem
The National Anthem of Thailand was adopted on 10 December 1939. The melody was composed by Phra Jenduriyang (Peter Feit) and the words are by Luang Saranuprapan. Phleng Chat (Thai: เพลงชาติ), literally meaning "national anthem", is a general word for national anthem. Phleng Chat Thai (Thai: เพลงชาติไทย), Thailand's national anthem, is also used to refer to this specific song.
The anthem was composed a few days after the Poland, Poland Is Not Yet Lost, and was first broadcast in July 1932. The original lyrics were by Khun Wichitmatra.
In 1934, Thai Government launched the competitions for the official national anthem, both with music and lyrics. For the music, Jangwang Tua Patayakosol composed another tune in a more traditional style called "Phleng Maha Nimit" for making the decision to the government but they still selected Phra Jenduriyang's melody because it sounded more modern. After that, in the competition for the lyrics with Phra Jenduriyang's music, the original words by Khun Wichitmatra won the first prize and still used as an official lyrics with, however, a minor edit and an additional version which wrote by Chan Khamvilai and won the second prize
In 1939, when the name of the country was changed from Siam to Thailand, a competition was launched to create new lyrics, with those by Luang Saranuprapan winning. Prime minister Phibunsongkhram ordered the anthem to be played every day at 8.00 and 18.00, and ordering the populace to stand up to show respect for the nation. That law is still in force today. (listen)
English translation Thailand unites flesh and blood of Thais.Nation of the people; belonging to the Thais in every respect.Long maintained [has been] the independenceBecause the Thais seek, and love, unity.Thais are peace-loving;But at war we're no cowards.Sovereignty will not be threatenedSacrificing every drop of blood for the nationHail the nation of Thailand, long last the victory, Chai Yo (Cheers).
The anthem was composed a few days after the Poland, Poland Is Not Yet Lost, and was first broadcast in July 1932. The original lyrics were by Khun Wichitmatra.
In 1934, Thai Government launched the competitions for the official national anthem, both with music and lyrics. For the music, Jangwang Tua Patayakosol composed another tune in a more traditional style called "Phleng Maha Nimit" for making the decision to the government but they still selected Phra Jenduriyang's melody because it sounded more modern. After that, in the competition for the lyrics with Phra Jenduriyang's music, the original words by Khun Wichitmatra won the first prize and still used as an official lyrics with, however, a minor edit and an additional version which wrote by Chan Khamvilai and won the second prize
In 1939, when the name of the country was changed from Siam to Thailand, a competition was launched to create new lyrics, with those by Luang Saranuprapan winning. Prime minister Phibunsongkhram ordered the anthem to be played every day at 8.00 and 18.00, and ordering the populace to stand up to show respect for the nation. That law is still in force today. (listen)
English translation Thailand unites flesh and blood of Thais.Nation of the people; belonging to the Thais in every respect.Long maintained [has been] the independenceBecause the Thais seek, and love, unity.Thais are peace-loving;But at war we're no cowards.Sovereignty will not be threatenedSacrificing every drop of blood for the nationHail the nation of Thailand, long last the victory, Chai Yo (Cheers).
The Royal Family
The Chakkri dynasty has reigned in Thailand since 1782. At the dawn of the 20th century, the country then called Siam was ruled by King Chulalongkorn, who was the son of Mongkut the king portrayed by Yul Brynner in "The King and I." Chulalongkorn abolished slavery and otherwize modernized the country. He died in 1910 and was succeeded by two of his sons, one after the other first Vajiravudh and then, in 1925, Prajadhipok. In 1935 the throne passed to Prajadhipok's nephew Ananda Mahidol. When he died unexpectedly in 1946 (shot under unclear circumstances), his younger brother became king. That brother, Bhumibol Adulyadej, known as King Rama IX, is still alive and has reigned longer than any other living monarch, although his real power is limited. The king and his wife, Queen Sirikit, have been married since 1950. They have four children, Princess Ubol Ratana, Princess Maha Chakri Sirindhorn, Princess Chulabhorn and Crown Prince Maha Vajiralongkorn, who is heir to the throne.
The King's flag recently saw in Thailand was quite different from the royal standard in FOTW (Garuda on yellow background). The King's flag is his crown shape and his Thai character initial in red below on bit dark yellow. The shade of yellow is the same as of Thai Monks clothes or that used in the Sri Lankan flag.
The King's flag recently saw in Thailand was quite different from the royal standard in FOTW (Garuda on yellow background). The King's flag is his crown shape and his Thai character initial in red below on bit dark yellow. The shade of yellow is the same as of Thai Monks clothes or that used in the Sri Lankan flag.
The population
The Thailand has a population approximately of 61,000,000 of habitants, 75% belongs to the group ethnic thai, subdivided in four fundamental ethnic: thai of the center or siamese of the delta of chao phraya, thai lao of the northeast, thai pak, thai of thailand southern and thai of the north. Everyone speaks its dialects thai and possesses own customs. The thai people of chinese origin are 11% of the entire population, they are of the second or of the third generation, of the etnia hokkien (hakka), tae jiu or cantonese. In the north is present also a number rather numerous of than hui, chinese muslim who immigrated of the yunnan (china region) in thailand, about the end of the past century, for to escape to the ethnic and religious persecutions, during the dynasty ch'ing. The second large ethnic minority resident in thailand is that malese 3' 5%, remaining 10.5% of the population subdivided in smaller groups of languaged not thai, like the vietnamese, khmer, the mong, the samang, the moken or gipsy of the sea, the htin, the mabri, the khamu and a variety of approximately twenty nomad tribe that live on the mountains near Burma and Laos borders.
Thai language
The Thai script has, like many others, its deepest roots in the Brahmi writing. The direct predecessor was the so-called Pali Squared script. This was taken around 1283 under the reign of king Ram Khomheng of Sukhothai to develop the old Thai (Siamese) script, which has probably been heavily influenced by the Khmer alphabet. The alphabet has changed its style drastically during the centuries until finally resulting in the modern Thai alphabet, which exists in the current form since the 17th century. The oldest known document in Thai is a Buddhist cosmography called Traiphum that dates into the 14th century. The Thai alphabet consists of 44 consonant glyphs, two of which are no longer in use - they were abandoned for lack of space on the first Thai typewriter keyboards. Often several glyphs represent the same sound, a result of the phonetic change of the language: In earlier times they represented different sounds that later fell together and merged into one. The 44 characters thus encode a total of 21 different consonants. Eight of the characters appear exclusively in words of Pali or Sanskrit origin, but not in originally Thai words. At the end of a syllable not all the sounds are permitted, the only phonemes acceptable there are [k], [p], [t], [m], [n] and [N]. This means that all other consonants are changed into one of these sounds in final position. In addition to these characters there are four consonant-vowel-combinations. In order to help children learning the alphabet, the characters are usually called by their name followed by a word beginning with that consonant. All consonants include an inherent followed: [a] in monosyllabic words and the first syllable of disyllabic ones, [o] in the second syllable of disyllabic words. For the display of other vowels there exists a whole range of diacritical signs for simple vowels, diphthongs and even triphthongs. These are placed on all sides of a consonant; there are diacritics that sit above a consonant, others are put behind, below, before and in the case of some diphthongs even framing the consonant from front and back. Consonant clusters are considered as one entity, therefore in such a case one finds a "left-standing" vowel in writing two signs before the consonant behind which it is spoken. As Thai words can start with a vowel, but there are no independent characters for vowels, one of the consonant characters is a place-holder without a sound of its own that serves in such cases as "bearer" of the initial vowel. The Thai language disposes of five different tones that are marked in writing. However, this marking is done in quite a complex way: Every consonant bears one tone in an open syllable (ending on [m], [n], [N], or vowel), one in a closed syllable (ending on [p], [t], [k]) with a long vowel, and one in a closed syllable with a short vowel. These three tones can be partly the same ones, but are usually different. According to these tones the consonants are grouped into three classes called "high", "mid", and "low", representing the different "tone schemes". The mentioned consonant-vowel-combinations fall in none of the classes. In addition to that, there are tone marking diacritics for open syllables that change the "base tone" of the syllable as given by the consonant. The direction of the tone change is again a function of the consonant class. There are as well numeral characters for the ciphers, but the "Arabic" ciphers as used with the Latin alphabet are nowadays also widespread. The Thai script has no punctuation marks, but disposes of special characters that mark a word as abbreviated or repeated. Another character stands for "and so on". Thai letters are not connected to each other, and usually texts are written without spaces between words. A space marks normally the end of a phrase or clause, but it is also possible to write whole texts without any spaces. The high number of characters, the numerous possibilities for vowel positioning and the complicated tone marking make the Thai script relatively difficult to learn.
The local customs
The thai people are too much tolerant and jovial for expect that a foreign (farang) knows and respects their uses, but also can being of aid here to know that is o.k. and that is not o.k. the things that can irritate the thailandesi are the lack of respect for the monarchy, the king is untouchableand in past even he was considered sacred; is the protecting one of the nation and also i add master of ceremonies of all the buddhist rituals. To the symbols of its authority due the maximum respect. To speak about the real family is tabu'. To touch one currency or one banknote with the feet is a crime of lese majesty because on it is portray the king. Also the lacked respect of the buddhist religion and its symbols is considered annoying, we begin from the sacred symbols, like the representation of the buddha in whichever shape; treat with not deference is a serious sacrilege. It never does not have lean to a buddha statue, in the past some foreign were made to photograph seated on the head of one great statue of buddha, a double insult, because the head is considered the more sacred part of the body. In the temples (wat) every people must remove the shoes before entering in the building with the main image of buddha, of which the faithfuls seat on the pavement rendering homage, a woman is watched balefully if she enters in a temple, in short or with others parts of the body discovered. The monks are untouchable, a women do not have touch for no reason, she can't deliver they directly something, if happen that a woman must give something to a monk and there are not men in the vicinity, in order to make give through, the woman must to put the object on a table or the pavement and when she moved the monk pick-up the thing.
The thai people are too much tolerant and jovial for expect that a foreign (farang) knows and respects their uses, but also can being of aid here to know that is o.k. and that is not o.k. the things that can irritate the thailandesi are the lack of respect for the monarchy, the king is untouchableand in past even he was considered sacred; is the protecting one of the nation and also i add master of ceremonies of all the buddhist rituals. To the symbols of its authority due the maximum respect. To speak about the real family is tabu'. To touch one currency or one banknote with the feet is a crime of lese majesty because on it is portray the king. Also the lacked respect of the buddhist religion and its symbols is considered annoying, we begin from the sacred symbols, like the representation of the buddha in whichever shape; treat with not deference is a serious sacrilege. It never does not have lean to a buddha statue, in the past some foreign were made to photograph seated on the head of one great statue of buddha, a double insult, because the head is considered the more sacred part of the body. In the temples (wat) every people must remove the shoes before entering in the building with the main image of buddha, of which the faithfuls seat on the pavement rendering homage, a woman is watched balefully if she enters in a temple, in short or with others parts of the body discovered. The monks are untouchable, a women do not have touch for no reason, she can't deliver they directly something, if happen that a woman must give something to a monk and there are not men in the vicinity, in order to make give through, the woman must to put the object on a table or the pavement and when she moved the monk pick-up the thing.
Thai money
Thai unit of currency is the baht. One hundred satang equals 1 baht. Paper money is made in amounts of 10, 20, 50, 100, 500 and 1,000 baht. Coins are 1, 5 and and 10 baht pieces and also 25 and 50 satang. The king's face is pictured on the front of every coin and every bill. At the moment, it's about 41baht per 1 Euro.
Thai Rural Family
Perhaps the best way to comprehend Thai social values is to focus on its basic unit, the Family, and in particular the rural family in its typical village setting. Generations living under one roof, or at least under several roofs within the same compound; and it is here that the Thai child learns codes of behavior that will guide him throughout much of his later life, whether it is spent in the village or beyonds.
In a village, home is usually a simple wooden house rased on posts; domestic animals like buffalos, pigs, and chickens are kept below, and the family lives above, often in a single room. There is little privacy, though this is not as highly regarded as in Western countries, and the communal lift style instills a strong sense, of social harmony in which tact, compromise, and tolerance are essential. The father is regarded as the leader, but the mother also plays a significant role, particularly in the f amily finances.
The coastline of the East is being developed into the so-called Eastern Seaboard, which will be a center of industrial development in the future.
When small, children are treated permissively by various members of the family, which as likely as not will include grandparents and sometimes more distant relatives as well. Respect for elders is taught very early, however, and by the time a child walk s he is aware of his position in the family hierarchy, a distinction that applies not only to the relationship between parents and children but also to that between siblings of different ages. This same delineation of roles also applies to the wider worl d outside the family and will remain deeply ingrained throughout life, thus explaining the reluctance of younger Thais to oppose or otherwise confront a senior during their subsequent careers in business or government.
A sense of responsibility is also inculcated in early childhood. Each child is assigned certain duties according to age and ability-feeding livestock, leading the family buffalo to graze in nearby pastures, taking care of younger brothers and sisters w hile parents are at work in the fields. As they grow older, responsibilities increase and they are allowed to paticipate in family discussions, with their opinions taken into account when important decisions are made.
One of the prime responsibilities placed on children is that of taking care of parents in their old age, a prominent feature of the Thai concept of family. There is no felling of being inconveniened by this duty of caring for aged parents; on the contra ry, their acquired wisdom gives them an honored place in the household, and their counsel is actively sought in teaching their grandchildren and great-grandchildren to be responsible adults with the same traditional values.
Village Organization and Leadership
Beyond the family, the next larger unit of social organization is the village. Although there are regional variations in house styles and crop cultivations, and the setting may vary, in essence Thai villages are remarkably similar, revolving around well -defined climatic, religious, and farming seasons.
The typical village contains around 100 to 150 households, or an average of 500 to 700 inhabitants. The houses are nearly all simple wooden structures, elevated on stilts as protection against flooding and unwelcome animal intruders and also to improve air circulation. A small wooden granary, also on stilts, is often found beside the house, together with large earthenware jars in which rainwater is stored for drinking. Most villages now have electricity but water for washing and cooking comes from ca nals, rivers, or ponds, or, in the arid northeast, from communal wells.
On the village outskirts are the local school and the wat, or Buddhist monastery, sometimes adjacent to one another, sometimes at opposite ends of the village. The school is generally a simple wooden building, perhaps a single room where several classes are held simultaneously; an essential feature is the flagpole upon which the Thai flag is ceremoniously raised each school morning and lowered in the evening. The monastery, constructed and maintained largely through local donations and thus reflectiong the village's wealth, is often separated from the community by an open field to give the resident monks maximum privacy and seclusion for their relgious activities. This grassy expanse also serves as the village common, a place where children assemble t o play kickball and where local fetes are held.
The village is self-governing, led by an elected headman, or phu-yai-ban, who until recent years was always a man; since 1983, however, women have also been eleted to the position. A candidate is not affiliated with any political party but must be a lit erate Thai householder who has resided in the village at least six months and be at last 25 years old. If he retains the villagers'esteem, the phu-yai-ban can remain in the post until retirement at 60 through repeated reelections; by the same token, he c an be removed if he forfeits their respect.
The phu-yai-ban preserves the social harmony valued so highly by all Thais by skifully settling minor disputes, talking care to ensure that neither party feels cheated or loses face. In addition, he keeps the village birth and death records and acts as a spokesman for the community in negotiations with the government bureaucracy.
Administratively, neighboring villagers are organized into groups known as tambon which, depending on topography and population density, consist of two to 28 villages. The phu-yai-ban within each tambon elect one of themselves to be kamnan, or commune h ead-person. Thailand has nearly 5,000 tambon at present. The kamnan is chairman of a committee which often includes a government school headmaster, an agricultural extension worker, and sometimes a Health Department doctor or paramedic in charge of a lo cal clinic. It also contains at least two men selected by the nai amphoe (or district officer, who is the kamnan's immediate superior or appointed by the provincial governor.
This committee is responsible for deciding which villages should have new roads, irrigation budgets and health services, while the kamnan's main individual responsibilities are to see that justice prevails within the commune, to maintain records and stat istics, to help preserve peace, to assist in collecting taxes, and to act as the intermediary between the district officer and all village headpersons in his tambon.
The wat serves as a social center where villagers have both religious and recreadtional activities.
The wat is the focal point of the village, symbolizing the Buddhist religion and also acting as the major unifying element, particularly during festivals and merit-making ceremonies when it also becomes a social center for young and old alike. Abbots an d senior monks frequently enjoy more prestige and moral persuasion than the village head, and in times of personal crisis they are often the first whose advice is sought. Within the wat the abbot has absolute administrative, clerical, custodial, discipli nary, and spiritual responsibilities, and they determine the monastery's relationship with the village. If an abbot is scholarly, meditative, and retiring, the monastery is unlikely to concern itself much with mundane village affairs. On the other hand, if one is a dynamic personality he may make the wat a community center with a subtle but powerful influence on social action. Every young man in the village, before he starts his own family, will spend a period of study and reflection in the wat, thus i ncreasing the influence of Buddhism.
In a village, home is usually a simple wooden house rased on posts; domestic animals like buffalos, pigs, and chickens are kept below, and the family lives above, often in a single room. There is little privacy, though this is not as highly regarded as in Western countries, and the communal lift style instills a strong sense, of social harmony in which tact, compromise, and tolerance are essential. The father is regarded as the leader, but the mother also plays a significant role, particularly in the f amily finances.
The coastline of the East is being developed into the so-called Eastern Seaboard, which will be a center of industrial development in the future.
When small, children are treated permissively by various members of the family, which as likely as not will include grandparents and sometimes more distant relatives as well. Respect for elders is taught very early, however, and by the time a child walk s he is aware of his position in the family hierarchy, a distinction that applies not only to the relationship between parents and children but also to that between siblings of different ages. This same delineation of roles also applies to the wider worl d outside the family and will remain deeply ingrained throughout life, thus explaining the reluctance of younger Thais to oppose or otherwise confront a senior during their subsequent careers in business or government.
A sense of responsibility is also inculcated in early childhood. Each child is assigned certain duties according to age and ability-feeding livestock, leading the family buffalo to graze in nearby pastures, taking care of younger brothers and sisters w hile parents are at work in the fields. As they grow older, responsibilities increase and they are allowed to paticipate in family discussions, with their opinions taken into account when important decisions are made.
One of the prime responsibilities placed on children is that of taking care of parents in their old age, a prominent feature of the Thai concept of family. There is no felling of being inconveniened by this duty of caring for aged parents; on the contra ry, their acquired wisdom gives them an honored place in the household, and their counsel is actively sought in teaching their grandchildren and great-grandchildren to be responsible adults with the same traditional values.
Village Organization and Leadership
Beyond the family, the next larger unit of social organization is the village. Although there are regional variations in house styles and crop cultivations, and the setting may vary, in essence Thai villages are remarkably similar, revolving around well -defined climatic, religious, and farming seasons.
The typical village contains around 100 to 150 households, or an average of 500 to 700 inhabitants. The houses are nearly all simple wooden structures, elevated on stilts as protection against flooding and unwelcome animal intruders and also to improve air circulation. A small wooden granary, also on stilts, is often found beside the house, together with large earthenware jars in which rainwater is stored for drinking. Most villages now have electricity but water for washing and cooking comes from ca nals, rivers, or ponds, or, in the arid northeast, from communal wells.
On the village outskirts are the local school and the wat, or Buddhist monastery, sometimes adjacent to one another, sometimes at opposite ends of the village. The school is generally a simple wooden building, perhaps a single room where several classes are held simultaneously; an essential feature is the flagpole upon which the Thai flag is ceremoniously raised each school morning and lowered in the evening. The monastery, constructed and maintained largely through local donations and thus reflectiong the village's wealth, is often separated from the community by an open field to give the resident monks maximum privacy and seclusion for their relgious activities. This grassy expanse also serves as the village common, a place where children assemble t o play kickball and where local fetes are held.
The village is self-governing, led by an elected headman, or phu-yai-ban, who until recent years was always a man; since 1983, however, women have also been eleted to the position. A candidate is not affiliated with any political party but must be a lit erate Thai householder who has resided in the village at least six months and be at last 25 years old. If he retains the villagers'esteem, the phu-yai-ban can remain in the post until retirement at 60 through repeated reelections; by the same token, he c an be removed if he forfeits their respect.
The phu-yai-ban preserves the social harmony valued so highly by all Thais by skifully settling minor disputes, talking care to ensure that neither party feels cheated or loses face. In addition, he keeps the village birth and death records and acts as a spokesman for the community in negotiations with the government bureaucracy.
Administratively, neighboring villagers are organized into groups known as tambon which, depending on topography and population density, consist of two to 28 villages. The phu-yai-ban within each tambon elect one of themselves to be kamnan, or commune h ead-person. Thailand has nearly 5,000 tambon at present. The kamnan is chairman of a committee which often includes a government school headmaster, an agricultural extension worker, and sometimes a Health Department doctor or paramedic in charge of a lo cal clinic. It also contains at least two men selected by the nai amphoe (or district officer, who is the kamnan's immediate superior or appointed by the provincial governor.
This committee is responsible for deciding which villages should have new roads, irrigation budgets and health services, while the kamnan's main individual responsibilities are to see that justice prevails within the commune, to maintain records and stat istics, to help preserve peace, to assist in collecting taxes, and to act as the intermediary between the district officer and all village headpersons in his tambon.
The wat serves as a social center where villagers have both religious and recreadtional activities.
The wat is the focal point of the village, symbolizing the Buddhist religion and also acting as the major unifying element, particularly during festivals and merit-making ceremonies when it also becomes a social center for young and old alike. Abbots an d senior monks frequently enjoy more prestige and moral persuasion than the village head, and in times of personal crisis they are often the first whose advice is sought. Within the wat the abbot has absolute administrative, clerical, custodial, discipli nary, and spiritual responsibilities, and they determine the monastery's relationship with the village. If an abbot is scholarly, meditative, and retiring, the monastery is unlikely to concern itself much with mundane village affairs. On the other hand, if one is a dynamic personality he may make the wat a community center with a subtle but powerful influence on social action. Every young man in the village, before he starts his own family, will spend a period of study and reflection in the wat, thus i ncreasing the influence of Buddhism.
Thai Houses
The Thai house, like other houses in Southeast-Asia, is a wooden structure raised on posts. Over many centuries it has acquired its own unique style. The distinguishing marks are an elegantly tapering roof and various finials and decorations that differ regionally. While architectural features vary throughout the four cultural regions, Central Thailand, the North (Lanna), the North-East (Isaan), and the South, the method of raising a platform on poles is common to all parts of the country.
In the central
Most traditional Thai houses in the central plain that have survived to our time are similar and nonvaried in the main styles. The majority of them were built between some one hundred to one hundred and fifty years ago. They are known for high gabled roof, "panlom" or gabled roof panel, generously wide eaves, ample space underneath the house on stilts. Thai houses in the central plain come in different categories. Thai house for lone family unit, Thai house that does business on the dry land, residence for royal personages, and living quarters for Buddhist monks. Thai house in the central plain has its roof line oriented along east west direction. This is to cut down the amount of sun light into the main body of the house and at the same time obtain the maximum benefit of the cool winds.
In the nord
The Lanna or the northern people favor the valleys that are the river basins for settlement. The northern region which begins from Sukhothai all the way to Chiangmai and Chiangrai is dominated by mountains and rain forest. The year round climate is the coolest of all regions. The typical house in the north is rather well walled in with less space for windows, and ample space for platform known in the northern dialect as "toen". A shelf for a row of earthenware water jars is to be found on one side of the house. The walls tend to be slanted toward the eaves the main body of the house is usually surrounded by large open space. Close to the house, fruit bearing trees and "sompoi" known for its leaves that are used in the rites of the northern people are grown. Lanna house as a rule faces east with the roof ridge oriented along north south direction. The house is thus exposed to ample sunlight and at the same time protected from northern winds in the cool season. The house of the north falls into three main categories i.e. tied house (reuan kruang pook), hard wood house (reuan kruang sab or reuan mai jing or reuan katae) and the house in a mixed style between the traditional and the western ideas. Tied house represents the true tradition of the house of the northern people. Supporting posts and beams are in hard wood while the walls are made from juxtaposed bamboo slats. The roof cover itself is made from large leaves or reeds. Reuan kruang sab or reuan kalae to which similar to reuan krunag sab is built from hard wood introduced during the reign of King Rama V, the house in the mixed style between local and western is richly decorated with carved and cut wooden fleeces also known as the "sala nai" style.
In the northeast
Thai House of the northeast are built with due considerations for dryness, hot temperatures in the hot season and cool temperatures in the cool season. The geoeconomic conditions and believes also play their parts in the evolve of the house styles of the northeast. Early northeastern villages are relatively small and widely scattered over the entire region. The passage of time sees rice farmer families numbering from 100 to 400 gradually gather to from bigger villages. The typical village is crisscrossed by walkways along the length and width of the village dividing it into groups or "koom". Each koom is given a name for the purpose of record and registration. There are to be found in a village, a school a rice mill and a village court of law and a reservoir. The layout of the houses in each koom gives no hint of symmetry or systematic planning. The orientation of the roof of each house is invariably along the east west direction. The space between one house and the next is not fixed, but on the average about four meters. Most if not all houses are without fences. Each house is accompanied by a granary built close to the house either to the north or south of the house. The average house is designed for a single family. The house plan is simple consisting of a bed room, corridor, a kitchen, and a shelf for shoring water. Some houses may have "ruan kong" added ti the main house. Ruan Kong is a hall room built opposite to the bedroom. Most houses have no partitions and assigned areas are not clearly marked off one another.
In the south
Thai houses in the south are quite similar to those found in other regions of the country. There are ruan kruang pook (tied house), ruan kruang sab (wooden house) both of which have undergone development which gives the southern people the cement brick house. Their peculiarities are supporting posts resting on stone slabs to prevent termites attack, and dampness from the ground seeping through. The space under the house is rather generous while the roof is set rather low. This design makes the house better withstand strong winds and rains. The slant of the extended roof allows rain water to run off the roof quickly and help the roof to get dry quickly also. The alignment of the supporting posts and the walls are slanted inwards. The style known as "Elephant in a urinating posture" is thought to make the house absorb the impacts of strong winds more effectively, permits easy ventilation and at the same time protect the ground under the house from collecting an excessive amount of rain water. The walls are made of wooden boards arranged in such a way that the upper board overlaps the lower one to prevent rainwater running through the wall on the inside of the house. Thai house of the southern region has its longer side oriented in the east to west direction known in the dialect as "pluk baan loi wan" meaning setting the along the south to north direction. Doing so would expose the house to full sun light almost half a day and also to strong winds which are liable to blow from east to west directions. The alignment of the granary is the opposite of that of the house. By setting the longer side of the granary along the north south direction, the paddy in the granary will get all sun light it needs to get dry. The granary of cause is more sturdily built than a regular house. Thai house in the south is built as a single unit for one family's living. When the family grows large, another house is built along the main house together with a platform linking the two houses into a single unit. The platform area of Thai house in the south is small an narrow compared with the same of Thai houses in other regions. This is probably due to frequent rains in the south and narrow or small platform helps one to move from one house to other in as short a time as possible and hence get least wet. In some areas of the south, brick work or even an earth mound is built to the level of the platform and use for growing flowers or small plants such as promagrenade, orange lime, vegetable or perfume wood plants. The roofs of Thai house in the south come in four major styles i.e. gabled, "panyah" "kabranoh" and manila.
In the central
Most traditional Thai houses in the central plain that have survived to our time are similar and nonvaried in the main styles. The majority of them were built between some one hundred to one hundred and fifty years ago. They are known for high gabled roof, "panlom" or gabled roof panel, generously wide eaves, ample space underneath the house on stilts. Thai houses in the central plain come in different categories. Thai house for lone family unit, Thai house that does business on the dry land, residence for royal personages, and living quarters for Buddhist monks. Thai house in the central plain has its roof line oriented along east west direction. This is to cut down the amount of sun light into the main body of the house and at the same time obtain the maximum benefit of the cool winds.
In the nord
The Lanna or the northern people favor the valleys that are the river basins for settlement. The northern region which begins from Sukhothai all the way to Chiangmai and Chiangrai is dominated by mountains and rain forest. The year round climate is the coolest of all regions. The typical house in the north is rather well walled in with less space for windows, and ample space for platform known in the northern dialect as "toen". A shelf for a row of earthenware water jars is to be found on one side of the house. The walls tend to be slanted toward the eaves the main body of the house is usually surrounded by large open space. Close to the house, fruit bearing trees and "sompoi" known for its leaves that are used in the rites of the northern people are grown. Lanna house as a rule faces east with the roof ridge oriented along north south direction. The house is thus exposed to ample sunlight and at the same time protected from northern winds in the cool season. The house of the north falls into three main categories i.e. tied house (reuan kruang pook), hard wood house (reuan kruang sab or reuan mai jing or reuan katae) and the house in a mixed style between the traditional and the western ideas. Tied house represents the true tradition of the house of the northern people. Supporting posts and beams are in hard wood while the walls are made from juxtaposed bamboo slats. The roof cover itself is made from large leaves or reeds. Reuan kruang sab or reuan kalae to which similar to reuan krunag sab is built from hard wood introduced during the reign of King Rama V, the house in the mixed style between local and western is richly decorated with carved and cut wooden fleeces also known as the "sala nai" style.
In the northeast
Thai House of the northeast are built with due considerations for dryness, hot temperatures in the hot season and cool temperatures in the cool season. The geoeconomic conditions and believes also play their parts in the evolve of the house styles of the northeast. Early northeastern villages are relatively small and widely scattered over the entire region. The passage of time sees rice farmer families numbering from 100 to 400 gradually gather to from bigger villages. The typical village is crisscrossed by walkways along the length and width of the village dividing it into groups or "koom". Each koom is given a name for the purpose of record and registration. There are to be found in a village, a school a rice mill and a village court of law and a reservoir. The layout of the houses in each koom gives no hint of symmetry or systematic planning. The orientation of the roof of each house is invariably along the east west direction. The space between one house and the next is not fixed, but on the average about four meters. Most if not all houses are without fences. Each house is accompanied by a granary built close to the house either to the north or south of the house. The average house is designed for a single family. The house plan is simple consisting of a bed room, corridor, a kitchen, and a shelf for shoring water. Some houses may have "ruan kong" added ti the main house. Ruan Kong is a hall room built opposite to the bedroom. Most houses have no partitions and assigned areas are not clearly marked off one another.
In the south
Thai houses in the south are quite similar to those found in other regions of the country. There are ruan kruang pook (tied house), ruan kruang sab (wooden house) both of which have undergone development which gives the southern people the cement brick house. Their peculiarities are supporting posts resting on stone slabs to prevent termites attack, and dampness from the ground seeping through. The space under the house is rather generous while the roof is set rather low. This design makes the house better withstand strong winds and rains. The slant of the extended roof allows rain water to run off the roof quickly and help the roof to get dry quickly also. The alignment of the supporting posts and the walls are slanted inwards. The style known as "Elephant in a urinating posture" is thought to make the house absorb the impacts of strong winds more effectively, permits easy ventilation and at the same time protect the ground under the house from collecting an excessive amount of rain water. The walls are made of wooden boards arranged in such a way that the upper board overlaps the lower one to prevent rainwater running through the wall on the inside of the house. Thai house of the southern region has its longer side oriented in the east to west direction known in the dialect as "pluk baan loi wan" meaning setting the along the south to north direction. Doing so would expose the house to full sun light almost half a day and also to strong winds which are liable to blow from east to west directions. The alignment of the granary is the opposite of that of the house. By setting the longer side of the granary along the north south direction, the paddy in the granary will get all sun light it needs to get dry. The granary of cause is more sturdily built than a regular house. Thai house in the south is built as a single unit for one family's living. When the family grows large, another house is built along the main house together with a platform linking the two houses into a single unit. The platform area of Thai house in the south is small an narrow compared with the same of Thai houses in other regions. This is probably due to frequent rains in the south and narrow or small platform helps one to move from one house to other in as short a time as possible and hence get least wet. In some areas of the south, brick work or even an earth mound is built to the level of the platform and use for growing flowers or small plants such as promagrenade, orange lime, vegetable or perfume wood plants. The roofs of Thai house in the south come in four major styles i.e. gabled, "panyah" "kabranoh" and manila.
Thai Traditional Literature
Thai Traditional Literature is essentially religious. Most of the literature in the old days consisted of works on Buddhism and Hinduism directly or indirectly. Whatever culture the Thai people brought with them from thier homeland in Southern China where they had been in contact with Chinese culture for centuries was adapted to its later conception of Buddhism, their adopted religion. Traces of their original culture may be found here and there in a disguised and weak form embedded in their literature. Most of the works of emotive literature were written in veerse in various patterns. Five prominent examples of such works may be cited briefly.
The Romance of Khun Chang Khun Phaen, an indigenous story of love and pathos, at time humourous, of a triangular love plot of one heroine with two lovers. The story, apart from its beautiful expressions, contains a mine of infomation on old beliefs and social customs of the Thai before the impact of Western culture. The story as is known has been traslated into English and French.
Ramakian (or Ramakirti in transliteration) is the story based on the famous Indian epic, Ramayana. It is unique, containing many episodes and details which are not to be found in the original epic, but showing traces of contact with certain versions of the Ramayana in India, Malaysia, Java and Cambodia. There is an English translation.
The Romance of Inao. This is a translation from the well-known storty of adventures of the national Javanese hero prince. It is written in a refined and perfect style of the Thai Language and meant for dramatic performance.
Sam Kok.This is a translation from San Kuo Chi, a Chinese historical romance of the Three Kingdoms. Unlike the three preceeding ones, it is written in prose with perfect expressions of style of the language.
Phra Aphai Mani. This is a romantic tale written in verse by one of the most famous and popular poets of Thailand. It is an imaginary tale of love, intrigue and adventure, and reflects some ideas of the people towards the Europeans of the last century. There is an English translation in concise form by one Prem Chaya.
The employment of prose in Thai emotive literature along the lines of the Western style is of recent date due obviously to the influence of Western literature.
The Romance of Khun Chang Khun Phaen, an indigenous story of love and pathos, at time humourous, of a triangular love plot of one heroine with two lovers. The story, apart from its beautiful expressions, contains a mine of infomation on old beliefs and social customs of the Thai before the impact of Western culture. The story as is known has been traslated into English and French.
Ramakian (or Ramakirti in transliteration) is the story based on the famous Indian epic, Ramayana. It is unique, containing many episodes and details which are not to be found in the original epic, but showing traces of contact with certain versions of the Ramayana in India, Malaysia, Java and Cambodia. There is an English translation.
The Romance of Inao. This is a translation from the well-known storty of adventures of the national Javanese hero prince. It is written in a refined and perfect style of the Thai Language and meant for dramatic performance.
Sam Kok.This is a translation from San Kuo Chi, a Chinese historical romance of the Three Kingdoms. Unlike the three preceeding ones, it is written in prose with perfect expressions of style of the language.
Phra Aphai Mani. This is a romantic tale written in verse by one of the most famous and popular poets of Thailand. It is an imaginary tale of love, intrigue and adventure, and reflects some ideas of the people towards the Europeans of the last century. There is an English translation in concise form by one Prem Chaya.
The employment of prose in Thai emotive literature along the lines of the Western style is of recent date due obviously to the influence of Western literature.
In pubblic
Is normal to see two thai males to walk hand in the hand for the road, sign of friendship not more, while is rare to see a man and one woman hand in the hand, because to manifest in public attraction or affection for the other sex is an ancient and strongest tabu'. During the war of the vietnam, when bangkok was full of soldiers americans in licence, the more frequent critic ' that came turned they, regarded their behavior in public with the girls of the bars, that it was of the all innocent if reported to the models americans. The experience has left traces deep and the girls of good family are not little whom they avoid also of being seen in company of one foreign " farang " in order not to be object of the eventual depreciation of the compatriots. In the relations with the thai, remembered of smile always, of being always kind, repressing every wants of to express your feelings, not demonstrated to the sympathy and to the aversion, the smile for the thai is much that a way to communicate: is a way to exist that it joins various ethnic and it fascinates the foreign visitor. Never not touched the head to nobody, neither to a child, because in it reside the spirit and considered spirit and therefore is a sacred part of the body. The foot is low part of the body, in considered of that in thailand is mistaken to indicate someone with the foot, especially if it is make of purpose. The thais thus are preoccupied of this eventuality that avoid of to overlap the legs; if just they cannot make less, hold the tips turned towards earth.
The names
The last names are a particularly recent innovation for the thailand, being be only introduced fifty years ago, before then, the persons were called with the single name, necessary continuation if, from one explanation of the type " son of " or "of the city of " also today last names thai thus long and are complicated to be used very rarely; thus miss. Pruksachart wanchan comes called simply miss. Wanchan. " khun ", in language thai, is the equivalent mr, mrs. And ms., and it's used for the men who for the women. Between persons of various age, for respect in front of the name, it comes put " pi " if the word to one addresses a old person and " nong " if the word to one addresses young person . Moreover in thai are used words in order to express feelings rather than meanings. Two of such words are the particles "krap" (used from men) and "ka" (used from the women) in order to make affirmations and questions. Of extreme courtesy, they would have to be taking place pronounced after every demand and answer. Often the thai omit moreover pronouns "poom/chan" and "kun" (you), for an ulterior touch of discretion.
Thai nicknames
Somehow,most thai people gain a nickname. Most of them, however, are given by a child's parents or close relatives soon after a baby is born. Children, of course, also have their 'given' names, but these are often used only on formal occasions since most of them are rather long. Nicknames, on the other hand, usually contain only one syllable, or sometimes two, Thais have learned that foreigners more readily remember their short nicknames and so they most often introduce themselves by these.
One thing you may notice about Thai nicknames is that most of them may belong to either a boy or a girl. This is also true of many more given names than in the West.
But how have the Thai obtained these names? Well, there is no systematic way of assigning nicknames, and the only people who will know the real truth behind a particular name may be the person himself and his or her mother, but usually, it has something to do with some characteristic the person has displayed as a child. Although some nicknames are more common than others, each child has somehow earned its own nickname by his or her special or peculiar qualities. One of a child's 'adorable' characteristics will be specially noted by a parent or relative who will spontaneously assign a name.
This nickname may have something to do with sound --- perhaps a particular sound the child makes repeatedly, a sound the child seems to like, or maybe simply a nonsensical sound that pleases the ear. Examples of such names include Ju, Jook, Da and O, none of which can be translated.
A nickname may reflect some physical characteristic of the child. If the infant is fat, for instance, it may lovingly be called Oun ('Fat'); if its skin is unusually dark or reddish, it may be called Dumm ('Black') or Daeng ('Red'); or if the skin is unusually light-colored, it may be called Khao ('White').
Many nicknames refer to the small size of a child: Noy (pronounced with a rising tone) and Legk both mean 'Small'. A nickname referring to smallness may, however, have nothing to do with the particular size of a child; it could simply be an endearment. An English equivalent might be "My sweet little angel", as used by a father for his favorite daughter; and never mind that she might be fifty pounds overweight.
Other nicknames refer to unusual characteristics of a child, such as its being particularly lovely (e.g. Su-ay, 'Beautiful'), smart (e.g. Geng, 'Clever') or mischievious (e.g. Gaen, 'Naughty').
Nicknames may also be borrowed from the names of things in the natural world. Small children have been called Ohng (a large water storage jar), Fohn ('Rain'), or Khai ('Egg').
Other children earn the names of animals that are considered cute or adorable by the Thai, or even various types of fruit its parents or relatives may associate with the new addition to their family. Thus some Thai children spend their youth being affectionately called Sharng ('Elephant'). Goong ('Shrimp'), Noo ('Mouse'), Gluay ('Banana'), or Ngaw ('Rambutan'). These animal and fruit names, especially, reflect the cultural differences between Thailand and the West. Who in the West would fondly call their child 'Pig' or 'Ass', 'Squash' or 'Jackfruit'?!
Other nicknames are the names of flowers or plants; and some, rather comically, refer to age, rank or a family relationship. A little boy might be called 'Grandfather' and a girl, 'Grandmother' : Taa and Yai, respectively.
Besides all the above considerations, there are some nicknames which are appropriate or not appropriate for a child depending on which day of the week he or she was born. But the explanations for these are too complicated to explain here. In pronouncing Thai, the tone of the word is often important. Three tones that are important enough that the word would take on an altogether different meaning if they were not used correctly are indicated beside the English transliteration of the nicknames shown. They are represented either with a line that curves upward, for 'rising tone'; a straight line, for 'high even tone'; or a line with downward curve, for 'falling tone'.
The expressions
There are three expressions thai to remember: " mai pen rai ", " pai-tio "and " sanuk ". Nobody of the three can be transate in english with exactitude, but is very important in order to understand the heart and the character of the thai. "mai pen rai" can to never become in english with " don't worry ", if forgotten something that you had said to make for a friend, he answered to your excuses with " mai pen rai ", meaning " don't import, don't to think, you stay calm ". This expression suggests beyond that one specific reaction at one situation, an mental attitude.. In so far as to be seen like an extension of the philosophy buddhist, one shake of shoulders for the petty things. For sure a type of western mentality can to be an attitude exasperating, above all when it is applied to things that we consider important. For other can to make part of relax atmosphere that we find in thailand. The reluctance of anxiety for the things, above all for the things on which one does not make nothing, the tendency to accept the difficulty, the preference for the smile rather than for the tears." sanuk" means amusement, the love that the thai have for the "sanuk", their joy of living, it are deeply takes root and pervade all the aspects of the daily life without to become no account, they stretch to divide the experiences of the life in that it are "sanuk" and in that it are not "sanuk". To go to the cinema, one festivity, a wedding, to make a visit to an old friend, to eat one cup of "noodles" in a good restaurant, to make a travel ect...is "sanuk". The job instead is not "sanuk", at least in the case that is monotone and critical more if it is "serious". A company japanese manifacturing, tried of to reproduce the production techniques that worked very well in japan, but the thai inexorably were "bored" with the routine and since the trouble is not "sanuk", the company to come on the hem of the failiture. When the company put a little "sanuk" in the production system, cable broadcast, intervals in order to make one dull, play and contest between the several units, the things began to go for the best. The passion of the thai for the "sanuk" is not indicative of one frivolous mentality or a refusal to be confronted with the aspects less pleasant of the life, is instead revelation of a inveterate sense of joy, without it the life would be reduced to the eyes of the thai in something of meant wishy-washy and without significance. The thai when is necessary know to hard work, observed the team work in the roads, with the women who raise the same weights of the men under the burning sun, the workers of the roads, with every probability will make jokes and invent something in order to render pleasant the daily routine. To the thai does not interest a job without "joy". "pai tio" means to take a walk without a particular scope, to go to see what happens in turn, to take a air puff, to approach to the cinema in order only for see the people go in, it means a infinity of similar but various things. The place for "pai-tio" are the more dissimilar, the typical are the markets, where all go to buy something or in order to see only. Every time you see a thai outside of house or outside the place of work, except the case that has a engagement serious and important, is much probable that he is going "pai-tio".
The conversation
Is necessary to say a word, on purpose of curiosity that the thais manifest for the things that from we are not considered conversation arguments. After the thai little known a new person, for example can ask you:" how much coast your shirt? ", or " which is your wage?"; or "how old are you?"; or if you are married and, if you are not " why?". Questions of the sort, for how many personal, are not considered indiscreet, but simply a sign of interest; the same things would ask them an other thai. Is always necessary not to give the exact answer; you can also not to answer, on condition that accompanies the refusal to answer with a smile in order to demonstrate to not be offenses. A " farang " resident to bangkok give always the same answer to the concerning questions how much earns. Smile and says: " not enough.
The apparel
The thais have a cleanest aspect and always in order, and also in the bidonville is rare to see someone of truly dirty and neglected. The mechanics, than to the end of a work-day are dirty of fat, they emerge from the bath of the evening like if they had not never touched a motor in their life. All the thais take a bath at least once day and often two. To say that someone is "mai rieb-roi" ( dirty), is nearly equally serious that to say that is "mai suparb " (rude), and often the two things correpond, the neglect in determined circumstances is often equivalent to the rudeness. Although between the young is fashionable to dress as the contemporarys european and americans and for the greater part of population that is simply "mai rieb-roi". In the same way for the traditionalist-thais, there are colours "educates" and colours "rude", a dress to brilliant colurs is acceptable in a young woman but it is not acceptable in a old woman, she would have to dress with colours pastel or dark inks. Sunday for example is only the day in which anyone can to dress of red without being considered "mai suparb".
The names
The last names are a particularly recent innovation for the thailand, being be only introduced fifty years ago, before then, the persons were called with the single name, necessary continuation if, from one explanation of the type " son of " or "of the city of " also today last names thai thus long and are complicated to be used very rarely; thus miss. Pruksachart wanchan comes called simply miss. Wanchan. " khun ", in language thai, is the equivalent mr, mrs. And ms., and it's used for the men who for the women. Between persons of various age, for respect in front of the name, it comes put " pi " if the word to one addresses a old person and " nong " if the word to one addresses young person . Moreover in thai are used words in order to express feelings rather than meanings. Two of such words are the particles "krap" (used from men) and "ka" (used from the women) in order to make affirmations and questions. Of extreme courtesy, they would have to be taking place pronounced after every demand and answer. Often the thai omit moreover pronouns "poom/chan" and "kun" (you), for an ulterior touch of discretion.
Thai nicknames
Somehow,most thai people gain a nickname. Most of them, however, are given by a child's parents or close relatives soon after a baby is born. Children, of course, also have their 'given' names, but these are often used only on formal occasions since most of them are rather long. Nicknames, on the other hand, usually contain only one syllable, or sometimes two, Thais have learned that foreigners more readily remember their short nicknames and so they most often introduce themselves by these.
One thing you may notice about Thai nicknames is that most of them may belong to either a boy or a girl. This is also true of many more given names than in the West.
But how have the Thai obtained these names? Well, there is no systematic way of assigning nicknames, and the only people who will know the real truth behind a particular name may be the person himself and his or her mother, but usually, it has something to do with some characteristic the person has displayed as a child. Although some nicknames are more common than others, each child has somehow earned its own nickname by his or her special or peculiar qualities. One of a child's 'adorable' characteristics will be specially noted by a parent or relative who will spontaneously assign a name.
This nickname may have something to do with sound --- perhaps a particular sound the child makes repeatedly, a sound the child seems to like, or maybe simply a nonsensical sound that pleases the ear. Examples of such names include Ju, Jook, Da and O, none of which can be translated.
A nickname may reflect some physical characteristic of the child. If the infant is fat, for instance, it may lovingly be called Oun ('Fat'); if its skin is unusually dark or reddish, it may be called Dumm ('Black') or Daeng ('Red'); or if the skin is unusually light-colored, it may be called Khao ('White').
Many nicknames refer to the small size of a child: Noy (pronounced with a rising tone) and Legk both mean 'Small'. A nickname referring to smallness may, however, have nothing to do with the particular size of a child; it could simply be an endearment. An English equivalent might be "My sweet little angel", as used by a father for his favorite daughter; and never mind that she might be fifty pounds overweight.
Other nicknames refer to unusual characteristics of a child, such as its being particularly lovely (e.g. Su-ay, 'Beautiful'), smart (e.g. Geng, 'Clever') or mischievious (e.g. Gaen, 'Naughty').
Nicknames may also be borrowed from the names of things in the natural world. Small children have been called Ohng (a large water storage jar), Fohn ('Rain'), or Khai ('Egg').
Other children earn the names of animals that are considered cute or adorable by the Thai, or even various types of fruit its parents or relatives may associate with the new addition to their family. Thus some Thai children spend their youth being affectionately called Sharng ('Elephant'). Goong ('Shrimp'), Noo ('Mouse'), Gluay ('Banana'), or Ngaw ('Rambutan'). These animal and fruit names, especially, reflect the cultural differences between Thailand and the West. Who in the West would fondly call their child 'Pig' or 'Ass', 'Squash' or 'Jackfruit'?!
Other nicknames are the names of flowers or plants; and some, rather comically, refer to age, rank or a family relationship. A little boy might be called 'Grandfather' and a girl, 'Grandmother' : Taa and Yai, respectively.
Besides all the above considerations, there are some nicknames which are appropriate or not appropriate for a child depending on which day of the week he or she was born. But the explanations for these are too complicated to explain here. In pronouncing Thai, the tone of the word is often important. Three tones that are important enough that the word would take on an altogether different meaning if they were not used correctly are indicated beside the English transliteration of the nicknames shown. They are represented either with a line that curves upward, for 'rising tone'; a straight line, for 'high even tone'; or a line with downward curve, for 'falling tone'.
The expressions
There are three expressions thai to remember: " mai pen rai ", " pai-tio "and " sanuk ". Nobody of the three can be transate in english with exactitude, but is very important in order to understand the heart and the character of the thai. "mai pen rai" can to never become in english with " don't worry ", if forgotten something that you had said to make for a friend, he answered to your excuses with " mai pen rai ", meaning " don't import, don't to think, you stay calm ". This expression suggests beyond that one specific reaction at one situation, an mental attitude.. In so far as to be seen like an extension of the philosophy buddhist, one shake of shoulders for the petty things. For sure a type of western mentality can to be an attitude exasperating, above all when it is applied to things that we consider important. For other can to make part of relax atmosphere that we find in thailand. The reluctance of anxiety for the things, above all for the things on which one does not make nothing, the tendency to accept the difficulty, the preference for the smile rather than for the tears." sanuk" means amusement, the love that the thai have for the "sanuk", their joy of living, it are deeply takes root and pervade all the aspects of the daily life without to become no account, they stretch to divide the experiences of the life in that it are "sanuk" and in that it are not "sanuk". To go to the cinema, one festivity, a wedding, to make a visit to an old friend, to eat one cup of "noodles" in a good restaurant, to make a travel ect...is "sanuk". The job instead is not "sanuk", at least in the case that is monotone and critical more if it is "serious". A company japanese manifacturing, tried of to reproduce the production techniques that worked very well in japan, but the thai inexorably were "bored" with the routine and since the trouble is not "sanuk", the company to come on the hem of the failiture. When the company put a little "sanuk" in the production system, cable broadcast, intervals in order to make one dull, play and contest between the several units, the things began to go for the best. The passion of the thai for the "sanuk" is not indicative of one frivolous mentality or a refusal to be confronted with the aspects less pleasant of the life, is instead revelation of a inveterate sense of joy, without it the life would be reduced to the eyes of the thai in something of meant wishy-washy and without significance. The thai when is necessary know to hard work, observed the team work in the roads, with the women who raise the same weights of the men under the burning sun, the workers of the roads, with every probability will make jokes and invent something in order to render pleasant the daily routine. To the thai does not interest a job without "joy". "pai tio" means to take a walk without a particular scope, to go to see what happens in turn, to take a air puff, to approach to the cinema in order only for see the people go in, it means a infinity of similar but various things. The place for "pai-tio" are the more dissimilar, the typical are the markets, where all go to buy something or in order to see only. Every time you see a thai outside of house or outside the place of work, except the case that has a engagement serious and important, is much probable that he is going "pai-tio".
The conversation
Is necessary to say a word, on purpose of curiosity that the thais manifest for the things that from we are not considered conversation arguments. After the thai little known a new person, for example can ask you:" how much coast your shirt? ", or " which is your wage?"; or "how old are you?"; or if you are married and, if you are not " why?". Questions of the sort, for how many personal, are not considered indiscreet, but simply a sign of interest; the same things would ask them an other thai. Is always necessary not to give the exact answer; you can also not to answer, on condition that accompanies the refusal to answer with a smile in order to demonstrate to not be offenses. A " farang " resident to bangkok give always the same answer to the concerning questions how much earns. Smile and says: " not enough.
The apparel
The thais have a cleanest aspect and always in order, and also in the bidonville is rare to see someone of truly dirty and neglected. The mechanics, than to the end of a work-day are dirty of fat, they emerge from the bath of the evening like if they had not never touched a motor in their life. All the thais take a bath at least once day and often two. To say that someone is "mai rieb-roi" ( dirty), is nearly equally serious that to say that is "mai suparb " (rude), and often the two things correpond, the neglect in determined circumstances is often equivalent to the rudeness. Although between the young is fashionable to dress as the contemporarys european and americans and for the greater part of population that is simply "mai rieb-roi". In the same way for the traditionalist-thais, there are colours "educates" and colours "rude", a dress to brilliant colurs is acceptable in a young woman but it is not acceptable in a old woman, she would have to dress with colours pastel or dark inks. Sunday for example is only the day in which anyone can to dress of red without being considered "mai suparb".
Massage
The second and most internationally famous type of Thai medical terapy is raksaa thaang nuat (massage treatment). The extensive and highly refined Thai massage system combines characteristics of massage (stroking and kneading the muscles), chiropractice (manipulating skeletal Parts) and acupressure (applying deep, consistent pressure to specific nerves, tendons or ligaments) in order to balance the functions of the four body elements (thaat thangg sii). These four elements are earth (din-solid part of the body, including nerves, skeleton, muscles, blood vessels, tendons and ligament); water (naam-blood and bodily secretions); fire (fai-digestion and metabolism); and air (lom-respiration and circulation). Borrowing from India's Ayurvedic tradition. Some practitioners employ Pali-Sanskrit terms for the four bodily elements: pathavidhatu, apodhatu, tecodhatu and vayodhatu. From the Ayutthaya period until early this century, the Thai ministry of Public Health included an official massage division (phanaek maw nuat). Under the influence of international medicine and modern hospital development, responsibility for the national propagation/maintenance of Thai massage was eventually transferred to Wat Pho in Bangkok, where it remains today. Traditional massage therapy has persisted most in the provinces, however, and has recently enjoyed a resurgence of popularity throughout the country. Within the traditional Thai medical context, a massage therapist (maw nuat, literally, "massage doctor" usually applies Thai massage together with pharmacological and /or psycho-spiritual treatments as prescribed for a specific medical problem. Nowadays many Thais also use massage as a tool for relaxation and disease prevention, rather than for specific medical problems. Massage associated with Bangkok's Turkish baths (aap op nuat or "bathe-steam-massage" in Thai) is for the most part performed for recreational or entertainment purposes only (or as an adjunct to prostitution); the techniques used are loosely based on traditional Thai massage. For problems affecting the nerves rather than the muscular or skeletal structures, many Thais resort to nuat jap sen (nerve-touch massage), a Chinese-style massage technique that works with the body's nerve meridians, much like acupuncture.
Traditional Thai medicine
Western medical practices are for the most part restricted to modern hospitals and clinics in Thailand's towns and cities. In villages and rural areas a large number of Thais still practice various forms of traditional healing which were codified in Thailand over 500 years ago. Clinics and healers specializing in traditional Thai medicine can also be found in urban areas; many Thai doctors in fact offer a blend of international medicine-a term ethno-medical scholars prefer to "western medicine"-and indigenous medical systems. Traditional Thai medical theory features many parallels with India's Ayurvedic healingtradition as well as Chinese medicine. In practice, however, Thai diagnostic and therapeutic techniques may differ-significantly. Obviously influenced to some degree by these traditions, Thai medicine in turn has been the predominant influence on traditional medicine in Cambodia, Laos and Myanmar. Most Thai medicine as practiced today is based on two surviving medical texts from the Ayutthaya era, the Scripture of Diseases and the Pharmacopoeia of King Narai. Presumably many more texts were available before the Burmese sacked Ayutthaya in 1767 and destroyed the kingdom's national archives. A coexisting oral tradition passed down from healer to healer conforms to the surviving texts; other materia medica developed in the Ratanakosin (or old Bangkok) era are founded on both these texts and the oral tradition. Like medical practitioners elsewhere in the world, traditional Thai physicians perform diagnoses by evaluating the pulse, heartbeat, skin colour/texture, body temperature, abnormal physical symptoms and bodily excretions (eg. blood, urine, faeces) of their patients. Unlike orthodox western doctors, Thai healers favour a holistic approach that encompasses internal, external and psycho-spiritual conditions Thus, once diagnosed, patients may be prescribed and issued treatments from among three broad therapeutic categories.
Herbal Medicines
Traditional pharmacological therapy employs prescribed herbs, either singly or in combination, from among 700 plant varieties (plus a limited number of animal sources) which are infused, boiled, powdered or otherwise rendered into a consumable form. Common household medicines (yaa klaan baan in Thai) include the root and stem of baw-raphet (Tinospora rumphii, a type of woodclimber) for fever reduction, raak cha-phluu (Piper roots) for stomach ailments, and various yaa hawm (fragrant medicines) used as medicinal balms for muscle pain or headaches. Medicines of this type are readily available over the counter at traditional medicine shops and to a lesser extent in modern Thai pharmacies. More complex remedies called yaa tamrap luang (royally approved/recorded medicine) are prepared and administered only by herbalists skilled in diagnosis, as the mixture and dosage must be adjusted for respiratory infections and influenza-induced fevers. As in the Chinese tradition, many Thai herbs find their way into regional cuisine with the intent of enhancing health as well as taste. More information, please see also Thai herb in same page.
Psycho-Spiritual Healing
A third aspect of traditional Thai medicine called raksaa thaang nai (inner healing) or kae kam kao (literally, "old karma repair") includes various types of meditation or visualisation practised by the patient, as well as shamanistic rituals performed by qualified healers. These practised in conjunction with other types of treatment. With the increasing acceptance of meditation, hypnosis and biofeedback in Occidental medicine, anthropologists nowadays are less inclined to classify such metaphysical therapy as "magico-religious", accepting them instead as potentially useful adjunct therapies. As in the west, psycho-spiritual techniques are most commonly reserved for medical conditions with no apparent physical cause or those for which other therapies have proved unsuccessful. In Thailand they are also occasionally employed as preventive measures, as in the bai sii ceremony popular in North-Eastern Thailand and Laos. This elaborate ceremony, marked by the tying of string loops around a subject's wrists, is intended to bind the 32 khwan or personal guardian spirits - each associated with a specific organ - to the individual. The ritual is often performed before a person departs on a long or distant journey, based on the reasoning that one is more susceptible to illness when away from home.
Herbal Medicines
Traditional pharmacological therapy employs prescribed herbs, either singly or in combination, from among 700 plant varieties (plus a limited number of animal sources) which are infused, boiled, powdered or otherwise rendered into a consumable form. Common household medicines (yaa klaan baan in Thai) include the root and stem of baw-raphet (Tinospora rumphii, a type of woodclimber) for fever reduction, raak cha-phluu (Piper roots) for stomach ailments, and various yaa hawm (fragrant medicines) used as medicinal balms for muscle pain or headaches. Medicines of this type are readily available over the counter at traditional medicine shops and to a lesser extent in modern Thai pharmacies. More complex remedies called yaa tamrap luang (royally approved/recorded medicine) are prepared and administered only by herbalists skilled in diagnosis, as the mixture and dosage must be adjusted for respiratory infections and influenza-induced fevers. As in the Chinese tradition, many Thai herbs find their way into regional cuisine with the intent of enhancing health as well as taste. More information, please see also Thai herb in same page.
Psycho-Spiritual Healing
A third aspect of traditional Thai medicine called raksaa thaang nai (inner healing) or kae kam kao (literally, "old karma repair") includes various types of meditation or visualisation practised by the patient, as well as shamanistic rituals performed by qualified healers. These practised in conjunction with other types of treatment. With the increasing acceptance of meditation, hypnosis and biofeedback in Occidental medicine, anthropologists nowadays are less inclined to classify such metaphysical therapy as "magico-religious", accepting them instead as potentially useful adjunct therapies. As in the west, psycho-spiritual techniques are most commonly reserved for medical conditions with no apparent physical cause or those for which other therapies have proved unsuccessful. In Thailand they are also occasionally employed as preventive measures, as in the bai sii ceremony popular in North-Eastern Thailand and Laos. This elaborate ceremony, marked by the tying of string loops around a subject's wrists, is intended to bind the 32 khwan or personal guardian spirits - each associated with a specific organ - to the individual. The ritual is often performed before a person departs on a long or distant journey, based on the reasoning that one is more susceptible to illness when away from home.
Wat Tham Krabok
An obscure Buddhist monastery in central Thailand (Saraburi province) that advocates a secret herbal potion and ritual vomiting for drug addicts has become a final source of hope for thousands of Thais and Westerners. Since its foundation in 1959, Wat Tham Krabok, 140 km (85 miles) north of Bangkok, has put nearly 100,000 addicts through its "cold turkey" detox program and given them a grounding in meditation to help them keep on the straight and narrow. Dressed in red hospital-style overalls, patients have to stay for a minimum of 10 days, during which they are subject to a strict regimen of leaf-sweeping, steam baths, herbal medication and group vomiting. Sitting in the shadow of an imposing limestone crag, the monastery was founded in the late 1950s by a group of monks who decided to renounce all earthly pleasures and live out the rest of their days in a cave.However, the military rulers of the day, keen to rid the capital of its opium dens, encouraged them to accept a large plot of land in return for taking care of the drug addicts the army was booting out of Bangkok. Using a complex herbal medicine whose ingredients were revealed to the aunt of one of the monks in a dream, the monastery started treating its first opium addicts in 1959. To this day, the 100-odd ingredients of the thick, dark potion that lies at the centre of the detox program remain a secret known only to Tham Krabok's abbot and medicine monk. According to Phra Hans, the potion draws toxins out of the patient's body and into the stomach. The quickest way to get the toxins out of the stomach is for the patient to drink large quantities of water and then vomit. In what is now a well-choreographed ceremony, patients sit cross legged and side-by-side in front of a long open drain. Accompanied by drums and chanting they then try to drink a bucket of water before sticking their fingers down their throats. "Everybody who comes here must come as a warrior, ready to fight for their life."
Fortune Telling
One popular, easy to access and quick form of fortune telling is siem si ('chiam si') or fortune sticks. Siem si , developed by the Chinese, is probably one of the most ancient ways of predicting the future. In Thailand we normally see this type of oracle at Chinese temples or shrines. People who seek advice begin by praying to the deities, asking for guidance with their problems or answers to their questions. They then shake a wooden vase-like container filled with a number of long thin sticks. Each stick has a number indicating the number of an advice slip. The first stick to fall to the floor is the fortune. The next step is tossing a two-part woodblock. Different positions of the pieces confirm the number. The Thai way of life is based upon Buddhist religious beliefs as well as the animistic elements of Brahmanism and folklore. As a result, religion has become a mixture of philosophical, mythical and supernatural elements, all of which deeply influence one's way of life. Just as some people go to see the doctors to treat their physical ailments, some Thais go to fortune - tellers (Maw Du), the all seeing doctor to cure their spiritual ills. and prevent future maladies. Fortune - tellers are engaged to give auspicious names to a baby according to his exact birth calculations. Weddings, investments, travel, car purchases, building construction, traveling and other significant decisions in life, are all directed by the fortune - teller. There are many forms of fortune - telling: palm reading, star charts, playing cards, physical features, spirit mediums and high - tech computerised fortune - telling. Fortune - tellers can be found in many places - under the shade of the trees like the tamarind trees around Phramane Ground, next to the Grand Palace, in the markets, in the hotel lobbies and plazas, etc. Most can be identified by small altars with offerings of flowers and lighted incense dedicated to various deities who have given them with the skill and knowledge of this art.
Phuang Malai
Thai garlands called "Phuang Malai". Flower arranging became increasing popular during the reign of King Rama V. The ladies of the Court spent many hours in arranging flowers. Each lady taught her own designs to her ladies - in - waiting, and to the young girls who lived in the palace and received their "finishing school" education under the patronage of the Royal ladies. Until recent years, vendors usually sat in front of the entrance of themarket and some vendors travelled up and down the lanes in Bangkok and in some big cities, balancing a woven tray filled with colorful filled with colorful garlands on top of their heads. Calling "Phuang Malai, Phuang Malai" as they went, one needed to go only to her/his front gate to buy the fresh garlands. A lovely new garland would be given to the spirit house or to be placed reverently at the base of the Buddha images in the family shrine. The most common way of making "Phuang Malai" is by threading the variety of petals and flowers on a cord with the use of a huge needle. Garlands can vary widely in design as the whims of the "manufactures" cause them to mix and match - colours and flowers. The type of garland most commonly given to greet arrivals, or to farewell friends and relatives, are those with two strands of flowers connected by a length of ribbon with bows or rosetters attaching the ribbon to the flowers. These are called "Uba". This type of long garland is seen at shrines or statues such as at the shrine of Thao Maha Phrom on the corner of Hyatt Erawan Hotel. It has many designs but the similarity lies in the long length, resembling a chain or necklace.Vendors selling a variety of flower garlands are always found near temples, shrines, statues or even near street intersections. A mother and small children sit while they busily string the garlands. Young and old become proficient at their work.Garlands are presented and worn at many festive and happy occasions, such as graduations, birthdays and weddings, for good luck. It is customary in Thailand to have a portrait of a deceased person displayed near the urn or coffin. A lovely flower garland with a black ribbon is placed at their base as a mark of respect and final farewell. The honored personage who performs the ribbon cutting ceremony of "grand opening" is presented, on arrival with a lovely flower garland most often the shorter, bracelet design.Wherever and whenever their Majesties go - as well as other members of the Royal Family - throngs of people line the way with flower garlands to present to them, as a token of their love and respect.
Thai Lottery
Lottery first started in Thailand in the reign of King Rama V. It was first drawn in an international exposition arranged in the King's birthday celebration. Again in 1917, a lottery drawing was arranged to finance Thailand's entry into World War I on the Allied side. Next, lottery was used to finance the Thai Red Cross charity works expenses in 1932. Lottery was first drawn to really generate revenue for the government in 1934 to finance the short fall in government income due to the abolishment of draftee tax, levied on Thai males who wished to forego compulsory military service. The drawing was implemented by the Revenue Department. In the same year, lottery operation was also introduced to the provinces to finance the provincial municipality operations. In 1939, the control of government lottery operation was transferred to the Ministry of Finance with the appointment of the first lottery board by the Ministry of Finance on April 5, 1939, which is now held as the founding date of the Government Lottery Office. In the same draw, it also issues two million tickets for sports promotion and seven million for other charity organization. To produce the lottery tickets, the Government Lottery Office operates a modern, large-scale printing press, which also handles printing jobs for other government agencies as well. Each year, the Lottery Office turns in over 4,000 million bath to the government treasury. It also provides 440 scholarships of 20,000 baht each for undergraduates and earmark eight million baht a year for various charities. The office also contributes close to 20 million baht a year for the welfare fund of civil service and military personal, Welfare Council of Thailand, and the War Veteran Association. Future projects of the Government Lottery Office includes a plan to computerize lottery buyers service that visualizes purchasing of lottery and prize payment by commercial banks' country-wide network of automated teller machines. The Office also commits itself to increase its support for public service projects. In Thailand, you’ll have to get lottery tickets from agents, which receive these tickets from retailers. It is still paper-based material while many other countries have developed an electronic system to organise the lottery tickets. Usually, lottery tickets are drawn twice a month, which are the first day of the month (the 1st) and the 16th. Every ticket costs 80 baht. This is the standard price. Each ticket has 2 parts, the top and the bottom part. It is not possible to buy just one part as they come in pairs. So, every ticket will still cost you 80 baht. However, if you win, your prize is doubled. Every ticket has 6 single digits, which you’re able to choose when you buy one. When the numbers are drawn live on national television, there are probably more than 20 drawn every time as they’ll have to draw all of the numbers according to the number of prize stated.
Now, the prizes and amount of these lotteries are as follow:
First Prize 1 number 2 million baht
Second prize 5 numbers 100000 baht
Third prize 10 numbers 40000 baht
Fourth prize 50 numbers 20000 baht
Fifth prize 100 numbers 10000 baht
Bonus prize* 2 numbers 50000 baht
* Bonus prize is for people whose first 5 numbers are correct but the last digit is incorrect by one number above or below. (For example, if your last number is "5" you can get the bonus prize if it is a "4" or "6". If you win a prize, you’ll have to go to the GLO (Government Lottery Office) where you will receive a cheque. However, if the prize is less than 20,000 baht, you can go to a local agent and he/she will give the money to you in cash. There is tax, which you’ll have to pay in order to get the money. The nominal rate is 50 satang (0.5 baht) for every one hundred baht. If you cash your money at a local agent, they’ll normally charge you about 2 baht for every one hundred baht.
Now, the prizes and amount of these lotteries are as follow:
First Prize 1 number 2 million baht
Second prize 5 numbers 100000 baht
Third prize 10 numbers 40000 baht
Fourth prize 50 numbers 20000 baht
Fifth prize 100 numbers 10000 baht
Bonus prize* 2 numbers 50000 baht
* Bonus prize is for people whose first 5 numbers are correct but the last digit is incorrect by one number above or below. (For example, if your last number is "5" you can get the bonus prize if it is a "4" or "6". If you win a prize, you’ll have to go to the GLO (Government Lottery Office) where you will receive a cheque. However, if the prize is less than 20,000 baht, you can go to a local agent and he/she will give the money to you in cash. There is tax, which you’ll have to pay in order to get the money. The nominal rate is 50 satang (0.5 baht) for every one hundred baht. If you cash your money at a local agent, they’ll normally charge you about 2 baht for every one hundred baht.
I want to talk about how to watch out for a fake lottery, which could be sold to anyone. Here are the steps.
A fake lottery has characteristics as follow
- different color from the original
- different paper
- no watermark
A prize is drawn the same day as the national lottery. Here is what it looks like: There are 3 prices of these tickets, 20, 50 and 100 baht. The first row is for 3 single digits lottery. The prize is set to a standard at 500 baht per one baht. For example, if you win the correct amount in the same order and your ticket is the 100 baht ticket, you’ll get 50,0000 for the prize. However, there’s a second Tote row, which the numbers shouldn’t have to be in order and you can also win. The prize of this tote row is 10 baht for every one baht. For this kind, there will be 4 prizes drawn every time. For the third row, you can choose 2 single digits and if you win, you’ll get 65 baht for every one baht. However, you can also choose the last row as it would be a reverse row and if you win that, you have halved the prize money.
A fake lottery has characteristics as follow
- different color from the original
- different paper
- no watermark
A prize is drawn the same day as the national lottery. Here is what it looks like: There are 3 prices of these tickets, 20, 50 and 100 baht. The first row is for 3 single digits lottery. The prize is set to a standard at 500 baht per one baht. For example, if you win the correct amount in the same order and your ticket is the 100 baht ticket, you’ll get 50,0000 for the prize. However, there’s a second Tote row, which the numbers shouldn’t have to be in order and you can also win. The prize of this tote row is 10 baht for every one baht. For this kind, there will be 4 prizes drawn every time. For the third row, you can choose 2 single digits and if you win, you’ll get 65 baht for every one baht. However, you can also choose the last row as it would be a reverse row and if you win that, you have halved the prize money.
Thai boxe
The blows forbidden does not exist in famous "muay thai" (science of the eight limbs), because concur to use the hands, the feets, the elbows and the knees. The practisings are all young, because in this massacring sport the career finish to the maximum to 25- 26 years,the encounter carries out in 5 round of three minutes everyone, during these minutes an orchestra of four elements, comprising a cingalese flute, cymbals and a pair of long drums, accompanies the dance and the combat following the action and marking the time as the encounter is ignited. The boxers are considered the warriors and heroes of the thailand, this sport e' sure the preferred one. The women amuse how much the men and when there are important matches in television, all remain " nailed " in front of the television set. If the western is impressed from the violence of the clashes, for the thais the boxe is a true and just ritual, a cult. Often the monks to train the future champions who, before beginning the match, kneel down themselves in prayer to the center of the ring and execute some steps of dance in order to show in shape stylized their ability. When the boxers make their apparition on the ring, beyond to the shorts and the gloves, they have a colored rope around the head and to the bicepses with an amulet and often a crown of jasmines around the neck, moreover they have the nude foots. The origins of this sport then go back to the times of the glorious reign of siam (xiv century), the legends tell of thrones and reigns conquered with kicks, fists and knees of ardent principles, when still the referees did not exist and the hands came protect from rough stripes of burlap.
Takraw
Takraw is played in various versions in most parts of Southeast Asia. But perhaps no where else is this startling game, in which players must neither touch the ball nor let it touch the ground, played with the enthusiasm and vigour shown by Thailand's star performers. Games are played in the courtyards of wats, at fairgrounds, and (particularly during the kite flying season when there is little or no rain) at the Pramane Grounds in Bangkok. The small and hollow rattan balls which are the essential-and sometimes only necessary equipment for a game are sold in rattan shops and sporting goods shops throughout the country. While there are certain basic rules to takraw, the game varies according to the type of takraw being played as well as the place where it is played. In village games, for example, there is often no referee and no source is kept : the winning player is simply the one who puts on the best show. The intricacy and speed with which it is played are astonishing, and if you think your reflexers are better than average, consider these methods of sending the ball aloft : the sole kick (using the arch or sole of the foot), the instep kick, knee kick, shin kick, shoulder kick, or head kick. Want to try the crosslegged jump kick? That consists of crossing your left leg over your right and leaping up to kick the ball with the instep of the left foot. Another version is the crosslegged knee kick. In this one the player crosses his left leg over his right above the right knee, and then leaps, into the air kicking the ball with his right knee. But that's not all. One can use elbows, shoulders, even the posterior. The more complicated and impressive your feats, the better your score (Or, if a score is not being kept, the better your audience's reaction : spectators can be demanding, if not downright ruthless, in their judgements). One of the most difficult of all acts is seen in a game of hoop takraw, The player makes a hoop of his arms behind his back, and kicks the ball with his heels through the hoop in such a way that it also passes through a hoop suspended in the air. (if you groan at the thought better not try it). Hoop takraw seems to be the most popular version of takraw in Thailand. A team usually consists of seven players (there can be no less than six) who stand at the perimeter of a circle. During a 30 minute period, the players cooperate with each other to earn a high score. Hoops are suspended over the centre and the players must hit the ball through them. Successive teams try to surpass the previous score. Net takraw is somewhat like badminton, in that it requires a net and a court. Lots are drawn beforehand to determine placement of the players and the first serve. Near the net, the ball is then tossed to a teammate in the middle of the court, who kicks it into the opposite camp. The game then proceeds at an incredible pace as the ball is returned instantaneously sometimes to great heights. Some players wear rubber plimsolls, while others are barefoot. Net takraw is played in teh SEAP Games (now we call SEA Games) and other international competitons. The Thais introduced it to the SEAP Games while the Myanmar introduced the variation called imitation ring, where in a player takes a particular position to toss the ball and all other players must imitate that position. Apart from net and hoop takraw, other variations are popular in Thailand. One of these is in-tossing takraw, which has far less rules to abide by : the point is simply to see how many times the ball can be hit aloft by the player. It is a means of training for a player. Some can hit the ball from positions which call for stooping or lying down. A good player should be able to keep the ball aloft for ten minutes, and if he is joined by others the group should manage to keep it in play for close to an hour. Naturally, this is a skill which only the most adept players can manage : they have trained arduously and are able to concentrate for a long period as well as to use their bodies dexterously.
Thai fighting cock
The two major thai fighting cock variaties, are namely the leung hang khao (yellow body white tail) and the pradu hang dam (brown body black tail) cocks.
Thai fighting cocks are well-known throughout the asian region for their beauty and fighting skills. Thai fighting cocks originated in south east asia, developing from the red jungle fowl, which are present in thailand, myanmar, indochina and the philippines. The breed has been maintained by thai breeders who select and develop the breed for cockfighting.
In the olden days cockfighting was not confined to rural areas. During the ayudhya period (19th century ) prince naresuan, while held hostage by the burmese, brought with him the leung hang khao cock to compete with the burmese prince. Prince naresuan's brother, prince ekathosaros, also enjoyed the sport of cockfighting using the breed pradu hang dam.
The leung hang khao cock originated in the northern part of thailand ( ban krang village, phitsanulock ), and is spread throughout thailand and south east asia. The standards of perfection for leung hang khao breed is determined and described from prominent traits of the cock, ranging from general physical features, behavioral patterns and fighting styles.
The leung hang khao breed is a middle size bird averaging 3.00 kg. To 3.5 kg. For a cock and only 3.0 kg. For a female. The cock is covered with black feathers but from the back of the skull to the end of the body, the feathers are yellow-red, which varies according to different varieties. As the name implies, its long tail is white especially on the top part. The female bird is slightly shorter and covered with black feathers dotted with white.
The pradu hang dam is the ancestor of the japanese "shamo" which was brought into japan at the beginning of the 16th century. In indonesia, thai fighting cocks are so popular that they are known as bangkok ayam.
The pradu hang dam refers to brown cocks with black tails. It is another genuine thai breed originating from lower central thailand. Both male and female pradu hang dam breeds are slightly bigger then leung hang khao but the physical features generally look almost the same, except for the color. There is also a wide variety of pradu hang dam breeds distributed across the country.
In thailand today cockfighting is still a popular sport, especially so in the rural areas where cockfighting has always been a part of life. Most village households raise fighting cocks in their backyards for sport and also for their firm and tasty meat.
Thai fighting cocks are well-known throughout the asian region for their beauty and fighting skills. Thai fighting cocks originated in south east asia, developing from the red jungle fowl, which are present in thailand, myanmar, indochina and the philippines. The breed has been maintained by thai breeders who select and develop the breed for cockfighting.
In the olden days cockfighting was not confined to rural areas. During the ayudhya period (19th century ) prince naresuan, while held hostage by the burmese, brought with him the leung hang khao cock to compete with the burmese prince. Prince naresuan's brother, prince ekathosaros, also enjoyed the sport of cockfighting using the breed pradu hang dam.
The leung hang khao cock originated in the northern part of thailand ( ban krang village, phitsanulock ), and is spread throughout thailand and south east asia. The standards of perfection for leung hang khao breed is determined and described from prominent traits of the cock, ranging from general physical features, behavioral patterns and fighting styles.
The leung hang khao breed is a middle size bird averaging 3.00 kg. To 3.5 kg. For a cock and only 3.0 kg. For a female. The cock is covered with black feathers but from the back of the skull to the end of the body, the feathers are yellow-red, which varies according to different varieties. As the name implies, its long tail is white especially on the top part. The female bird is slightly shorter and covered with black feathers dotted with white.
The pradu hang dam is the ancestor of the japanese "shamo" which was brought into japan at the beginning of the 16th century. In indonesia, thai fighting cocks are so popular that they are known as bangkok ayam.
The pradu hang dam refers to brown cocks with black tails. It is another genuine thai breed originating from lower central thailand. Both male and female pradu hang dam breeds are slightly bigger then leung hang khao but the physical features generally look almost the same, except for the color. There is also a wide variety of pradu hang dam breeds distributed across the country.
In thailand today cockfighting is still a popular sport, especially so in the rural areas where cockfighting has always been a part of life. Most village households raise fighting cocks in their backyards for sport and also for their firm and tasty meat.
Petanque
Pétanque is a form of boules where the goal is to throw metal balls as close as possible to a small wooden ball called a cochonnet (piglet) and is popular also in Thailand. The game is normally played on hard dirt or gravel, but can also be played on grass or other surfaces. Sandy beaches are not suitable. Similar games are bocce and bowls. Pétanque is generally associated with southern France, particularly Provence, whence it originates. It is the most played sport in Marseille. The casual form of the game of Pétanque is played by about 17 million people in France (mostly during their summer vacations). There are about 480,000 players licenced with the Fédération Française de Pétanque et Jeu Provençal (FFPJP). The FFPJP is the 4th-largest sporting federation in France. These licensed players play a more competitive form of Pétanque known as Pétanque Sport.
History
Pétanque is reputed to have been invented around 1910 in the village of La Ciotat near Marseille as a less physically-demanding form of jeu provençal. Physical effort was reduced by shortening the length of the pitch by roughly half and replacing a moving delivery with a stationary one. The name is derived from the term pieds tanqués, which in the Marseilles dialect of French means "stuck feet", because in Pétanque the feet have to remain fixed together within a (small) circle. It is of interest that this also means that handicapped people in wheelchairs can compete without any disadvantage. Pétanque has become so popular that the term Jeu de Boules (game of bowls) is often used to refer to it, even though Pétanque is only one of several variants of boules. Many French villages have a special stadium for the game called a Boulodrome. The international Pétanque federation Fédération Internationale de Pétanque et Jeu Provençal was founded in 1958 in Marseille and has about 600,000 members in 52 countries (2002). The first World Championships were organized in 1959. The female Thailand team has win the World Championships in the years ( 1988-1989-2004-2006) and man team has win in the years ( 2005-2006) with Phusa-Ad Thaleungklat.
Rules
The game is always played in teams. In competitions there are three different configurations:
three players per team (two boules per player), called triplets
two players per team (three boules per player), called doublets
one player per team (three boules per player), called singles
The boules are made of metal and weigh between 650 g and 800 g, with a diameter of between 71 mm and 80 mm. The jack is made of wood or synthetic material and has a diameter of between 25 mm and 35 mm.
The playing area should be at least 15 meters (49 ft) long, by 4 meters (13 ft) wide.
A player from the team that wins the toss starts the game by drawing a circle on the playing field (35 to 50 cm in diameter). Both feet must be inside this circle, touching the ground, when playing. The player then throws the jack to a distance of between 6 and 10 metres from the starting circle. The jack must be visible and at least 1 metre from any obstacle or boundary, otherwise it must be thrown again.
A player from the team that wins the toss then plays the first boule, trying to place it as close to the jack as possible. Then the opposing team must get closer to the jack and keeps playing until they succeed. When they do, it is back to the first team to do better, and so forth.
A player may choose to 'place' a boule (get it as near as possible to the jack) or 'shoot' it (attempt to displace another boule). When one team runs out of boules the other team plays their remaining boules. When all boules have been played, that is the end of a 'round', and the winning team scores a point for each boule that is nearer to the jack than the opposing team's nearest boule.
Displacing the jack with a boule is allowed. It is an advantageous (albeit dangerous) play for a skilled player late in a round, when all or most members of his team have played long.
The team that wins a round starts the next one, and a new circle is drawn where the jack ended up in the previous round.
If a boule completely crosses any of the predetermined boundaries, it is considered dead and cannot be scored. Likewise, if the jack is moved and subsequently completely crosses a boundary, the round is scratched and the jack is thrown again. If only one team has boules remaining to throw when this occurs, they receive points for every unplayed ball. Accordingly, the (extremely difficult) play of deliberately shooting out the jack is a winning gambit in some circumstances. "Points for boules in hand" is not, in fact, part of the official rules of the game but is usually played anyway.
A complete game is usually played up to 13 points.
Strategy
A successful pétanque team has players who are skilled at shooting as well as players who only point. For obvious reasons, the pointer or pointers play first -- the shooter or shooters are held in reserve in case the opponents place well. In placing, a boule in front of the jack has much higher value than one at the same distance behind the jack, because intentional or accidental pushing of a front boule generally improves its position. At every play after the very first boule has been placed, the team whose turn it is must decide whether to point or shoot. Factors that count in that decision include:
How close to the jack the opponents' best boule is,
The state of the terrain (an expert pointer can practically guarantee to place within about six inches if the terrain is well tended, not so if it's rocky or uneven), and
How many boules each team has yet to play.
A team captain, in an idealised game, requires his pointer to place a boule in front of the jack and reasonably close (paradoxically, in competition play the first pointer aims not to get so close to the jack that the opponents will inevitably shoot his or her boule immediately). He or she then visualises an imaginary circle with the jack as its centre and the jack-boule distance as radius. (s)He then defends that circle by any legitimate means.
Equipment specifications
General specifications
Boules: made of steel with diameters ranging from 70.5 to 80 mm.
Jacks: made of wood or of synthetic material, having a diameter ranging from 25 to 35 mm.
Competition boules Competition boules must meet the following specifications (according to the International Federation of Petanque and Provencal Game):
forged of metal.
have a diameter between 70.5 and 80 mm.
weight between 650 and 800 g.
bear engravings indicating the manufacturer's name and the weight of the boule.
may bear an engraving of the player's first name or initials.
Choice of boule The diameter of the boule is chosen based on the size of the player's hand. The weight and hardness of the boule depends on the player's preference and playing style. "Pointers" tend to choose heavier and harder boules, while "shooters" often select lighter and softer boules.
Leisure boules These boules do not meet competition standards but are often used for "backyard" games. These boules are designed to suit all ages and sexes.
Competition jacks Competition jacks must meet the following specifications (according to the International Federation of Petanque and Provencal Game):
forged of wood or of synthetic material which carry the maker's mark and have secured confirmation by the F.I.P.J.P. that they comply exactly with the relevant specification.
have a diameter between 25 and 35 mm.
History
Pétanque is reputed to have been invented around 1910 in the village of La Ciotat near Marseille as a less physically-demanding form of jeu provençal. Physical effort was reduced by shortening the length of the pitch by roughly half and replacing a moving delivery with a stationary one. The name is derived from the term pieds tanqués, which in the Marseilles dialect of French means "stuck feet", because in Pétanque the feet have to remain fixed together within a (small) circle. It is of interest that this also means that handicapped people in wheelchairs can compete without any disadvantage. Pétanque has become so popular that the term Jeu de Boules (game of bowls) is often used to refer to it, even though Pétanque is only one of several variants of boules. Many French villages have a special stadium for the game called a Boulodrome. The international Pétanque federation Fédération Internationale de Pétanque et Jeu Provençal was founded in 1958 in Marseille and has about 600,000 members in 52 countries (2002). The first World Championships were organized in 1959. The female Thailand team has win the World Championships in the years ( 1988-1989-2004-2006) and man team has win in the years ( 2005-2006) with Phusa-Ad Thaleungklat.
Rules
The game is always played in teams. In competitions there are three different configurations:
three players per team (two boules per player), called triplets
two players per team (three boules per player), called doublets
one player per team (three boules per player), called singles
The boules are made of metal and weigh between 650 g and 800 g, with a diameter of between 71 mm and 80 mm. The jack is made of wood or synthetic material and has a diameter of between 25 mm and 35 mm.
The playing area should be at least 15 meters (49 ft) long, by 4 meters (13 ft) wide.
A player from the team that wins the toss starts the game by drawing a circle on the playing field (35 to 50 cm in diameter). Both feet must be inside this circle, touching the ground, when playing. The player then throws the jack to a distance of between 6 and 10 metres from the starting circle. The jack must be visible and at least 1 metre from any obstacle or boundary, otherwise it must be thrown again.
A player from the team that wins the toss then plays the first boule, trying to place it as close to the jack as possible. Then the opposing team must get closer to the jack and keeps playing until they succeed. When they do, it is back to the first team to do better, and so forth.
A player may choose to 'place' a boule (get it as near as possible to the jack) or 'shoot' it (attempt to displace another boule). When one team runs out of boules the other team plays their remaining boules. When all boules have been played, that is the end of a 'round', and the winning team scores a point for each boule that is nearer to the jack than the opposing team's nearest boule.
Displacing the jack with a boule is allowed. It is an advantageous (albeit dangerous) play for a skilled player late in a round, when all or most members of his team have played long.
The team that wins a round starts the next one, and a new circle is drawn where the jack ended up in the previous round.
If a boule completely crosses any of the predetermined boundaries, it is considered dead and cannot be scored. Likewise, if the jack is moved and subsequently completely crosses a boundary, the round is scratched and the jack is thrown again. If only one team has boules remaining to throw when this occurs, they receive points for every unplayed ball. Accordingly, the (extremely difficult) play of deliberately shooting out the jack is a winning gambit in some circumstances. "Points for boules in hand" is not, in fact, part of the official rules of the game but is usually played anyway.
A complete game is usually played up to 13 points.
Strategy
A successful pétanque team has players who are skilled at shooting as well as players who only point. For obvious reasons, the pointer or pointers play first -- the shooter or shooters are held in reserve in case the opponents place well. In placing, a boule in front of the jack has much higher value than one at the same distance behind the jack, because intentional or accidental pushing of a front boule generally improves its position. At every play after the very first boule has been placed, the team whose turn it is must decide whether to point or shoot. Factors that count in that decision include:
How close to the jack the opponents' best boule is,
The state of the terrain (an expert pointer can practically guarantee to place within about six inches if the terrain is well tended, not so if it's rocky or uneven), and
How many boules each team has yet to play.
A team captain, in an idealised game, requires his pointer to place a boule in front of the jack and reasonably close (paradoxically, in competition play the first pointer aims not to get so close to the jack that the opponents will inevitably shoot his or her boule immediately). He or she then visualises an imaginary circle with the jack as its centre and the jack-boule distance as radius. (s)He then defends that circle by any legitimate means.
Equipment specifications
General specifications
Boules: made of steel with diameters ranging from 70.5 to 80 mm.
Jacks: made of wood or of synthetic material, having a diameter ranging from 25 to 35 mm.
Competition boules Competition boules must meet the following specifications (according to the International Federation of Petanque and Provencal Game):
forged of metal.
have a diameter between 70.5 and 80 mm.
weight between 650 and 800 g.
bear engravings indicating the manufacturer's name and the weight of the boule.
may bear an engraving of the player's first name or initials.
Choice of boule The diameter of the boule is chosen based on the size of the player's hand. The weight and hardness of the boule depends on the player's preference and playing style. "Pointers" tend to choose heavier and harder boules, while "shooters" often select lighter and softer boules.
Leisure boules These boules do not meet competition standards but are often used for "backyard" games. These boules are designed to suit all ages and sexes.
Competition jacks Competition jacks must meet the following specifications (according to the International Federation of Petanque and Provencal Game):
forged of wood or of synthetic material which carry the maker's mark and have secured confirmation by the F.I.P.J.P. that they comply exactly with the relevant specification.
have a diameter between 25 and 35 mm.
Kite flying
When the southwest monsoon is beginning to stir the leaves of Thailand's flame trees, many an elderly gentleman, not to mention his grandson, lifts his eyes to the sky contemplating the excitement of the kite flying season. For in this happiest of all lands, kite season is a time of delight for everyody.
In Thailand, kite flying is not just a casual attempt to see how high it can be made to soar into the sky. It is an ancient sport dignified by rules and regulations and a heritage involving everyone from kings to commoners. Before the inauguration of competitions as we know them today, the Thais were flying cargo-laden kites over their golden cities. In the late 17th century, King Petraja used kites for what was probably the first aerial bombing in history. When the principality of Nakhon Ratchasima (Korat) rebelled, King Petraja tied kegs of gunpowder to kites, lifted them over the rebel stronghold and blasted the miscreants into capitulation. Kite flying as a sport has been popular since the reign of King Ramkamhaeng of the Sukhothai period, some seven hundred years ago. The kings of Sukhothai loved kite flying so much that the sport played an important role in Thai literature of that period. The craze for kite flying reached such heights in the new Thai capital of Ayutthaya that in 1358 a Palace Decree was issued stipulating that kites were not to be flown in the vicinity of the palace. There is also evidence of kite-fighting being enjoyed as a sport more or less in its present-day form by King Rama 11 (1809-1824). The King matched his pentagonal male kite called a "Chula" against a courtier's female kite called "Pakpao" from the Phramane Ground in front of the Royal palace, the same area from which kites are flown today. In Chula-Pakpao Kite Competitions, location and wind direction play the most important roles in dividing the Chula-Pakpao’s boundaries. Competitors must prepare different types of Chula-Pakpao kites for use according to the prevailing conditions of the weather, so that a rigid kite is used in times of strong wind, while a lighter structured kite can fly well in winds of average strength. A more fragile kite is flexible in its construction, so it can easily float in a light breeze. The number of kites brought to the contest is unlimited, as spare kites and cords are necessary to replace the ones that may become broken, or escape into the atmosphere during the contests. Both Chula and Pakpao possess weapons to defeat their opponents. The Chul’a weapon is called a “champa” and is applied to its string, being used to hook the Pakpao’s cord to bring it down to the ground. For Pakpai, its two-stringed noose is an efficient weapon to cause the Chula kite to lose balance and plunge earthwards. To end the match, the ongoing conditions must be considered, as once the Pakpao’s noose has been snared by Chula’s Champa, broken during the contest, and pulled into Chula’s boundary, then the Chula wins. But when a Pakpao is able to hook a Chula and force it down inside the Pakpao’s boundary, then the Pakpao prevails. The technique of controlling the “pan” or cord, is therefore the most important aspect in kite flying competitions.
In Thailand, kite flying is not just a casual attempt to see how high it can be made to soar into the sky. It is an ancient sport dignified by rules and regulations and a heritage involving everyone from kings to commoners. Before the inauguration of competitions as we know them today, the Thais were flying cargo-laden kites over their golden cities. In the late 17th century, King Petraja used kites for what was probably the first aerial bombing in history. When the principality of Nakhon Ratchasima (Korat) rebelled, King Petraja tied kegs of gunpowder to kites, lifted them over the rebel stronghold and blasted the miscreants into capitulation. Kite flying as a sport has been popular since the reign of King Ramkamhaeng of the Sukhothai period, some seven hundred years ago. The kings of Sukhothai loved kite flying so much that the sport played an important role in Thai literature of that period. The craze for kite flying reached such heights in the new Thai capital of Ayutthaya that in 1358 a Palace Decree was issued stipulating that kites were not to be flown in the vicinity of the palace. There is also evidence of kite-fighting being enjoyed as a sport more or less in its present-day form by King Rama 11 (1809-1824). The King matched his pentagonal male kite called a "Chula" against a courtier's female kite called "Pakpao" from the Phramane Ground in front of the Royal palace, the same area from which kites are flown today. In Chula-Pakpao Kite Competitions, location and wind direction play the most important roles in dividing the Chula-Pakpao’s boundaries. Competitors must prepare different types of Chula-Pakpao kites for use according to the prevailing conditions of the weather, so that a rigid kite is used in times of strong wind, while a lighter structured kite can fly well in winds of average strength. A more fragile kite is flexible in its construction, so it can easily float in a light breeze. The number of kites brought to the contest is unlimited, as spare kites and cords are necessary to replace the ones that may become broken, or escape into the atmosphere during the contests. Both Chula and Pakpao possess weapons to defeat their opponents. The Chul’a weapon is called a “champa” and is applied to its string, being used to hook the Pakpao’s cord to bring it down to the ground. For Pakpai, its two-stringed noose is an efficient weapon to cause the Chula kite to lose balance and plunge earthwards. To end the match, the ongoing conditions must be considered, as once the Pakpao’s noose has been snared by Chula’s Champa, broken during the contest, and pulled into Chula’s boundary, then the Chula wins. But when a Pakpao is able to hook a Chula and force it down inside the Pakpao’s boundary, then the Pakpao prevails. The technique of controlling the “pan” or cord, is therefore the most important aspect in kite flying competitions.
Khon
The Khon masked drama draws its story line from the Ramakian, the Thai version of the Indian epic Ramayana. Khon performances are characterised by vigorous, highly-formalized action. Acting and dancing are inseparable, and each step has a definite meaning, which is emphasized by precisely defined music to suggest walking, marching, laughing, etc. Until the 19th century the Khon was acted by men playing both male and female roles. By the mid 1800s both men and women were appearing on stage together. The actors are often masked and cannot speak, so narrative verses are recited and sung by a chorus that sits with the accompanying musical ensemble. The leading male and female performers do not wear masks and may occasionally speak. The highly decorated papier mache masks are works of art and perfectly portray the characters' personalities. Major characters can be identified by the predominant colours of their costumes. Phra Ram, the hero, wears green. His brother, Phra Lak, wears gold and Hanuman, the monkey-god, wears white.
Khon Mask Making
Most visitors to Thailand have the opportunity to experience the masked "Khon" drama, a uniquely Thai version of the Indian "Ramayana" epic, with tales of gods of ferocious demons. Khon was originally developed as an exclusively Royal entertainment, popular at the courts of Ayutthaya and later of Rattanakosin. In addition to the exquisitely controlled grace and charm of the dance and its symbolic gestures (it takes over ten years to train a leading Khon actor), the most memorable features are certainly the gorgeous costumes with richly gilded crowns and colourful masks. Each character in the Ramayana, or Ramakian as it is known in Thailand, has a different costume and headdress. Of the leading roles the most easily recognised are the noble God - King, Phra Ram, the demon, Thotsakan, and the local monkey general, Hanuman. There are more than a hundred support characters and most of them wear different styles of masks and headdresses which are lavishly decorated. The making of these masks is an art form that highly specialised and there are only a very few craftsmen in Thailand who have mastered this skill. The making of each mask can take many days of detailed work. The first stage is the moulding of a plaster form to the size and shape of the actor's head. On to this is applied many layers of papier mache in order to build up the character's features. For the best masks a special tissue thin paper (hand - made from a tree bark called "khoi") is used. Up to 20 layers of khoi paper are glued on to the form, then the surface is dried and smoothed. The mask is then cut away from the form, the two halves begin rejoined by sewing with fine wire. A final layer of papier mache is added, holes made for eyes and mouth, and the decoration finished using paint, lacquer, gold leaf and coloured glass fragments. For the finest examples semi precious gems are used and real ivory for tusks and fangs.
Lakhon
Lakhon dance drama is less formal and actors, with the exceptions of monkeys, ogres, and other non-human, non-celestial beings, do not wear masks. Lakhon plots are drawn mainly from the Ramakian, the Jatakas, and folk stories, Khon and Lakhon costumes are identical, but Lakhon dance movements are more graceful, sensual, and fluid, the upper torso and hands being particularly expressive with conventionalized movements portraying specific emotions. Lakhon is subdivided into numerous variations, the major three being Lakhon Chatri, Lakhon Nok, and Lakhon Nai. Simplest of all in form and presentation,. Lakhon Chatri is often seen at popular shrines, such as Bangkok's Lak Muang (City Pillar) where dancers are hired by supplicants whose wishes have been granted to perform for the shrine deity. Lakhon Nai drama was originally presented only by court ladies in the palace. It was graceful, romantic, and highly stylized. Lakhon Nok plays, on the other hand, were performed outside the palace and acted only by men. Filled with lively music, off-colour humour, and rapid, animated movements, Lakhon Nok was the ancestor of the enormously popular Li-ke folk theater which is still a feature of many provincial festivals.
Likay
Likay or music drama is a traditional performing art of central Thailand. Throughout its history, Likay has never lost its unique characteristics which are the beautiful costumes, the comic actions and the fast storytelling. It is still popular in modern Thai society, especially in rural areas, because of its entertainment value and the performers' ability to improvise and extemporize verse. Likay is a stage traditional performing art performed by actors and actresses playing particular types of characters, namely phra (hero), nang (heroine), kong (villain), itcha or jealous woman (villainess)and joker (male or female clowns). The performers improvise their dialogues and song lyrics during the performance following the scenario provided by a story-teller. The performance is divided into three parts: the piphat musical prelude, the ok khaek (the appearance of the khaek )or the introductory opening, and the play proper. The repertoire includes a large number of contemporary stories set in earlier times and a few modern ones, all treated in a light, romantic-comedy vein. The Likay troupe travel from one performance to another around various localities in central Thailand. During the dry season (from November to July), the Likay troupe perform outdoors for particular occasions or local festivals and fairs. They perform on the rong or Likay stage which is always a thrust stage. The performance is shown free of charge because of sponsorship by rural people who are free from farm work.
The wik, the Likay theater, is used during rainy seasons (from August to October), when the rural folks are in the farm. The Likay performers have to earn their living by setting up the performance themselves in enclosed theaters where admission is charged. History Likay has roots in Muslim chant ( Dikay )and Buddhist recitation ( Suat phramalai ). The Dikay was introduced into Thailand by Muslim immigrants. The word Dikay in Malay dialect is closest to word Yikay, the early name of Likay. Even before 1880, both the Dikay and the Suat phramalai had become popular, losing their religious purports as they were transformed into secular entertainment forms. The performance had been developed several times to gain more popularity. Along with this development was the adoption of the piphat traditional music. During the 1960's and 1970's, Likay music was augmented by the Phleng lukthung, the pop country music. From 1975 onward, a new costume style for actors emerged and replaced the previous fashion. In 1978-1979, there were around 1,000 troupes comprised of professional performers who performed throughout the year all over the country.
The wik, the Likay theater, is used during rainy seasons (from August to October), when the rural folks are in the farm. The Likay performers have to earn their living by setting up the performance themselves in enclosed theaters where admission is charged. History Likay has roots in Muslim chant ( Dikay )and Buddhist recitation ( Suat phramalai ). The Dikay was introduced into Thailand by Muslim immigrants. The word Dikay in Malay dialect is closest to word Yikay, the early name of Likay. Even before 1880, both the Dikay and the Suat phramalai had become popular, losing their religious purports as they were transformed into secular entertainment forms. The performance had been developed several times to gain more popularity. Along with this development was the adoption of the piphat traditional music. During the 1960's and 1970's, Likay music was augmented by the Phleng lukthung, the pop country music. From 1975 onward, a new costume style for actors emerged and replaced the previous fashion. In 1978-1979, there were around 1,000 troupes comprised of professional performers who performed throughout the year all over the country.
Nang Yai
Nang Yai literally means "large shadow pupet".It is a high art form that originated the beginning of the 15th century A.D.. Nang Yai performance was a popula means of entertainment during Ayutthaya period and was mentioned in a poetry called Bunnovat Khamchan written by a Buddhist monk named Mahanak in around A.D. 175131758 or during the late reihn of King Boromakot. Nang Yai is originally a prototype of modern mask dance,which incorporates various episodes of an Indian epic called Ramakian(in Thai) or Ramayana (in Indian version).Nang Yai performance also adopts Ramakien as a leading story and the performance is episodic in each show. The performance of large shadow puppet is traditionally held in open spaces such as lawn or village dirt space. The main components of Nag Yai compose of a 16*6 white screen held by four bamboo or wood poles on each side. The screen is trimmed by red strip. Behind the screen strands a tinder or a bonfire lightened up to reflect the shadows of the puppet. During the course of the show there is a Thai music band that plays music in accordance with each episode of the performance. Also important in each shaow is dubber. The puppet figures are made from cow or buffalo hide perforated into different characters in Ramakien story. Each puppet weights approximately 3-4 kg. The biggest puppet is that chararterize a place, weighing around 5-7 kg. There is doubt that why large shadow puppet performer should be male and must be strong enough to hold the puppet through the course of performance period. Nang Yai can be found presently in all of Thailand. For example,in central Thailand,Nang Yai is performed at Khanon in Rachaburi,Wat Plub in Petchaburi,Wat Sawang Arom in Singburi,and Wat Pumarin in Samut SongKram,while in easternregion it can be found at Wat Donin Rayong Province.
Nang Talung
Nang Talung (Southern Thai Shadow Puppet Theater) is a form of entertainment that uses the shadow as its principle device, the same as Nang Yai (literally, big puppets). But the elaborateness and intricacy of Nang Talung is less, and the puppets are smaller in size than Nang Yai. What is important is that the telling of the story is local and follows the local patterns of simple speech that the villagers use. This is because the puppeteer recites extemporaneous Thai verse in the local dialect. There is a lively spoken exchange between characters that pleases the audience. One of the charms of Nang Talung is the group of clown characters who are well known, for example, Ai Khainui and Ai Si Kaeo. It is believed that these clowns are real living beings and that they have special personalities that are amusing. The puppeteer presents the lives of the puppets and puts them into the drama that is played out in a world which moves across the screen. He creates entertainment for people to watch. Nang Talung originated in the southern part of the country. Some people call it Nang Khuan because it originated in the village of Khuan Maphraw in Patlung province. But Nang Talung spread to other areas of the country, for example, in the North to Uthaithani province and in the East to Rayong province. The Northeast has this type of entertainment, but it is called Nang Phramod. We can concluded that Nang Talung is truly the entertainment of villagers in every area.
Hun krabok
Hun krabok are small-sized, bamboo rod puppets found in Thailand. The form originated in the late l9th century. Under court sponsorship a carver named Neng modeled figures on Chinese rod puppets. The iconography is borrowed from the older court shadow theatre (nang yai) which already existed in 1458, and doll puppets of the royal court (hun luang) which began before the 17th century. Thai shadow puppetry is, itself, derived from the Cambodian court shadow puppetry (nang sbek), which was in turn influenced by Javanese shadow puppetry (wayang kulit). The imagery of the Thai mask dance (khon) corresponds closely to that of the doll theatre. After carving the head from wood, the maker applies lacquer, papier mache, and paint. Next a bamboo support rod is attached to the neck, after which the figure is covered with a costume modeled on classical dancer’s clothing. Stories are sung in the style of lakhon nai, the female court dance drama, and accompanied by the sweet playing of the phipat, the Thai orchestra. Stories may be drawn from folktales or the Ramakien, the Thai Ramayana which tells of the kidnapping of Sida (Sita) by the ogre king, Thokosan (Rahwana). As she languishes in the garden of the Asoka tree in demon's kingdom of Alengka, Anuman (Hanuman), the white monkey and son of the wind god, brings her a sign from her husband, Phra Ram (Rama). With the help of the monkey army, Phra Ram fights a great battle to regain his wife, crushing the demon realm. Phra Ram is an incarnation of the Hindu god Vishnu. This story is popular on the Southeast Asian mainland and is associated with divine kingship. It was frequently presented at ceremonies of the Thai court and even today the Thai ruler takes the name of Rama upon accession to the throne. Puppet shows and masked dance were an important part of court entertainments, especially cremation ceremonies. Headdresses used on puppets and in dance drama borrow their form from Buddhist temple architecture with the upward extension related both to the head of the enlightened Buddha and the mountain/tree of life's triangular form. In recent years the hun krabok has been revitalized by the vibrant performances of Chakrabhand, Thailand's most noted painter who spends up to ten years preparing for a single performance. Several other styles of hun, doll puppets, are found in Thailand, but hun krabok is the most popular three-dimensional puppet genre.
Thai cinema
Thai cinema had long been demeaned as a low-grade cultural product by educated, urban audiences in Thai society. Bad plots, nonsensical scripts, exaggerated performance and poor production were appreciated only by rural, low-class audiences. Storylines often revolve around four generic formulae of comedy, horror, drama, and action in order to be prevented from box office failure. It is no surprise that the target of movie going culture in Thailand has distinctly been classified into two groups. While in Bangkok and very few major cities, there have been a steady investment in the building of modern multiplex cinemas, and audiences were offered a variety of films reflecting new tastes and quality films, in upcountry Thailand most theatres are still run-down stand alone cinemas, where audiences are offered movies only as mass entertainment. Besides, the Thai film industry is a society that has many times been involved with dark power, in comparison to other kinds of mass media - print or broadcasting - so young, energetic people preferred not to waste their time with it. There have, however, been two sparkling times in the eighty-three-year history of Thai cinema (since the first filmmaking Suvarna of Siam in 1923) when the industry enjoyed some major changes. Coincidentally, both periods were joined by young, emerging filmmakers who were able to attract educated, urban groups to go to the cinema. The first wave came in the 1970s when the intellectuals entered the film industry and made the so-called 'socially critical cinema'. This emergence needs to be understood in parallel to the change of the country's politics and culture, triggered by two major political upheavals: the student uprisings of October 14th 1973 and the attack on demonstrating students on October 6th 1976. In the same way as the youth counterculture spreading in the West in the 1960s, Thai students used pop culture as a medium to present their own ideology and standpoints. The movie was one of them, and social issues were taken as the key contents by those emerging filmmakers whose backgrounds transcended from university, political movements, journalism, as well as some from the advertising field. Some noted directors in this period included Prince Chatreechalerm Yukol, Vichit Kunavuthi, Euthana Mukdasanit, Manob Udomdej, and Permpol Choei-arun. A decade after that, the industry went down into the gloom with the flood of poor-quality teen flicks until 1997 when three television advertising men were coincidentally marching to make their first features. Pen-Ek Ratanaruang startled the Thai film world when his directorial debut, the quirky contemporary drama Fun Bar Karaoke (Fan ba karaoke, 1997) premiered in Berlin - and he thus became an overnight success. While Fun Bar Karaoke was waiting for local release, the industry also welcomed fellow newcomer Nonzee Nimibutr, whose nostalgic directorial debut Dang Bailey and the Young Gangsters (1997) was a huge hit with Thai audiences across generations and not surprisingly broke all-time Thai box office records. And near the year's end, yet another new director from the Thai advertising industry, Hong Kong-born Oxide Pang, entered the field with Who Is Running? (1997) The second new-wave however represents some distinct features far from those the first new wave had. While the earlier tackles the social and political contents, the latter freely goes into different directions, from the commercial-ridden genres to the highly-valued experimental. This in fact creates the merits of diversities in the present Thai film scenarios, better known as New Thai Cinema.
Music of Thailand
Since ancient times, the thai people have known how to make musical instruments or to copy the patterns of others and adapt them to their own uses. In fact, there are several kinds of musical instruments which the thais apparently devised before they came in contact with the culture of india, which was widespread in southeast asia before they migrated there. Later, when the thai people were establishing their kingdoms and had come into contact with indian culture, particularly with indian instruments which the mon and khmer cultures had absorbed first, they assimilated this musical culture into their own. From this contact, the thais creats several new kinds of musical instruments such as the phin, sang, pi chanai, krachap pi, chakhe, and thon, which are mentioned in the trihumikatha, one of the first books written in thai, and on a stone inscription from the time of king ramkhamhaeng of the sukhthai period. Some songs of the sukhthai period are still sung at present, such as phleng thep thong. During the ayutthaya period the instrumental ensemble was composed of four to eight musicians. Songs became much longer and singing technique was improved. Many ayutthaya songs were composed in a from of musical suite called phleng rua, which was a series of songs. Poets contributed lyrics in the form of short stories, mostly from the ramakian. Many ayutthaya songs are still employed in thai plays today. In the beginning of the bangkok period, after a long period of war, there was a remarkable revival of thai arts, especially music and drama. The size of the instrumental ensemble was enlarged to 12 musicians and several masterpieces of thai literature were produced as theatrical performances accompanied by music. Beautiful lyrics written by contemporary poets were fitted into melodies of the ayutthaya period. All thai musicians in the past received their training from their teachers, through constant playing and singing in their presence. With nothing else to rely upon except their own memory, it was only through much hard work that they gained their technical experience and practical knowledge in playing and singing. In all, there are about 50 types of thai musical instruments, including many local versions of flutes, stringed instruments, and gongs used for all kinds of occasions: festivals, folk theater, marriages, funerals, and social evenings after harvesting. His majesty plays also the saxophone that has been given him by benny goodman. Music plays an important part in the life of the thai royal fmily. His majesty the king bhumibol adulyadej is an internationally -recognized jazz musician with numerous orginal compositions to his credit, one of which was featured in a broadway show in the 1950's. Her royal highness princess maha chakri sirindron is an accomplished performer on several classical thai musical instruments, while her royal highness princess chulabhorn has made several popular music cassette tapes to raise funds for charity.