Musical Culture of Sea Gypsy in Bulon
Archipelago
Rewadee Ungpho
Abstract—The research on the musical culture of Sea Gypsy in
Bulon archipelago, Satun Province considered as an anthropology
research. Research objectives were to study the history and
information culture and also to find the basis information for the
restoration and preservation of the music culture of Sea Gypsy who
live in Bulon archipelago. The research found as follows:
1. Musical characteristics of Sea Gypsy in Bulon archipelago is
still traditional music. It doesn’t mix with any external musical
influence such musical instruments, language, and other musical
characteristics. There are various kind of songs which can play a
complete melody and rhythm, including a total of 8 songs as follows;
Lagu-ayamdide, Lagusitipayong, Lagubulongpute, Laguchemamat,
Laguduwo, Laguma-i-nang, Lagumana-ikan.
2. The roles of culture/musical in Bulon archipelago correlate with
Urak Lawoi society. They use music in the ceremony of votive
offering, in the floating ceremony held in Lipe Island and in various
festivals. Therefore music is a spiritual sacrifice and a spiritual
instrument that conveys an Urak Lawoi, which makes the Urak
Lawoi still unique and have a sense of ethnic identity.
3. The inheritance of Urak Lawoi music is still making in a
traditional way as an Oral Tradition with no record. The teaching
and learning must be one on one, and it required length of time to
practice and accumulated the knowledge. With such above reasons, a
few people attend in the inheritance. Those who are interested may
not be able to practice constantly. As a result, there is only a few or
even none of descendant left.
Keywords—Sea Gypsy, Music, Bulon Archipelago.
I. INTRODUCTION
B ULON ARCHIPELAGO is an Island located in the area
of Mu Kohphetra National Park, Satun Province. It
situated in large Phangka bay and small Phangka bay with
approximately 25 kilometers from Pakbara harbor.
Bulon Don
Bulon Le
Bulon Maipai
Fig.1 The map of Bulon archipelago
R. Ungpho is with the Faculty of Liberal Arts, Prince of Songkla
University, Songkhla 90112 Thailand (phone: +66-74-286722; fax: +66-74-
286722; e-mail: rawadee.u@psu.ac.th).
Bulon archipelago consists of several small islands namely
Bulon Don, Bulon Maipai, Bulon Khinok, Bulon Rung, and
Bulon Le Island (see Fig. 1). Nowadays, Bulon Le Island was
famous among travelers that bring the better living conditions
into Bulon Le Island, which is difference from population
living in others island in Bulon archipelago. Major population
of Bulon archipelago is the Urak Lawoi.
The Urak Lawoi is one of the fishermen ethnic groups that
resident in various islands of the Thai’s Andaman Sea. They
believe in ghosts and worship the spirits of their ancestors.
These beliefs have blended with the lifestyle of sea gypsy
people caused Urak Lawoi rituals as shown in various forms.
This includes a musical culture that was transmitted in the
form of Urak Lawoi performing arts “Rongngeng” [1].
Most of Urak Lawoi is Muslim. They practice of worship i
s under the Islamic custom and follow a way of Thai–Muslim.
Urak Lawoi believes that their ancestors came from Malaysia
or the mountain range, as the retold of their ancestors [2].
Most of Urak Lawoi inhabit in Bulon Le Island which called
by the villagers as the Big Island (as the Bulon Le is the
largest island in the Bulon archipelago).
The ritual of Urak Lawoi that remains in today’s practice is
boat floating ceremony [3]. This ceremony is considered an
apology to Mother Nature, which is the source of Urak Lawoi
livelihood for the whole year. This ceremony also held for
ancestor’s apology and liken to the distress floating away with
sea. Boat floating ceremony of sea gypsy will be held two
times per year during season changes [4]. This ceremony is an
important ceremony that sea gypsy should be involved. All
sea gypsy remains have faith and know the important of this
ritual, but the ceremony cannot be found on the Bulon
archipelago.
II. MUSIC IN BULON ARCHIPELAGO
Although within the islands of Bulon no longer have boat
floating ceremony which is a unique ceremony of Urak Lawoi
because of the religious reasons, but the Urak Lawoi still
participate in the nature and ancestors apology ceremony by
travelling to attend such significant ceremony at others island.
In addition, by travelling to join the ceremony the Urak Lawoi
can also visit their relatives that inhabited spread in other
islands as well. In Satun, Urak Lawoi floating ceremony will
be held in Lipe Island, which is not far from the island of
Bulon. Traveling from Bulon archipelago to Lipe Island can
be done on 2 main ways. Firstly, sea gypsy may drive their
own boats from Bulon archipelago straight to Lipe Island.
Another way is to come up passenger ship at Pakbara docks.

Fig.2 The musicians (left) and dancers (right)
However, another ritual that the Urak Lawoi still believes
and compliances is Lei Redeem Ceremony, or known as vow
ceremony. The Urak Lawoi will make a votive offering to
Dato shrine of their own Island or shrine of their respect [5].
This ceremony will be held when the Urak Lawoi make a vow
and get the result as they have been asked to the shrine. Most
of Lei Redeem Ceremony perform Rongngeng in their
ceremony, Bulon archipelago still comply this ceremony as
well.
The interesting point of Urak Lawoi music in Satun is
music playing in floating ceremony in Lipe Island, which
about 40 kilometers from the archipelago of Bulon. The
tradition of Urak Lawoi in floating ceremony must perform
the music and Rongngeng associate with the ceremony.
Whereas the musicians who can play music for Rongngeng
dance (the music of Urak Lawoi) lives in Bulon Archipelago,
the place that doesn’t have floating ceremony anymore. There
is only one music player who can perform such melody
instrument in Bulon archipelago, and currently has no new
generation that can be learned to inherit such Urak Lawoi
melody.
Fig.3 The instruments in Rongngeng ensemble of Urak Lawoi
group, from left to right are Ramna and E-sae-u-ra, Barutawa, Cing
and Barukrasae
Generally, the music that use in Rongngeng performance
consist of
1) Viloin or the local people call “Sor” or “Olin”, this is a
melody instrument in the ensemble which is called in
Urak Lawoi language as “E-sae-u-ra”. The violin is a
western musical instruments that relatively high price for
the Urak Lawoi. It is regarded as the most expensive
musical instrument among all the Urak Lawoi musical
instruments. Most of violin owner in Urak Lawoi
normally get it as a donations from tourists or business
owners who see music ability in him. Then such violin
became a legacy for the next generation of musicians.
When it is time to repair violin, the Urak Lawoi will buy
or obtain donations to purchase materials and equipment
and take it to repair based on their ability.
2) Rammana (small drum) or “Ramna”, is called in Urak
Lawoi language as “Barurama”. It is a popular musical
instrument that the Urak Lawoi can play the most as it can
be perform in every event such ceremony, carnival or
general singing. An Urak Lawoi Rammana is one side
drum that use lizard leather as a drumhead and strained
with nylon rope. During performance time, the player
will use rattan or rope to compress the inner drumhead
with drum body to tighten the drumhead. The Urak
Lawoi will always make their own Rammana without
hiring drum maker, but they may hire their folk in some
part. Therefore, the value of Urak Lawoi Rammana
cannot be appraised. However, this instrument is now
needed to be maintained due to the materials used in
making Rammana quite rare.
3) Gong or tackles is called in Urak Lawoi language as
“Barutawa”. It features as an edged gong with buttons
like Thai tackles. The Urak Lawoi regularly using tackles
size 12-15 inches.
4) A pair of rhythm clappers is called in Urak Lawoi
language as “Kra-sae” or “Barukrasae”.
5) Singer is called in Urak Lawoi language as “Bae-u-rayi”.
6) Cymbal is called in Urak Lawoi language as “Cing” as
same as Thai people. This is an instrument of Thailand
that the Urak Lawoi latter adopt into their ensemble.
There are two instruments that the Urak Lawoi can make by
their own, which are Rammana and clappers, as they can be
hand made by the craftsmen. Materials that used to make such
two instruments are available locally. However other
instruments such as violin, gong or cymbals, the Urak Lawoi
still need to get support from outsiders. Once, outsiders had
supported musical instruments to schools for use in teaching.
There were many violins contributed to student for their
learning and practicing, but finally none of them can perform
in the show.
However, the teaching classes of Urak Lawoi are still study
without taking any note. In practice of Rongngeng, before
playing any song, the musician will perform the three of
teacher songs to worship their holy teacher which are
Laguduwo, Laguma-i-nang and Lagumana-ikan. These three
Rongngeng songs can be performed without Rongngeng
dance. But it was always played by tradition as it useful for
the performance in term of instrument testing and musician
preparing before playing other songs. In addition, the
performing of these three songs can be such an announcement
and invitation to the ceremony and to join the Rongngeng
performance Rongngeng Performance
Rongngeg is a pleasing performance of Urak Lawoi and
Thai people as can considered as a part of the ceremony and
festival. Certainly, Rogngeng will be showed in ritual of Urak
Lawoi, particularly in the floating ceremony and Lei redeem
ceremony. It also plays in various festivals held in the islands,
shown to the tourist, or even those hired from outside the
island. However, Rongngeng that perform in the floating
ceremony use no artistes from Bulon archipelago. There is
only one Bulon musician in the band which plays the most
important instrument and considered as the most import show.
While others musician such as Rammana player and
Rongngeng dancers are from Lipe Island.
III. MUSIC MELODY
2B
The most famous song among Bulon folks are Laguduwo,
Laguma-i-nang and Lagumana-ikan. These three songs are
famous because it is always played before Rongngeng
performance. And the songs are played from generation to
generation for a long time until present day. Additionally,
performers can select other songs to play for each occasion, it
is a reason that why people didn't hear other songs in every
show.
Fig. 4 The version of the score for Melody of Laguduwo in Bulon
archipelago
IV. DISSEMINATION OF KNOWLEDGE ON THE URAK LAWOI
3B
MUSIC
Urak Lawoi music use violin to conduct melody. Even it
was considered as the main instrument in the band, but there is
only one people who can play violin in the melody of Urak
Lawoi.
The performance of the Urak Lawoi was recognized from
boat floating. Many people know the Urak Lawoi Rongngeng
as they have seen such special dance or heard such special
rhythm. But most tourists or people didn't recognize such
special music that is rarely found the player nowadays. Even
in Lipe Island where located in Satun, the same province as
Bulon archipelago, still need to use musicians from Bulon
archipelago in boat floating ceremony. Every year, the
musician from Bulon archipelago will go to Lipe Island to
make such performance.
Shown here that relationship among the Urak Lawoi in each
islands are still ongoing nowadays. And according to the lack
of musician circumstances, thus the contact of Urak Lawoi
between Bulon and Lipe Island constantly remains. Many
musicians of Lipe Island can play the violin, but they could
not play such Urak Lawoi music. Although the lack of Urak
Lawoi musician are obviously shown, but even hire or reward,
still nobody want to learn or inherit such music.
In general, the Urak Lawoi is interested in music, dancing,
and carnival. But the teenagers and grown up people do not
want to learn Urak Lawoi music, since it seem too difficult for
them. It is due to the way of teaching, Mr. Ra-mhan Talaeluk
(see Fig. 5) teaches the learners by play the song to them once
and let the learners play after him. The hard part is that he play
the entire song at onetime without separating into paragraphs.
Accordingly, the learner must be a music talent. That is the
reason why nobody comes to learn Urak Lawoi music with
Mr. Ra-mhan, and also the reason why there is no successor of
such special music until now.
Fig. 5 Mr. Ra-mhan Talaeluk, the violinist of Urak Lawoi in Bulon
archipelago
Here are the research assumptions “How to preserve or
inherit the musical of the Bulon”. According to data collected,
there are some methods that researcher would like to propose
in this research in order to quickly preserve and inherit the
music of Urak Lawoi.
1) Make a record in literature form, as shown in Fig 4.
2) Seek for violin player and take him to practice with Urak
Lawoi musician. (Mr. Ra-mhan Talaeluk). In order to
check over music note and generate an original musician
practitioner. This step is also to check the validity of the
first of the notes recorded.
3) An original musician practitioner exercises after the
practice with Mr. Ra-mhan in order to be more accurately.
4) Check over the melody between an original musician
practitioner and Urak Lawoi musician (Mr. Ra-mhan
Talaeluk) along with Rammana player, Rongngeng singer
and Rongngeng dancers.
5) Published Urak Lawoi music to violinist in order to keep
the melody with the person.
6) Pass along music melody to young generation of Urak
Lawoi who interest in such music. Thus the Urak Lawoi
can preserve their own culture and later publish their own
music. (At this stage, the research has not been conducted,
might do it in the next).
VI. CONCLUSION
4B
Cultural and music are related to the Society of Urak
Lawoi. Music is regarded as one sacrifice and it also cause
social integration. It also contributes to the integration of
spirituality that indicates the identity of Urak Lawoi. This can
be seen when there is a concert or Rongngeng dance. People
in the community will singing, playing and dancing together
for their enjoyment and entertaining. Some people believe that
if anyone knows how to dance, they should join to the dance
for their own good fortune. In addition, playing music is also
considered as a votive offering to the ancestral spirits as
shown in Lei ceremony and boat floating in Lipe Island.
 As the cultural heritage of Urak Lawoi music are in the
form of oral tradition which have no recorded but only teach
in face to face. The learner must pay a great attention and
effort in order to learn such special music along with time
spending for practicing, knowledge accumulating, and being
in the Urak Lawoi culture. As mentioned, the way to cultural
heritage of Urak Lawoi music are still in a form of traditional
culture which inherited from generation to generation to date.

REFERENCE

REFERENCE
[1] S. Wongbusarakam, The Urak Lawoi’ of the Adang archipelago,
Thailand, Bangkok: Themma Group, 2007, pp. 9-45.
[2] D. Jaruntong, History of Urak Lawoi in Lipe Island, Satun Province,
A.D.1950-2006, Bangkok: Silpakorn University, 2007, pp. 38.
[3] Choeychuenjit, S, Tsunami impact - the world of Morgan, Morglan and
Urak Lawoi sea gypsies after the waves, Chiang Mai: Heinrich Böll
Found. 2008, pp. 30 (in thai).
[4] A. Granbom, Urak Lawoi, Lund: Lunds University, 2005, pp. 52.
[5] D. Hogan, Men of the Sea: Coastal Tribes of South Thailand's West
Coast, Journal of the Siam Society, vol. 60 (1), 1972, pp. 216.

R. Ungpho is a music lecturer at the Faculty of Liberal Arts of the Prince of

Songkla University in Hat Yai, Songkhla, Thailand. She obtained her
Bachelor of Music Education and her Master of Ethnomusicology at
Srinakharinwirot University, Bangkok, Thailand. 2010, she completed her
PhD in Ethnomusicology/musicology at Martin Luther University of Halle-
Wittenberg in Halle (Saale), Germany.