THAI ARTS

   

In ancient times up to the early modern period in Thailand, Thai craftsmen were
considered the "true artists".  They were thought to possess superior intellect, a full
understanding of culture and a wide ranging wisdom. They had  the capacity to create
and produce great works of art that can but rarely find their equal in execution today. 
These arts not only reflected the artists creative force but also cultural reflections of the
art and its use in Thai society and culture.

"Chang feemeu", roughly equivalent to the English word "craftsman",  has until only
recently been considered by most Thais to be a much lower designation than "silapin",
or artist.  This is unfortunate and does not fully reflect the skill of some these artisans
or the creative treasures they produced.  We would like to emphasize that the works of  
  these craftsman, works that are attributed with intelligence and creativity, are such as
to demand appreciation by all true art lovers.  Any study of the crafts as being  
somehow a study of a lesser form of art does not fully appreciate the true artistic force
of these crafts or their importance to Thai life and culture.  Many of these "craftsmen
and women" were and are national treasures.  The best of their works have a living
force that calls for worship of the artisans creative force and artistic merit.

The old Thai phrase, "chang sip mu", or "ten divisions of craftsmen", is a phase whose
original usage was the name of a government department comprising craftsmen
assigned to ten departmental divisions.  Let's take a look at this list of divisions as it
gives us a general idea of the range of  the craftsmen's trades in Thailand at the time of
the reign of The Great King Rama V (1853-1910).
     
  The Ten Divisions of Craftsmen  
1. Drawing

were done by craftsmen, drawers,

illustrators, pictorial gilders, lacquer
craftsmen, painters, muralists and
    manuscript illustrators.  

         
 2. Engraving

This work includes the woodcarver, the

engraver and the woodblock cutter,
silversmith, goldsmiths and jewelers,
enameling, inlay and embossing and
architectural woodcarvers.

     

        
3. Sculpting

paper and plaster sculps, decorative fruit

and vegetable carvers

     

        
4. Modeling

bronze casters, figure modeler,  mask and

puppet makers, stucco sculptural and
architectural modelers

     

        
 5. Figuring

animal and bestiary figures, figure

assemblers and lantern-maker, 

     

        
6. Turning

lathe workers, carpenters and joiners,

ivory carvers

     

        
 7. Plastering

plaster craftsmen, stucco workers and

sculptors

     

        
8. Molding

making Buddha images, bronze and metal

casting, clay and bee's wax modelers

     

        
9. Lacquering

lacquer work, gilding, glass mosaic,

mother-or-peal inlay work, Buddha
images, carvers of wooden panels and
pictorial gilding
     

        
 10. Beating

metal beaters, monk's bowl maker,

jewelers, silversmith

     

        
Thai Artisan's over the centuries have excelled in each of these arts.  Although less has
been written about these arts than Thai mastery of ceramics, painting and some of the
  better known fine arts, each of these fields provided a major opportunity for artistic
accomplishment.  A deep understanding of Thai art therefore demands a full study of
each of the ten divisions reflected above.

Arts and Culture of Thailand

The arts and culture of Thailand are greatly influenced by Buddhism. However, the dominance of Hinduism has great
influence in the it’s culture. Chinese too has the influence in its arts and culture.
Arts and crafts of Thailand
The arts and crafts work truly resembles the Buddhism value. The arts and culture of Thai are the combination of
modern and olden styles. The craft’s work includes the textiles and decorative style.
Architecture of Thailand
The temples in Thailand are the proof of best olden architecture work. The grand palaces in the Thailand are a major
tourist attractions.
Thai cuisine
The cuisine of Thai is most popular in the world. The cuisine has the mixture of salt, spice, etc. most of the cuisines
have spicy and herbs in it.
Music and dance in Thailand:
Thailand is famous for its classical dance and various folk dances. It also resembles the Indian Namaste as their
welcome gestures.

THAI ARTS
Garudas in Wat Phra Kaew, Bangkok

A depiction of a white elephant in 19th century Thai art.

Phra Achana, Wat Si Chum, Big Buddha image in Sukhothai

ARTS OF MALAYSIA

anguage---

The Malaysians are a member of the Austronesian family of languages which comprises languages from
Southeast Asia and the Pacific Ocean , with a smaller number in continental Asia. The Malay language,
locally known as 'Bahasa Melayu', is the national language of Malaysia. A form of the Austronesian
language, it's used by the Malay people who reside in the Malay Peninsula, central eastern Sumatra,
southern Thailand, the Philippines, Singapore, the Riau islands, and parts of the coast of Borneo. It's also
the official language of Brunei and Singapore.

Religion---

the bulk of the Malays are Muslims comprising of 52% of the population. Christianity is also being practiced
by some Chinese, Indians, Eurasians and many of the indigenous people of Sabah and Sarawak . There
are 17% Buddhist , 12% Taoist, 8% Christian, 8% Hindu and 2% tribal people with Islam being the
official religion of Malaysia. Usually the Chinese population in Malaysia mostly follows Buddhism, Taoist or
Christianity. The Indians on the other hand are mainly Hindu Tamils from southern India.

Music and Dance---

Malaysian music is greatly influenced by Chinese and Islamic forms. Based largely on the endang, a drum, it
also includes percussion instruments made of shells such as flutes, trumpets and gongs. A touch of
neighboring Indonesian and Thai forms , as well as Portuguese and Filipino styles can also be detected. A
strong tradition of dance and dance dramas of Thai, Indian and Portuguese origins can also be witnessed.
The zapin musicand dance derived from Arabia is quite popular in Malaysia, accompanied
by gambus anddrums.

Dondang Sayang , another dance style which is slow and intense, has been influenced by Chinese, Indian,
Arabian and Portuguese traditional elements. Kertok, swift and rhythmic xylophone music, was played by
the natives of the Malay Peninsula in small bands.Ghazals from Arabia are quite popular in the markets and
malls of Kuala Lumpur and Johor and popular stars like Kamariah Noor are very famous.

Festivals---

Malaysia vibrating with life and energy celebrates its incredible diversity in a world of festivals and feasts.
Some of the famous festivals of the Malaysian people areThaipusam, celebrated by the Hindus and some
Chinese to mark the victory of Lord Murugan over the demons symbolizing the triumph of good over evil.
Then there is theMoon Cake Festival which falls on the 15 th day of the 8 th moon of the Chinese lunar
calendar marking the overthrow of the rule of the Mongol in China. The festival of theHungry
Ghosts celebrated during the 7 th month of the Chinese lunar calendar is a famous month long carnival
where the Chinese believe that the souls of the dead are released to roam around.

Art---

Malaysia has attempted to preserve its traditional art forms despite the influence of the outside world. Mak
yong is a traditional form of Malay drama in which the performers sing, dance, and act out heroic tales
about sultans and princesses. It's followed by an orchestra called a ' Gamelan' with every performances
consisting mainly of metal percussion instruments including gongs, xylophones, and drums.

Other artistic forms include Wayang kulit - a traditional theater art-form using puppets and shadow-play to
tell the epic tales of the Ramayana. Bunga Malai or Garland Makingis an integral part of the cultural
heritage of Malaysian Indians for religious occasions like weddings, moving house, or welcoming an
important guest. Silat - the stylized Malay Art of Self defense combines a sequence of supple movements,
which enables a person to defend himself under provocation. The use of Blow Pipe or Sumpit , used by
the tribal people with their magnificent hunting skills, is an integral part of martial art. Crafts such as batik,
weaving and silver and brass work are also quite popular.

Syed Ahmad Jamal, Between Haven and Earth

Nature has always been an inspiration for artists throughout the ages. Mountains, in particular, have inspired many
regional landscape painters.

From China there has been a long history of artists who painted the many outstanding geological features of their
physical geography. Some of these artworks besides depicting the shapes and designs of mountain formations in great
detail also conveyed clear information of the various geological compositions of their landscapes.

One of the most well-known Japanese artists, Hokusai, from the Edo period, made colour wood block prints of a
series of 36 views of Mount Fuji. The Great Wave of Kenagawa done in 1831 is one of Hukusai’s signature
compositions of this collection of early postcards of Japan.

Cezanne paid homage to his boyhood home in Provence by painting the Mont Sainte-Victoire in Aix at least 60 times
from 1885 to 1906. His devotion to a single hillock slightly over 1,000m in his backyard set the modern standard of
painting and looking at European landscapes since the Renaissance.
Wayang Kulit: The Ancient Shadow Plays of Bali

The shadow puppet plays, known aswayang kulit are popular not only in Bali but
throughout Indonesia. Far more than mere entertainment, the wayang kulit is an extremely
important vehicle of culture, serving as carrier of myth, morality play, and form of religious
experience rolled into one.

The puppets are believed to have great spiritual power, and are "brought to life" by special
ceremonies performed by the dalang, the puppet master and story teller. The dalang is a
man of many talents: he must have a repertoire of hundreds of stories, play the music,
have a flair for showmanship, perform the necessary sacred rituals, and also know how to
make the intricate, flat, leather puppets.

Through the puppets, the dalang relates the story line (which the audience usually already
knows by heart) and embellishes the universal themes through improvisational asides
incorporating the local village's gossip or happenings.These asides are usually hilarious to
the audience.

The function of the shadow play is to educate as well as amuse, by

portraying good and evil, with good always triumphing, although evil
is never destroyed. In Hindu thought, good and evil are necessary
parts of the whole and must exist in equilibrium.

In Bali, shadow plays are extremely popular, with performances

given during sacred temple ceremonies, private family ceremonies,
and in the villages, just for fun. A typical performance can last six
hours or more, often ending at daybreak. The audience, including
little children, sits on the ground, enthralled, for the entire story.
Although involving much horseplay and slapstick comedy in the
lighthearted Balinese fashion, every aspect of the shadow play has
mystical overtones, symbolism, and esoteric meanings.

- Notes by Julia Ingersoll

 Intriguing: ‘The Midnight Sky Dance’, an acrylic on canvas piece by Ismail Latiff.

Each artist will contribute one painting for the exhibition. The works are in various mediums, like oil,
acrylic, etching, transparent spirit glass paint, crayon, Chinese ink, and mixed medium on canvas,
paper, perspex and aluminium.

They are mostly abstract pieces and include impressionist, abstract expression, realism, semi
abstract and symbolism.

Traditional theme: ‘Congkak’, an acrylic on canvas piece by Kuen Stephanie.

 A touch of nature: ‘Journey FRIM & Floral’ by Pheh It Hao.

“We felt that it was a good opportunity for us and we were encouraged to pursue the idea by Unity,
Arts, Cultural and Heritage Minister Datuk Seri Mohd Shafie Apdal.

“The selection for this exhibition was done with seven senior artists, more than 20 established artists
and some up-and-coming ones.

“These up-and-coming artists have been in the industry for many years and they want to be active.
They have the skill, but not the opportunity, so this exhibition provides a great platform to showcase
their work.

“All the artists have presented their best work for this show,” he said.
 Festive feel: The Kawadi Thaipusam Series by Patrick Scully.

According to Wong, the paintings feature different techniques and styles but the common thread that
runs through the collection is that most of the works express colours.

“The collection is every bit Malaysian and the subject matter is very healthy, featuring nature and
humans,” he said.

He added that the artists were very happy to be part of such an exhibition.

PHILIPPINES ARTS AND CULTURES

PAINTING

In the last half of the 19th century, Filipino painters showed enough maturity of
concept and technique to merit critical acclaim. Damian Domingo got recognition as
the “father of Filipino painting.” Towards the end of the Spanish regime, two Filipino
painters won recognition in Europe – Felix Resurreccion Hidalgo and Juan Luna.
Hidalgo’s Antigone and Luna’s Spolarium were both acclaimed in Europe as
masterpieces of Filipino painting. In 1884, Luna won the first Gold Medal at the
Exposicion Nacional de Bellas Artes for his Spolarium. This monumental painting
shows fallen gladiators being dragged to an unseen pile of corpses in a chamber
beneath the Roman arena. 

Spoliarium,Art Manila

After World War II, the Neo-Realist school of painting emerged, with such notable
members as Vicente Manansala, Hernando R. Ocampo, Victor Edades, Arturo Rogerio
Luz, Jose T. Joya, and others.

The name of Jose Joya (1931 - 1995) is synonymous to the best in Philippine abstract
expressionist art. He produced an excellent body of bold and lyrical works. 

SCULPTURE

Filipino sculptors came to be known in the middle of the 19th century. Classical

Philippine sculpture reached its peak in the works of Guillermo Tolentino (1890-
1976). His best known masterpiece is the Bonifacio Monument, which is a group
sculpture composed of numerous figures massed around a central obelisk. The
principal figure is Andres Bonifacio, leader of the revolution against Spain in 1896.
Behind him stands Emilio Jacinto, the brains of the Katipunan. The Bonifacio
Monumen t - completed in 1933 -- marked the apex of Tolentino'’s career.

Bonifacio Monument

Napoleon Abueva (born 1930), one of Tolentino'’s pupils, is one of the pioneering
modernists in sculpture. He used various media. And his stylization bordered on the
abstract as in Allegorical Harpoon, in which the dominant horizantal thrust of the
figure evokes the vitality of primitive forms.
 Allegorical Harpoon,  Art Philippines

Abueva'’s more famous work is Fredesvinda , which was included in the First
ASEAN Sculpture Symposium held in Fort Canning Hill, Singapore, from March 27
to April 26, 1981.

<br
 Fredesvinda, The Asean Sculptures

MUSIC

With the death of Nicanor Abelardo and Francisco Santiago, the two greatest Filipino
composers, Filipino music has been struggling. However, the efforts of such
musicians as Antonio J. Molina, Felipe P. Padilla de Leon, Lucio San Pedro, and
others, using folk literature and folk songs, have contributed to the revival of Filipino
music.

The Philippines is rich in sound-producing instruments, such as percussions, flutes

and stringed instruments. Here are some examples:

Gongs – There are two types used in the Philippines. One is the flat gong which is a
narrow-rimmed gong without central protrusion and found exclusively in the north.
The other has a boss or central protrusion with narrow or very wide rim, widely used
only in southern Philippines. 
 Kulintang (gong-chime)

Kutyapi – This is a two-stringed plucked lute, commonly found in Maganoy,

Maguindanao. It is one of the most technically demanding and difficult to master
among Filipino traditional instruments. However, the kutyapi music is rich in melodic
and rhythmic sound and is deeply poetic in inspiration. 
  

Kutyapi (two-stringed plucked lute)

METAL WORKS

This is generally inlay in silver and gold or black. Brass is much used for the common
things, such as bowls and trays, ladders, weapons, gongs, and other musical
instruments. 
 Muslim weaponry and household utensils

SARI-MANOK

It is the legendary bird or “artificial cock” that has become an ubiquitous symbol of
Maranaw art. It is depicted as a fowl with wings and feathered tail, holding a fish on
its beak or talons. The head is profusely decorated with scroll, leaf, and spiral motifs. 
 Sari-manok

A closer look at some of the mat traditions will show the artistry and the superb skills
of the native weavers. One example is the Samal mat, considered design-wise as one
of the most interesting traditions in the whole country. The Samals are Muslims
occupying the bigger islands in Tawi-Tawi. They are generally engaged in trade and
agriculture. The Samal mat uses the leaves of pandanus plant which grows abundantly
in the area. It has four general patterns: 1) stripes; 2) multicolored squares; 3) a
checkered pattern of white and other colors; and 4) a zigzag pattern. 
 Samal mat

EAST TIMOR ARTS AND CULTURES

The culture of East Timor reflects numerous cultural influences, including Portuguese, Roman Catholic
and Malay, on the indigenous Austronesian cultures of Timor. Legend tells that a giant crocodile was
transformed into the island of Timor, or Crocodile Island, as it is often called. Like Indonesia, the
culture of East Timor has been heavily influenced by Austronesian legends, although the Catholic
influence is stronger, the population being mainly Roman Catholic.

Illiteracy is still widespread, but there is a strong tradition of poetry. As for architecture, some
Portuguese-style buildings can be found, although the traditional totem houses of the eastern region,
known as uma lulik also survive. Craftmanship is also widespread, as is the weaving of traditional
scarves or tais.

Literature
Easily the most famous East Timorese author is Xanana Gusmão, the leader of the Timorese
resistance organization Fretilin, and now the president of independent East Timor. He wrote two books
during the struggle for independence. Also a poet and painter, he produced works describing the
culture, values, and skills of the Timorese people.

Other important writers of Timor are: Fernando Sylvan, Francisco Borja da Costa, Ruy Cinatti, and
Fitun Fuik.

Music
East Timor's music reflects its history under the control of both Portugal and Indonesia, who have
imported music like gamelan and fado. The most widespread form of native folk music was the likurai
dance, performed to by women to welcome home men after war. They used a small drum and
sometimes carried enemy heads in processions through villages; a modern version of the dance is
used by women in courtship.

In the modern era, Timorese music has been closely associated with the independence movement; for
example, the band Dili All Stars released a song that became an anthem in the build-up to the
referendum on independence in 2000, while the United Nations commissioned a song called "Hakotu
Ba" (by Lahane) to encourage people to register to vote in the referendum.

East Timorese popular musicians include Teo Batiste Ximenes, who grew up in Australia and uses folk
rhythms from his homeland in his music. With many East Timorese people in emigrant communities in
Australia, Portugal and elsewhere, East Timorese folk music has been brought to many places around
the world. Refugee camps in Portugal mixed together East Timorese music with styles from other
Portuguese colonies like Angola and Mozambique.

The guitar has long been an important part of East Timorese musc, though it is an import brought by
colonizers; there, however, native kinds of string instruments similar in some ways to the guitar.
Foreign influences also include popular styles of music like rock and roll, hip hop and reggae.

Religion
East Timor has been nominally Catholic since early in the Portuguese colonial period. The Catholic faith
became a central part of East Timorese culture during the Indonesian occupation between 1975 and
1999. While under Portuguese rule, the East Timorese had mostly been animist, sometimes integrated
with minimal Catholic ritual, the number of Catholics dramatically increased under Indonesian rule.
This was for several reasons: Indonesia was predominantly Muslim; the Indonesian state required
adherence to one of five officially recognised religions and did not recognise traditional beliefs; and
because the Catholic church, which remained directly responsible to the Vatican throughout
Indonesian rule, became a refuge for East Timorese seeking sanctuary from persecution.

The 'Apostolic Administrator' (de facto Bishop) of the Diocese of Dili, Monsignor Martinho da Costa
Lopes, began speaking out against human rights abuses by the Indonesian security forces, including
rape, torture, murder, and disappearances. Following pressure from Jakarta, he stepped down in 1983
and was replaced by the younger priest, Monsignor Carlos Felipe Ximenes Belo, who Indonesia
thought would be more loyal. However, he too began speaking out, not only against human rights
abuses, but the issue of self-determination, writing an open letter to the Secretary General of the
United Nations, calling for a referendum. In 1996 he was awarded the Nobel Peace Prize, along with
exiled leader José Ramos Horta, now the country's Foreign Minister.

In spite of accusations by the Suharto regime that East Timor's independence movement, Fretilin, was
communist, many of its leaders had trained to be priests, and their philosophy probably owed more to
the Catholic liberation theology of Latin America than to Marxism.

However, in spite of the majority of the country's people now being Catholics, there is freedom of
religion in the new republic, and the Prime Minister Marí Alkatiri, is a Muslim of Yemeni descent.

Hair removal
Another interesting point of culture is that it is duty for adult women ( from the age of 15) in East
Timor to remove all body hair (besides their head).

The Culture of East Timor reflects numerous cultural influences, including Portuguese, Roman
Catholic and Malay, on the indigenous Austronesian cultures in East Timor.
Literature
Easily the most famous East Timorese author is Xanana Gusmão, the leader of the Timorese
resistance organization Fretilin, and now the president of independent East Timor. He wrote two
books during the struggle for independence. Also a poet and painter, he produced works describing
the culture, values, and skills of the Timorese people.

Other important writers of Timor are: Luís Cardoso, Fernando Sylvan, Ponte Pedrinha, Jorge Barros
Duarte, Crisódio Araujo, Jorge Lauten, Francisco Borja da Costa, Afonso Busa Metan and Fitun Fuik.

Religion
East Timor has been nominally Catholic since early in the Portuguese colonial period. The Catholic
faith became a central part of East Timorese culture during the Indonesian occupation between
1975 and 1999 . While under Portuguese rule, the East Timorese had mostly been animist,
sometimes integrated with minimal Catholic ritual, the number of Catholics dramatically increased
under Indonesian rule. This was for several reasons: Indonesia was predominantly Muslim; the
Indonesian state required adherence to one of five officially recognised religions and did not
recognise traditional beliefs; and because the Catholic church, which remained directly responsible
to the Vatican throughout Indonesian rule, became a refuge for East Timorese seeking sanctuary
from persecution.

The 'Apostolic Administrator' (de facto Bishop) of the Diocese of Dili, Monsignor Martinho da Costa
Lopes, began speaking out against human rights abuses by the Indonesian security forces, including
rape, torture, murder, and disappearances. Following pressure from Jakarta, he stepped down in
1983 and was replaced by the younger priest, Monsignor Carlos Filipe Ximenes Belo, who Indonesia
thought would be more loyal. However, he too began speaking out, not only against human rights
abuses, but the issue of self-determination, writing an open letter to the Secretary General of the
United Nations, calling for a referendum. In 1996 he was awarded the Nobel Peace Prize, along with
exiled leader José Ramos-Horta, now the country's President.

In spite of accusations by the Suharto regime that East Timor's independence movement, Fretilin,
was communist, many of its leaders had trained to be priests, and their philosophy probably owed
more to the Catholic liberation theology of Latin America than to Marxism.

However, in spite of the majority of the country's people now being Catholics, there is freedom of
religion in the new secular republic, and the former Prime Minister Marí Alkatiri, is a Muslim of
Yemeni descent.

Music of East Timor

East Timor's music reflects its history under the control of both Portugal and Indonesia, who have
imported music like gamelan and fado. The most widespread form of native folk music was the
likurai dance, performed to by women to welcome home men after war. They used a small drum
and sometimes carried enemy heads in processions through villages; a modern version of the dance
is used by women in courtship.
In the modern era, East Timorese music has been closely associated with the independence
movement; for example, the band Dili Allstars released a song that became an anthem in the build-
up to the referendum on independence in 2000, while the United Nations commissioned a song
called "Hakotu Ba" (by Lahane) to encourage people to register to vote in the referendum.

East Timorese popular musicians include Teo Batiste Ximenes, who grew up in Australia and uses
folk rhythms from his homeland in his music. With many East Timorese people in emigrant
communities in Australia, Portugal and elsewhere, East Timorese folk music has been brought to
many places around the world. Refugee camps in Portugal mixed together East Timorese music with
styles from other Portuguese colonies like Angola and Mozambique .

The guitar has long been an important part of East Timorese music, though it is an import brought
by colonizers; there are however native kinds of string instruments similar in some ways to the
guitar. Foreign influences also include popular styles of music like rock and roll, hip hop and reggae .

Lyrics of the songs can be sung in Tetum or Portuguese, official languages of East Timor.

INDONESIAN ARTS AND CULTURES

 
Located at the heart of Java Island, surrounded by volcanic mountain ranges and the coastline facing
Java Sea and the Indian Ocean, the lowland plains of Central Java has an average temperature of 21-
32°C. Yogyakarta Special Region populated by a majority of the Javanese ethnic group and often called
the gateway to Central Java can be accessed via a 10-12 hour land travel via bus or train from Jakarta
or via plane from Soekarno-Hatta International airport in Cengkareng to Adisutjipto Airport.

Wayang kulit as seen from the shadow side

micro.cosmic
Because of Central Java’s rich cultural heritage, the province is a consistent destination for the
increasing number of Indonesian Arts and Culture Scholarship (IACS) awardees from various countries
for the three-month duration of the program giving them a chance to interact with the community and
experience the Javanese way of life. Except in 2006, Seni Retno Aji Mataram, an art center in the
Yogyakarta has been actively playing its part in the promotion of the diverse Indonesian traditions,
specifically the Javanese culture. The participants are introduced to the process of batik-making and
its significance; traditional Javanese dance; and the wayang kulit (leather puppets).

Jogja

Recognized as Indonesia’s academic city, Jogja attracts students from all over the country with its
centers for higher learning. Go for a shopping trip in Malioboro Street and choose among the locally
produced crafts for souvenirs or have a steaming bowl of Bakso (meatballs) while sitting and relaxing
on a mat, enjoying the meal in Javanese tradition. Try going around by becak (rickshaw) and visit
places of importance within the city. Go to Kraton (Sultan’s Palace), walled city within the city and the
residence of the current sultan, this is considered the center of Jogja’s traditional life and showcases
the grand and elegant Javanese architecture which continues to radiate with a spirit of refinement, a
legacy of its rich history.

Also a haven for traditional and contemporary art, Jogja will entice the inner artist in everyone. Catch
a performance of Wayang Kulit depicting stories based on the epics of Ramayana and Mahabharata as it
unfolds, narrated by the Dalang (puppeteer), the genius behind the show. Learn the art of batik-
making, an intricate process of applying hot wax to trace the patterns or designs on a cloth using a
pipe-like instrument as a pen and appreciate the skill and patience required to produce one. Go and
watch an exhibition of classical or contemporary Javanese dance accompanied by the music of
gamelan, a musical ensemble featuring metallophones, xylophones, drums, gongs, bamboo flutes and
bowed and plucked strings.
 Borobudur

Hire a car and visit Borobudur, a ninth century Buddhist Mahayana monument both a shrine to the Lord
Buddha and a place for Buddhist pilgrimage and a UNESCO world heritage site. At noontime, the place
will get hotter under the heat of the scorching sun so it is necessary to bring an umbrella. In the late
afternoon, drive to the beach and walk barefoot or ride a horse-drawn cart at the shore of
Parangtritis , a sacred place for the locals because of Nyai Roro Kidul, an Indonesian goddess also
known as the Queen of the Southern Sea of Java and legendary consort of the Sultans of Mataram and
Jogja.

Prambanan or Roro Jongrang

Image Credits:Riza Nugraha
Prambanan, the largest Hindu temple relics is often referred to as Roro Jonggrang. According to an old
legend, it tells the story of Princess Roro Jonggrang and a knight named Bandung Bondowoso who fell in
love with her. The princess does not love the knight so she gave him a seemingly impossible condition
that in exchange for her love, the knight will have to make a temple with 1,000 statues in one night.
The knight accepted the challenge and was almost finished before sunrise and the princess seeing this
started to worry. So she started thinking of ways to hasten the arrival of dawn with the help of the
villagers. Bandung Bondowoso, who was working on the 999th statue, was angered by the princess’
attempt to cheat him that he cursed Roro Jonggrang and she became the 1000th statue.

A visit to Jogja will appeal mostly to creative artists, perennial students, adventure seekers and culture
aficionados. Like most places in Indonesia, a time spent in Jogja leaves an impression far more
enduring than the scenes captured in snapshots. Its subtle charm lies in its mystic allure, giving visitors
a glimpse Saliendra and Mataram dynasties and lingering traces of Hindu and Buddhist influences from
the Srivijayan and Majapahitempires amidst a mountainous landscape at the foot of Mt. Merapi, each
with its own tale to tell.

INDONESIA MUSIC & DANCE

From £1468 per person*

Bali Art and Culture

Overview | Sample 14 Day Itinerary

This Journey into the stunning Indonesian island of Bali is

an artist’s trip to a society where aesthetism and religion
are so inseparable and all pervading that nothing in Balinese life is celebrated without a
fusion of art and worship.

Since the early 20th century, European artists, especially painters, have been coming to
Bali to soak in the heady air of complete artistic dedication that is the unique character
of the Balinese people. Nowhere else will you find such a concentration of creative
diversity and the "Island of the Gods" could not be a more conducive location.

Follow in the footsteps of Walter Spies and Rudolph Bonnet, celebrated expatriate
artists, not only in the pursuit of beauty but
also in the pursuit of Balinese ways of
life. Experience the daily routines by joining in
the planting of rice in the verdant rice
terraces that spill down from the volcanic
centre of the island, help to cook a traditional
Balinese meal, practice traditional “Lagong”
dance with the children as they perfect their
skills ready for performance before the Gods
and their people. Meet the practitioners and
masters of the arts in their studios and
workshops. This trip is designed to provide
an insight into the significance of art to the
Balinese, in everyday practice and in an
historical context.

This trip can be tailormade to create an

unique holiday to meet your individual
requirements.  Accommodations can be
selected to suit the levels of comfort you
seek, or we can arrange to imerse you into
the local community with homestays and
simple but characterful guist houses.

In line with our commitment to responsible

tourism, all guides on this trip are local
Balinese. The teachers and lecturers used to
show the fine arts of Bali are all local
Balinese people. They are picked for their
excellent knowledge of their craft and high degree of expertise in their chosen art. By
participating in this tour you are not only learning and experiencing traditional art and
crafts but also helping to ensure these art forms are maintained and become a
sustainable way of making income for the local people.

This tour also supports local artists and women on the Island of Bali. By supporting
small textile businesses run by women in the Ubud area, women are given the
opportunity to make a sustainable income to support their families. The artists and their
communities will directly benefit from visitors using local products to create the artwork
and by studying the traditional arts with the local people.

On all of our tours we employ local staff and are committed to the development and
education of our staff providing training sessions, travel opportunities and other
opportunities to participate in Community Based Tourism Projects within Cambodia.
When clients book a tour with us they are also provided with information about local
charities they can support and a guide to local restaurants and crafts.

We have been actively implementing green practices which stretch from our offices to
our partners throughout the whole of South East Asia. We have spent 13 years
enthusiastically researching socially and environmentally sensitive tourism opportunities
in South East Asia.

At a local level we actively participates in reducing its environmental impact by recycling

and reducing the amount of paper transactions by providing our information to our
clients electronically. We also use fans in the office instead of air conditioning.

BRUNEI ARTS AND CULTURE

 
 

BRUNEI Arts and Handicrafts Centre must visit while in Bandar Seri Begawan. Brunei
Ministry of Culture has established their own Official Troupe to pro pagate dance and music in the country. An important outdoor heritage is
SILAT, the art of self defence., which is also a heritage of the Malay Archipelago ( Malaysia , Indonesia and Brunei )
Ambuyat Dish - Brunei
Ambuyat with its bland taste and glue-like appearance is Brunei signature dish. Made from sago (derived from rumbia
tree), ambuyat is eaten simply by dipping it in cacah, a special thick and sour sauce made from the local fruits called
binjai. Since ambuyat is tasteless, it is always eaten with vegetables and a variety of side dishes such fish, prawn and
meat depending on your preferences. The fun part of eating ambuyat is by using candas (a v-shaped wooden or
bamboo stick). First twirl the ambuyat around the candas, dip it in cacah and swallow the whole thing without
chewing!
Bunga Telur aka “Flower Egg” - Brunei
Bunga telur literally translated as “flower egg” plays an integral part in a Malay wedding ceremony. Representing
fertility, bunga telur is given as a token gift to guests attending the ceremony. In a symbolic gesture, bunga telur is a
prayer for the newly wed to be blessed with many children. Traditionally the bunga telur is put in a net and attached to
a plastic flower. However the design has evolved over the years. Now the eggs have been packed in fancily
decorated boxes, cups, soap cases and even cocooned in jewellery boxes.
Dulang Making - Brunei
The traditional arts and crafts formed an integral part of Brunei’s cultural heritage. Dulang making is an ancient craft
that has lasted for centuries and being kept alive by the Bruneian women. It is an example of the unique artistry
celebrated, preserved and emulated in Brunei’s modern day culture.
Durian Kuning - Brunei
Durian Kuning has always be mistaken as the “King of Fruit”. Totally opposite its “big brother”, Durian Kuning has
short blunt spikes, easy to open and minus the pungent smell. Its natural habitat is the wild mixed dipterocarp forest
but it is also commonly planted. This unique fruit came from the same family as baobab tree and only can be found in
Borneo. The interesting feature of Durian Kuning is its colorful flesh from yellow, orange, bright pink to purple.
His Majesty Throne - Brunei
Since gaining independence in 1984, Brunei Darussalam has adopted the national philosophy of Malay Islamic
Monarchy (Melayu Islam Beraja). It stresses the importance of Islam in daily life , epitomized the Malay culture and
tradition and teaches deep respect for the monarchy as represented by His Majesty Sultan Haji Hassanal Bolkiah
Mu’izzaddin Waddaulah, the 29th ruler of Brunei Darussalam.

SINGAPORE ARTS AND CULTURES

The Art of the Orient

True to its name, Mandarin Oriental, Singapore is proud to introduce “The Art of the Orient” - a specially
commissioned collection of Asian artworks. Works in this collection are created by 13 of the region’s most
accomplished, award-winning artists, namely, Baet Yeok Kuan, Eng Joo Heng, Nia Fliam, Agus Ismoyo, Hong
Sek Chern, Khiew Huey Chian, Jason Lim, Lim Poh Teck, Christine Mak, Nai Swee Leng, Om Nee Ai, Quek
Kiat Sing and Tay Bak Chiang.
The curatorial concept establishes and addresses fresh links within a collection of works that epitomise the
richness of Oriental Art with their varied forms and approaches, in the context of the hotel’s newly furnished
interiors. Displayed at various locations around the hotel, guests can view the art pieces and enjoy the rich
and colourful techniques of the artists. Below are some art pieces that you can expect to find amongst the
hotel’s extensive collection:
Level 1

Location: Pre-Function 1 
Title: Trashcan of Tradition II 
Artist: Agus Ismoyo and Nia Fliam 
Technique: Hand and cap batik, reverse appliqué on silk 
Artist’s statement: This collaborative batik is the second in a series of works focusing on the important
cultural route of the indigenous cultures of Southeast Asia. The concept of the work is based on the motifs
“Kawung” and “Parang”, which are two of the most dominant motifs in Southeast Asian batiks. These motifs
reach back to at least the Dong Son period and its link in Southeast Asian textiles. As Singapore has
historically been and remains a hub of Southeast Asia, this work symbolises the unity of all Southeast Asian
countries as a cultural family. The techniques include hand and cap batik on silk with the featured motif
batiked and dyed over 50 times. This cloth is combined with layers of batiked silks of Chinese and organdy
silks, cut and stitched in the ancient style of reverse appliqué.

Location: Pre-Function 1 
Title: Untitled 
Artist: Jason Lim 
Medium: Stoneware, crackle glaze 
Artist’s Statement: The design of the work is loosely based on the shape of the lotus leaf. The surface of
the work has makings and patterns that are reminiscent of ethnic Southeast Asian textiles and traditional
pottery wares.
Location: Atrium Suite 1 Foyer 
Title: Vestiges of Change I 
Artist: Hong Sek Chern 
Medium: Chinese ink, colour pigment, collage on rice paper 
Artist’s Statement: Through the process of juxtaposing various processes of construction, this artwork
tries to address the dynamic process of change and renewal. Conceptually, the new is built upon the old.
The decisions of what to be reinstated and what to be replaced are re-enacted through the processes of
artistic addition and subtraction. The placement of collages over the paintings serves 2 purposes: to add
new spatial relationship, as well as to take away earlier aesthetic treatments by forming an opaque layer
over them. The coloured lines offer a means to clarify the sites as well as to mask them. The final result
bears references to the sites as in the making, as well as in completion, torn from a page of their shared
history.

Level 4

Location: Business Centre Work Cubicle 

Title: Phoenix 
Artist: Eng Joo Heng 
Medium: Monotype, woodcut and embossing 
Artist’s Statement: Regarded as the king of the birds in Chinese mythology, the phoenix is an auspicious
symbol representing prosperity, happiness, beauty, summer and the sun. It is commonly seen alongside a
dragon, as a female symbol or to symbolise an empress.

Location: Boardroom 2 
Title: Untitled 
Artist: Lim Poh Teck 
Medium: Charcoal on paper 
Symbolism: For nearly 5000 years, the Chinese people favoured the peony (Mu-Dan) over any other
flower. To this day, it remains very highly regarded and is known as the flower of riches and honour. The
peony is also an emblem of wealth, distinction and feminine beauty, love and affection, youth, growth and
renewal. Considered omens of good fortune and prosperity, Chinese peony paintings are often hung in the
home and in business places.
Location: MELT ~ The World Café 
Title: Jewels of the Cosmopolitan Senses II 
Artist: Khiew Huey Chian 
Medium: Acrylic, gesso on raw cotton 
Artist’s Statement: This body of works hopes to translate the magical sensations of dining into a series of
visual experiences with spices taking centre stage. Silhouettes of spices are drawn onto raw canvases using
acrylic gesso, a medium that has important functions, but is not commonly acknowledged, as it is used as a
ground for paintings. These drawings are composed such that they resemble delicate stardust, snowflakes,
or jewellery-like formations. Earthy hues outline some of these silhouettes, creating visual imagery that
transports viewers to a space filled with imagination and fantasy.

Location: Garden Suite 
Title: Autumn Symphony Series 
Artist: Christine Mak 
Medium: Chinese ink and colour on rice paper 
Artist’s statement: This set of 3 paintings portrays the lotus plant. Here, black is the primary component,
with brushmarks in orange, red, lapis blue and yellow on minute segments of the surface that serve to
register notes of differences. By doing so, the artist brings into relief the varying characteristics and
definitions of light in the paintings.

Location: Harbour View Suite 5 

Title: Compatible 
Artist: Tay Bak Chiang 
Medium: Chinese ink, colour on rice paper 
Artist’s Statements: The bird eavesdrops as the fish murmurs to the tree as the tree invites the bird to
join in.
Singapore’s arts and cultural scene bustles with diversity and local flavours. In spite of its cosmopolitan
nature, which opens doors to rich and contemporary global influences, the city remains uniquely Asian.
Packed with arts activities, festivals, events and cultural spaces, arts junkies are spoilt for choice.

Singapore’s Arts Festival 2009

The month from 15th May to 14th June presents an exciting array of performances for arts enthusiasts!
The Singapore Arts Festival is an annual event held by the National Arts Council and showcases 7 new
commissions, including 2 world premiers, 5 Asian premieres and 1 other Asian premiere that is jointly
commissioned with international partners.

The line-up boasts 26 core productions and over 400 free outreach performances, exhibitions and special
events. Viewers can expect to be enthralled by the extensive programme that ranges from premier
classics to contemporary creations, which promise to captivate, engage and uplift.

Response to the 2009 Singapore’s Art Fest has been overwhelming as the event sees the most number of
sold out productions since 2004. Popular performances include Mozart’s opera “The Magic Flute” and a
concert featuring music from cult video game ‘Final Fantasy’.
The National Art Gallery, Singapore

The National Art Gallery, Singapore is a brand new visual arts institution building upon a sound
foundation of scholarship and experience. Over time, we hope to strengthen Singapore’s role as a
regional and international hub for visual arts. We will do this through the display, promotion, research
and study of Southeast Asian and Singapore art, while hosting international art exhibitions.

 
Our future home likewise pair rich history with exciting modernity. Right in the heart of the Civic
District, two monumental buildings—the City Hall and the former Supreme Court—will be refurbished
and reborn as the National Art Gallery. At 60,000 square metres, we will not only be the largest
visual arts venue in Singapore but also one of the largest in the region when the Gallery opens
officially in 2015.
 

Fernando Cueto Amorsolo, Marketplace During the Occupation, 1942, oil on canvas, 57 x 82cm
The National Art Gallery will focus on displaying 19th and 20th century Southeast Asian art,
including Singapore art. Through a comprehensive collection, the Gallery will present the
development of Singapore and regional cultures, so as to tell the story of their social, economic and
political histories.

While the body of works at the National Art Gallery falls largely within the area of modern art, the
Gallery strives towards understanding the collection in new and varied ways – taking on a
contemporary approach and interpretation of the development of Southeast Asian art. The Gallery
will look beyond national and regional boundaries of art, and take on a wider ambit of international
visual arts culture, research into our Asian heritage and cultural affiliations, and engage with global
cultures and discourses.
  

SINGAPORE - The Singapore Art Museum is proud to partner Credit Suisse to

launch “Affandi: A Painter of Genius”, as the inaugural exhibition of the ‘Tradition to
Innovate’ series of programmes presented by Credit Suisse. On January 1952, the TIME
magazine article proclaimed Affandi as a “painter of genius” despite “never taken a formal
art lesson in his life” to audiences in Europe and America who have never heard of this
artist.
The writer who proclaimed Affandi as “a painter of genius” was non other than John
Berger, a radical proponent of the social history of art, and influential art critic who wrote
for the New Statesman.
Born in 1907, Affandi was a transnational artist who had travelled to countries such as
India, America, England, Belgium, France, Italy and Sweden. In 1953, Affandi was the first
Indonesian artist invited to participate at the Second Sao Paolo Biennial, the second oldest
Biennial after the Venice Biennial. Subsequently, Affandi participated at the 1954 Venice
Biennial to great acclaim by critics such as Carlo Barbieri and Alexander Eliot, the head critic
for Time magazine. Through such affirmative reviews, we can conclude that Affandi
was received positively and held in high regard by art worlds outside Indonesia.
 “The face of my father is still giving me the
spirit to live,” said Ibu Kartika, who has been
painting a series of 100 portraits of him. “I
first learnt to paint as a child, watching him
and working with him. I began in 1957 with
a brush, but this separation from the canvas
by a tool didn’t suit me, and I soon gave it
up and worked straight from the tube and
with my hands.”

To commemorate the centennial birth

year of Affandi (1907-1990), Singapore Art Museum (SAM) is proud to organise a
tribute exhibition of the late master painter to celebrate the prolific career of this
renowned Indonesian artist.
This exhibition showcases 20 of Affandi’s paintings that offers a broad representation of
Affandi’s artistic practice. Many of these artworks have never been shown, especially in
Singapore. Prices for Southeast Asian modern and contemporary artworks have increased
rapidly over recent years. At September’s Sotheby’s auction, Affandi’sAyam
Putih was expected to fetch up to $180, 000, it went for $384, 000. This year,
Sotheby’s achieved a new record level for their modern and contemporary Southeast Asian
paintings.

Says Mr Kwok Kian Chow, “Affandi is a towering figure in the history of modern art in
Indonesia. His art can be described as an emotional expression of his feelings towards
humanity based on his own observations when Indonesia was under colonial rule and his
own travels abroad. The lives and plight of the common people is a recurring theme in his
paintings, focusing on their simplicity and strength of will to overcome and break out of
poverty.”

Says Mr Kwok, “The Singapore Art Museum has presented a series of solo exhibitions on
Singapore and Southeast Asian artists such as Chen Wen Hsi and Widayat. Affandi: A
Painter of Genius continues the Museum’s research on Southeast Asian art by working with
collectors and scholars in this region. In doing so, the Singapore Art Museum provides a
conduit for curators, artists and collectors to further scholarship on Southeast Asian art. In
this regard, we are happy to partner Credit Suisse in presenting Affandi: A Painter of
Genius as the first of the ‘Tradition To Innovate’ series of programmes that will be
presented at the Singapore Art Museum over the next three years.”
1907 Boerhanoedin Affandi Koesoema was born in
Jatitujuh, Indramayu (then administratively a part of
Cirebon), West Java, in 1907. The exact date and
month of his birth are however not known.
1990 Affandi passed away in Yogyakarta on May
23rd, 1990, at 15.30, local time. Two wives, four
children, nine grandchildren and fourteen great-
grandchildren released him in peace. An exhibition
to commemorate Affandi opened at the Smithsonian
Institute, Washington D.C., USA. Affandi Self-
Portrait SAM Collection
Self Portrait exemplifies Affandi’s approach to
his artistic practice and philosophy. By using his
hands instead of paint brushes to manipulate the oil
paints directly onto the canvas, he injects the
spontaneity of his human spirit into his own self-portrait in an emotional expressionistic
style. For Affandi, he felt that the elimination of the painting brush in favour of his hands
better conveys the complexity and depth of humanity. His use of strong colours like red,
yellow and green in bold and expressive strokes confronts the viewer and asserts the
individuality of Affandi as a modern Indonesian artist.
About Singapore Art Museum
Opened in January 1996, the mission of the Singapore Art Museum (SAM) is to preserve
and present the art histories and contemporary art practices of Singapore and the
Southeast Asian region. To date, SAM has amassed the world’s largest public collection of
modern and contemporary Southeast Asian artworks with a growing component in
international contemporary art. The museum has presented shows covering both local and
international art practices, traditional and cutting edge art expressions. Through strategic
alliances with international arts and cultural institutions, SAM has been facilitating visual
arts education, exchange, research and development within the region and internationally.
Through forging collaborative partnerships and staging innovative programmes to engage
different audiences, SAM aims to contribute to an enlarged role in the regional visual arts
community and Asian art museology, as well as facilitating developments in art as well as
the art sector in Singapore. For more information, visit www.singart.com

Batik paintings
November 21, 2006
Batik painting demonstration pieces completed during 4 sessions workshop. The technique involves
basic waxing and dye colouring, fixing, cracking and repeated batik process. It is on display at Nafa’s
Continuing Education Dept.

Orchid; Batik on cotton, 18 x 18 inch

Burssorah Street (80s scene); Batik on cotton, 18 x 18 inch

LAOS ARTS AND CULTURES

Art & Culture

Arts
One of the distinct characteristics of Laos is the diversity of its people and cultures. The country’s culture is heavily
influenced by its neighbors, with a trace of Khmer, Thai and Vietnamese culture which is apparent in their arts,
architecture style, cuisine, literature, music and sculptures.
Theravada Buddhism has a prevailing influence on Lao culture, evident to the country’s architecture in which is often
religious in nature. Pha That Luang, the “Great Sacred Stupa” in Vientiane is one of the most notable structures in the
country. It is considered to be the most important religious edifice and symbol of Lao independence and sovereignty
since the time of Lan Xang. Built in the 16th century under King Setthathirat, Pha That Luang consists of a central
stupa with three levels each conveying a reflection of part of Buddhist doctrine. The encircling walls contain a large
number of Lao and Khmer sculptures. The glided structure of this imposing stupa reflects marvelously in the sunset.

During the Thai invasion in 1828 the structure was heavily damage and left abandon. Louis Delaporte, French
explore and architect came across the abandoned temple and made detailed sketches of the temple. The stupa was
restored to its original structure in 1930s with the guidance of the French.

Lao’s architectural styles can be distinguished to the geographical location of the temples and monasteries. In
Vientiane, the wats are built with large rectangular structures constructed of brick and covered with stucco and high-
peaked roofs. The roofs of the wats built in Luang Prabang are sweep down almost reaching the ground while in
Xieng Khouang the wats roofs are not tiered.

Another example of Laos distinctive art is the religious images known as “The Calling for Rain” posture of Buddha
image which illustrates the Buddha standing with his hands held firmly at his side, fingers pointing to the ground.

Laos is known for its weaving. Most of the women in small villages of Laos weave cloth of cotton or silk. Distinct
weaving techniques are exhibited by different ethnic groups in different regions of the country. Most of the traditional
designs have a mythological motif or animal that pertains to certain ceremonies or festivities in the country other
designs include geometric patterns or temple motifs. Weavers arduously choose elaborated brocade patterns,
making scarves, shawls, traditional skirts, household decorations, and blankets.

Literature

Very little is known concerning the history of Lao’s literature due to decentralization and isolation of the early society.
The first recorded Lao traditional literature was from 15th century and 16th century. Most of the written literature has
a Buddhist religious theme, or historical documents. Most famous of which is a classical interpretation of the
“Ramayana”. However, popular literatures are maintained by oral tradition of folk tales. The country has a long
tradition of oral literature, including children’s stories, folk tales, parables, poems and proverbs.

Oral Literature is narrated through lengthy poems that can last up to six hours. Folk literature is amusing and varied
with several types of myths which are both in poetry or prose and most of them are considered scared. Some of the
folk literatures of the country were recorded on palm leaf manuscripts due to the belief that copying books is a way of
making merit of giving away knowledge.

Lao literature boasts three masterpieces – the Vetsantrasadok, the most popular among the three, it relates life of
Buddha before his enlightenment; the Sin Say or Khun Borom, a story of the first human king sent from heaven to
lead Lao people to prosperity; and Thao Hung, is a historical epic recounts the struggle between ancient ruling
families during the Lane Xang dynasty.

Another important Buddhist literature in Laos is the Dhammapada. It is actually belong to the Theravada school of
Buddhist tradition. Dhamma means truth while Pada means way, so the Dhammapada means the way of the truth.
The book is originally written in Pali and contains 423 verses of teaching within Buddhism, guiding voice along the
struggle-laden path towards Nirvana.

There are also collection of palm leaf manuscripts of folk medicine and remedy collection that explain the medicinal
herbs and ways how to heal or cure symptoms. Words of incantation as well as rituals to heal sickness are also
included in these manuscripts. One good example is the folk medicine for longevity. In order to live longer one must
prepare the following ingredients such as 108 myranbaran fruit, 108 wild phyllanthus emblica fruit, 108 diospyros
mollis fruit, 1200 g of the root of solenospermum wallichii (Kurz) Loes, 300 g of hot chili peppers, 150 g of salt, 2400 g
of ginger roots, 300 g of peppers and 300 g of sugar and marinate these ingredients in whiskey to be taken in the
morning and in the evening.
Lao rhymes has four major forms in poetic conventions – kaap, a form of Laos rhymes to be read loud and mostly
sung in various occasions particularly during Boat-racing or Rocket Festivals; Kon, has a specific rhyming pattern,
seven syllables in the middle of a line with external and internal alliterations and rhymes; Khong, is another type of
Lao rhyme which syllables are interconnected between the lines; and the Saan, can be in form of poetic prose or in
verse.

Laos has a highly diversified musical heritage among its numerous ethnic groups. Lao traditional music can be
divided into classical and folk. Traditional classical music is closely related to the Siamese. Sep Nyai is a form of
ceremonial and formal music that is being played with sets of gong, xylophone, oboe, kettle drums and cymbals.Sep
Noi is another form of classical music capable of playing popular tunes including two-bowed string instruments,
the So U and So I. Folk music or Lum may not be written down but is played from memory and usually accompanied
by Khen (a free-red instruments with a vibrating reed fitted in each pipe,) buffalo horns, tam tam drums, two-string
violin and xylophone.

Festivities

Festivities in Laos are usually link to agricultural seasons or Buddhist holidays. The Phi Mai Festival or Buddhist New
Year is considered to be one of them most significant celebration in the country which takes place in the mid-
April. Boun Ban Fai (the Rocket Festival) is being celebrated to entice the rains to fall, this usually take place during
the later month of May. During the celebration plenty of processions occur with music and dancing, accompanied by
firing of bamboo rockets to prompt heaven to send rain. During the month of November Tat Luang Festival occurs.
This is a week-long celebration with range of fireworks, music and parades. Hundreds of monks gather in Golden
Stupa to pray.

January – Boun Phavet, commemorating Buddha’s reincarnation

February – Boun Makha Bu-sao (Full Moon), celebrates the first ever sermon of
Buddha after his enlightenment.
March – Boun Khoun Khao, harvest festival celebrated around the wats
April – Boun Phi Mai, the Lao Buddhist New Year
May – Boun Bang Fai, the well-known rocket festival; Visakha Puja
celebrates the birth, death and enlightenment of Buddha.
June/July – Khao Phansaa the beginning of the Buddhist lent
August/September – Boun Song Heua is the boat racing festival which marks the
end of the rainy season
October – Boun Ok Phansaa is the end of the Buddhist lent and the three
month retreat of the monks. During this time boat racing in Vientiane is being held.
November – That Luang Festival, a week-long festival throughout Laos held
during the full moon of the twelfth lunar month.
November/December – Hmong New Year festivities takes place in the villages in
Northern part of the country. Lao National Day also celebrated on 2nd of December.
Lao arts and the speculative
 Why speculative literature for Laotians

I had a conversation recently where I distilled the point to this: If our communities, especially those in
diaspora, don't learn to explore ways to express a sense of the future or the many other possibilities
within a life, we will remain trapped fixated on the past, without direction, struggling to heal and
rebuild.

A healthy Lao futurism would enable us to unlock futures, the present, lessons learned, and dreams
discovered for all.

Lao culture and Lao American culture already deals with what many would consider speculative
literary themes. Modern examples include a Lao love for ghost stories or poems about meeting
ghosts (Lao, American or otherwise), phi or other helpful spirits, organizations such as the kinnaly
dance troupe invoking the memory of the half-human, half-bird women and men as metaphysical
embodiments of the arts.  

People in Laos still insist there's a nak in the Mekong and celebrate the nak fireball festival. Lao just
won an award for robotics in Laos this year.

 In Lao America, images of the nak continue to be popular subjects for tattoos as well as a guardians
of the temples. When Lao culture adapts the Ramayana as Phra Lak Phra Lam, and then turns it
into a Jataka, that says something about the culture.

In the US we find ourselves so flooded with the myths and science fiction visions of other cultures:
Manga, anime, Star Wars and Star Trek, the Matrix, any number of video games and Harry Potter.
Many of us have a love for this, and we are adding to the pre-existing, but where are we innovating,
and where are we continuing our own traditions?

Where do the Lao want to go within these literary genres? How do we use our imagination? So
much of Lao literary culture is currently fixated on memoir and children's stories, but not necessarily
continued expression of what we want as a future.

 And without that expression of a future, just documentary work, we lose a part of art, and we also
head ourselves towards a cultural dead end, and we fail the dreams and visions of our elders who
worked so hard to hold Lao culture together for over 600 years.

As poets? When we look at the Odyssey, the Ramayana, the Epic of Gilgamesh, the Canterbury
Tales, the Lais of Marie de France, Le Morte de Arthur, Beowulf, the Raven, even the Bible, these
are speculative poems of the highest order that transformed entire cultures and affected the world.

Modern Laos is a culture the size of Great Britain, and while it seems unlikely we'll ever rule almost
the entire world the way Great Britain once did physically, how do we write and create ideas within
our culture that the entire world would want to passionately embrace?

 Horror, fantasy, science fiction, mythology, folklore. It's all around us, and it's within our culture.

 I'm curious how other Lao writers are writing to get us to the stars and to worlds yet to be.
 I hope this helps serve as a spark for what you think a Lao American science fiction poem or story
might look like. Good luck!