2018
DOI: 10.14434/emt.v0i8.25921
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Forbidden Songs of the Pgaz K’Nyau. By Suwichan Phattanaphraiwan (“Chi”). Translated by Benjamin Fairfield.

Abstract: The “forbidden” songs of the Pkaz K’Nyau (Karen), part of a larger oral tradition (called tha), are on the decline due to lowland Thai modernization campaigns, internalized Baptist missionary attitudes, and the taboo nature of the music itself. Traditionally only heard at funerals and deeply intertwined with the spiritual world, these 7-syllable, 2-stanza poetic couplets housing vast repositories of oral tradition and knowledge have become increasingly feared, banned, and nearly forgotten among Karen populatio… Show more

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“…This 'Karen consensus' (Walker 2001) has been promoted by both international activists and Thai scholars (Tan- Kim-Yong et al 1988;Ganjanapan 2000;Laungaramsri 2001). It has also gained ground in the academic and popular texts produced by the Pgaz K'Nyau themselves (Trakansuphakon 2006;Phattanaphraiwan 2018), as a cultural marker of identity and social cohesion. In this latter literature, Pgaz K'Nyau oral poems or songs -hta -are often highlighted as a source of ancient wisdom and traditional ecological knowledge that would come to demonstrate the essential character of the Pgaz K'Nyau as a people living in harmony with their natural environment.…”
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“…This 'Karen consensus' (Walker 2001) has been promoted by both international activists and Thai scholars (Tan- Kim-Yong et al 1988;Ganjanapan 2000;Laungaramsri 2001). It has also gained ground in the academic and popular texts produced by the Pgaz K'Nyau themselves (Trakansuphakon 2006;Phattanaphraiwan 2018), as a cultural marker of identity and social cohesion. In this latter literature, Pgaz K'Nyau oral poems or songs -hta -are often highlighted as a source of ancient wisdom and traditional ecological knowledge that would come to demonstrate the essential character of the Pgaz K'Nyau as a people living in harmony with their natural environment.…”
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confidence: 99%
“…Due to the growing popularity of modern Thai and Western songs amongst the new generations of Pgaz K'Nyau, however, the term hta is increasingly used to refer specifically to the traditional forms of oral poiesis, which for the most part only the elderly can still remember and perform. Moreover, in Christian communities, the traditional hta have been actively replaced by religious hymns and other imported songs, deemed more orthodox and modern by those who despise the old practice of maz hta for being too tied up with animistic beliefs (Fairfield 2012;Phattanaphraiwan 2018). While Buddhists have been less militant against the traditional hta, this practice is slowly dying out in most Pgaz K'Nyau communities, despite some efforts to modernise it, for instance by the performer Suwichan ('Chi') Phattanaphraiwan (Fairfield 2013).…”
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