Khmer Likay: Conservation, Restoration and Development of Folk ...

American Journal of Scientific Research
ISSN 2301-2005 Issue 64(2012), pp. 30-36
© EuroJournals Publishing, Inc. 2012
http://www.eurojournals.com/ajsr.htm
Khmer Likay: Conservation, Restoration and Development of
Folk Performing Arts in the Southern Part of North-eastern
Thailand
Thanawut Tangsonboon
The Faculty of Cultural Science, Mahasarakham University
Khamriang Sub-District, Kantarawichai District
Maha Sarakham Province 44150, Thailand
Songkoon Chantachon
The Faculty of Cultural Science, Mahasarakham University
Khamriang Sub-District, Kantarawichai District
Maha Sarakham Province 44150, Thailand
Sommad Phonkerd
The Faculty of Humanities and Social Sciences, Buriram Rajabhat University
Mueang Sub-District, Mueang District
Buriram Province 31000, Thailand
Sounet Phothisane
The Faculty of Fine and Applied Arts, Khon Kaen University
123 Mitraparb Road, Muang District
Khon Kaen Province 40002, Thailand
Abstract
Khmer Likay is traditional dramatic performance of Cambodian origin that is found
in the Southern part of Northeastern Thailand. Some performances are well known in the
word of musical folk drama. This form of cultural dance was very popular many years ago
but is becoming obsolete. As a result, many Likay troupes have disbanded and few remain.
This study aims: 1) to investigate the background of Khmer Likay; 2) to investigate the
current state of Khmer Likay; and 3) to conserve, restore and develop the performing arts
for continuation of Likay in the Southern part of North-eastern Thailand. This was a
qualitative study that collected data from documents and fieldwork during the period June
2008 to May 2012. The methods used for data collection were basic survey form,
interview, observation and group discussion. Fieldwork data were collected through the
sampling of four Khmer Likay troupes. They were the Sek Sor Bantengsin troupe, Nai
Hern troupe, Prem-pre-sa-mak-kee-sin troupe, and Sri Som Chai troupe. The samples
included twenty-six key informants, forty-four casual informants and sixty-two general
informants. They were based in Surin and Burirum Provinces. The research results revealed
that Khmer Likay originated in Cambodia and was learnt by travelling Thais. At first, Thais
went to learn the art-form in Cambodia but Cambodian teachers soon came to set up Likay
schools in Surin and Burirum Provinces. They also found popularity among the
Cambodian-Thai ethnic groups who lived in the Southern part of North-eastern Thailand.

Khmer Likay: Conservation, Restoration and Development of Folk
Performing Arts in the Southern Part of North-eastern Thailand 31
Currently, both males and females take part in Likay performances. Standard musical
instruments used are flute (Thai: Pee), Lamana drum (Thai: Glong Lummana), and
cymbals. More musical instruments are added to generate more arousing rhythms for the
performances. The stories played revolve around Tao Prom Ma thad. This is the story of a
king in literature, which was written in the early Rattanakosin period. The language used
for the performances is the local Khmer dialect and the dancing styles are conventional
ones with fixed patterns. Conservation, restoration and development of the performing arts
were found to be necessary to preserve of the culture and traditions of the Khmer people
and musicians. There are ways to store data and music of the local folk artists with related
agencies such as the community and particularly schools in the community. This
information must be saved to promote a new generation of actors and musicians who will
increase the prevalence of Likay drama. Methods should be investigated to repair and
renew the Likay stages and scenery. The instruments must be maintained and cleaned
regularly. Damage must also be repaired and data regarding instruments collected and
published in a book. The Wai Khru, a traditional Thai ritual performed to pay respect to the
teacher, should be carried out before the performance to present the prosperity of the actor.
It is considered sacred and is portrayed at the show. The recording equipment used in
rituals and ceremonies must be clearly documented in a book. Ways to show the style of
Cambodian drama must be consistent and prelude the show. This should be shown on every
occasion of Cambodian dramatic performance. Apologetic requests must be strictly
executed to promote the harmony and spirit of the show. Information must be written in a
book. The approach to recording and live performances of the dance must be descriptively
documented. Published documents must also be prepared.
Keywords: Conservation, Restoration, Development, Khmer Likay, Southern Part of
North-eastern Thailand
1. Introduction
The North-eastern region of Thailand, commonly known as Isan, is home to a variety of folk
performing arts, which are subdivided into many classes because of the prevalence of many ethnic
groups in the local area. There are several types of folk performing arts. These can be roughly divided
into two groups, firstly, cultural arts of the Northern part of North-eastern Thailand, and, secondly,
cultural arts of the Southern part of North-eastern Thailand.
The cultural heritage of the arts in the Northern part of North-eastern Thailand is to be found
among the Mekong cultural group (so-named after the local river). This is also called The Thai-Laos
group or Mor Lam-Mor Khene. There are many forms of folk art, including songs and dance such as
Zeang bung fai (a rocket-dance), Zeang Nang Meaw (a form of rain-dance), and Phi Ta Khon (a spiritdance).
The cultural heritage of the arts in the Southern part of North-eastern Thailand is the Khmer
cultural group. It is also called the Ja Reang-Kan Trum or Khorat cultural group. The Khorat cultural
group is important for folk art. Ja Reang-Kan Trum is known for its songs for worship. Khmer Likay is
the other type of performance that that this group uses to celebrate fun.
Khmer Likay is a traditional Cambodian dance. This form of musical folk drama is however in
danger of extinction from current local culture. It is a type of show that demonstrates the crisis of longevolved
traditional art. It is being replaced by mainstream Thai culture and imported Western culture.
Local people lack pride and a lack of understanding in their own traditional culture.
For these reasons, the researchers are interested in the topic, Khmer Likay: Conservation,
Restoration and Development of Folk Performing Arts in the Southern Part of North-eastern Thailand.
The researchers expect this research to contribute to the conservation and development of Cambodian

32 Thanawut Tangsonboon, Songkoon Chantachon, Sommad Phonkerd and Sounet Phothisane
musical folk drama and allow the tradition to continue in these local areas. This is for the benefit of the
communities of future generations.
2. Research Aims
This research, Khmer Likay: Conservation, Restoration and Development of Folk Performing Arts in
the Southern Part of North-eastern Thailand, has three main aims: 1) to investigate the background of
Khmer Likay; 2) to investigate the current state of Khmer Likay; and 3) to conserve, restore and
develop the performing arts for continuation of Likay in the Southern part of North-eastern Thailand.
3. Research Methodology
This research, Khmer Likay: Conservation, Restoration and Development of Folk Performing Arts in
the Southern Part of North-eastern Thailand, was a qualitative study that collected data from
documents and fieldwork during the period June 2008 to May 2012. The methods used for data
collection were basic survey form, interview, observation and group discussion. Fieldwork data were
collected through the sampling of four Khmer Likay troupes. They were the Sek Sor Bantengsin
troupe, Nai Hern troupe, Prem-pre-sa-mak-kee-sin troupe, and Sri Som Chai troupe. The samples
included twenty-six key informants, forty-four casual informants and sixty-two general informants.
They were based in Surin and Burirum Provinces.
Elements of the Show
1. actors, actresses
and musicians
2. stage and scenery
3. instruments
Figure 1: Research Framework
Background and Knowledge of
Khmer Likay
Past – Present – Future
1. Conservation
2. Restoration
3. Development
4. Aesthetics
5. Problems/solutions to
enhance performance
Folk Arts and Cultural Heritage of the Southern Part of North‐
eastern Thailand
Traditions of the Show
1. prelude
2. ask for forgiveness
3. practice how to perform
4. behind-the-scenes
preparation
5. the dance
6. the music and dialogue
7. music
8. improvisation
9. make up and costume

Khmer Likay: Conservation, Restoration and Development of Folk
Performing Arts in the Southern Part of North-eastern Thailand 33
4. Results
4.1. The Background of Khmer Likay
Table 1: History of Khmer Likay
The Origins of
Khmer Likay
Reasons Troupes Start-End
Cambodian teachers came to live and Sek Sor Bantengsin troupe 2508-2528
perform in Thailand
Sri Som Chai troupe 2495-2518
Thais learnt in Cambodia and came Nai Hern troupe 2487-2512
back to teach Thais
Prem-pre-sa-mak-kee-sin troupe 2494-2505
The research results revealed that Khmer Likay originated in Cambodia and was learnt by
travelling Thais. At first, Thais went to learn the art-form in Cambodia but Cambodian teachers soon
came to set up Likay schools in Surin and Burirum Provinces. They also found popularity among the
Cambodian-Thai ethnic groups who lived in the Southern part of North-eastern Thailand.
Khmer drama ended for a number of important factors in the villages. Each village was linked
to a specific ethnic identity. Local economy, society and culture changed rapidly, causing Khmer Likay
Arts to lose popularity. Some Li Key Khmer troupes had a Cambodian heritage and, as such,
expressions of the art-form are taught to children and still performed today. The Thai Khmer Likay
troupes lacked heritage and gave up the art-form in light of changing economic, social and cultural
pressures. They only performed if they had a chance.
4.2. The Current State of Khmer Likay
Currently, both males and females take part in Likay performances. Standard musical instruments used
are flute (Thai: Pee), Lamana drum (Thai: Glong Lummana), and cymbals. More musical instruments
are added to generate more arousing rhythms for the performances. The stories played revolve around
Tao Prom Ma thad. This is the story of a king in literature, which was written in the early Rattanakosin
period. The language used for the performances is the local Khmer dialect and the dancing styles are
conventional ones with fixed patterns.
The Likay performances comprise the following key components: the actors and musicians, the
stage and scenery, the musical instruments and accessories for the show. There are eleven traditions for
the show: 1) prelude; 2) ask for forgiveness; 3) practice how to perform; 4) behind-the-scenes
preparation; 5) the dance; 6) the music and dialogue; 7) music; 8) improvisation; 9) make up and
costume; 10) drama; and 11) the story.
There are a limited number of opportunities to perform Khmer Likay: 1) Year Festival of the
agency in the province such as Surin Elephant Festival, Elders Day in Surin province and Surin Police
Day; 2) Religious ceremonies and other local traditions, including New Year's Day and Buddhist
religious ceremonies, temple ceremonies and annual events for the community; 3) Public services,
including ordinations, weddings, new home ceremonies and funerals.
4.3. Conservation, Restoration and Development of the Performing Arts for Continuation of
Likay in the Southern Part of North-eastern Thailand
Conservation, restoration and development of the performing arts were found to be necessary to
preserve of the culture and traditions of the Khmer people and musicians. There are ways to store data
and music of the local folk artists with related agencies such as the community and particularly schools
in the community. This information must be saved to promote a new generation of actors and
musicians who will increase the prevalence of Likay drama. Methods should be investigated to repair
and renew the Likay stages and scenery. The instruments must be maintained and cleaned regularly.
Damage must also be repaired and data regarding instruments collected and published in a book. The

34 Thanawut Tangsonboon, Songkoon Chantachon, Sommad Phonkerd and Sounet Phothisane
Wai Khru, a traditional Thai ritual performed to pay respect to the teacher, should be carried out before
the performance to present the prosperity of the actor. It is considered sacred and is portrayed at the
show. The recording equipment used in rituals and ceremonies must be clearly documented in a book.
Ways to show the style of Cambodian drama must be consistent and prelude the show. This should be
shown on every occasion of Cambodian dramatic performance. Apologetic requests must be strictly
executed to promote the harmony and spirit of the show. Information must be written in a book. The
approach to recording and live performances of the dance must be descriptively documented. Published
documents must also be prepared.
In order to conserve, restore and develop the performing arts for continuation of Likay in the
Southern part of North-eastern Thailand, dialogues were proposed to capture the chorus with live
performances of music and dialogue. These lyrics are to be kept and published. Music was recorded by
Thai and international notation and published in the media, on the community radio and websites. A
training program was proposed to make proper role-based data detailing the makeup and costumes of
the show Records were also kept to describe the clothing and accessories. Published documents were
prepared. It was proposed to preserve the Khmer language and, in some applications, offer a mix of
English language. Documents were published in the local schools.
5. Conclusion and Discussion
The elements of Khmer Likay consisted of actors, who in the early stages were actually woman
dressed as men. Later, men took part. Plain clothing is used. Men originally dressed in slacks and longsleeved
shirts and woman originally dressed in wide short skirts like those of students and different
colors of blouse according to the development of fashion popularity. Standard musical instruments
used are flute (Thai: Pee), Lamana drum (Thai: Glong Lummana), and cymbals. More musical
instruments are added to generate more arousing rhythms for the performances. The stories played
revolve around Tao Prom Ma thad. This is the story of a king in literature, which was written in the
early Rattanakosin period. The language used for the performances is the local Khmer dialect and the
dancing styles are conventional ones with fixed patterns. Techniques used were firstly Kee Tai (torch)
and subsequently Chowpaya Lamp (pressure lamp) and electricity. Sounds were at first generated
without microphones and coconut leaves were used as curtains. Later, white clothes were used without
any design, which were then developed into clothes with pictures of waterfalls, palaces, and castles.
The stage was first built using only four posts with ladders on two sides. Coconut leaves were used to
make walls and Kee Tai lights were lit at the four posts. The stage could be rented by the host or the
Likay band, depending on mutual agreements. The stage floor was made from solid wood fixed by
nails.
Opportunity to perform is both at auspicious and inauspicious occasions. There are six steps to
the performance which are Waikru, Homerong, Rum Buergrong, Rum Tayoy, Kam Orkkaeg and story
procedures. The income of one performance was only about 2-5 baht in the first period. According to
social and economic changes and popularity, the income per head per month is now 8,000 to 40,000
baht for managers, 5,000 to 15,000 baht for actors and 7,000 to 15,000 baht for musicians. Khmer
Likay was very popular in 1977-1985, with 20 performances per month. Later, its popularity declined
as there were many performances for audiences to choose from.
Khmer Likay plays an important role in human development. In terms of education, it must be
recorded as a soft and beautiful dancing art using local dialect. In terms of society, unity can be built
among actors and actresses who are actually relatives. In terms of economy, income can be made
directly for them and for the community as a whole. The story employed always tells about good and
bad deeds which help enhance moral discipline and the ethics of audiences. The factors affecting
Khmer Likay are labour migration and modern families with materialistic consumption. Income does
not meet with expenditure since supportive careers do not exist. It is advised that a conservation
guideline be designed for regular performances of Khmer Likay on different occasions. Also
development and inclusion of Khmer Likay in the local curriculum should take place.

Khmer Likay: Conservation, Restoration and Development of Folk
Performing Arts in the Southern Part of North-eastern Thailand 35
6. Suggestions
6.1. Suggestions for Practical Implementation of the Research Results
6.1.1. As a research-related approach to conservation, restoration and development of the performing
arts, this research would be useful to many organizations, both public and private, such as Provincial
Cultural Organizations, Provincial Administration, Municipal Administration and schools. These
agencies should be able to research ways to conserve, restore and develop Cambodian drama for the
purpose of preserving folk art performances.
6.1.2. Local universities should support research into folk art of local ethnic groups to
strengthen the community in various fields, for economic and spiritual stability and the unity of the
nation. Each ethnic group has a unique and diverse heritage, inherited from ancestors and different
communities. This will cause the spread, exchange and development of cultural traditions.
6.1.3. Knowledge must be inherited and various techniques trained to the next generation in
order to improve the quality of plays.
6.2. Suggestions for Further Research
6.2.1. A collection of songs and music of the shows should be made, as well as all the lyrics, using
both Thai and international music notation. The songs should be recorded in a document and not lost.
6.2.2. The melodies of the music should be analyzed.
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