Morlam

Origin and history: Mor lam (also molam) is a traditional Lao vocal art whose name combines mo (master) and lam (a singing style), literally 'master of the lam singing.' Deeply rooted in Laos, it became equally central to the culture of Isan (northeastern Thailand), spreading into Thai territory through population movements in the late 18th and 19th centuries. King Mongkut banned public performances in 1857, viewing the genre as a cultural threat; it reached the Bangkok stage in 1946 and rose to mass popularity in the late 1970s and 1980s as Isan migrant workers carried it to the cities, with singer Banyen Rakgaen leading its televised expansion.

Cultural and social context: Traditionally the mor lam singer was teacher, entertainer, moral guide and keeper of tradition in rural communities, and the music remained a vital link to home for migrant workers. It is heard at temple fairs, festivals, weddings and funerals.

Character and feel: Its themes dwell on love — often unrequited — and the hardships and humour of rural Isan and Lao life; performance is lively, witty and, in modern staged forms, spectacular.

Music and rhythm: The characteristic accompaniment is the khaen, a free-reed bamboo mouth organ that supplies both melody and drone through circular breathing, supported by the phin (a plucked lute) and ching (small cymbals playing syncopated off-beats); modern ensembles add electric guitar, bass and drum kit. Lam singing is fast and staccato — roughly four syllables a second — adapting its melody to the tones of the words, and songs typically move from a slow, khaen-led introduction into a faster main section. Traditional subgenres include lam tang san, lam tang nyao, lam toei and the folk-opera mor lam mu.

Dance: Live mor lam is closely tied to the lam wong, a circular group dance with soft, graceful hand gestures, and today features troupes of costumed dancers (hang khreuang) behind the singers. Notable performers include Banyen Rakgaen, Jintara Poonlarp, Pornsak Songsaeng and Siriporn Ampaipong.