Molam Transmission Process by Lamul Pakfai

Abstract

This research consists of purposes were 1. to study the Molam Klon explicit knowledge of Mo-Lam Lamoon Pak Fai and 2. to study Mo-Lam Klon's transference of Mo-Lam Lamun Pakfai. is a qualitative research There are research tools, including interview and observation forms The target group of the research consisted of 9 people who were selected by purposive sampling. Then take the information gathered from the interview form and related documents into a content analysis. The findings appear as follows: 1) Mo-Lam Klon art performance elements of Mo-Lam Lamun Pakfai are composed by lyric, normal intonation, local intonation, content, beateous posture that could communiate with eye-contact ans dance. Performer elements consist of a well-toned voice, a good human relationship, and a show sequence, which is Wai-Kru, introduction, greeting, asking for advice, and farewelling and 2) Mo-Lam Klon's transference of Mo-Lam Lamun Pakfai starts with registration as a disciple and testing basic and background knowledge. Firstly, the introduction to Mo-Lam Klon transference is to remember the Mo-Lam rylics. Disciples would get the lyric, and they must memorize it accurately. Next, they take the step of drawing out the note "O La Noh". It is a kind of comparison of their voice with Khaen. Then, they must train the intonation from many Mo-Lam rylics and beateous postures that could be a feeling communicate with audiences. Wai-Kru, or a repecting ceremeny, is a step to make the disciple recall to their parents and teachers. Finally, all disciples must know how to cope with tough situations. Mo-Lam Lamun Pakfai would be their role model, and they must imitate their teacher. is a guideline when they struggle with their real performance.