Strategies of Lam Performance in the Ritual of Nang Dao Phanno

Abstract

This research consists purposes were 1. to investigate the historical background and ritual process of Nang Dao Panno’s spirit possession ritual and 2. to analyze the singing strategies employed in the ritual. This study employed a qualitative research approach. Data were collected through in-depth interviews, participant observation, field notes and documentary research. The data were analyzed within the framework of ethnomusicology and the cultural context of the community. The findings revealed that 1) Nang Dao Panno has inherited the ritual knowledge known as Heet Kong Nang Champa for more than 50 years. The ritual possesses a systematic structure consisting of five major stages and utilizes the khaen as the sole musical instrument to control melody and rhythm throughout the ceremony and 2) The singing strategies are characterized by the use of a single principal melodic pattern, improvisation adapted to patients’ conditions and ritual sequences, systematic coordination between vocal melodies and khaen patterns and the incorporation of phaya (Isan proverbs), aphorisms and moral teachings as the foundation of the lyrical content. These lyrical structures are flexibly modified to suit specific individuals and situations. A significant contribution of this study is the finding that the ritual verses are not entirely improvised. Instead, they are based on established poetic models derived from phaya, traditional sayings and moral teachings accumulated as a repertoire of ritual knowledge by the practitioner. These models can be adapted and creatively expanded according to the context of each patient. Therefore, Lam singing functions as a cultural mechanism that integrates music, oral literature and belief systems to facilitate communication and psychological healing in contemporary Isan society.