พระแอนดริว พระใบฎีกา ปิยะวงศ์ ปิยวํโส แสดงธรรมมะ ถวายมุทิตา ท่านเจ้าอาวาสวัดท่าเจดีย์ จ.สุพรรณบุรี

#Noesupphan #Likay Phra Andrew Phra Baidika Piyawong Piyawongso gave a Dharma talk to honor the abbot of Wat Tha Chedi, Suphan Buri Province. Contact for Dharma talks: 📞☎️👇0875222505❤️❤️❤️ .......................................................................................................... Video recording by Noesupphan Noesupphan is located at 512/4, Village No. 5, Nong Ya Sai Subdistrict, Nong Ya Sai District, Suphan Buri Province. Contact for video recording (I will be the intermediary for all Likay troupes). Contact for video recording: 📞☎️👇098-478-8289 Kit To not miss new clips, click Subscribe (follow) and ring the bell for notifications. Likay will be available regularly. Click here to subscribe. ▲Subscribe    / @เหน่อสุพรรณ   ......................................................................................................... Likay originated during the reign of King Rama V. The word "likay" in Malay means singing. Originally, it was a form of Islamic worship, chanting Indian songs to the rhythm of a ramana. The Indians first performed this chant during a royal merit-making ceremony in 1880. Later, they devised various forms of chanting, combining the chants with the chanting, singing songs in different languages, and performing puppet plays, using a ramana screen. Likay thus evolved into a form of performance. Later, some thought of performing likay like lakhon, beginning with Indian songs, then performing lakhon dance, and using the piphat ensemble like lakhon. There are three types of likay: 1. Banton Likay: It began with Banton songs in Malay, later incorporating Thai words. The music used ramana. The performances are performed in sets in different languages, such as Indian, Lao, Mon, and Burmese. They always begin with the Indian costume. The performers dress up as nationalities and sing, while the tambourine players act as a supporting couple. Banton songs are sung in between each set. 2. Likay Luk Bot: This performance combines singing and performing Luk Bot songs. The singing and dancing follow the rhythmic music, using the piphat ensemble instead of the tambourine. The costumes are fashionable at the time, but in bright colors. The performers are all male. When each set is completed, the piphat ensemble plays a new three-tiered song, which then evolves into a new set in various languages. 3. Likay Song Krueng: This combines the traditional Banton and Luk Bot likay, with formal dance moves and costumes similar to a dance drama. The performance is a long drama, similar to a lakhon. It begins with a prelude and the playing of songs in various languages, known as "Ok Phasa" or "Ok Sib Song Phasa." The final song is a Khaek song. When the piphat ensemble stops, the tambourine players sing the Banton song and then perform the Khaek set, a salute to the teacher, with the piphat ensemble responding. The performance then follows the story. Likay performed today is known as "Likay Song Kru" (Thai folk opera). The performance is fast-paced and humorous. The performance begins with a three-part overture, followed by a song of "Sadhu Karn" (a song of praise for the teacher). The performers then perform a "wai khru" (a traditional Thai dance) to announce the plot. In the past, a "hand-offering" dance or "introductory dance" was performed, followed by the story. Later, the "hand-offering" dance was discontinued, and the performance immediately followed the story. Dancing has become almost non-existent, with only a few troupes still clinging to the art of dance. Originally, the performers were all men. Later, Mr. Dokdin Suea Songka had his daughter, La-ong, perform as the troupe's female lead. Other troupes later followed suit, with some troupes featuring women as the leading ladies, such as the Kamnan Nu troupe of Ban Phak Hai in Ayutthaya. Mr. Homwan Naksiri's troupe was the first to introduce the performance. The performers must possess improvisation in singing and dialogue, and the story progresses without any prompting. The troupe leader only informs the audience. Furthermore, the dialogue must be improvised, a unique characteristic of likay. However, the commoners and clowns speak in normal tones. The music and lyrics are presented using a single-tiered "Hong Thong" song. But they adapted the lyrics to a richer meaning, then played with a piphat orchestra. If a story was performed in a foreign language, songs with the same accents as the story would be used, but improvised to resemble Hong Thong. Later, Nai Dokdin Suea Songa adapted the Mon Kwan song of Likay Banton, which was used for tragedy, into a love song. The plays often drew on Lakhon Nok and Lakhon Nai, and Chinese, Mon, and Vietnamese chronicles, such as the Three Kingdoms and Rachathirat Chan Dai Weuang. The costumes and beautiful accessories mimicked royal regalia, hence the term "Likay Song Khruang." The "expensive period" also saw a reduction in the gaudy costumes. However, some ...