In many cases, the cermonies are no
more elaborate than the rite of paying homage to art teachers
which also extents to the deities who encourage branches
of art and learing. Each ceremony to teachers of certain
branch of art and learning has its own mass. At this juncture,
only wai khru ceremonies for the musical teachers
are mentioned.
Paying respect to the musical teachers
may be performed every day at bedime while praping to
the Triple Gems. Yet, with offerings and the Grand Guru
of classical music to call out the names of the gods and
men to be worshipped at the offcial wai khru ceremonies,
only on Thursday that the function can take place as Thursday
god, Phra Pharue hassabodhi, is considered the traditional
Teachers day upon which most ries are held. In any residence
with a profssional Pi Paat ensemble, a performance
of the wai khru ceremonies can mainfest itself
annually. The amateur ensemble attached to institutions
such as universities or banks may choose to perform the
ceremonies as deemed appropriate. As for those who start
to learn classical music, the concise wai khru
rite can be organized to observe the rules and regulations
and dedicate services to the deities. The annual wai
khru ceremonies are customarily performed in a grand
scale.
The custom and rite of paying homage
to musical teachers may derive from the animistic beliefs
from time immorial. Influenced by Brahmanism from India,
along with the introduction of musical order in Mainland
Southeast Asia. The so-called ceremonies have been transmitted
through generations.
It is without arguments to have said
that the wai khru ceremonies were adopted from
India since the names of the deities remain the same as
denoted in the textbook of Brahmanism. However, this must
have followed the ancient textbook of a sect of Brahmanism
in which (Pgra Phrom) (Brahma) has disappeared.
For in the invocations to gods, only Phra Isuan
(Isvara) and Phra Narai (Narayana) together with
other detites, are mentioned.
As the Thais are mostly Buddhists, the
wai khru ceremonies conventionally begin with the
Buddhist rite. In the evening of Wednesday, monks are
invited to chant prayers. The morning of Thrusday ordinarily
starts with an offering of food to monks and blessings
by monks before furthering to the actual wai khru
ceremonies. Nevertheless, this Buddhist rite can be omitted
if it is inconvenient. A place to perform the ceremonies
should be large enough for all the disciples and participants
to be seated. A Buddhist altar with offerings is put on
one side and on the other side is a set of musical instruments
placed in an orderly manner. The tapone (bulging drum)
is positioned in a higher place as it represents Phra
Porakhontap (Good of Drums). Khon Masks representing
the gods may also be present.
The teachers masks are those of Phra
Khru Ruesi (Rishi Bharatamuni, the prime teacher of dramatic
arts) Phra Porakhontap (God fo Drums) Phra Vissukam
(architect and builder, creator of musical instruments)
Phra Panjasikorn (player of the vina) Phra Phirab
(Yaksha dancer). Phra Isuan (Shiva), Phra Narai
(Vishnu), Phra Phrom (Brahma) and Phra
Khanes (Ganesha, protector of the liberal arts) could
also be included.
A table of offerings dedicated to the
gods and spirits who will be invited to assemble is composed
of flowers, incense sitcks candles, Baisri Pak Charm (a
folded banana leaf rice container, often dedicated with
florwers topped with a boiled egg) and a cooked set of
the follwing items : hog heads, duck, chicken, shrimp,
fish, Khanom Tom Khao and Khanom Tom Dang (white
and red kinds of dessert consisting of boiled palm sugar,
coconut meat and sticky rice) and fruit. If Phra Phirab
is incorporated in the long list of paying homage,
an uncooked set of the above-mentioned should also be
prepared. These offreings can be in pairs or more as deemed
appropriate.
Mention must also be made to Kan
Knmnon, a small bowl putting together folwers, incense
sticks, candles, white cloth or handkerchief and a six
baht fee, followed by an orchestra playing Na Paat
melody. The presiding teacher at wai khru ceremonies
must dress in the traditional white shirt and white Panung
for this special occasion. He will commence the cermonies
by lighting candles and incense sticks then preparing
lustral water while the followers and participants are
also lighting their candles and incense sticks to invite
the Triple Gems and deities to bestow the blessihgs according
to their wishes. The officiating teacher leads the invocations
for the blessings of the Triple Gems, teachers and parents.
Different presiding teachers will vary the words. The
musicians are then instructed to play Na Paat,
a piece of music reserved for the most formal occasions
for the purpose of worshipping the Triple Gems and to
confirm deep respect to teachers. The presiding teadher
later raises the food offerings for a while before removing
them. Afterwards, the presiding teacher sprinkles lustral
water and applies jem (a white paste) to musical instruments
and different teacher's heads. Lustral water is of course
sprainkled over and a white paste is also applied to the
followers and participants. With that action, the rite
of wai khru is concluded to bring in the rite of
Piti Krob or initiation rite.
Krob means initiation
of knowledge in a certsin branch. The Piti Krob
rite is varied in accordance with branches of art. As
for the Thai classical music, Pi Paat (woodwind
and percussion instruments) are considered fundamental
to all mausie. As such, all musical instruments (oboe,
gong, xylophone,drum and cymbol) are used in the Piti
Krob rite.
The rite of intitation for learning
Pi Paat can be categorized in primary, secondary
and higher stages.
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The first stage is a concise ceremony
for asking permission to enter the musical world.
The presiding teacher receives the offerings composed
of candles, incense sticks and a six baht fee from
a pupil and hold his hands guiding him to play Gong
Wong Yai (big circle of gong) the first stanza
of one tunes thrice of Satukarn song, master
tunes to pay homage to the Triple Gems and to express
deep respect to teachers. This marks the initial step
of learning Pi Paat. The pupil may practice
the rest of the song with somebody else. In addition,
the pupil is to learn songs in Home Rong Yen
series except for Tra song. He is also allowed to
learn other songs as recommended by the teacher.
-
The second stage takes place after
finishing the Hom Rong Yen series. The pupil
is now beginning to learn how to play Tra Home
Rong song which was omitted in the first stage.
The teacher holds the pupil's hands to play Gong
Wong Yai the first stanza of one tune thrice of
Tra song.
-
The third stage begins with Home
Rong Klang one song. Again, the teacher holds
the pupil's hands to play Krabong Gun song.
-
The next stage is to play higher
Na Paat. The teacher generally holds the pupil's
hands to play the Baht Sakuni song.
-
The final stage is the highest
stage while learning the supreme song of all-Phra
Phirab's song.
The pupil will customarily resume the
rest of the songs with somebody else.
The above-mentioned practice can be
applied to other musical instruments as ranad (xylophone)
Pi (oboe) Tapone and Klong (drums)
As for the Piti Krob rite of
other kinds of instruments i.e. Saw (fiddle), Jakay
(zither) and Klui (flute) including singing, actually
not for Na Paat playing, the teacher can also
hold the hands of the pupil to play the special tune of
that type of instrument. Otherwise, cymbols may be placed
on the head of the pupi to symbolize the initiation rite.
As a rule, the Piti Krob rite
for those who learn Phra Phirab's song must be
at least 30 years old or have already been ordained or
granted. His Majesty the King's royal Permission to play.
Advantages of paying homage to the musical teachers
-
Presevation of good old tradition
of Thai culture.
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An opportunity for the pupils to
pay respect and gratitude to their teaches which represents
an examplary expression of being grateful to the teachers.
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An act of boosting a morale of
the pupils to play well their music.
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Strengthening warmth, companionship
and a sense of togetherness as well as compassion.
