Southern Thai dialects in the crafting of political lyrics: exploring the language and ideas of Nora Somnuek Chusil

Abstract

This paper aims to examine the literary strategies and political perspectives of Somnuek Chusil, a renowned Nora artist in the Southern Thai region. Contrast to recent international and Thai research on Nora dance that focused on the aspect of ritual, social function, and adaptation under the condition of global modernity, the authors’ analysis centers on the noted Nora artist’s lyrical composition, encompassing 40 of lyrics, to understand his political worldview and literary strategy as part of local experience to the changing of Thai society. The findings reveal four language strategies employed by Somnuek—simile, hyperbole, the use of idioms, and incorporation of the Southern Thai dialect. Of particular note is the dialect’s distinctive role in critiquing political figures and instilling a sense of awareness regarding rights, freedom, and democratic citizenship. Despite the diverse interpretations of political concepts in global academia, Somnuek skillfully harnesses various dialects and writing techniques making him being locally competent interlocutor, and ascending to the status of a famous folk artist in southern Thailand.

Keywords:

• Vernacular literary strategies
• nora lyrical songs
• somnuek chusil
• political idea
• southern thailand

Reviewing Editor:

• Lincoln Geraghty, School of Media and Performing Arts, University of Portsmouth, Portsmouth, UK

Subjects:

• Cultural Studies
• Asian Politics
• Folk Music
• Cultural Studies

1. Introduction

Nora is a traditional dance drama deeply rooted in southern Thailand. Its origins have been shrouded in the mists of time, making it challenging to pinpoint its precise beginnings. Various theories have been proposed regarding the influences on Nora’s development. Some suggest that it bears traces of Indian influence, while others propose its adaptation from the Chatri drama of Ayutthaya, an old capital located in the central region of Thailand. Additionally, a local legend holds that Khun Sri Sattha, believed to be the grandson of Phraya Sai-fah Fad, the first king of Wiang Klang Bang Kaeo (an ancient city thought to be located in the southern part of Thailand’s Phatthalung province), was the pioneering figure behind the Nora dance. His contributions led to the widespread popularity of Nora in southern Thailand, a tradition that endures to this day (Intrawut, 1998, 132).

In addition to being an ancient performance, Nora is also a performance related to supernatural beliefs about ancestral ghosts. As found in the Nora performance, there is a sacred ceremony to show respect to the spirits of the ancestors or ‘Khru Mor Nora’. It is believed that if they are worshiped well, Nora’s offsprings will prosper. However, in case of a problem, Khru Mor Nora helps protect them from danger or assists them to pass through the difficulties. Once clear of obstacles, successful descendants perform a ceremony annually to pay their vows or thank their ancestors. As Chaowalitpraphan (2015) stated that Nora performers respect and worship Khru Mor Nora or Ta Yai Nora (past Nora master) as a guardian angel watching over them. However, those violating rules of conduct are believed to face misfortune that can be lethal. During difficulties, those worshiping Khru Mor Nora pray to have their problems solved. When the wish has been granted, grantees commonly perform Nora Rong Khru as a votive offering. The Nora artist who performs this ceremony is knowledgeable in both performing arts and magic. Nora master is faithful to respect as a spiritual leader for southern Thai community and as a spiritual medium to bridge, communicate and negotiate between the secular and sacred world.

Academically, there is crucial diffence in the recent research on Nora. Domestically, existing literature on Nora tend to emphasize is value as national and regional identity, and consider Nora tradition as the reflection of local change, espeically in the area of Songkhla lake, middle-southern Thailand (Butsararat, 2003). The need of world heritage status for Thai custom and tradition inevitably led to many reseach focusing the aspect of cultural management, conservation, education, and sutsainable tourism relating Nora. These research, mostly, considered Nora as cultural capital from local to national level, and crossing abroad (Kamlangkuea & Yussayotha, 2023; Thanon et al., 2022; Ketkaew & Nopudomphan, 2021; Kai-Nunna et al., 2020; Petkaew, 2016; and UNESCO, 2021). Meanwhile, international academics who interested in the southern Thai drama and dance emphazing Nora as ritual that exhibited the crucial change in multiple dimension includes ethnicity, gender, class, religiousity, and locality (Guelden, 2005, 2023). One crucial anthropological study by Horstmann (2012) considered Nora as the ritual that portrayed relation between local animist, Buddhist and Islamic practices in the context of modern southern Thailand. It can be said that most recent works neglected the subjective aspect of Nora artists, particularly their socio-polical imagination and lingual competence in the situation of vernacular communication.

Because Nora has constantly evolved according to the times, which has affected its role in southern Thai individuals and society. Butsararat and Buakwan (2016) stated that Nora has adjusted both its form and content to serve the needs and social values of different periods so as to survive to the present. Additionally, it can be stated that the existence of Nora is asserted because of its creativity. Nora, as a vernacular medium and an ‘arts and recreation institute’, actively contributes to the well-being of society. It serves as a means of entertainment, a vessel for ritual practices, a catalyst for fostering unity and solidarity within the community, a conduit for the transmission of folk culture, and a platform for the development of identity, skills, local wisdom, and various other responsibilities. These roles are evident in the various aspects of community life, including entertainment, belief systems, economic activities, political engagement, lifestyle, attitudes, emotions, reasoning, and the sentiments of the people in the community. With this significance, Nora was inscribed in 2021 on the representative list of the intangible cultural heritage of humanity (UNESCO, 2021), wherein both impressive dancing and also singing skills appropriate rhythms, voices, and styles are required. Moreover, improvising the lyrical singing vividly indicates an individual artistic wit.

Somnuek Chusil is a professional folk artist with Nora performing skills who has been in the profession for over 40 years and is commonly known as ‘Norah Somnuek’. Nora Somnuek is a native of Sichon District, Nakhon Si Thammarat Province, and has performed Nora plays throughout the southern Thailand for more than 40 years. Especially, during 1977–1980, Nora Somnuek started acting, abandoned his hometown, and traveled into the forest to fight politically with the Communist Party of Thailand (Nakhon Si Thammarat Folk Artists Association, 2021). He was interested in the behavior of politicians and social justice. Even though he later left the forest and discontinued working with the Communist Party of Thailand, his improvised lyrics still discuss this matter. It becomes evident that his artistic brilliance shines through his adeptness at improvisation, clearly reflected in his literary strategies, particularly when employing the southern Thai dialect. These experiences find their expression in the lyrics of Nora’s 40 songs, meticulously documented by the artist himself, forming the primary research materials for this study.

Somnuek’s lyrics extend beyond metaphorical language; they resemble poems that skillfully utilize local dialects to convey notions of local politics and cultural identity. This proficiency not only resonates with the audience but also constitutes a pivotal element contributing to Somnuek’s success as a local artist. It aligns with the concept that language serves as a communicative tool for transmitting ideas from one individual to another. Consequently, an effective study of language paves the way for successful communication.Conversely, when the same message is conveyed using alternative means, the cognitive outcomes can vary significantly (Banga & Suri, 2015).

Presently holding the position of secretary-general within the Nakhon Si Thammarat Folk Artists Association, Somnuek concurrently serves as a Nora instructor for the local youth. Noteworthy among the association’s multi-generational cohort of accomplished artists is Nora Phumint Daorung, a prominent figure from the latest generation who has garnered significant acclaim in the southern region. Somnuk, a locally esteemed artist, has earned enduring honor and respect within the Nakhon Si Thammarat community.

Table 1. The table shows the relationship between Nora Somnuek’s lyrics, composed year, and the important political events in Thailand from 1977–2021 A.D.

Nora Somneuk’s lyric number	Around A.D	Important political events in Thailand
1–12	1977–1980	Since 1975, the Thai government has used severe violence to suppress communism, including the suppression of students in the case of 6 October 1976. However, such suppression only serves to reinforce or help in growing the Communist Party of Thailand further, especially when many students and citizens flock to join the Communist Party of Thailand. Nora Somnuek joined the movement during this period. In 1977, the Thai government, under the leadership of Prime Minister General Kriangsak Chomanan, announced amnesty for students arrested on 6 October. From there it developed into policy 66/1980, when General Prem Tinsulanonda became Prime Minister, and allowed students and citizens to leave the Communist Party of Thailand without guilt. Such political changes had a severe negative effect on the Communist Party of Thailand. There was disarray within the movement until it eventually ceased to play a role in Thai politics in 1980 (Wedel, Y.,1981). Thereafter, Nora Somnuk left the movement.
13–21	1981–1988	General Prem Tinsulanonda became Prime Minister, succeeding General Kriangsak in 1980. Throughout the period of General Prem’s administration in the country, there were establishment of a joint government-private sector committee (NBTC) to promote the role of trade and investment of the private sector. In term of politics, there is successful suppression of communist party. General Prem was Prime Minister for three terms from 1980–1988. Towards the end of General Prem’s government, when an election was about to take place, there was a trend of opposition to holding the position of Prime Minister for the fourth term from general academic groups. Thereafter, Major General Chatchai Choonhavan (rank at that time) held the position of Prime Minister (Santasombat, 1989). During this period, the Nora Somnuek group performed shows throughout the southern region and spread political ideas through Nora’s songs.
22–29	1989–1992	In 1992, a large protest occurred near parliament to condemn General Suchinda Kraprayoon for becoming Prime Minister without running for the parliament. The opposition leader, Major General Chamlong Srimuang, staged a hunger strike and later led thousands of protesters to the Government House, where they were blocked the Phan Fa Bridge. A riot broke out and the government used military force to suppress the protesters. There were 52 deaths. King Rama IX came out to dissuade the situation. Later this event was called ‘Black May’ (Cogan, 2021).
30–37	1993–2014	The events of Black May led to the promulgation of the 1997 Constitution of the Kingdom of Thailand. After that, a new political party emerged, which later formed a government with overwhelming votes for two terms, namely the Thai Rak Thai Party led by Dr. Thaksin Shinawatra. Later, Thai politics spiraled into the cycle of using military power again After the 2006 coup, under the leadership of General Sondhi Boonyaratkalin. Although there have been two subsequent elections, the Thai political system returned to the political phenomenon with the seizure of government power through a coup in 2014 under the leadership of General Prayut Chan-o-cha, Commander-in-Chief of the Army, the head of the group. (Ngamlamom, 2016).
38–40	2015–2021	After the 2014 coup, General Prayut Chan-o-cha held the position of Prime Minister. At that time, Prayut’s government revitalized conservative-royalist ideology and presented 12 Thai values (Iamsa-Ard et al., 2024, 7). In 2017, new constitution of the Kingdom of Thailand was promulgated. There were new elections in 2019. General Prayut Chan-o-cha holds the position of Prime Minister until new elections in 2023. The total tenure of office was nine years since his coup (Reuters, 2023).

2. Research materials and methods

Regarding the documents, written lyrics recorded in Somnuek’s personal note, along with his interviews of biography and life experiences were gathered and studied. Furthermore, this study uses literary-strategy studies and social criticism as investigative frameworks.

The year of composition of Somnuek’s song is not clearly stated because it was improvised and later recorded. However, it is possible to predict its composition year using considering the events mentioned in the petition. Significant political events in Thailand had occurred during that era. The following table shows the lyrics, years, and important events in Thai politics as related in Table 1:

Furthermore, papers and research on literary-strategy studies, Nora-theatre studies, and the studies of political concepts in literary works are reviewed as follows.

First, the literary-strategy study in local art and culture is the main point of Sirichaya Concrete’s article—’Language Strategies in Country Songs for Communicating the Northeastern Thai Diasporas’ Identities and Political Culture’ (2017). The work reveals that distinctive devices of communication used in contemporary Northeastern Thai country songs are the use of (1) Northeastern Thai dialect for the purpose of collective experience construction, (2) folk dialect together with standard Thai and foreign languages to communicate with the outsider, and (3) figures of speech to intensify emotional resonance and convey the deep affection of the Northeastern Thai people for their local comrades, hometowns, and residences, all while reflecting their unwavering determination to improve living conditions.

Apart from the first one, there is a study of local songs and people’s identities in the work of Nopphawan Mueangkaeo, Chawalin Phengboon, Asma Thatsanameelap, and Thatchaphan Kesornsit titled ‘Language Strategies in the Southern Thai Spoken-worded Songs and the Expression of their Identities’ Mueangkaeo et al., Mueangkaeo et al., (2020). They argue that there are nine strategies employed in representing the Southern Thai identity. These strategies include the utilization of the Southern Thai dialect, wordplay techniques, the incorporation of foreign languages, and the use of humorous expressions, among others. These strategies effectively represent various aspects of the Southern Thai identity, including a strong sense of justice, a humorous character, excellent interpersonal skills, a studious nature, a penchant for social gatherings, and more.

Second, regarding the studies of politics and literary works, in Paramaporn Limlertsathien’s article titled ‘The Outstanding Characteristics of Political Poems between 2007 and 2012’ (2016), it is revealed that Thai poetic works addressing political themes between 2007 and 2012 prominently feature: (1) personal and policy criticism, (2) suggestion that both sides of the political conflict should carefully consider all political phenomena and the outcome of their actions, and (3) warnings against falling victim to deception by any party or individual. (Limlertsathien, 2019)

Nandawan Soontonparasatit (2019) discovered that political short stories from Phan Waen Pha Award during 2016–2017 encourage the concept of civil duties, mainly supported by the National Council of Peace and Order. However, the stories do not absolutely conform to nor admire the council’s administration. The authors, on the contrary, criticized the use of power, so the works cannot only be a way of ideological transmission from the administrative agents to people but also a voice of the latter to the former.

Using language as political or socio-cultural tools was significantly discussed by international scholars. This section investigates the studies that applied the linguistic approach to deepen the role and function of language used. For example, the study by Nimer et al. (2022) elaborates on the textual and interpersonal metadiscourse markers in political discourse and role in persuasion of Hillary Clinton. Their qualitative study shows that interpersonal markers were used for persuading more frequently than textual markers. The selection of language and linguistic devices and metadiscourse for political speeches plays a crucial role to show the positive meaning, establishing the bond and influence the understanding of and attitudes toward the text to the audience. On the contrary, textual metadiscourse markers were employed to oppose or contrast ideas.

In another study, Kunle et al. (2020) examines the manipulative rhetorical choices in Nigerian political speeches to achieve their political aims. By conducting a purposive sampling strategy, the study found the use of repetition, modalities, hyperbole, metaphor and pronouns in six Nigerian presidential speeches.

The use of language with the socio-cultural aspect is the work of Naniana N. Benu et al. (2023). Their study applies linguistic landscape approach together with observation and photography methods to investigate and survey the use of regional language contestation in the public space of Kupang City, Indonesia. The findings show that employing local language through the medias, such as billboards, warning signs or directions, shop and street names or other written displays in public spaces project the existence of local language as it sustains the local identity. Another study that focused on language and traditional communication was the work by Zulkarnain et al. (2023), explains the meaning of Tutur, an intimate term of address or greeting people in Mandailing community. This study highlights the meaning of Tutur in relation to moral value, ethical, and good manner with very high spiritual values according to the traditional practice. Understanding and implementing Tutur can maintain harmony, concord, and intimacy of individual households, families, and communities.

Focusing on performing arts studies, language was also used as a means to discuss, debate, argue, inform or voice out the social phenomenon. The work of Farhan Ahmad et al. (2022) study the use of Hindi and English for creating Indian political satirical stand-up comedy to show political resistance, reflect the ugly realities of society and to reach the spaces where both formal Hindi and English were unable to present.

Last, reviewing academic sources of Nora studies shows that most of them focus on the belief, rituals, or characteristics of a Nora master, a troupe, or a cultural area; for example, the study of Juntanoy (2017) on the creativity of Nora Suphat Naksen’s troupe, the work of Prasit Rattanamanee and Lohajinda (2017) on the dynamism of Nora Rong Khru Ritual of Chaloemprapha Troupe in Pattani Province.

According to prior studies, work focusing on literary strategies and political opinion in Nora’s lyrical songs, like what has been eminently found in Somnuek’s, does not exist. This led to the formulation of the key aim of this study—which is to uncover how Somnuek, one of the most prominent Nora artists of our time, crafted his lyrical songs and the political perspectives embedded withing his works. The findings indicate that folk performances not only narrate local matters but are also a political reflection of the folk.

3. Somnuek Chusil’s biography

Understanding Somnuek’s biography to know the artist’s social and cultural background brought about the analytical ways toward his literary strategy usage and personal opinions.

The actual name of Somnuek Chusil is Somnuek Khlipyaem (Nakhon Si Thammarat Folk Artists Association, 2021). He was born in 1949 in Chalong Sub-District, Sichon District, Nakhon Sri Thammarat Province. Regarding his lineage, Somnuek’s grandmother, Kiao Khlipyaem, was a Nora artist while his father, Khum Khlipyaem, was a shaman in a local Nora troupe. At an adolescent age, he practiced as a Nang Talung puppeteer for a short duration before getting admitted to a Nora troupe as a chorus member, a musician playing a thap (two-faced drum), or playing as the hunter. When he was 20 years old, he founded his own Nora troupe, named Somnuek Chusil Troupe, which performed both for entertainment and ritual occasions.

As Somenuek’s motherland, Nakhon Si Thammarat is a province where consists of various ethnic groups, for example Buddhist Thai, Muslim Malay, Chinese, Mon and Pathan. The province is also perceived by insider and outsider as the heartland of conservative Buddhist and ardent royalist due to its cultural and political history (Jory & Saengthong, 2019). Furthermore, considering multi-ethnic and conservative characteristic of its people, Nakhon Si Thammarat is an ideal place for the idea of pluralism under royal hegemony (Dejpawuttikul, 2022, 40) in which peoples with cultural difference can co-exist within a benevolence of Buddhist Thai monarch.

However, during 1977 to 1980, Somnuek participated in the Communist Party of Thailand and had to pause his career for a while, but he had an opportunity to study many political ideas that later played an important role in his lyrical creation. His message toward political situations and criticism of politicians are mentioned in his personal note. Afterwards, many Nora-to-be performers came to practice with him in his troupe; some became well-known throughout Thailand; for example, Nora Phumin Daorung, Nora Mos Yotrabam, and so on. Today, Somnuek performs his art and has also opened his residential area in Tambon Chalong as Nora practicing center for the transmission of this local performance to the descendants.

One of his distinctive characteristics is his poetic wit for improvisation, but most of the impromptu expressions have not been recorded. However, some lyrics are noted in his personal document, especially ones composed for particular occasions or inspired by his everyday life—the sources of this study.

The year of composition for Somnuek’s lyrics is not indicated in the lyrics themselves. The year recorded in the private note is also unspecified. Based on the content, it does not appear to be connected to any specific event in Thai political history or tied to a specific period. In other words, in Somnuek’s consciousness, there has been no change in Thai politics in the past 40 years.

4. Somnuek Chusil’s literary strategies

Owing to the importance of literary strategies to urge receivers’ touch of obvious emotions, each sender, author, poet, singer and so on. selects his most familiar technique as distinctive figurative language. The strategies are regarded as an individual’s expression of language-using ability as well as artistic skills.

The following literary strategies were revealed to study Somnuek Chusil’s lyrical songs.

4.1 Simile

Simile is a type of figurative language using comparative conjunctions; for example, like, as if, seem like, and so on, for the purpose of illustrating vividly imaginative figures. The comparative words can be omitted if the contexts of comparison are obvious enough.

Piyakanit Satharn & Marasri Sorthip (2015, p. 22) suggested that simile is selected when senders need to illuminate, emphasize, and attractively exemplify profound meanings of the message. Meanwhile, metaphor typically takes the form X is Y; for example, education is a stairway. A metaphor expresses the relationship of its constituent parts called a topic (education) and a vehicle (stairway). In similes, in addition to the topic and the vehicle, the comparative word like is included (X is like Y); for example, education is like a stairway (Olkoniemi et al., 2022). According to the study, some examples of Somnuek’s uses of simile are as mentioned below.

Example 1

On one hand, lots of politicians colluded to gain an advantage from national interest; on the other, one quarreled with others like dogfights in case of disappointing uncompromised. Both the coalition and the opposition seemed so nonsensical as if one was a crocodile, another was a monitor lizard. ¹

(Nora Somneuk’ song number 14, Somnuek Chusil, n.d.)

The aforementioned example suggests that hundreds of politicians do nothing except argue for their own benefits; such a behavior can be compared to ‘a dog that quarreled with other dogs’—a clear imaginative allusion that seems easier for the audiences to grasp the picture of inappropriate actions and mal-manner of the ‘honored representatives’.

The inclusion of both the coalition and the opposition is deliberate, underscoring that the central focus here is on politicians themselves. Furthermore, the dual metaphor of ‘a crocodile and a monitor lizard’ reinforces the repulsive behavior of these individuals. In Thai literary tradition, reptiles are commonly associated with low moral standing and are frequently likened to those exhibiting dishonesty, akin to the avaricious politicians mentioned in the songs.

4.2 Hyperbole

Hyperbole, or symbolical surrealistic situations, is used to emphasize the audience’s excessive emotions. Hyperbole refers to exaggeration or figure of speech that is impossible to connect to the truth (Laongpol, 2021). Given below is a lyrical example.

Example 2

How weird it was! A little chick that hid under its mother’s wings ran chasing a civet while a dorky toad was in a parliament as if it was a representative. The amphibian left its front leg so that it asked the Speaker of the Parliament about economic issues.²

(Nora Somneuk’ song number 25, Somnuek Chusil, n.d.))

In reality, civets eat fruits and small animals but here ‘a little chick that hid under its mother’s wings’ ran chasing a civet—a prey that peculiarly became a hunter and vice versa. Moreover, ‘a dorky toad’ took a heavy responsibility as if it were a political representative. All represent impossible phenomena in the real world.

Considering from Thai cultural viewpoint, the phenomenal peculiarity is regarded as a bad omen; for example, in The Prophecy of Ayutthaya Kingdom’s Future, the book mentions unpleasantly surrealistic disorder that would happen in the kingdom, like ‘virtuous men will lose their power as well as wise ones who will be in eclipse as when a heavy tile floats on the water whereas a dry bottle guard sinks deeply down’. Similar to Angkhan Kanlayanaphong, the most famous Southern Thai poet’s contemporary poem—’a toad sat on a golden palanquin with a bullfrog to travel all over the heavens’, the two surrealistic metaphors imply that the honest ones would be forced to run away from the foolish despicable, compared to the depiction of the civet and the toad mentioned in the Nora lyrics above—the symbolical impossibility that made the audiences feel despaired.

4.3 Use of Idioms

Use of Idioms, groups of words having particular meanings that differ from the literal ones, demonstrates how much artistic skill the communicator has. The following examples show Somnuek’s idiom-using skill.

Example 3

Not only schism caused by political incitement so that people’s chaotic disintegration has begun, but a coup d’etat did also happen as “it never rains cats and dogs but it pours”³

(Nora Somneuk’ song number 30, Somnuek Chusil, n.d.))

In the aforementioned example, the idiom ‘it never rains but it pours’ is alluded to so that the audiences can abruptly understand its meaning—another difficult situation that rapidly comes after the former. However, when the former idiom is combined with another ‘it rains cats and dogs’, depicting the very heavy rain, an excessive degree of hardness is emphasized.

Example 4

As an uphill task attempted by a monkey chasing its tail, the overlapping boundary has been claimed by the Khmer while violence in southern border provinces cannot be solved.⁴

(Nora Somneuk’ song number 36, Somnuek Chusil, n.d.)

The idiom ‘an uphill task’, which means a mission that seems too difficult to complete, refers to the inability of political agents. After combining with another idiom ‘a monkey chasing its tail’—an ineffectual action that can hardly progress, it argues not only about the territorial dispute between Thailand and Cambodia but also the problem of unrest in the Southern border provinces. In Somnuek’s opinion, both situations are either unsolved or out of the hands of effective administrative ones.

4.4 Use of a Folk Dialect

Use of a Folk Dialect as it is an effective device of communication, as well as a collective memory, between local people from each region (Concrete, 2017). Understanding the dialect brings about particular socio-cultural comprehension of the folk because each folk dialect is a communicative language used in lullabies, tales, riddles, folk names of people and plants, animals and utensils, sacred chants, local literature, and so on.

Southern Thai dialect is generally used in Nora’s performance since it is the singers’ common language to communicate with the southern folks, so a local locution like ‘dorky’, which means nonsensical, in a former example ‘a dorky toad’ can be effectively and immediately understood among the Southern Thai local.

In a metaphorical sentence with a different meaning from the standard Thai language—’a slow-worm stole a buffalo for selling in a large field’ (Somnuek Chusil, n.d.), the local term ‘a slow-worm’ known among the local folk does not literally mean a creature having a no-limped and long-slender soft body (the so-called worm) but a lizard; perhaps the others who heard the word are misled.

Besides, the use of local dialect is a method of collective identity formation between performers and their audiences so that the latter feels confident with the former and accepts any communicative messages without any doubts.

All literary strategies in the aforementioned example express Somnuek’s artistic ways of communication. Apart from amusement and local matters, the artist’s political opinions have been expressed in the lyrical songs as follows.

5. Political thought in somnuek’s lyrical songs

Somnuek communicated his political opinions through lyrics in the following ways:

5.1. Criticism of the politicians

Not different from other types of media, like TV news or newspaper, the politicians’ roles, expressions, behaviors, works, and so on. usually become topics of criticism in folk media, including Somnuek’s performances which communicate with folk audiences. Additionally, regarding the democratic form of government with the king as head of state, the expression of critical opinions, except toward the monarchy, is legally counted as a fundamental right and freedom that reveals both the political flaws and problem’s solution. Somnuek, afterward, expressed his critical points through these lyrics.

5.1.1. Inappropriate competition for political power and positions

This becomes a general topic during government formation or cabinet reshuffle since it represents that many people come into the parliament for political power, not for solving nation’s problems, as mentioned in the song below.

Example 5

Many politicians vied for being ministers as if they were hungry ghosts who fervidly stole food from others; after being promoted to the positions, all swept the nation’s problems under the carpet but acted like the vain emperor wearing his new clothes.⁵

(Nora Somneuk’ song number 40, Somnuek Chusil, n.d.)

In the quoted example, the politicians’ greediness of being ministers is compared to the hungry ghosts, the so-call peta in Pali, with starvation—the most popular comparative figure alluded by the media. If the politicians do not want to be the objects of such a critical issue, they should behave themselves with honesty so that people know that they come for the sake of the nation, not for their own self-benefit.

5.1.2. Corruption problem

This is a long-lasting issue with the criticism of disapproved politicians since many of them show a bad image of unscrupulously gaining national advantage for their own sake, then become one of the critical topics among the media, including Somnuek.

Example 6

To pull to get the longest end, they greedily grabbed the government expenditures as if the amount were their own pocket money, even the budget providing for the sake of natural resources like water or forest of the nation. These horrid men had no empathy for poor people. If the great bankruptcy occurred all over the country, the national anthem would be sung for no one.⁶

(Nora Somneuk’ song number 4, Somnuek Chusil, n.d.)

According to the example, there is an issue of ones who ‘pull the longest end’ to snatch ‘the budget providing for the natural resources like water or forest’, which can be applied to all types of the national budget, of ‘all over the country’. Despite clearly identifying who has done such a malpractice, it can surely be inferred to a group of people with mighty political power—the politicians. If those who ‘pull the longest end’ do not want to be blamed as ‘the horrid’, self-improvement is needed. Nevertheless, the sentence ‘the national anthem would be sung for no one’ has been quoted from Naphalai Suwanthada’s famous poem, National Anthem, as it properly correlates with the lyrical content—if corruption still exists, the country will get bankrupted. So ‘Thailand’, where Thai people dwell well, will be no more.

5.2. Construction of the realization of democratic-citizen duties

Somnuek’s songs not only critically reflect Thai political phenomena, but also encourage the audiences to realize their democratic citizen duties as ‘good politics’ cannot be set up just by the politicians without people’s awareness of duties and responsibilities—if not, the absolute effectiveness of democracy will not occur. Following is an example of the idea.

Example 7

Don’t be neglectful of your own rights! Exercise people’s power through a cross marked on a ballot paper as if it was a politician’s head. If the one wins the election because of pretending to be a good man by air-building castle policies but exposing his real evil nature in the parliament after achieving the representative position, people will mark him on the blacklist – not to vote for him anymore. ⁷

(Nora Somneuk’ song number 33, Somnuek Chusil, n.d.)

The above example underscores the significance of people’s voting rights, a fundamental duty of citizens in a democratic system. The Nora singer depicted the cross mark on ballot papers as a symbol of people’s authority over their political representatives, individuals whom the people can choose to support or discard. Even if a politician triumphs in an election but subsequently fails to uphold their promises, they cease to be the chosen one. This highlights why individuals should not neglect their rights as democratic citizens.

6. Discussion

Somnuek Chusil’s lyrical songs manifest these eminent figures of speeches leading to outstanding literary strategies, which include simile and hyperbole along with the use of local idioms, proverbs, and words from the Southern Thai dialect. The use of figurative language serves to evoke collective emotions in the audience, providing an effective means of communication, particularly when addressing the subtle political themes woven into the entire lyrical composition.

However, Somnuek’s emphasis on the ideals of good politics and democracy carries a distinctive focus on duty and social responsibility, reflecting the essence of a conservative ideology. This ideology places a greater emphasis on the duty of citizens compared to the rights and liberties often prioritized in universal thought. Moreover, it finds its roots in the teachings of local Buddhist thinkers, such as Buddhadasa Bhikkhu, a revered monk from the southern region, who emphasized the significance of virtuous individuals. According to Buddhadasa’s philosophy, whether it involves establishing a government by the majority, advancing national policies, or safeguarding civil liberties, the critical factor is the presence of a morally upright politician. This perspective maintains that if an individual possesses ethical virtues, it will naturally extend to other aspects of governance (Zöllner, 2014).

This concept of democracy, articulated using local dialects, aligns with the way of life and values embraced by the villagers in southern Thailand. It stands in contrast to democracy rooted in Western concepts.

7. Conclusion

Somnuek’s writing strategy includes employing local dialects to effectively communicate local politics. It is a reiteration of the local political morality prevalent in the South, adapting to the evolving landscape of both regional and national politics through the ages. Somnuek’s lyrical songs not only encapsulates the artist’s own perspective but also mirrors the political ideologies embraced by the majority of Southerners in Thailand, spanning from bygone eras to the present day.

With this compelling portrayal, Somnuek Chusilp achieved remarkable success in his career and rose to prominence as one of the most celebrated Nora artists in Southern Thailand today. It could be claimed that, like most of southern Thai intellectuals of his generation, Somnuek’s political trajectory has moved from leaning communist idea and anti-authoritarianism in 1970s and 1980s to conservative-Buddhist nationalist at his old-age as expressed through Nora lyrical songs.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Funding

Program Management Unit on Area Based Development, Office of National Higher Education Science Research and Innovation Policy Council, Thailand

Notes on contributors

Theerawat Klaokliang

Theerawat Klaokliang, received a bachelor’s and master’s degree in Thai literature from the Faculty of Arts, Chulalongkorn University, Thailand. He is interested in Thai poetry and has competed in improvisation competitions and won National awards. Theerawat is interested in Mutto singing, which is an improvised singing form of the Nora performance. He met Somnuek Chusil, a famous Nora artist from the South who has a talent for improvising singing. Theerawat found that Somnuek’s recorded lyrics had an interesting literary strategy and satire on the politics of a certain period of Thailand. Therefore, this is the origin of the study of this article.

Kanit Sripaoraya

Kanit Sripaoraya,(Ph.D. in Asian Studies), is a Senior Lecturer in Performing Arts elective, Faculty of Creative Technology and Heritage, Universiti Malaysia Kelantan (UMK). She has background and working experience on the performing arts studies, especially in Southeast Asian performing arts including Southern-Thai dance drama, Malay traditional folk dance and Balinese dance. Her interest was shifted from the on-stage performer’s aspect to interpreting, examining, and investigating significant meaning ‘behind the stage’ which reflects eco-politico-social structures of the local communities and others. With her engaging and participating in cross-culture and intercultural fieldworks, she conducted her studies by applying multidisciplinary approaches.

Notes

1 In Thai version is “หลายร้อยคนหลายร้อยหัวมั่วประโยชน์ ผิดหวังโกรธฟัดกับเพื่อนเหมือนฝูงหมา ทั้งฝ่ายค้านฝ่ายรัฐวัดราคา ไร้สาระทั้งเพเข้กับแลน.”

2 In Thai version is “ลูกไก่แม่อุบยิกคลุบมูสัง คางคกชังกั้งเข้านั่งในสภา ยกมือขึ้นชี้ว่าผมมีปัญหา ถามประธานสภาในเรื่องเศรษฐกิจ.”

3 In Thai version is “ปลุกระดมแบ่งฝ่ายกลายเป็นขั้ว การเมืองมั่วปฏิวัติรัฐสลาย ประชาแตกแยกสีสันกันวุ่นวาย ความวัวหายความควายมาความหมาแซง”.

4 In Thai version is “งานไม่เป็นเหมือนเข็นครกขึ้นภูเขา เขมรเอาเขตทับซ้อนสิ้นหนึ่งชิ้นส่วน สามจังหวัดแดนใต้ได้เรรวน ตามสำนวนลิงทอดแหแก้ไม่เป็น”.

5 In Thai version is “แย่งกันเป็นรัฐมนตรีเหมือนผีเปรต ที่แย่งเศษอาหารเพราะทานหลง ได้หัวโขนเดินนำหน้าตามึนงง ความโลภหลงสกปรกยกขบวน.”

6 In Thai version is “มือใหญ่ยาวสาวเอาเหมาประเทศ ล้ำถึงเขตงบน้ำป่าน้ำตาไหล ไม่สงสารคนจนมั่งพวกจัญไร จะร้องเพลงชาติไทยให้ใครฟัง.”

7 In Thai version is “อย่านอนหลับทับสิทธิ์ปิดโอกาส ใช้อำนาจกาหัวคนบนคูหา คะแนนเสียงจากพี่น้องปวงประชา ช่วยกันกาหัวผู้แทนคนละที กากบาทตราหน้าแปลว่าผิด เรามีสิทธิ์แต่ได้กาตามหน้าที่ กล่าวปราศรัยหาเสียงเป็นคนดี แล้วเปลี่ยนสีได้เป็นใหญ่ในสภา.”