Response to “Dance of Life: Popular Music and Politics in Southeast Asia” by Craig A. Lockard (1998)

Craig A. Lockard’s 1998 book, Dance of Life: Popular Music and Politics in Southeast Asia, delves into the intersection of popular music genres and politics in various Southeast Asian countries. We will further analyze Chapter 4, which centers around Thailand and the role of politicized popular music in society as it relates to the political turmoil in the early and mid-1970s. The chapter explores the types of music that arose to address “a traditionally conservative and political system that has long failed to deal adequately with socioeconomic, ethnic minority, and regional equity issues” (Lockard, 163). The chapter begins with a background of Thailand, explaining the pervasive role of Theravada Buddhism, the ethnic Thai (Siamese) majority, and the monarchy as the backbone of Thai society. The first three chapters dive into Thailand’s political progression through military rule and the diminishing political role of the monarchy. With this political change,  Lockard is asserting that traditional music may be reflecting on such changes, representing the marginalization of the Isan peoples and other rural populations in comparison to urban, metropolitan Bangkok. After providing context, Lockard begins introducing the development of popular music and culture. Lockard attributes the origins of contemporary Thai music to the late 1940s, which is around the time that the government was opening up the state radio to allow Western music to play through state radio. Social change was causing some folk music genres to diminish in popularity; in the 1960s, Western music dominated the radios, westernizing the feel of Thai music and culture, reaching cities and even far into the countryside. Lockard goes on to introduce the different varieties of music, such as sakon, phleng luk kreung, and luktoong. Lockard includes a segment in which he specifies what luktung reflects in society (i.e. class resentment and debilitating view) in a subtle way that utilizes “a more earthy sexuality” (Lockard, 189).

Lockard makes very profound and clearly supported points about how Thai music reflects current societal conditions. To first introduce the topic, I believe Lockard produced a very detailed and sufficient explanation of Thailand’s history and its political systems. This provides context for which music is so important; it gives individuals that do not seem to usually have a voice a platform. The overlooked Isan people and the muslims in the south are able to use their music to assert themselves. Lockard uses examples of lyrics in various songs and dissects themes, allowing readers to see real examples of politically-motivated songs. Despite Lockard producing substantial evidence on the songs, I wish he included the perspective of Thai locals more, such as in interviews. The current structure of the piece appears to have a very objective tone, but it would add depth to include various perspectives from those that consume the music as well as those that oppose the music.

Questions:

• Do we see parallels between politics and the growing market economy directly influencing music here in the United States?

• Would the absence of political and social turmoil result in different kinds of music? What would that look like?

Quotes:

• “Political music has continued to flourish openly in Thailand as long as political conditions permit, but it is hard to judge what influence it ultimately enjoyed beyond the small group of urban student progressives and perhaps some rural activists.”

• “Do you remember the stain of blood and nightmares? …Now let us pause and be silent

To honor those heroes

As a reminder to those who continue to fight.”