FLIBSOUND 004
#FLIBSOUND 003
RECORD FROM MAE HONG SON - SANG LONG KIDS:
POY SANG LONG
In the few days we were capturing Poy Sang Long Festival, the most prominent sound was the low metallic “mong mong mong mong mong mong” of the unique mobile gong set and long drums called Poo Jae of the Shan people.
You play the gong by just pushing down a lever, and you change the pitch of the drums by slapping on the sticky rice on it. Compared to other festivals we’ve been capturing, the sound of Poy Sang Long is distinctively more “Folkish” than any other. That’s to say the instruments are very simple and have a very linear beats, but, though simple, not a single folk control the whole of the soundscape. It’s just ran by vibes. The mong sound just start as soon as someone who “feels like playing” get their hands on the instruments.
That might be a relatives waiting for the kids to bless them, or one of the guys who live nearby. The Music of this festival is made by people through and through, no need to learn secret technique, no limitation on when and where to play. The echo of the percussion intertwined itself with the sound of chatting in the parade, with the silence in the downtime at home or even with the chanting of monks where everyone is usually silent.
One note, one beat, and often quite off beat. The mong, mong, mong sound is a perfect fit for a festival truly driven by ordinary people.
You play the gong by just pushing down a lever, and you change the pitch of the drums by slapping on the sticky rice on it. Compared to other festivals we’ve been capturing, the sound of Poy Sang Long is distinctively more “Folkish” than any other. That’s to say the instruments are very simple and have a very linear beats, but, though simple, not a single folk control the whole of the soundscape. It’s just ran by vibes. The mong sound just start as soon as someone who “feels like playing” get their hands on the instruments.
That might be a relatives waiting for the kids to bless them, or one of the guys who live nearby. The Music of this festival is made by people through and through, no need to learn secret technique, no limitation on when and where to play. The echo of the percussion intertwined itself with the sound of chatting in the parade, with the silence in the downtime at home or even with the chanting of monks where everyone is usually silent.
One note, one beat, and often quite off beat. The mong, mong, mong sound is a perfect fit for a festival truly driven by ordinary people.