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The culture of Thailand incorporates cultural beliefs and characteristics indigenous to the area known as modern-day Thailand coupled with much influence from ancient China, Cambodia, Laos, India along with the neighboring pre-historic cultures of Southeast Asia. It is influenced primarily by animism, Hinduism, Buddhism, as well as by later migrations from China, and northern India.
2.1 Traditional clothing
4 Birth traditions and beliefs
9 Traditional Games of Thailand
9.1 Kratai Kha Deow(One Legged Rabbit)
9.2 Banana rib hobbyhorse riding
11 See also
12 Notes and references
13 External links
Buddhist novices receiving joss sticks.
Main article: Religion in Thailand
Thailand is nearly 94%-95% Theravada Buddhist (which includes the Thai Forest Tradition and the Dhammayuttika Nikaya and Santi Asoke sects), with minorities of Muslims (5-6%), Christians (1%), Mahayana Buddhists, and other religions. Thai Theravada Buddhism is supported and overseen by the government, with monks receiving a number of government benefits, such as free use of the public transportation infrastructure.
Buddhism in Thailand is strongly influenced by traditional beliefs regarding ancestral and natural spirits, which have been incorporated into Buddhist cosmology. Most Thai people own spirit houses, miniature wooden houses in which they believe household spirits live. They present offerings of food and drink to these spirits to keep them happy. If these spirits aren't happy, it is believed that they will inhabit the larger household of the Thai, and cause chaos. These spirit houses can be found in public places and in the streets of Thailand, where the public make offerings.
Prior to the rise of Theravada Buddhism, both Indian Brahmanic religion and Mahayana Buddhism were present in Thailand. Influences from both these traditions can still be seen in present day Thai folklore. Brahmanist shrines play an important role in Thai folk religion, and the Mahayana Buddhist influence is reflected in the presence of figures like Lokesvara, a form of the bodhisattva Avalokitesvara sometimes incorporated into Thailand's iconography.
See also: Thai folklore
Thai greeting, the smile is an important symbol of refinement in Thai culture.
The traditional customs and the folklore of Thai people were gathered and described by Phya Anuman Rajadhon in the 20th century, at a time when modernity changed the face of Thailand and a great number of traditions disappeared or became adapted to modern life. Still, the striving towards refinement, rooted in ancient Siamese culture, consisting of promoting that which is refined and avoiding coarseness is a major focus of the daily life of Thai people and high on their scale of values.
One of the most distinctive Thai customs is the wai. Used in greetings, leave-taking, or as an acknowledgement, it comes in many forms, reflecting the relative status of those involved. Generally the salutation involves a prayer-like gesture with the hands, similar to the Añjali Mudrā of the Indian subcontinent, and it also may include a slight bow of the head. This salutation is often accompanied by a serene smile symbolizing a welcoming disposition and a pleasant attitude. Thailand is often referred to as the "land of smiles" in tourist brochures.
Public displays of affection is not overly common in traditional Thai society, especially between lovers. It is becoming more common, especially among the younger generation.
A notable social norm holds that touching someone on the head may be considered rude. It is also considered rude to place one's feet at a level above someone else's head, especially if that person is of higher social standing. This is because the Thai people consider the foot to be the dirtiest and lowliest part of the body, and the head the most respected and highest part of the body. This also influences how Thais sit when on the ground—their feet always pointing away from others, tucked to the side or behind them. Pointing at or touching something with the feet is also considered rude.
Display of respect of the younger towards the elder is a cornerstone value in Thailand. A family during the Buddhist ceremony for young men who are to be ordained as monks.
Since serene detachment is valued, conflict and sudden displays of anger are eschewed in Thai culture and, as is many Asian cultures, the notion of face is extremely important. For these reasons, visitors should take care not to create conflict, to display anger or to cause a Thai person to lose face. Disagreements or disputes should be handled with a smile and no attempt should be made to assign blame to another. In everyday life in Thailand, there is a strong emphasis on the concept of sanuk; the idea that life should be fun. Because of this, Thais can be quite playful at work and during day-to-day activities. Displaying positive emotions in social interactions is also important in Thai culture.
Often, Thais will deal with disagreements, minor mistakes, or misfortunes by using the phrase mai pen rai, translated as "it doesn't matter". The ubiquitous use of this phrase in Thailand reflects a disposition towards minimizing conflict, disagreements or complaints. A smile and the sentence "mai pen rai" indicates that the incident is not important and therefore there is no conflict or shame involved.
Respect for hierarchy is a very important value for Thai people. The custom of bun khun emphasizes the indebtedness towards parents, as well as towards guardians, teachers, and caretakers. It describes the feelings and practices involved in certain relationships organized around generalized reciprocity, the slow-acting accounting of an exchange calculated according to locally interpreted scales and measures. It is also considered rude to step on any type of Thai currency (Thai coin or banknote) as they include a likeness of the king.
The 1941-42 Thai cultural mandates, promulgated by Plaek Pibulsonggram, made sweeping changes in Thai culture. Modernization efforts discouraged the wearing of women's traditional costumes, in favour of more modern forms of dress
There are a number of Thai customs relating to the special status of monks in Thai society. Thai monks are forbidden physical contact with women. Women are therefore expected to make way for passing monks to ensure that accidental contact does not occur. A variety of methods are employed to ensure that no incidental contact (or the appearance of such contact) between women and monks occurs. Women making offerings to monks place their donation at the feet of the monk, or on a cloth laid on the ground or a table. Powders or unguents intended to carry a blessing are applied to Thai women by monks using the end of a candle or stick. Laypersons are expected to sit or stand with their heads at a lower level than that of a monk. Within a temple, monks may sit on a raised platform during ceremonies to make this easier to achieve.
When sitting in a temple, one is expected to point one's feet away from images of the Buddha. Shrines inside Thai residences are arranged so as to ensure that the feet are not pointed towards the religious icons, such as placing the shrine on the same wall as the head of a bed, if a house is too small to remove the shrine from the bedroom entirely.
It is also customary to remove one's footwear before entering a home or the sacred areas within a temple, and not to step on the threshold.
A woman wearing a chut Thai
Main article: Chut thai
Traditional Thai clothing is called chut thai (Thai: ชุดไทย Thai pronunciation: [tɕʰút.tʰaj]) which literally means "Thai outfit". It can be worn by men, women, and children. Chut thai for women usually consists of a pha nung or a chong kraben, a blouse, and a sabai. Northern and northeastern women may wear a sinh instead of a pha nung and a chong kraben with either a blouse or a suea pat. Chut thai for men includes a chong kraben or pants, a Raj pattern shirt, with optional knee-length white socks and a sabai. Chut thai for northern Thai men is composed of a sado, a white Manchu styled jacket, and sometimes a khian hua. In formal occasions, people may choose to wear a chut thai phraratchaniyom.
A traditional wedding in Thailand.
Main article: Thai marriage
Thai Buddhist marriage ceremonies are generally divided into two parts: a Buddhist component, which includes the recitation of prayers and the offering of food and other gifts to monks and images of the Buddha, and a non-Buddhist component rooted in folk traditions, which centers on the couple's families.
In former times, it was unknown for Buddhist monks to be present at any stage of the marriage ceremony itself. As monks were required to attend to the dead during funerals, their presence at a marriage (which was associated with fertility, and intended to produce children) was considered a bad omen. A couple would seek a blessing from their local temple before or after being married, and might consult a monk for astrological advice in setting an auspicious date for the wedding. The non-Buddhist portions of the wedding would take place away from the temple, and would often take place on a separate day.
In modern times, these prohibitions have been significantly relaxed. It is not uncommon for a visit to a temple to be made on the same day as the non-Buddhist portions of a wedding, or even for the wedding to take place within the temple. While a division is still commonly observed between the "religious" and "secular" portions of a wedding service, it may be as simple as the monks present for the Buddhist ceremony departing to take lunch once their role is complete.
During the Buddhist component of the wedding service, the couple first bow before the image of the Buddha. They then recite certain basic Buddhist prayers or chants (typically including taking the Three Refuges and the Five Precepts), and light incense and candles before the image. The parents of the couple may then be called upon to "connect" them, by placing upon the heads of the bride and groom twin loops of string or thread that link the couple together. The couple may then make offerings of food, flowers, and medicine to the monks present. Cash gifts (usually placed in an envelope) may also be presented to the temple at this time.
The monks may then unwind a small length of thread that is held between the hands of the assembled monks. They begin a series of recitations of Pali scriptures intended to bring merit and blessings to the new couple. The string terminates with the lead monk, who may connect it to a container of water that will be "sanctified" for the ceremony. Merit is said to travel through the string and be conveyed to the water. A similar arrangement is used to transfer merit to the dead at a funeral, further evidence of the weakening of the taboo on mixing funerary imagery and trappings with marriage ceremonies. Blessed water may be mixed with wax drippings from a candle lit before the Buddha image and other unguents and herbs to create a paste that is then applied to the foreheads of the bride and groom to create a small dot, similar to the marking made with red ochre on Hindu devotees. The bride's mark is created with the butt end of the candle rather than the monk's thumb, in keeping with the Vinaya prohibition against touching women.
The highest-ranking monk present may elect to say a few words to the couple, offering advice or encouragement. The couple may then make offerings of food to the monks, at which point the Buddhist portion of the ceremony is concluded.
The Thai dowry system is known as the sin sodt Thai: สินสอด. Traditionally, the groom will be expected to pay a sum of money to the family, to compensate them and to demonstrate that the groom is financially capable of taking care of their daughter. Sometimes, this sum is purely symbolic, and will be returned to the bride and groom after the wedding has taken place.
The religious component of marriage ceremonies between Thai Muslims are markedly different from that described above. The Imam of the local mosque, the groom, the father of the bride, men in the immediate family, and important men in the community sit in a circle during the ceremony, conducted by the Imam. All the women, including the bride, sit in a separate room and do not have any direct participation in the ceremony. The secular component of the ceremony, however, is often nearly identical to the secular part of Thai Buddhist wedding ceremonies. The only notable difference here is the type of meat served to guests (goat and/or beef instead of pork). Thai Muslims frequently, though not always, also follow the conventions of the Thai dowry system.
Birth traditions and beliefs
Main article: Birth in Thailand
Traditional principles concerning pregnancy and childbirth are largely influenced by folk beliefs, especially in rural areas of central and north Thailand. Modern practices follow the Western medical model.
See also: Funeral (Buddhism)
Funeral pyre of Chan Kusalo, the patriarch-abbot of northern Thailand.
Traditionally, funerals last for at least one week. Crying is discouraged during the funeral, so as not to worry the spirit of the deceased. Many activities surrounding the funeral are intended to make merit for the deceased. Copies of Buddhist scriptures may be printed and distributed in the name of the deceased, and gifts are usually given to a local temple. Monks are invited to chant prayers that are intended to provide merit for the deceased, as well as to provide protection against the possibility of the dead relative returning as a malicious spirit. A picture of the deceased from his/her best days will often be displayed next to the coffin. Often, a thread is connected to the corpse or coffin which is held by the chanting monks during their recitation; this thread is intended to transfer the merit of the monks' recitation to the deceased. The corpse is cremated, and the urn with the ash is usually kept in a chedi in the local temple.
Thai Chinese and Thai Muslim minorities bury their deceased according to the rituals of their respective communities.
A depiction of a white elephant in 19th century Thai art.
Main articles: Thai art and Music of Thailand
Thai visual arts were traditionally Buddhist. Thai Buddha images from different periods have a number of distinctive styles. Thai temple art and architecture evolved from a number of sources, one of them being Khmer architecture. Contemporary Thai art often combines traditional Thai elements with modern techniques.
Literature in Thailand is heavily influenced by Indian Hindu culture. The most notable works of Thai literature are a version of the Ramayana, a Hindu religious epic, called the Ramakien, written in part by Kings Rama I and Rama II, and the poetry of Sunthorn Phu.
There is no tradition of spoken drama in Thailand, the role instead being filled by Thai dance. This is divided into three categories: khon, lakhon, and likay, khon being the most elaborate and likay the most popular. Nang drama, a form of shadow play, is found in the south.
The music of Thailand includes classical and folk music traditions, e.g., piphat and mor lam, respectively) as well as string or pop music.
Main article: Public holidays in Thailand
Important holidays in Thai culture include Thai New Year, or Songkran, which is officially observed from 13–15 April each year. Falling at the end of the dry season and during the hot season in Thailand, the celebrations notoriously feature boisterous water throwing. The water throwing stemmed from washing Buddha images and lightly sprinkling scented water on the hands of elderly people. Small amounts of scented talcum powder were also used in the annual cleansing rite. In recent decades, water fights have been increasingly industrialised with use of hoses, barrels, squirt guns, water-filled surgical tubing, and copious amounts of powder.
Loi Krathong is held on the 12th full moon of the Thai lunar calendar, usually early-November. While not a government-observed holiday, it is nonetheless an auspicious day in Thai culture, in which Thai people "loi", meaning "to float" a "krathong", a small raft traditionally made from elaborately folded banana leaves and including flowers, candles, incense sticks, and small offerings. The act of floating away the candle raft is symbolic of letting go of all one's grudges, anger, and defilements so that one can start life afresh on a better footing.
Thai boxing is the indigenous national sport in Thailand. Football is perhaps the most-watched sport. The English Premier League is surprisingly popular.
Traditional Games of Thailand
Kratai Kha Deow(One Legged Rabbit)
“Kratai Kha Deow” or “One Legged Rabbit” is one type of catch game. The catcher will call the rabbit, and the rabbit must stand on one leg and jump or tiptoe to catch the other players and switch to rabbit instead. This game will exercise your legs and practice balancing on one leg. The number of players are divided into two teams, or may not have a team at all. Normally, there are two or more players. At the first time, the player will select the rabbit or team by “Rock-Paper-Scissors”. The loser would have to be a rabbit.
In the case of solo player, the rabbit must stand on one leg, then jump to chase and touch any part of the body of other children who have run away. Everyone must stay within the designated area. A player who runs out of space loses the game and must be switched to rabbit, but if the rabbit is exhausted and cannot stand on one leg, it was that defeated and must be punished.
In team play, the rules are similar to the solo player, but the rabbit team will send a representative to catch the other team to all the people. Those arrested will have to wait outside until the rabbit team can catch all of the rival teams. Rabbit team can switch to teammates to catch on until they are exhausted, and if the all of the members in rabbit team are exhausted and cannot stand on one leg, the rabbit team lose the game and must be punished too.
Banana rib hobbyhorse riding
Banana rib hobbyhorse riding or "Khee Ma Khan Kluay" in Thai is a traditional game of Thailand that Thai kids frequently played in the past. They use a banana rib to make the parts of a horse such as head, ear, and horsetail. The kids can make a horse on their own by using banana rib from banana trees irrelevant. This game makes kids enjoy their imagination by assume themselves as a rider, and an exercise. That is a local traditional which is the kids can spent time together.
The materials for making a banana rib hobbyhorse are banana rib, knife, small bamboo pin, and string. First, find a rib of a banana around 1.5 is long (1 meter = 2 wa). Cut it in a form of the head, neck, and ears then use a small bamboo pin to connect the ear to the head of a horse. The remaining part of a banana rib, becomes a horsetail. Attach a string between the head and the tail of this banana rib horse and place on the shoulder of the rider.
How to play banana rib hobbyhorse riding. Kids will sit on the horse and behave like they are riding a real horse shouting ‘hee hee’ or ‘yee haaah’(making the usual sounds people shout when controlling their horses). They may race with other friends if they have player more than 2 players. Which team runs faster, will be the winner or continuously ride around a wide open space and have fun.
See also: Thai names
Thai people universally have one, or occasionally more, short nicknames (Thai: ชื่อเล่น name-play) that they use with friends a
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A Walk to Remember Movie Poster
A Walk to Remember (2002)
Mandy Moore as Jamie Sullivan
Shane West as Landon Carter
Daryl Hannah as Cynthia Carter
Peter Coyote as Rev. Sullivan
Lauren German as Belinda
Clayne Crawford as Dean
Based on the novel by
Drama, Family, Romance
Rated PG For Thematic Elements Language and Some Sensual Material
Watch This Movie
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| Roger Ebert
January 25, 2002 |
"A Walk to Remember" is a love story so sweet, sincere and positive that it sneaks past the defenses built up in this age of irony. It tells the story of a romance between two 18-year-olds that is summarized when the boy tells the girl's doubtful father: "Jamie has faith in me. She makes me want to be different. Better." After all of the vulgar crudities of the typical modern teenage movie, here is one that looks closely, pays attention, sees that not all teenagers are as cretinous as Hollywood portrays them.
The singer Mandy Moore, a natural beauty in both face and manner, stars as Jamie Sullivan, an outsider at school who is laughed at because she stands apart, has values, and always wears the same ratty blue sweater. Her father (Peter Coyote) is a local minister. Shane West plays Landon Carter, a senior boy who hangs with the popular crowd but is shaken when a stupid dare goes wrong and one of his friends is paralyzed in a diving accident. He dates a popular girl and joins in the laughter against Jamie. Then, as punishment for the prank, he is ordered by the principal to join the drama club: "You need to meet some new people." Jamie's in the club. He begins to notice her in a new way. He asks her to help him rehearse for a role in a play. She treats him with level honesty. She isn't one of those losers who skulks around feeling put upon; her self-esteem stands apart from the opinion of her peers. She's a smart, nice girl, a reminder that one of the pleasures of the movies is to meet good people.
The plot has revelations that I will not reveal. Enough to focus on the way Jamie's serene example makes Landon into a nicer person--encourages him to become more sincere and serious, to win her where she approaches him while he's with his old friends and says, "See you tonight," and he says, "In your dreams." When he turns up at her house, she is hurt and angry, and his excuses sound lame even to him.
The movie walks a fine line with the Peter Coyote character, whose church Landon attends. Movies have a way of stereotyping reactionary Bible-thumpers who are hostile to teen romance. There is a little of that here; Jamie is forbidden to date, for example, although there's more behind his decision than knee-jerk strictness. But when Landon goes to the Rev. Sullivan and asks him to have faith in him, the minister listens with an open mind.
Yes, the movie is corny at times. But corniness is all right at times. I forgave the movie its broad emotion because it earned it. It lays things on a little thick at the end, but by then it had paid its way. Director Adam Shankman and his writer, Karen Janszen, working from the novel by Nicholas Sparks, have an unforced trust in the material that redeems, even justifies the broad strokes. They go wrong only three times: (1) The subplot involving the paralyzed boy should have either been dealt with, or dropped; (2) It's tiresome to make the black teenager use "brother" in every sentence, as if he is not their peer but was ported in from another world; (3) As Kuleshov proved more than 80 years ago in a famous experiment, when an audience sees an impassive closeup, it supplies the necessary emotion from the context. It can be fatal for an actor to try to "act" in a closeup, and Landon's little smile at the end is a distraction at a crucial moment.
Those are small flaws in a touching movie. The performances by Moore and West are so quietly convincing we're reminded that many teenagers in movies seem to think like 30-year-old standup comics. That Jamie and Landon base their romance on values and respect will blindside some viewers of the film, especially since the first five or 10 minutes seem to be headed down a familiar teenage movie trail. "A Walk to Remember" is a small treasure.
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