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[[File:Laos pagoda.jpg|thumb|250px|A village pagoda near Park Ou, Laos.]]
[[File:20171113 Theatre of the Royal Palace, Luang Prabang 2433 DxO.jpg|thumb|Scene from ''Phra Lak Phra Ram'', the Lao form of the Indian ''[[Ramayana]]''. Several versions of the story were recorded on palm-leaf manuscripts between the 15th and early 19th centuries.<ref>Richman, P. (1991). ''Many Rāmāyaṇas: The Diversity of a Narrative Tradition in South Asia.'' (pp. 54–73). Berkeley, CA: University of California Press.</ref>]]
[[File:Laos musicians 1973.jpg|thumb|250px|Laos musicians during a [[Baci]] celebration in 1973.]]
''''''Phra Lak Phra Ram'''''' (<big>ພຣະລັກພຣະຣາມ</big>, pʰrāʔ lāk pʰrāʔ ráːm) is the national [[Epic poetry|epic]] of the [[Lao people]], and is the Lao adaptation of the [[Dasaratha Jataka]], a story narrating one of the previous life of [[Gautama Buddha|Buddha]] as a [[Bodhisattva|Bodhisatta]] named Rama''.''<ref name=":0" /> It was brought to [[Laos]] and other [[Southeast Asia]] by propagation of [[Buddhism]]. The story reached Laos much later than [[Cambodia]] and [[Thailand]] (Siam) and thus was affected by local adaptation.<ref>{{cite web|website=Phralak Phralam|url=http://phralakphralam.com/phralak_phralam_en/le-phralak-phralam/les-personnages/|title=The characters &#124; Phralak Phralam}}</ref>
[[Laos]] developed its culture and customs as the inland crossroads of trade and migration in [[Southeast Asia]] over millennia. As of 2012 Laos has a population of roughly 6.4 million spread over 236,800 sq km (91,400 sq miles), yielding one of the lowest population densities in Asia. Yet the country of Laos has an official count of over forty-seven ethnicities divided into 149 sub-groups and 80 different languages. The [[Lao people|Lao Loum]] have throughout the country’s history comprised the ethnic and linguistic majority. In Southeast Asia, traditional Lao culture is considered one of the [[Greater India|Indic cultures]] (along with [[Burma]], [[Thailand]] and [[Cambodia]]).
Laos is geographically isolated and mountainous, bounded by the [[Annamite Range]] in the east, forming a traditional political and cultural boundary with [[Vietnam]] (a more [[China|Chinese]] influenced [[East Asian Cultural Sphere|Sinitic culture]]). Much of the western borders of Laos are formed by the [[Mekong River]] which provided the major means of inland trade despite limited navigability along the river’s length. Prior to the 20th century Lao principalities and the [[Kingdom of Lan Xang]] extended to the [[Sipsong Panna]] ([[China]]), [[Sip Song Chau Tai|Sipsong Chau Tai]] ([[Vietnam]]), and [[Khorat Plateau]] (today the northeast of [[Thailand]]) where the river was used as a transportation artery to connect Lao peoples on both the right and left banks. However, the political history of Laos has been complicated by frequent warfare and colonial conquests by European and regional rivals. As a result, Laos today has cultural influence from [[France]], [[Thailand]], [[China]], [[Vietnam]], [[Burma]] and [[Cambodia]]. The history of Laos is unique with a national character defined by its diversity in both culture and customs.


==Ethnicity==
{{See|List of ethnic groups in Laos}}
As of 2012, Laos has an estimated population of 6.4 million. The Lao government recognizes 47 distinct ethnicities, which are further sub-divided into 149 subgroups. Lao society is traditionally categorized into three broad groups based on ethnicity and location. Approximately 60% of the total population is ethnic [[Lao people|Lao]] (Lao Loum or Lao Tai); 24% are categorized as [[Lao Theung]] or “upland Lao” who are predominately people of [[Mon people|Mon]] or [[Khmer people|Khmer]] ancestry; another 10% are [[Lao Sung]] or “mountain Lao,” and are also commonly referred to as “hill tribes.” Hill tribe peoples in Laos include the [[Hmong people|Hmong]], [[Yao people|Yao]] ([[Mien people|Mien]]), [[Akha people|Akha]], and [[Lahu people|Lahu]]. Laos is also home to sizeable communities of [[Vietnamese people|Vietnamese]] and [[Chinese people|Chinese]] who make up the 6% remaining.


==Introduction==
Anthropologists consider the [[Lao people|Lao Loum]] as a subcategory of the wider “[[Tai peoples|Tai]]” ethnic group who share common genetic, linguistic, and cultural heritage. The [[Tai peoples|Tai]] family includes the [[Lao people|Lao]] and [[Thai people|Thai]], as well as smaller groups which have generally been distinguished by their traditional dress and include the [[Tai Dam people|Tai Dam]] (Black Tai), [[Tai Daeng people|Tai Daeng]] (Red Tai), and [[Tai Dón people|Tai Khao]] (White Tai). The term “Lao” is commonly used in Laos to define both the ethnicity and nationality. Further complication is added by the geopolitical history between [[Laos]] and [[Thailand]], there are an estimated 19 million “[[Lao language|Lao]]” speakers living in northeastern [[Thailand]] ([[Isan language|Thai Isan]] or [[Lao language|Lao Tai]]) and only 3 million in Laos. As a consequence identity politics has played a major role in the defining the [[Lao people|Lao Loum]]. The Lao government makes no distinction between the bordering groups and views them as sharing a common identity, but the government of [[Thailand]] has through a process known as “[[Thaification]]” assimilated the Lao living in [[Isan]]. The [[Lao people|Lao Loum]] define themselves based on location, agricultural practice, language and religion. The [[Lao people|Lao Loum]] occupy the [[Mekong River]] valleys and cultivate wet rice crops, they are predominately [[Theravada Buddhist]] but have strong [[syncretism]] with traditional [[animist]] beliefs.
Waves- sinhalese- differences to Khmer, Thai, Lan Na
==Adaption==
unique lao
==Textual Characteristics==
===Genre===
===Form===
AAB Khun Ay; Nitsay
==Structure==
2 parts
==Characters==
==Synopsis==
==Themes==
==Influence==


[[Lao Theung]] are culturally distinct from both the [[Lao people|Lao Loum]] and [[Lao Sung]]. The [[Lao Theung]] generally include [[Mon-Khmer|Mon-Khmer peoples]] which are among the indigenous peoples from the [[Mekong River]] valleys. The largest single group (11% or 500,000 people) is [[Khmu people|Khmu]] (Khmou, Kmhmu, Khammu, Khamu, Kammu). Also included in the [[Lao Theung]] population are [[Katang people|Katang]], [[Bru people|Bru]], [[Kuy language|Kui]], Laven, [[Maleng language|Mal]], Phai, Katu, Lave, Ngae, Jeh, Khuen, Jeng, Alak, Ir, Kasseng, Khlor, Aheu, Bo, Halang, Doan, Hung, Xinh Mul, Khua, Arem, Bit, Chut, Maleng and Mlabri. The [[Lao Theung]] peoples are distinguished by dry rice cultivation, and [[animist]] beliefs.


The [[Lao Sung]] are commonly known as “hill tribe” peoples, and are generally among the most recent mass populations to migrate into Laos having arrived in the nineteenth century from southern [[China]] and [[Vietnam]]. The [[Hmong people|Hmong]] are the largest group, which are generally subdivided by traditional dress including the White, Red, Black and Striped Hmong. The [[Yao people|Yao]] ([[Mien people|Mien]] and Lu Mien) are another large group of [[Lao Sung]], and distinguish themselves through the incorporation of [[Taoist]] deities with their [[animist]] beliefs. Other groups of [[Lao Sung]] include the [[Akha people|Akha]], [[Kaw people|Kaw]], [[Lahu people|Lahu]], Kaduo, [[Lisu people|Lisu]], [[Hani people|Hani]], Phana, Si La, and Kado. The [[Lao Sung]] were heavily recruited by the [[United States]] and its allies during the wars against the communists in the 1960s. As much as 10% of the Lao population and 50% of the [[Lao Sung]] population fled the communist takeover of Laos in 1975, and continued during the following decade. The remaining [[Lao Sung]] population has been the target of government suspicion for a low intensity armed conflict since that time. There are sizeable communities of [[Hmong people|Hmong]] in the [[United States]] and [[France]]. The [[Lao Sung]] are commonly identified by language, dry rice production, [[slash-and-burn agriculture]], traditional [[opium]] production and [[animist]] beliefs.


==Language==
==Names==
{{See|Lao language}}
There are over 80 distinct native languages spoken by the different ethnic populations of Laos. [[Lao language|Lao]], the official language of Laos, is a monosyllabic [[Tone (linguistics)|tone]] based language from the [[Tai-Kadai]] family as spoken in [[Vientiane]]. There are 19 million [[Lao language|Lao]] speakers in [[Thailand]] and 3 million in Laos, a reflection of [[Geopolitical|geopolitical history]]. [[Lao language|Lao]] can be further divided according to regional dialects including [[Vientiane]], northern, northeastern, central and southern. Northern dialects are spoken in [[Sainyabuli]], [[Bokeo Province|Bokeo]], [[Phongsali Province|Phongsali]], [[Luang Nam Tha]], [[Udomxai]], and [[Luang Prabang]]. Northeastern Lao is spoken mainly in [[Xiang Khoang Province|Xiang Khoang]] and [[Houphane Province|Houa Phan]]. Central Lao is found in [[Khammuan]] and [[Bolikhamsai]]. The Southern dialect is used in [[Champasak Province|Champasak]], [[Salavan Province|Salavan]], [[Savannakhet Province|Savannakhet]], [[Attapeu Province|Attapeu]], and [[Sekong Province|Sekong]].
As part of the [[Tai-Kadai]] language family spoken [[Thai language|Thai]] is similar to [[Lao language|Lao]], with some distinctions. Lao has six [[Tone (linguistics)|tones]], whereas [[Central Thai langauge|Bangkok Thai]] has five, the standard [[lexicon]], [[grammar]], usage and pronunciations are also different. The two languages are not mutually intelligible, although [[Lao language|Lao]] speakers tend to have an easier time understanding [[Thai language|Thai]] because of the prevalence of [[Thai language|Thai]] radio and media in and around Laos.


''Phra Lak Phra Ram'' is named after two principal characters, the brothers ''Phra Lak'', or [[Lakshaman]], and ''Phra Ram'', or [[Rama]]. Since ''Phra Ram'' is considered the hero, it is believed the altered name was chosen for euphony. Veteran dance performers of Luang Prabang, however, say that ''Phra Lak'' comes first in deference to his voluntary assistance of ''Phra Ram,'' whose actions were obligatory to his kingship.<ref>Jähnichen, G. (2009). Re-designing the role of phalak and pharam in modern Lao Ramayana. Wacana Seni Journal of Art Discourse, 8, p 3-4.</ref> Since it is considered a Jataka tale, it is referred to as ''Phra Ram Xadôk'' (<big>ພຣະຣາມຊາດົກ</big>, pʰrāʔ ráːm sáː dók). It was also called ''Rammakien'' (<big>ຣາມມະກຽນ</big>, Ráːm māʔ kian), but this the name for this other regional varieties in the ''Ramayana'' in general.
Other major Language families include [[Austro-Asiatic languages]] spoken by the [[Mon-Khmer]] ([[Lao Theung]]) peoples, [[Hmong-Mien]] and [[Tibetan-Burman languages|Burmo-Tibetan]] ([[Lao Sung]]). [[Chinese language|Chinese]] and [[Vietnamese language|Vietnamese]] is spoken within their respective ethnic communities.


==Introduction to Laos==
Among Western languages [[French language|French]] is commonly understood among the older (post-colonial) generation, and is still used in limited application for academic and official correspondence. [[English language|English]] is quickly being adopted as the language of business and tourism, and is supplanting [[French language|French]] among younger generations as the unofficial second language.


Lao legends attribute to the introduction of the ''Phra Ram Xadôk'' via the first king of [[Lan Xang]], Chao [[Fa Ngoum]], who arrived with his soldiers, artists, dancers, concubines, poets from musicians from [[Angkor]] who would have been familiar with the Reamker. Yet Indic civilizations knew of what is now Yunnan in China, as "Gandhara" no later than the second century B.C.<ref>Iyengar, K. R. S. (2006). Asian variations in ramayana. New Delhi: Sahitya Akademi. p. 247.</ref> [[Hindu culture]], language and religion spread into that part of the world incident to the [[Satavahanas#Cultural achievements|cultural achievements of the Sahavahana]]s (230 BC–AD 220.) Though definitive dates cannot be established for the [[Peopling_of_Laos#Gradual_Tai_inland_migration_from_China|gradual Tai inland migration from China]], transmission of the epic likely occurred much sooner than the traditional date. Tai tribes definitely settled on the fringes of highly Indianized kingdoms of the Mon and Khmer culture, adopting much of Indic learning and knowledge. As those kingdoms receded, the Lao came to venerate the earlier Hindu temples, often decorated in [[Ramayana]] and the [[Mahabharata]] motifs, such as at [[Vat Phou]] in [[Champasak Province|Champassak]].
==Religion==
{{See|Religion in Laos}}


Earlier versions remained somewhat similar to other versions, but by the 18th century, the versions are completely localised. Although Theravada Buddhism was known to the Mekong River Tai tribes as early as the 7th or 8th century B.C., it wasn't until the 14th or 15th centuries that a re-invigorated Theravada Buddhism supplanted earlier animist, Hindu, or Mahayana Buddhist loyalties.<ref>Saveda, A. (1994). Laos: a country study. [Replaces 1971 version.]. Washington, D.C.: U.S. Library of Congress. Retrieved from http://countrystudies.us/laos/</ref><ref>Charles, I. (2007). Buddhism, power and political order. New York: Routledge.</ref> This would have also seen introduction of the Dasaratha Jataka, an ancient Buddhist crystallisation of the story.<ref>Richman, P. (1991). p. 54.</ref> By the 18th century, the manuscripts are completely adapted to Lao culture and Theravada Buddhist religion.<ref>p. 18.</ref>
Almost all ethnic or "lowland" Lao ([[Lao Loum]] and [[Lao Lom]]) are followers of [[Theravada]] [[Buddhism]]. They constitute 40-50% of the population.


==Religious significance==
The remainder of the population belongs to at least 48 distinct [[ethnic minority]] groups. Most of these ethnic groups (30%) are practitioners of [[Satsana Phi]] ("deities' religion[s]"), with beliefs that vary greatly among groups.


Lao culture has always been oral and visual, and oral tales were often codified into elaborate dance-dramas by the royal courts. Great influence in dance came from Khmer, Thai, and even Javanese culture, with a slight native flair. In ''khône'' and ''lakhone'' dance-dramas, the symbolism, costumes, and story are also more attuned to and influenced by Hindu, Khmer, Thai, and Javanese traditions.
Satsana Phi is predominant among most [[Lao Theung]], [[Lao Sung]], the [[Sino-Thai]] groups, such as the [[Thai Dam]] and [[Thai Daeng]], as well as among [[Mon-Khmer]] and [[Tibeto-Burman]] groups. Among lowland Lao, many pre-Buddhist ''phi'' religious beliefs have been incorporated into Theravada Buddhist practice. [[Catholic]]s and [[Protestant]]s constitute approximately 2% of the population. Other minority religious groups include those practicing the [[Bahá'í]] faith, [[Mahayana]] Buddhism, and [[Chinese folk religion]]s. A very small number of citizens are [[irreligion|atheist or agnostic]].


Some versions explicitly announce that it is a Jataka tale, while others are generally assumed to be so. Phra Lak and Phra Ram are the epitome of moral leadership, ethics, selflessness, and living true to dharma. Pha Ram is associated with a previous life of Siddartha Gautama, while his cousin Hapmanasouane (Ravanna) is often compared to Buddha's cousin ''[[Devadatta|Phra Thevathat]]'' or Buddha's final impasse to enlightenment, ''Phra Man''. The parallels include their religious knowledge and generally moral superiority but also their ruin by greed and desire.<ref>Richman, P. (1991). Many rāmāyaṇas: the diversity of a narrative tradition in south asia. Berkeley, CA: University of California Press.</ref> Hampanasouane as [[Mara (demon)|Mara]], the personification of worldly desires who tried to tempt the Buddha during meditation, can be seen in both their searches for lust, power, and material gain. The cosmology and some elements are taken from the [[Tripiṭaka|Tripitaka]], such as the greater role of Indra vis-à-vis Shiva, and Indra asking riddles of religion and Buddhist thought to a young Hapmanasouane.<ref>Richman, P. (1991). pp. 62-73</ref> Although important, religiously, it is subordinate to the greater and more chronologically recent Jataka tales of Phra Vet and the annals of the lifetime of Siddhartha Gautama.<ref>Holt, J. (2009). Spirits of the place: Buddhism and Lao religious culture. Honolulu: University of Hawaii Press. p. 267.</ref>
== Festivals and public holidays ==
{{See|List of festivals in Laos|Public holidays in Laos}}


Animistic elements are not as apparent in the ''Phra Lak Phra Ram'', but it is noteworthy to point out that the scenery takes place along the Mekong River. She is a great goddess and ancestral spirit that is as sacred and quintessentially 'theirs' as the [[Ganges]] is to India and a personification of water, bounty, and life. It was also the [[Phaya Naga|King of the Nagas]] that suggested Phra Ram's father move the capital from Maha Thani Si Pan Phao (modern-day [[Nong Khai]], Thailand) across the bank to Chantaboury Sri Sattanak (modern-day [[Vientiane]]).<ref name=":0">Tinh, V. T. (1971). Phra lak phra Ram: a previous life of the buddha [Published on-line 2003.]. (Adapted from text of Vat Kang Tha.), Retrieved from http://www.seasite.niu.edu/lao/otherTopics/PhralakPhralam/index.htm</ref> Like most animistic elements, the [[Nāga]] is seen in both Buddhist and Hindu-influenced contexts, but worship of nagas predates Indian influence in the region, and are common in folktales of Laos and Isan. A unique version of the ''Phra Lak Phra Ram'', the ''Khwai Thoraphi'' focuses very much on Sankhip and Palichane's fight with the water buffalo. It was often read at temple, probably in Buddhism's attempt to replace Lao spirit propitiation ceremonies that involved water buffalo sacrifice.<ref>Iyengar, K. R. S. (2006) pp. 237-8.</ref>
An important festival in Laos is [[Boun Pha Vet]]<ref>[http://laovoices.com/tag/boun-phavet/ Boun Pha Vet]</ref> celebrated once a year. This is a two day [[Buddhist festival]] that involves the entire community. Traditionally the Boun Pha Vet is held in January or February depending on the moon cycle. During the ceremony the [[sangha|monks]] give a sermon of all chapters of the [[Vessantara Jataka|Maha Wetsandon Chadok]], otherwise called the '''Great Birth Sermon'''.


==Influence on culture and art==
==Music==
[[File:Lao New Year, dancers.jpg|thumb|A dancer wearing a demon mask from Phra Lak Phra Ram]]
{{See|Music of Laos}}
The importance of ''Phra Lak Phra Ram'' to Lao culture can be seen in how ubiquitous it is. It is a mainstay of dance and drama, song, painting, sculpture, religious texts, and manuscripts. It is also seen in the more common arts, such as classical [[morlam]], folklore, and village dances.<ref>p. 231.</ref> Scenes from court dancers were performed on Lao New Year celebrations, and other Buddhist holidays. The texts are commonly read during sermons. And the tales themselves have been deeply interwoven into local folklore, myth, and legend. Sculpture, lacquerware, carvings, and paintings adorn temples and palaces. The chapters have been intricately crafted into song and dance and accompanying music. Through the Buddhist elements, Lao beliefs of morality and karma are re-affirmed. The first half of Lao versions also establish the mythology for the creation of the Lao polities, land features, and waterways, and it serves as a transmission of culture.


==Characters==
Laotian music is dominated by its national [[musical instrument|instrument]], the [[khaen]] (a type of [[free reed aerophone|pipe]] constructed from [[bamboo]]). Bands typically include a singer/rapper (''[[mor lam]]'') and a khaen player (''mor khaen''), alongside [[fiddle]]rs and other musicians. [[Lam saravane]] is the most popular genre of Laotian music, but ethnic Lao in [[Thailand]] have developed a popular form called [[mo lam sing]].


===Main characters===
One significant archive of ancient Laotian culture is the [[Plain of Jars]] in [[Xiangkhoang Plateau|Xieng Khouang]] province.


[[Rama|''Phra Ram'']] (<big>ພຣະຣາມ</big>, pʰrāʔ ráːm)
==Traditional clothing==
* Son of [[Dasharatha|Thattaratha]], brother of Phra Lak, husband of Nang Sida.
[[File:Xoutlao.jpg|thumbnail|250px|Laotian women wearing xout lao.]]
[[Lakshaman|''Phra Lak'']] (<big>ພຣະລັກ</big>, pʰrāʔ lāk)
{{main|Xout lao}}
* Son of [[Dasharatha|Thattaratha]], brother of Phra Ram.
Traditional Laotian clothing for the [[Lao people|Lao ethnic group]] is called xout lao ({{Lang-lo|ຊຸດລາວ}} {{IPA-lo|sut.láaw}}) which literally means "Lao outfit". It can be worn by men, women, and children. Xout lao for women usually consists of a [[sinh (clothing)|sinh]], either a blouse or a [[suea pat]], and a [[pha biang]]. Xout lao for men includes a [[pha hang]] or pants, a shirt similar to [[Raj pattern]], with optional knee-length white socks and a [[pha biang]].
[[Sita|''Nang Sida'']] (<big>ນາງສີດາ</big>, náːŋ sǐː daː)
* Daughter of Thôtsakane and Nang Chanta, incarnation of Nang Souxada.
[[Ravana|''Thôtsakane'']] or ''Hapmanasouane'' (<big>ທົດສະກັນ</big>, tʰōt sáʔ kan; <big>ຮາບມະນາສວນ</big>, hȃːp māʔ naː sŭaːn)
* Soun of Viloun Ha, incarnation of Thao Loun Lo.

===Heavenly characters===

*[[Indra|''Phra In'']] (<big>ພຣະອິນ</big>, pʰrāʔ ʔìn)
** Chief of the gods, mentor of Thao Loun Lo.
*[[Shiva|''Phra Isouane'']] or ''Tapboramèsouane'' (<big>ພຣະອີສວນ</big>, pʰrāʔ ʔiː sŭaːn; <big>ຕັບບໍຣະເມສວນ</big>, táp bɔː rāʔ méː sŭaːn)
** A god who falls to the earth and is the first ruler of Inthapatha Maha Nakhone.
*[[Brahma|''Phra Phrôm'']] or ''Phrômmachak'' (<big>ພຣະພຣົມ</big>, pʰrāʔ pʰróm; <big>ພຣົມມະຈັກ</big>, pʰróm mā tɕák)
** Prince of Muong Thoay, father of several lesser wives of Phra Lak and Phra Ram.
*[[Shachi|''Nang Souxada'']] (<big>ນາງສຸດຊາດາ</big>, sút sáː daː)
** Wife of Indra who is defiled by Hapmanasouane and vows to seek vengeance in her next life as Nang Sida.
*[[Surya|''Phra Athit'']] (<big>ພຣະອາທິດ</big>, pʰrāʔ ʔàːtʰīt)
** The sun god, has affair with Nang Khaysi who bears the sons Sanghkip and Palichane.
*[[Garuda|''Phagna Khrout'']] (<big>ພະຍາຄຸດ</big>, pʰāʔ ɲáː kʰūt)
** Garuda replaces [[Jatayu]].
*[[Uchchaihshravas|''Manikap'']] (<big>ມະນີກາບ</big>, māʔ níː kȁːp)
**The [[Pegasus]]-like [[vahana]], or deity mount, of Indra.
*[[Nagaraja|''Phagna Nak'']] (<big>ພະຍານາກ</big>, pʰāʔ ɲáː nȃːk)
** King of the Nagas, protector and deity founder of Chao Si Sattanak.

===Monkeys===

Divine parentage makes these monkeys special. The more formal term for this class of humanoid simians is ''vanone'' (<big>ວານອນ</big>, váː nɔ́ːn). Because of this the male ones take the noble title ''Thao'' (<big>ທ້າວ</big>, tʰȃːo).
*[[Hanuman|''Hanoumane'']] or ''Hounlamane'' (<big>ຫະນຸມານ</big>, háʔ nū máːn; <big>ຫຸນລະມານ</big>, hŭn lāʔ máːn)
**Son of Pha Ram and Nang Phéngsi, aids in the search for Nang Sida and the battle with Hampanasouane.
*[[Sugriva|''Sangkhip'']] (<big>ສັງຄີບ</big>, săŋ kʰȋːp)
** Switches the role of Valmiki's [[Vali (Ramayana)|Vali]], son from the rape of Nang Khaysi by Phra Athit, brother of Palichane.
*[[Vali (Ramayana)|''Palichane'']] (<big>ພະລີຈັນ</big>, pʰāʔ líː tɕan)
** Switches the role of Valmiki's [[Sugriva]], sone from the rape of Nang Khaysi by Phra Athit, brother of Sangkhip.
*''Nang Phéngsi'' (ນາງແພງສີ, náːŋ pʰɛ́ːŋ sǐː)

==Versions==

===Textual===
Due to the fragile nature of organic matter in hot, humid weather, most of these texts have been mostly lost or destroyed. Nevertheless, several texts have been uncovered at Vat Phra Kèo in Vientiane, Vat Kang Tha in Ban Bo Ô, Ban Naxone Tay, Ban Hom, and Vat Nong Bon, in Laos; Roi Et in Thailand, now housed in Bangkok; and a manuscript of the Vientiane version in Phnom Penh. Of these, only Ban Hom and Ban Naxone Tay have complete versions preserved.<ref>Jähnichen, G. (2009), pp. 6-7.</ref>

Only two modern printed editions exist. The most noted is Sachchidanda Sahai's version, mostly based on the Vat Phra Kèo version. It was printed in 1973 by the patronage of the Indian Embassy in Vientiane.<ref>Iyengar, K. R. S. (2006). Asian variations in ramayana. New Delhi: Sahitya Akademi. p. 231</ref> Vietnamese scholar Vo Thu Tinh also published a 1972 version adapted from the manuscript of Vat Kang Tha, and is depicted at Vat Oup Muong in Vientiane. This version has been criticised for being too simplified.<ref>Giteau Madeleine. Note sur des sculptures sur bois de Luang Prabang représentant des scènes du Rāmāyaṇa. In: Arts asiatiques. Tome 45, 1990. pp. 67-75.</ref><ref>Jähnichen, G. (2009), pp.7.</ref>

===Sister texts===
In addition to the Phra Lak Phra Ram, other similar stories are known from Laos.

*Phrômmachak
- In a version of the [[Tai Lue people|Tai Lu]] people preserved in [[Louang Phrabang]], Sita is born as [[Indra]]'s wife Sujata, who is raped by Ravana and reborn as Ravana's daughter On Hi Slap.

*Kuay Toraphi
*Langka Noy


==See also==
==See also==
*[[Cuisine of Laos]]
*[[List of museums in Laos]]
*[[Literature of Laos]]
*[[Literature of Laos]]
*[[Ramayana]]
*[[Ramakien]]
*[[Reamker]]
*[[Hikayat Seri Rama]]
*[[Thens]]


== References ==
==References==
{{reflist}}
{{Reflist}}

== External links ==
{{commons category|Culture of Laos}}
*[http://www.culturalprofiles.net/laos Laos Cultural Profile (Ministry of Information and Culture/Visiting Arts)]
*[http://www.plainofjars.net/lifefest.htm Plain of Jars website (pages on cuisine, music, history and religion)]
*[http://www.laos-guide-999.com/Laos-culture.html Lao culture (Lao way of life, Tradition, Architecture, Wedding and Baci)]


==External links==
{{Laos topics}}
* {{in lang|en|fr}} [http://www.phralakphralam.com Royal theatre of Luang Prabang]
{{Southeast Asia topic|Culture of}}
* [http://www.seasite.niu.edu/lao/otherTopics/PhralakPhralam/page01.htm Phra Lak Phra Lam - A Previous Life of the Buddha]
{{Culture of Asia}}
* [http://www.seasite.niu.edu/lao/otherTopics/PhralakPhralam/characters.htm Characters of the Phra Lak Phra Lam]


{{HinduMythology}}
[[Category:Laotian culture| ]]
{{Ramayana}}
{{National epic poems}}
[[:Category:Laotian literature]]
[[:Category:Works based on the Ramayana]]
[[:Category:Epics]]

Latest revision as of 20:20, 13 November 2021

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Scene from Phra Lak Phra Ram, the Lao form of the Indian Ramayana. Several versions of the story were recorded on palm-leaf manuscripts between the 15th and early 19th centuries.[1]

'Phra Lak Phra Ram' (ພຣະລັກພຣະຣາມ, pʰrāʔ lāk pʰrāʔ ráːm) is the national epic of the Lao people, and is the Lao adaptation of the Dasaratha Jataka, a story narrating one of the previous life of Buddha as a Bodhisatta named Rama.[2] It was brought to Laos and other Southeast Asia by propagation of Buddhism. The story reached Laos much later than Cambodia and Thailand (Siam) and thus was affected by local adaptation.[3]


Introduction

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Waves- sinhalese- differences to Khmer, Thai, Lan Na

Adaption

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unique lao

Textual Characteristics

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Genre

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Form

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AAB Khun Ay; Nitsay

Structure

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2 parts

Characters

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Synopsis

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Themes

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Influence

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Names

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Phra Lak Phra Ram is named after two principal characters, the brothers Phra Lak, or Lakshaman, and Phra Ram, or Rama. Since Phra Ram is considered the hero, it is believed the altered name was chosen for euphony. Veteran dance performers of Luang Prabang, however, say that Phra Lak comes first in deference to his voluntary assistance of Phra Ram, whose actions were obligatory to his kingship.[4] Since it is considered a Jataka tale, it is referred to as Phra Ram Xadôk (ພຣະຣາມຊາດົກ, pʰrāʔ ráːm sáː dók). It was also called Rammakien (ຣາມມະກຽນ, Ráːm māʔ kian), but this the name for this other regional varieties in the Ramayana in general.

Introduction to Laos

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Lao legends attribute to the introduction of the Phra Ram Xadôk via the first king of Lan Xang, Chao Fa Ngoum, who arrived with his soldiers, artists, dancers, concubines, poets from musicians from Angkor who would have been familiar with the Reamker. Yet Indic civilizations knew of what is now Yunnan in China, as "Gandhara" no later than the second century B.C.[5] Hindu culture, language and religion spread into that part of the world incident to the cultural achievements of the Sahavahanas (230 BC–AD 220.) Though definitive dates cannot be established for the gradual Tai inland migration from China, transmission of the epic likely occurred much sooner than the traditional date. Tai tribes definitely settled on the fringes of highly Indianized kingdoms of the Mon and Khmer culture, adopting much of Indic learning and knowledge. As those kingdoms receded, the Lao came to venerate the earlier Hindu temples, often decorated in Ramayana and the Mahabharata motifs, such as at Vat Phou in Champassak.

Earlier versions remained somewhat similar to other versions, but by the 18th century, the versions are completely localised. Although Theravada Buddhism was known to the Mekong River Tai tribes as early as the 7th or 8th century B.C., it wasn't until the 14th or 15th centuries that a re-invigorated Theravada Buddhism supplanted earlier animist, Hindu, or Mahayana Buddhist loyalties.[6][7] This would have also seen introduction of the Dasaratha Jataka, an ancient Buddhist crystallisation of the story.[8] By the 18th century, the manuscripts are completely adapted to Lao culture and Theravada Buddhist religion.[9]

Religious significance

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Lao culture has always been oral and visual, and oral tales were often codified into elaborate dance-dramas by the royal courts. Great influence in dance came from Khmer, Thai, and even Javanese culture, with a slight native flair. In khône and lakhone dance-dramas, the symbolism, costumes, and story are also more attuned to and influenced by Hindu, Khmer, Thai, and Javanese traditions.

Some versions explicitly announce that it is a Jataka tale, while others are generally assumed to be so. Phra Lak and Phra Ram are the epitome of moral leadership, ethics, selflessness, and living true to dharma. Pha Ram is associated with a previous life of Siddartha Gautama, while his cousin Hapmanasouane (Ravanna) is often compared to Buddha's cousin Phra Thevathat or Buddha's final impasse to enlightenment, Phra Man. The parallels include their religious knowledge and generally moral superiority but also their ruin by greed and desire.[10] Hampanasouane as Mara, the personification of worldly desires who tried to tempt the Buddha during meditation, can be seen in both their searches for lust, power, and material gain. The cosmology and some elements are taken from the Tripitaka, such as the greater role of Indra vis-à-vis Shiva, and Indra asking riddles of religion and Buddhist thought to a young Hapmanasouane.[11] Although important, religiously, it is subordinate to the greater and more chronologically recent Jataka tales of Phra Vet and the annals of the lifetime of Siddhartha Gautama.[12]

Animistic elements are not as apparent in the Phra Lak Phra Ram, but it is noteworthy to point out that the scenery takes place along the Mekong River. She is a great goddess and ancestral spirit that is as sacred and quintessentially 'theirs' as the Ganges is to India and a personification of water, bounty, and life. It was also the King of the Nagas that suggested Phra Ram's father move the capital from Maha Thani Si Pan Phao (modern-day Nong Khai, Thailand) across the bank to Chantaboury Sri Sattanak (modern-day Vientiane).[2] Like most animistic elements, the Nāga is seen in both Buddhist and Hindu-influenced contexts, but worship of nagas predates Indian influence in the region, and are common in folktales of Laos and Isan. A unique version of the Phra Lak Phra Ram, the Khwai Thoraphi focuses very much on Sankhip and Palichane's fight with the water buffalo. It was often read at temple, probably in Buddhism's attempt to replace Lao spirit propitiation ceremonies that involved water buffalo sacrifice.[13]

Influence on culture and art

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A dancer wearing a demon mask from Phra Lak Phra Ram

The importance of Phra Lak Phra Ram to Lao culture can be seen in how ubiquitous it is. It is a mainstay of dance and drama, song, painting, sculpture, religious texts, and manuscripts. It is also seen in the more common arts, such as classical morlam, folklore, and village dances.[14] Scenes from court dancers were performed on Lao New Year celebrations, and other Buddhist holidays. The texts are commonly read during sermons. And the tales themselves have been deeply interwoven into local folklore, myth, and legend. Sculpture, lacquerware, carvings, and paintings adorn temples and palaces. The chapters have been intricately crafted into song and dance and accompanying music. Through the Buddhist elements, Lao beliefs of morality and karma are re-affirmed. The first half of Lao versions also establish the mythology for the creation of the Lao polities, land features, and waterways, and it serves as a transmission of culture.

Characters

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Main characters

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Phra Ram (ພຣະຣາມ, pʰrāʔ ráːm)

  • Son of Thattaratha, brother of Phra Lak, husband of Nang Sida.

Phra Lak (ພຣະລັກ, pʰrāʔ lāk)

Nang Sida (ນາງສີດາ, náːŋ sǐː daː)

  • Daughter of Thôtsakane and Nang Chanta, incarnation of Nang Souxada.

Thôtsakane or Hapmanasouane (ທົດສະກັນ, tʰōt sáʔ kan; ຮາບມະນາສວນ, hȃːp māʔ naː sŭaːn)

  • Soun of Viloun Ha, incarnation of Thao Loun Lo.

Heavenly characters

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  • Phra In (ພຣະອິນ, pʰrāʔ ʔìn)
    • Chief of the gods, mentor of Thao Loun Lo.
  • Phra Isouane or Tapboramèsouane (ພຣະອີສວນ, pʰrāʔ ʔiː sŭaːn; ຕັບບໍຣະເມສວນ, táp bɔː rāʔ méː sŭaːn)
    • A god who falls to the earth and is the first ruler of Inthapatha Maha Nakhone.
  • Phra Phrôm or Phrômmachak (ພຣະພຣົມ, pʰrāʔ pʰróm; ພຣົມມະຈັກ, pʰróm mā tɕák)
    • Prince of Muong Thoay, father of several lesser wives of Phra Lak and Phra Ram.
  • Nang Souxada (ນາງສຸດຊາດາ, sút sáː daː)
    • Wife of Indra who is defiled by Hapmanasouane and vows to seek vengeance in her next life as Nang Sida.
  • Phra Athit (ພຣະອາທິດ, pʰrāʔ ʔàːtʰīt)
    • The sun god, has affair with Nang Khaysi who bears the sons Sanghkip and Palichane.
  • Phagna Khrout (ພະຍາຄຸດ, pʰāʔ ɲáː kʰūt)
  • Manikap (ມະນີກາບ, māʔ níː kȁːp)
  • Phagna Nak (ພະຍານາກ, pʰāʔ ɲáː nȃːk)
    • King of the Nagas, protector and deity founder of Chao Si Sattanak.

Monkeys

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Divine parentage makes these monkeys special. The more formal term for this class of humanoid simians is vanone (ວານອນ, váː nɔ́ːn). Because of this the male ones take the noble title Thao (ທ້າວ, tʰȃːo).

  • Hanoumane or Hounlamane (ຫະນຸມານ, háʔ nū máːn; ຫຸນລະມານ, hŭn lāʔ máːn)
    • Son of Pha Ram and Nang Phéngsi, aids in the search for Nang Sida and the battle with Hampanasouane.
  • Sangkhip (ສັງຄີບ, săŋ kʰȋːp)
    • Switches the role of Valmiki's Vali, son from the rape of Nang Khaysi by Phra Athit, brother of Palichane.
  • Palichane (ພະລີຈັນ, pʰāʔ líː tɕan)
    • Switches the role of Valmiki's Sugriva, sone from the rape of Nang Khaysi by Phra Athit, brother of Sangkhip.
  • Nang Phéngsi (ນາງແພງສີ, náːŋ pʰɛ́ːŋ sǐː)

Versions

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Textual

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Due to the fragile nature of organic matter in hot, humid weather, most of these texts have been mostly lost or destroyed. Nevertheless, several texts have been uncovered at Vat Phra Kèo in Vientiane, Vat Kang Tha in Ban Bo Ô, Ban Naxone Tay, Ban Hom, and Vat Nong Bon, in Laos; Roi Et in Thailand, now housed in Bangkok; and a manuscript of the Vientiane version in Phnom Penh. Of these, only Ban Hom and Ban Naxone Tay have complete versions preserved.[15]

Only two modern printed editions exist. The most noted is Sachchidanda Sahai's version, mostly based on the Vat Phra Kèo version. It was printed in 1973 by the patronage of the Indian Embassy in Vientiane.[16] Vietnamese scholar Vo Thu Tinh also published a 1972 version adapted from the manuscript of Vat Kang Tha, and is depicted at Vat Oup Muong in Vientiane. This version has been criticised for being too simplified.[17][18]

Sister texts

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In addition to the Phra Lak Phra Ram, other similar stories are known from Laos.

  • Phrômmachak

- In a version of the Tai Lu people preserved in Louang Phrabang, Sita is born as Indra's wife Sujata, who is raped by Ravana and reborn as Ravana's daughter On Hi Slap.

  • Kuay Toraphi
  • Langka Noy

See also

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References

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  1. ^ Richman, P. (1991). Many Rāmāyaṇas: The Diversity of a Narrative Tradition in South Asia. (pp. 54–73). Berkeley, CA: University of California Press.
  2. ^ a b Tinh, V. T. (1971). Phra lak phra Ram: a previous life of the buddha [Published on-line 2003.]. (Adapted from text of Vat Kang Tha.), Retrieved from http://www.seasite.niu.edu/lao/otherTopics/PhralakPhralam/index.htm
  3. ^ "The characters | Phralak Phralam". Phralak Phralam.
  4. ^ Jähnichen, G. (2009). Re-designing the role of phalak and pharam in modern Lao Ramayana. Wacana Seni Journal of Art Discourse, 8, p 3-4.
  5. ^ Iyengar, K. R. S. (2006). Asian variations in ramayana. New Delhi: Sahitya Akademi. p. 247.
  6. ^ Saveda, A. (1994). Laos: a country study. [Replaces 1971 version.]. Washington, D.C.: U.S. Library of Congress. Retrieved from http://countrystudies.us/laos/
  7. ^ Charles, I. (2007). Buddhism, power and political order. New York: Routledge.
  8. ^ Richman, P. (1991). p. 54.
  9. ^ p. 18.
  10. ^ Richman, P. (1991). Many rāmāyaṇas: the diversity of a narrative tradition in south asia. Berkeley, CA: University of California Press.
  11. ^ Richman, P. (1991). pp. 62-73
  12. ^ Holt, J. (2009). Spirits of the place: Buddhism and Lao religious culture. Honolulu: University of Hawaii Press. p. 267.
  13. ^ Iyengar, K. R. S. (2006) pp. 237-8.
  14. ^ p. 231.
  15. ^ Jähnichen, G. (2009), pp. 6-7.
  16. ^ Iyengar, K. R. S. (2006). Asian variations in ramayana. New Delhi: Sahitya Akademi. p. 231
  17. ^ Giteau Madeleine. Note sur des sculptures sur bois de Luang Prabang représentant des scènes du Rāmāyaṇa. In: Arts asiatiques. Tome 45, 1990. pp. 67-75.
  18. ^ Jähnichen, G. (2009), pp.7.
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Category:Laotian literature Category:Works based on the Ramayana Category:Epics

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