“Pleng Bok” is one traditional performance of social communication in southern Thailand. Pleng Bok has a wide range of content, including praise songs, news distribution, celebrations in traditional ceremonies, and allusions to women in different circumstances. However, the primary performers who sing and improvise, known as “mae pleng” (literally “mother of song”), are predominantly male singers. This research article analyzes the construction of images and meanings of “femininity” through the perspective and presentation of male singers (male gaze), selecting 10 songs as case studies from the 1950s to the present. To represent social dynamics, the study combines musicological analysis, content analysis, and song categorization techniques. The findings reveal that “mae pleng” (male singers) construct representations of women in three significant categories: 1) The Ideal Mother/Donor, who usually makes an appearance during merit-making rituals and traditional festivals and uses soft, respectful vocal tones; 2) The Object of Desire, emphasizing descriptions of physical form and beauty through compact rhythms and flirtatious melodic patterns; and 3) The Modern Deviant, presented through satirical and mocking melodies to control the social behavior of modern women.
The conclusions of this study indicate that Pleng Bok is not just a form of entertainment but also a cultural tool that men use to prescribe and define women’s roles through the art of improvisation. This clearly reflects the dynamics and power relations within the context of southern Thai folk culture.

Authors:
Chanaporn Sangngam, Phuket Rajabhat University, Thailand

About the Presenter(s)
Chanaporn Sangngam is Ph.D. Candidate in Musicology, College of Music, Mahidol University,Thailand. Chanaporn intersted in musicology, gender, ethnomusicology and musiceducation Chanaporn's dissertation is Women role in the culture of Piphat music.

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