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Life of Lao migrant workers in Isan
Her life reflected the life of rural people in the Isan. It can be connected to the problem of transnational trafficking in which the police are involved. drug problem Prostitution in Isan. It's also about their beliefs that suppress their lives.

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The strange story of a man who lost his father forever on the night of August 11, 1975.

A short film based on the fall of Phra That Phanom event.
To reflect that the state's lack of understanding of local arts and culture.

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Creative Brief _Micro Project 6_90610084_Oil

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_Creative Brief _Micro Project 7_90610084_Oil

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_Creative Brief _Micro Project 5_90610084_Oil

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Already got selected as the finalist 10 Teams

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Already got selected as the finalist 10 Teams

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A story of hope, struggle, and death of the people of the Cold War era and the struggle for great political ideology.

The light within this project is like a hope, a discovery, a reality that the state tries to cover up. But no matter how deep the hole is buried But the fighting spirit was not dead. Their souls are immortal for all eternity. It is the spirit that will haunt the rulers in a regime that constantly oppresses the people forever.

Headless white pigeon still soaring with hope

This work is dedicated to all the deceased communist fighters.

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Creative Brief _Micro Project 3_90610084_Oil

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The Collaspe And The Rebirt_Subtitle_Thaniya Chaikham.mp4

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Description

"Phra That Phanom" is located within the walled compound of the "Temple of Phra That Phanom" in Nakorn Phanom Province, Thailand, about 600 meters west of the Mekong River. Believed by the people in the region to have been built by Monk Maha Kassapa, a chief disciple of Buddha, to enshrine the Buddha's breastbone relics 8 years after Buddha's Nirvana, this Stupa is regarded as the most ancient Buddha's Relics Stupa in the Northeast of Thailand and in the Middle Mekong River Basin. Throughout the millennia, Phra That Phanom has been steadfastly venerated by the multi-ethnic and multi-national populations living in all directions of the region.

Phra That Phanom, as revealed by archaeology, was first constructed as a square brick structure with intricate carvings reminiscent of the Cham or ancient Khmer style sanctuary. This was further built upon, embellished, and restored over multi-generations by different groups of devoted personalities from both sides of the River. In August 1975, the high and top-heavy Stupa, seated on the ancient crumbling brick base, collapsed in the week-long rainstorm. Multi-disciplinary examinations and scientific tests, including soil tests and archaeological excavations, were undertaken which dated the innermost brick chamber at the ground level of the Stupa to about AD 7- 8.

Among the debris of bricks, a big bronze casket was miraculously recovered, inside of which was found a multi-layered set of gold cases containing and protecting the sacred Relics. A joyous celebration was held by the government, attended by the Prime Minister of Thailand and crowds of people from all areas, before the Relics were later ceremoniously re-enshrined in the Stupa.

The 1975-1979 restoration was conducted under the supervision of the Prime Minister of Thailand, and with the full blessing of His Majesty the King and the Thai Supreme Patriarch. It enjoyed the widest support and cooperation from the people at all levels. By using the original material as much as possible, but having its base strngthened by modern technology and its regional symbolic ornamentation made by arts and crafts experts, the newly restored Phra That Phanom was thus returned to its previous majestic perfection.

The restoration project was not only about the physical reconstruction, but more importantly it was a delicate response to the spiritual and religious needs and sensitivity of the people who had, for many past generations identified, with Phra That Phanom as their sacred property and a representation of the intangible Buddha. The restoration was also a historic undertaking involving the commitment and collaboration of multi-ministerial committees of advisors, experts, and technicians in all related fields, as well as artisans, craftsman and volunteered workers. Funding for the restoration came from the government's budget and from the benevolent donations of individuals and agencies at the national and international levels.

Phra That Phanom was registered in 1935 as an ancient monument by the Fine Arts Department of Thailand for conservation and protection under the Ancient Monuments Act. To further safeguard its site, a boundary of about 4 hectares around the Monument within the front part or the "Buddha was Area" of the Temple of Phra That Phanom, was added to the registration in 1979.

The ancient origin of Phra That Phanom is described in the palm leafed Chronicle of "Tamnan Urankathat" which refers to the Buddha's visit to the Mekong region in his lifetime and his prophecy that Buddhism would greatly flourish in this land. Despite its semi-mythical nature, the Chronicle has been acknowledged by modern scholars for its useful and realistic accounts of ancient geography and social and political history of the Mekong Region.

The date of its first construction, as documented in the Chronicle to be 8 years after the Buddha's passing, was not supported by the archaeological findings which indicated the earliest structure, excavated only at the ground level, to be about 7-8th Century AD; but this dating was a not relevant issue to the worshippers of Phra That Phanom. What matters most to the peoples in the region is that Phra That Phanom is now standing as a glorious and living sacred monument in its original setting and cultural environment, well protected within the precinct of the Temple and being celebrated regularly in accordance with the age-old traditions. The Stupa has thus continued to serve the function and purpose as a centre of spiritual inspiration for the promotion of harmony and peace among the people in the region. Furthermore, the architectural form and style of Phra That Phanom has become the prototype of numerous other relics' stupas in the outlining districts of Nakorn Phanom and in the nearby provinces. The image of Phra That Phanom has also inspired many folk arts and contemporary designs.

Justification of Outstanding Universal Value

Criterion (i) : Phra That Phanom represents the noblest and the most conscious form of Buddhist architectural and artistic expressions in the Mekong region, in Thailand, and especially in the Northeast region of the country. The Monument embodies the essence of Buddhism as interpreted and embraced by the people in the region since time immemorial.

A creative architectural response to the undying faith and spirituality of the people, Phra That Phanom Stupa exhibits a unique achievement, combining the traditional grammar of sacred representation of the ancient Chams and Khmers, with the traditional elements of Buddhist Relics Stupa architecture and symbolism from India, while also blending in the Mekong regional spirit as well as the local artistic ornamentations.

This achievement is mainly evidenced in:
a) the respect for the original natural setting of Phu Kampra, situated at the crossroads of the Mekhong, considered sacred since ancient time;
b) the east-west orientation of the Stupa facing the Mekong River in the east with an ancient promenade linking the Stupa to the River;
c) the preservation of the square brick base structure and its ancient decorative details including the regional heroic carvings;
d) the adherence to the ancient Buddhist architectural tradition and the religious decorum by retaining the key architectural parts and symbolism of the ancient Buddhist Relics Stupas, including the circumambulation space, the dome or the bell or the vase part (even though this part is designed with a new style of interpretation), the throne, the Chattra or the umbrellas, as well as the enclosure walls with decorated gateways at the cardinal directions;
e) the high degree of local imaginative interpretations in the restorations and embellishments of the Stupa.

This Stupa has thus become the most distinguished and tangible symbol of the spiritual identity of the region, an inspiration too many other Buddhist Stupas constructed later in Nakorn Phanom as well as in the greater Northeast of Thailand. Phra That Phanom has furthermore inspired the design and creation of many local folk arts and crafts, such as the "ancestor's relics shrine" commonly produced and used by the village folks in this region, and souvenir stupas and motive for individual veneration. It has also been adopted as the major design of the Khon Kaen University's Emblem and in Thai national stamps.

Criterion (ii): The tradition of building a stupa to posthumously honour a great personality at a crossroads was a common practice among the ancient Hindus in India, and as such predated the Buddha's time. Following the Buddha's advice, as cited in Mahaparinibbhana Sutta, his disciples represented by Brahmins and kings, as well as Naga race and deities, divided the Great Teacher's relics and ashes among them after the cremation at Kushinara. Each group built a stupa to enshrine the relics at a crossroads so that all people could access and worship. The purpose, as foreseen by the Buddha, was to promote "the feeling of peace and calmness, happiness and wellbeing in the minds of those who see them for a long time to come" (www.accesstoinsight.org › tipitaka ›, Mahaparinibhanna Sutta, 27-31, translated from Phra That Phanom Stupa, together with the related religious buildings and its associative ancient natural setting of Phu Kampra near the bank of the Mekong River, exhibit the interchanging of values between the ancient Mekong's ethnic practices of nature and ancestor worship and the Hindu and Buddhist beliefs that spread from India. This interchanging prolonged over a period of more than a millennium, starting from about the 7th or 8th Century AD, and continues until today. It has resulted in the evolution and development of a distinct regional style of architecture and arts in connection with "Pra That", or the Relic Stupa, within the middle region of the Mekong Basin. The continued use and function of the Phu Kampra location as the sacred area related to Phra That Phanom as well as its sociocultural linkage with the Mekong River and the communities who originally were the designated "servants of Phra That Phanom" also testify to this important interchange.the Pali by Sister Vajira & Francis Story© 1998)

Unfortunately, Buddhism declined in India around the 13th Century A.D, leaving a great number of Stupas as ancient monuments to be later excavated by British officers and archaeologists. The seeds of Buddha's teachings, however, were sown and blossomed wide and far, especially in the Mekong River Basin, as tangibly testified by a wealth of sacred stupas in the area.

The splendid architecture of the Phra That Phanom and its style of ornamentation distinctly exhibit both the regional traditional spirit of Mekong and the Buddhist values from outside. The architectural design form of Phra That Phanom has in turns exerted extensive influences over the form and style of many contemporary relic s stupas in the Northeast of Thailand, and has become a prototype of some contemporary Pra That or Relics Stupas in this area. Many forms of folk arts and crafts and contemporary sacred designs in Thailand have also been inspired by the image of Phra That Phanom.

The location of Phu Kampra, from geographical, socio-cultural and historical considerations, is certainly conducive to the promotion of the interchanging of ideas and values of diverse groups of people since ancient time. The site of Phu Kampa which is now about 200 m elevated area (Phu meaning a mound or a hill), was once a natural mound where three of the Mekong tributaries used to meet before flowing into the sacred mother river, Mekong. This was where people, especially travellers, merchants and local people from several ancient townships and kingdoms could converge to trade and barter, interact and exchange ideas and beliefs, as mentioned in the Chronology of Urankathat. The location was therefore unsurprisingly the chosen site of an earlier Cham-style Hindu sanctuary and was subsequently transformed into the place of enshrinement of the Buddha's Relics which eventually evolved into a uniquely regional style Stupa of Phra That Phanom.

Criterion (vi): Phra That Phanom is directly identified with Buddhist Literary work of the Maha Parinibbanna Sutta and the ancient but living concept and practices concerning the veneration of the Buddha's Relics Stupa as a representation of the Buddha and his teachings.

Phra That Phanom is also firmly associated with many mythical and historical beliefs inspired by the Buddhist literary work of Tamnan Urankathat which is distinct to the Mekong region. One of these includes the credence that the enshrinement of Buddha's breast bonerelics at this location was the expressed wish of the Lord Buddha who visited the place in his lifetime and made many impressions of his footprint on certain areas he visited. The fact that Buddha's will was carried out by Maha Kassapa Monk from India and resulted in the building of the first Stupa by the 5 regional kings significantly symbolizes the importing of the Indian concept and it being embraced by the regional peoples as well as their ownership of the sacred Stupa from the beginning. This credence has led to many subsequent restorations over generations out of faith and dedication of the regional people to the Buddha.

Phra That Phanom, being a living and potent Stupa, is also actively associated with many sacred Buddhist traditions.

After the collapse of this Stupa in 1975, for example, due respect was paid to the sacred nature of the Monument and to the people's sense of ownership and their spirituality attached to the Stupa. Ancient sacred ceremonies were held to ask for forgiveness from Buddha, to give spiritual support to the people working in the restoration project and to promote calmness among the throngs of peoples who came to mourn the physical collapse of the Stupa. When the sacred Relics were recovered, protected in layers of cases placed inside a bronze casket, a great celebration was organized for 7 days and 7 nights by the government and the Temple, with the widest participation of the people in the Mekong Region.

Phra That Phanom is also part of the worldwide Buddhist community and regularly hosts the universal Buddhist celebrations according to the Lunar calendar. For example, the Makha Puja is annually held for three days and three nights at Phra That Phanom on the full moon of the third lunar month (February or March), to commemorate an important event of the "Four Assembly" occurred early in the teaching life of Buddha. This commemoration, comprising both socio- cultural and religious activities, is attended by a multitude of devotees fluxing into the temple area from all parts of the Mekong River Basin and the world. During this event, many Buddhist activities as well as regional cultural expressions were organized, including meditation and observation of the 8 precepts, and the ethnic dances and music in honour of Phra That Phanom by the villagers and local students.

Especially important and unique to the region are the celebrations related to the Buddhist myth and Mekong regional interpretation. For example, an official invocation of "Phra Upakut" is organized every year by the Provincial Authorities. Pra Upakut, a monk in the Buddhist legend, is highly venerated in the Mekong River Basin where he is believed to be a living and practicing meditation under the River. The invocation is therefore to pay respect to him and to invite him to come to the Temple to continue giving his protection to the Phra That Phanom Stupa. The tradition is participated by the leaders of the communities of Nakorn Phanom, represented by the Governor himself.

Another traditional celebration, called the "Sattanaga Memorial", is annually organized by the Temple of Phra That Phanom to make merit for the benefit of the 7 Nagas who faithfully protect the Phra That Phanom, from the time of its first construction. This Sattanaga celebration, held on the 5th moon of the 11th month, before the breaking of the Buddhist Lent, is specifically connected with the belief about the Nagas, a mythical multi-headed serpent mentioned in many Buddhist scripts, and also in "Tamnan Urankathat". Being the world's 12th longest river with its source in the high plateau of the Himalaya, the torrential Mekong River is believed to be the home to the wild and untamed Nagas, who became a believer of Buddha's teaching upon meeting the latter in this area,. This has given rise to many cultural expressions on the theme of the Nagas, as seen in the rich ornamentations of architecture, as well as in many intangible social cultural expressions of the region.

Floating of the lit-up boats is another important artistic expressions of the people of the Mekong River Basin. It is related to the ancient Hindu practice of offering lights to the river and asking the sacred beings to protect the travellers and the people living in the river basin. In Buddhism, the ceremony is held on the 15th moon of the 11th month, to commemorate the return of Buddha from his journey to heaven to preach to his Mother. On this occasion, all the gates of the three worlds are open so that all beings can listen to his Dharma. The activities for the ceremony on this occasion at Nakorn Phanom include alms giving to the monks in the morning, food feast to the relatives at noon, folk games and sports in the afternoon, chanting of mantra in the evening, and the colourful "Lai Rua Fai", or the lighting of the boats and floats that are creatively built for the occasion, at nightfall.

Statements of authenticity and/or integrity

Integrity
The Integrity of Phra That Phanom is evidenced in the wholeness of the ensemble of architectural and artistic representation of the Stupa, as evolved and restored over the millennia, its related historical buildings and its original sacred setting called Phu Kampra. All these elements are important attributes to the Outstanding Universal Values of Phra That Phanom and have been preserved in their form and spirit, function and usage in the original setting throughout the centuries in accordance with the traditional beliefs and the decorum of the Buddhist Relic Stupas.

Authenticity
Phra That Phanom Stupa, its related historic buildings and its natural setting are key attributes to the cultural values of this living sacred monument. The property is authentic as seen in the form and design which have evolved based upon the previous structure throughout the centuries. The location and setting are also authentic and spiritually maintained, as evidenced by the historical source and by archaeology. Especially important are the purpose and
function of the Stupa and its related environs which have been strictly preserved and continuously used by the people as a spiritual refuge. The physical substance of the property is indeed enhanced by the calm and peaceful landscape of the Mekong River as well as by the spirit of faith and devotion of the worshippers which have remained unchanged.

Comparison with other similar properties

I. Sanchi in India, a Buddhist Stupa containing the relics if Buddha's disciples, and a World Heritage Site.

Sanchi Monument has been inscribed as world heritage under the criteria (i), (ii), (iii), (iv), and (vi). Its stupa no. 1 in particular was first built as a modest baked brick stupa, half the size of the present one, and subsequently enlarged in the centuries later. The sanctuaries comprising several stupas and temples within the compound, located on a hill visible from afar, were associated during its first phase with emperor Ashoka and his missionary son and daughter.

Built, restored and embellished further during many different periods from the 3rd century BC to the 1st century AD, it was believed to contain the relics of the Buddha's disciples, and not of the Great Teacher himself, yet it received generous individual donations for the many historical restorations.

The Stupa and the compound were later deserted for so many centuries, and its history of religious use and function was long broken. There is at present no Buddhist spiritual connectedness with the communities around it, except for the recent effort by the Sri Lanka Society. Without the community's genuine and constant use in accordance with the original purpose, the sanctuaries and the Stupa now stands only as great archaeological remains, reconstructed into impressive form and style by teams of British and Indian archaeological experts in modern time. Though it now serves as a pilgrimage destination for Buddhist scholars and visitors from all over the world, it is a reconstructed deserted site, and probably cannot in a foreseeable future return to its original function as in the past.

Phra That Phanom on the other hand certainly received the concept and tradition of the Buddha's Relics Stupa from India, though it also exhibits its own regional creativity and adaptation. The history and records of development of Phra That Phanom show that the people in the Mekong Basin took full ownership of the Stupa very early on, and integrated the external belief concerning the Buddha's relic veneration into their regional cultural identity. The many restorations of the Phra That Phanom Stupa and its compound area were always carried out by regional people from different places in the region who undertook the restoration voluntarily, with the wide participation of the people out of their humble dedication and deep respect to the Stupa that represents the Intangible Buddha. Generous donations out of devotion have been received throughout the years, especially during the 1975-1979 restoration after the collapse of the Stupa in the rainstorm.

Being a living Buddhist monument, its connectedness with the communities in the Mekong region is strongly present.

Religious ceremonies and popular celebrations attended by the people in the regional areas are always a part of the cultural heritage associated with Phra That Phanom. The Stupa is never regarded as archaeological remains.

Renovation and embellishment over the generations were carried out, not only to maintain the architectural form and ornamentation of a sacred Stupa and its environment, but more importantly to render the Stupa its continuous purpose and function as a sacred and potent Stupa, as a place to inspire peace and happiness in the minds of the people, and to serve the spiritual needs of the populations in the region. The Stupa and its related historic buildings, though smaller in scale when compared to the Indian and Sri Lankan style of Buddhist monuments, is however proportionate and in perfect harmony with the geographical and cultural environments of the Mekong region which originally inspired the creation of a relic stupa at this site.

II. The Statue of Liberty, USA, a World Heritage Site.

The Statue of liberty has been inscribed as a world heritage under criteria (i) and (vi).

It is a masterpiece of the human spirit, a physical gift from France to the United States of America, a product of collaboration between the sculptor Frédéric Bartholdi and the engineer Gustave Eiffel. The Statue is not associated with any religious faith but is symbolic of the social and political value of liberty, peace and hope, highly celebrated in France and the USA since the late 19th Century, and as such it is a potent monument.

Phra That Phanom on the other hand is built to honour Buddha and his teaching. The Buddhist values encompass, among many other things, great compassion to all and constant concentration of the mind, which the people of the Mekong region accepted from India more than a millennium ago. Homage to the representation of the Buddha, the Great Teacher, serves to inspire peace and awakening of the minds and to alleviate the suffering of the people, made possible only through their own merit making and good deeds, mindfulness and meditation.

The Stupa also expresses, through its architecture and arts, the very sense of cultural identity of the people in the Mekong Region. The regular celebrations organized for Phra That Phanom relate to the Buddhist fellowship worldwide, and also to the regional popular beliefs and to their intangible expressions. Phra That Phanom, in its current architectural form and artistic style, was not a creation of one or two persons, but a product of regional communities' collaboration in response to the different situations and needs at the different times over the centuries, leading to a distinct evolution of Relic Stupa architecture. The Stupa's liveliness and its spiritual potency have also been sustained and extended far beyond the area mainly due to the continued steadfastness of the faith of the people.

III. Cologne Cathedral, Germany, a World Heritage Site.

Cologne Cathedral has been listed as the world Heritage under criteria (i), (ii), and (iv).

Built first in the 13th Century and continued in several stages throughout the successive 6 centuries, it has lost the original architectural context, but the faith in Christianity has been retained. It is a masterpiece of Gothic architecture perfectly conceived and executed in all parts so that can be considered "sui generis". An urban ensemble has been created around it since the 19th Century. Pra That That Phnom similarly exhibits the same strength and endurance of faith in the Buddhist tradition. The Stupa is also a masterpiece of a Buddhist Relics Monuments. Built, restored, and embellished over the centuries by devoted personalities if the region, the Stupa has evolved into a unique and distinct architectural and artistic expression of the people in the region. Unlike any other Stupas in other countries in the world, the restorers have shown humble respect to the traditional decorum of classical Buddhist stupas, while they also have successfully combined into the Monument important symbolic regional elements which are the identity of the Mekong River Basin. Having stood the test of time, wars and natural calamities, it has endured and can also be considered a Sui generis. The Phra That Phanom is as living as the Cologne Cathedral and enjoys the supportive association with the communities surrounding it.

In addition, Phra That Phanom has a traditional sacred connection with its natural setting of Phu Kampra situated at a crossroads of the mighty Mekong River. Lastly, the regional form and style as well as the legend of Phra That Phanom has inspired the construction of many relic stupas in the Northeast of Thailand.

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Phra That Phanom, its related historic buildings and associated landscape

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Description "Phra That Phanom" is located within the walled compound of the "Temple of Phra That Phanom" in Nakorn Phanom Province, Thailand, about 600 meters west of the Mekong River.

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This short film tells the problems lgbtq+ has to face in society through the main character 'James', a queer who tries to prove herself to the family.

People's expectations and stereotypes are suppressing her true desires and gradually devoured her true identity

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A short film that tells the story of a Mekong fisherman who observes the disappearance of a giant catfish in the river. before leading to tragedy and cultural extinction of the villagers

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Creative Brief _Micro Project 4_90610084_Oil

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CCCL Panorama: Mekong serves as a forum for young Thai filmmakers to explore and discuss the impacts on communities in the Mekong River basins and other important and relevant issues. In this forum, filmmakers will meet local environmental activists and experts, get exposure to international climate films, and learn about filmmaking from professional filmmakers.

The first edition of CCCL Panorama will be a 2-day event, with a film screening, climate change conversations, a filmmaking workshop, and a pitching forum. It is designed for professional and non-professional filmmakers who would like to explore climate change filmmaking. The participants, selected from the open call, will be exposed to issues about the Mekong crisis and climate change in Thailand, as well as to knowledge about film production and film business. Each participant will also have an opportunity to pitch their short film project to a judging panel that consists of CCCL staff, professional filmmakers, and environmental experts. One promising project will receive a film production grant of 20,000 Baht.

The application for the CCCL Panorama: Mekong is open until October 15, 2021.

First-round selected teams will be contacted. All teams will be notified the result in early November.

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CCCL Panorama: Mekong is a 2-day event, with a film screening, climate change conversations, networking and filmmaking workshops. The event is set in the context of the changing life of the Mekong River and serves as a forum for young Thai filmmakers to explore and discuss the impacts on communities in the lower Mekong River basin in the Northeast of Thailand (Isan) and other important and relevant issues.

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On August 7, fifty million Thais are called to cast their votes in a referendum on a military-backed constitution, which many say will weaken the country's democratic system and entrench the generals' influence over politics. On the same day in 1965, a violent incident in the Northeast led thousands of farmers to take up arms against the military-ruled state that had promised a new constitution for years. The Isaan Record uses this occasion to present a special three-part series of articles that tell the untold story of their rebellious past and their struggle for political change.
Comrade Phairat, a life insurance broker with a fondness for blue dress shirts and heavy golden watches, holds his hands up as if he was pointing a gun into the air. "Sometimes I duck down in panic because I see helicopters hovering over me," he says. The 65-year-old suffers from flashbacks, 33 years after he ended his fight in an armed rebellion against the state.

Fifty years ago, a military clique ruled the country after it seized power in a coup in the late 1950s. General Sarit Thanarat tore up the latest charter, outlawed all political parties, and left the country waiting for a new constitution. By the time of his death in 1963, an appointed constitution drafting assembly had still not delivered.

The country kept waiting as the generals tightened their grip to power using Article 17 of the interim constitution to order arbitrary detentions and executions that were set out to stifle all dissent and opposition to military rule.

But after eight years, on August 7, 1965, a burst of resistance from the impoverished Northeast sent shockwaves throughout the country, fomenting a rebellion against the military regime in Bangkok that was to last for decades.

Based on interviews with dozens of former armed fighters over the period of one year, this is the story of how thousands of farmers in the Northeast came to leave their rice fields to join the armed struggle against a military state.

A different angle
Comrade Phairat chuckles to himself as he recalls his cunning start in a 20-year engagement in the armed rebellion. "I was only a kid and the soldiers often sent me to buy them rice whisky and deliver love notes to the village girls," he recalls. "But they had no clue that I was a spy for the rebels."

"Who is a comrade here?" asks Phairat, whose real name is Khemporn Chuatamuen, sitting on a plastic chair in a circle of thirty villagers in his home in Nakhon Phanom Province. Everyone's hands shot up and the villagers one by one gave their code names and positions.

Nestled between the Phu Phan Mountains and the Mekong River, Chat Pattana Chat Thai is one of three villages in the Northeast that was set up in the 1980s by the state to give new homes to communist fighters who surrendered. Most families in the village have a history of fighting along with the Communist Party of Thailand (CPT) in the 1960s and 70s.

Growing up in a poor rice-farming community, Phairat says he was bound to turn into a fighter. His father was politicized through CPT recruiters and left the family's home in 1964 to join the rebels at their base in the Phu Phan Mountains in the upper Northeast.

It was the state's exploitation of rural people in the Northeast that drew his father into the communist movement, he explains. "The CPT offered him a solution," says Phairat, adding that his father quickly climbed up the party's hierarchy to become the director of the hospital at the base.

At night, Phairat's father sometimes sneaked back into the village to visit his family though this eventually became too dangerous after a unit of the Communist Suppression Operations Command (CSOC) stationed itself in the village in the mid-1960s. The father encouraged his son to become part of the CPT's sophisticated network of spies that the movement was setting up all across the country.

"Preparing and delivering food to the CPT fighters, spying on the security forces, and keeping an eye on the anti-communist villagers," is how Phairat summarized his duties when he started working for the communists in 1963. He was twelve years old. Once Phairat turned 17, he told the village headman that he would go to work in the South but he instead secretly followed his dad to the communist base.

"As soon as I arrived, my political education began," recalls Phairat. "The theories of Marx, Lenin and Mao Zedong helped me to see Thailand from a different angle."

In 1965, the CPT officially announced that it was leading an armed rebellion from the Northeast against the Bangkok-based military government.

"The CPT's goal was to build a party, a military, and mobilize the people to change Thailand's political system," Phairat explains, "because the country's problems were caused from within, by a feudalistic system."

Fifty years ago, the Northeast depended almost entirely on subsistence agriculture and lagged far behind the development of the rest of the country, scoring highest in national poverty rates and lowest in education and health care accessibility. But poverty in the region was rarely linked to exploitative landlords or voracious loan sharks like the CPT believed.

Endemic poverty was rather a consequence of inhospitable conditions for farming like poor soils and unpredictable cycles of floods and droughts, according to Charles Keyes, professor emeritus at the University of Washington and a leading expert on Thailand's northeast. The situation was made worse by the lack of economic opportunities outside the farming sector.

For many Northeasteners at that time, the state seemed like a distant ghost that only occasionally appeared in the form of an aloof government official from the provincial capital who hardly ever addressed villagers' grievances.

"In the 1960s, the government was in no way accountable to the people and there were numerous incidents of the government refusing to accept petitions from villagers," said Professor Keyes in an interview with The Isaan Record.

As the CPT's battle cry for a people's revolution echoed through the fields of the Northeast, many of the aggrieved farmers understood the promises of communism to be a solution to the problems left unaddressed by a military government that they viewed as apathetic to their concerns.

Education across the border
Following the snaking Mekong River north for 40 kilometers, along the natural and once porous borderline to Laos, lies Nabua, "a historic village," as the gate at the community's entrance proclaims.

On August 7, 1965, this unassuming ethnic Phu Thai village made headlines all across the region as it served as the backdrop to the first clash between communist fighters and Thai security forces that kicked off the CPT's insurgency against the state.

This border region was targeted in the 1950s by recruiters of the Lao communist movement, known as the pathet lao, which worked with Vietnamese communists to mobilize villagers in the Northeast to join the revolutionary movements across Indochina.

Comrade U-sa, a bright-eyed woman, was too young to join the first troop of villagers recruited to receive months-long trainings in Laos, Vietnam and even China. But when her brother returned to Nabua, she decided, at the age of 16, to accept the offer of "an education" in Vietnam.

"I had heard there was equality between women and men in Vietnam and women could become doctors," recalls the 67-year-old, explaining her motivation to leave her home village as a teenager.

At that time, Nabua villagers had neither access to health care nor to higher education, and many felt like the central government in Bangkok had little interest in lifting the region out of poverty, Comrade U-sa says.

"Socialism in Vietnam let people study for free and even medical treatment cost nothing," Comrade U-sa claims, adding that it took Thailand decades to introduce virtually free universal health care in 2002.

In the scorching heat of March 1966, plagued by "leeches that sucked all the blood out of our legs," Comrade U-sa trekked along secret trails from Nabua village to a communist base in Bac Hà District in northern Vietnam, located close to the Chinese border.

She stayed for almost two years, learning Vietnamese and receiving medical training to become a nurse before she returned to Thailand in 1968.

"I knew exactly what I was doing all this for," says Comrade U-sa. "I went to Vietnam to learn as much as I could in order to return home and help my people."

Not a soldier for the state
Two hundred kilometers south of Nabua, Bunsong Madkhao sits on the dark tile floor of the meeting house of a farmers' cooperative in Yasothon Province. The semicircle of mainly middle-aged females, who joined the meeting out of interest in organic farming, moan in unison as he recites the many strict regulations that organic farmers have to follow to keep their fields clean of the chemical fertilizers that their neighbors might use.

The 66-year-old is the chairman of a successful organic rice farming group that actively seeks to convince farmers to switch to organic rice seeds. But in a former life, 40 years ago, Bunsong worked alongside Comrade Phairat to politically educate and recruit new members for the communist movement.

In 1964, a then 14-year-old Bunsong sat in front of his croaky radio and listened spellbound to the news program of the Voice of the People of Thailand, the CPT's radio station broadcasting from southern China, which he said sparked his interest in politics.

At the age of 21, Bunsong's life was turned upside down. In the yearly military draft lottery that even today all Thai males legally must attend, he pulled a red ticket that sealed his fate. He had to make the "biggest decision" of his life, says Bunsong. "I decided to become a soldier," he says before chortling, "a communist soldier!" It was a decision "against the capitalist side" and "for the people," he explains, slipping into communist rhetoric.

A few days later, he silently left his home and was picked up by a CPT spy. Together, they trekked overnight to a CPT base hidden in the sprawling forests of Phu Sa Dok Bua in the provincial triangle of Amnat Charoen, Mukdahan, and Yasothon.

Arriving at the base felt like stumbling into a utopian land for Bunsong. "It was like a whole other world to me, a society of a different kind, hidden in the forest," he says, "full of young people debating the future of their country. I didn't feel homesick at all."

Bunsong underwent a rigorous political education based on communist ideology and some combat training over a period of three months. He says the training instilled discipline in him and taught every entrant to "take responsibility for their actions."

When Bunsong left the base to infiltrate villages and recruit new members, he struggled to fit back into the rural communities he had grown up in. "People were drinking their nights away, singing loud karaoke songs," he recalls disdainfully and complains that such behavior was not beneficial to the communities.

Together with Comrade Phairat, he was part of a secret unit with orders to recruit villagers for the movement. The two of them travelled throughout the Northeast. Bunsong estimates that over time they recruited around a 1,000 families to the Communist cause.

By the late 1970s, the communist insurgents were active in all but two provinces in the Northeast and the movement's ranks had swelled to more than 12,000 armed fighters all across the country. When the military dictatorship made a violent return and cracked down on the student protests in Bangkok in October 1976, up to 3,000 students left the city and fled into the forests.

The fragile revolutionary movement
For many observers this was a certain sign of a looming communist revolution in Thailand, perpetuating fears that had been aggravated in 1975 by the communist overthrow of the Lao monarchy and the Khmer Rouge's rise to power in Cambodia.

The Thai communists' numbers were boosted by the influx of radicalized students to their forest bases, but events inside and outside the country exposed the fragility of the movement.

Many of the students who had found refuge in the forest got caught up in ideological disputes with the communists. They admired the CPT for its devotion to radical social change, but according to Comrade U-sa, few shared the ideology of the armed struggle for revolution. "They complained our way was too violent," she says, "but if political power comes from the barrel of a gun, you can only fight back with guns."

In the late 1970s, the coalition of communist movements in Southeast Asia was crumbling. Since the Thai communists sided with Maoist China, the communist governments in Laos and Vietnam who sided with the Russian banned the CPT from using their bases or supply lines.

From then on things became very difficult for the rural communist in the Northeast, Bunsong says.

By 1979, China abandoned the CPT as it began to improve relations with the Thai government. In order to please the rulers in Bangkok, it stopped support of the CPT and closed the Voice of the Thai People, the CPT's radio station based in China and the main channel of communication between CPT members in Thailand.

"The shutdown of the CPT radio station in Yunnan province [in southern China] and the ban from using Lao bases, which also cut their food supplies, caused the first serious problems for the party," argues Ian Baird, Assistant Professor of Geography at the University of Wisconsin-Madison, who researches Thailand's communist movement.

In the early 1980s, the revolutionary spirit among the rural communists was diminishing and living conditions in the bases worsened. Comrades U-sa, Phairat, and Bunsong turned their backs on the revolution. Left with no other choice, the farmers fighters returned defeated from the wilds of the Isaan forests, their futures thrown into disarray.

It was a tragic moment for most Northeastern communists, some of who had spent almost two decades in the forests-turned-homes where they had married and raised children.

"We had sacrificed our lives, and many of us had been killed," says Comrade U-sa. "But in the end we couldn't make it. I was so sad I wanted to die."

Bunsong likewise felt deeply disappointed, but he took one last shot to revive the struggle for revolution. He travelled to Laos asking for support to rebuild the Communist movement in Thailand. But the effort came to no avail, as the Lao People's Party was too busy securing its power and recovering from years of war.

The CPT received its final blow when Thailand's military government realized the inefficacy of its heavy-handed approach against the insurgency and announced a general amnesty in 1980. A wave of Communists announced their surrender. By the mid-1980s, the decades long Communist rebellion was virtually over.

Though the movement was hit hard when external support ended and the government's anti-insurgency policy shifted, Thailand's Communist revolution eventually failed for less obvious reasons, according to Professor Keyes.

"The CPT was initially successful, primarily among rural people in the upper Northeast, but subsequently it failed to sustain its recruitment, primarily because of the overly Maoist ideology," he said.

As part of this ideology, the leaders of the CPT saw the villagers as passive victims of a feudalistic system whose Buddhist faith posed an obstacle to the revolution. But these Buddhist traditions were central to the everyday lives of Isaan peasants, something that the CPT never quite realized, according to Professor Keyes.

The Communists' popularity among rural Northeasterners eventually slipped because two fundamentally different worldviews clashed-the CPT's Maoist revolutionary mind-set and the Buddhist beliefs of rural Northeasterners.
Part II continues with The Isaan Record's special series on the experiences of rural Northeasterners in the communist movement, "From Rebels to Thai National Development Partners
armed struggle communism Communist Party of Thailand constitution CPT democracy dictatorship military Nabua political change rebellion referendum veterans

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From rice fields to rebellion: Untold stories of Northeastern Thailand's armed struggle (PART I) - The Isaan Record

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On August 7, Thais across the country will vote in a referendum on a military-backed constitution. On the same day in 1965, thousands of farmers took up arms against the military-ruled state that had promised a new constitution for years.

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Nabua Village

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'The Spaceship of Nabua' was left at the village after the Primitive projected had ended. It sat, serene and plump, in the field and was soon taken over by weeds and vines, assuming a rather primitive appearance. In 2012, the staff of Thai Film Archive asked the artist for permission to restore the object and exhibit it.

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The Spaceship of Nabua - Google Arts & Culture

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'The Spaceship of Nabua' was left at the village after the Primitive projected had ended. It sat, serene and plump, in the field and was soon taken over by weeds and vines, assuming a rather primitive appearance. In 2012, the staff of Thai Film Archive asked the artist for permission to restore the object and exhibit it.

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Silence - Video Installation by apichatpong weerasethakul

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Silence - Video Installation by apichatpong weerasethakul

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The minor history - Video Installation by Apichatpong Weerasethakul

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The minor history - Video Installation by Apichatpong Weerasethakul

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What's up

A Minor History | ประวัติศาสตร์กระจ้อยร่อย
Apichatpong Weerasethakul
Date: 19 August 2021 -27 February 2022
Venue: At 100 Tonson Foundation, Bangkok, Thailand

The exhibition is currently open to the public by reservation only on
Thursdays - Fridays - Saturdays - Sundays, 5 rounds a day:
*Note
Part One: 19 August - 14 November 2021
Part Two: 25 November 2021 - 27 February 2022
100 Tonson Foundation proudly presents A Minor History, the latest project by Apichatpong Weerasethakul, whose non-linear works often revolve around light, time, dreams, personal and social memories.

A Minor History comprises a two-part exhibition in Apichatpong's ongoing cinematic portrayal of Isan - Thailand's northeastern region. The first installment is a three-channel video installation resulting from the artist's journey along the Mekong River during Thailand's recent pandemic lockdowns. He accumulated interviews and photographs that reflect the country's shifting political climate.

The piece focuses on two encounters, beginning with a Mukdahan local who recovered the wrapped bodies of political activists found in the river and followed by the discovery of an old cinema theatre in Kalasin province. The skeletal remains of the cinema, infested with pigeons, are juxtaposed with images of the nocturnal flow of the Mekong. Behind lurks a Morlam (lsan folk performance) theater backdrop that depicts an empty palace. Majestic colors are dimmed in darkness and at times illuminated by the flickering film.

For the work's audio component, Apichatpong collaborates with Akritchalerm Kalayanamitr, his longtime sound designer, and for the first time with a young Isan poet, Mek Krung Fah (the half-cloudy sky). The poet composes a fictional story and impersonates a man and his lover as they stroll along the riverbank. The narration mimics an old cinema and radio drama dubbing style from a bygone era.

With its hybrid form of storytelling, the installation hovers in the realms of reality and dreams. It reflects on the decay of memories and representations, on the disintegration of social narrative and truth. To Apichatpong, these lights from the road are a memorial to childhood innocence and an awakening to the unspeakable violence in Thai society. The show is a tribute to the political dissidents whose forced disappearance lingers like a myth.
Remark: The following is our current Covid-19 safety plan to protect our visitors and team:

We limit viewing to a maximum of 5 visitors at a time.

All visitors are required to wear a mask for the duration of their visit.

All visitors must be fully vaccinated or provide proof of a negative COVID-19 test within 3 days prior to their visit.

Apologies for the unavoidable inconvenience, and we really appreciate your understanding as we continue to work together through all things COVID-19.
---

A Minor History | ประวัติศาสตร์กระจ้อยร่อย
Video installation by Apichatpong Weerasethakul
Sound Designer: Akritchalerm Kalayanamitr
Narrator (voice-dubbing): Mek Krung Fah
Project Director/Curator: Manuporn Luengaram

Special thanks:
Bangkok CityCity Gallery
MAIIAM Contemporary Art Museum

For more information:
Website: www.100tonsonfoundation.org
Facebook: www.facebook.com/100TonsonFoundation

If you have any inquiry, contact us at:
E-mail [email protected]
Phone Numer +662 010 5813 / +6698 789 6100
Line: @100tonson
BOOK TICKETS HERE : https://ticketmelon.com/100tonsonfoundation/a-minor-history

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A Minor History | ประวัติศาสตร์กระจ้อยร่อย by Apichatpong Weerasethakul

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A Minor History | ประวัติศาสตร์กระจ้อยร่อย Apichatpong WeerasethakulDate: 19 August 2021 -27 February 2022Venue: At 100 Tonson Foundation, Bangkok, Thailand The exhibition is currently open to the public by reservation only onThursdays - Fridays - Saturdays - Sundays, 5 rounds a day: *Note Part One: 19 August - 14 November 2021 Part Two: 25 November 2021 - 27 February 2022 100 Tonson Foundation proudly presents A Minor History, the latest project by Apichatpong Weerasethakul, whose non-linear works often revolve around light, time, dreams, personal and social memories.

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Sample Footage From Crafted Video Camera

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Sample Footage From Crafted Video Camera

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These wonderfully quirky and artful photographs are not made with digital tricks. Laurence Demaison plays - delightfully - with film photography and with the idea of photography. Taking full advantage of showing what the camera sees (sometimes over long periods of exposure) compared to what the human eye cannot or does not see, she pre-visualizes each photograph up to a certain degree, and then lets chance and intuitive performance intervene.

As a result, her photographs seem to bend light and time, distort the appearance of her own human body, and hold secret coded messages in their multiple reflections, refractions, visual repetitions, and semaphore-like gestures that become smears of light in darkness.

Critic A.D. Coleman seemed equally captivated by Demaison's work. He wrote:

"One set of images is composed of time exposures registering carefully orchestrated performances for the camera, during which Demaison creates representations of the outlines and surface of her body with layered, multiple exposures of her own hands. These read as both traces of a performance and the sort of simultaneous fluid yet frozen moments to which Butoh dance aspires.

"From a strictly imagistic standpoint, Demaison approaches the process of photographic picture-making as an occasion for extraordinary formal invention. From a conceptual standpoint, she treats the photographic negative (and the resulting print) as a stage for the performance of an action invisible to the eye, often one of considerable duration by conventional standards."

Her technical virtuosity leads us to art that revels in the extremes of visual perception. Demaison's photographs remind me of the distortions of Kertesz, the inventive playfulness of Man Ray and Moholy-Nagy, and the multiple perspectives of the Cubists - but her work is clearly her own.

-Jim Casper
Editor's Note: You can discover more remarkable work at Demaison's website. Or, experience the delight of Demaison's prints in person at Galerie Esther Woerdehoff, in Paris.

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Moving Performances, Still Photographs - Photographs byLaurence Demaison | LensCulture

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These wonderfully quirky and artful photographs are not made with digital tricks. Laurence Demaison plays - delightfully - with film photography and with the idea of photography. Taking full advantage of showing what the camera sees (sometimes over long periods of exposure) compared to what the human eye cannot or does not see, she pre-visualizes each photograph up to a certain degree, and then lets chance and intuitive performance intervene.

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🔴ด่วนมีจำนวนจำกัด 🐶💕 เสื้อยืดคอกลม ลายสวย ใส่สบาย ใส่ได้ทุกเพศทุกวัย เรามีเเบบให้เลือกสองสี คือขาวและ ดำ และมีให้เลือกถึงสองลาย คือน้องหมาและ น้องแมว Size : S, M, L, XL Price : ⭐️ราคาพิเศษ⭐️ 👉🏻 ซื้อ 1 ตัว 199บาท ‼️ 👉🏻 ซื้อ 2 ตัวขึ้นไป เหลือเพียงตัวละ 175 บาทเท่านั้น ‼️ รายได้ทั้งหมดนำไปจัดกิจกรรมในการสร้างมาตรการควบคุมและลดปัญหาสุนัขและแมวจรจัดภายในจุฬาฯ และชุมชนรอบรั้วจุฬาฯ รวมถึงการเพิ่มสวัสดิภาพชีวิตที่ดีให้แก่สัตว์เหล่านี้ โดยจะทำการสำรวจจำนวน ทำข้อมูลทะเบียนประวัติสัตว์ และจัดตั้งทีมเข้าไปช่วยดูแลสุขภาพ ฉีดวัคซีนรวม และให้ยากำจัดปรสิต รวมถึงการลดอัตราการเพิ่มของประชากรสุนัขและแมวจรจัดโดยการทำหมัน และประชาสัมพันธ์เพื่อหาผู้รับอุปการะ 📍สนใจสั่งซื้อ 👉🏼https://shop.line.me/@266dzrxv ติดตามกิจกรรมของเราได้ทาง Fb: JohnJud IG :Johnjud_cu
Posted by JohnJud on Sunday, November 14, 2021

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Unsubjects Verse - Live Performance Art - 𝗠𝗲𝗸 𝗞𝗿𝘂𝗻𝗴 𝗙𝗮𝗵

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Unsubjects Verse - Live Performance Art - 𝗠𝗲𝗸 𝗞𝗿𝘂𝗻𝗴 𝗙𝗮𝗵

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Judge: Simon Baker, “OTHER HISTORIES” is open for entries | IMA next - International Photo Competition

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Sponsored by “IMA”, the art photo magazine in Japan. World-famous photographers, creators, experts and curators will judge your work. The theme is updated monthly.

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Online Talk : It’s so bright and confusing with Tang Tawanwad

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Online Talk : It’s so bright and confusing with Tang Tawanwad

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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Online Talk : It’s so bright and confusing with Tang Tawanwad
HOP ขอพาทุกคนไปฟังเรื่องราวของ “ตั้ง-ตะวันวาด วนวิทย์” กับจุดเริ่มต้นไอเดียที่ทำให้เขาหลงใหลและเริ่มทดลองเทคนิคการถ่ายภาพผ่าน ‘แสงแฟลช’ รวมถึงกระบวนการในการทำงานร่วมกับภัณฑารักษ์ “ผ้าป่าน-สิริมา ไชยปรีชาวิทย์” ที่ช่วยสร้างสรรค์พื้นที่ความคิดให้งานของตะวันวาดโดดเด่นสว่างไสวภายในห้องจัดแสดงอันมืดมิด . LIVE นี้เป็นส่วนหนึ่งของนิทรรศการ ‘It’s so bright and confusing’ โดย ตั้ง-ตะวันวาด วนวิทย์ จัดแสดงที่ WHOOP! ชั้น 3 โซน MUNx2 ซีคอนสแควร์ ศรีนครินทร์ เปิดให้เข้าชมทุกวัน - 28 พฤศจิกายน พ.ศ. 2564 11.00 - 19.00น. . #ItsSoBrightAndConfusingExhibition #HOPHubOfPhotography
Posted by HOP Hub Of Photography on Saturday, November 20, 2021

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Genesis: The Birth of Cinema in Siam ( Exhibition/Vido installation From 6 Artists)

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Genesis: The Birth of Cinema in Siam ( Exhibition/Vido installation From 6 Artists)

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"ปฐมกาลภาพยนตร์ในสยาม" นิทรรศการใหม่ล่าสุดของหอภาพยนตร์ พร้อมเปิดให้เข้าชมในวันที่ 8 ตุลาคมนี้ . ⭐ นิทรรศการวิดีโอจัดวาง "ปฐมกาลภาพยนตร์ในสยาม" (Genesis: The Birth of Cinema in Siam) มีแนวคิดเพื่อเฉลิมฉลองและรำลึกถึง“วันกำเนิดภาพยนตร์ในสยาม” โดยหอภาพยนตร์ได้คัดเลือกศิลปิน 5 คน ให้มาร่วมสร้างสรรค์ผลงานในรูปแบบสื่อภาพเคลื่อนไหวผสมงานจัดวาง เปิดโอกาสให้ศิลปินแต่ละคน ค้นหา ตีความ ขยายบริบท หรือเล่าเรื่องการเดินทางของสิ่งประดิษฐ์ที่เรียกว่าภาพยนตร์ ที่เข้ามายังแผ่นดินสยามเมื่อ 124 ปีก่อน . ⭐ นิทรรศการ "ปฐมกาลภาพยนตร์ในสยาม” ดั้งเดิมมีกำหนดเปิดเมื่อวันที่ 10 มิถุนายน 2564 เพื่อฉลองวันกำเนิดภาพยนตร์ในสยาม แต่จำเป็นต้องเลื่อนไปตามสถานการณ์ ตอนนี้นิทรรศการพร้อมแล้วสำหรับผู้สนใจมาเยี่ยมชม โดยเปิดให้เข้าชมทุกวันอังคาร-อาทิตย์ เวลา 10.00 น. -17.00 น. ตั้งแต่วันที่ 8 ตุลาคมเป็นต้นไป ที่ห้องนิทรรศการชั้น 3 อาคารสรรพสาตรศุภกิจ หอภาพยนตร์ ไม่เสียค่าใช้จ่ายในการรับชม ศิลปินทั้ง 5 คนที่ร่วมสร้างงานนี้ได้แก่ 1. ชีวิตหมุนไป / Rolling Life ศิลปิน: ThaDa lab 2. ♤(โพธิ์) / ♤(Pho) ศิลปิน: สะรุจ ศุภสุทธิเวช 3. ที่ระลึก / Recollective Space ศิลปิน: ณัท เศรษฐ์ธนา 4. สะเก็ดประกาย / Spark From the Past ศิลปิน: อชิตพนธ์ เพียรสุขประเสริฐ 5. แสงมัวบอด / Blinded by the Light ศิลปิน: ชนสรณ์ ชัยกิตติภรณ์
Posted by หอภาพยนตร์ Thai Film Archive on Friday, October 1, 2021

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เงินติดล้อ - ชีวิตใหม่ (Ngern Tid Lor Corporate Ad 2016 “New Life”)

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Chantal Akerman - South (1999) - excerpt

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Andy Warhol   Outer and Inner Space 1966

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Im just trying the projector with this work to see how the outcome look.

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Thailand 2016, lottery in Thailand will be drawn twice of each month, 1st and 16th; between those periods, you’ll easily see a lot of sellers carrying lottery ticket trays around the town and keen to sell a lottery ticket to you. Most lottery sellers will be a middle until low class peopl

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Light box sizeDigital camera that I use

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Comunist Photography Unselected Contact Sheet