Culture


Cultural

The Laotian American Society proudly preserves and promotes cultural heritage, which is a cornerstone of the organization. Sharing cultural knowledge strengthens the community through leadership development and active involvement. Students in the cultural programs serve as ambassadors of Laotian culture, making lasting impressions in the mainstream.

The cultural department includes two main sections:

Souliya Natasinh Dance Program: This program emphasizes traditional Laotian dance forms. Students train in various dance styles, learning the intricate movements and cultural stories behind each dance. They perform at cultural festivals, community gatherings, and educational events, showcasing the beauty and diversity of Laotian dance.

Jalern Sinh Music Program: This program preserves and teaches Laotian musical traditions. Students learn to play traditional instruments, understand the history and significance of Laotian music, and perform at various community events. Through music, the rich cultural heritage is kept alive and vibrant.

By participating in these programs, students gain a deep appreciation for their cultural roots, develop leadership skills, and foster a sense of community. They become cultural ambassadors, bridging the gap between Laotian traditions and the broader community, ensuring that the heritage is celebrated and passed down to future generations.

Souliya Natasinh Cultural Dance Program

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Souliya Natasinh started in 2014 under Kimberly Lattanaxay’s leadership. In 2019, it merged with the existing Natasinh Dance Program of the Laotian American Society (LAS), which began in 2003. Souliya Natasinh welcomes all ages, focusing on cultivating a new generation of Laotian American leaders. Participants learn and embrace the rich arts of Laotian culture, while our young dancers uphold a shared heritage, gaining confidence through personal growth, leadership, and networking opportunities.

At its core, Souliya Natasinh builds a strong sense of community. It brings together individuals of all ages to celebrate and preserve Laotian culture, creating a supportive environment where members connect, share experiences, and grow together. Through collaborative efforts, we aim to build a vibrant community that honors our traditions while looking towards the future.

Schools of Souliya Natasinh

Pathom School

Souliya Pathom is the introductory program within the Cultural Department, tailored for members from Pre-K through elementary school. The term “Pathom” translates to “elementary level,” underscoring its purpose of acquainting students with Laotian traditional and folk dances and techniques. Pathom members have the privilege of showcasing their routines at various local events throughout the year, all while delighting in the process of learning about Laotian culture.

Madthanyom School

Souliya Madthanyhom serves as the intermediate program within the Cultural Department, designed for members from middle school, high school, and even some college students. “Madthanyhom” translates to “intermediate level,” reflecting its aim to build upon the foundational knowledge acquired in the Souliya Natasinh program. This program seeks to deepen members’ understanding of Laotian traditional and folk dances, refining their skills as Natasinh performers. Madthanyhom members perform at numerous events across the state, including local festivals, charity galas, and other gatherings.

Vithanyalai Creatives

Vithanyalai represents the creative arm of the Souliya Natasinh program. Membership is by invitation and entails a rigorous tryout process, ensuring that participants are exemplary and dedicated members of the community. Typically, students in this program are young adults, ranging from late high school to college. While developing new curricula for the other schools, Vithanyalai students use this opportunity to refine their skill sets and gain hands-on experience, preparing them to be future leaders in the community. Although part of the Cultural Department, students report directly to the Advocacy/Policies Department, spending part of their time as cultural students and the other half advocating within the broader community.

Jalern Sinh Cultural Music Program

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Jalern Sinh was founded in 2021 by Achan Sam Thirakoune and was adopted as the Laotian American Society (LAS) Cultural Music Program in 2023. Jalern Sinh aims to train the next generation of Lao leaders through music and cultural knowledge. Open to all who are curious about Lao music and culture, Jalern Sinh provides a welcoming environment for exploration and learning.

Throughout the year, students perform at various events, showcasing their progress and dedication. These performances not only highlight their hard work but also bring the community together to celebrate and preserve our rich cultural heritage. Through music and cultural education, Jalern Sinh fosters a sense of unity and pride, encouraging personal growth and leadership within the Lao community.

Instrumentation of Jalern Sinh

Lanad Aek

The Lanad Aek is a traditional xylophone composed of three main components: the sound box, the keys, and the mallets. The sound box features two slabs of wood on its sides, known as the “khon,” which form the highest part of the instrument. The base, referred to as the “theen” (foot), supports the central body called the “tong” (stomach). Sound boxes can be crafted from plain wood slabs that are lacquered, stained, or painted. More elaborate designs may be carved, gilded with gold, or inlaid with mother of pearl or ivory. The keys, or “peun,” are the heart and soul of the Lanad Aek. Typically made from local hardwoods such as rosewood, mahaad wood, or bamboo, there are usually 21 or 22 keys strung together and suspended over the sound box. There are three main types of mallets used with the Lanad Aek: Mai of Kaeng (hard mallets), which produce a loud, clear, and crisp sound; Mai Nuam or Mai On (soft mallets), which create a softer, mellow, and sweet sound; and Mai Lai (practice mallets), which are heavier and used during practice to strengthen the wrists and enhance the player’s speed and precision. The Lanad Aek leads the orchestra, setting the tempo for the other instruments.

Lanad Toom

The Lanad Toom is a xylophone consisting of three main parts: the sound box, the keys, and the mallets. The highest part of the sound box is made up of two slabs of wood called the “khon.” The feet, located at the four lower corners, are known as the “theen,” and the central body is referred to as the “tong” (stomach). The sound box can be made from plain slabs of wood that are lacquered, stained, or painted. More elaborate sound boxes may be carved and gilded with gold or inlaid with mother of pearl or ivory. The keys, or “peun,” are the heart and soul of the Lanad Toom. They are often made from local hardwoods such as rosewood or haad wood, though bamboo is also a common choice. Typically, 16 or 17 keys are strung together and hung over the sound box.

Lanad Aek Lek

The Lanad Aek Lek is the metal version of the regular Lanad Aek. Instead of hardwood or bamboo, the keys are usually made of brass, which is why it is also known as “Lanad Tong Leuang” (brass Lanad). This instrument has a mellow and soft sound.

Lanad Toom Lek

The Lanad Toom Lek is the metal counterpart of the regular Lanad Toom. Its keys are made of brass instead of bamboo or hardwood. The musical parts of the Lanad Toom Lek are more spaced out, adding very mellow, drawn-out, metallic notes to the ensemble.

Kong Wong

The Kong Wong, also known as the circle of gongs, consists of two types: Yai and Noi. “Kong” means gong in Lao, while “Wong” means a circle or ring. The most common type is the Kong Wong Yai, which consists of 16 tuned gongs strung over a rattan frame called the “han.” The Kong Wong Yai is used in both Piphat and Mahori ensembles and is usually tuned to the same notes as the Lanad Toom. It plays a crucial role in the base melody of many songs. Similar to the Lanad Ek, there are two types of mallets: hard (mai kaeng) and soft (mai on/nuam).

Khim

The Khim is a type of hammered dulcimer that arrived in Southeast Asia via the Silk Road. The most common type, known as “Khim Jet Yong” (“jet” meaning seven in Lao), features two long bridges that suspend the strings above the soundboard. Each bridge is divided into smaller sections, typically holding sets of three strings, called “yong.” The Khim Jet Yong has seven sections per bridge, totaling 42 strings. Larger variations include the Khim Gao Yong (9 yong), Khim Sip Et Yong (11 yong), and Khim Sip Ha Yong (15 yong). The Khim produces a bright, sweet sound and plays the melody in Keuang Sai and Mahori ensembles. It is played using two thin bamboo mallets, which may have leather tips for a softer tone or harder materials for a bright, sharp tone.

Saw E

The Saw E is a two-stringed bowed instrument commonly used in Mahori and Keuang Sai ensembles. Typically made from various hardwoods, its bow is crafted from wood and horsehair. The face, or “na,” of the Saw E is often made from python skin. The instrument features two tuning pegs called “louk bit” and strings usually made of silk, though some musicians prefer stainless steel. The higher, thinner string is called “sai aek,” and the thicker, lower string is “sai toom.” These strings are also known as “sai nok” (outer string) and “sai nai” (inner string). Threads tied around the strings, known as “hat oke,” and the main holding part, “khan tuan,” are key components. The bow is referred to as “khan sak,” and the soundbox is called “grabok.” The Saw E produces a sharp, loud sound and is used to play the melody in most songs.

Saw Ou

The Saw Ou shares many parts with the Saw E, including the “khon,” “louk bit,” “sai aek,” “sai toom,” “hat oke,” and “khan tuan.” However, its soundbox, called “galoke” (meaning skull), is made from a coconut and often features intricate traditional carvings that also function as sound holes. The bridge, known as “mon” (meaning pillow), can be made from various materials such as hardwoods, clam shells, tightly wound paper, and bamboo. The Saw Ou’s silk strings produce a sweet and mellow sound.

Khui

The Khui is a small, vertically played flute traditionally made from bamboo, though modern versions may use PVC piping or various hardwoods to produce a wide range of tones and colors. It features eight holes: seven main finger holes in the front and one thumb hole in the back. The Khui typically has a bright sound, which can vary depending on the material used. It is primarily used in Keuang Sai and Mahori ensembles.

Khaen

The Khaen is the national instrument of Laos and is recognized by UNESCO as part of the Intangible Cultural Heritage of Humanity. This free reed instrument features a tongue typically made of brass or silver. It has a main reservoir, often crafted from native hardwoods, that distributes airflow. The Khaen is used in both classical and folk music, and is most commonly seen in the Mahori orchestra in classical Lao music.

Gong Song Na

The Gong Song Na is a cylindrical drum with two faces, known as Na Noi (small face) and Na Yai (big face). This drum is the preferred choice for most songs played in the Mahori and Keuang Sai ensembles.

Taphon

The Taphon is a sacred barrel-shaped drum with two faces, primarily used in the Piphat ensemble. It is considered an instrument of the gods and is usually placed on a wooden stand called the “Tao” or “Theen.” The Theen can be elaborately decorated with carvings, gold foil, mother of pearl inlay, and even ivory. The main body of the drum is made from various hardwoods and calfskin.

Sing

The Sing are small brass cymbals that maintain a steady rhythm in all classical Lao music ensembles. There are two types: Sing Keuang Sai and Sing Piphat. Sing Keuang Sai are smaller in diameter, thinner, and produce a higher pitch, making them ideal for smaller ensembles and solos. Sing Piphat are thicker, larger, and used primarily in the Piphat ensemble, but can also be used in Mahori and Keuang Sai ensembles, especially in larger groups and venues. The Sing produces two different sounds, Ching and Chup, and its rhythm patterns are divided into three types: Sun Diao, Song Sun, and Saam Sun. Sun Diao is the fastest pattern, doubling the Song Sun pattern. Song Sun is moderately paced and used for most songs in the Mahori and Keuang Sai ensembles. Saam Sun is the slowest and most spaced-out pattern.

Saab

Saab cymbals are characterized by their larger size, thinner profile, and wide diameter. They are versatile and suitable for various classical ensembles. However, it is important to consider volume control when using these cymbals.

Kong Mong

The Kong Mong is a small gong designed to maintain a steady rhythm. It produces a mellow, sweet sound and is suspended from a frame known as a grajang.

Gup

The Gup consists of a pair of small, thick sticks crafted from rosewood or similar hardwoods. They are used to perform basic rhythm patterns, following the chup beat of the sing.