Have you ever heard of Alexandra Bounxouei, the band Cell or L.O.G. ? I am certain that many of you know that they are from Laos, a neighbor Thailand has taken for granted for such a long time. But since when did Lao singers, actors and actresses start to pour into the Thai show biz?


In the past, Laotians consumed Thai programs voluntarily and involuntarily through radio and television broadcasting across the border or satellite dishes. It seemed that Thai programs could easily capture the Lao taste because: 1) the linguistic similarity between Thailand and Laos enabled them to understand programs in Thai; 2) Lao programs come in less variety, indirectly forcing them to consume Thai ones; and 3) they have been doing this for a long time and it has become a part of their daily life.


Thus Thailand has long been able to export its “mixed” culture into Laos via broadcasting and consumer products. On the other hand, Laotian culture was only heard faintly once in a while in Thailand. Put another way, Thailand generally knows very little about its neighbor and yet it keeps exporting globalized and westernized forms of culture to Laos.


Before 1975 some Laotian classical bands were well known in Thai society such as Rab Agart Vang Vieng (Vang Vieng Airborne Division), a military band (lead singer, Kor. Viseth) with the following famous songs: “Tai Dam Ram Pan,” “Xang Kon Lai Jai” and “Kon Chak.” The song “Tai Dam Ram Pan” was popular in Laos as well as in Thailand in part due to its mixture of local Tai Dam music and classical Kap Tum Luang Prabang melody. Also in 1970, Kor. Viseth was featured in a film Rak Ther Sa Mher, starring Sombath Methanee and Petchara Chaowaraj.


After 1975, Laos was virtually closed off and strict in dealing with foreign countries, especially with western states but also with Thailand due to the fear of that the latter’s westernized culture would contaminate the Laotian tradition. Moreover, during 1975-1987 Thailand used broadcasting communication in its public diplomacy, triggering a low intensity conflict with Laos. Propaganda, spread by the means of radio frequency, flew from both sides, destabilizing relations between these two neighbors.


In the contemporary phase, conflict by and large gave way to economic cooperation, and it has shown several promising signs. This helped gradually revive the broadcasting business in Laos as well as in Thailand.


And technology played a significant role in accelerating the modernization of Lao society: TVs, satellites, mobile phones, and the Internet. “68 percent of TV owners were watching Thai Soap Operas on a regular basis.” (UNDP report)


The government has chosen to loosen the strict rules on importing mass-media resources generating the following results: the 2006 report on Imported Mass-Media and Communication Services and Products in Lao PDR Social and Economic Impact by UNDP reveals that overall Laotians owned 90 percent of terrestrial TV, 36 percent Satellite/Cable and 72 percent VCD/DVD. The figures help indicate the extent of imported cultures via these media, impacting Laotian lifestyle in many aspects.


When more Laotian audiences consumed Thai programs and shows, the fear that ancient Laotian tradition and culture would be jeopardized by westernization brought about a compromising solution: the new attitude of the Lao government concerning the entertainment sector and the portrayal of the nature of Laotians as “Muk Muan” or “fun loving” people enabled the business to blossom again.


The Lao private sector has become more active in revitalizing the entertainment business not only in Laos but also in Thailand for several reasons. Firstly, and this is also the clearest point, it is because they are looking for investment in a bigger market. Thailand’s market appears to be the most suitable choice with its population of more than 60 million plus the linguistic affinity between the two neighbors. The easiest way to prove this is when listening to modern Lao music, the language used is not completely Laotian; the Thai language also influences the Laotian music, linguistically and content-wise. Since the Thai entertainment industry has long and continuously impacted Lao society, the Lao language has become much easier for Thai ears to pick up.


As such, the Laotian entertainment sector not only produces programs to serve the smaller local market but also targets the bigger Thai market. This phenomenon further catalyzed the initiative to establish many entertainment related companies such as Lao Art Media, Valentine Music, SD studio and Indee Record. More concretely, as a whole, they produced a movie Sabaydee Luang Prabang, the singer Alexandra Bounxouei, Ting Phaylavanh, Sophie Nithada, the band L.O.G. (Laos Original Ganstaz), Double Com Cells, and the opening of the Lao-International Trade Exhibition and Convention Center or LAO-ITECC with facilities such as Litecc Bowl, Cinemax, Snooker Club, and numerous restaurants. Laos is therefore beginning to face the modern world and is ready to share its cultural products with the rest of the world.


No longer limited only within the Lao boundary, Lao music and culture are spreading across the border as Thai investors are also interested in bringing new sensations into the Thai market for the abovementioned reasons. A very good case is that of Alexandra Bounxouei1 who is now popular in Thai society. She is a Lao superstar who was spotted by Thai Kam Por Dee, a company under the giant Work Point PCL in Thailand. She eventually played a leading role in the soap operas “Pleng Rak Rim Fang Kong” and recently in “Ray Rai Louk Sao Pa” both aired on Thai Channel 7. Her success brought attention to Laotian music and culture and paved the way for other Laotian artists to the Thai market.


Could all these phenomena be driven solely by the private sector? The hidden message is that the Lao government has given a tacit consent to this change. It appears more relaxed and at times even “supported” the process by turning a blind eye on the matter, contradicting its previously held position. Additionally, technology reinforces the new youth culture making it hard to stop or quarantine it; the more the government attempts to arrest the dynamics of the new culture, the more widespread it becomes in Lao society. Therefore, finding a compromise is the best solution. The possible benefits that the Lao government could reap from this trend are: 1) channeling Laotian youths away from drug abuses; 2) economic benefits from incomes generated by the business; and 3) if the government properly manages these incomes Lao artists would be better promoted and supported in order to decrease the influences of Thai artists in the country


The overflowing of the new youth culture, especially in the music industry (Rap, Hip-Hop, R&B, Pop and Rock) however created the fear that traditional music and customs in Laos would be undermined but that could not stop the trend that is considerably “hot” at the moment.


Soon, Thais would be able to see and hear more Lao singers, actors, actresses and movies in the Thai market. It is also a great chance for Thais to start opening their eyes to the realities in Laos, learning about and from Laotians, and so on. Wouldn’t it be the best way to prevent potential misunderstandings and problems before they actually happen?

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