"Sound Design & Silent Film: Crossroad of Art, Music, and Technologies in Digital Age"

from curator from the curtis institute as well [Applause] and our beloved musicians teddy dear dog gaston who leads the band tonight [Music] who play who don't knows he plays when what he plays here and never smile until now [Applause] all right how do you feel the audience how do you feel when you see it when you watched watch the movie and also listen or do you watch the movies with your ears and then listen to the music with your eyes so that you switch your sensory when you see the silent film how do you feel were you carried away by the image or were you carried away by the music or you have a lot of questions in your mind yes thank you i enjoyed it so much i thought that the live music added such an added interest to the viewing of the movie and it definitely helped to increase the the mood at particular times when it was needed as well it was very good at adding for example suspense um or um some uh uh you know the tick ticking of the i don't know whether it was electronic or what exactly to mimic exactly we don't know what is it not exactly but yes but but it was very yeah i thought it added tremendously and i wish that every movie actually had live music oh my god now yeah we call it entire film which means the sound is already dubbed and also recorded into the film and exactly i think this is nog film the sound outside the film is on the stage it's live music right asanjo how do you feel thank you very much from the audience so feel free to join anytime this is like opening for everyone to join in how do you feel i i mean for me personally i i am amazed at the appropriate nature that we are revisiting our history in many ways this is a film from 95 years ago at a time when uh not only geopolitical situations and and even just the general global context is so different from today the way we are you know living with our resources the way we are supposedly damaging our our very own kind of [Music] environment and you know this idea of even animal cruelty nowadays becomes such a kind of heightened ethical standpoint that i think it couldn't be more appropriate to re visit and reinterpret this notion of not only just the the the kind of how sayam was originally portrayed but how musically and and how contextually we are balancing out the whole cultural negotiation sorry to be long-winded with my response but i think this this is definitely heading to to question and and welcome feedbacks from from our panel so i i if i may direct my my first question to couldn't marry just to share with the audience how we came about to have this privilege of uh of this event i understand that originally it was on february the 1st at the open air goerte institute bangkok event yes thank you quinjo and thank you for inviting us me and hans to this panel yeah it's a very short story um my husband and me we spent two years ago a nice weekend in luang prabang in a hotel very quiet near the river and they had an open air screening in the open air screening was happened every day at i think six o'clock and it was chung in a very bad quality like a dvd or vhs tape and my husband hence cody is film historian and then we were both so impressed of this movie because we didn't know that there exists a movie which was shoot in thailand and 95 years ago and the other point was that we saw the two names you see shazak and cooper and you know what they also did they from them is a film king kong every one of us know king kong and and that was the second point where we really said we have we have to make a research what where is this versus movie um and then perhaps i can give the micro to my husband hans because finally we found the original um movie in berlin in germany in the soil house film museum what a cold incident yes yes it was a really um adventure to cut the rides and the print of this film and two years ago i decided to show this film uh at the international innsbruck film festival and uh you are you are the former president of the festival this year and uh so i got in contact with dennis doros who is the director of milestone films and he was very pleased that this film will be shown again on a festival and then as i told him i need a a good print or or digitalization and he said there's nothing here's only a dvd but occasionally i found a 35 original print at the toy cars keno in berlin they have a good collection of old films and so i conducted them and they said okay you can show the movie and the license is so high but you're not allowed to to bring the four wheels together you have to show extra real extra projector and it was good that cinema in innsbruck has still two 35 millimeter projectors so we could show this film in the original 35 millimeter print with the music of bruce custom and it was really really amazing yeah people were so so happy just to watch this and then the next screening was in the homeboy forum just new opened in berlin a couple of months ago in january they had a big exhibition about chunks shanks in africa chiang's elephants in asia and then we yeah we said please show shang it's it's it's perfect film for this and they had a talk with charlita from the time the director from the thai film achieved so she was invited online to speak about the thai tradition of shangen of this movie and yeah and then we had our open air and we decided to make known digital copy a very good copy from the original film and yeah and now this copy is belonging to the title much life so that was our goal to make this wonderful movie again came to life and the rights are still this milestone but i mean now this movie is in the country and it it's a heritage also for our future generation for all kids i think it's so important fantastic thank you so much i mean this is really to make a story short because the com the process of digitization is actually very i mean it's required um communications and also uh research and a complicated process which is involve the legal issues that um that also bring us to really acquire the um the knowledge into the film curators and also in consultation in the next occasion if we would like to screen out of chang again so we will be in touch with you wherever you go in order to learn and in order to make a move um appropriately showing the film um so we we also would like to hear also from pinong how do you feel i already asked from the audience perspective also from the film curator's perspective how about from the musicians being in the ensemble playing the music and seeing chang on your own screen on the stage how do you feel so difficult because i feel overwhelmed very i i feel my dad here he was here yesterday too he was here in february with us and we did that amazing show that kick-started everything and um thank you so much everybody and thank you kunmerian for making sean coming back to life and having today as well as a show and i think dad will be very proud and happy that thai music is still moving forward as a part of society and we have been forgotten about our tradition and culture and ready to look forward to new things and this is part of it a half between culture and new things coming together between west and east and a night like this is a night that would be very happy and for me i'm overwhelmed and a bit emotional but uh overall i'm very happy that this event has happened in kokuden and everybody all the staff team that make this happen today and uh let's get into vichaka and with ajahn pognan and perhaps we can mention that the good institute and your father bruce gustin were close friends from the beginning of security institute in the 60s 70s so they were always i think the longest concert concert your father ever gave at the gertie institute were eight hours piano in credit so this is a really legend thank you so much uh my dad bruce gaston actually got his first big break at the girth institute back in the 70s that's where he started his career so thank you to you guys the great institute thank you so much yeah i think um for me it is so much to learn so much to remember and so much to go further um what i mean so much for to learn um i when i was um 40 30 something years old younger than this i actually when the theme showed at aua the language institute i i missed that show so i i feel so sad i read in the newspaper announced by the friend of kundum sukhov pianic navigan wrote about the story of the the showing of a silent theme and he kindly promote this to all the culture and lovers in thailand but i read the review of that year so so inspiring and it was the time that i entered to along kong university as a freshman at school of fine arts and um eventually i met john bruce in in the classroom and um that time it kind of already um his fc since his launched the pharma concept and we learned from from hearing from practicing together with my friend prasan who already left then i i when when they redo the my silent frame a few years later actually about 10 years later at the national theater i missed that chance because i already gone to london for study but person wrote a very short message to me from from his postcard saying that we bringing chang to england to showing can you observe the movie house can you prepare here and there and that time i was so excited to carry you know the film and many mexican instruments that we can gathering in london and of course we have to sacrifice one computer for this uh project um kun kai one can tell more about that and um through my eyes and to my ears chang can actually show in the um the real movie house in england in south fork and then we went to birmingham and then later and i feel kind of this is part of my learning this is also it's part of my further inspiration by that time i studied the weird subject which is called ethnomusicology and i feel i asked myself what i'm going to do what i could do to make a living after you know graduate and when i hear music that they put in the film chang or anything possible you you hear traditional music be pipa goes along with the pun mayan the lana music and the jungle music and electronic music and on top they have the traditional narration you know like popcorn to announce excuse me so like enlightenment this is my is going to be my next learning lesson so from that i look for the real chance to to really perform with the movie um in england i was kind of um backstage like atyan mom and ajan road and people are eating so this is my very very very first time really to to to meet ajay bruce without his existence but his spirit and crew boon young the master who left all the knowledge of thai music through to us and be one of the uh members who play live music to this and i i learned a lot after do research and and made all the things and thank you to athan bruce kunkai want to invite us to to experience this yeah i think taiwan can can tell us more about the journey in england or even before that because he involved so much in studio recordings uh when when was it 1991 yeah yeah i think it's around 1991. thank you very much and i really don't know where to start but i can say that i stay with this project since the day one since uh bruce brought back theme the master theme to work on with my that milestone company assigned him to to make the music and i seen everything since the beginning how he led the music how he planned how he want to put at the moment how he talked to krupanyong what music where to put here and there and it's so many layers it's so complicated i think it's someone should do a doctoring with this project because i can speak this for many day for many hours to tell you the details but the most interesting thing that i just cannot imagine that i have a chance to sit here and perform this with everyone again because it's in the past is a project that makes me a lot of stress you know when when we perform this it's so much of technical on stage you cannot imagine and because ajahn bruce wants to put all the cutting edge of the technology and challenge he challenge everything like he wants a computer to follow a thai performance thai musician and everything we go through that i cannot describe it but i cannot imagine that wow we have to we are doing it again teddy we really do it again uh what i am what i have done i just i went back to i can boot archive and look at the floppy disks of the what we have left what are we going to do how are we going to construct all of this come back again and i think this is the sign this is a very big sign after i jumped bruce passed away i felt like you know i've fell down for many months and after that teddy came back with the news said oh we are going to make a change the thing is sign not just only we bring back the ajahn bruce work but we are bringing back his spirit and his masterpiece of the music for film that i would love to continue this project after this if we have a chance to perform more and more and i would like to bring off his idea to become reality more and more this is not yet 100 that what he wants you know almost perfect not completely hundred percent it's around 70 percent it's around 70 because we need a lot more resource to bring his imagination to become a rarity because he mentioned that oh we will bring the orchestra music here the film score like hollywood here we'll bring uh i'll be part okay start here we will bring the uh the folk music here like this and we will bring this chanting like a corn like that and don't forget saudi sign sound design and everything all the sunshine animals everywhere like that i cannot you cannot invite in that how of this imagination go everywhere like that and he tried to put everything into this film by arranging it very very nicely and beautifully that that's why i feel a gratitude and thank you for you you want everyone to come tonight and this is only my feeling i don't want to go to the technical right now but just like uh phenom said we we have like a very big adventure of this of this music and this project and i would love to see it keep going and making even better after this thank you you should you should plan a word to me [Laughter] okay um pika i already said that um and also for anyone who's also watched live at home we invite you this is if you are looking for a research topic which is very difficult for a young person who just start a career and think about research topic or thesis or dissertation topic we already announced right here nobody has done and um write about the music for chang there are so many aspects um there's also about computerization they also about synthesizers and about the tuning system and also whose follows who the bpad follows the computer or the computer leading the uh um the band it's a collision of cultural essence and cultural values and different a multitude of of systems so sorry to interrupt today and and the sound designed it's not about composition it's the word design which is it hasn't been introduced but it's been there for a long time so how did um bruce think and designed and he's in bangkok but he's thinking about the sound in the forest and then also pick up the materials and then design and i'm thinking about new instruments and experimenting so there are so many things to looking into the sound and the work of assam bruce gaston and also looking it back in his um when he worked closely with concrete young get kong how but not influenced but inspired and also assam bruce dedicated his time to study thai music and as also a person as an american born and that lived here at the beginning when he started to study thai music i yes perhaps second just say one one thing what for me is so impressive the music of bruce is so advanced but the whole movie because i'm a documentary filmmaker in my former life before i work for the goethe institute and as a filmmaker i'm also so impressed what they did in 1925 and when i saw the film i really asked me how did they i mean you cannot hypnotize lions or tigers so how many hours and days and days they should have sitting in the jungle and to wait that the tiger is coming around that impressed me and it is so advanced for this time if you see other silencers just to get that shot the tiger drinking water off the shore yeah how many hours how many days two weeks until you get that shot right and if if you see other silent movies from this time i mean hans is really an expert for silent movie too you see that they are really slow firm so for other for our times for our happy tweets or viewings with social media it's sometimes really boring but in this case it's every minute you are on the on the on the screen it was here yeah and i think we get that sense with the music as well the music definitely carries that excitement that is right but i wanted to point it out that the two genius the directors and bruce guston together made this movie incredible and you as a musician also the performers particularly atano who's also an ethnomusicologist who definitely has that analytical tool to to basically comprehend the construction of the performance so i'd i'd love to hear a little bit more at an on camp on that idea of of mixing such very different traditions together how in your mind how do you find a balance in in that thank you so much um if this theme was done by outer composer i don't know how the result would be you know we have thousands of film composers who really must put the thing as soundtrack in western ideology but this is very exceptional since bruce knows all the necessary thing to to to put together and some unnecessary thing that you should avoid i think is portrait his perception is respect to both thai culture and silent themed culture and krug yeung really one of the great input that bruce really concerned about the musical element that we should add into this so from here and there you you hear the sound of playing that part which very very rare if you talk about silent film culture pregnant part means sacred songs usually used for ritualistic or cone they must dance but kubun jung he he was born with this he lived with this he breathed with this and he died for me so bruce really pay respect to his master and the place he put on our part to the specific scene very meaningful not just accidentally uh you know um like uh this is i want the song shirt i want this song uh playing thing what playing ground yeah and then they have reason for intrepid but the reason this um has the the essence of um [Music] the the thinking way the traditional way of thinking that kruben young um familiar before and people of his generation wish there are people of this film making generation so this reflect what bruce can communicate to the pregnant part but for the fling lana also he pay respect tribute to the place where the freedom was shot so they went their two producers and then they the cameraman they went to chanwatnam so you hear the sound of northern music in very correct time correct place and bruce played around with that song lucy long time the the lost city the lost place misplace of the the the jungle anymore they should run really free you know in the in the forest but they they got jailed in that that so bruce interpret that that the sequence on the song lasts a long time but use very traditional sound from the law sourcing then the jungle music i think taiwan can act on this because um this relate to his experience working with nguotpa there's another great adventure of john bruce and i see that uh crew chiang chong bakan chandrayaan who involved with that film making maybe he can interpret more also but we hear the sound of the bamboo some of the things that kun prasan and kaiwan walk around so that his luck on making to to to be tribute to his experience on what bar and for electronic music that is something i think taiwan can really analyze to this okay i can give you a brief lesson of film scoring [Laughter] okay maybe just do rough analyzing of the stream you maybe remember this room had three acts the first axis to establish the character crew and his family and how he lived in the four layers and then the problem arrives when he found that a cycle came something like that and then the second act when they tried to control the situation that when they had been attacked by the jungles and then they found that they have the bigger problem because not only tigers but they have a really uh herd of elephants right and then go to the third exit they try to fight back after that the elephants came to you know collapse everything in the village so this is the three main acts and i can do sort like this i can tell you that he used the fork instrument like a sing not listen um this lana music to represent [Music] the four people the villagers this small it's nice and it's innocent uh music very nicely and then jungle it's dark it's mysterious it's cruel he's used a synthesizer string orchestra brass something like that so if you realize that oh it's uh this is i heard some trumpet in the beginning and then the trumpet when the the elephants have recorded this represent the elephant and then in the third act when people gather together to he used uh pipe music that is grandiose of thai classical music and songs yeah and a person to represent the power of the you know the human is we have power we try to fight back with our ability of human uh use something more sacred and then ending with the song you see now now you can see the whole picture oh it's just going like this you know it's a form really big form because when you see the big form of this music the music continue like this and bring our emotion up and down up and down go to the the climax scene he used this just not just put it we tried to keep this report in the climax we don't put in the beginning right uh if you think that composer oh yes this is the very grand also we keep it later even in the climax scene and then really so later to become like a peacefully happy ending something like that so this is how he thought about how to compose his music and put all the form together and in the same time he used all of the traditional music and improvisation of the with the southern side but the series are easily based on the four instruments but on this pin saying nothing and then manipulate it in the computer to make the solid side out of that and we become the sound of that gibbons channel engineer it uh he used this uh the thing to to represent it everything has a meaning in the sound he paint the whole thing with the sound with meaningful uh idea not just really cool like that it's so amazing really so interesting yeah so uh i don't want to go to too deep but i just gave you the idea because not only the the color instrument but also the tuning you have a lot of tuning here you know truly if you play the classical music you know now we use real template scale 12 12 tones like that and we also use the tie tuning on this speedpad and we have also the tuning especially for the string instrument for the lana music also it's three different tunings all together it gives us a lot of headache when we try to put them together but he managed it very well because he think really carefully that when we switch immediately you switch and you don't know that it's already switched like in the beginning we we come with a park parkour right it's a chanting is it in completely entire scale right when you chant yeah i know because i composed this rick myself and he started very very tight and then immediately contrast with the fanfare of the brass this is completely western sound and sorry to slightly sorry to slightly interrupt yes is it a little bit like speaking three languages in one century because he wants something very grand in the beginning he wants we want fanfare or something like a tunnel this is the opening but we start with the chanting first and we don't want to translate really really long text in the beginning of the theme so we just summarize into this relig and component to the reading so we just sing it yeah so and then follow with the fanfare and then start really release and then after you tie right western and come back to thai uh four immediately come back to seeing a very slow thing like a crew is chopping the tree and he he said to me that i want this x sound in the music you know that when you do the silent film we don't want to do we don't want to interpret like a modern film the modern film that you put every sound and to interpret that picture you fake everything to make to make it realistic but he said i don't want it to be realistic i want just that exile and then he started to throw the rivalry and said okay let's let's sam this axe out like a like only one tick and then he put into the assembly and tick tick tick tick tick tick tick tick tick tick tick tick tick tick the axe i'll come before the picture tick tick tick tick tick tick and then slow tick tick tick tick tick and then sing with the picture that the the first athletic crew on the last note oh you think a lot about this and yeah and then later he developed that exile to go along with the thing and then uh music start like like bring the audience into the life of the crew and his family something like that and go on you know i can go like this for many hours to tell you but if you come back and watch again you will see what i mean and so much so much detail in the music that he designed with the music and i can speak likely for the whole day thank you so much thank you for very depth in depth in depth that is like inside out um uh disclosed the secret secret recipe which normally kept in the family so thank you so much for giving us an opening the gate really into the family thank you so much and um we would like to hear from you i'm sure that you have questions thank you thank you yes hello uh well it's not a really question uh it's just like uh sharing my comments and i heard that uh i think i won uh talking about the three different tuning systems at the same time and it may just like makes him just as a headache right uh-huh but to me myself i think that is very uh it reasonable the start of the nature yeah just like when we walk into the forest we can see that we can hear the sound of the wind through the leaves and south of the water sounds of the animals and it comes from just like three different sources and they cannot get along together yet not clean and clear i mean it not clean and clear but it comes together and it just like gives us a feeling of being in a nature being in the forest and i think that that this tuning system they are different but it can make me feel like i'm in the real forest yeah thank you thank you thank you thank you oh yes thank you uh thank you for having this and i was so oh my god i speechless it was amazing okay uh but i just i just want to point out one fact okay uh the name of the leader leading character is crew actually there is no name in thai crew crew is a a pronoun okay it is a what you call someone who is very knowledgeable and you pay respect to it and i s this time with this highly the visual is so is better i saw this film before and this time it was so stunning and i i picked up a lot of details uh from the from the motion pictures uh it kind of reminds me of how crew bruce is dealing with crew bon jong i saw the cameraman as bruce gaston in the jungle okay i just want to say this that's all there is to it i hope i can contribute something thank you yes thank you hello uh first of all i just would like to share some ideas like first of all i would like to say thank you to our good morning good hand to bring this movie back to this injury and this is something that actually stunned me and this is quite a very wonderful holiday to see the chang in the film and shows a lot of things about the culture in the past and also uh the life of the people during that time and uh for me myself it thinks about the time that uh in the old days that read about the novels and also the literatures like uh petra uma or some things like this in thailand this is show some things about the forestry and it's just some things that combines so well with fong nam ka with the with the sounds of of music and lingash and make the movie alive just like to say that thank you thank you thank you hello hello hello oh it works um so i don't have a background in film or music whatsoever but i think my first impressions is something that i don't actually asked in the beginning which was how do you feel and i remember telling atn my friend here i said i didn't think that when i watched it i didn't feel that the image and the sound were separate it was something that was a complete experience and so the goal of a sound design is something that actually john lord entity and i worked on it briefly which is the idea of creating sound design and cone even in that each element can create different emotions and so when you put it together the person that watches the performance or tongue it's they create an experience and a feeling and emotion and it's not forced it's something that occurs naturally and so this is something that i felt when i watched the film that it wasn't i didn't even notice the musicians i thought it was something that was actually part of the film you know i mean i knew they were there obviously like but it felt very much part of it and so i think that was quite amazing and something else that because i didn't know his work his work before is that the use of the uh electronic was quite impressive the electronic and the sounds for the more not darker but the more intense scenes which you see done for the sound design of cold and traditional tide performance as well and so it's amazing that he was able to do this as someone who's uh not who who's coming from a different culture and he was able to integrate elements from hit you know electronic or western music and do so in a tie with a thai setting in a slight storyline i thought that was very impressive so i really want to know it's like with the combination of all these different genres because these are genres that i didn't expect together at all you know like the you know the northern music with the western music electronic is something that i felt that was really impressive was how was it received by people who first heard it were you was uh the people that when let's say thai musicians traditional thai musicians or thai people who watched it or foreigners who watched it was what were the impressions that people had and what were the fears that you had when you're doing the film what were the difficulties what were the fears and what was the response so that's thank you very much so so when was it first played i think it's so many layers of this equation but [Music] you know that you can watch this film without knowing anything and still enjoy right you can get the feeling of the mood is very clear the color is so clear until you can feel everything like oh it's go together very well so this is the like uh the upper level the upper area that everyone can understand no matter you understand high music or not but in the second layer if you have more experience in thai music and then you start to appreciate ah he used a song here he change the sound here ah it's give more meaning right and if you know about western music and you can capture this this the different tuning is it tightening is it how it's got together you will even enjoy even more the more you have the knowledge and actually and the more you will enjoy this film and the music he already created it's just like a experience you know that if you go to watch something how many times you can repeat watching watching some film even marvels how many times maybe you only want two enough but when you go to watch the musical theme how many times you watch the musical team maybe 10 20 some musical you like very much i want to go to watch it again and again and again i think i don't have the very instant answer for this but the thing is this is the same thing i stayed with this stream for yeah 30 years and every time i go open uh the sequence to look and to work out oh my god what are you gonna do with this the the next show time tomorrow i will play something different even for the musician he will try something new on a time that's why music is always alive i i i'm not sure i answer your question what is it probably i um just add on taiwan it can be good at both sides if you know nothing about traditional music of electronic music and watch this film it's good for you to open your your heart your mind your learning your new experience and it's good also if you know everything as a kaion said about you know traditional music to electronic music to computer music and film score it it gives you every second every minute of surprise of preparing yourself for the next minutes what you're going to hear what you need to feel um but it would be better if you can share you can talk you can exchange your idea discuss like uh you know this moment that we see together from the practitioner and from the audience side this is beautiful world of exchange learning and sharing the idea and it doesn't matter we talk correct english or we talk badly english but we still communicate so it doesn't matter the thai scale tuning the western scale tuning they as far as you can communicate and you can touch the people heart i think it works in that way and bruce found a way to balance everything you know from the traditional salt electronic salt jungle salt even the natural salt and we we all enjoy and beyond enjoy we remember this and we i hope someone inspired from this experience and can go further in your own life so this is what i i can feel about this thank you so much there's one part of the the previous question that i'm still going to if i may i'm still going to ask what what are your fears as musicians in in in such a kind of challenging amalgamation of of different genres different ideas different traditions do you fear being [Music] branded as a misinterpreter do you fear any disrespect to the each of the various traditions that you um borrowed or extrapolate certain ideas certain traditions sorry to be to be to be blunt but but i think this uh this this is interest is interesting for me perhaps not to everyone but but i i i'm sure you you have to navigate a lot of uh fears well this work started from you know two gentlemen who has no fear to come to this land to go to the jungle and film the tiger and show to the world their premier in new york they're not premier in bangkok lido this is very much you know many years later so they start from bravery and the south also started from very brave men who came from la america for 50 years ago learned thai music try to understand whatever thai people realize and that's important to their life and then present back to thai people and communicate to the world so should be afraid of anything if those people you know young also he never afraid to teach his best knowledge and lift on the legacy to the american people and who who are we if uh we we think this is clearly you know beyond the the fairness we should really enjoy the beauties of uh bravery or whatever word i i don't have that specific i'm gonna add something a little bit uh dad was always having crew bajan on his side he always start from crew western music and all he learned before gruben young is only but the core when dad came here in first in chiang mai uh i asked him well what was it what was my why thai music he said was the most beautiful thing you've ever heard he was just a teenager a little bit lost i would say he would say but it was thai music that got him back on track the war and everything america was in turmoil but it was time music and he wanted to dive deep into that and not just he really respected the thai musicians and in the end he always will tell me the son good music wins in the end i'm sorry i just when i met ruben young he was the most brilliant teacher he ever had and to him he would always feel that he was fearless because he would always go to crew first crew was number one in his mind every every time we had a show we y crew crew was a big part of the dad's life and that what made him fearless because he didn't do it out of himself he did it out of a tradition he there was a lineage there was a heritage he just he interpreted something that was beyond himself and he didn't was just wasn't about him expressing it he was a conduit for something greater than he was and and that was made him fearless and that's what made a pikai pibazan pinong today fearless to come out to you guys with the hmong and do some charles eyes and do some john cage today and dad would always hand these guys some kind of instrument and in the middle of the show and they have to do it and you know this is the beauty of music it says and [Music] thank you to everybody for uh profound nam guys for still being here and continuing him on fearless speaking fearless face your fear and make music thank you very much um i also thank you for the messages in your eyes from the audience i see the message in your eyes that you are sending me messages you are sending messages to all of us on the stage even though you're not saying unlike when i'm teaching online and i'm trying to see into the eyes of my students online maybe i'm a lot of good teachers but i think we've got a lot of inspirations tonight a lot of information to carry on tonight a lot of fire even though some fear i mean looking back at the journey of ajahn bruce gaston that he paved his way to be a musician to be a student to be a composer to be kunku for all of us here tonight i would like to ask teddy one more questions to sum up and also to end tonight teddy when you're looking back to the items on the stage whether they are a musical instruments or a laptop or the wired or um anything on the stage you're living with uh you are actually living in a living museum you're living with a legend this stuff behind you what does it mean to you the instruments how old are they the laptop behind you how old are they the laptop is dan's laptop actually so a 20 year old laptop but so in in essence dad is here with us he played tonight for you everybody today and there's a lot of stuff in the sequence that it's actually him playing and so i'm just so happy and overwhelmed by all that and all the instruments here uh dokkong tat over there pinang can talk about the story of carrying it on the subway in england but yeah it's i don't know i grew up with this and i'm just so privileged to be able to be here bringing all these instruments out of the house out of the storage room on stage again it just means so much to me and i'm just so overwhelmed i'm sorry guys but yeah capo and thank you john wrote do everybody and okay well i hope this play with you guys again soon thank you so much thank you so much everyone on the panel thank you thank you come back again tomorrow even though the tickets are like sold out but you can see the seat you know tomorrow is going to be in thai if you want to be engaged if you want to send us the message out loud if you want to voice what's think the sound your heart please come back tomorrow and also maybe see live send us the message to family or to the faculty of fine applying art we sit out physically virtually if you need more information or you have not download the booklet the booklet is in full versions so there are more photos there are more interviews with pikai with as unknown and tomorrow condoms um the founder of the thai archive will be with us to tell us why he get into chang and how did he bring chang to thailand foreign you

2022-06-01 23:16

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