หมอช้างชาวกูยและเชือกปะกำ:
จากประเทศไทยสู่เมืองเคมบริดจ์

Kui Elephant Catchers and the Pakam Rope: A journey from Thailand to Cambridge

Created by Alisa Santikarn & Imogen Coulson

At the centre is Pakam god, a gold seated statue, surrounded by offerings. In the foreground, people can be seen worshipping the Pakam God.

Pakam God, Wat Pa Ajiang, Thailand. Photograph by Alisa Santikarn

Pakam God, Wat Pa Ajiang, Thailand

In 2023, the Museum of Archaeology and Anthropology (MAA) welcomed a new acquisition – a Pakam Rope (เชือกปะกำ). Scroll through to read more about the rope, the community it came from, and its journey all the way from Surin, Thailand to Cambridge, UK.

A large group of people sit facing a Pakam shrine. At the front of the group are several hmor ajiang - topless men wearing red cloth draped over their shoulders. At the centre of the shrine is the Pakam god - a gold statue flanked by large ivory tusks on either side. Pakam has yellow floral garlands placed around the statue.

Photograph by Alisa Santikarn

Photograph by Alisa Santikarn

ชาวกูย

The Kui

The ชาวกูย (Kui) people in Thailand are indigenous to the northeast of the country, near the Thai-Cambodian border, centred primarily around the provinces of Surin, Buriram and Sisaket. There are also Kui communities living in Cambodia and Laos. The Pakam rope, which is in collections in the care of the MAA, came from บ้านตากลาง จ.สุรินทร์ (Ta Klang village in Surin Province). The Kui community here is known as the
กูยอาเจียง (Kui Ajiang), meaning ‘elephant people’ in the Kui language. This is because this group of Kui people have a deep relationship with the Asian elephant.

In the past, the Kui Ajiang would catch elephants from the forests along the Dângrêk mountain range, which runs along the Cambodian border. Groups of หมออาเจียง (hmor ajiang), or ‘elephant doctors’, would enter into the forest on elephant-back, each with a Pakam rope much like the one in MAA that they would use to lasso any wild elephants they might find. The hmor ajiang would spend months in the forest in search of elephants and during this time they had to abide by a strict set of rules to ensure their safety. One of these rules involved only speaking a special language, known as the ภาษาผีป่า (phasaa phi pa), or the 'forest spirit' language.

Political conflict between Thailand and Cambodia (see the marker on the border between these two countries) in the 1950s disrupted the Kui’s traditional pathways for elephant catching, and the practice slowly declined, coming to an end entirely sometime in the 1950s–1960s.

The elephants that the hmor ajiang caught served various uses throughout history. They were provided to the Thai royal family, used as war animals, and later became integral to agriculture and the logging industry. Even though they no longer catch wild elephants, many Kui families in Surin still keep elephants that have been bred from wild elephants captured decades ago. Today, these elephants primarily serve the tourism industry, as the Thai government pays elephant owners in Surin to live within a certain radius of Ta Klang village, with the aim of making it the biggest elephant village in the world.

เชือกปะกำ

The Pakam Rope

The Pakam Rope was used by the hmor ajiang as a lasso to help capture wild elephants, but it is much more than a simple tool. These ropes also contain the spirits of the hmor ajiang's ancestors and are the embodiment of the Kui god, พระครู ปะกำ (Phra Khru Pakam) (see picture). 

Audio clip of Dr Sanong Suksaweang saying 'Pakam rope' in the Kui language. 'Pakam rope' written in Kui script can be seen in the background. Until recently the Kui language didn't have a written script. The script you see here was developed by Dr Sanong.

Audio clip of Dr Sanong Suksaweang saying 'Pakam rope' in the Kui language. 'Pakam rope' written in Kui script can be seen in the background. Until recently the Kui language didn't have a written script. The script you see here was developed by Dr Sanong.

Large, dark grey statue of Pakam. Pakam is a male-presenting figure with a serene expression and dangling earrings. He carries a knife in his right hand and a Pakam rope in his left hand. He is sitting cross legged, with his right knee raised. He is topless, and wearing cloth wrapped around his waist. He is elevated on a platform edged with pink and white flowers. Underneath is a sign that says Phra Khru Pakam in Thai. If on mobile, you will also notice a table under the shrine with various offerings. At the centre is a pig's head.

Statue of Phra Khru Pakam from Elephant Kingdom, Surin. Photograph by Alisa Santikarn

Statue of Phra Khru Pakam from Elephant Kingdom, Surin. Photograph by Alisa Santikarn

Even though the capture of wild elephants has stopped, these ropes still hold important cultural and spiritual significance. The hmor ajiang tradition remains alive today, and they maintain its knowledge by re-enacting the wild elephant captures using Pakam ropes. For this same reason, Pakam ropes also continue to be made. The rope in MAA is one of these new ropes, made since the end of elephant catching with the purpose of sustaining tradition. Ropes that are made for non-Kui people, and for the purpose of display – like the one we have in MAA’s collection – do not contain ancestral spirits.

Two adult elephants are on the right of the image, each elephant has two men sitting astride - one on the neck and one further down the back. The men are topless and wear red trousers. Each man has a Pakam rope. On the left is a baby elephant whose foot has been lassoed by one of the men.

Members of the Kui community reenact the traditional elephant capture as part of the annual Surin Elephant Round-Up, 14 November 2019. Photograph by Alisa Santikarn.

Members of the Kui community reenact the traditional elephant capture as part of the annual Surin Elephant Round-Up, 14 November 2019. Photograph by Alisa Santikarn.

วิธีทำเชือกปะกำ

How are Pakam Ropes made?

This is บุญมา แสนดี (Boonma Saendee). He is the head rope maker for the Kui community in Surin. Boonma is also currently the highest-ranked hmor ajiang in the community, having caught his first wild elephant when he was only 14 years old.

Boonma has a team of hmor ajiang who help him make the ropes, stating that it is a difficult process that takes six people. Pakam ropes are made from the hides of three water buffalo, from a mixture of male and female animals, and the strands of leather are braided together by hand. These ropes are typically 30-40 metres long (enough to lasso and hold the leg of an adult Asian elephant).

Although they no longer catch wild elephants, hmor ajiang still make the Pakam ropes to keep their tradition alive. They also re-enact the capture of elephants in the forest, using domesticated baby elephants as a substitute, to maintain this important part of their heritage.

A elderly man sits cross legged, blowing into a curved black horn. He is topless, with a piece of red fabric draped over his shoulder. He has on a pair of aviator sunglasses, a silver watch, and a think iron chain necklace. He has tattoos running down his left arm.

Boonma Saendee, Wat Pa Ajiang, March 2020. Photograph by Alisa Santikarn

Boonma Saendee, Wat Pa Ajiang, March 2020. Photograph by Alisa Santikarn

Watch the video and click on the images below to see a Pakam rope being made.

Saipha Salangam, Loon Salangam, and two other hmor ajiang finish making a Pakam rope at Wat Pa Ajiang, Surin, on 14 March 2019 to celebrate Thai National Elephant Day and Kui Day of the World. Video by Sitthivet Santikarn.

Saipha Salangam, Loon Salangam, and two other hmor ajiang finish making a Pakam rope at Wat Pa Ajiang, Surin, on 14 March 2019 to celebrate Thai National Elephant Day and Kui Day of the World. Video by Sitthivet Santikarn.

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Two men hold up a plank of wood with three holes drilled into it. Three strands of buffalo hide rope are threaded through each of the holes and braided together on the other side of the wooden plank.

Boonma Saendee oversees the braiding of a Pakam rope. Photo by Dr Sanong Suksaweang.

Boonma Saendee oversees the braiding of a Pakam rope. Photo by Dr Sanong Suksaweang.

Two men hold the ends of a braided rope. The man on the left is wearing a necklace made of iron chain, that dangles down above the rope.

Hmor ajiang tie off the ends of the Pakam rope at the end of the rope-making process. Photo by Alisa Santikarn, Wat Pa Ajiang, Surin, 14 March 2019.

Hmor ajiang tie off the ends of the Pakam rope at the end of the rope-making process. Photo by Alisa Santikarn, Wat Pa Ajiang, Surin, 14 March 2019.

Three men stand holding a block of wood with three holes drilled into the middle. The three strands of buffalo hide leather are threaded through each of the holes and braided together on the other side of the wood. In the background are three more men standing behind the block of wood, helping to pass the long threads of leather through the wooden block.

Boonma Saendee and other hmor ajiang work together to braid the three strands of the Pakam rope together. Photo by Dr Sanong Suksaweang.

Boonma Saendee and other hmor ajiang work together to braid the three strands of the Pakam rope together. Photo by Dr Sanong Suksaweang.

ศาลปะกำ

The Pakam shrine

While Pakam shrines can look quite different depending on their location and the family who maintains them, they do share a few common features. Pakam shrines are typically north-facing and the Pakam ropes are always kept elevated as a sign of respect, usually on the top shelf. Click through the photos in the gallery below to see a selection of shrines from around Taklang village in Surin.

The end of elephant-catching also impacted the traditional role of the hmor ajiang. For many Kui families, it did not make sense for their sons to hmor ajiang, and so the line of inheritance ended, even if belief in Pakam did not. As such, elephant-owning families today typically have one or two ropes made before the 1960s that are passed down through generations and shared by an entire extended family, as every family that owns an elephant and still believes in พระครู ปะกำ (Phra Khru Pakam) must have one. The ropes are kept in shrines called ศาลปะกำ (Saan Pakam).

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The shrine is made of four wooden posts, wooden planks on the base, and has a corrugated iron roof. On the base of the shrine is a wooden howdah - a chair used for passengers sitting on an elephant's back. The top level of the shrine is dark but holds a Pakam rope.

Pakam shrine example (Kui house in Taklang Village). Photograph by Alisa Santikarn.

Pakam shrine example (Kui house in Taklang Village). Photograph by Alisa Santikarn.

This shrine is also wooden with a corrugated iron roof but is larger than the other shrines and also has a sign that says Pa Kam in English and Pakam Shrine in Thai. A large rope is coiled on the right side of the shrine. A table at the base of the shrine, draped in a red tablecloth, holds elaborate offerings. At the front are glasses and bottles covered in paper to hide the labels. Behind are various food offerings, including a pig's head, boiled chicken, and various fruits. Two large offerings made of leaves and flowers flank either side of the table.

Pakam shrine with offerings at the Elephant Village tourist attraction, Taklang Village. Photograph by Alisa Santikarn.

Pakam shrine with offerings at the Elephant Village tourist attraction, Taklang Village. Photograph by Alisa Santikarn.

This shrine is a bit older than the other shrines but still has the main four wooden posts and the corrugated iron roof (a bit rusty). At the centre is also a howdah made of wood and rattan bindings. At the base of the shrine are planks of wood and a woven mat. At the top of the shrine is an old, coiled Pakam rope. At the bottom left of the image, in front of the shrine, you can just make out the top of an elephant statue.

Pakam shrine example (Kui house in Taklang Village). Photograph by Alisa Santikarn.

Pakam shrine example (Kui house in Taklang Village). Photograph by Alisa Santikarn.

This shrine made of four wooden posts, a wooden base, upper shelf, and a corrugated iron roof looks empty at first. The dark top shelf holds a Pakam rope as well as flower garlands. Old flowers are grey while newer garlands are still bright yellow.

Pakam shrine example (Kui house in Taklang Village). Photograph by Alisa Santikarn.

Pakam shrine example (Kui house in Taklang Village). Photograph by Alisa Santikarn.

ศาลปะกำมีอะไรบ้าง?

What is in a typical Pakam shrine?

This photograph shows the inside of a Pakam Shrine, built outside the home of a Kui family in Taklang village, Surin.

Here is the Pakam rope, placed in an elevated position on the top shelf of the shrine. There are several rules relating to the treatment of Pakam ropes. One, they must never be put on the floor. Two, women cannot touch them. Some Kui people believe the rope also cannot be touched by any male outside the family’s bloodline, such as sons-in-law.

Other important rules include making offerings to the Pakam ropes. Families perform offerings which keep the spirits 'fed' on a regular diet of whiskey (hblong in Kui) and water, although soft drinks have become more popular. Red Fanta is a particular favourite, but orange will do in a pinch.

Did you spot the statue of Phra Khru Pakam?

These floral garlands are called พวงมาลัย (phuang malai). They're a common feature of shrines across Thailand.

This is a howdah – a chair for people to sit on the backs of elephants. Shrines will often feature different items related to elephants, their capture, and domestication.

เครื่องบูชาและพิธีกรรมแก่ปะกำ

Offerings and rituals to Pakam

This shows the inside of the Pakam Shrine at Wat Pa Ajiang in Taklang village, Surin, during a ceremony at the temple as part of Thai National Elephant Day and Kui Day of the World in March 2019. While the previous shrine belonged to an individual family, this shrine belongs to the temple and is more ornate. It is where members of the local Kui community will gather for special celebrations like this one. Visitors from outside of Surin can also come to pay their respects at this shrine.

There are multiple Pakam ropes in this shrine.

Here's Boonma Saendee again, leading the ritual.

Because of the special occasion, the offerings to Pakam on this day are a lot larger. Here we can see various fruits – bananas, apples, oranges, and coconut.

But for the most important blessings, you'll see pig heads and cooked chicken. You can also see a bottle of water and soft drink, however, the Pakam ropes on the shrine have also had whiskey and Fanta poured over them already.

At this celebration, Boonma also played the สะไน (sanai) – an instrument typically made from buffalo horn. The sanai is played as part of worship and rituals, although in the past it was also used by the hmor ajiang to give signals when in the forest in search of elephants. Each sound would have a different meaning. You can listen to the sounds of the Pakam ritual in the video.

Ritual to Pakam - blowing สะไน (Sanai horn), Wat Pa Ajiang, Surin, 9 March 2019. Horn played by Boonma Saendee. Video by Alisa Santikarn.

Ritual to Pakam - blowing สะไน (Sanai horn), Wat Pa Ajiang, Surin, 9 March 2019. Horn played by Boonma Saendee. Video by Alisa Santikarn.

How did a Pakam rope from Surin province, Thailand, reach MAA in Cambridge?

In March 2023, MAA acquired a newly-made Pakam Rope, which was put on display in the museum's gallery. The rope was made in 2022 by four members of the Kui community – Boonma Saendee, Oh Salangam, Apinan Salangam and Kumnong Salangam. It was commissioned with the help of Alisa Santikarn – a PhD student at Cambridge working with the Kui for her research.

จัดแสดงของเชือกปะกำในพิพิธภัณฑ์ MAA

What is in MAA’s Pakam rope display?

Can you see what we did to display the Pakam rope in a similar way to the shrines you saw above?

The dark brown woven Pakam rope sits coiled at the centre of the glass display case. On the back left is a plastic replica of a floral garland, with white, blue, yellow, red, orange, and green stripes. In the back right is a small statue of an elephant in white, with its trunk raised and a blue piece of fabric draped on its back. In the front right is an opened bottle of red Fanta, partially filled, with a yellow straw sticking out of it, and in the front left is a bottle of Mekhong whiskey.

The Kui Association of Thailand has been campaigning to raise visibility and awareness of the Kui people. When asked what message he would like to include in the exhibit, Dr Sanong, Vice-President of the Association, said that he hopes it will encourage understanding about the Kui, and prevent discrimination "so we can live with one another happily". See the links below to learn more about the Kui people of Thailand, their history, and culture.

This digital exhibition and the collection of the Pakam Rope (supported by the Crowther-Beynon Fund) wouldn't have been possible without the knowledge, time, and generosity of the Kui people of Surin, Thailand. Particular thanks go to Dr Sanong Suksaweang, Boonma Saendee, the late Phra Khru Upthamworakul, Phra Khru Dr Samuhan, Sunthorn Soonsok and his wife Supatra, her father the late Da Oh, Dui Salangam, Saipha Salangam, Apinan Salangam, Pradit Salangam, Kumnong Salangam, Ta and Ba On Salangam, and Hern Jongjainan.

This work was supported by the Economic and Social Research Council [grant number ES/Y008294/1].

ดูข้อมูลเพิ่มเติมเกี่ยวกับชาวกูย

Learn more about the Kui

ล่าปริศนา ชาติพันธุ์ชาว Kui

The Khon Bannong blog which explores the history of the Kui

ชาวกูย

The Kui Nation blog. Find posts about Kui culture and activities here

อนุรักษ์ศิลปวัฒนธรรมไทเชื้อสายกวย กูย

A Facebook group that bring together people interested in caring for Kui culture

กอนกูยทีวี

A Facebook page for a TV channel run by Kui people in Thailand

กูย

Princess Maha Chakri Sirindhorn Anthropology Centre's Ethnic Groups Research Database entry on the Kui people

ประวัติศาสตร์ความเป็นมาของชาติพันธุ์กูย

An Indigenous Media Network article on the history of the Kui

กูย คือใคร⎜คิดเพื่อชาติ

Who are the Kui? Watch this YouTube video to hear more about the Kui directly from hmor ajiang and members of the Kui community in Thailand

มรดกภูมิปัญญาทางวัฒนธรรม คชศาสตร์ชาวกูย

A YouTube video exploring Kui intangible cultural heritage produced by the Thai government's Department of Cultural Promotion

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