mardi 22 juillet 2014

De Rorogwela à Sweet Lullaby



PLAYLIST

01 - Are'are' Music and Shaping Bamboo, by Hugo Zemp,141/33 min, 1979 (trailer), Malaita   
02 - " Rorogwela ", Fataleka and Baegu Music, Malaita, Solomon Islands, 1973 
03 - " Côcôti Kouadio " - Gun Morgan, Côte d'Ivoire 
04 - " Sweet Lullaby ", Deep Forest, 1992, Celine Music, France 
05 - Jeux d'eau, Baka, Cameroun 
06 - " Yodel ", Gabon: Musique des Pygmées Bibayak, Chantres de l'épopée, Ocora, 1989 
07 - " We Are the World ", USA for Africa, 1985
08 - " Kiro ", jeux d'eau, Îles Salomon 
09 - " Ushuaïa Polynésie ", spot publicitaire, musique de Deep Forest, 
10 - " Deep Forest "Deep Forest, Celine Music + Snysound/Sony Music, 1992 France
11 - " Pour Elise ", Richard Clayderman, Rêveries, 1979, France

[FR] Avant tous shampoings, spots publicitaires et hymnes à la Terre façon " We are the World", tout commença quelque part dans les Îles Salomon.

Accueilli entre 1969 et 1970 par l'anthropologue Daniel de Coppet, Hugo Zemp, ethnomusicologue-franco suisse, resta plus de six mois chez les 'Aré'aré de l'île de Malaïta auprès desquels il revint ensuite tourner un incroyable documentaire [piste 01].
Lors de ses séjours, Hugo Zemp eut l'occasion de réaliser des enregistrements auprès d'autres populations : les chants polynésiens de Ontong Java, la musique de Guadalcanale, enfin la musique des Fataleka et des Baegu du nord de l'île de Malaita.
Or c'est l'un de ces derniers enregistrements qui allait recevoir une attention toute particulière.

Chantée par une femme du nom d'Afunakwa, la berceuse " Rorogwela " [piste 02] fut d'abord enregistrée auprès des Baegu. L'enregistrement paru une première fois en 1973 sur la compilation Solomon Islands: Fataleka and Baegu Music, Malaita dans la collection " Musical Sources " de l'Unesco. Le disque fut ensuite réédité en CD par l'Unesco en 1990, dans la série " Musiques et musiciens du Monde " distribuée par Audivis. 
Les reprises de " Rorogwela ", particulièrement celle de Deep Forest, ont par la suite fait l'objet de virulents débats en ethnomusicologie.

Dans son article de 1996 qui répond à Deep Forest Hugo Zemp ne donne hélas que peu d'informations sur la façon dont il a traitait avec les Baegu :
" I personally sent all of the royalties back to the people through different intermediaries (the Solomon Islands Museum Association, the Cultural Headquartes, customs chiefs, local schools), partially in cash, partially in the form of battery-operated record players with radios. [note 4 : " Local leaders told me that people would like to have these records, but that the record players which I sent should also be useful as radio sets for listening to broadcast news, especially shipping news indicating time and places of the boats calling (important information for those transporting people and goods). "] " 
Hugo Zemp, " The/An Ethnomusicologist and the Record Business ", Yearbook for Traditional Music, Vol. 28, 1996, p. 38.
Toutefois, dans les années 1990, il n'était question ni de " Rorogwela ", ni des Baegu. Car Hugo Zemp avait tout d'abord été contacté par Deep Forest à propos des enregistrements réalisés de 1961 à 1967 auprès des Baules de Côte d'Ivoire (Ivory Coast: Baule Vocal Music, UNESCO Collection - Musical Atlas, 1972, EMI Italiana 3 C064-17842, réédité en 1994 sur CD, Audivis-UNESCO D 8048) : 
I was first contacted by phone by Mrs. Noriko Aikawa, Chief of Intangible Cultural Heritage Section of UNESCO (in charge of the UNESCO Collection) who informed me that young Belgian musicians were going to compose music for a CD in honor of an international Day of the Earth, using samples from African music published on UNESCO records. According to her, Simha Arom had already agreed, saying that these musicians at least were asking permission while others would just pirate recordings. Among the UNESCO records with African music which I had published, only the one on Baule vocal music from Côte d'Ivoire [piste 03] had been reissued on CD. Mrs. Aikawa had a demonstration tape of the planned CD and made me listen to it on the telephone. I couldn't recognize any tune on the phone, just the standardized rhythms typical of dance music made by computeurs and synthesizers [...] I answered that I was against this king of exploitation and that UNESCO should promote its own records of traditional music, which preserve the cultural heritage of the different peoples, rather than these commercial productions, which we call in France 'World Music' and which are mostly mixed in the big studios of European capitals to fit the taste of an international public [...]Since Bebey, a well know African composer and musician (who wrote also a Book on traditional African music), gave his personal support to the matter, I reconsidered my point of view, and out of respect to him, I said O.K. on the telephone to him. After all, I thought, it was for a justifiable aim: preserving and protecting tropical rain forests in the world. "  
Hugo Zemp, " The/An Ethnomusicologist and the Record Business ", Yearbook for Traditional Music, Vol. 28, 1996, pp. 44-45.
Bien loin de la Côte d'Ivoire, on peut donc comprendre que Hugo Zemp ait été surpris en découvrant la berceuse baegu dans l'album de Deep Forest :
" At my request, Le Chant du Monde gave me a copy of the Deep Forest CD [...] I put it unopened on my CD shelf and and unwrapped it only when I received a letter from Sherylle Mills, author of an article in this issues of the Yearbook, asking me about my involvement with this record, and when I received another letter from Australia by a student wanting to write a thesis about ethical problems. As I opened the package, I read indeed: "... Deep Forest has received the support of UNESCO and of two musicologists, Hugo Zempe [sic] and Shima [sic] Aron [sic], who collected the original documents." To my surprise I didn't recognize any of my original Baule recordings from the West Africa, but did recognize a sample of a lullaby from the Solomon Islands, published on the UNESCO record Fataleka and Baegu Music [...], and re-entitled " Sweet Lullaby " [piste 04]. "
Hugo Zemp, " The/An Ethnomusicologist and the Record Business ", Yearbook for Traditional Music, Vol. 28, 1996, p. 46.
En 1992, les deux français, Eric Moquet et Michel Sanchez, échantillonnèrent " Rorogwela " pour leur projet Deep Forest produit par Dan Lacksman pour Céline Music et distribué par 550 Music/Epic, une filiale de Sony Music. Le morceau fut rebaptisé " Sweet Lullaby ". 

Steven Feld, ethnomusicologue et commentateur de la controverse :
" L'enregistrement présente un accompagnement au synthétiseur ainsi que des interludes d'extraits numériques de jeux d'eau de la forêt d'Afrique centrale  [piste 05] et des yodels [piste 06]. Sur le premier refrain, la voix de Afunakwa n'est pas accompagnée ; sur le deuxième, elle est soutenue par une prolifération de voix numériques et un choeur enregistré en studio, créant ainsi un effet vocal dense du type We Are The World [piste 07]; sur le troisième, enfin, la voix de Afunakwa disparaît en se fondant dans le choeur qui reprend la berceuse. Au travers de cette progression sonore, on comprend comment ce qui fut distinctement le monde d'Afunkakwa est ensuite repartagé et devient un monde où sa voix n'est plus nécessaire pour imaginer sa présence [...]. " 
Steven Feld, " Une douce berceuse pour la ''World Music'' ", L'Homme in " Musique et anthropologie ", 171-172, 2004, pp. 397-396. 
Sur Youtube: 
'Women in the Solomon Islands [piste 08] also play water music this way and it is a magic sound.' 
Commentaire de Hopalong Music, Youtube, à propos de la vidéo des jeux d'eau Baka, 2013. 
'Wow I heard water drumming in Deep Forest -- Sweet Lullaby song and the yodelling aswell but the baka ppl were not even credited for it.' 
Commentaire de Glorio Sharp, Youtube, à propos de la vidéo des jeux d'eau Baka, 2013.
Deep Forest :
Deep Forest c'est le respect de cette tradition que l'humanité devrait chérir comme un trésor qui épouse l'harmonie du monde, celle-ci étant trop souvent compromise aujourd'hui. […] Quelque part dans la profondeur de la jungle, vivent de petites femmes et de petits hommes. Ils sont votre passé. Ils sont peut-être votre avenir. "  
Notice de Deep Forest. One CD, 1992 Celine Music + Snysound/Sony Music, DAN 4719762. 
Hugo Zemp :
" You have been disrespectful first to the musical heritage of Solomon Islands, using without permission a piece of music and concealing the source of your arrangement on the CD notes (you are mentioning only African sources), and second to the ethnomusicological discipline in usurping my name, making believe that I have given my support to your purely commercial enterprise [piste 09]. " 
Lettre de Hugo Zemp à Deep Forest in " The/An Ethnomusicologist and the Record Business ", Yearbook for Traditional Music, Vol. 28, 1996, p. 48. 
Steven Feld :
" La leçon à en tirer pour les chercheurs est que la confiance d'une communauté, la reconnaissance académique et le prestige institutionnel ne veulent pas dire grand-chose lorsque l'on est confronté à la loi internationale du divertissement, aux " majors ", aux médias et au monde du marketing tout comme aux agences de recouvrement et à des vedettes pop surprotégées et très biens rémunérées. En d'autres termes, ces différents acteurs incarnent la mondialisation, et à côté d'eux, l'ethnomusicologue fait figure de dinosaure. " 
Steven Feld, " Une douce berceuse pour la ''World Music'' ", L'Homme in " Musique et anthropologie ", 171-172, 2004, p. 405.
Deep Forest : 
" Quelque part dans les profondeurs de la jungle, vivent de petites femmes et de petits hommes. Ils sont votre passé. Ils sont peut-être votre avenir. " 
Deep Forest, " Deep Forest " [piste 10] (CD # 1) One CD, 1992 Celine Music + Snysound/Sony Music, DAN 4719762. 
Alain Swietlik, critique de disques qui a notamment ouvert les rubriques " Traditions " à Télérama en 1979, " Compact " en 1986, " Répertoire " en 1989 et " Ulysse " en 1990.
" Les musiciens traditionnels, c'est le Tiers-Etat et le Tiers-Monde des technocrates. Encore une histoire de dominants/dominés, une histoire de colons. Le dernier disque qui vient de sortir, Deep Forest est un cas flagrant. On cite l'origine des enregistrements sur la pochette destinée aux journalistes, donnée en Service de Presse, en citant simplement les disques qui ont servi de référence, et qui ont été " échantillonnés ". Et sur la pochette du disque grand-public, il n'y a rien, strictement aucun renseignement ! [...] Moi ce qui me choque sur les pochettes de disques de " World Music ", c'est le manque de respect, voire le mépris, affiché pour les musiques traditionnelles. On prétend que ce sont des Sauveurs avec un grand S et qu'ils sont là pour tirer ces arriérés de leur campagne, de leur sous-développement, pour les mener dans un monde technologique moderne et au Top 50. Je suis persuadé qu'un disque de " World Music " n'amènera jamais personne à l'écoute des musiques traditionnelles, comme je suis tout à fait persuadé qu'un admirateur de Richard Clayderman n'écoutera jamais une sonate de Beethoven [piste 11]. " 
Eric Montbez, " L'air du temps. World Music : Eden ou Eldorado ? Une entrevue avec Alain Swietik ", Modal, 1993, pp. 146-148.
Steven Feld :
" Once a recording is in the marketplace, one has little control over how it is consumed. Notes and other contextual material, as well as interviews and other media interventions, may be acts that indicate serious desire to take responsibility for representation; but they can't control what happens once the decision to commodify has been made. Quite significantly, that goes for ''merely academic'' recordings too […], even ones framed by obscure jargonized notes, musical transcriptions, or specific invocations. "  
Steven Feld, " From Schizophonia to Schismogenesis : The Discourse and Practice of World Music and World Beat " in G. Marcus & F. R. Myers (eds), The trafic in Culture, Refiguring Art anf Anthropology, Berkeley, University of California Press, 1995, p. 121.
Hugo Zemp :
" It will not help to seek refuge in the ivory tower of pure, disinsterested knowledge (if that ever existed). Ethnomusicologists cannot complain if the music they study and love is nowadays more widely known and appreciated than fifty years ago. " [...] 
" Postscript 9 October, 1996: One month ago, I phoned Celine Music, wondering why I had not received any answer. Celine Music would not comment, except that I should contact Sony Music. Sony Music Entertainment France, to whom I mailed a copy of the letter twice - on 31 July and, by registred mail, on 18 September - have not replied so far. Unesco neither. The director of the record company Audivis had written on 8 August, 1996, that while Unesco had been in favor of granting a license, he had refused permission and payment and had not signed any agreement. He added that he was glad about his decision. Finally, I received a letter date 1 October, 1996, from the two musicians. Michel Sanchez and Eric Mouquet, who maintained that my position was erroneous and what they had done had been appropriate. " 
Hugo Zemp , " The/An Ethnomusicologist and the Record Business ", Yearbook for Traditional Music, Vol. 28, 1996, pp. 53-54.
[EN] Before shampoos, TV spots, and humanistic anthems such as 'We are the World', everything started somewhere in Solomon Islands.

Hosted by the French anthropologist François de Coppet between 1969-1970, Hugo Zemp, a Franco-Swiss ethnomusicologist, stayed six months among Are'are' people of Malaita Island where he came back later to film an amazing documentary [track 01].
During his visit, Hugo Zemp had the opportunity to record music from others peoples: Polynesian songs from Ontong Java, Guadalcanal music, and music of Fataleka and Baegu peoples from northern Malaita.
But the music industry made a special case of the Baegu records.

Sung by a woman named Afunakwa, the lullaby 'Rorogwela' [track 02] was first released on the album Solomon Islands: Fataleka and Baegu Music, Malaita in 1973, and published in the UNESCO's collection 'Musical Sources'. In 1990, the vinyl was reissued on cd by the UNESCO in the collection 'Musiques et musiciens du Monde' distributed by Audivis.
The cover versions of 'Rorogwela', especially the one by Deep Forest, gave birth to virulent discussions among ethnomusicologists.

Alas, in his paper published in 1996 which replied to Deep Forest, Hugo Zemp provided just few informations about how he dealt with Baegu people:
'I personally sent all of the royalties back to the people through different intermediaries (the Solomon Islands Museum Association, the Cultural Headquartes, customs chiefs, local schools), partially in cash, partially in the form of battery-operated record players with radios. [note 4 : 'Local leaders told me that people would like to have these records, but that the record players which I sent should also be useful as radio sets for listening to broadcast news, especially shipping news indicating time and places of the boats calling (important information for those transporting people and goods).']'
Hugo Zemp, 'The/An Ethnomusicologist and the Record Business', Yearbook for Traditional Music, Vol. 28, 1996: 38.
On the other hand, in the 1990's, there was no discussion about 'Rorogwela' or Baegu people. Since Hugo Zemp was first contacted by Deep Forest asking permission for using sample from music recorded among Baule people of Ivory Coast, between 1961 and 1967 (Ivory Coast: Baule Vocal Music, UNESCO Collection - Musical Atlas, 1972, EMI Italiana 3 C064-17842, reissue on CD, 1994, Audivis-UNESCO D 8048) 
'I was first contacted by phone by Mrs. Noriko Aikawa, Chief of on Intangible Cultural Heritage Section of UNESCO (in charge of the UNESCO Collection) who informed me that young Belgian musicians were going to compose music for a CD in honor of an international Day of the Earth, using samples from African music published on UNESCO records. According to her, Simha Arom had already agreed, saying that these musicians at least were asking permission while others would just pirate recordings. Among the UNESCO records with African music which I had published, only the one on Baule vocal music from Côte d'Ivoire [track 03] had been reissued on CD. Mrs. Aikawa had a demonstration tape of the planned CD and made me listen to it on the telephone. I couldn't recognize any tune on the phone, just the standardized rhythms typical of dance music made by computeurs and synthesizers [...] I answered that I was against this king of exploitation and that UNESCO should promote its own records of traditional music, which preserve the cultural heritage of the different peoples, rather than these commercial productions, which we call in France 'World Music' and which are mostly mixed in the big studios of European capitals to fit the taste of an international public [...]. Since Bebey, a well know African composer and musician (who wrote also a Book on traditional African music), gave his personal support to the matter, I reconsidered my point of view, and out of respect to him, I said O.K. on the telephone to him. After all, I thought, it was for a justifiable aim: preserving and protecting tropical rain forests in the world.'  
Hugo Zemp, 'The/An Ethnomusicologist and the Record Business', Yearbook for Traditional Music, Vol. 28, 1996: 45.
Far from Ivory Coast, one can understand that Hugo Zemp was surprised to discover the Baegu lullaby while listening for the first time to Deep Forest:
'At my request, Le Chant du Monde gave me a copy of the Deep Forest CD [...] I put it unopened on my CD shelf and and unwrapped it only when I received a letter from Sherylle Mills, author of an article in this issues of the Yearbook, asking me about my involvement with this record, and when I received another letter from Australia by a student wanting to write a thesis about ethical problems. As I opened the package, I read indeed: '... Deep Forest has received the support of UNESCO and of two musicologists, Hugo Zempe [sic] and Shima [sic] Aron [sic], who collected the original documents. 'To my surprise I didn't recognize any of my original Baule recordings from the West Africa, but did recognize a sample of a lullaby from the Solomon Islands, published on the UNESCO record Fataleka and Baegu Music [...], and re-entitled 'Sweet Lullaby' [track 04]. '
Hugo Zemp, 'The/An Ethnomusicologist and the Record Business', Yearbook for Traditional Music, Vol. 28, 1996: 46.
In 1992, Eric Moquet and Michel Sanchez, French musicians, sampled 'Rorogwela' for their project Deep Forest produced by Dan Lacksman for Céline Music. The album was distributed by 550 Music/Epic, a branch of Sony Music and the song was renamed 'Sweet Lullaby'.

Steven Feld, ethnomusicologist:
'The recording also includes synthesizer accompaniments and interludes of digital samples from Central African forest water-splashing games [track 05] and vocal yodels [track 06]. On the first chorus Afunakwa's voice is solo; on the second chorus she is backed by digital voice multiplication and a studio chorus, creating a dense "We are the World" [track 07] vocal effect; on the third chorus Afunakwa's voice disappears into the linguistic indistinction of an ensemble singing her lullaby. Through this progression one hears how what was once distincly Afunakwa's world is now up for a new sharing, becoming, ultimately, a world where her voice is no longer necessary to her imagined presence.' 
Steven Feld, 'A Sweet Lullaby for World Music', Public Culture, 12(1), 2001: 155.
And on Youtube: 
'Women in the Solomon Islands [track 08] also play water music this way and it is a magic sound.' 
Hopalong Music's comment, Youtube, about Baka water-splashing video, 2013. 
'Wow I heard water drumming in Deep Forest -- Sweet Lullaby song and the yodelling aswell but the baka ppl were not even credited for it.' 
Glorio Sharp's comment, Youtube, about Baka water splashing video, 2013.
Deep Forest:
'Deep Forest is the respect of this tradition which humanity should cherish as a treasure which marries world harmony, a harmony often compromised today.'
Deep Forest's sleeve notes, one CD, 1992 Celine Music + Snysound/Sony Music, DAN 4719762. 
Hugo Zemp:
'You have been disrespectful first to the musical heritage of Solomon Islands, using without permission a piece of music and concealing the source of your arrangement on the CD notes (you are mentioning only African sources), and second to the ethnomusicological discipline in usurping my name, making believe that I have given my support to your purely commercial enterprise [track 09].'  
Letter from Hugo Zemp to Deep Forest in " The/An Ethnomusicologist and the Record Business ", Yearbook for Traditional Music, Vol. 28, 1996: 48. 
Steven Feld:
'The lesson for researchers is that community trust, academic recognition, and institutional prestige mean little whe you are up against international entertainment law, major record companies, the media and marketing world, music collecting agencies, and highly paid, highly protected pop stars. Here they are globalization, and you are a dinosaur.'
Steven Feld, 'A Sweet Lullaby for World Music', Public Culture, 12(1), 2001: 166. 
Deep Forest: 
'Somewhere deep in the jungle are living some little men and women. They are your past. Maybe they are your future. "  
Deep Forest's lyrics, " Deep Forest [track 10]" (CD # 1) One CD, 1992 Celine Music + Snysound/Sony Music, DAN 4719762.  
Alain Swietlik, French music reviewer and foundator of the 'Traditions' column of the Télérama magazine in 1979:
'Traditional musicians are the Third Estate and the Third World of technocrats. Another story of dominant and dominated, a story of colonization. The last record that just came out, Deep Forest is a perfect example. The sleeve notes give the origin of the recordings on the album cover for journalists [...] simply by quoting the others albums that have been used as references, and that have been 'sampled'. And on the sleeve notes for the public at large, there is nothing, absolutely no information! [...] In my mind, what is shocking on the sleeve notes of 'World Music' albums is the lack of respect or contempt toward traditional music. It is generally admitted that this music is made by 'Rescuers' with a capital R coming to bring undevelopped peoples out of their countryside, out of their undevelopment, and bring them to the technological modern world and to the Top 50. But I am convinced that no disc of 'World Music' will never bring anyone to listen to traditional music, as I am totally convinced that a fan of Richard Clayderman will never listen a Beethoven sonata [track 11].'
Eric Montbez, 'L'air du temps. World Music : Eden ou Eldorado ? Une entrevue avec Alain Swietik', Modal, 1993: 146-148.
Steven Feld:
'Once a recording is in the marketplace, one has little control over how it is consumed. Notes and other contextual material, as well as interviews and other media interventions, may be acts that indicate serious desire to take responsibility for representation; but they can't control what happens once the decision to commodify has been made. Quite significantly, that goes for ''merely academic'' recordings too […], even ones framed by obscure jargonized notes, musical transcriptions, or specific invocations.' 
Steven Feld, 'From Schizophonia to Schismogenesis : The Discourse and Practice of World Music and World Beat' in G. Marcus & F. R. Myers (eds), The trafic in Culture, Refiguring Art anf Anthropology, Berkeley, University of California Press, 1995: 121.
Hugo Zemp:
'It will not help to seek refuge in the ivory tower of pure, disinsterested knowledge (if that ever existed). Ethnomusicologists cannot complain if the music they study and love is nowadays more widely known and appreciated than fifty years ago.' [...] 
'Postscript 9 October, 1996: One month ago, I phoned Celine Music, wondering why I had not received any answer. Celine Music would not comment, except that I should contact Sony Music. Sony Music Entertainment France, to whom I mailed a copy of the letter twice - on 31 July and, by registred mail, on 18 September - have not replied so far. Unesco neither. The director of the record company Audivis had written on 8 August, 1996, that while Unesco had been in favor of granting a license, he had refused permission and payment and had not signed any agreement. He added that he was glad about his decision. Finally, I received a letter date 1 October, 1996, from the two musicians. Michel Sanchez and Eric Mouquet, who maintained that my position was erroneous and what they had done had been appropriate.'
Hugo Zemp , 'The/An Ethnomusicologist and the Record Business', Yearbook for Traditional Music, Vol. 28, 1996: 53-54.


mardi 8 juillet 2014

À propos

[FR] J'aimerais explorer dans ce blog le parcours de musiques, souvent méconnues d'une partie du monde, qui ont pu être reprises et diffusées en dehors de leur circuit d'origine, du moment où elles ont été fixées sur un support, physique ou numérique.

Avec ces morceaux, il s'agit de s'attacher aux paroles qui les accompagnent et les commentent. Car celles-ci, venues des quatre coins du globe, drainent des références plus diverses les unes que les autres qui une fois mises bout à bout donne un mix étrange qui à ce quelque chose du kitsch d'être un assemblage d'influences plus hétéroclites les unes que les autres.

Cette exploration s'attachera d'abord à l'Asie du Sud-Est, plus particulièrement à la Thaïlande. Le blog est conçu comme un catalogue d'exemples. J'essaye autant que faire se peut de donner la liste de lecture et le texte en français et anglais. S'il y a un quelconque problème à propos de la musique et des vidéos partagées sur le blog, je vous prie de m'en faire part. 

Toute contribution extérieure est bien évidemment la bienvenue, qu'elle s'intéresse au Royaume du Siam ou à tout autre pays !

Bonne écoute !

[EN] I want to follow different pieces of music, unknown from one part of the world. Music which has been broadcasted outside of its original circuit (through marketing, cover versions, samples), especially because it has been printed on media such as vinyl, tape or cd.

I aim to collect speeches and words which comments the circulation of these songs. Here, I would like to highlight the musical references that every reviewer brings from all around the world. References put altogether, one will probably hear a strange musical mix made of very heterogenous influences. I would like to listen to this kitschy mix.


I will focus on South East Asia, especially on Thailand. The blog is designed as a catalogue. I try as possible to give the playlist and the text translated in French and English. If there is any claim about the video or the music shared on the blog just let me know. 

Any contribution from outside, about Thailand or any other country in the world, whatever the language, is obviously welcomed!

Enjoy listening!