[12], In Ancient Greece the practice of keeping a concubine (Ancient Greek: παλλακίς pallakís) was common among the upper classes, and they were for the most part women who were slaves or foreigners, but occasional free born based on family arrangements (typically from poor families). by Margaret Landon | 29 Mar 2001. “Sao Khrua Fa: A Dream that Came True” [สาวเครือฟ้า ฝันที่เป็นจริง]. 310–311. [46] In Ming China (1368–1644) there was an official system to select concubines for the emperor. Cixi first entered the court as a concubine to Xianfeng Emperor and gave birth to his only surviving son, who later became Tongzhi Emperor. Princess of Nan. Semang boy Khanung, as photographed by King Chulalongkorn (N.d.). See Maxwell, Anne. Restaurants near Concubine 132 Gouger St, Adelaide, South Australia 5000, Australia. [1] In slave owning societies, most concubines were slaves,[4][dubious – discuss] often called "slave concubines". Bunnag sisters and children sharing a meal on the veranda of the king’s residence, Figure 6. Even though the woman would not be a legal wife, a situation normally considered a demotion, many wealthy merchants believed that being the concubine of a samurai was superior to being the legal wife of a commoner. See La-ongsri, Chawali Na Thalang, Charnvit Kasetsiri; Kanchani. However, in 1905, royal photography became visible to Bangkok’s general public via a photography contest and exhibition held during the annual temple fair at Wat Benchamabophit. See Sara Miphongit [สาระ มีผลกิจ], Ratchasamnak Fai Nai Samai Rattanakosin [ราชสำนัก ฝ่ายใน สมัยรัตนโกสินธ์]. This photography contest was opened to members of the general public, and entries were accepted from 123 contestants, including a number of foreigners both Western and Asian; nearly half of the 395 images were submitted by Siamese royals and consorts themselves. These peoples shared the Lan Na (or khon muang) dialect, and had a long history of exchanging women in marital alliances; they thus shared much more culturally with each other than they did with the Siamese. Colonial Photography and Exhibitions: Representations of the “Native” and the Making of European Identities. These Oh Clique sisters accompanied the King on several trips in the early years of the twentieth century, including the king’s 1901 and 1906 trips to Java, Indonesia, and Singapore;[16] a 1902 trip to the summer palace at Ayutthaya, and a tour of Siam’s central provinces in 1906. The term is a loanword from Ancient Greek παλλακίς,[68][69][70] meaning "a mistress staying in house". Kameko, as the child of the formal wife, married a noble man and matrilineally carried on the family name.[55]. If he does, the audience will be large. Some of the sovereign's concubines in their apartments, Siam , engraving from Travels in the Central Parts of Indo-China, Cambodia and Laos During the Years 1858 and 1860, by Henri Mouhot , Treves... Get premium, high resolution news photos at Getty Images Ohn Bunnag (second from L) with daughter Adisai Suriyapha (center) at, Figure 7. The Provincial Administration of Siam, 1892–1915: The Ministry of the Interior Under Prince Damrong Rajanubhab, “Foreign” Princess in the Siamese Court: Princess Dara Rasami, the Politics of Gender and Ethnic Difference in Nineteenth-Century Siam. As previously discussed, Dara Rasami traveled to her hometown of Chiang Mai for several months in 1909. Recently promoted to the rank of High Queen [พระราชชายา], Dara Rasami poses for a formal portrait in her hometown, Chiang Mai. [41] A concubine's treatment and situation was variable and was influenced by the social status of the male to whom she was attached, as well as the attitude of his wife. Erb and her sisters moved into the compound they had built nearby, where they lived for the rest of their lives. [9] "The children of a concubine were lower in rank than the descendants of a wife, but they could inherit if the marriage of the latter remained childless."[9]. [49] This production, entitled Sao Khrua Fa, became a huge hit when it was first staged in the summer of 1909. Yet, Lao people were also mentioned as chaopa and some accounts dissected Lao customs and described them topically similar, to the description of chaopa... For the Thai elite, the Lao were somewhere between the two kinds of Others.”[46]. 29, she directs her gaze away from the camera and out of the frame, suggesting greater remove from the viewer. National Archives of Thailand: Photograph Division, Bangkok, Thailand. Kidnapping a concubine, although common in fiction, would have been shameful, if not criminal. But during Rama II's reign Western influences again began to be felt in Siam. "[9] It was illegal for unmarried women, prostitutes and slave women to wear a veil in the street. While Erb’s portraits allow us to see Dara Rasami’s role in constituting an exotic feminine “other” that played into Siamese crypto-colonial discourse, the images get us no closer to an understanding of Dara Rasami’s motives, desires, or notions of her own ethnic identity. Whereas Siamese consorts wore their hair in a short-cropped “flank” style (like Erb’s hairstyle), the Lao women wore their hair long, pulled back and wound into a bun at the base of the skull. See also the Thai-language Wikipedia page devoted to the Kok Oh: http://th.wikipedia.org/wiki/ เจ้าจอมก๊กออ. The Ambiguous Allure of the West. From the Eastern Han period (AD 25–220) onward, the number of concubines a man could have was limited by law. Many of these portraits are instructive as to how they reflect the royal family’s familiarity with the camera, as well as the photographic standards of the time. Two different sets of furniture are used in these portraits. A band of wicked townsmen attack the house and demand the host send out the Levite man so they can rape him. Letter to Dara Rasami, dated July 2, 1909, pp. [60] Thus contemporary media continues to keep alive the trope of the exotic and beautiful yet tragic ‘northern’ heroine. The plain black backdrop also serves an important function in the image: by disappearing behind the subject, it keeps the viewer’s focus fixed upon the woman in the foreground, followed by the secondary images available within the mirrors behind her. Such blended styles reflect the Siamese attunement to Western cultural standards, at the same time adapting them to fit local standards and aesthetics. Having been impressed by Puccini’s Madame Butterfly during his 1906 tour of Europe,[48] King Chulalongkorn assigned his half-brother, Prince Narathip, to create a Siamese version of the work. Anthony Hope: I think there's been some mistake. Such concubinage was practiced in patriarchal cultures throughout history.[5]. Interestingly, there is also evidence that Dara Rasami disapproved of the drama’s message. Figure 5. All images courtesy of the National Archive of Thailand, unless otherwise noted. Directed by Andy Tennant. In the Levitical rules on sexual relations, the Hebrew word that is commonly translated as "wife" is distinct from the Hebrew word that means "concubine". Royal consorts received their own separate residences upon the birth of a child. In these images Dara Rasami projects the dignity of a high queen, while simultaneously affirming her ethnicity via her dress and hairstyle. From King Chulalongkorn’s personal letter to Dara Rasami dated 2 July 1909, collected in Prayut Sittiphan, รักในราชสำนัก รัชกาลที่ ๕ [Love in the Royal Palace of the Fifth Reign]. (Translation by Mattani Rutnin. Winners of gold, silver and bronze medals were decided by popular votes tallied at the exhibition; unsurprisingly, one of King Chulalongkorn’s own photographs won the gold medal. Margaret Landon mixes mostly fact with fiction to evoke with stunning detail a time when foreign lands were still unknown and traditions ruled daily life. These sartorial choices were informed by both cultural and political considerations. The image of the ‘northern beauty’ popularized by the Siamese Madame Butterfly, Sao Khrua Fa, however, has persisted in the Thai imagination down to the present day. Usually dispatched within 4 days. The higher rank and the more noble identity a man possessed, the more concubines he was permitted to have. Concubine of Siam is a collection of poems. North of Siam, lay the Kingdom of Nan, forgotten by time, Her king, proud and aloof. Sineenat was trained as an Air Force pilot and rose through the ranks to become major general in May, according to the biography released by the palace. Following her departure to Chiang Mai, King Chulalongkorn took the extraordinary step of promoting Dara Rasami to the rank of high queen, adding a potential element of royal status to Erb’s images. [27] This event rapidly became a major social event where royals and commoners alike could mingle in a carnival-like atmosphere, and it was attended by thousands of Bangkok’s citizens. [43], During the Qing dynasty (1644–1911), the status of concubines improved. Yanagihara Naruko, a high-ranking concubine of Emperor Meiji, gave birth to Emperor Taishō, who was later legally adopted by Empress Haruko, Emperor Meiji's formal wife. Figure 24. "[87] Most Islamic schools of thought restricted concubinage to a relationship where the female slave was required to be monogamous to her master,[88] (though the master's monogamy to her is not required), but according to Sikainga, in reality this was not always practiced and female slaves were targeted by other men of the master's household. There is, however, another event which contributed to Siamese notions of Dara Rasami’s Lao-ness, particularly as it related to her long hair. [14] Erb’s fortunes took an upward turn in the later 1890s, a period which coincided with the suburbanization of the court. The Joseon dynasty established in 1392 debated whether the children of a free parent and a slave parent should be considered free or slave. Another part of the discourse which proved very powerful in locating Lao-ness—and especially Lao femininity—is that of Sao Khrua Fa (“Miss Butterfly”), the Siamese adaptation of the operetta Madame Butterfly. The circulation of such images efficiently transmitted Europe’s new ideals of eliteness, femininity, and ethnic stratification to the Siamese elites by showing, not telling; the seamless surfaces of the photograph foreclosing the possibility of the image’s untruth or unreality, showing supposedly merely whatever was before the lens. [61] According to Rashi, "wives with kiddushin and ketubbah, concubines with kiddushin but without ketubbah"; this reading is from the Jerusalem Talmud,[60]. Upon the completion of the first royal pavilion at Dusit Park in March of 1899, Erb and the Oh Clique were some of the first royal women to stay there. Ebook Download Code: The Hidden Language of Computer Hardware and Software (Developer Best Practices) Book (Most of these were the children of concubines and thus not eligible to inherit the throne.) Reserve: 25/09/2020 ... Star of Siam #31 of 1,598 Restaurants in Adelaide 539 reviews. [93] These views are contested by others, who hold that mut'ah is a temporary wedlock option in Islam for avoiding illegal sex relations among those Muslims whose marriage is legitimate but for certain constraints they are unable to avail it. Excerpt: Kingdom of Nan. Nonetheless, however, whether Dara Rasami’s people ranked as “somewhat backwards” or “uncivilizable,” what is relevant for our purposes is that they ranked distinctly below the Siamese in their construction of ethnic hierarchy. In Figure 28, her serious look is directed into the camera lens, while in Fig. Excerpt: Kingdom of Nan. A local old man invites them to stay in his home, offering them guest right by washing their feet and offering them food. These activities reflect the court’s regular engagement in leisure pursuits—particularly outdoor activities—similar to those of their Western elite counterparts. Though this play was produced by Dara Rasami herself for performances within the palace, it never garnered the same attention as did Sao Khrua Fa, and consequently it was never performed in public. The photograph’s subject is another royal consort, Princess (later High Queen) Dara Rasami, who had come to Siam’s royal harem from the neighboring kingdom of Lan Na (today’s northern Thailand), and whose long hair signals her ethnic distinction from the Siamese. Chulalongkorn, also known as Phrachunlachomklao and Rama V, was the fifth king of Siam under the House of Chakri from 1868 to 1910. See examples in the collections of the V&A Museum, London: http://collections.vam.ac.uk/item/O10875/silk-acheik-luntaya/. As a fifteen-year-old, Chulalongkorn ascended the Siamese throne, but becau… 2.4 secs. There was a confrontation with Vietnam, now becoming a major power in the region, over control of Cambodia in 1813, ending with the status quo ante restored. This event was also a point of contact between Erb and Dara Rasami. There had been only one other consort who had come to the palace from Lan Na during the Fifth Reign: Chao Chom Manda (Consort-Mother) Thipkesorn, who was a cousin of Dara Rasami. Erb’s experiments in shooting portraits; this series features her sister, Uen. Chiang Mai: Center for the Study of Social Issues, 2001. 2.1 secs. This story provides the additional context necessary for reading Dara Rasami’s performance of this “foot-washing” gesture. [34], King Chulalongkorn, like his father, imposed new standards of dress early in his reign, as well as various rationalizing administrative practices, in order to make Siam siwilai. But I do know that having more than 1 wife is against the teachings of Thai Bhuddism but this doesnt seem to bother either the King or his son !! Second formal portrait of Dara Rasami taken in Chiang Mai in 1909. [57] Female slave-servants or slave-performers could be elevated to the rank of concubine (called khavas, pavas) if a ruler found them attractive. [10] Women of any social level could fill these roles, but their attachment to the palace provided great prestige and status. The inability to give any kind of consent when enslaved is in part due to the ability of a slave master to legally coerce acts and declarations including those of affection, attraction, and consent through rewards and punishments, but legally the concept of chattel slavery in the United States and Confederate States defined and enforced in the law owning the legal personhood of a slave; meaning that the proxy for legal consent was found with the slave's master who was the sole source of consent in the law to the bodily integrity and all efforts of that slave except as regulated or limited by law. As a Lao woman within Siam’s most elite circle, Princess Dara Rasami’s representation of “civilized” Lao-ness through hybrid dress problematized the discourse of siwilai as it applied to Siam’s northern periphery. Amongst royal consorts, sartorial style also began to align with European standards of feminine style: Note Queen Saowapha’s lacy Victorian-style blouse, complete with puffed sleeves and ropes of pearls (Figures 11 &12 ). [86] Others contend that concubines in Islam remained in use until the 19th century. King Chulalongkorn cooking on the porch of the, The Wat Benchamabophit Photography Exhibition and Contest of 1905. Even among merchant families, concubinage was occasionally used to ensure heirs. [78] Islam furthermore endorsed educating,[79] freeing or marrying female slaves if they embrace Islam abandoning polytheism or infidelity. Especially among royalty and nobility, the woman in such relationships was commonly described as a mistress. In this instance, Saowapha’s pose echoes those utilized by European royals, in whose eyes the Siamese wished to be seen as equals. During the same era in which royal concubinage was losing ground politically, it was rapidly morphing—via photographic imagery—into a powerful tool of crypto-colonial discourse. [37], The two views, Christian condemnation and secular continuity with the Roman legal system, continued to be in conflict throughout the entire Middle Age, until in the fourteenth and fifteenth century the Church outlawed concubinage in the territories under its control.[37]. Before the king and the assembled retinue, she “let down her muan [hair bun] and ‘wiped’ the king’s feet [with her hair] in the northern custom, bursting into tears.”[57]. Bunnag women had been linked maritally to the Siamese royal family since the later sixteenth century, during the Ayutthayan era (1350–1767). Despite their suburban spaciousness, the grounds of Dusit Palace, like those of the “Inside” of the old Grand Palace grounds, were still walled off from the outside, and remained off-limits to all but the King, his consorts and their children. North of Siam, lay the Kingdom of Nan, forgotten by time, Her king, proud and aloof. Wives, Slaves and Concubines. Every two years he would get rid of a couple hundred concubines and replace them with a fresh supply. Firstly, let us consider the intimate, staged dressing-table backdrop. Thus, Dara Rasami served a dual role in the palace: both diplomat and hostage to a political alliance between the two neighboring kingdoms. The Geishas of Japan, the concubines of Siam, the catamites of Greece, the harlots of India. 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