The penetration of the text of the song by a renowned poet and writer from broadsides to hymnals and prayer books provides interesting and rare evidence of the journey of an artificial song to the unified hymn book. The song was also included in Písně a modlitby pro studující katolickou mládež by Blahorod Čap, who had the collection printed in Litomyšl in 1869. At that time, it also appeared in the contemporary Perla pravých křesťanů, compiled by František Křenek and published in 1860, as well as in the prayer book Květinná malá zahrádka, published in the printing house of Alois Josef Landfras and his son in Jindřichův Hradec around 1860. In the same year, the song was included in the hymn book Písně ke mši svaté pro školní mládež and three years later in a hymn book from the same printing house Písně ke mši svaté, k úžitku osady Hostounské a Únětické and in 1860 in the Zpěvník pro chrám, školu i dům. In 1852, the author himself included it in the second edition of the prayer book Růže sionská, although it is not part of the first edition from 1845. Its earliest extant edition is a broadside from 1845, which was followed by similar editions from 18, 1854, 1855, 1859 and another two undated. In the 19th century, the song was published in several types of printed media. This song for the Holy Mass is included in the current unified hymn book in the section of the Ordinary and common chants of the Mass as number 517. The author of the text of this song is the Premonstratensian Eugen Karel Tupy, also known under the pseudonym Boleslav Jablonsky. The article deals with the publication of the song for the Holy Mass with the incipit Pozdvihni se duše z prachu in the 19th century. This informative account, rich in ethnographic data, speaks to the multivalent responses to internal and external factors driving modernization in an indigenous and stateless community in northern Thailand. Forbidden Songs is an autoethnographic work by Chi Suwichan Phattanaphraiwan, himself an artist and composer working to revive the music’s place in Karen society, that offers an inside glimpse into the many ways in which Karen tradition is regulated, barred, enforced, reworked, interpreted, and denounced. With the disappearance of the music comes a loss of cosmology, ecological sustainability, and cultural knowledge and identity. Traditionally only heard at funerals and deeply intertwined with the spiritual world, these 7-syllable, 2-stanza poetic couplets housing vast repositories of oral tradition and knowledge have become increasingly feared, banned, and nearly forgotten among Karen populations in Thailand. The “forbidden” songs of the Pkaz K’Nyau (Karen), part of a larger oral tradition (called tha), are on the decline due to lowland Thai modernization campaigns, internalized Baptist missionary attitudes, and the taboo nature of the music itself.
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