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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

The four Nora photographs taken by King Chulalongkorn and discussed above

demonstrate that Nora was a both a distinguished performing art for local people and something
new that interested the King.The decision to present a Nora performance for the King aligns with
the common principle in Thailand of offering only the finest things to the monarch.
Thus, it is most likely that the Nora captured in these photographs represented not
only the best local performers of the time, but also those able to showcased their artistry both

to the King and to visiting dignitaries. The performers were likely part of a troupe held in high
esteem by the local community.
King Chulalongkorn was an exceptional ruler, strategist, and a great diplomat who also

was interested in all aspects of his kingdom. Although not as much of a scientist as his father,
King Mongkut, he skillfully made some technologies from the West part of Siam culture. His use
here of cameras, photography and image development practices show how he used modern
technologies to realize his interest in documenting new parts of local cultural life in Siam and
in recording the richness of the Siam’s diverse traditions and artistic heritage.

At the same time, the photographs showed Siam to be a kingdom that, under his
reign, was a progressive and sovereign kingdom that was involved with some aspects of Western
modernity. The photographs provided historical evidence for nobles and citizens from other

regions to appreciate the rich variety of the arts and ways of living in the distinct communities
constituting the kingdom. Despite their great artistic and cultural variation, all subjects of the
King were regarded as both polamuang – those who show “the might of [Siam’s] kingdom” –
and pracha or “children” of a benevolent monarch who has great virtue and boundless
compassion, and who devotes himself tirelessly to royal duties to ensure the well-being and

stability of his people throughout the kingdom under the principles of the Tenfold Virtues of
Kingship.

3. Nora Photographs Produced During the Reign of King Vajiravudh (Rama VI)

Further research on three of the four above photographs of Nora performers, reveal that
the images taken by King Chulalongkorn depict the famous Nora Klai Phrommes (1853-1933)
and his troupe. According to written records left by his descendants, Nora Klai was renowned
2
for his graceful and flexible dance poses and movement that inherited the tua onn (elastic body)

style marked by acrobatic flexibility as the hallmarks of his performances. Notably, his signature
tha tua onn (graceful elastic body pose) and the tha kinnon leap tham (the Kinnon [Kinnara]
moving through the cave pose) are unique poses called “Khee-non” in the Southern Thai dialect.

2 This is spelled according to the book The Dance and Performance Textbook, written by HRH Prince Damrong
Rajanubhab, 2466 (1923).

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