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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

The latter written form is a variant of the mythical bird-like Kinnara (Kinnon) and gave Klai
3
Phrommes his stage name of Klai “Khee non” which means “Klai who dances as gracefully as
the mythical Kinnon.”
In 1908, Nora Klai Phrommes and a 13-member troupe traveled to the Grand Palace
in Bangkok to perform before King Chulalongkorn. In recognition of his skill, Nora Klai was
granted the rank and title of “Muen Rabam Bantherng Chatree” (Delightful [Nora] Chatri

Dancer at the Muen rank), often shortened to “Muen Rabam” (Dancer at the Muen Rank),
“Muen Rabam Bantherng” (Deleightful Dancer at the Muen Rank), or “Muen Rabam Banleng”
(Lively Dancer at the Muen Rank).

Later, in 1923, during the reign of King Vajiravudh (Rama VI), Nora Klai returned to Bangkok
twice in a two-month period. On the first occasion, his troupe was invited to perform before
King Vajiravudh, during which his student, Nora Modlin, impressed his audience with his graceful
and elegant portrayal of a female character. As a result, King Vajiravudh bestowed the family
name “Yodrabam” (literally “top dancer”) on him. During the second visit to the Grand Palace

by the troupe, Nora Modlin was absent since at the time he was leading the troupe in
a performance in Takua Pa and Krabi. (Wichien Na Nakhon, n.d.: 15–6) At this time, Nora Klai and
4
his principal student were officially invited by the Fine Arts Department to be photographed by

the Swiss photographer Martin Hürlimann, posing in various fundamental dance poses for Nora.
The resulting set of images became important reference material included in the 1923 Dance
Manual of Vajirayan Library written by Prince Damrong Rajanubhab (1862-1943).
5
3.1 The Background of the Nora Master’s Photographs
The photographs of Master Klai Phrommes and Nora Yen appear in Prince Damrong’s

Dance Manual, which was produced as a significant publication initiated during King Vajiravudh’s
reign. In his preface, His Royal Highness Prince Damrong Rajanubhab (1923: pp. iii–iv), describes
the origins and rationale of the manual based on his role as President of the Wachirayan Royal

Library Council.

3 “Kinnon” became “Khee Non” due to changes in pronunciation. The initial /k/ sound became /kh/, and the
final nasal /-n/ was dropped, and the short vowel /i/ was lengthened to /ii/. Additionally, the neutral tone
of the last syllable shifted to a high tone. A “kinnara” is a mythical which is half-human and half-bird creature
from the Himmapan Forest, often said to be located in the Himalaya Mountains, which was home to many
mythical creatures. Male “kinnara” are called “kin-non” while females are called “kin-ree.” It is popularly
believed that kin-non and kin-ree are exceptionally beautiful and graceful.
4 There is ongoing debate regarding which of Nora Klai’s students participated in the documented performances
in Bangkok. Some sources, such as Wichien Na Nakhon (n.d.: 15–6), identify Nora Yen as the participant,
while Pornrat Damrhung and Lowell Skar (2020: 102-106) suggest it might have been Nora Modlin Yodrabam.
5 He also held the title Krom Phra, but in 1929 he was elevated to Somdet Phra Chao Borommawong Thoe
Krom Phraya Damrong Rajanubhab. As this article refers to his work during his tenure as Krom Phra, the title
Prince Damrong Rajanubhab is used consistently throughout the article.

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