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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

King Vajiravudh ordered the volume on dance as part of this desire to publish two

volumes for the cremation ceremony of Prince Chuthathuj Dharadilok (1892-1923), Krom Khun
Phetchabun Intharachai. One volume focused on religious matters (Sangkhitiyawong), and
the other volume would be about the “N ya Sh stra” (treatise on dance-drama) in Siam at
the time, since Prince Chuthathuj Dharadilok had been passionate about dance. At that time,
however, the Wachirayan Royal Library, which was Bangkok’s main library, lacked sufficient

materials on the Indian N ya Sh stra to compile a standalone volume.
In response, Prince Damrong Rajanubhab took on the considerable task of gathering
content and materials on nattasilp (arts of [Thai] dance). A lack of time and written materials

led him to focus on visual representations of the basic forms, poses and patterns of traditional
Thai dance and theater drawn from various sources, both Thai and foreign texts. Challenges led
6
Prince Damrong to enlist the help of two prominent officials: Chao Phraya Thamathikornadhibodi
(1877-1941), a Minister of the Palace who oversaw the Department of Fine Arts, and Chao
Phraya Ramrakhop (1890-1967), the head of the Royal Pages’ Department and manager of its

Department of Entertainment. These efforts also included the assistance of Phraya Ratsadanupradit
(Sin Thephasadin Na Ayudhya 1875-1929), the governor of Nakhon Si Thammarat, who arranged
for Muen Rabam Banleng (Klai Phrommes), the celebrated Nora master, and his student to

provide details into Nora performances. Their participation was crucial for documenting Nora
dance postures. In the manual, Nora is called Lakorn Chatri and referred to as Nora Chatri
(1921: 4) when it is tied to the Nora dance of Nakhon Si Thammarat. At this time, Nora master Klai
and his student became models for photographing the twelve foundational Nora poses featured
in the Dance Manual (pp. 67–89).

His Royal Highness Prince Damrong Rajanubhab noted the significance of this manual
as follows:
“This tamra fonram (Dance Manual) is the first attempt to compile and publish

such a work in the Thai language. While there may still be some omissions or inadvertent
errors due to the limited time available for its preparation, it is certain that this
publication will yield three benefits. First, it presents the way of knowledge of
traditional Thai dance, both within the country and internationally. Second, it will
preserve and protect Thai dance, ensuring it will survive without disappearing.

Third, those who have this book will undoubtedly commend and rejoice at the
royal initiative [of King Rama VI] to compile and publish this important work.”
(Krom Phra Damrong Rajanubhab, Dance Manual, 1923, pp. x-xi)

6 The main Indian work on the performing arts was the N ya stra by Bharata Muni, a Sanskrit text on
theatrical arts. This is explicitly referenced on page 8 of the 1923 Dance Manual compiled and edited by
His Royal Highness Prince Damrong Rajanubhab.

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