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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

The systematic organization of Nora postures by Prince Damrong Rajanubhab reflects his

understanding of their foundational importance for dance in Siam as a genealogy of Thai dance.
To indicate this genealogy, Prince Damrong Rajanubhab sequenced the illustrated dance poses
in the Dance Manual in this order: 1) line drawings of the postures of Shiva Nataraja (Shiva as
the Lord of Dance) at the Chidambaram Palace, India, 2) a newly drawn dance poses of lakhon
dance, 3) photographs of basic Nora basic poses, 4) photographs of the basic dance poses of

male and female characters, 5) photographs of the fundamental yak (giant character) poses, and
6) photographs of distinctive ling (monkey character) poses.
3.2 Interpreting the Photographs of the Nora Master and the Context of the Dance Manual

The new photographs of Nora Chatri focus on the twelve fundamental mae tha Nora
poses. They feature Muen Rabam Banleng (i.e., Nora Klai Phrommes) and his student Nora Yen
in the Dance Manual compiled by His Royal Highness Prince Damrong Rajanubhab during his
tenure as a senior prince Damrong Rajanubhab, 1923: 67–89).

Source: His Royal Highness Prince Damrong Rajanubhab (1923: 76, 77, 80, 82)

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