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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

Source: His Royal Highness Prince Damrong Rajanubhab (1923: 83, 84, 85)

This set of fourteen photographs in the Dance Manual depict Master Klai and his
student wearing a crown-like Serd, ankle-length trousers (sanab phlao), necklaces, cross-body
ornamental sashes, and breastplates. They do not wear the elaborate beaded vests, their lower

garments include front and side waist sashes with intricate embroidery that is like those worn by
classical Thai dance drama performers of Lakhon and Khon.
The photographic series of Nora Klai Phrommes and his student underscores the
significance of a traditional folk art form which the manual suggests is genealogically linked to

classical Lakhon and Khon. Nonetheless, Nora preserves its intrinsic beauty and distinctive local
identity, setting it apart from both courtly theatrical performances and also from other regional
dramatic traditions. Niyada Sarikaphuti (1972: 90–91) examined the mae tha Nora poses of the
Kinnon (Kinnara) and the maeng moom chak yai (spider spinning its web) and suggests they

show a striking similarity to the Lata Varisjika (Scorpion Walking Pose) and the Ganga Avatarana
(Ganges Descending Pose) found in the Chidambaram Temple in India. Although Nora retains some
of its ancient characteristics, and resonate with dance forms in Indian culture, Nora evolved into
an art form with a distinct identity in Siam. It incorporated elements of ritualistic performance

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