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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

intertwined with the unique practices of the Nora lineage. This shows that the Dance Manual

gives importance to the forms of dance poses and the relative age of various dance postures.
The visual representations of Nora Chatri in the Dance Manual present it as an ancient
form of dance drama. Prince Damrong argues they had been continuously preserved since the
Ayutthaya period in their twelve fundamental poses, which, though seemingly limited in number,
serve as the foundation for all other Nora poses and movements. They can help to explain the

expanded choreographic elaborations seen in Rattanakosin-era court performances of Lakhon
and Khon.
Prince Damrong Rajanubhab thus understood Nora poses as crucial to understand-

ing the evolution and reproduction of dance knowledge in Thailand, and as forming the basis
for understanding the movements of other dance drama traditions in the court of Siam at the
time, all of whose characters evolved from ancient Ayutthaya-era choreography. Furthermore,
these poses connect seamlessly with the ancient Indian Bharatanatyam movements depicted
at Chidambaram Temple, as well as with choreographic representations in redrawn illustrations.

Although the latter were newly created in the reign of King Vajiravudh, they claim to faithfully
follow illustrations found in Thai palm leaf folding books that date from the early Rattanakosin
period in the 19 century. This continuity reflects King Rama I’s commitment to reviving and
th
preserving the nation’s artistic and scholarly traditions, including dramatic arts, which had been
devastated during the fall of Ayutthaya in 1767. Such efforts by early the early Chakri dynasty
Kings aimed to restore a sense of cultural continuity and to provide a foundation for a stronger
morale among the populace after the establishment of the new capital. King Vajiravudh himself
notably initiated and endorsed the Wajirayan Library’s efforts to compile and publish a manual

on the dance dramat traditions in Siam. It is highly plausible that, before the publication, Prince
Damrong Rajanubhab had submitted a draft for royal review to seek the King’s approval and
insight.

During the reign of King Rama VI, Siam changed dramatically because it went through
a process of reforming the country in every aspect to become a modern country following
Western models. This period saw major changes in architecture, transportation with canals
and traditional waterways giving way to land-based roads and railroads as the basis of new
transportation networks. The political system, under the King’s rule, retained his supreme

authority over all subjects, yet he graciously allowed citizens, who had benefited from modern
education reforms, to publish newspapers and write articles freely, offering critiques of his
government within the bounds of reason and the law. Siam became the only monarchy at that

time that was prosperous and civilized enough to be on par with Western nations without having
to let Westerners rule or force them to change the country’s system. The economic system
was structured so as to ensure that citizens could live decently, even if not affluent, as wealth
was not extracted through exploitation or colonial subjugation. Siam focused on learning science
and technology, preparing an educational system accessible to all citizens, regardless of gender,

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