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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

royal distinctions for an artist of his stature, being elevation with the noble rank of “Muen” and

title of “Rabam Bantherng Chatri,” and his student receivng a royal conferment of the surname
Yodrabam.
Nora Klai Phrommes and his troupe’s performances in the Grand Palace twice under
two reigns clearly demonstrate that the monarch, along with the cultural elite and intellectuals
of Siam of that time recognized the importance of local artistic traditions, viewing them as

connected to and on a par with arts of the court. The Kings of Siam drew attention to many
types of performing arts—whether at the court or in the furthest provinces—and recognized
them for their unique artistry and beauty that were valuable and worthy of being enjoyed as

both entertainment and cultural enrichment.
These extraordinary acts of recognition by the Kings of Siam were unprecedented in
the history of local performing arts and has continued. King Bhumibol Adulyadej (Rama IX,
r. 1946-2016) also invited Nora Bhum Theva and his troupe to perform at the royal palace in
Bangkok in the 1970s. These actions helped to forge a deep bond between the monarchy and

southern provinces during this time. They further reinforced the symbiotic relationship between
the royal family and the people of the southern provinces, and enhanced the kingdom’s political
stability. Local rulers and the people in southern Siam, including those in Nakhon Si Thammarat

and nearby areas, felt a deep sense of recognition, honor, gratitude and loyalty to the monarchy.
Simultaneously, communities rooted in the spiritual beliefs of Nora that were bound together by
shared cultural practices and traditions likely concurred that the Siamese royal court represented
peace and prosperity. The monarchy’s authority, symbolized by its grand presence in the capital
city, would perceived not as oppressive but as a positive and protective force safeguarding all

Thai people, regardless of their local beliefs, cultural practices, or performance traditions
Today, photographs are ordinary, quickly made and shared digital artifacts, but are also
quickly forgotten. A century ago, however, photography was a new, rare, and difficult process.

Photographers of that time documented images of life as physical products, and these images
both commemorated people and events and created tangible souvenirs of what was worth
remembering. For a photographer who was a righteous and merciful King of Siam who loves his
people as his own children, just a few photographs helped turn Nora from a local performing
art in the southern reaches of its kingdom into a significant part of Siam’s cultural heritage. Nora

was no longer just as a local performance tied to the faith of people who adhere to the sacred,
solemn and exquisite traditions and ceremonies linking the families and communities around
Songkhla Lake and across to Andaman sea communities like Phuket and Trang to their ancestors.

It was also an art of dance that was deeply connected to the King who is the supreme patron
of the arts and who is connected to all Thai people who share the same territory and cultural
sensibility. The photographs discussed here marked the royal recognition of Nora in the early
20 century by Siam’s Kings. This became the foundation of its extension in the 21 century as
st
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Nora was recognized as an intangible cultural heritage of humanity by UNESCO.

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