มโนราห์

The tradition & historical record

Menora or Manora (มโนราห์, pronounced [mā.nōː.rāː]), sometimes shortened as Nora (โนรา, pronounced [nōː.rāː]) is a traditional Thai theatrical, musical, and acrobatic dance performance originated from the southern regions of Thailand. Having similar plots adopted from Jataka tales of Manohara, this kind of performance is related to the Lakhon chatri (ละครชาตรี), another Siamese arts performance originating from central Thailand. Over five hundred years old, Nora is performed in Thailand's local community centres and at temple fairs and cultural events, and is passed on through training by masters in homes, community organizations and educational institutions. In Malaysia, the practice of Menora has significantly declined since it has been banned by the government of Kelantan, which considers this kind of cultural performance illegal on religious grounds for polytheism. In 2021, Nora was officially recognized by UNESCO (United Nations Educational, Scientific and Cultural Organization) on the Representative List of the Intangible Cultural Heritage of Humanity. ²

One of the notable legends associated with the origins of Menora is a narrative attributed to the National Artist in Performing Arts (Thai dance), Yok Choobua (Thai: ยก ชูบัว) from Songkhla. The story was documented through oral history by Asst. Prof. Saroch Nakavirot (Thai: ผศ.สาโรช นาคะวิโรจน์) and provides insight into the mythological foundations of the Nora tradition. According to the legend, there once existed a kingdom of Wiang Bang Kaew ruled by a monarch named King Saifa Fat (Thai: พระยาสายฟ้าฟาด). His consort was Queen Si Mala (Thai: แม่ศรีมาลา), and together they had a daughter named Princess Nuanthong Samli (Thai: นางนวลทองสำลี), who was raised under the care of four attendants: Mother Khaen-on (Thai: แม่แขนอ่อน), Mother Phao (Thai: แม่เภา), Mother Mao Khluen (Thai: แม่เมาคลื่น) and Mother Yod Tong (Thai: แม่ยอดทอง). As Nuanthong Samli matured into a young woman, the deity Indra dispatched a celestial being to be incarnated in her womb. When her pregnancy became visibly apparent, King Fat imprisoned her within the palace in an attempt to conceal the situation. However, when this was no longer possible, he ordered that she and her four attendants be cast adrift on a raft. The raft eventually came ashore at Kachang island (Thai: เกาะกะชัง), where the group took refuge. In due time, Nuanthong Samli gave birth to a son, whom she named Ajit Kumar. As Ajit Kumar grew older he began to learn the art of dance by himself, often practicing alone by the water, using his reflection as a guide. He eventually got quite good and with his mother's consent he left the island to tour his dances in various places. His talent gained widespread acclaim and eventually came to the attention of King Fat, who summoned the young dancer to the royal court. ²

The origin of Nora can be traced back to the Malay Peninsula during the Tambralinga period or the Srivijaya era, approximately between the 6th–11th centuries. This was a time when the city of Sathing Phra experienced its height of prosperity, with densely populated communities scattered along the eastern coastline, from Chumphon and Chaiya down to Kelantan, Terengganu, and other coastal towns engaged in maritime trade, extending as far as Sumatra. During this period, as there were no strict territorial boundaries, the people shared the same religion and ethnic roots, facilitating the transmission of performing arts across the region. Therefore, it is difficult to pinpoint the exact place of origin of traditional Nora. However, according to the legend of Manora Chatri, the dance-drama is believed to have originated in ancient Phatthalung (known as Sathing Paranasi). Initially, Nora performances were performed exclusively at royal courts before becoming popular among the general populace. The probable birthplace of Nora is thought to be among the group of cities known as the "Twelve Zodiac Cities" (Mueang 12 Naksat/Nakhon Si Thammarat Kingdom), beginning during the Tambralinga era. Over time, the art form spread to Central Thailand and evolved into a genre known as Lakhon chatri. ²

The Nora costume is the traditional attire worn in the Nora dance, a classical Southern Thai performance art. The outfit is ornate, colorful, and designed to enhance the visual impact of the dance. It is worn by both male and female performers, though some elements are reserved specifically for the main performer (ตัวยืนเครื่อง or นายโรง). ²

A low crown-like headpiece worn by the main performer. It features a decorated front frame and often includes sacred thread (ด้ายมงคล). Traditionally, female dancers do not wear the serd. ²

A decorative upper-body garment made entirely from colorful beads. It replaces the shirt and consists of five main parts: ²

Shoulder straps (บ่า) – Worn over each shoulder (2 pieces) Neck bands (ปิ้งคอ) – Worn around the neck, front and back (2 pieces) Chest panel (พานอก / พานโครง / รอบอก) – Rectangular beaded cloth wrapped around the chest. ²

The text above is adapted from the Wikipedia article “Menora (dance)”, available under the Creative Commons Attribution-ShareAlike 4.0 licence. ²

Menora is type of dance, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition. ¹

The source record links this tradition to 2 external registers, which can be verified through the citation. ¹