Menora or Manora (, ), sometimes shortened as Nora (, ) 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 (), 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.
Mythology
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. Struck by the youth’s resemblance to his daughter Nuant,hong Samli, the ruler questioned him and discovered that Ajit Kumar was, in fact, his own grandson. Deeply impressed by both his heritage and his artistic skill, the king conferred upon him the honorific title Khun Si Sattha (Thai: ขุนศรีศรัทธา), which means the lord of true devotion. And presented him with ceremonial dancer’s regalia, including the taret (headdress), tap suang (pectoral), sangwan (chest chain), hang hong (swan-tail garment), armbands, bracelets, pan neung (waistbelt), and other traditional ornaments.
The king then ordered that Nuanthong Samli be brought back to the city. Before reentering the court, she was housed at the outskirts and subjected to a ritual of purification (sadejakhro), which lasted three days and two nights, from Wednesday to Friday. This rite was presided over by King Saifa Fat himself and later became institutionalized as a standard ceremonial practice in the Menora tradition. The ritual is known as “Nora Rong Khru” (Thai: โนราโรงครู) and comprises components such as vow fulfillment, topknot-cutting, and headdress initiation (krob teret). It remains a critical spiritual and formal aspect of Menora training and performance today.
Following the completion of the ritual, Lady Nuanthong Samli was welcomed back into the city. Khun Si Sattha subsequently began teaching the Menora dance to members of the royal court and other noble figures, including Lord Lui Fai (Thai: พระยาลุยไฟ), Lord Thom Nam (Thai: พระยาโถมน้ำ), Ta Luang Sen (Thai: ตาหลวงเส้น), and Ta Luang Kong (Thai: ตาหลวงคง). This dissemination marked the beginning of Menora’s institutional and cultural spread throughout Southern Thailand.
History
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.
Costume
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 ( or ).
Costume Components
Serd (เทริด) A low crown-like headpiece worn by the main performer. It features a decorated front frame and often includes sacred thread (). Traditionally, female dancers do not wear the serd.
Beaded costume () A decorative upper-body garment made entirely from colorful beads. It replaces the shirt and consists of five main parts: Shoulder straps () – Worn over each shoulder (2 pieces) Neck bands () – Worn around the neck, front and back (2 pieces) Chest panel () – Rectangular beaded cloth wrapped around the chest.
Swallow wings () Wing-like accessories often made of silver, shaped like a swallow's wings. They are attached to a belt above the hips and extend outward from the sides.
Chest ornament () An ornamental piece worn on the chest, often crafted from silver or beads, sometimes inlaid with gemstones. Reserved for the main performer.
Rear wings or tail () Tail-like structures worn at the back, made from buffalo horn or metal, with bead decorations. They resemble a bird's tail or Kinnari tail.
Pha nung () A long rectangular cloth wrapped tightly around the lower body. The end of the cloth is folded and tucked to form a tail-like shape called Hang Hong ().
Leg covers () Beaded shin guards worn beneath the pha nung, often designed with floral or geometric patterns.
Hanging cloths () Colorful pieces of light, transparent cloth hanging from each side of the waist like tassels or flaps.
Front cloth panel () A decorated cloth attached in front of the pha nung, sometimes beaded or brightly colored, adding flair to the costume.
Armlets () Brass or metal bracelets worn on the upper and lower arms to add elegance and a sense of strength.
Bracelets () Multiple bracelets made from brass, worn on wrists and ankles (usually 5–10 rings per limb), creating rhythmic sounds as the performer moves.
Fingernail extensions () Long, curved nails made from brass or silver, sometimes extended with bamboo and beads. Worn on four fingers of each hand (excluding the thumbs).
Phran mask or Hunter mask () A red mask representing the comic character Phran. Carved from wood with a long nose, white teeth, and tufts of white feathers or hair.
Tha Si mask () A mask worn by female comic characters in the Nora performance. It is crafted to resemble a woman's face and is usually painted white or flesh-colored. The mask may include delicate facial features and is used to convey a humorous or stylized persona.
Performance
Nora performers showcase their talents through a combination of dancing, singing, choreography, and acting. Each aspect contributes to the overall artistry of the performance.
Dancing Performers must demonstrate their skill and expertise by blending various dance movements seamlessly. Each movement should adhere to traditional forms, showcasing agility and the ability to adapt to musical rhythms, whether graceful or energetic. Some may specialize in specific dance techniques, such as arm movements, flexibility, or intricate steps.
Singing Actors must exhibit their vocal abilities by delivering lines of poetry with clarity and emotion. They should maintain accurate rhythm, show quick wit in improvisation, and possess strong content delivery, including the ability to engage in call-and-response singing.
Choreography Choreography involves interpreting the lyrics through dance, ensuring the movements are diverse and harmoniously aligned with the music. This aspect is considered the pinnacle of Nora art, requiring a deep connection between lyrics and dance that matches the music's rhythm and style.
Specialized Dance Forms In addition to general dance and singing skills, performers must train in specific dance forms for particular occasions, such as ritual or competition. Some specialized dances include: Teacher's dance First dance Rhythmic dances with flute or drums Specific ceremonial dances
Acting While traditional Nora performances do not focus on acting, when time permits, performers may include brief skits for entertainment, selecting well-known scenes that require minimal cast (2-3 actors) and emphasizing humor and poetic dialogue in the Nora style.
Nora Rong Khru
The Nora Rong Khru (Thai: โนราโรงครู) is a sacred ritual performance within Southern Thailand’s Nora dance tradition, held to honor the spiritual teachers and ancestral masters who safeguard the art. There are two main types of Nora Rong Khru:
Rong Khru Yai (Thai: โรงครูใหญ่) This is the full, formal version of the ceremony, typically conducted over three days and two nights. The ritual begins on a Wednesday and concludes on Friday.
The first stage starts at dusk on Wednesday, during a period known as Yam Nok Chum Rang (the time when birds return to their nests). The troupe leader, known as the Nai Rong (Thai: นายโรง), performs the Buek Rong (Opening the Nora Stage) ritual by using betel nuts inscribed with sacred symbols and chanting incantations to request permission from the spiritual guardians and the lineage of teachers.
Following this, the orchestra plays the Cherd Sam Khra (Thai: การเชิดสามครา) — a ceremonial overture performed three times — as an offering to honor the masters. Then, the troupe performs the Kard Khru (Thai: การกาศครู) ritual, which includes five traditional songs dedicated to praising the ancestral teachers.
On Thursday at around 05:30, the Chak Saeng Thong (ชักแสงทอง) ritual is performed to welcome the new day’s golden light. At noon, the Taeng Phok (แทงพอก) ceremony is held, followed by the recitation of 12 Gamprat (Thai: 12 กำพรัด) verses.