Menora (dance)

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.

One of the notable legends associated with the origins of Menora is a narrative attributed to National Artist Yoke Choobua of Songkhla Province. The story was documented through oral history by Associate Professor Saroch Nakavirot and provides insight into the mythological foundations of the Nora tradition.

According to the legend, there once existed a kingdom ruled by a monarch named Phraya Saifa Fat (translated as "Lord Thunderbolt"). His consort was Lady Sri Dokmai, and together they had a daughter named Lady Nuanthong Samli, who was raised under the care of four attendants: Mother Khaen-on, Mother Phao, Mother Mao Khluen, and Mother Yod Tong.

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, Phraya Saifa 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 Koh Kachang (Kachang Island), where the group took refuge.

In due time, Nuanthong Samli gave birth to a son, whom she named Ajit Kumar. As he grew older, Ajit Kumar taught himself the art of dance, often practicing alone by the water, using his reflection as a guide. He eventually became highly proficient and decided to leave the island with his mother's blessing, traveling to perform his dances across various locales.

His talent gained widespread acclaim and eventually came to the attention of Phraya Saifa Fat, who summoned the young dancer to the royal court. Struck by the youth’s resemblance to his daughter Nuanthong 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 (“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 Phraya Saifa Fat himself and later became institutionalized as a standard ceremonial practice in the Nora tradition. The ritual is known as “Nora Rong Khru” (“Entering the Master’s House”) and comprises components such as vow fulfillment, topknot-cutting, and headdress initiation (krob teret). It remains a critical spiritual and formal aspect of Nora training and performance today.