NORA DANCE CALLED “RAM KRABI TI THA”: A CASE STUDY OF NORA DECHA WATASIN

Abstract

       This academic article aims to study Nora dance called “Ram Krabi Ti Tha”, using a case study of Nora Decha Watasin, an artist who plays a significant role in preserving Nora traditional performing arts in the southern part. The study revealed that Nora Decha inherited this dance from Nora Norm Boran Silpa. Ram Krabi Ti Tha dance originated from the preliminary exercises traditionally used in Nora dance training. It symbolizes a contest of skills and combat between monkeys, highlighting strength, martial abilities, and graceful movement. The integration of both male and female dance styles in the performance results in a dynamic that embodies both strength and elegance. The accompanying music follows the traditional Nora ensemble, focusing on the drum beat to coordinate the dancers' movements. The dance is divided into three segments: Segment 1 – Du Choeng (Observation), consisting of four poses; Segment 2 – Yang Choeng (Testing the opponent), also consisting of four poses; and Segment 3 – Tor Su Kan (Combat), comprising ten fighting poses. The performance does not focus on victory or defeat as it is intended as an offering to sacred beings. Performers hold a ceremonial sword (phra khan) as a prop throughout the dance. They wear traditional Nora costumes; however, the tiered headdress (thuead) is intentionally omitted in accordance with Nora customs for sacred or ritualistic performances. Ram Krabi Ti Tha is not merely a form of entertainment, but it is also a powerful medium for conveying and preserving a folk art of the southern part.