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Nora Tang Ke

Bibliographic Data

ID22360382
AuthorsPemika Kasetsomboon (Hatyai Hospital, corresponding author)
Year2021
Volume21
Issue2
Pages62-70
Publication date2021-12-27
Open AccessYes
TypeARTICLE
VenueAsian Journal of Arts and Culture (JOURNAL)
Journal identifiersISSN: 2773-9953 • E-ISSN: 2773-9953
PublisherCollege of Graduate Studies, Walailak University (PUBLISHER)
DOI10.48048/ajac.2021.247809
OpenAlexW4313432114
LanguageEN

Rum Tang Ke is part of the Nora Rong Khru ritual performed on the last day called “Song Khru day” (Teacher’s departure day). A crocodile model used in the ritual portrays evil and misfortunes. In a strict sequence, Rum Klong Hong (swan lassoing dance) must preceded Rum Tang Ke in order to be granted talisman’s blessing as a protection against evil and misfortune from the crocodile. After Rum Klong Hong, Rum Tang Ke comprising seven performers together with one Nora Yai (Head of Nora) who will be the first to stab the crocodile. After that, each of the seven will take turn dancing toward the crocodile and stabbing it. Every participating Nora must board the banana tree’s trunk’ raft to simulate a raft journey to hunt the crocodile. Nora’s dance poses each of the Noras assumes differ. Spears are used as a weapon for both dancing and stabbing the crocodile. A crocodile model is a replica of a crocodile made using banana tree’s trunks cut into pieces fitting for each part of the crocodile. Only shamans with expertise in supernatural practices can make a crocodile model. Violating the traditional practice is believed to bring misfortune to a violator

Art · Art history · Biology · Crocodile · Humanities · Misfortune · Visual arts · Archaeology and Rock Art Studies · History · Indian and Buddhist Studies · Pacific and Southeast Asian Studies

Highly citedNo
Open DOIOpen Access
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