The Role of Nang Naraiin Thai Contemporary Dance Narai Avatara


  • Pattama Wattanapanich Faculty of Fine and Applied Arts, Chulalongkorn University
  • Naraphong Charassri Faculty of Fine and Applied Arts, Chulalongkorn University


Nang Narai, Thai contemporary dance, Narai Avatara


This research aims to study the forms and the concepts in the creation of the role of Nang Narai in the Thai contemporary dance “Narai Avatara”. Research methodology includes study of related documents, documentary data survey, interviews of experts and academics, seminars, information media, field surveys, and focus groups.

The research findings are as follows: Performance patterns feature new dramatic compositions based on the original story line and dance movements which come from various cultures but which place emphasis on the Thai identity. At the same time, the choreography, music, costumes, stage area, dancing art and visual arts, performers, as well as props have been created with the new generation taken into consideration. Dramatic creative concepts include reflection on women’s roles in Thai society, the conservation of Thai culture and traditions, use of symbols, application of theories of dance and visual arts. Also considered are the development of new concepts, cultural diversity, communication, variety in performances, ethics, and the new generation.

In addition to these findings, which were in accordance with the research objectives, this research found that the traditional role of Nang Narai followed classical Thai dance patterns, namely, the role of apsaras or goddesses, the role of intelligent women, and male-female roles. On the other hand, the new role of Nang Narai incorporates contemporary Thai dance patterns, recognizing the role of gender, values of the female gender, role of the female gender, and the male-female gender relations.




How to Cite

Wattanapanich, P., & Charassri, N. (2015). The Role of Nang Naraiin Thai Contemporary Dance Narai Avatara. Fine Arts Journal: Srinakharinwirot University, 19(1), 104–109. Retrieved from