Aims at studying the history and development of conventionalized dance set-pieces as well as the lives of Female Nora performers. The study is based on a string of empirical evidence-related studies; interviews with Nora masters and Nora experts; and observations during the demonstration by Mrs.Tawin Chumpatong, a famous Nora master. The first female Nora performers made their debut 70 years ago, and their advent significantly contributed to the development of Nora, a form of dance typical of the South. Chronological developments and as follows: the introduction of spontaneous verses of "Mutto" in 1939; the launch of story lines drawn from folk tales in 1941; the dawn of modern Nora in 1957; and the refocus on traditional Nora by educational institutes in 1964. According to the study, the conventionalized dance set-pieces fall into two categories, one with 58 movements and the other with 42. The presentation of the 10-step dance movement is characterized by 1) a series of movements which follow certain order; 2) a natural flow of movements from sitting to standing and moving; and 3) the choices of movements which correspond to the dancer's body structure. The conventionalized dance set-pieces follow these guidelines: 1) the movements must be in line with traditional movements; 2) the movements of Nora masters are regarded as models; 3) the movements can be altered in response to occasions as well as the audience and the performers themselves; and 4) the more complicated movements must be performed first. Since the early days, many female Nora performers from Nakhon Si Thammarat, Phatthalung, Songkhla, Ranong, Trang, Krabi and Surat Thani have risen to Nora prominence. Their aspirations vary from one to another: 1) involvement in the Nora circle; 2) children of Nora masters; 3) love for this performing art; and 4) encouragement from their parents. Today, there is a sharp decline in the number of female Nora performers.
