This Thesis aims at studying Kan Ram Pasom ThaBaeb Tua On or nora dance with body bending. It focusseson history body preparation, performance andchoreography of this type of nora which is found inSongkhla, Satoon, Ranong and Nakon SrithammaratProvinces. The study is based upon related documentsinterviewing, observation of dance demonstration, andthe real performance of five famous dances. The study finds that, this dance is a combinationof general nora dance and the dance with body bendingbased upon creatirity and special talent of dancers.This is to show their individual speciality. Thisdance asually apperars during the fourth and the eightpart of the normal nora performance. Dancers of thistype are both male and female age 10-35. They dress innormal nora costume. They take off their headdress,nails, and tail when they performa special body bendingdance. Musical instruments comprise gongs, cyrnbals,oboe, and drums. Drummers mast Familiar himself withdancer's style in order to synchronise his drum beatingwith the dancer. Twenty four dance gestures are found : 10sitting, 9 standing and 5 lying geatures. Sources ofthese gestures came form 1. former gurus, 2. exercise,3. earning extra in come, 4. showing individualexpertise, 5. challengine, 6. exemplifying song lyrics.Dance structure is divided into 9 steps : 1. entrance,2. standing gestures A, 3. sitting gestures, 4.standing gestures B, 5. taking off headdress, nails andtial, 6. special dance gestures, 7. putting costumepieces back on, 8. walking, 9. sitting and performnormal nora. Seven concepts of choreography are found.They are : 1. right gesture at the right moment, 2.simple to complex gestures, 3. symmetrical balance, 4.movements for continuation are borrowed form normalnora, 5. assistant and props are empolyed when needed,6. showing dancer's superiority, 7. Some dance gestureshave standard sequence that dancer must perform toaviod injar. Dance with body bending is now performed by veryfew dancers because it requires dancers with specialbody bending or rubber body. Moreover, training needslonger and torgher process. Less people practice thisdance. Thus, it is rarely seen. So the mechaniam topreserve, promote, and disseminate is needed tograratee the continuation of this dance in the futre.