KHAN 1 WAI KRU

KHAN 1 WAI KRU

Movement to various directions(basic)

As in all sports it is essential to prepare your body every time you are about to do an exercise, a drill or take part in a fight. Particularly in Muaythai or Thai boxing, body preparation is instrumental in making fighters the best that they can be. The goal of the preparation is not solely for warming up the body but also for the prevention of injuries in practice or the actual fight. As Muaythai requires the use of every body part, the body must be especially prepared for readiness, alertness and precision when responding to your impulses while, at the same time, avoiding injury in both defensive stances and offensive moves. It is fundamental for all students of Muaythai who hope for optimum efficiency because all the boxing stances and moves, being alert and ready and attacking and self-defending are fully involved in any fight. Finally, the signature homage boxing dance, the so-called “wai-khru”, is representative of Muay Thai; its benefit and merit lie not only in the display of gratitude and respect to masters, teachers, coaches and trainers, but it is also replete with the benefits of physical relaxation, mental calming and morale boosting.

Thep Panom

Beginning with “Thep Panom” Movement as the starting action of “Wai Khru” (or Paying respect to Boxing Master) ritual dance to allow gathering of full focus on the challenge, the boxer would kneel with straight-up body posture, sitting on the legs with the right foot over the left, hands pressing together at the chest.
He would then perform “Kom Krap ” by bending over three times – each time opening the hands with palms down touching the ground and the forehead in between – as a way of showing respect to the Masters, parents, and all sacred beings to protect him during the fight.
Next, he would lean forward with both arms fully stretched to the front until the tips of the fingers touch the ground, then gently retract the arms in an action of scooping soil to the chest, getting ready for the third movement of “Tawai Bangkom”.
This action requires arms to be fully stretching forward, hands pressing together, and then lift up to touch the forehead with the thumbs between the eyebrows, bending the elbows as the body lean slightly backwards and the head looking up. Then lower the hands to the chest, and repeat two more times.

Kom Krap

Beginning with “Thep Panom” Movement as the starting action of “Wai Khru” (or Paying respect to Boxing Master) ritual dance to allow gathering of full focus on the challenge, the boxer would kneel with straight-up body posture, sitting on the legs with the right foot over the left, hands pressing together at the chest.
He would then perform “Kom Krap ” by bending over three times – each time opening the hands with palms down touching the ground and the forehead in between – as a way of showing respect to the Masters, parents, and all sacred beings to protect him during the fight.
Next, he would lean forward with both arms fully stretched to the front until the tips of the fingers touch the ground, then gently retract the arms in an action of scooping soil to the chest, getting ready for the third movement of “Tawai Bangkom”.
This action requires arms to be fully stretching forward, hands pressing together, and then lift up to touch the forehead with the thumbs between the eyebrows, bending the elbows as the body lean slightly backwards and the head looking up. Then lower the hands to the chest, and repeat two more times.

The Tawai Bangkom

Beginning with “Thep Panom” Movement as the starting action of “Wai Khru” (or Paying respect to Boxing Master) ritual dance to allow gathering of full focus on the challenge, the boxer would kneel with straight-up body posture, sitting on the legs with the right foot over the left, hands pressing together at the chest.
He would then perform “Kom Krap ” by bending over three times – each time opening the hands with palms down touching the ground and the forehead in between – as a way of showing respect to the Masters, parents, and all sacred beings to protect him during the fight.
Next, he would lean forward with both arms fully stretched to the front until the tips of the fingers touch the ground, then gently retract the arms in an action of scooping soil to the chest, getting ready for the third movement of “Tawai Bangkom”.
This action requires arms to be fully stretching forward, hands pressing together, and then lift up to touch the forehead with the thumbs between the eyebrows, bending the elbows as the body lean slightly backwards and the head looking up. Then lower the hands to the chest, and repeat two more times.

Pathom Move

These are a continuation from the “Tawai Bangkom” movement. The boxer would lift his body up and step his right leg out 1 step with the right knee bent at a right angle to the ground. He would then lean forward, with eyes looking ahead, the left leg slightly bent stretching towards the back and the back of the heel raised. The right arm is now placed on the right leg, the left arm raised to the chest, both hands clenched.Then to the “Prom” Movement… place both clenched fists to the chest, and look ahead. Lean forward, swing the fists three times and then sit back on the left heel.
Stretch out the right leg with the tip of the right foot opened, then perform 3 sets of 3 swings of the fists. Once done, stand up to do “Yang Sam Khum” – three-point step, before returning to the boxer’s corner. Then turn facing towards the opponent’s corner and perform the “Wai” by pressing the hands together at the chest level and raising them once to the forehead. This would complete the “Wai Khru” ritual dance.
However, we may need to extend the dance, and this could be done by adding more movements, either sitting or standing. Once done, perform the “Yang Sam Khum” returning to own corner and “Wai” to complete the “Wai Khru”.

Prom Move

These are a continuation from the “Tawai Bangkom” movement. The boxer would lift his body up and step his right leg out 1 step with the right knee bent at a right angle to the ground. He would then lean forward, with eyes looking ahead, the left leg slightly bent stretching towards the back and the back of the heel raised. The right arm is now placed on the right leg, the left arm raised to the chest, both hands clenched.
Then to the “Prom” Movement… place both clenched fists to the chest, and look ahead. Lean forward, swing the fists three times and then sit back on the left heel.
Stretch out the right leg with the tip of the right foot opened, then perform 3 sets of 3 swings of the fists. Once done, stand up to do “Yang Sam Khum” – three-point step, before returning to the boxer’s corner. Then turn facing towards the opponent’s corner and perform the “Wai” by pressing the hands together at the chest level and raising them once to the forehead. This would complete the “Wai Khru” ritual dance.
However, we may need to extend the dance, and this could be done by adding more movements, either sitting or standing. Once done, perform the “Yang Sam Khum” returning to own corner and “Wai” to complete the “Wai Khru”.

Thepnimit

Thepnimit is the first step of the standing. At the end of the seated routine (or Wai Kru) ending with “Prom” routine, if there is a need to continue with the standing move, the boxer will have to stand up with his hands placed together at chest level.
This placing of the hands perpendicular to the ground with mind focusing on the fight is called “Thepnimit” dance routine. After this movement, the boxer can move on to other standing steps.

Koom Cherng Khru Move

“Koom Cherng Khru Move, Do Duskorn, Forn Ram Cherng” Dance Routine
This dance routine serves as a reminder for boxers to always be on guard. Traditional Muaythai masters have incorporated all movements of this routine into a rhyming phrase as “Yang Sam Khum, Koom Cherng Khru, Do Duskorn, Forn Ram Cherng” After the seated warm up routine (or Wai Kru) followed by the standing movement of “Thep Nimitr”, the boxer would start the dance routine with “Yang Sam Khum” or three-point steps, moving around in circular form. He may afterwards change to “Koom Cherng Khru” routine to remind himself of the need to constantly guard from an attack by raising both of his fisted hands high up, then change the direction of his three-point steps, eyeing constantly on the opponent.
“Do Dassakorn” Dance Routine During the dance routine, the eyes must be constantly on the opponent while moving. With change of direction in the three-point steps, while placing a step on the floor, the arms are raised to protect the forehead with the head turning left and right. The eyes however must remain on the opponent. “Fon Rum Choeng” Dance Routine
In Muaythai, deceptive moves are often used to trick the opponent to open up his guard. The boxer would attack once such opportunity is available. The moves encompass alternate lifting of the legs, swaying the body left to right, and tip-toeing in style. After the dance routine, the boxer would do three-point steps to return to his corner, and turn around facing his opponent’s corner, then perform “Wai” gesture to conclude the routine.

Yang Sam Khum

“Koom Cherng Khru Move, Do Duskorn, Forn Ram Cherng” Dance Routine
This dance routine serves as a reminder for boxers to always be on guard. Traditional Muaythai masters have incorporated all movements of this routine into a rhyming phrase as “Yang Sam Khum, Koom Cherng Khru, Do Duskorn, Forn Ram Cherng”After the seated warm up routine (or Wai Kru) followed by the standing movement of “Thep Nimitr”, the boxer would start the dance routine with “Yang Sam Khum” or three-point steps, moving around in circular form. He may afterwards change to “Koom Cherng Khru” routine to remind himself of the need to constantly guard from an attack by raising both of his fisted hands high up, then change the direction of his three-point steps, eyeing constantly on the opponent.
“Do Dassakorn” Dance Routine
During the dance routine, the eyes must be constantly on the opponent while moving. With change of direction in the three-point steps, while placing a step on the floor, the arms are raised to protect the forehead with the head turning left and right. The eyes however must remain on the opponent.
“Fon Rum Choeng” Dance Routine
In Muaythai, deceptive moves are often used to trick the opponent to open up his guard. The boxer would attack once such opportunity is available. The moves encompass alternate lifting of the legs, swaying the body left to right, and tip-toeing in style.
After the dance routine, the boxer would do three-point steps to return to his corner, and turn around facing his opponent’s corner, then perform “Wai” gesture to conclude the routine

2. Thep Panom

Beginning with “Thep Panom” Movement as the starting action of “Wai Khru” (or Paying respect to Boxing Master) ritual dance to allow gathering of full focus on the challenge, the boxer would kneel with straight-up body posture, sitting on the legs with the right foot over the left, hands pressing together at the chest.
He would then perform “Kom Krap ” by bending over three times – each time opening the hands with palms down touching the ground and the forehead in between – as a way of showing respect to the Masters, parents, and all sacred beings to protect him during the fight.

Next, he would lean forward with both arms fully stretched to the front until the tips of the fingers touch the ground, then gently retract the arms in an action of scooping soil to the chest, getting ready for the third movement of “Tawai Bangkom”.
This action requires arms to be fully stretching forward, hands pressing together, and then lift up to touch the forehead with the thumbs between the eyebrows, bending the elbows as the body lean slightly backwards and the head looking up. Then lower the hands to the chest, and repeat two more times.

3. Kom Krap

Beginning with “Thep Panom” Movement as the starting action of “Wai Khru” (or Paying respect to Boxing Master) ritual dance to allow gathering of full focus on the challenge, the boxer would kneel with straight-up body posture, sitting on the legs with the right foot over the left, hands pressing together at the chest.
He would then perform “Kom Krap ” by bending over three times – each time opening the hands with palms down touching the ground and the forehead in between – as a way of showing respect to the Masters, parents, and all sacred beings to protect him during the fight.

Next, he would lean forward with both arms fully stretched to the front until the tips of the fingers touch the ground, then gently retract the arms in an action of scooping soil to the chest, getting ready for the third movement of “Tawai Bangkom”.
This action requires arms to be fully stretching forward, hands pressing together, and then lift up to touch the forehead with the thumbs between the eyebrows, bending the elbows as the body lean slightly backwards and the head looking up. Then lower the hands to the chest, and repeat two more times.



4. The Tawai Bangkom

Beginning with “Thep Panom” Movement as the starting action of “Wai Khru” (or Paying respect to Boxing Master) ritual dance to allow gathering of full focus on the challenge, the boxer would kneel with straight-up body posture, sitting on the legs with the right foot over the left, hands pressing together at the chest.
He would then perform “Kom Krap ” by bending over three times – each time opening the hands with palms down touching the ground and the forehead in between – as a way of showing respect to the Masters, parents, and all sacred beings to protect him during the fight.

Next, he would lean forward with both arms fully stretched to the front until the tips of the fingers touch the ground, then gently retract the arms in an action of scooping soil to the chest, getting ready for the third movement of “Tawai Bangkom”.
This action requires arms to be fully stretching forward, hands pressing together, and then lift up to touch the forehead with the thumbs between the eyebrows, bending the elbows as the body lean slightly backwards and the head looking up. Then lower the hands to the chest, and repeat two more times.

5. Pathom Move

These are a continuation from the “Tawai Bangkom” movement. The boxer would lift his body up and step his right leg out 1 step with the right knee bent at a right angle to the ground. He would then lean forward, with eyes looking ahead, the left leg slightly bent stretching towards the back and the back of the heel raised. The right arm is now placed on the right leg, the left arm raised to the chest, both hands clenched.Then to the “Prom” Movement… place both clenched fists to the chest, and look ahead. Lean forward, swing the fists three times and then sit back on the left heel.
 Stretch out the right leg with the tip of the right foot opened, then perform 3 sets of 3
swings of the fists. Once done, stand up to do “Yang Sam Khum” – three-point step, before returning to the boxer’s corner. Then turn facing towards the opponent’s corner and perform the “Wai” by pressing the hands together at the chest level and raising them once to the forehead. This would complete the “Wai Khru” ritual dance.
However, we may need to extend the dance, and this could be done by adding more movements, either sitting or standing. Once done, perform the “Yang Sam Khum” returning to own corner and “Wai” to complete the “Wai Khru”.

 

6. Prom Move

These are a continuation from the “Tawai Bangkom” movement. The boxer would lift his body up and step his right leg out 1 step with the right knee bent at a right angle to the ground. He would then lean forward, with eyes looking ahead, the left leg slightly bent stretching towards the back and the back of the heel raised. The right arm is now placed on the right leg, the left arm raised to the chest, both hands clenched.
Then to the “Prom” Movement… place both clenched fists to the chest, and look ahead. Lean forward, swing the fists three times and then sit back on the left heel.

Stretch out the right leg with the tip of the right foot opened, then perform 3 sets of 3 swings of the fists. Once done, stand up to do “Yang Sam Khum” – three-point step, before returning to the boxer’s corner. Then turn facing towards the opponent’s corner and perform the “Wai” by pressing the hands together at the chest level and raising them once to the forehead. This would complete the “Wai Khru” ritual dance.
However, we may need to extend the dance, and this could be done by adding more movements, either sitting or standing. Once done, perform the “Yang Sam Khum” returning to own corner and “Wai” to complete the “Wai Khru”.

7. Thepnimit

Thepnimit is the first step of the standing. At the end of the seated routine (or Wai Kru) ending with “Prom” routine, if there is a need to continue with the standing move, the boxer will have to stand up with his hands placed together at chest level.
This placing of the hands perpendicular to the ground with mind focusing on the fight is called “Thepnimit” dance routine. After this movement, the boxer can move on to other standing steps.

8. Koom Cherng Khru Move

“Koom Cherng Khru Move, Do Duskorn, Forn Ram Cherng” Dance Routine
This dance routine serves as a reminder for boxers to always be on guard. Traditional Muaythai masters have incorporated all movements of this routine into a rhyming phrase as “Yang Sam Khum, Koom Cherng Khru, Do Duskorn, Forn Ram Cherng” After the seated warm up routine (or Wai Kru) followed by the standing movement of “Thep Nimitr”, the boxer would start the dance routine with “Yang Sam Khum” or three-point steps, moving around in circular form. He may afterwards change to

“Koom Cherng Khru” routine to remind himself of the need to constantly guard from an attack by raising both of his fisted hands high up, then change the direction of his three-point steps, eyeing constantly on the opponent.

“Do Dassakorn” Dance Routine During the dance routine, the eyes must be constantly on the opponent while moving. With change of direction in the three-point steps, while placing a step on the floor, the arms are raised to protect the forehead with the head turning left and right. The eyes however must remain on the opponent. “Fon Rum Choeng” Dance Routine
In Muaythai, deceptive moves are often used to trick the opponent to open up his guard. The boxer would attack once such opportunity is available. The moves encompass alternate lifting of the legs, swaying the body left to right, and tip-toeing in style. After the dance routine, the boxer would do three-point steps to return to his corner, and turn around facing his opponent’s corner, then perform “Wai” gesture to conclude the routine.

9. Yang Sam Khum

“Koom Cherng Khru Move, Do Duskorn, Forn Ram Cherng” Dance Routine
This dance routine serves as a reminder for boxers to always be on guard. Traditional Muaythai masters have incorporated all movements of this routine into a rhyming phrase as “Yang Sam Khum, Koom Cherng Khru, Do Duskorn, Forn Ram Cherng”After the seated warm up routine (or Wai Kru) followed by the standing movement of “Thep Nimitr”, the boxer would start the dance routine with “Yang Sam Khum” or three-point steps, moving around in circular form. He may afterwards change to “Koom Cherng Khru” routine to remind himself of the need to constantly guard from an attack by raising both of his fisted hands high up, then change the direction of his three-point steps, eyeing constantly on the opponent.

“Do Dassakorn” Dance Routine
During the dance routine, the eyes must be constantly on the opponent while moving. With change of direction in the three-point steps, while placing a step on the floor, the arms are raised to protect the forehead with the head turning left and right. The eyes however must remain on the opponent.“Fon Rum Choeng” Dance Routine
In Muaythai, deceptive moves are often used to trick the opponent to open up his guard. The boxer would attack once such opportunity is available. The moves encompass alternate lifting of the legs, swaying the body left to right, and tip-toeing in style.
After the dance routine, the boxer would do three-point steps to return to his corner, and turn around facing his opponent’s corner, then perform “Wai” gesture to conclude the routine.