1. Wai Kru ( all moves continuous )

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 “WaiKhru” (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.


3. Kom Krap

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”.


4. The 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.


1. Mat Trong Chok Nam

A straight forward punch or fist face punch is used to attack the opponent in a close proximity, by transferring the weight of the body from back footed foot to the front footed foot,
and transfer the force to the front shoulders to increase the power of the impact. Once the punch occurs, the weight of your body is now at the front footed foot.

2. Mat Trong Chok Tam

It is a straight punch that starts with the wind-up right behind you, then transferring your weight from the foot up into the body, to the shoulders and then straight to the fist for the attack. Once you start Punching, your body, waist and the hips should be twisted downwards.
Also, the majority of the time your weight should be transferred to the front foot, so that your punches have firmness and power to it. A “Straight Forward Punch Follow Up” if done properly will have a greater impact to the opponent, more power than just with a regular forward punch.

3. Mat Wiang

Mat Wiang San/Short Hook Punch
A short hook punch is used when the opponent has his guards up and is defensively covering the face, you can launch a short hook punch by firming your wrists, bending your arms and in a curve motion, pass through the gap between the hands and arms to hit them in the face or chin. The motion of the punch may not be paralleled to the floor but it could be curved up or curve down, depending on the distance between you and your opponent’s chin or jaw.
Mat Wiang Klap/Spinning Back Fist Punch
The Spinning Back Fist Punch or also known as the returned punch, is used if your punches miss the targets, then go into the Spinning Back Fist Punch right after to make your opponent either loose balance or gets them to be off balance to gain back your advantage. The Spinning Back Fist Punch goes into one direction, stops and is reversed instantly. You can reverse from many different angles, for example such as starting reverse from the bottom to the top, or go into a downwards reverse or an upwards reverse.
Mat Wiang Yaw /Long Hook Punch
The Long Hook Punch or also known as the “The Long Throwing Punch”, is to punch with a firmed stretched out arm, hands faced down and aim wide open to your opponent that’s standing far from where you are at arm’s length. The target of this punch is the chin, face and the neck.

4. Mat Wiang San

A short hook punch is used when the opponent has his guards up and is defensively covering the face, you can launch a short hook punch by firming your wrists, bending your arms and in a curve motion, pass through the gap between the hands and arms to hit them in the face or chin.
The motion of the punch may not be paralleled to the floor but it could be curved up or curve down, depending on the distance between you and your opponent’s chin or jaw.

5. Mat Wiang Yaw

The Long Hook Punch or also known as the “The Long Throwing Punch”, is to punch with a firmed stretched out arm,
hands faced down and aim wide open to your opponent that’s standing far from where you are at arm’s length. The target of this punch is the chin, face and the neck.

6. Mat Wiang Klap

The Spinning Back Fist Punch or also known as the returned punch, is used if your punches miss the targets, then go into the Spinning Back Fist Punch right after to make your opponent either loose balance or gets them to be off balance to gain back your advantage. The Spinning Back Fist Punch goes into one direction,
stops and is reversed instantly. You can reverse from many different angles, for example such as starting reverse from the bottom to the top, or go into a downwards reverse or an upwards reverse.

7. Mat Soei

An Uppercut or also known as the Star Reaching Punch, is used by hardening the elbows and by turning the fist upwards. The movement starts from the bottom to the top of the swing. Very useful when the target in in close proximity or
if the opponent is bending downwards. The target of the punch is the chin, pit of the stomach, the chest or the face.

8. Mat Kaok

The cobra Punch is swinging the back of your fists in an upwards motion and swinging it quickly downwards forcefully, by using the edge of your fist hitting to the head, back of the neck, back of the face, the temple, or the chin of your opponent. It is used when your opponent is being un protective or unaware.Swinging with the shoulders and arms,
combining with gravity and using the edge of your fist can make the attacks powerful with high impact andis considered very dangerous if hitting the targets fully especially at the skull of the head of your opponent. When the opponent is hit by a Cobra Punch, normally they would be in a dazed or seriously injured.

9. Thoy Sud Ra Ya

Thoy Sud Ra Ya means to step back from the opponent like jumping back, moving backward or stepping back, but the move must take the boxer out of the opponent’s attacking range.
Therefore, the boxer should fall back at the same time when the opponent attacks. At the time the boxer is out of the attacking range, they should be in the ready position for a counter-strike.

10. Pa-Nga

Pa-Nga is used to draw oneself back from the attacking range of the opponent without jumping back or moving aside. For example, when the opponent does the Roundhouse Kick-High on the upper-part,
boxer must bend back to let the opponent’s feet pass through the body. However, this kind of dodging or movement should not be too far from the opponent in order to remain in range for a counter-strike.

11. Pa Ta Duay Khane

Pa Ta Duay Khane is when a boxer uses their fists to defend and block all the weak parts of their body by attacking the opponent with a punch.
As they are blocking, they must also be ready to counter-attack immediately.

12. Phad

Phad is to swipe the attacks of the opponent away by using a wrist or an arm, and to make the opponent lose their balance which would give us the opportunity to strike back. We could possibly swipe all the attacking techniques away such as punching, kicking, kneeing and elbowing,
but this swiping technique usually works effectively with the attacks which come straight in front; straight punching, straight kicking, straight kneeing etc.

13. Chak Lhob

Chack Lhob is to move every part of your body out of the way or range of a strike.After evading the attack, the boxer must be in a ready position to strike back.