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I wanted to start a thread where we can just place video of female Muay Thai fights that are good to keep together. The title says "top" female fighters and fights, but also hard to find video too, like fights of Thai female fighters that lack exposure. Mostly just a place where you could browse and see interesting full rules female fights. You can post video here and on its own thread too, if you like. [Edit Update: When YouTubes of fights posted become "unavailable" (are taken down), I'm going to delete that post just to keep the thread clean. If you find another video version of the fight feel free to repost it.] Relatedly, this is my P4P World Rank List of fighters 48 kg and under. Little Tiger (WMPF champ) vs Faa Chiangrai The first one I wanted to put up was this underated fight in August of 2014. Little Tiger who is the WPMF pinweight champion seems to be a little selective about her opponents, and I was surprised to see that she was fighting Faa Chiangrai, one of my past opponents, but perhaps not well known internationally. This was for a WBC International Belt. Faa Chiangrai is a really under-appreciated fighter. Great toughness and quite femur. I think she was robed of this decision, even though it was in Pattaya. You can see she was shocked at the outcome. After this fight though Faa Chiangrai was suddenly ranked as the 2nd challenger to the WPMF belt in the 105 lb division. This is pretty interesting because this is a weight class above Little Tiger, and also is a weight class above Faa herself. She is one of the top 100 lb fighters in Thailand, in my opinion.

A personal influence, which for me touches on some of my Muay Noir project are the frames of the filmmaker Andrei Tarkovsky, who often is Noir-ish, or German Expression-ish. If not familiar, here is a video montage of many of his films. I'm not completely sure what Tarkovsky has to say about Noir, but he does oscillate between the dark and contrasted, and also sci-fi subjects, working around tradition.

A segment on Plotinus and light, from the philosopher Gilles Deleuze, setting up a possible metaphysics of photography, and perhaps a Noir foundation. Noir as immanence. Why does Being complicate all beings? Because each being explicates Being. There will be a linguistic doublet here: complicate, explicate… …Why? Because this was undoubtedly the most dangerous theme. Treating God as an emanative cause can fit because there is still the distinction between cause and effect. But as immanent cause, such that we no longer know very well how to distinguish cause and effect, that is to say treating God and the creature the same, that becomes much more difficult. Immanence was above all danger. So much so that the idea of an immanent cause appears constantly in the history of philosophy, but as [something] held in check, kept at such-and-such a level of the sequence, not having value, and faced with being corrected by other moments of the sequence and the accusation of immanentism was, for every story of heresies, the fundamental accusation: you confuse God and the creature. That’s the fatal accusation. Therefore the immanent cause was constantly there, but it didn’t manage to gain a status [statut]. It had only a small place in the sequence of concepts. Spinoza arrives… …It’s with Plotinus that a pure optical world begins in philosophy. Idealities will no longer be only optical. They will be luminous, without any tactile reference. Henceforth the limit is of a completely different nature. Light scours the shadows. Does shadow form part of light? Yes, it forms a part of light and you will have a light-shadow gradation that will develop space. They are in the process of finding that deeper than space there is spatialization. Plato didn’t know [savait] of that. If you read Plato’s texts on light, like the end of book six of the Republic, and set it next to Plotinus ‘s texts, you see that several centuries had to pass between one text and the other. These nuances are necessary. It’s no longer the same world. You know [savez] it for certain before knowing why, that the manner in which Plotinus extracts the texts from Plato develops for himself a theme of pure light. This could not be so in Plato. Once again, Plato’s world was not an optical world but a tactile-optical world. The discovery of a pure light, of the sufficiency of light to constitute a world implies that, beneath space, one has discovered spatialization. This is not a Platonic idea, not even in the Timeus. - rabbit hole here

He's actually really shy about the camera, and we've hardly filmed him because of it. We definitely want him in the archive, because it's a historic record, but it would have to be done differently than any other entry, simply because he works so much with Sylvie, and 99% of it is just grinding, very slow cook But, thank you for the suggestion, it's good to be reminded. Maybe instead of one hour session, we could maybe film small segments over time and put them all together.

Has Kru Nu ever been in the library? I realise that there's a ton of footage of his work with Sylvie, but I'd be interested to see his style!

8limbsus.com is Sylvie's blog which she has been blogging on for maybe 10 years? It has over 1,000 articles and it's kind of a general archive of her thoughts and experiences. Sylviestudy.com is a website that was put up specifically to focus on the Sylvie Intensive videos on vimeo, and additional indepth material we might create outside of the Muay Thai Library. The Muay Thai Library is an archive of sessions Sylvie films all over Thailand. We add two sessions a month to the archive and it's available by tiers to patrons. The $10 pledge gives access to the full archive. The Intensive Series on Vimeo is PPV and is focused on videos made in a series. For instance an entire month of training with Karuhat is up there, and a week with Yodkhunpon. The vimeo series allows us to present really indepth documentation, sessions covering multiple days, but because it is focused it also allows us to divert sales directly to the legends, 55% percent going to them. The discount code that can be used by patrons on the Vimeo material for individual purchase I believe can be also used for the subscription, but only for the first month purchase (I believe). I'm happy to answer any questions. There is just a ton of material that we put out and document, and it's on different platforms so It can be confusing.

That was me . Wow what a great mention makes me so so happy! I also saw the fight in person (well obviously) and to people who were not there, the video does not make the size difference justice. I was so surprised by the sudden KO because Sylvie looked so much smaller and I remember thinking that "jeez so much power in that small body". Sylvie arrived during fight 4 I think and she was fight 8. And they drove all the way from Pattaya. It's a pretty insane thing to do, so many hours in the car and then arrive an hour before your fight. Her opponent's corner man you see in the video ended up wrapping my hands and helping me on with my gloves. He was very cool and calm and great to be around to calm fight nerves. And the cat was super cute.

We were talking to Chatchai Sasakul, a fighter who fought so many of the greats in the Golden Age in Muay Thai, and then came into fame winning the WBC World Championship western boxing belt. He's in the Library here, and we are about to add another session with him. We were asking him why in his fight style back in the day he wasn't doing many of the things that he was advocating now. He said, "back then I didn't know". He looked at us like we were crazy, like "what do you think I've been doing for 20 years since I retired" or "of course I didn't know, I was young". It brought home for me one of the most special things about the Library. We talk about it as if it is preserving the literal techniques of the Golden Age, but it is much more than that. It's preserving those techniques AS they have undergone a period of reflection and refinement. If you talked to an active fighter you may very well get some very noteworthy pointers on how to fight. But if you talk to that fighter 15 or 20 years later you get something very different. You get those elements having passed through a very long stage of reflection. You get to see those elements, very often, taken up as craft. Sometimes, if that fighter has fallen out from the fight game entirely, like maybe someone like Samson Isaan (in the Library here), and who is a taxi driver, this is mostly the craft of recollection, of memory. What he knows and thinks about are all the things that worked for him, and probably some of the things that didn't work for him, things that had success against him. The whole thing goes into a process of memory's slow boil, low and slow, and what you get is a condensed essence of fight knowledge, his style, under refinement. Even if he isn't actively working on improving on or conveying his fighting style, it has been worked on by memory and reflection. It is the art of his style, his knowledge. On the other hand when you have someone like Sagat - you can find him in the Library here - this is someone who has been teaching Muay Thai for probably three decades. Not only is he bringing his fight style, the one he once had, but he has become a craftman about it. What he is teaching is a rarified, purified form of his fighting style, something that has been honed and polished over decades of communication and thought. What he is showing you in the ring today is very different than what he would have showed you 30 years ago. It is enhanced, has been worked on endlessly. Not in the "I've got to be a better teacher" way, but rather that each time you try to convey something you touch it a little, you change it, you add reflection on it. Sagat teaches a great deal of precision and correction on his strikes, as does Chatchai, who also has been teaching for years. Chatchai as a fighter would drift away on his jab. Today he insists, do not do this, this is stupid. I've seen Sagat incorporate things into his teaching that I know he recently has experienced - for instance he has been helping General Tunwakom teach Muay Lertrit lately. These internal elbows are now in his mind, as he teaches movements. Sagat is 60 years old, and his Muay is still evolving. I've watch Karuhat come up with brilliant throws, things he is simply inventing on the spot, feeling his way on, things I've never seen before, because Karuhat when he was a fighter in his gym would always be experimenting, stealing things from others, dreaming up new wrinkles. When we look back in time, through our telescope of the Library it isn't like how starlight is reaching us from far away, how it was years ago. It's instead coming to us with immediacy, having passed through the reflections of these men, as they have become craftsmen, working on the raw materials of their fight days, lifting it to art. Perhaps nobody is more like this than Master K, Sylvie's first instructor back in America. He's 80 years old now, and his Muay Thai is this incredible time capsule of Muay Thai before the Golden Age, the Muay Thai of the late 1960s 1970s. But...it also is filtered and hand sanded by the mind of a Thai man who was no longer in Thailand, reflected on, improved and dreamed up through watching the great boxers of the decades, long ruminations in his own basement kicking the bag until 2 AM, the result of a craft-work of elaboration and self-creation. I think that is what a lot of us miss. These men, all of these men, are producing the work of their mind, as artists, as creators, bringing to life and carrying forward a new thing. It isn't just their techniques, or even their fighting styles. It's the fecundity of the years since they stopped fighting. It is their meditation. What is also kind of incredible is that these ruminations, these craft-works, have been documented and continue to be documented. And that Sylvie has first hand seen them. You can see the full library here.

Another Chatchai be good. But for selfish reasons. Found that hands have always been the weakest and most difficult part.

Yes, Somrak has been on everyone's list, including our own! We got very, very close to filming with him when he had his own gym in Bangkok. We visited and filmed there (he wasn't around, so we filmed with some of his trainers), and then we visited again just to talk with him, and how do I say this delicately...he was several sheets to the wind, but kind of amazing. He said then he doesn't train people anymore, at all really, and we got the sense that he spent almost all his time in the part of the gym where chicken fighting was being done. But, he took Sylvie in and said yes, he would definitely film with her for the project (photo below). So, we were almost there! But, he then lost his gym in a very heavy gambling debt (I think). We literally drove up to it before the news broke and it was completely bulldozed. Like it was nothing but a lot. Without a gym, and with probably a somewhat carefree lifestyle, it will take some doing to get to the place where we can film with him. My own intuition is that this is something not to rush or push, but to just let it naturally evolve. When it happens it will be special.

Not a legend of the sport yet, but I would be fascinated to see you work with Rodtang Jitmuangnon he's got that Muay Mat style... but with teeps.

Veeraphol Sahaprom. According to Siam Fight Mag he has a restaurant in Chaiyaphum. If you could get Wangchannoi and Veeraphol in the library, that would be brilliant