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Muay Thai Similarities to Other Martial Arts - Kali, etc.


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Kali (Pekiti Tirsia to be more specific) is the only other martial art I have practiced for a significant time (about 8 years or so). It's a Filipino art that is not very "sportified" and is based on the use of blades and impact weapons (empty hands training is done, too though but its based on the same patterns and concepts as the blades).

I found it really interesting how similarities between different arts pop up, especially with the more traditional styles.

There is so much that sounded very much familiar to me in the Muay Lertrit sessions. Things that are either very much the same as I learned in Kali or at least follow the same principle.

There is this thing about "let them try to strike you but make them pay every time" that we also did a lot. Directly counterattacking instead of blocking is a central concept there. Stuff like parrying a punch with a move that, if done well, is supposed to strike the opponent in the same move as it parries their punch. Or making someone who uses a leg kick on you pay by not only blocking with your own shin but dropping your knee on their ankle while doing so, very similarly to what the general demonstrates in that one session.

 

Also I've watched the session with Gen Hongthonglek a few times and only the last time it suddenly occurred to me that the way he uses fakes, delayed timing and counters is actually very similar to how I used to do sparring with the stick in Kali when I was more experienced. I'd typically move back to keep range (I'm a very tall guy with long arms) and would constantly weave my stick in front of me or throw my opponent off with some weird position kind of like Gen does with his feet before he lands his big kicks.

 

This kinda stuff is really fascinating to me. Sure there are differences between arts but often there are also overlaps or concepts that can be applied to other arts as well.

Did you have similar experiences?

 

PS: Of course there are differences, too: For example Kali teaches you to give not getting hit (at all if possible) top priority because an opponent could always carry a weapon even if you don't see it right away so every hit might be very dangerous. Thats something I have to practice to overcome a bit in Muay Thai where the opponent is guaranteed to not have a weapon and getting hit is not actually a mistake in principle.

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I believe one thing we lose sight of is, all martial arts were borne of the need for either war or self defense, so it kind of makes sense that similarities in concepts and physical applications would be apparent across the spectrum of styles. 

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Some of the sessions referenced in the OP:

#54 The Late Sirimongkol and Lertrit Master General Tunwakom (81 min) watch it here 

#36 General Tunwakom - Lertrit Military Muay (46 min) watch it here 

#40  Gen Hongthonglek - Muay Femeu Tactics & Mindset (70 min) watch it here 

clip of General Tunwakom:

 

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18 hours ago, Xestaro said:

There is so much that sounded very much familiar to me in the Muay Lertrit sessions. Things that are either very much the same as I learned in Kali or at least follow the same principle.

Muay Lertrit is a very interesting example, it's like no other branch of Muay Thai or Muay Boran because it actually has root influences from other traditional martial arts. As the General explained, it's inventor was a Navy man who traveled regularly, and very likely picked up aspects of traditional martial arts along the way, and wove them into the Muay Khorat style he was raised in. Add in that it was developed as a martial (meaning warefare) Art, and you get a very unique expression of Muay Thai in it.

วิสิทธิ์_เลิศฤทธิ์ Ajarn Wisit Lertrit.JPG

วิสิทธิ์_เลิศฤทธิ์ Ajarn Wisit Lertrit

This is not very different than the kinds of inventive cross-sections between martial arts that were happening in the 1920-1950s. East and South East Asia seemed to be experiencing unique cross-pollination (Karate itself only coming to Japan in 1922). There is a story that all traditional martial art fighting systems flowed from Shaolin, in some form or others. But there is another sense in which many of them were in contact with each other in the early 20th century. There is no "pure" form. Arjan Wisit may have even come in contact with Filipino martial arts.

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18 hours ago, Xestaro said:

There is this thing about "let them try to strike you but make them pay every time" that we also did a lot. Directly counterattacking instead of blocking is a central concept there. Stuff like parrying a punch with a move that, if done well, is supposed to strike the opponent in the same move as it parries their punch. Or making someone who uses a leg kick on you pay by not only blocking with your own shin but dropping your knee on their ankle while doing so, very similarly to what the general demonstrates in that one session.

You see this in Muay Boran styles like Muay Chaiya, at least as it is taught in Bangkok by Kru Lek. You get a real sense of "defense first", but defense itself has an offensive structure, or the difference between offense and defense is really blurred. This always struck me as the sign of a style's proximity to actual warfare. The very first rule of warfare fighting would be "Do not get killed", and then "Do not become disabled". When you see styles that are founded on rock solid defense (and in my book "evasion" is not rock solid because you can evade, evade, evade, and once you fail, you are dead - or, when a second attacker arrived) it just feels like it's the warfare logic. Those Chaiya, Lertrit styles, where defense becomes wounding, and you are always only a move or two from finishing the fight. That feels very realistic to battlefield demands.

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8 hours ago, Jeremy Stewart said:

I believe one thing we lose sight of is, all martial arts were borne of the need for either war or self defense, so it kind of makes sense that similarities in concepts and physical applications would be apparent across the spectrum of styles. 

100 percent this. Ive seen a lot of cross over in the different styles Ive trained in. Just training in greco roman wrestling you see some cross over to Thai clinching. I think the shared origins, the whys of an art starting, makes it so we will definitely have so.e cross over some where. I also think this is where innovation to you style can come from. Bjj is a relatively new art in comparison, but its evolution in the short time its been around is incredible and its all because no one limits themselves in how they create with it. I see a lot of that ability to evolve quickly available for muay Thai, especially clinch fighting. Just in the different ways of fighting muay Thai you see how imaginations evolved. 

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7 hours ago, Kevin von Duuglas-Ittu said:

You see this in Muay Boran styles like Muay Chaiya, at least as it is taught in Bangkok by Kru Lek. You get a real sense of "defense first", but defense itself has an offensive structure, or the difference between offense and defense is really blurred. This always struck me as the sign of a style's proximity to actual warfare. The very first rule of warfare fighting would be "Do not get killed", and then "Do not become disabled". When you see styles that are founded on rock solid defense (and in my book "evasion" is not rock solid because you can evade, evade, evade, and once you fail, you are dead - or, when a second attacker arrived) it just feels like it's the warfare logic. Those Chaiya, Lertrit styles, where defense becomes wounding, and you are always only a move or two from finishing the fight. That feels very realistic to battlefield demands.

Excellent point. The thing I notice about fighters that have really great defense but stay with it too long is either it eventually fails and they get tagged or the fight drags on because the person is too focused on defense and has no offense to speak of. That would be catastrophic in a battlefield or street situation where new opponents and weapons come in to play. So many traditional styles I think suffered from a lack of defense when they got challenged by sport fighting, and I think it was because of this. They are so focused on offense as defense and doing it immediately that they had no sense of defensive timing, things that give you time to size up your opponent and find the holes in their game, something youd never want to do in the battlefield or street. One self defense instructor I love teaches a style that works in all situations amd youll see a cross over to clinching too: Tony Blauer and his spear system (basically a defense that doubles as an entry to a clinch style close fighting system that doesnt give the opponent much time to do anything). If ypu watch some of his stuff youll see cross over mainly because he uses what works from other styles and combines them in a way he feels works best together. It becomes an unweaving and reweaving of styles which I believe is where evolution happens. 

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18 hours ago, Coach James Poidog said:

100 percent this. Ive seen a lot of cross over in the different styles Ive trained in. Just training in greco roman wrestling you see some cross over to Thai clinching. I think the shared origins, the whys of an art starting, makes it so we will definitely have so.e cross over some where. I also think this is where innovation to you style can come from. Bjj is a relatively new art in comparison, but its evolution in the short time its been around is incredible and its all because no one limits themselves in how they create with it. I see a lot of that ability to evolve quickly available for muay Thai, especially clinch fighting. Just in the different ways of fighting muay Thai you see how imaginations evolved. 

Evolution is what it's about, in my opinion. There's so much freedom in muay thai. To me, you can express yourself better in muay thai language than other martial art languages. You can take what you're given and truly make it your own. Your  own dialect of a particular language so to speak. It's so adaptable and enjoyable and flows so freely between things.

Edited by Jeremy Stewart
Change of wording
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7 hours ago, Jeremy Stewart said:

Evolution is what it's about, in my opinion. There's so much freedom in muay thai. To me, you can express yourself better in muay thai language than other martial art languages. You can take what you're given and truly make it your own. Your  own dialect of a particular language so to speak. It's so adaptable and enjoyable and flows so freely between things.

Totally agree

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  • 4 weeks later...

At one point I was working on a deep dive study into South East Asian martial arts, or Indochinese kickboxing. I was looking at Muay Thai, Muay Laos, Pradal Serey, Lethwei and noticing that they are quite literally the same martial art. There are differences in scoring like Pradal Serey favouring elbows, and Lethwei allowing for headbutts, but in terms of form, this is one martial art that has been spread around a long way. 

My initial hypothesis was that Bokator, the father art of Pradal Serey was likely to be the progenitor of all of these martial arts. However the more research I did, the more it pushed me to eventually scrap the article altogether. While the Japanese are very good at recording their martial arts history, South East Asia generally is not. It also didn't help that the Khmer Rogue destroyed so much of Cambodia's martial arts culture. 

While Eskrima/Kali definitely isn't close enough to be considered the same martial art, General Tunwakom's style looks very much like Eskrima. I think that's partly because of the influence that martial art appears to have had on his style, but also because the two martial arts share a lot of ideas to begin with.

There's a distinct difference between Muay Thai, Lethwei, Eskrima etc. and Kung Fu/Shuai Jiao rooted martial arts like Karate, Taekwondo and Judo. The emphasis on knees and elbows, and unchambered kicks, give all of those martial arts a slower, more brawly aesthetic to them, when compared to KF/SJ rooted martial arts that have more fluidity and emphasis on iron body conditioning.

If I had to really hazard a guess, and this is a stab in the dark, I think that Muay Thai and similar martial arts probably trace their ancestory back to India. I'd be surprised if there wasn't a degree of Kung Fu influence to it, but you're absolutely right. Muay Thai has a lot of similarities to other martial arts, sentiment in Cambodia is that Thailand stole Muay Thai from them. I was speaking to a martial arts historian who's fairly well known in these circles who said to me 'Cambodia says Pradal Serey is older than Muay Thai, and it probably is, but there's no real way of knowing'. 

The records are just non-existent. 

If you take a look at this demonstration though, this should seem awfully familiar to people from a lot of different styles.

 

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23 hours ago, AndyMaBobs said:

My initial hypothesis was that Bokator, the father art of Pradal Serey was likely to be the progenitor of all of these martial arts. However the more research I did, the more it pushed me to eventually scrap the article altogether. While the Japanese are very good at recording their martial arts history, South East Asia generally is not. It also didn't help that the Khmer Rogue destroyed so much of Cambodia's martial arts culture. 

It reminds me of cultures that had an architectural history in wood. Almost all lost. Cultures that built in stone, highly favored in the invented histories of the world.

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On 6/28/2019 at 3:14 PM, AndyMaBobs said:

If you take a look at this demonstration though, this should seem awfully familiar to people from a lot of different styles.

We also have to, I would STRONGLY suggest, accept the possibility that an almost decimated art would then become cross-influenced by the dominant art of the day. It may very well be it looks like Muay Thai because in attempting to assemble the art into a style, it draws on what it sees as well. This for instance is what supposedly happened when TKD arose in Korea, but almost exclusively as a derivative of Japanese Karate. In fact, it pretty much WAS Japanese Karate. After the war it become imperative for TKD to not be Japanese at all, and so began the long path of creating a supposedly "original" Korean martial art that TKD was derived from. And they found the thinnest little trace of one (nearly extinct at the time of Karate's arrival in Korea). So, the story building began, and that art, apparently called t'aekkyon, came to be claimed as the origin of TKD, something that a study of early TKD martial art manuals suggest isn't the case at all. t'aekkyon then itself gradually began a reconstruction, retroactively, with people claiming to know and teach it. The connective tissue between it and modern TKD came to be grandfathered in. And this had strong ideological motivations. Make TKD Korean in origin, not Japanese. My gut feeling is that something like this is happening in some cases of fragmented SEA martial arts that claim to be older than Muay Thai (an ideological claim). These arts can be reconstructed, from the present, into the past, and give the illusion to be origins. 

This actually is a problem with many of the Muay Boran claims in Thailand as well. We don't really know if any of these are actual lineages, or how much of them are reconstructions. Arjan Surat, who had a Boran teacher who is up on the wall of his gym, shook his head when talking about Muay Boran masters of today. "If he didn't know (pointing to the photo on the wall), how do they know?". That is one of the special, and indeed remarkable thing about General Tunwakom's Muay Lertrit. It is handed straight down from its creator, who himself was fusing Muay Khorat with other influences (apparently).

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On 6/29/2019 at 9:19 AM, Kevin von Duuglas-Ittu said:

We also have to, I would STRONGLY suggest, accept the possibility that an almost decimated art would then become cross-influenced by the dominant art of the day. It may very well be it looks like Muay Thai because in attempting to assemble the art into a style, it draws on what it sees as well. This for instance is what supposedly happened when TKD arose in Korean, but almost exclusively as a derivative of Japanese Karate. In fact, it pretty much WAS Japanese Karate. After the war it become imperative for TKD to not be Japanese at all, and so began the long path of creating a supposedly "original" Korean martial art that TKD was derived from, and they found the thinnest little trace of one (nearly extinct at the time of Karate's arrival in Korean). So, the story building began, and that art, apparently called t'aekkyon, something that a study of early TKD martial art manuals suggest isn't the case at all. t'aekkyon then itself gradually began a reconstruction, retractively, with people claiming to know and teach it. The connective tissue between it and modern TKD came to be grandfathered in. And this had strong ideological motivations. Make TKD Korean in orgiin, not Japanese. My gut feeling is that something like this is happening in some cases of fragmented SEA martial arts that claim to be older than Muay Thai (an ideological claim). These arts can be reconstructed, from the present, into the past, and give the illusion to be origins. 

This actually is a problem with many of the Muay Boran claims in Thailand as well. We don't really know if any of these are actual lineages, or how much of them are reconstructions. Arjan Surat, who had a Boran teacher who is up on the wall of his gym, shook his head when talking about Muay Boran masters of today. "If he didn't know (pointing to the photo on the wall), how do they know?". That is one of the special, and indeed remarkable thing about General Tunwakom's Muay Lertrit. It is handed straight down from its creator, who himself was fusing Muay Khorat with other influences (apparently).

Definitely agree here. Taekwondo is fundamentally identical to sport karate, they've just added some extra rotations in the spins. 😛

Ajarn Surat is definitely right. There is a similar thing involved in the absolute nonsense that is Ninjitsu, which is not a real martial art and never was. There are people who very much thing that some high profile Japanese instructors MUST have this lineage - as though being Japanese prevents the ability to lie about such a thing. I imagine the same is true of Muay Boran, we just don't know! A lot likely is reconstruction, but I can see why instructors wouldn't want to admit to it essentially being HEMA. 

Even in Shaolin, there is a sense that what Shaolin we are seeing from 34th generation disciples, who are passing on knowledge today is removed from what it originally was - and that is within the framework of a martial art and country that rigorously documents. Researching Boran, Bokator etc. really did open my eyes to how much Thailand, Cambodia, Myanmar etc. really is the wild west when it comes to martial arts.

Edited by AndyMaBobs
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Generally it's of course logical that, especially older, martial arts will look similar to a degree. They were mostly developed to do the same thing under similar conditions and the human body can only move in so many ways when you try to find efficient ways of doing damage to other humans while staying relatively save in the process.

 

Broken lines of heritage are of course a big problem when trying to find/learn "original" arts.

Here in Germany (and probably Europe as a whole) there is a similar problem right now where people try to revive the original European medieval martial arts. We know there was a big history of things like longsword fencing for example but as technology in warfare had improved a lot people stopped practicing such things and today... Well, there are some documents that detail the art (like Talhofer's writings. At least this seems like a first hand thing since Talhofer was himself a successful fencer) but noone who can actually trace a line of teachers back to that time. Only people who try to recreate it as true as possible based on medieval writings (who are sometimes difficult to understand) and drawings (that sometimes look weird for someone with a modern understanding of martial arts). The result is basically something that draws on those sources as much as possible while being influenced by the prior training of the people trying to figure it out.

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    • "The distinctive time running through the shots makes the rhythm…rhythm is not determined by the length of the edited pieces, but by the pressure of the time that runs through them." - Sculpting in Time, Tarkovsky
    • Instinct and the Thai Principle of Tammachat (ธรรมชาติ) an expansion upon my journal entry This will remain somewhat obscure, as it's hard to fill the gap in my recent reading, but thoughts on the nature of Tammachat (natural), which is one of the more essential, basic yet obscured qualities of Thailand's Muay Thai - and one that non-Thais most deeply struggle with. How can something be "natural", which is trained? They seem a contradiction, or at the very least in strong tension. Into the gap Westerners try to place concepts like "muscle memory", as if you can create a new causal chain, a new "memory" in your body which then operates with something like "naturalness". This supposed manufactured "muscle memory" is often trained with great tension - a very high degree of unrelaxed, biomechanically precise constant correction. It does not really solve the problem of Tammachat, and instead inserts a mechanical bridge between between what I'll call Instinct and Thought. 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In this sense, ring Muay Thai could be regarded as a proto-form of cinema. The Role of Emotion Primordially, the greatest instinct that a training fighter encounters is Fear. The Art of Fighting is in many ways the Art of Communicating with Fear. One does not merely dull or annul oneself to fear, fear which contains great wisdom acquired not only through one's own life, but also through the history of the organism, passing through aeons back. The Art of Muay should be considered the Art of Fear...and with it the attendant Instinct of Aggression. Training includes the Instinct of Fatigue. Fear, Aggression and Fatigue can be thought of as the Instinct loom upon which Thought is woven, through the exposure to intensities and the arch aesthetic of Muay. One finds a language, one finds words, which work together the instinct and intelligence of Muay, in a new Tammachat, a new naturalness.  Returning to the original reference (below), emotion stands as that which exists between Thought and Instinct. Emotion is that which surges when Thought loses its footing, inviting Instinct in. It is the qualitative way in which we pass through the world, bouncing from intensifying state to intensifying state. For this reason the Thai Buddhistic approach to emotion plays a central role in achieving a new Tammachat communication between Instinct and Intelligence. Emotional reactions in training are to be expected - and emotion itself provides the bridge - but in order for the Aesthetic to provide the cover for development emotion needs to even'd out, understood as a connective force, but not reaching intensities that obscure the sought-for connection. Emotion is simply the sign that Intensities (speeds) have reached a place where Though can no longer adequately follow. It is the door that allows Instinct in. In the right regulation, the right temperature, enough Instinct will enter to guide, and technique (one's learned words) will be allowed to speak, joining Intelligence and Instinct together. Emotion is the conduit. The extension of emotion into a perceptual space (and not merely a spiking or depressive reaction), along Buddhist non-reactive principles, is what allows the art itself to work the synthesis together, properly in training in play. It allows the Tammachat to grow. Without emotion, the substantive expansion which exposed to intensifications that leave Thought & Intelligence behind, one cannot be nourished by one's collective Past. But, it is a question of temperature. Emotion drawn towards Mind. All of this has grown quite esoteric, but it is much more human, much more basic than that. In training one is exposed to differing speeds (intensities), and given techniques (words to speak), both with these speeds, but also amid these speeds. Importantly, these speeds are not just intensifications of fast, they are also intensifications of slow. One is working through a disorientation of the mind (thought, intelligence) in manners which are designed to provoke emotion, but emotion which is only a door to the much wider wealth of Instinct (Unconscious). Emotion is to be regulated, encouraged to be non-reactive, eased into a larger framework of the Aesthetic of Muay, so that the door to Instinct remains open, just enough, so Instinct and Intelligence can collaborate and find ground in a new Tammachat. The invocations of Instinct come out of the very form of training in the Kaimuay in Thailand, a summoning up of the Past, both individual and social, in a community of fighter development. One cannot simply "take out" the techniques of the kaimuay, from this matrix. As fighters train into fatigue, Instinct is also invited in, to speak and inform the Mind. The Aesthetic of Muay steps in to hold the two together, also brought together in the social glue of the kaimuay itself. There is an important mutuality to training, which also falls to the traditional forms of Thai hierarchical culture, a way that the Past inhabits the Present through social bond. Muay Thai is the art by which the Past is allowed to continue to speak, so as to inform (and be informed by) Intelligence. This occurs though, principally, through the exposure and involvement of speeds (intensities) designed to provoke emotion, which itself must be modulated by Buddhistic appeal. This is a fundamental shoreline in training, which then expresses itself in a higher state when fighting.  The Fighter and the Unconscious: the flinch and the archetype To follow along in this discussion its important to understand what the nature of the Unconscious is. We are very far from Freud's vision of a repressed Unconscious of drives. We are thinking of a productive Unconscious, the Unconscious understood as everything from flinching to (perhaps) Jung's concept of archetypes. This is because the Unconscious is everything that falls below the threshold of awareness. It includes all the aspects of one's personal history, the experiences of childhood and before, all the things learned as "forgotten", and (following Jung) the energies of one's personal force such as the Shadow or the anima/animus, etc. In training the fighter is engaging, in a systematic craft of intensity exposure and development (its no accidental that Muay Thai is by custom part of the pedagogy and maturation of male adolescents), eliciting emotion for its relative control, turning it onto a conduit. The conduit is connecting Mind (Intelligence, Thought) to Instinct (the Unconscious), and back again. It is drawing forth on the resources of the Unconscious (all of the Unconscious - from the composite of the organism and the species, all those reflects and affective capacities and perceptions, to archetypal forms of being in a social world, the mythos of the Individual - all of it), to animate and inform the art of the Muay, which operates as a continuous aesthetic. Both the flinch as a reflex, and the flinch as a half-memory when you were hit as child, (and also the flinch that served emotionally as a recoil from a dominance, a psychic positioning of your energies before a stronger energy), all of those levels of Unconscious capacity are drawn into the aesthetic of the Muay, and are given words to speak, so as to be symbolically present, imbued in movement. The movement is also informed by those Unconscious qualities and many others, made full, through the deeper knowledge of survival and persistence. Key is understanding that the Past is not regressive. The Unconscious is not limiting/limited. It is full of a wealth of the capacity to do...but, it is beneath awareness, and definitionally not accessible by Intelligence/Thought alone. The instinct to flinch, the reflex, following our example, despite violating the aesthetic of the fighter is imbued with tremendous resource, a speed of perception, a defensive priority, which surpasses any conscious action. Those extra-personal knowledges are to be folded into the Aesthetic of Muay. So this is the case with enumerable capacities to sense and act, affective energies of presence, aspects of the organism and the Self which are so infinite they cannot be known. Imperceptible transitions between modes and embodiments of Time. The training (and the performance) reaches reaches through up from the reflex to the sweep of the mythic Self, all of it inaccessible to the direct perception of the Mind. Emotion and Intensification Noted above, in training intensification gives rise to emotion, which opens the doorway to the Unconscious (Instinct). Intensification on one level, let's say in terms of sparring (play), operates along the aspect of speed. One is exposed to speeds, including changes of speeds (tempos), which defy the capacity of the mind to follow, which gives rise to emotion. The intensification though is not emotion. It produces emotion. Emotion that rises to the point of object obsession (that "fighter" is doing this to me, that "technique" is doing this to me, making me feel this) has already lost its role. It's role is to open Thought to Instinct. The coaching and calculating mind, the analytical mind, will lead emotion in the wrong direction. That is why the Buddhistic aspect of Thailand's traditional Muay Thai works to solve the mis-steps of emotion. The Buddhistic aspects of Muay Thai are embedded in its aesthetic form. One doesn't have to think of emotion in terms of Buddhism, but it can help. This is to say, the directionality of the rise of emotion is toward Instinct. One wants to open a two-way door toward the Unconscious. Because Muay Thai is trained also through fatigue and an aesthetic of dominance, intensification (and its attendant rise of emotion) can also occur through fatigue or dominance. Together they can create a very large doorway, weaving together both the materiality of the Body (fatigue) and the psychodynamics of personhood and social status (hierarchies). Turning to the aesthetic of Muay, its conditioning of Ruup (body posture and form), its characteristic display of presence and being at ease (physically), its flattening of emotion, allows the doorways of intensification/emotion to remain open, productive and expressive. Ideally perhaps, emotion per se is stretched out toward Mind, experienced more so as direct intensification alone, a portal to Unconscious Instinct, and the formative powers of what one is. The Mythos of the Self and the Fighter Thailand's Muay Thai is culture bound, which means that its figures of significance and valorization are drawn from the culture itself. It operates within a Thai-Siamese mythos. For this reason great legends of Thailand's Muay Thai past, let's say of the Golden Age of the sport or before, stand in the same light as the gods that are performed and invoked in the Ram Muay. In my discussion of the 10 Principles of Muay Thai I call this "be the god". The meaning of this is to be understood within the mythos of the Unconscious, both at a personal level, but also at the collective level of a people. The fighter in the ring draws up from the Past (the Unconscious) the supra-personal forces that go beyond their mere ego (constructed identity), so that they can assume a symbolic capacity within the ring, making of the art a collective rite. This occurs through the aesthetics of the sport, and the ways in which the fighter has attained the capacity to transmute intensifications into Instinct and Thought syntheses. In this sense fighters can become embodiments of a collective, mythic past, drawing on the forms of what anchors a people, but remain inaccessible to Intelligence alone. The openness of this capacity is achieved in the openness of training, through play and the aesthetics of Muay. Time and the Nature of Muay (the Natural) Bergson's concept of Duration (la durée) is an important building block for understanding what is happening in traditional training and in fighting. A duration for Bergson is an unbreakable envelope of Time. Returning to the example of cinema, a shot holds a certain complete shape to itself. If you edited it in any way you would break what it is. Bergson describes duration as Time what is "swollen with its past". Just as a story is told in a narration, the ending of the story is swollen with its history, the telling of it from the beginning. A duration is anything that cannot be broken, in terms of Time. There may be durations within a duration, unbreakable envelopes within the duration, this does not disturb its wholeness. The image is given of music where one has the musical piece (a duration), and individual notes played (a duration), as well as refrains, phrasings, melodies, etc. Our lives are durations, our days, our thoughts, our bodies, anything that swells with its past, with the passing of time, so to complete it. When one enters a Thai kaimuay to train, or enters a ring to fight, one is entering as a duration (in fact a duration made up of many durations). And one is joining a duration, the event. The rhythms and shapes of the event envelop your duration hold you in concert with other durations you will encounter. In a kaimuay these are the patterns of training, the aesthetics and customs of the art as trained; in the ring it is the aesthetics of Muay as it is fought. This is the set-up. As you train your duration, what is the you of you, your temporal wholeness will be challenged by intensities of speed, fatigue and dominance. This will lead to intensification, and usually emotion. As Thought ceases to be able to manage one's place, one's wholeness, one opens up the the Unconscious/Instinct, to draw on resources that allow your duration, your rhythm, your wholeness to persist. The Time of which you are made (your duration) is enriched by the rise and integration of Instinct, and that which usually falls below consciousness. Your duration is expanded. Fighting is the art of breaking another's duration, their rhythm and tempo which makes them whole. This is why Muay Thai is principally a Time War, and why it occurs under an aesthetic of narration (the scoring is narratively anchored, and not abstract point counting). The techniques of engagement are temporal battles, strikes holding their own duration within the larger duration, attempts to break the unbreakable coherence of the duration of the other. This is why Ruup and continuity play such a large role in Muay Thai aesthetics and skill building. The Natural, the Tammachat, comes from the presence and integration of Instinct, the presence of the Unconscious, which is engendered to flow with Thought. This is achieved in training, through the application of intensities and the invitation of modulated emotion/affect.       Bergson on Instinct and Thought, from Deleuze and the Unconscious (2007): one can leave aside the direction of this argument toward frenzy and the mystic. Important is the relational dichotomy of Instinct and Intelligence.      
    • Instinct and the Thai Principle of Tammachat (ธรรมชาติ) This will remain somewhat obscure, as it's hard to fill the gap in my recent reading, but thoughts on the nature of Tammachat (natural), which is one of the more essential, basic yet obscured qualities of Thailand's Muay Thai - and one that non-Thais most deeply struggle with. How can something be "natural", which is trained? They seem a contradiction, or at the very least in strong tension. Into the gap Westerners try to place concepts like "muscle memory", as if you can create a new causal chain, a new "memory" in your body which then operates with something like "naturalness". This supposed manufactured "muscle memory" is often trained with great tension - a very high degree of unrelaxed, biomechanically precise constant correction. It does not really solve the problem of Tammachat, and instead inserts a mechanical bridge between between what I'll call Instinct and Thought. I'm drawing from these two passages in the excellent book Deleuze and the Unconscious (2007, Christian Kerslake) discussing the influence of the philosopher Bergson. Bergson is concerned with how matter and memory work together. In a certain sense we all have a powerful inheritance of memory, something which includes not all of our conscious experiences, but all of our experiences, much of it unconscious. This is not just things that we can recall to our mind, but rather the very large raft of causes well below the threshold of our awareness, including our biological instincts. Instincts are wisdom, skills, reactions, frames of perception which have been developed through not only 10,000 years of ancestry, but also 100s of millions years of life itself, well below our species. All of this is inherited, in a way, in "memory", the form of the matter of which we are made. When "memory" is acting, this by default is read as "natural". If someone fakes a punch and we flinch...this is natural. It is speaking from our memory. It flows, seemingly, without thought. But Thailand's Muay Thai has a concept of developed naturalness, which is to say the qualities of physical expression which also can flow with the ease that memory has. The temptation is to create "new memories" (that's why "muscle memory") is a thing. If we can train and cram-down memories back into our causal shoot, far enough in, then they too might come out some what "natural" in the future. You see a great deal of this in the proliferation of the "combo", a fixed pattern of strike that is trained over and over again, trying to force it back down into the causal chain, so it can come out "natural"...though it almost always, when trained like this, comes out "forced" and far from Thai Tammachat. The reason for this failing is identified in the passages below (though, this is just a note, and the passages themselves may be hard to decipher, I'm drawing out a line of their thought). The point or idea is not to create new memory, or new instincts (they will never be as strong as those inherited by the instincts of biology, or of those learned deep in our forgettable pasts), its to put Instinct itself in relationship with Thought (or, in the text Intelligence). The ideal state, the Tammachat state, is one in which Instinct and Thought alternate and affect each other. Not only does Thought shape Instinct, Instinct shapes Thought. In some sense the great history of our Being, our personal Unconscious (all things experienced, most of it well below our threshold of awareness) and our collective biological Instincts, all the causes of how we act, is placed in communication with Thoughts, Intelligence, Ideas, in the sense that there is dialogue and mutuality, and no priority of either. In "flow states", presumability, this communication becomes utterly suffused. This is why "play" plays such an important part of Thai training and development, it approximates in a low stakes way this suffusion. Aesthetics and Thought The role of Intensification. In the philosophy of Deleuze (and Deleuze and Guattari) there is emphasis on speeds. The exposure to speeds (sometimes in an absolute sense, sometimes in terms of changes in speeds) produces an intensification within oneself. Something that is too fast, but also something that is too slow...intensifies. In this framework I'll position this as that-which-challenges-thought, or that-which-is-where-thought-cannot-follow. This is to say, using Intelligence to keep track, plan and react is no longer sufficient. Intensification is what puts Thought in relationship with Instinct. (And keep in mind, here Instinct isn't just animal reactiviness, though it includes that too. It is the sum of our Unconscious causations.) Intensifications produce a dialogue. Muay Thai active training, aside from drills and conditioning, is thought of as "getting used to" certain speeds and intensifications, things that would just throw you into pure instinctive reactions if you were untrained. But, it is much more than that. The "getting used to" is not just exposure therapy, it is actually putting Thought and Instinct into communication with each other, by degrees. You want both dimensions, otherwise you will never receive Tammachat. This is how Thai aesthetics - to which a non-Thai must submit and be shaped by - work to sew together these two aspects of our Being. The over-arching picture of what the art of Muay Thai is, is what allows the space in which Instinct and Thought can develop together in unanticipated, experimental ways. Each must shape each...within the Aesthetic, held together by the Aesthetic. The use of intensification - there are many aspects of intensification, but we can stay with solely the quality of speeds - is to unseat Thought and place it into community with Instinct (your Past). If the intensification is too strong Thought will be forced completely down into Instinct, too light and it will operate over Instinct. The key to Tammachat is that they suffuse, the "wisdom" of each in combination. This is why Thailand's traditional Muay Thai, its very high level of command over the fight space, is an art. Fighters develop within a sphere of progressive, integrating, creative intensifications, and the fight is conducted at the level of a Tammachat suffusion of Thought and Instinct. This is what the great legendary fighters of Thailand's past exude an extraordinary degree of being "at ease", which is why they are so "natural" in their speeds and relations. One is not simply "getting used to" speeds and intensifications. Your Past (the full causal panoply of what you are, reaching much further back than even your person, into what you are as an organism) is being synthesized into an Aesthetic, a certain kind of creative completion, or some variation thereof.                                  
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    • The first fight between Poot Lorlek and Posai Sittiboonlert was recently uploaded to youtube. Posai is one of the earliest great Muay Khao fighters and influential to Dieselnoi, but there's very little footage of him. Poot is one of the GOATs and one of Posai's best wins, it's really cool to see how Posai's style looked against another elite fighter.
    • Yeah, this is certainly possible. Thanks! I just like the idea of a training camp pre-fight because of focus and getting more "locked in".. Do you know of any high level gyms in europe you would recommend? 
    • You could just pick a high-level gym in a European city, just live and train there for however long you want (a month?). Lots of gyms have morning and evening classes.
    • Hi, i have a general question concerning Muay-Thai training camps, are there any serious ones in Europe at all? I know there are some for kickboxing in the Netherlands, but that's not interesting to me or what i aim for. I have found some regarding Muay-Thai in google searches, but what iv'e found seem to be only "retreats" with Muay-Thai on a level compareable to fitness-boxing, yoga or mindfullness.. So what i look for, but can't seem to find anywhere, are camps similar to those in Thailand. Grueling, high-intensity workouts with trainers who have actually fought and don't just do this as a hobby/fitness regime. A place where you can actually grow, improve technique and build strength and gas-tank with high intensity, not a vacation... No hate whatsoever to those who do fitness-boxing and attend retreats like these, i just find it VERY ODD that there ain't any training camps like those in Thailand out there, or perhaps i haven't looked good enough?..  Appericiate all responses, thank you! 
    • In my experience, 1 pair of gloves is fine (14oz in my case, so I can spar safely), just air them out between training (bag gloves definitely not necessary). Shinguards are a good idea, though gyms will always have them and lend them out- just more hygienic to have your own.  2 pairs of wraps, 2 shorts (I like the lightweight Raja ones for the heat), 1 pair of good road running trainers. Good gumshield and groin-protector, naturally. Every time I finish training, I bring everything into the shower (not gloves or shinnies, obviously) with me to clean off the (bucketsfull in my case) of sweat, but things dry off quickly here outside of the monsoon season.  One thing I have found I like is smallish, cotton briefs for training (less cloth, therefore sweaty wetness than boxers, etc.- bring underwear from home- decent, cotton stuff is strangely expensive here). Don't weigh yourself down too much. You might want to buy shorts or vests from the gym(s) as (useful) souvenirs. I recommend Action Zone and Keelapan, next door, in Bangkok (good selection and prices):  https://www.google.com/maps/place/Action+Zone/@13.7474264,100.5206774,17z/data=!4m14!1m7!3m6!1s0x30e29931ee397e41:0x4c8f06926c37408b!2sAction+Zone!8m2!3d13.7474212!4d100.5232523!16s%2Fg%2F1hm3_f5d2!3m5!1s0x30e29931ee397e41:0x4c8f06926c37408b!8m2!3d13.7474212!4d100.5232523!16s%2Fg%2F1hm3_f5d2?entry=ttu&g_ep=EgoyMDI0MTAyOS4wIKXMDSoASAFQAw%3D%3D
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