MUAY SENA (มวยเสนา)
KRU NICK'S BIOGRAPHY
MUAY SENA EMBLEM
DHAMMA/DHARMA (ธรรม)
  • 10 NOBLE VIRTUES(๑๐บารมี)
  • WISDOM/PANNA (ปัญญา)
  • KAMMA/KARMA (กรรม)
  • 4 NOBLE TRUTHS (อารยสัจ)
  • SUTTAS/SUTRAS (สูตร)
  • MEDITATION (ภาวนา)
COMBATIVES (ยุทธ)
  • INTRODUCTION TO MUAY SENA
  • TECHNICAL ARSENAL (ไม้)
  • PSYCHOEMOTIONAL STATES
  • COMBAT EQUILIBRIUMยุทธดุล
  • COMBAT SPEED ความเร็วยุทธ
  • STRENGTH & CONDITIONING
  • TRIPHASIC THEORY๓ระยะยุทธ
  • BODIES SYSTEMS (ระบบกาย)
MUAYTHAI BORAN CORPOREALS
  • MUAYTHAI BORAN CORPOREALS
  • STANCES & FOOTWORK (เดิน)
  • COMBAT RANGES (ระยะมวย)
  • CHUNG MUAY (เชิงมวย)
  • DEFENSE (ไม้รับ)
  • MAE MAI (เเม่ไม้)
  • LOOK MAI (ลูกไม้)
  • KON MUAY (กลมวย)
  • TRAINING METHODS (ฝึกหัด)
MUAYTHAI BORAN ACADEMICS
  • MUAYTHAI BORAN ACADEMICS
  • TIGER KING (พระเจ้าเสือ)
  • HISTORY (ประวัติศาสตร้)
  • NAI KHANOM TOM(นายขนมต้ม)
  • KHAN RANKING (ขั้น)
  • WAI KRU (ไหว้ครู)
  • THAI MAGIC (อาคมไทย)
  • TATTOOS (สักยันต์)
  • ROPE HAND WRAPS(คาดเชือก)
  • SARAMA MUSIC (สะระหม่า)
  • GLOSSARY(คําอธิบาย ศัพท์)
MUAY SENA (มวยเสนา)
KRU NICK'S BIOGRAPHY
MUAY SENA EMBLEM
DHAMMA/DHARMA (ธรรม)
  • 10 NOBLE VIRTUES(๑๐บารมี)
  • WISDOM/PANNA (ปัญญา)
  • KAMMA/KARMA (กรรม)
  • 4 NOBLE TRUTHS (อารยสัจ)
  • SUTTAS/SUTRAS (สูตร)
  • MEDITATION (ภาวนา)
COMBATIVES (ยุทธ)
  • INTRODUCTION TO MUAY SENA
  • TECHNICAL ARSENAL (ไม้)
  • PSYCHOEMOTIONAL STATES
  • COMBAT EQUILIBRIUMยุทธดุล
  • COMBAT SPEED ความเร็วยุทธ
  • STRENGTH & CONDITIONING
  • TRIPHASIC THEORY๓ระยะยุทธ
  • BODIES SYSTEMS (ระบบกาย)
MUAYTHAI BORAN CORPOREALS
  • MUAYTHAI BORAN CORPOREALS
  • STANCES & FOOTWORK (เดิน)
  • COMBAT RANGES (ระยะมวย)
  • CHUNG MUAY (เชิงมวย)
  • DEFENSE (ไม้รับ)
  • MAE MAI (เเม่ไม้)
  • LOOK MAI (ลูกไม้)
  • KON MUAY (กลมวย)
  • TRAINING METHODS (ฝึกหัด)
MUAYTHAI BORAN ACADEMICS
  • MUAYTHAI BORAN ACADEMICS
  • TIGER KING (พระเจ้าเสือ)
  • HISTORY (ประวัติศาสตร้)
  • NAI KHANOM TOM(นายขนมต้ม)
  • KHAN RANKING (ขั้น)
  • WAI KRU (ไหว้ครู)
  • THAI MAGIC (อาคมไทย)
  • TATTOOS (สักยันต์)
  • ROPE HAND WRAPS(คาดเชือก)
  • SARAMA MUSIC (สะระหม่า)
  • GLOSSARY(คําอธิบาย ศัพท์)
More
  • MUAY SENA (มวยเสนา)
  • KRU NICK'S BIOGRAPHY
  • MUAY SENA EMBLEM
  • DHAMMA/DHARMA (ธรรม)
    • 10 NOBLE VIRTUES(๑๐บารมี)
    • WISDOM/PANNA (ปัญญา)
    • KAMMA/KARMA (กรรม)
    • 4 NOBLE TRUTHS (อารยสัจ)
    • SUTTAS/SUTRAS (สูตร)
    • MEDITATION (ภาวนา)
  • COMBATIVES (ยุทธ)
    • INTRODUCTION TO MUAY SENA
    • TECHNICAL ARSENAL (ไม้)
    • PSYCHOEMOTIONAL STATES
    • COMBAT EQUILIBRIUMยุทธดุล
    • COMBAT SPEED ความเร็วยุทธ
    • STRENGTH & CONDITIONING
    • TRIPHASIC THEORY๓ระยะยุทธ
    • BODIES SYSTEMS (ระบบกาย)
  • MUAYTHAI BORAN CORPOREALS
    • MUAYTHAI BORAN CORPOREALS
    • STANCES & FOOTWORK (เดิน)
    • COMBAT RANGES (ระยะมวย)
    • CHUNG MUAY (เชิงมวย)
    • DEFENSE (ไม้รับ)
    • MAE MAI (เเม่ไม้)
    • LOOK MAI (ลูกไม้)
    • KON MUAY (กลมวย)
    • TRAINING METHODS (ฝึกหัด)
  • MUAYTHAI BORAN ACADEMICS
    • MUAYTHAI BORAN ACADEMICS
    • TIGER KING (พระเจ้าเสือ)
    • HISTORY (ประวัติศาสตร้)
    • NAI KHANOM TOM(นายขนมต้ม)
    • KHAN RANKING (ขั้น)
    • WAI KRU (ไหว้ครู)
    • THAI MAGIC (อาคมไทย)
    • TATTOOS (สักยันต์)
    • ROPE HAND WRAPS(คาดเชือก)
    • SARAMA MUSIC (สะระหม่า)
    • GLOSSARY(คําอธิบาย ศัพท์)
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  • MUAY SENA (มวยเสนา)
  • KRU NICK'S BIOGRAPHY
  • MUAY SENA EMBLEM
  • DHAMMA/DHARMA (ธรรม)
    • 10 NOBLE VIRTUES(๑๐บารมี)
    • WISDOM/PANNA (ปัญญา)
    • KAMMA/KARMA (กรรม)
    • 4 NOBLE TRUTHS (อารยสัจ)
    • SUTTAS/SUTRAS (สูตร)
    • MEDITATION (ภาวนา)
  • COMBATIVES (ยุทธ)
    • INTRODUCTION TO MUAY SENA
    • TECHNICAL ARSENAL (ไม้)
    • PSYCHOEMOTIONAL STATES
    • COMBAT EQUILIBRIUMยุทธดุล
    • COMBAT SPEED ความเร็วยุทธ
    • STRENGTH & CONDITIONING
    • TRIPHASIC THEORY๓ระยะยุทธ
    • BODIES SYSTEMS (ระบบกาย)
  • MUAYTHAI BORAN CORPOREALS
    • MUAYTHAI BORAN CORPOREALS
    • STANCES & FOOTWORK (เดิน)
    • COMBAT RANGES (ระยะมวย)
    • CHUNG MUAY (เชิงมวย)
    • DEFENSE (ไม้รับ)
    • MAE MAI (เเม่ไม้)
    • LOOK MAI (ลูกไม้)
    • KON MUAY (กลมวย)
    • TRAINING METHODS (ฝึกหัด)
  • MUAYTHAI BORAN ACADEMICS
    • MUAYTHAI BORAN ACADEMICS
    • TIGER KING (พระเจ้าเสือ)
    • HISTORY (ประวัติศาสตร้)
    • NAI KHANOM TOM(นายขนมต้ม)
    • KHAN RANKING (ขั้น)
    • WAI KRU (ไหว้ครู)
    • THAI MAGIC (อาคมไทย)
    • TATTOOS (สักยันต์)
    • ROPE HAND WRAPS(คาดเชือก)
    • SARAMA MUSIC (สะระหม่า)
    • GLOSSARY(คําอธิบาย ศัพท์)

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KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ
KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

PHOTOGRAPHS ARE COURTESY OF GRANDMASTER WOODY'S BOOK "THE ART OF MUAYTHAI BORAN"

ORDER "THE ART OF MUAYTHAI BORAN" BOOK
KON KAE MAD (กลเเก้หมัด)
KON KAE TAO (กลเเก้เท้า)
KON KAE KAO (กลเเก้เข่า)
KON KAE SOK (กลเเก้ศอก)
KON JUJOEM (กลจูโจม)
THE ART OF COUNTERFIGHTING
KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

INTRODUCTION TO MUAYTHAI BORAN'S 82 ADVANCED TACTICS "KON MUAY" (๘๒กลมวย)

The Traditional Advanced curriculum of Muay Thai Boran is known as "Kon Muay" (กลมวย). This syllabus is arranged into 5 separate categories. Of the 5 categories of Kon Muay, the first 4, which are known as "Kon Kae" (กลเเก้), address countering an adversaries attacks. The remaining category of "Kon Jujoem" (กลจูโจม), is a portfolio of Incursive or Preemptive Offensive Tactics. 


The five categories of Kon Muay are as follows:


1. "Kon Kae Mad" (กลเเก้หมัด), The 29 Tactics for Countering Fist Attacks;


2. "Kon Kae Tao" (กลเเก้เท้า), The 23 Tactics for Countering Foot Attacks (Kicks);


3. "Kon Kae Kao" (กลเเก้เข่า), The 3 Tactics for Countering Kneeing Attacks;


4. "Kon Kae Sok" (กลเเก้ศอก), The 4 Tactics for Countering Elbowing Attacks and;


5. "Kon Jujoem" (กลจูโจม), The 23 Incursive Tactics.


The 59 techniques of the initial 4 categories of Kon Kae address the problem of adversaries launching various types of offensive actions. The Kon Muay accomplish these counteroffensive objectives in a number of ways. The counterattacking maneuvers of Kon Kae may be designated in terms of the weapon(s) and/or techniques being utilized as follows:


1. "Kae Duay Mad" (เเก้ด่วยหมัด), Counterattacks using Punches;


2. "Kae Duay Sok" (เเก้ด่วยศอก), Counterattacks using Elbows;


3. "Kae Duay Kao" (เเก้ด่วยเข่า), Counterattacks using Knees;


4. "Kae Duay Teep" (เเก้ด่วยถีบ),  Counterattacks using Linear Kicks;


5. "Kae Duay Teh" (เเก้ด่วยเตะ) Counterattacks using Circular Kicks


6. "Kae Duay Tum" (เเก้ด่วยทุ่ม),   Counterattacks using Throws;


7. "Kae Duay Gwad" (เเก้ด่วยกวาด), Counterattacks using Sweeps and;


8. "Kae Duay Hak" (เเก้ด่วยหัก),  Counterattacks using Limb or Joint Destructions.


These Counteroffensive maneuvers may involve 1 or several of the above methods in there respective techniques. The combining of multiple actions into techniques is known as "Ruam Mai" (รวมไม้). Ruam Mai may consist of multiple weapon simultaneous counterattacks, or multiple action, multiple weapon counterattacks. These types of techniques which combine two or more of the counterattacking methods may involve single, dual, triple or quadruple weapon counterattacks done either in Salvo or independent actions.


In the final Incursive Tactics category of Kon Jujoem, the Muay Thai Boran practitioner preemptively launches his offensives against an adversary. This kind of preemptive or Incursive tactic is and anticipatory and very Advanced style of combat. It involves an understanding of timing and inability to read subtle choose from the adversary. Much like the above categories the Kon Jujoem accomplishes objectives in a number of ways:


1. "Jujoem Duay Mad" (จูโจมด่วยหมัด), Attack using the Fist;


2. "Jujoem Duay Sok" (จูโจมด่วยศอก), Attack using the Elbow;


3. "Jujoem Duay Kao" (จูโจมด่วยเข่า), Attack using the Knee;


4. "Jujoem Duay Teep" (จูโจมด่วยถีบ), Attack using the Linear Kick;


5. "Jujoem Duay Teh" (จูโจมด่วยเตะ), Attack using the Circular Kick;


6. "Jujoem Duay Ti Hua" (จูโจมด่วยตีหัว), Attack using the Headbutt and;


7. "Jujoem Duay Gwad" (จูโจมด่วยกวาด), Attack using the Sweep.


Is worth noting that 1 of the 23 Kon Jujoem is of a purely defensive nature namely, "Kun Yak Jab Ling" (ขุนยักษ์จับลิง), which incorporates a sequence of 3 blocks.


Like the former 4 categories of the Kon Muay syllabus, the Kon Jujoem may involve several of the weapons in their maneuvers. These kind of multiple weapon salvos manifest in a number of ways including double, triple, or quadruple weapon simultaneous attacks. These attacks may be made in a unilateral or bilateral manner. They may also involve Leaping "Gradoed" (กระโดด), or Climbing (เหยียบ), upon on the opponent.


We shall now delineate the 82 Advanced Tactics of Muay Thai Boran's Kon syllabus.

THE 29 PUNCH COUNTERING TACTICS "KON KAE MAD" (กลเเก้หมัด)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

1. SALAB FAN BLA (สลับฟันปลา) (ZIG-ZAG MOVEMENT)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

2. BAKSA WAEK RANG (ปักษาแหวกรัง) (THE BIRD BREAKS THROUGH THE NEST)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

3. CHAWA SAD HAWK (ชวาชัดหอก) (THE JAVAN THROWS A SPEAR)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

4. INAO TAENG GRIT (อิเหนาแทงกริช) (THE INDONESIAN STABS WITH A DAGGER)



KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

5. YAW KAO PRA SUMEN (ยอเขาพระสุเมรุ) (LIFT MOUNT SUMERU)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

6. TA TEN KAM FAK (ตาเถรค้ำฝัก) (THE SENIOR MONK HOLDS A MELON)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

7. MON YAN LAK (มอญยันหลัก) (THE PEGUAN PUSHES A PILLAR)

 

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

8. KUN SEUK TI TUAN (ขุนศึกตีทวน) (THE WARLORD HITS WITH A LANCE)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

9. DAB CHAWALA (ดับชวาลา) (EXTINGUISH THE LAMP)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

10. NU TAI RAO (หนูไต่ราว) (THE RAT CLIMBS THE RAIL)

11. ERAWAN SEUI NGA (เอราวัณเสยงา) (THE 3-HEADED ELEPHANT GOD SCOOPS UP WITH IT'S TUSKS)

12. HANUMAN TAWAI WAEN (หนุมานถวยแหวน) (THE VANARA GOD OFFERS A RING)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

13. HONG BIK HAK (หงส์ปีกหัก) (BREAK THE SWANS WING)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

14. SAK PUANG MALAI (สักพวงมาลัย) (TATTOO A FLOWER GARLAND)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

15. FAN LOOK BUAP (ฝานลูกบวบ) (SLICE THE GOURD)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

16. BIT BOK CHOK DUAY SOK (ปิดปกชกด้วยศอก) (COVERING BLOCK AND HIT WITH THE ELBOW)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

17. SUAN TUAN (สวนทวน) (CROSS THE LANCES)

 

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

18. KLEUN GRATOB FANG (คลื่นกระทบฝั่ง) (THE WAVES HIT THE SHORE)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

19. BATA LOOP PAK (บาทาลูบพักตร์) (THE FOOT TOUCHES THE FACE)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

20. KUN YAK PA NANG (ขุนยักษ์พานาง) (THE YAKSA ABDUCTS THE WOMAN)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

21. PRA RAM JONG TANON (พระรามจองถนน) (KING RAMA RESERVES A ROAD)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

22. NARAI BAN SIAN (นารายณ์บั่นเศียร) (VISHNU CUTS THE HEAD)

23. LOOK KANG JAB MAD (ลูกคางจับหมัด) (THE CHIN CAPTURES THE FIST)

24. RAKRAE HAK KAEN (รักแร้หักแขน) (THE ARMPIT BREAKS THE ARM

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

25. SOK TAY TOI (ศอกท้ายทอย) (ELBOW HITS THE CERVICAL VERTEBRAE)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

26. NARAI KWANG JAK (นารายณ์ขว้างจักร) (VISHNU THROWS A DISC)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

27. LOM KUN TUAN (ล้มขุนทวน) (TOPPLING THE LANCER)

 

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

28. HANUMAN HAK DAN (หนุมานหักด่าน) (THE VANARA GOD DESTROYS THE FRONTIER)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

29. JARAKE FAD HANG (จระเข้ฟาดหาง) (THE CROCODILE LASHES OUT IT'S TAIL)

THE 23 KICK COUNTERING TACTICS "KON KAE TAO" (กลเเก้เท้า)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

1. BAK LOOK TOI (ปักลูกทอย) (NAILING THE STEPS TO THE TREE TRUNK)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

2. NAKA BIT HANG (นาคาบิดหาง) (TWIST THE SERPENT GOD'S TAIL)

 

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

3. HAK NGUANG AIYARA (หักงวงไอยรา) (BREAK THE ELEPHANT GODS TRUNK)

KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

4. VIRUNHOK GLAB (วิรุฬหกกลับ) (THE YAKSA IS TURNED BACK)

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5. GRAISON KAM HUAI (ไกรสรข้ามห้วย) (THE LION CROSSES THE STREAM)

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6. HIRAN MUAN PAENDIN (หิรัญม้วนแผ่นดิน) (THE YAKSA KING ROLLS UP THE EARTH)

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7. NAKA MUD BADAN (นาคามุดบาดาล) (THE SERPENT GOD GOES INTO THE UNDERWORLD REALM OF PATALA)

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8. TAYAE KAM SAO (ทะแยค้ำเสา) (THE TAYAE TRIBESMAN HOLDS UP A PILLAR)

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9. REUSI HUN (ฤาษีเหิน) (THE ASCETIC FLIES)

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10. PRA RAM DUN DONG (พระรามเดินดง) (KING RAMA WANDERS THROUGH THE FOREST)

11. BANPOT TALOM (บรรณพตถล่ม) (THE MOUNTAIN FALLS)

12. NANG MONTO NANG TAEN (นางมลโทนั่งแท่น) (QUEEN MONTO SITS ON THE ALTAR)

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13. RAD NGUANG ERAWAN (รัดงวงเอราวัณ) (SQUEEZE THE 3-HEADED ELEPHANT'S TRUNK)

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14. YAN ROOKKAMOON (ยันรุกขมูล) (PUSHING THE TREE)

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15. KOEN ROOKKAMOON (โค่นรุกขมูล) (CHOP DOWN THE TREE)

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16. NANG MONTO NANG TAK (นางมลโทนั่งตัก) (QUEEN MONTO SITS ON THE LAP)

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17. HAK LAK PET (หักเหล็กเพชร) (BREAK THE DIAMOND PILLAR)

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18. HANUMAN FAD GUMPAKAN (หนุมานฟาดกุมภกรรณ) (HANUMAN THRAS THE RAKSHASA KUMBHAKARNA)

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19. LING PREW (ลิงพลิ้ว) (THE MONKEY MOVES SWIFTLY)

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20. YUAN TOD HAE (ญวนทอดแห) (THE VIETNAMESE THROWS A FISHING NET)

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21. TUAN KUN SEUK (ทวนขุนศึกตี) (THE WARLORDS LANCE)

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22. GWAD MAN (กวาดมาร) (SWEEPING THE TEMPTER GOD)

23. HANUMAN BAEK KAENG (หนุมานแบกแข้ง) (THE VANARA GOD CARRIES THE SHIN ON HIS SHOULDER)

THE 3 KNEE COUNTERING TACTICS "KON KAE KAO" (กลเเก้เข่า)

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1. PLIK PAENDIN (พลิกแผ่นดิน) (DIG UP THE EARTH)

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2. GANGHAN TONG LOM (กังหันต้องลม) (THE WIND TURNS THE WINDMILL)

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3. BEN SUMEN (เบนเขสุเมรุ) (PUSH MOUNT SUMERU)

THE 4 ELBOW COUNTERING TACTICS "KON KAE SOK" (กลเเก้ศอก)

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1. PRA RAM NAO SON (พระรามน้าวศร) (KING RAMA BENDS THE ARROW)

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2. PRA RAM HAK SON (พระรามหักศร) (KING RAMA BREAKS THE ARROW)

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3. PRA RAM FAD SON (พระรามฟาดศร) (KING RAMA HITS THE ARROW)

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4. PRA RAM YAN SON (พระรามยันศร) (KING RAMA PUSHES THE ARROW)

THE 23 INCURSIVE TACTICS "KON JUJOEM" (กลจูโจม)

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1. HAK KAW AIYARA (หักคอไอยรา) (BREAK THE ELEPHANT GODS NECK)

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2. KUN YAK JAB LING (ขุนยักษ์จับลิง) (THE YAKSA CATCHES THE MONKEY)

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3. GWANG LIEW LANG (กวางเหลียวหลัง) (THE DEER LOOKS BACK)

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4. TALOB KEUN (ตลบขึ้น) (FOLDING BACK AND UPWARDS)

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5. IKA CHEEK RANG (อีกาฉีกรัง) (THE CROW TEARS THE NEST)

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6. TALOB LONG (ตลบลง) (FOLDING BACK AND DOWNWARDS)

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7. HANUMAN WAEK FONG (หนุมานแหวกฟอง) (THE VANARA GOD WADES THROUGH THE BUBBLES)

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8. NOK KUM KAO RANG (นกคุ้มเข้ารัง) (THE QUAIL ENTERS THE NEST)

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9. REUSI MUD SA (ฤาษีมุดสระ) (THE ASCETIC DIVES INTO THE POND)

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10. HANUMAN TAYAN (หนุมานทะยาน) (THE VANARA GOD FLIES FORWARD)

11. HAK KAW ERAWAN (หักคอเอราวัณ) (BREAK THE 3-HEADED ELEPHANT'S NECK)

12. TAPIAN FAENG TAW (ตะเพียนแฝงตอ) (THE FISH HIDES BEHIND THE TREE STUMP)

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13. JARAKE FAD HANG (จระเข้ฟาดหาง) (THE CROCODILE IT'S TAIL)

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14. YAN ERAWAN (ยันเอราวัณ) (PUSH AGAINST THE 3-HEADED ELEPHANT GOD)

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15. TEN GWAD LAN (เถรกวาดลาน) (THE SENIOR MONK SWEEPS THE YARD)

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16. PRA RAM TI TAP (พระรามตีทัพ) (KING RAMA STRIKES THE ARMY)

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17. PRA RAM SAKOT TAP (พระรามสะกดทัพ) (KING RAMA OVERWHELMS THE ARMY)

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18. BAN SIAN TOTSAKAN (บั่นเศียรทศกัณฐ์) (DECAPITATE LANKA'S EVIL KING DASHAKANTHA)

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19. KWANG JAK NARAI (ขว้างจักรนารายณ์) (THROW VISHNU'S DISC)

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20. PRA RAM YIAB LANKA (พระรามเหยียบลังกา) (KING RAMA STEPS ON LANKA)

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21. RAMASOON KWANG KWAN (รามสูรขว้างขวาน) (THE THUNDER GOD THROWS AN AXE)

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22. HANUMAN KAM LANKA (หนุมานข้ามลังกา) (THE VANARA GOD CROSSES LANKA)

NARAI KAM SAMUT

23. NARAI KAM SAMUT (นารายณ์ข้ามสมุทร) (VISHNU CROSSES THE OCEAN)



TECHNIQUES DEMONSTRATED BY GRANDMASTER PORNAKAEW LIMMONGKHONCHAIKUL (BLUE SHORTS) AND ASSISTANT GRANDMASTER SANER JARITRUM (RED SHORTS)

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KRU NICK SENA CHINAWUT SIRISOMPAN ART OF MUAY THAI BORAN 82 KON MUAY SANER JARITRUM PORNAKAEW LIMMONGKHONCHAIKUL กลมวย มวยไทยโบราณ

The Noble Art of Muay Thai Boran is ineluctably linked to its reputation of being a hyper aggressive and ultra offensive style of Martial Arts. 

It is commonly associated with intrepid fighters who stalwartly advance with unremitting barrages of strikes and a seeming apathy towards being injured in the process. 


While this single-minded determination to lambaste an opponent into oblivion, even at the risk of sustaining damage to self is an empirically based stereotype, it is not reflective of Muay Thai Boran ideology as a whole. 

In fact, the truly proficient Nak Muay is more accurately described as a "proactive counterfighter". 


To glean an in-depth understanding and appreciation of the counteroffensive predilections of advanced Muay Thai Boran techniques and strategies one must endeavor to delve into battlefield lineages and historical curricula of this Ancient Art of Kings. 


Muay Thai Boran is first and foremost a comprehensive system of unarmed combatives that was developed for and honed on the front lines of Southeast Asia's brutal theaters of war. The Arts primary function was twofold; to complement and supplement the Siamese Warriors combat prowess. 


The principal means for the ancient Siamese infantryman to do battle was by the use of skills of the weapon based Martial Art of "Krabi Krabong" (กระบี่กระบอง) , often referred to as the "Mother of Muay Thai Boran". 


The unarmed techniques of Muay Thai Boran were used both in conjunction with the weapons and independently, as a means for disarmed Warriors to survive and continue to fight. 

The weaponless Siamese Soldier had to be versed in strategical methods of engaging adversaries who were armed with bladed weapons and other dangerous implements. 

It was not tenable for soldiers to simply rush armed enemies haphazardly attempting to strike them. 


Because of the inherit perils and Draconian disadvantages of fighting armed rivals, the Noble Art of Muay Thai Boran was scrupulously developed to intelligently and systematically evade the attacks of antagonists and safely interject decisive counteractions. 


Contemporary applications of the system, as seen in the ring fighting sport of Muay Thai, are significantly less cautious or counterfighting oriented than it's ancient counterpart. 

Modern Thai Boxers tend to exchange blows with less emphasis on the scientific counterfighting tactics of its progenitor Art. 


Traditional Muay Thai Boran, specifically the pre-1920's systems, reveal in their syllabi the true essence of the Art. 

An analysis of the curriculum elucidates that a precedence was placed on counterfighting methods. 


Collectively, the Muay Thai Boran syllabui consists 5 curriculi. 


65 basic offensive techniques; broken down into four subcategories describing each bodily weapons uses known as "Chung Muay" (เชิงมวย). 


A more advanced set of progressive curricula are the 30 "Mai Kru" (ไม้ครู),and "Mai Klet" (ไม้เคล็ด), or "Master Techniques" and "Technical Tricks" respectively, which are bifurcated into two groups of 15 techniques; known as "Mae Mai" (เเม่ไม้) or "Mother of techniques" and "Look Mai"(ลูกไม้) or "Child of techniques". 


"Muay Blam" (มวยปล้ำ) consists of the stand up grappling methods of the Art which include all manners of clinch positions, grips, strikes, trips, sweeps, throws, dumps, Etc.


The final curriculum is the 82 techniques of "Kon Muay" (กลมวย) which is the topic of discussion in this chapter. 


Kon Muay contains all 30 techniques found in the 30 Mae Mai and Look Mai portfolios, therefore, for purposes of analysis in this chapter, it would be redundant to figure them into our equation. 


Additionally the 65 basic attacking techniques of Chung Muay will be omitted as they do not meet the stated criteria of advanced counteroffensive methods. 

With that stated we shall make Kon Muay exclusive focal point of this chapter. 


Of the 5 sub-categories of Kon Muay, 4 are a dedicated entirely to counteroffensive and/or defensive maneuvers. 

These methods are known as "Kon Kae" (กลเเก้) and include 59 techniques which are divided by the type of attack they are designed to address.

 

"Kon Kae Mad" (กลเเก้หมัด), are the 29 methods of defending against and countering punches. 


"Kon Kae Tao" (กลเเก้เท้า), are the 23 methods for defending against and countering kicks. 


"Kon Kae Kao" (กลเเก้เข่า), are the 3 methods to defend against and countering knee strikes. 


"Kon Kae Sok" (กลเเก้ศอก), are the 4 methods of defending against and countering elbow strikes. 


The remaining subcategory of "Kon Jujoem" (กลจูโจม), describes 23 methods for abrupt attacks or incursions. 


While 4 of the 5 sub-categories of Kon Muay are expressly of a defensive and/or counteroffensive nature, all of the 82 Kon can be considered to be either pre-emptive or proactive countermeasures that are executed either subsequent to a defensive maneuver, or function as  "offensive defense" tactics. 


Of the 82 Kon, only 2 of the basic variations are of a strictly defensive nature, void of counteractions. 

These 2 primary variants of the techniques, notably, are "Gwad Man" and "Kun Yak Jab Ling". 


Collectively, Kon Jujoem can be described as "prognosticative  counteroffensive tactics". 

Considering the above facts, it becomes apparent that Muay Thai Boran, at the advanced level, is categorically dominated by counter fighting methods. 

Of the 82 Kon 80 are implicitly counteroffensive, equating to an overwhelming 98.3% of the syllabi. This proclivity towards counterfighting is indicative of  profound insights gained from centuries of experimentation in actual life or death situations of warfare. 


Strategical counterfighting is unequivocally the superlative methodology of doing combat as it affords the its applicant the highest ratio of applied intellect, efficiency and effectiveness once learned and understood completely. 

It is indubitably the most advanced style of fighting, therefore it requires paramount proficiency of both corporeal and psychoemotional varieties. 


Corporeally, the counterfighter must possess a well-developed and highly conditioned neuromuscular system adapted to counter movements that facilitate quick, well-timed and precise reactive and adaptive reflexes. They must have a high degree of proprioception; as well as a functional understanding of the biomechanical capabilities of both self and opponent in relation to stance, weight distribution and the respective offensive and defensive movements of combat. 

They must be able to practically consolidate all of the requisite attributes and insert the correct counteraction into an opening that has a margin of error that is measured in fractions of an inch and mere milliseconds of time. 


Psychoemotionally, the counterfighter must have the ability to perceive the intention of the opponent accurately and intercept them with counterforce. They must detect subtle indicators and telegraphs that are otherwise imperceptible and correctly interpret the stimuli and initiate countermeasures. 

They must be cognizant of subterfugal movements and not be induced by feints, false attacks or openings, nor overreact to insignificant movements by the opponent. 

They must not be hesitant or, on the other end of the spectrum, act prematurely. 

The counter fighter must be equanimitous and not succumb to emotional action or inaction incited by anger, fear, pain or pride. 

The focus must be firmly directed upon evaluating the adversary's state rather than introverted. 


Muay Thai Boran was assiduously developed by astute codifiers to take advantage of not just the intrinsic physical strengths of the human organism but more importantly the intellect. 

It is this intellect which is often the reference of the 9th weapon of the arsenal of the Ancient Thai Boxing exponent. 

Muay Thai Boran's combative strategies which have been forged over centuries in the unforgiving crucible of warfare, represent countless Thai ancestors who dedicated their existence to securing the legacy of this indomitable Art. 

The transmission of Muay Thai Boran's invaluable principles must be rooted in the wisdom of the ancestors who manifestly advocated a doctrine of counterfighting methods. 

The instruction of this Noble Art of counterfighting must be constructed on a foundation of solid fundamentals. It is these very fundamentals that will serve as a turret for the effective and proper utilization of the advanced arsenal of counter fighting methods of The Martial Art of Kings. 


We shall now share with the reader the 82 methods described in the Kon Muay syllabus.

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KRU NICHOLAS A. SENA

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