Birth of Pahuyuth and Ancient Muay Thai

Prior to the Sukhothai era, Thai civilization dated as far back as those of the Egyptians, Babylonians, and the Assyrians. They were established before the Buddhist era in a land called “Aay Loa Kingdom” one the river banks of Huang Ho and Yang Jue rivers, presently known as Schezuan, Hubei, Anhui, and Kiangsi in China. There were later defeated and had to continue migrating south to maintain their freedom.

Thais are known to be liberal and great warriors. They have always been an independent nation and have evidently fought to protect their right and loved ones. During those times, villagers along the Thai borders prepared themselves by engaging young men in physical activities like wrestling, boat race, and bull race.

For practice of self-defense, many generations of old masters continuously assembled and developed the fighting techniques passed on from their ancestors for thousands of years. They finally established a fighting system for Thais called “Ching Kom” and “Pan Lam”, both well-known.

Master Ketr Sriyapai (the author’s senior teacher) once said that “boxing means punching as taught by your teacher or fighting to survive”.

Thai boxing is “an art that has been developed by our ancestors as a national heritage to their children for thousands of years.” The genuine Thai boxing is best performed by Thais. Unfortunately, the Thai boxing we see today in rings is not the true Thai boxing.

By Kru Praeng (Amornkrit Pramuan)
Muay Thai Chaiya Boxing Foundation

Pahuyuth AwudThai

Foreword

.....When I was asked to write about “Ancient Thai Boxing and Muay Chaiya”, I felt it was a difficult task because the society at large has lost interest in the subject. But after thorough consideration, I have come to the decision to do so, in order to honor and show my gratitude to my teachers who have patiently taught me and to my homeland, the Kingdom of Thailand. .....Please note that the following articles (and the ones that follow) are based on what I have learned from my teachers. So there may be different teachings from different teachers, or different interpretations from the same teacher. The beauty of Muay Thai is that it is a flowing style, open to change as long as the basics are strong.

“To my dear young ones. Remember that he who has taught you even only one step, one day, one month, and one year is considered your teacher for life. Be grateful to him. Repay and treat him with respect.”

With this in mind, I would like to pay full respect to all my teachers who have taken their time to share pass their wisdom to me.

All living creatures, human in particular, have, since the age of dawn, fight for survival. Each has their own ways of fighting to protect themselves and to hunt for food.

Animals fight based purely on instincts and brawn, while human beings used their intelligence and developed their fighting skills with bare body and weapons.

If we believe in the theory that mankind evolved from apes, then they should have started fighting approximately one million years ago. With their primitive inheritance, historic man fought similarly to animals. They fought with their natural instinct using biting, kicking, snatching, scratching, punching, kneeing, throwing, breaking, etc. Their fights were purely a means of survival.

Historic Men fought for two reasons:
.....Food and territory
.....Jealousness

In the Stone Age, when men still lived in caves, brawls usually occurred because of jealousy and lust. Later on, men formed a more complex social group, starting with small communities and eventually on to nations. In the process of doing so, they also developed more civilized approaches, such as rules and regulations, to resolve their conflicts.

However, with each nation having its own set of beliefs and needs, there are inevitably more conflicts and violence. The in individual brawls thus turned into battles and wars.

Muay Chaiya Original Muay thai

Thai national martial art is, naturally, MuayThai. But how many really know the true Muay Thai beyond the thought of two big, muscular boxers furiously exchanging kicks as seen at the boxing camps or the famous stadiums such as the Lumpinee and the Rachadumneun?

The original Muay Thai uses one’s wits more than brute strength, and ends up with injury sustained by both sides. Muay Chaiya, a style of Muay Thai, has clearly illustrates this fact.

Muay Thai Chaiya, or as called by it’s full name as Pahuyuth Muay Thai Chaiya, translated to be the way of Thai fighting, hand to hand combat, Chaiya style, can hardly be seen now a days. But there is a place where Muay Chaiya is taught to interested public, so the heritage of the old and traditional Muay Thai, or Muay Boran, can be passed down. This is to keep alive a true Thai tradition, which most people have only seen in books or movies.

Master Amornkrit Pramuan, or Kru Preang to his Muay Thai students, has carried on the intention of the masters, who had come before him, to continue the legacy of preserving Muay Thai in it’s true form, which had been forgotten since the banning of fighting with rope, or hem binding as we called Muay Kad-Chuek. Many techniques, unique to Muay Thai, have been lost due to the imposing of rules adapted from western boxing.

Kru (teacher) Preang, was the close student of Kru Thong Chuer-Chaiya, who had inherited the Muay Thai Chaiya from the Grand Master Ketr Sriyapai (the last grand master of Muay Thai), who had learned from his father, Phraya Wajeesatayarak, the provincial governor of Chaiya. The Grand Master also learned from another 13 masters until he was well versed in MuayThai.

Muay Thai Chaiya, not only utilizes fists, feet, knees, and elbows as we commonly see in the main stream Muay Thai, but also uses the forgotten elements of throwing, pressing, grabbling or clinching and joint breaking (Toom-Tup-Jub-Huk), they are no less dangerous than the throwing and joint locking of other martial arts. There are other sets of techniques with names that rhyme and contain deep meanings. They are to lure, to mislead, to elude, to avoid, to deceive, and to tease (Lor-Lork-Lop-Leek-Lorklor-Lorlen), or to hug, to squeeze, to swing the opponent from side to side, and to cast or throw the opponent down (Kod-Rad-Fad-Wieng). These are the techniques for inside fighting, that we no longer see in today’s Muay Thai. Even the way to fall, to get up, to roll on the ground, and to crawl (Lom-Look-Klook-Klan), which deal with proper way of rolling on the ground and falling so the practitioners wouldn’t get hurt.

So, an exponent of the old and traditional Muay Thai, such as Muay Thai Chaiya, does not limit oneself to only one-dimensional fighting of stand up strike. If the fight takes one down to the ground, one still has to be able to fight effectively. Since the old traditional Muay Thai was created for the engagement in battlefields, being able to engage with several opponents at the same time has made Muay Thai Chaiya so formidable.

Classes are conducted in the old traditional and systematic way. Students will learn from basic. They will learn how to defend themselves by blocking or shielding, brushing away, covering, and opening (Pong-Pud-Pid-Perd), until one is proficient and confident enough to protect oneself from being attacked. Then one will gradually learn other extended Muay Thai techniques, or Look-mai. This is different from the main stream Muay Thai, where the boxer will train to take offensive posture of solely kicking, punching and to destroy one’s opponent, and in return, by depending on the physical toughness of oneself, to receive kicks and punches from the opponent. As the teachers, or “Kru’ of Muay Thai Chaiya have strongly affirmed that an exponent of an art of self defend has to be able to actually defend oneself from harm. One should not achieve winning status because of one’s durability.

Corrections and changes were made through the wisdom of past Muay Thai teachers, Muay Thai is devastating with numerous trick techniques, extended techniques, and principal techniques. These said techniques can branch out, virtually, without limit. The learning of this devastating art of fighting, develops oneself to be a person with patient, strong determination, and yet, serene. All in all, to learn the way of fighting, will develop an exponent to be a good member of the society, who is always consciously alert, well behave, just as one who has been taught by a teacher.

Kru Preang has also drawn a curriculum for weaponry that co-exists with Muay Thai Chaiya. It is commonly known as Krabi-Krabong, or “sword and staff” which actually means the use of short and long weapons. They consist of two-hand swords, knife, long pole or staff, short staff, or elbow staff (mai-sork), as well as, all other old traditional Thai weapons, that one can not easily find a place to learn. This is a true combination of all the traditional Thai martial arts.

Muay Thai Chaiya and Thai Weaponry Conservation Foundation

Kru Preang (Amornkrit Pramuan)Muay Thai Chaiya and Thai Weaponry FoundationOffers Classes on the Chaiya Style of Muay Boran (the old traditional Muay Thai), Muay Kad-Chuek (the hemp bound fist fighting), Thai sword fight, and all other traditional weapons.

Calling ephemeral arts teachers, artists, writers and researchers

Calling ephemeral arts teachers, writers and researchers from any part of the world!

I am interested in hearing from teachers, artists, writers and researchers who are interested in the ephemeral arts. Our definition of ephemeral arts is," Arts which are temporary or short-lived, based on a specific occasion or event and transitory in nature".

A Festival of Ephemeral Arts, which is held at various locations in the United Kingdom is our main public event. It has been running for over five years and now recognised as an innovative and successful community based festival. It has been run in over 50 schools, always in conjunction with the local authority and community groups in the areas where it has been held. It first projected a South Asian cultural focus but over the years, artists have been recruited from all cultural backgrounds to create and market work to combined and mainstream audiences.

Teachers and Artists are required to work on the festival as we plan our work for the next three years. A number of proposals are under development. Your area of specialisation is important but an ability to examine the linkages between ephemeral artforms is more critical! Teachers and artists should be able to produce original concepts, develop them for public presentation and be able to engage audiences. Currently, teachers, artists and practitioners are required for adding new dimensions to the programme.

Writers and researchers are required to work on publications and to contribute to this blog as approved members.

Further information on this vast range of projects in this unique area of work is also available from the festival website. It is also being updated.

New dimensions

The Ephemeral Arts Festival and its programme is being extensively revised. A number of announcements follow this posting.

Please contact, initially by email only, to introduce yourself and your work and to suggest what you do and how you may be able to influence the course of development of this highly original area of work through festivals, workshops, seminars and a proposed annual conference. You can suggest how you work as a teacher, artist, writer or researcher. An application form will be sent and interviews arranged within 4-6 weeks for immediate opportunities in the UK. All enquiries and applications will be acknowledged.

Contact: Kalwant Ajimal, Founder, A Festival of Ephemeral Arts
email: kalwant.ajimal@btinternet.com

Exploring Ephemeral Arts - the best blog on the subject?

A few questions about the progress made so far..

This site has been exploring a number of areas connected with ephemeral arts. It would be useful to examine what has been achieved so far and to outline the scope for future development of the blog as a resource for students, teachers, librarians and parents.

Further work is to be presented to address the specific areas of interest that have been identified and inspired by the blog so far. A number of students, artists and teachers have responded by email or made verbal comments. These comments will be taken on board. The blog is intended for students at GCSE and 'A' Level standard, that is, for those who may be working on projects as a part of their secondary school education. More advanced students and also their teachers may also find that elements covered here will inspire them to look further at some of the themes outlined here.

The blog is also intended for the lay reader who may just want to look at artistic expression in a different way. The blog will also be of interest to younger children who can see, interpret and enjoy the pictures provided here.

So the questions we started to address are still valid-

• what are the ephemeral arts?
• How can we interpret these forms of expression?
• What are the different ways of thinking about time-based culture?

People provide artistic expression to celebrate an event. They dress and present themselves for the occasion through artistic expression. They decorate the buildings or houses where the cultural events take place. They celebrate important events in the open air. Many of the ephemeral arts are connected to important dates in the cultural, religious, political and historical calendars of communities in different parts of the world.

Predicting future activities on this site...

I have also created some routes or pathways for investigating ephemeral arts in the future:

• Entries related to "Exploring avenues for inspiration" will examine the work of artists whose work is dedicated to time-based cultural and artistic expression, or whose output is also ephemeral. A start has been made by looking at the work of Andy Goldsworthy. There is scope for looking at the work of other artists, some of whom may not be famous or even be known.
• Further work is to be presented to address the theme," Exploring Avenues for Cultural Communication" where a range of entries will be produced to reflect the diversity of this area.
• A third theme has been added. It explores ephemeral arts by linking them to geography and to various countries where these arts are most visible.
• More themes will be added later.

Exploring sources of inspiration 2- Ephemeral arts as cultural communication

How does hair inspire ephemeral outcomes?

Helen Coleman(1) writes," Hairstyling and hairdressing have great cultural significance in Africa. Coiffures have been regarded as diagnostic of ethnic origin, gender, phase of life cycle, as well as simply fashion; and have been related to power, age, religion, and politics. The transitory yet highly visible nature of hair ensures its suitability as a medium for personal and social expression. It is not just the domain of women; elaborate hair styling for men can be an equally important indicator of their place in society". Hairstyling for weddings must present interesting opportunities for self-expression.

The transitory nature of hair can also be explored also in relation to beards, especially where men dress for specific occasions.

In general to what extent does the use of ephemeral arts as cultural communication vary from the original definition used for this site where the transitory arts are created for a specific event or occasion? This aspect will be explored further.

Helen Coleman's comments are drawn from 'Artword', a University of East Anglia website. www.artworld.uea.ac.uk

'Sycamore Leaves Stitched together' by Andy Goldsworthy

This is an example of work that is transient, with a defined 'life'. It was created in Yorkshire Sculpture Park on 23 October 1987. The picture is on display at the Springer & Winckler Gallery. Source http://www.artnet.com A search using any of the regular search engines is recommended.

I have selected this picture from many that are available because it shows how the artist has used brightly coloured leaves, stitched them together to form a hanging object and added it to the landscape. Many, if all, of Goldsworthy's works depict his additions to the natural environment. The blog will explore how various communities use such work to add to their environment. I see this as a form of celebration of nature.

Exploring Sources of Inspiration 1- Andy Goldsworthy

The Sculptures of Andy Goldsworthy

Andy Goldsworthy is an environmental sculptor in which his use of the natural surroundings create an art form. He explores and experiments with various natural materiel such as leaves, grasses, stones, wood, sand, clay, ice, and snow. The seasons and weather determine the materials and the subject matter of his projects. With no preconceived ideas about what he will create, Goldsworthy relies on what nature will give him. Goldsworthy "feels" the energy from nature and transcends that energy into an art form. His transient sculptures contradict the permanence of art in its historical pretense.

Because of this mortality of nature, Goldsworthy uses the photograph as a form of documentation to capture the essence of his work. "Each work grows, stays, decays- integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit."-Andy Goldsworthy.

Source: www.arthistory.sbc.edu the site of Sweet Briar College. The site shows many examples of 'process and decay' the transient nature of work which this blog also covers.

Further Examples of Ephemeral Arts

Further Examples of Ephemeral Arts

The most notable examples in this site are drawn from the Indian Subcontinent. These are mehndi, rangoli, masks, fancy festival dress, face painting and floral decorations.

Mehndi consists of decorations of hands, feet and face by using henna paste. Mehndi is used to celebrate weddings, cultural events and now, increasingly as a fashion statement. Examples of mehndi are shown in the Mehndi Gallery. Please see the website using the links given on the left.

Rangoli shown here is another example of ephemeral arts. Rangoli is the creation of images using grains, lentils, rice, leaves and seeds to celebrate various cultural events such as Diwali and the New Year. Rangolis are also created using coloured powders, petals, soils and coloured rice. The patterns are typically colourful and often geometric in design.

Masks. There is a long tradition of mask making in the Indian Sub-continent. Used ceremonially and in street performance, masks are generally made from paper pulp or tree fibre. In performances, men will often play female roles by wearing masks. Examples of masks are provided in the exhibition.

Flower decorations. A large number of ephemeral arts, such as masks and garlands use flowers due to their short-lived beauty. Certain types, such as marigold and rose, are used more commonly used since their colour or scent religious significance.

Alpana is a floor art that uses utilises a combination of coloured pastes and flower petals.

Dussehra (spelt differently by various communities) is an annual religious Festival that commemorates the victory of good over evil, the demon Ravan. Community members build work together to build the towering effigy of Ravan and act out a ceremonial battle between good and evil. The ritual climaxes with the triumphant burning of the demon against a night sky.

Face painting is perhaps the most widespread ephemeral art, being particularly popular with children around the world. However, in the Indian Sub-Continent it has a much greater spiritual significance. Various communities use face painting to express important messages relating to cultural events.

Further examples are to be added showing the ephemeral arts from countries in Africa, North and South America, Europe, the Far East, Australia and all island communities in the world.

Do you have pictures that could be published here? Please contact me by using the email address given on the left. This site follows copyright regulations before readers' pictures can be published.

Belgian Floral Carpet

The Grand Palace in Brussels hosts a Floral Carpet

Christopher Stocks reports in The Independent on Sunday ( 6 August 2006) about the Belgian city of Brussels' annual floral carpet. This year from 12 to 15 August the city's famous Grand Palace, which is a UNESECO World Heritage site, plays host to a floral carpet which will be 77m by 24m and will include something like 300,000 begonia blooms, each of which will have been hand-stuffed into place by a team of 100 expertly trained gardeners. The carpet takes just four hours to complete. The carpet has always always been intended to be seen from a distance.

The creator of the Grand Palace carpet, according to Stocks, was a begonia-loving landscape architect Etienne Stautemans. He started making small floral carpets out of begonias in the 1950s. Sadly, he died in 1998, but since then the Brussels carpets have been designed by fellow landscape architect Mark Schauttet. Each design takes the best part of a year from planning to execution, with a different theme each time: in 1981, for example, the carpet illustrated the Belgian coat of arms in honour of the state's 150th anniversary and in 1994, it was dedicated to to the British regiments that liberated Brussels from the Germans, with their regimental badges recreated entirely in begonias.

This year's theme is compared by the organisers to the stained glass of cathedral rose-windows, "a giant kaleidoscope" and "the alchemy of the Middle Ages". To Christopher Stocks, " the patterns look like Islamic tiles or Indian fretwork screens coloured in with fluorescent felttip pens, but whatever the inspiration, it's certainly an eye-catching design.

In addition to the usual complexities of design, logistics and execution, Schauttet and his team 'begoniasts' have come up with a way of mechanising the nine sections of the overall design so that each, individually, rotates on its axis, thus- presumably the comparison with a kaleidoscope, according to Stocks.