The Concept of Wai Khru (Wai Khru)
Informing the Spirits Ceremony (Buwong Suwong)
Initiation as a Trainee Fighter (Kuen Khur,Yok Khur)
Annual Homage-Paying Ceremony (Wai Khru Prajam Pee)
Initiation as a Teacher (Krob Khru)
Musical Accompaniment to Muay Thai
Approaching the Ring Rites (Kuen Suu Weitee)
Ritual Dance of Homage (Wai Khru Ram Muay)
Removal of the Head Circlet (Pitee Tod Mongkon)
The following heading will present you with an in-depth incite into the unique tradition of Wai Khru (Paying Respect to the Teacher). Three forms of the ceremony - initiation as a Trainee Fighter, Annual Homage-Paying Ceremony and Initiation as a Teacher - are detailed here, while the fourth form - Ritual Dance of Homage - which is very much part of the pre-contest rituals.
For anyone wishing to really understand the central concepts of Muay Thai, knowledge of at least some of the martial art's unique and rich traditions is an absolute necessity. In fact, for those who are intent on becoming professional fighters or trainers, more than knowledge alone, the precepts and ethics involved have to be come an integral part of their daily lives. Although these traditions are undoubtedly "devout'' and imbued with a spirit of religiosity, they are nevertheless independent of any specific creed and therefore are very much accessible to all.
The Concept of Wai Khru (Wai Khru)
One of the most important traditions of Muay Thai is Wai Khru (Paying Respect to Teachers) and the philosophy, which it encapsulates. Wai Khru is an ancient custom, which is closely bound to the fundamental Thai concept that providers of knowledge are all khru -teachers --, and are worthy of the utmost respect. In the pecking order, parents are everybody's original teachers, while the reigning monarch is the khru yai or headmaster. Between teachers -- parents, educators, trainers or mentors -- and their students a special relationship is believed to exist, one, which will endure and leave a lasting impression. Likewise, the bond between those who study under the same teacher is regarded as being parallel to kinship, so that such students refer to each other as pee nong, brothers and sisters. When students seek knowledge from their teacher, they first offer symbols of respect: flowers, garlands, incense-sticks and candles. If these seem overly religious and more suited to temple offerings, then bear in mind that monks are also teachers while in their own turn being disciples of Buddha: just two more manifestations of the core teacher-student bond. In order to become a fully-fledged Muay Thai fighter, a person has to pass through a series of ceremonies or "rites of passage" which all come under the generic heading of Wai Khru. First comes the Initiation as a Trainee Fighter Ceremony, in which the khru Muay (Muay Thai teacher) not only accepts young fighters as his student's, but in return pledges to teach them to the best of his ability. After fighters have been accepted by a teacher, they must demonstrate good conduct, diligence, endurance and other comparable virtues, in addition to training as hard as they can and following implicitly all the teacher's rules.
During their long apprenticeship, young fighters will experience many times the second type of Wai Khru ritual, the Annual Homage-Paying Ceremony. This is an annual ceremony, held so that young fighters can pay respect to their teachers - and to the souls of teachers who have long since passed away -- and culminates in a performance of the Ritual Dance of Homage, the third form of Wai Khru.
After training has been underway for some time, they will be sent to take part in a contest, preceded by a performance of the Ritual Dance of Homage as a public declaration of their allegiance to their teacher. It is only when fighters have passed all these three milestones (i.e. initiation, training and participation in contests) that they are entitled to regard themselves as real Muay Thai fighters.
Whether or not fighters can advance to the rank of teacher themselves is a decision, which lies in the hands of their own teacher…and the process can take a considerable time. The fighters must first have taken part in numerous contests, proved themselves to have advanced practical skills and have done the equivalent of "teacher training" in both Muay Thai theory and practice, as well as having the right attitude and character. In addition, age plays a part because in Oriental cultures, age and wisdom advance hand in hand. Generally speaking, thirty and over is considered a suitable age for being elevated to the position of khru Muay.
It is only when fighters have satisfied their teacher on all these counts that they can participate in the fourth Wai Khru ritual, the Initiation as a Teacher Ceremony, which bestows on them the rank of khru Muay and which once again involves a performance of the Ritual Dance of Homage.
For all forms of the Wai Khru rituals except the Ritual Dance of Homage, fighters have a choice of position while they are paying homage. They can:
a. Kneel sitting back on their heels b. Half-sit half-kneel in the "mermaid pose"
The important factor is that the fighters' heads must be lower than that of their teacher, symbolizing their lower status and respect.
The reader who is unfamiliar with Thai culture may well be thinking, "What is wai?" and "Why wai?" What follows is, therefore, a brief "beginner's guide" to this gracious custom and its usage in everyday life, as a basic understanding of the wai and its functions in Thai society will enhance the Muay Thai devotee's understanding of the ritualised and traditional elements of this martial art.
Like so many aspects of Thai culture, the origins of the wai can be traced back to India. In essence, the wai is extremely simple: it involves raising and putting together the palms of the hands and extended fingers. It is a gesture which, accompanied by a verbal salutation or not, conveys a range of sentiments, from a simple "hello" or "goodbye" to a request, expression of gratitude, sign of respect, or an apology.
The subtleties of the gesture can be hinted at in answer to another question: "Who wais who, when and how?" Essentially the position of the hands and head imply degrees of respect and the relative ranks of the individuals involved. Generally speaking, the higher the hands and the greater the degree to which the body and head are inclined, the more respect or obligation is being tacitly expressed in the wai. The ultimate wai is that offered to the Lord Buddha in any of the country's glittering temples. After adopting the "mermaid" pose with the holy symbols of candle, incense-sticks and lotus flower pressed between their hands, the person paying homage to Buddha will proceed to total prostration (grarb), leaning the trunk, arms and face forwards down to the floor. The hands are then slid out to the side and brought together again three times, in an action known as bae mue. It is no coincidence that Muay Thai fighters also bae mue three times and that the candle, incense-sticks and lotus are also the symbols of respect which they offer to their teacher.
Another important factor in the wai is which person initiates the wai and which person receives and responds to the wai. This depends almost totally on seniority and rank. Generally, the younger must wai the elder, the subordinate must wai the senior. Two virtual equals in terms of age and rank will rush to wai, neither of them wishing to appear to be pulling rank or asserting their superiority by letting the other wai first.
There are occasions on which it is optional or entirely inappropriate to return a wai, a smile or spoken comment being sufficient. An adult will not return the wai of child and persons of high rank or professional / social status may choose not to return the wais of their subordinates. The wais proffered by those in service industries are never returned in kind, a smile or word of thanks for their attention being sufficient.
Sometimes neither party will wai. Casual acquaintances, close friends, adult relatives of a similar age who meet frequently and people who have not yet been introduced to each other will not wai.
All this forms part of the inherent traditional and religious ramifications when Muay Thai fighters raise their hands in the wai to respect their teacher or during the pre-fight rituals. It is clear proof that Muay Thai is an art as much as it is a fighting form, carrying a rich cultural legacy from its roots in Thailand as it becomes increasingly popular in the international arena.
Informing the Spirits Ceremony (Buwong Suwong)
The enduring belief of the Thai people in the unseen, the spirits which inhabit all places and which have to be kept happy or, if necessary, appeased when they are angry, is mentioned several times elsewhere in this book. There are visible signs of this redolent animism, which coexists quite happily with the dominant Buddhism in the little spirit-houses, which are to be found in the corners of many gardens and elsewhere. Looking like little pagodas elevated on a "bird-table", tiny offerings of food and drink will be presented to the occupants, who likewise are informed of any major happenings in the lives of the people in the "big house".
A much more sumptuous and elaborate version of this tradition is the Buwong Suwong ceremony, which must be held prior to the Annual Homage-Paying Ceremony and Initiation as a Teacher ritual. (In the case of the Initiation as a Trainee Fighter rite, which can be regarded as a personal contract between teacher and newly accepted student, not involving the spirits of teachers past, it is an optional requirement.) The ceremony is performed by Brahmin priests who inform the spirits of what is about to take place, ask their permission to proceed and also invite them to attend if they are so inclined.
A special banquet is laid on for the spirits, the menu varying according to a whole range of factors, including the favourite dishes of the particular deity to whom a special appeal is being made. A pig's head, chicken, desserts and fruit are typical offerings, along with candles, incense sticks, flowers and other gifts. The important factor is that, once it has been determined which form of Buwong Suwong the ceremony is to take, there is no room for personal choice in the offerings provided: an exact list has to be followed with no omissions or deviations.
After waiting a suitably respectful time -- perhaps about an hour -- to enable the spirits to eat their fill, the human participants in the rites can partake of the feast, which, having been tasted by the spirits, is now full of lucky portents.
Now that the spirits have been made aware of what is to happen and their favour has been sought through the edible offerings, the main ceremony can proceed as planned. The precise details of all the ceremonies differ according to the traditions of the Muay Thai training camp/teacher involved. Invariably, however, all the ceremonies are very powerful and moving, making, as intended, a permanent impression on the participants' minds and helping to stiffen their resolve.
Initiation as a Trainee Fighter (Kuen Khur,Yok Khur)
In the past, before a teacher accepted a new student, he first spent a great deal of time considering the proposition, trying to ascertain whether or not the person was really worthy of becoming his student. Some young fighters even initially had to act as servants to their prospective teachers until such time as the teachers were convinced of their suitability and good character. This process sometimes took a year -- or even several years -- to reach a resolution.
When a teacher agrees to accept a new student, the initiation ceremony is held, usually on a Thursday, which is traditionally regarded as Wan Khru (Teachers' Day). As they make a formal request to be accepted, the students present the customary symbols of respect to their prospective teacher (krueng sakkara buchaa khru). Unlike the set requirements for Buwong Suwong, there is some leeway for personal choice, although candles, incense sticks and flowers are invariably included. Another customary offering is a symbolic amount of money, like nine baht, "nine" in Thai being "gao," a word which, with a different Thai spelling but identical pronunciation, also means "to step forwards or advance," giving it a hidden propitious significance.
Students pledge in front of the teacher that they will be diligent and hardworking, and that they will respect and obey the teacher, following his rulings to the letter. The teacher, for his part, officially accepts the students and promises to instruct them to the utmost of his abilities.
Annual Homage-Paying Ceremony (Wai Khru Prajam Pee)
This ceremony is held annually throughout Thailand in schools, universities or wherever else learning, of whatever sort, takes place. Where Muay Thai is concerned, it is held either on Muay Thai Day (1 7th March) or any other traditionally propitious day, and requires the trainee fighters to show their respect for and gratitude to their teachers.
Teachers and students alike gather together to arrange the Annual Homage-Paying Ceremony, inviting as many past teachers as possible to attend. The ceremony involves many traditional Thai emblems of honour and respect and commences with all those assembled paying respect to the souls of teachers who have passed away. The ceremony then progresses to the students honouring all the teachers present, who mark sacred symbols on the fighters' foreheads with powder in order to bestow prosperity and success upon them -- a custom know as jerm. The ceremony involves the performance of the Ritual Dance of Homage by the fighters as a mark of respect to their teachers, while both teachers and students make sacred vows.
Initiation as a Teacher (Krob Khru)
In the Krob Khru ceremony, Muay Thai students who have all the necessary qualifications are elevated to the rank of teachers themselves. The teacher has first to consider which students are sufficiently knowledgeable and technically skilful to be worthy of promotion to the ranks of instructor. After the selection has been made, the Krob Khru ceremony is held to publicly announce and promote the chosen students who then become teachers in their own right, entitled to pass on the skills and traditions of Muay Thai to students of their own. As in Kuen Khru, the teachers-elect offer the traditional symbols of respect to their teacher, who then makes the official proclamation:
Today is a propitious day, and this hour of good omen. You have proved yourself to be a person of virtue and knowledge, skilled in the art of Muay Thai, to the extent that you are now worthy of becoming a teacher yourself I therefore appoint you a newly-created Muay Thai teacher at this Krob Khru ceremony, capable of instructing others in this noble art. Always remember your duty to preserve the traditions and art of Muay Thai. Be a person of good conduct and apply your knowledge and abilities in such a way as to benefit both yourself and the community
While the teacher utters these words, the Muay Thai fighters kneel on the floor before him, their hands pressed together in the panom mue wai position at their breasts, both their bodies and faces bending down, all signs of the utmost respect they have for their teacher.
When the khru muay has completed the citation, the fighters, bearing in mind their gratitude to and love for their teacher, respond in a suitably reverential manner:
I, your disciple, recollect the deep obligation I have to the Thai ancestors who evolved the art of Muay Thai and have passed it down as a precious legacy through countless generations. I also bear in mind the obligation I have to my teacher; who has trained me in the skills of this art, and who now considers me worthy of becoming a teacher myself I vow to follow in their entirety all of his teachings and to conduct myself with honor; using my knowledge and skills, for ever after
When the fighters have completed their response, they prostrate themselves three times before their teacher, and then kneel in a posture of obeisance, hands pressed together in the panom mue pose, while the teacher places a mongkon -- circlet -- on their heads. When the students have received the mongkon, they back away from their teacher on their knees to a suitable distance. The musicians then start to play and the fighters perform the Ritual Dance of Homage in the style, which they have learned from their teacher.
When the Ritual Dance is completed, the fighters approach their teacher, again on their knees, hands once more in the panom mue pose, while the teacher removes the mongkon from their heads, after which, the fighters once again prostrate themselves three times before their teacher and receive the mongkon in their own hands, to be treasured thereafter as a legacy from their teacher. It is believed that this mongkon is now endowed with sacred properties and can be worn only by its owner, except if they give their express permission for another to do so.
Before any Muay Thai contest can commence, a series of traditional rituals have to be undertaken:
1. Approaching the Ring Rites (Kuen Suu Weitee)
2. Ritual Dance of Homage (Wai Khru Ram Muay)
3. Removal of the Head Circlet (Pitee Tod Mongkon)
These are all described in this chapter, along with "do-it-yourself" instructions and photographs, and there is also an introduction to the music, which accompanies not only the Wai Khru Ram Muay but the actual contest itself.
The Muay Thai ring is the same size as that used for Western boxing -- 24 square feet, the floor of the ring consisting of judo matting covered with canvas. Traditionally, the four sides of the ring are aligned with the four cardinal points of the compass, the red corner being in the northwest, the blue in the southeast, while the two neutral white corners are in the northeast and southwest. The colours of the two "home bases" are derived from Western boxing and were introduced in the late 1 920s. As in the past, the red corner is still generally assigned to the defending champion or the contestant who is thought to have the advantage, while the blue corner is occupied by the challenger, or the under dog, although sometimes the corners are simply allocated by mutual agreement of the promoters.
All professional Muay Thai fighters have official ring names. The first part of the name is generally their own, while the second is the name of the training camp to which they belong. So in the case of Komgrit Sitpraprom, who is one of the fighters featured in the step-by-step photographs, "Komgrit" is his own first name, while "Sitpraprom" is his camp's name.
There are many superstitions associated with the Muay Thai ring. On entering the ring, some contestants initially crouch down on the canvas in obeisance, first facing in the direction of their birthplace, and then the four cardinal point of the compass. Sometimes a contestant walks slowly around the edge of the ring, one hand on the top rope: this symbolically seals off the ring from all outside interference. Other fighters place flowers in their own corner, paying homage to the presiding guardian spirit and praying for victory.
Traditionally, women were banned from entering the Muay Thai ring. This originates from the belief that the presence of a woman in the ring would be tantamount to a curse, destroying the fighters' skills and making them vulnerable to injuries, It was also believed that a feminine presence would conflict with the holy amulets which the fighters secrete inside their prajied. Women were also not allowed to touch a fighter's mongkon, even outside the ring.
Nowadays, however, with women's equality being a prime social issue, things are gradually changing, even in the conservative world of Muay Thai. Some stadiums, for example, Ratchadamnoen and Lumpini, still uphold the ban on women entering the ring, while others have modified it in deference to the times. For example, Rangsit Stadium (in Patumthani, to the north of Bangkok) has women's rings as well as men's rings, but forbids women from leaping over the top rope when they enter the ring. Instead, they have to duck under the ropes, on the principle that in jumping over the top rope, they would be actually or symbolically higher than their opponents' amulets and, being female, this would sully or be disrespectful to them. Oddly, while men are allowed to enter the women's ring, the reverse is not the case.
Women fighters nowadays wear the mongkon, prajied and other amulets like their male counterparts. While some male fighters still object to the idea of a woman touching their mongkon, some take a more liberal stance: it is now very much a matter of individual choice rather than an actual rule.
Musical Accompaniment to Muay Thai
In Muay Thai, rhythmic music accompanies the Wai Khru Ram Muay rituals as well as the actual contests themselves. This music is referred to as wong pee glong and is performed by four musicians, each with their own instrument: pee chawaa (Javanese oboe), glong kaek (a pair of Thai drums played by two musicians) and ching (small Thai cymbals).
Ching With its onomatopoeic name, the ching is a percussion instrument, which can best be described as a pair of diminutive but comparatively thick cymbals, measuring about 6 - 7 cm. (less than 3 inches) in diameter, fashioned from bronze or some other metal. The two parts are joined together by a cord, which passes through a small hole in the top of each. Unlike Western cymbals, which are brought together horizontally and usually fully, the rims only of the ching are impacted vertically, the right hand usually being the upper one.
Pee Chawaa This instrument is thought to have originated in India and come into Thailand through Indonesia, hence its name (chawaa = Java). The instrument is made from hardwood or ivory or a combination of the two, and consists of two main sections: a cylindrical body about 2 7cm. (nearly 11 inches) long with seven holes for fingering; and a lower bulbous, bell-shaped section which is about 14 cm. (5 inches) in length. The mouth-piece consists of 2 pairs of reeds attached to a small metal tube which is inserted into the top end of the body of the instrument, the join being made airtight by wrapping thread around It. A small piece of convex metal or, more traditionally, a fragment of coconut shell, functions as a mouth rest or supporter when the instrument is being played. The tone of the pee chawaa is, by turns, melancholy and frenetic, the Western oboe being probably the nearest approximation.
Glong Kaek This kind of drum has a cylindrical hardwood body measuring about 58cm. (23 inches) in length. The two heads at either end, which are made from calf- or goatskin tethered by leather thongs, are of unequal size: the lower-toned larger one is 20cm. (8 inches) in diameter, while the higher-toned smaller one measures 18cm. (7 inches). Both drumheads are played with the palms and fingertips. Glong kaek are played in differently pitched pairs by two musicians: the higher pitched drum is referred to as tua poo (the male), while the lower toned one is known as Wa mia (the female). A highly sophisticated and complex rhythm is formed by the inter-play between the two drums.
The tempo of the wong pee glong music varies according to what it is accompanying. A composition called "Salamaa" accompanies the Wal Khru Ram Muay the tempo is slow and stately to match the mood of the rituals, with a smooth, flowing rhythm. When the actual fight commences, a composition called "Kaeg Chao Sen" is played .The general tempo of this piece tempo is quicker and, at moments of tension or excitement during the match, it becomes even more frenetic. Undoubtedly, the music increases the atmosphere of the event, while if fighters are not going on the offensive ferociously enough, the music can urge them to rally and try even harder.
Approaching the Ring Rites (Kuen Suu Weitee)
In ancient times, as has already been indicated, Siamese people believed in the power of incantations and protective amulets. They thought that everywhere was ruled or inhabited by unseen spirits, and that places were either cursed or blessed. Because of these beliefs, it was necessary to perform special rites before a fighter entered the ring, asking the spirits' permission to do so, propitiating them, and destroying any evil which may be. Lurking there. The rituals were also thought to protect the fighter and lead him to victory. Even today, the rites involve a strong element of psychology as the fighters psyche themselves in readiness for the imminent bout.
In the days when bouts were staged on the bare ground, fighters used to pay homage to the goddess of the earth, Mae Torrannee, by picking up some soil when they were kneeling down and raising it to their forehead. Even in these days of concrete stadiums, some fighters can still be observed pressing their thumb on the floor and then on their forehead. This, like everything else in this particular ritual, is very much a matter of Individual preference these days, with no prescribed rules.
Ritual Dance of Homage (Wai Khru Ram Muay)
Before a fight, Muay Thai fighters again show respect for their teacher through performing a ritualised dance, a tradition which goes back to ancient times and which has been preserved from generation to generation. This is not an optional ritual or one reserved for special occasions only: the official Muay Thai regulations specify that both fighters must perform the Wai Khru Ram Muay before each and every bout. As has already been seen in Chapter 3, Wai Khru is a tradition in which fighters pay respect to their teachers, parents and things they hold sacred, contemplating upon everything with which they have been blessed. In this pre-contest form of the Wai Khru, they also pray to them for safety and victory.
It is believed that, in the past, it was the practice for soldiers to perform a ritual ceremony before they went to war, incorporating one of their weapons, such as a sword. During times of peace, those soldiers incorporated these rites, minus the weapons, into their military and physical training and this gradually evolved in stylised form into the Wail Khru Ram Muay. The ritual developed in different ways, not only in different regions but even under different teachers. It is theoretically impossible for two fighters performing identical Wai Khru Ram Muay rituals to continue to actually fight each other, because, having realized they belong to the same school of Muay, they would be reluctant to be matched against each other.
Removal of the Head Circlet (Pitee Tod Mongkon)
After the Wal Khru Ram Muay ritual is completed, the fighters return to their own corners. Then, they go back to the center of the ring to be briefed by the referee on the rules of the coming bout and so on. Then, they return to their own corners once more for the Removal of the Head Circlet Ritual -- Pitee Tod Mongkon.
Step by Step
1. Stand in your own corner, facing outwards, while your teacher (or an official representative personally appointed by him) stands outside the ropes. In a gesture of profound respect, lower your head and raise your hands to your chest in the panom mue wai pose. In response, the teacher then raises his own hands to chest-level to return the wai.
2. While you maintain the panom mue wai posture, the teacher utters an incantation and blows three times on the top of your head before removing the mongkon with both hands. Alternatively he caresses the top of your head with one hand while holding the mongkon in the other, before removing the mongkon as before. If you deeply respect your teacher, you may then prostrate yourself three times on the floor: this is entirely at your own discretion.
On the completion of this ritual, the contest can commence.
The Traditions of Wai Khru
