Stage Three is the final stage. You move into this stage only when
you have practiced stage two so much that you are bored out of your
gourd, and/or you have lost the use of a body as a practice client.
Just imagine if you really practiced stage two to death. You could
move someone in your sleep, and they’d never even bump into a passerby.
So, now you are ready for Stage Three....
You are going to expand your awareness a little to the side. That’s it.
That’s all -- not a big deal, yet very important in the overall sceme of
things.

Just a few tries, and you’ll probably see the need to give you participant
instructions for moving with you. You want to be able to gently guide
them — that means they need to respond to your light touch.
Note: Also, do you have written instructions that you want your
client to be familiar with, when your employment begins?
Thinking about it now, could make your job considerably easier
later.
• Tell them how you want them to move
• How close you want them to you at all times
• What to do in case of an emergency
• How fast you want them to go
• How you are going to speed them up and slow them down
Really think about it now.

You want to practice this exercise enough, that you can almost move
without thought. You want automatic responses. It’s important that you
perfect how you move now, because the next step is moving with someone
in tow.
And so, on to Stage Two....
Now, you are going to go back into the crowds, but this time, you are
going to take someone with you. I prefer to take someone who isn’t trained
to move efficiently. A child works (your own preferably or a friend’s, with
permission of course). Or enlist the help of a clumsy friend. Or have a
friend act the part.

Occasionally,

my wife and I exhibit herd instincts too, but not usually....
We find the little pockets of space in the crowd. We look ahead; we
plan a little. We scope out those spaces in front of us. Then, by adjusting
our speed, and constantly tweaking our angle of movement forward, we
are able to ride these “waves.”
Our little pocket of space eventually peters out, but not before we find
the next pocket to jump into. This way, we move quickly and efficiently,
and nobody touches us, and we don’t bump into anyone else. Boy do we
“cook” — we really get moving. And guess what? It doesn’t tick anyone off,
because we don’t bump into anybody. Very cool....
The article then relates this wave back to dealing with a single opponent.
It gives you a practical application for this in a fight situation.
So, let’s break this exercise into stages.
In Stage One, you practice moving on your own through a crowd.
Find a crowded place, like the examples in the article, or maybe in an inbetween-
class school atmosphere,a crowded shopping mall, or a flea
market.
Now, learn how to find those pockets. Get really good at moving. Not
as though you were in a hurry. You want to move confidently, yet quickly
through the crowd.
One of the main goals is to move quickly without drawing undue
attention from folks in the crowd. Move too quickly, and everyone will
notice you.

Before we apply this principle to your fighting, let me give you a
broader example of how my wife and I use this concept in a non-martial
arts context. This example may make it easier for you to apply the principle
to your self defense training.
Even though my wife, Kate, and I consider ourselves to be homebodies
(we are the typical “nesters”), we occasionally get out and about.
And sometimes, we have to negotiate our way through crowds of people.
Have you ever been stuck in a concert crowd, for example? Or ever
had to find your way through a mob of sports fans? Even the annual
county and state fairs have aisles of commercial booths that leave us in a
gridlock. What do you do?

Anyway, read the following excerpt. Pay special attention to the way
my wife and I move through crowds. Then after the article, I’ll give you the
awareness exercise....
Article:
Finding Your Opponent’s “Wave”
Would you like to be able to get in on your opponent more often? Have
you ever wondered how some of the other martial artists are so adept at
finding targets?
Some martial artists have a knack for finding openings.
One way you can find more of these openings is by learning to see
the “waves and eddies” that your opponent creates. That’s right; the person
facing you may not even realize the openings, he/she is creating while
moving around. This is especially true, if your opponent doesn’t truly
understand the concept of “moving with a purpose.” (See Bruce Lee’s
writings.)

Finding a Wave in the Crowd

If you are going to move your charge successfully through a crowd, you
need every advantage that you can get. You need a little breather room.
Read the following excerpt from an article that I wrote. It was originally
published in Issue #6 of the free e-zine, Martial Arts Mastery: A
Tell-All of Tips, Tactics, And Techniques.
From time to time, it now appears in the Free Report Section of the
Kerwin Benson Publishing Web Site. There you can find it in it’s entirety. If
you don’t see it, e-mail me (or the company).

Fist Mat
Elbow Sawk or sok
Leg Kaa
Knees Kao
Shin Na kaeng
Foot Tae
Instep Lang tao
Knee Kao
Basic Numbers 1 Thru 10
One Nueng
Two Sorng
Three Sarm
Four See
Five Ha
Six Hok
Seven Ched
Eight Paed
Nine Kao
Ten Sib

Basic Body Anatomy (Also Main Targets)
Head Hua
Top of the head Grammon srisa
Forehead Na paag
Temples Kamab
Jawbone Kagangai
Chin Look kang
Adam's apple Look gradueak
Eyes Dtaa
Nose Jamook
Mouth Baak
Neck area Taitoi
Floating rib Chaikrong
Heart Huajai
Region under the heart Daihauchai
Solar plexus Limpee
Stomach Tong
Lower stomach Tong noi
Kidneys Dtai

Frontal knee kick Kao drong
Jumping kick Kradot dtae
Push with sole foot Teep
Foot thrust to rear Teep dan lang
Heel push Teep dueh son
Forward foot push Teep drong
Stop kick Neb
Knee Kao
straight knee Kao tone
Jumping knee Kao dode
Small knee to the leg Kao Noi
Fast or rabbit knee
to legs Kao Kratai
Farewell knee Kao La
Flying knee Kao Loi
Lower knee Kao Lod

Levering Elbow Sawk Hud
Smashing
Downward Elbow Sawk Tong
Diagonal Elbow Sawk Chieng
Chopping Elbow Sawk Sob
Double Elbow Sawk ku
Reverse Elbow Sawk Klab
To Elbow Dtee Sawk
Lower Body Techniques
Turning kick Chaoraked faad
Knee kick Dtae kao
Kick with foot Dtae tao
Roundhouse Dtae wiang
Over arm knee kick Kao kong
Jumping knee kick Kao lov

Gloves Nuam
Fight music Dontree Muay
Groin guard Grajaab
Weight Namnak
Punching Garsawb
Ring of Charms Kruang ruang
Ceremonial headband Mongkon
Ring Weh tee
Upper Body Techniques
Swing Sawing
Block Bat
To hit Dtee
Jab Yaeb
To punch Dtee mat
Hook punch Hook
Straight punch Mat drong
Swing punch. Mud Wieng
Uppercut Mat at
Elbow Sawk or Sok
Jab Elbow Sawk Tad

Camp Kai
Boxing Camp Kai Muay
Boxing Stadium Sanam Muay
Professional boxing Muay acheep
Novice bout Gawn welaa
International boxing Muay sakon
Main bout Koo ek
Ring ropes Sangwien
Weight category Run
Rating Andap
Jump Kradot
Referee Gamagan
Break (referee) Yaek
Judging Gaan Dadsin
To judge/decide Dadsin
Champion Champ
Boxer Nak Muay
Fight Chok
Box up Mud Soei
Red corner Faidaeng
Blue corner Fainamnerng
Boxer's shorts Gangkeng Muay

Gym, Studio environment
Boxing teacher Kru Muay
Teacher accepts new student Khuen Kroo
Respect to teacher Wai Kru
Promote Jad
Anklet Aenken
Block Bat
To kick Dtae
To hit Dtee
Throw Ting
To box / boxing Dtoi
Shadow boxing Dtoi Lom
To thrash Faad
To duck Lop
To dodge/evade Pang nga
Left/to left Saai
Right/to right Kwaa

Thanks, very much Khob chai mark
You are welcome Khob ton rub tharn
You are welcome Tharn sa bi dee rhuee
I speak English Chan pood dai tae pasa
Anglish
I can't speak Thai Chan ma chark saha rat
Please speak more slowly Prode pood hai sah kwa nee
I don't understand Chan mai khao chai
Can you help me Shuay chan noi doi ma
I am from the U.S. Chan ma chark saha rat
How do you say Tharn wa yarng rai?
What time is it We la tao rai

Muay Thai Terminology

Below you will find common words used during training and or within the
environment of the Thai culture. Please note that the transition from Thai to
English often changes depending on pronunciation.
Common Phrases.
Hello Sa wadee
Goodbye La kon
Good morning Aroon sa wadee
Good evening Sayan sa wadee
Good night Ra tree sa wadee
My name is Chan shue

Steps

Step 1: Then bend you body backward to sit on the right heel. Which your left
knee stretch up the tip of your left foot raised high. Your left arm lay on your left
knee. Knee your right knee down on the floor. Raise right hand above head. Lift
the face up and your eyes watch something high above. Sit with your right heel.
Step 2: stand up let your hands down along your body. Now your left foot lay
beyond your right foot. The right foot lay skew behind.
Step 3: step out your right foot to lay beyond the left foot. Then turn left which is
turn your face to the front direction. Then go back to your corner by "Kow yang"
or " step backward with the " yang Sam Khum" or "Yang Suk Ka-same " then bend
down your body to salute the counterpart one time. Then it's the completion of the
dancing performance

Step 2: let your left hand down. Use the right hand preparing to 'Chuk Pang Phad
Nah' for the second time. Scoop 'Mae Phra Dharanee' into hands three times.
Repeat the same step as the first round of 'Chuk Pang Phad Nah',


The fourth direction. (the right direction),
When finish the second time of "Chuk Pang Phad Nah" your face is now turn to
the right direction. That means the direction you perform the first time "Chuk Pang
Phad Nar" is the front direction. Which you must turn around to the back direction
continue to dance until completing the first round of "Chuk Pang Phad Nar". The
second round "Chuk Pang Phad Nar" will turn to the left direction. When you press
the bun and turn round to the backside the same as the first round "Chuk pang Phad
Nar", you will turn to the right direction

The third direction (the left side direction),

Chuk Pang Pud Nar for the third time. (perform the same as the first time)
Step 1: turn round your body to the right hand. Twist your body to the right side
and kneel down your left knee. Raise up your right knee high and put your right
foot beyond the left knee. Raise the tip of the right foot up. Lay your right arm on
the right knee. Raise up your left hand above the head. Perform the dance called
'Rum Nar Soong Berk A-Roon' or 'Bung A-bai Berk Far Fiuk Fiunt Jai Muang'
raise your left hand up high above your head. And your eyes look anything high.
Turn your head left and right then straight on.