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Pretty Fighting
Pencak Silat
Also known as	Pencak; Pentjak; Penca; Mancak; Silat; Silek; Maenpo
Origin	Indonesia, c. 6th Century (probably earlier)
Primary focus	striking, locking, holds, weapon-based techniques
Classification	hybrid; combat sport
Styles / variants	Cimande, Kuntao

An umbrella term used to describe the martial art forms practiced throughout the Malay archipelago, the name Pencak Silat (pronounced pen-chuck see-lut or pen-chack see-laht) is used to indicate the approximately 800 martial arts schools and styles spread across more than 13,000 islands. It has no definitive style; techniques and practices vary greatly from region to region. Originating as early as the 6th century, Pencak Silat is a large aspect of Malay social culture and tradition, itself drawing on Indian, Chinese, Japanese (including Okinawan) and Muslim influences. Under the auspices of PERSILAT, which includes countries like France and Spain, Pencak Silat has also spread to other countries such as the United States and Japan.

Contents 1 Concept 1.1 Philosophy 1.2 Etymology 2 History 3 Technique 3.1 Weapons 4 Culture 4.1 Clothing 4.2 Practices 5 Aspects 5.1 Combat 5.2 Art Forms 5.3 Spiritual 5.4 Cultural 5.5 In popular culture 6 Footnotes & references

[edit] Concept

[edit] Philosophy

The philosophy of Pencak Silat is called the philosophy of budi pekerti luhur (noble mind and character), because of its focus on sublime ethic. According to this philosophy a peaceful, secure, orderly and prosperous society can be created if all of its members keep the code of sublime ethic. Therefore the way of life is the one that forms noble mind and character. Budi (mind) is a dynamic psychological aspect of human being which possesses the elements of cipta, rasa, and karsa. The three of them are the dynamic forms of akal (reason), rasa (sensibility) and kehendak (volition). Budi can be seen in the form of pekerti (character). All of them must be luhur (noble/sublime/ideal). What should be achieved in shaping this sublime ethic is the ability for self-control, especially while using the techniques of these effective physical movements for self-defense.

[edit] Etymology

The term pencak generally connotes skillful and aesthetic body movements in variation for self defense. Silat refers to the fighting application of these movements. While these two components can be and are demonstrated separately, neither can be said to exist authentically without the other.

[edit] History

The beginning of formalized martial arts in Southeast Asia can be traced back to India and China. Traders and settlers from both lands have long been living in the region and provided the basis for local culture, including martial arts. It was also common practice throughout Southeast Asia for noble families to send their children to India or China for the purpose of studying. The impact that Indian martial arts had on silat evident from the use of silambam staffs and the thigh-slapping found in many forms of silat which is reminiscent of Hindu wrestling for example. Even silat's animal styles are derived from those of India. Additionally, bas-reliefs in Srivijaya which clearly illustrate warriors wielding weapons such as the Chinese double-edged sword also suggest a strong Chinese influence.

With the rise of Malay civilizations, combat became more advanced and silat was institutionalized. There are a number of legends of how this happened but only one has any historical significance. The story tells of a Sumatran woman who witnessed a fight between a tiger and a very large bird while fetching water from a well. Both animals, unfortunately, died in the fight. The woman's angry husband came to scold her for her tardiness but she blocked all of his attacks, remembering the movements of the fighting animals that she saw earlier. The couple later formalized the art and founded the first style of silat.

However true this story is, archeological evidence shows that silat was indeed created in the Sumatra-based empire of Srivijaya and flourished after it spread to Java. Java was home to the Mataram Kingdom and, together with Srivijaya, was an important centre for education and religion, particularly Hinduism and Buddhism. It attracted monks and learned men from various parts of South-East Asia. This allowed silat to influence (and be influenced by) other styles from nearby countries such as Krabi Krabong from Thailand and Banshay from Myanmar. Trade with Okinawa also brought about the similarities between silat and karate as well as various Japanese weapon-arts like tessenjutsu and bōjutsu. By the early 1300s, silat was already highly refined, much like its present form. After Dutch colonization, silat was brought to Netherlands by Indonesian immigrants. From there it spread to other parts of Europe to eventually become as popular as it is today.

It is not easy to trace back the history of Pencak Silat because written documentation is limited and oral information is handed down from the gurus or masters. Each region in the archipelago has its own version of its origin which is largely based on oral tradition.

Archaeological evidence reveals that by the sixth century A.D. formalized combative systems were being practiced in the area of Sumatra and the Malay peninsula. Two kingdoms, the Srivijaya in Sumatra from the 7th to the 14th century and the Majapahit in Java from the 13th to 16th centuries made good use of these fighting skills and were able to extend their rule across much of what is now Indonesia, Malaysia and Singapore.

Albeit the Pencak Silat styles employed in combat were different, we can still draw the conclusion that in Javanese kingdoms throughout the archipelago, Pencak Silat served the same function: to defend, maintain or expand territory.

Also in ancient times, the Buginese and Makasar people from South Sulawesi region were known as tough sailors, adventurers, mercenaries and fearless warriors . Throughout the archipelago, these people were known for their combat skills. Nowadays, some well known Silat schools in Malaysia can trace their lineage back to ancient buginese warriors.

The Dutch arrived in the seventeenth century and controlled the spice trade up until the early 20th century, with brief periods of the English and Portuguese attempting unsuccessfully to gain a lasting foothold in Indonesia. During this period of Dutch rule. Pentjak Silat or Pencak Silat (as it is known in Indonesia today) was practiced underground until the country gained its independence in 1949.

The growing spirit of nationalism within Pencak Silat circles echoed the intensification of efforts to realise 'One Country, One Nation, one Language' in the archipelago. Following several incidents of mass uprising in the 1920s and the declaration of the Youth Pledge on October 10, 1928 in Batavia, the colonial government tightened and expanded its control over youth activities, Pencak Silat included. The colonial intelligence apparatus (PID) kept a close eye on all activities and organizations considered to be potentially in opposition to Dutch control. Training in Pencak Silat provided youths the strength, confidence and courage needed to resist the Dutch colonialists. Therefore, Pencak Silat activities were closely scrutinized as they were suspected to be the front for political activities, and had to go underground. Training was done in private houses, in small groups of no more than five persons. At the end of the training, the pesilat had to leave one by one without attracting the neighbours' attention. At times, training would be carried out in secret locations in the middle of the night (from midnight to morning prayers) to avoid the scrutiny of the Dutch. Pencak Silat teachers often made use of eerie locations such as graveyards, since even the police would be scared to go there, and they could be protected and safeguarded by the spirits of their ancestors.

Pencak silat matches too began to disappear from public eye following their prohibition by the colonial government in the 1930s. What is more, many pesilat, who were also political figures, met with bitter fates and had to live in prisons or isolated camps for several years. Pencak Silat epics abound with stories of masters who 'were branded as extremists and forced to move around to avoid arrest', or who were punished for having opposed Dutch authority by using their Pencak Silat skills, both physical and spiritual. Although we cannot generalize and assume that all Pencak Silat teachers and schools opposed the colonial government, from the above it clearly appears that Pencak Silat played an important role in the struggle for independence.

Many Pencak Silat masters joined the Barisan Pelopor under the leadership of President Soekarno, to help realize the dream of an independent Indonesian nation. Among them were women freedom fighters like Ibu Enny Rukmini Sekarningrat, a Panglipur master from Garut. She fought against the Dutch alongside the Pangeran Papak Troops in Wanaraja, Garut, and the Mayor Rukmana Troops in Yogyakarta. As the capital city of the Republic of Indonesia at that time, Yogyakarta came under very heavy fire from Dutch troops. A great many Pencak Silat masters came from all over the archipelago to defend it from occupation. The same happened for Bandung, Surabaya, and other cities involved in the struggle.

Pencak Silat was also instrumental to the revolutionary movement in Bali. After learning Pencak Silat as part of his Peta military training in West Java, national hero I Gusti Ngurah Rai gave lessons to his troops to boost the skills they needed to overthrow the foreign enemy. The soldiers in turn covertly trained the people of Banjar, even though the Dutch army forbade this. So today, Pencak Silat originating from West Java has taken root and developed on the island of Bali.

The heroism of Pencak Silat masters was not limited only to warfare. We must not forget their safeguarding the first President of the Indonesian Republic at a time of political uncertainty. It has been recorded in history that the night before the proclamation of independence on August 17, 1945, five special sentinels highly skilled in Pencak Silat guarded Soekarno.

[edit] Technique

There is no real overall standard for Pencak Silat. Each style has its own particular movement patterns, specially designed techniques and tactical rationale. The richness of terms reflects a wide diversity in styles and techniques across the regions due to the fact that Pencak Silat has been developed by different masters who have created their own style according to their preferences and to the physical environment and social-cultural context in which they live.

[edit] Weapons

Along with the human body, Pencak Silat employs several weapons. Among the hundreds of styles are dozens of weapons, including:

• Kris - A curvy blade made from folding different types of metal together and then is washed in acid, giving the blade its distinct look.
• Kujang - Sundanese blade
• Badik - Buginese and Makasarese blade
• Pedang/Sundang - A sword, either single or double edged.
• Parang/Golok - A machete/broadsword, commonly used in daily tasks, especially those involving farming or harvesting.
• Lembing/[Lembing|Seligi]] - A spear/javelin made of either wood or bamboo.
• Chabang/Cabang - Three-pronged knife thought to derive from the trisula (trident)
• Karambit - A small claw-like curved blade or dagger worn in the hair. Easily concealed and is known as a woman's weapon.
• Clurit/Sabit - A sickle, commonly used in farming, cultivation and harvesting of crops.

[edit] Culture

[edit] Clothing

All ethnics and cultures in the archipelago have its own Pencak Silat clothing. For example here is in Malay tradition, especially in Malaysia. The full dress or clothing of a Malay warrior consists of the tengkolok, baju melayu and samping tied with a bengkung.

• The tengkolok is the traditional Malay headwear which is tied around the head, worn by both male and female exponents. It has various styles, cloth types and ways of tying determined regionally and by status.
• The baju melayu is the traditional costume for Malay men. The style of the Baju Melayu varies according to the region. The female version is called baju kurung.
• The samping is a piece of cloth tied around the waist of an exponent and is also part of the traditional Malay dress.
• The bengkung is a cloth belt or sash, tied around the waist of the exponent, on top of the samping, to show the exponent's status, level and also to secure the samping. The way that the bengkung shows status is very similar to the belt system in most other martial arts.

[edit] Practices

As Pencak Silat is a traditional martial art, there are several inherent practices tied to the practice and learning of Pencak Silat. These elements are present in Pencak Silat education and transcends style and school.

• Jurus
  • A set of movements, made up of strikes, blocks and maneuvers to teach students how to combine movements, langkah, tapak and to practice them in their strikes, blocks and fighting stances (sikap pasang).
• Langkah
  • A set of movements, made of kicks and basic footwork, to teach students how to best move in a fight.
• Dasar pasang
  • Meaning "position of the whole body", this is when jurus and langkah are put together; equivalent to a "kata" in most other Asian fighting arts.
• Bunga
  • Bunga (flower) or seni is an integral part of Pencak Silat. The aesthetic movements teach the student grace, fluidity of movements and in some cases is a hidden form of practice for certain techniques. Despite this, there are, however, certain Pencak Silat styles that do not have bunga or seni.
• Beladiri
  • Beladiri or self-defence is taught by all styles of Silat.
• Tempur
  • Tempur basically means a battle, duel or fight between two pesilat but it can also be expanded to mean a battle or fight in general, disregarding the number of participants.
• Sasaran
  • Sasaran is the word for a Pencak Silat school; the equivalent of a dojo.

[edit] Aspects

Silat education continuously faces transformation in its role and meaning in the socio-culture of the Indonesian, Malaysian people, relevant to time and the needs of the community. Silat education focuses on the development of the person internally and externally which will enable the formation of a community that embodies discipline, morals, patriotism, self identity and citizenship which can contribute towards the development of thinking and the forces of race, religion and country.

[edit] Combat

A student is first and foremost taught how to defend himself or herself. This is done in stages where the students learn the basics, such as langkah or steps (how to step, where to step) and techniques. Once the student has learned this, they are taught how to attack before being attacked, in self preservation. For that reason, Silat exponents are entrusted to ensure that their knowledge does not fall into the hands of the irresponsible, to use their knowledge confidently and to use or place their knowledge in its rightful place.

[edit] Art Forms

The seni or art form in Pencak Silat is an integral part of it as it serves to distinguish one style from another and Pencak Silat from all other martial arts. The seni aspect, also known as bunga or tari is the aesthetic form of Silat. It is portrayed through slow, graceful movements performed for aesthetic value but rooted in an essential principal of Pencak Silat, which is trickery and deception. Through the performance of seni or bunga, an exponent is able to display his skill or hide it from the opponent in combat. In this sense, the exponent can trick the opponent into letting his guard down or committing blunders, making the opponent easier to defeat.

Despite this, the seni or art form in Silat is not rooted purely in aesthetics as there are certain styles where the seni or bunga holds its own meaning. In this case, the seni takes on a whole new dimension as it is used to practice techniques or stances that can be used in combat against an opponent.

[edit] Spiritual

To create a balanced person, Pencak Silat also focuses on the spiritual aspect. The aim of the practitioner is to free oneself of worldly conceptions and realize that our reality is an illusion. This was originally based on the meditative practices of Hinduism, Buddhism, Kejawen and local forms of animism which is still evident in the older styles today. The later introduction of Islam into Southeast Asia brought influences of Muslim philosophy while retaining traditional Malay elements such as moksa and the Javanese concept of kebatinan in which the exponent searches for the harmony within themselves. Nowadays, spirituality in Pencak Silat is largely based on tasawwuf (knowledge of Islamic esoteric teaching). In this way, the exponent learns to respect life and his surroundings and see it as a gift from God.

[edit] Cultural

Pencak Silat is essentially, a traditional martial art. It still continues to practice the values and practices carried out by the ancient warriors in their time. these practices extend to include the cultural aspects of Pencak Silat, such as clothing.

[edit] In popular culture

• Pencak Silat is the main form of martial arts practiced by Ulrich Stern, Yumi Ishiyama, and others in the French animated series Code Lyoko, and the martial art is mentioned and demonstrated many times throughout the series. One of the adult characters even teaches the art as a class in the physical education curriculum, albeit without the use of choke-holds, weapons and joint-locking. One of the younger child characters, a red-haired white girl named Millie, incorrectly but adorably calls the art "Punchy Muskrat" as well. The style of Pencak Silat is mostly consistent within the series, but the characters occasionally combine some moves from Judo and Karate as well, implying that the style that Jim teaches is a variation of Tapak Suci. However, this hasn't been confirmed nor denied by Code Lyoko's creators.

• Pencak Silat is also the fighting style used by the character Baraka in the Mortal Kombat titles.

[edit] Footnotes & references

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