This video is a display of several different Pencak Silat styles in Indonesia. Please enjoy it!
Do you remember Pitung? The exploits of this Betawi rebel leader of the past have been portrayed through a film starring Dicky Zulkarnaen. Although many people certainly know about this heartbreaker, not many know about Cingkrik.Cingkrik is one of the Betawi silat styles. Because many of the movements in this style emphasize jumping with one leg (jejingkrikan in Betawi language), the style is referred to as Jingkrik or Cingkrik and is believed to be the fighting style of the rebel fighter Pitung.
During its development, Silat Cingkrik branched into several different styles, which have taken on the name of the individual teaching each particular system.
At this time there are two Cingkrik systems: Cingkrik Sinan and Cingkrik Goning.
It is said that the difference between these two styles is that Cingkrik Sinan not only teaches fighting techniques, but also inner power (in the Indonesian language: tenaga dalam). Meanwhile, the Goning system relies only on physical techniques. "This then, is one of the advantages of our system which can be learned by all people," says Tubagus Bambang Sudrajat, age 52, inheritor of the Cingkrik Goning silat system.
Engkong Goning, whose original name was Ainin bin Urim, was the person who established this particular style. Engkong, who was born in 1895 and died in 1975, taught his style of fighting to several people in the Jakarta neighborhoods of Rawa Belong, Kebon Jeruk, and Jembatan Dua in Harmoni. One of Engkong's students was Usup Utai, who continued to develop this style of silat in the area of Grogol. Before his death in 1993, Usup Utai passed on his knowledge to Bambang Sudrajat, who is now preserving it.
One unique characteristic of Silat Cingrik Goning, according to H. Nizam, a student of this style, is the use of one leg to deliver a deadly kick. "The hands wait on the enemy's attack," he says. Then, as the opponent falls, he is finished off with a kick.
Apart from this, Silat Cingkrik Goning relies on speed. "Unlike other styles, the techniques' steps are not counted out slowly," he says. When an attack is delivered, the response must come instantly and braak (wham): the opponent must fall to the ground.
The number of throwing techniques is another advantage of Silat Cingkrik Goning. Counting them all, there are around 80 techniques for throwing. All of which can be learned if one is patient and diligent enough to reach the higher levels of study in this system.
As a member of IPSI (Ikatan Pencak Silat Indonesia), Cingkrik Goning has a level system using colored belts. From absolute beginner to red belt requires a maximum of seven years. During this time the student is only taught techniques derived from jurus (forms), which are used to resist incoming attacks. Afterward, the student learns throwing techniques by working with a partner who will attack him. This phase is called sambut (answering).
In the last phase of training, techniques for attack are taught. This phase of the training is referred to as "Jual-Beli" (buying and selling). At this phase, students are taught both how to attack and respond to a possible counter-attack. "So, when we attack, we win," said Bambang.
Training in Cingkrik Goning is offered at the Padepokan Pencak Silat in Pondok Gede. They train there every Saturday evening. Training is also available in Bekasi. Two months ago, shocking news arrived from Holland. An Indonesian citizen named Herry Masfar, who now lives in Amsterdam, confessed that he had studied Silat Cingkrik Goning.
Masfar said that he had studied Cingkrik Goning from a silat teacher named Rochimin, who was possibly a student of Engkong in the area of Kebon Jeruk in the 1950s. Since the 1960s, Masfar has been living in Amsterdam and began teaching his silat knowledge. He has even taught marines at the Dutch marine education center in Den Helder. He is planning to come to Indonesia this December to learn Cingrik Goning from the original source in Jakarta. If the Dutch marines are interested in learning this knowledge, why aren't we?
Taken from: silatindonesia.com
Tanah Abang, one of the centers of commerce in Indonesia's capital city is known as the biggest garment market in Indonesia and perhaps in Southeast Asia.Aside from being a large textile market, Tanah Abang has also been known for a long time as a place that produced a lot of Silat champions (jago-jago). One of these men was Sabeni, who became famous because of his unique fighting style.
The Sabeni style is known for its speed and practicality. One of the unique characteristics of this style is fighting in close quarters and quick hand movements. Upon closer examination, the jurus (forms) of the Sabeni style seem to emphasize attacking and not purely self-defense. Unlike other silat styles from the Jakarta area, the Sabeni style doesn't have an artistic or dance form (kembangan, ibing).
Sabeni was born around 1860 in Kebon Pala Tanah Abang. He earned a name for himself by defeating another champion from the neighborhood of Kemayoran who was called 'The Tiger of Kemayoran". The challenge was issued after Sabeni proposed marriage to a girl who turned out to be the daughter of the Kemayoran champion. Another notable event was "The Battle at Princen Park" (an area now called Lokasari) where Sabeni successfully defeated a Kuntao champion from China. The Chinese fighter was brought to Indonesia by a Dutch official named Mr. Danu who didn't approve of Sabeni teaching his fighting techniques to the youth. The most phenomenal example of Sabeni's expertise was his victory against Judo and Karate experts in Kebon Sirih Park (now called Gedung DKI) in 1943. At this time he was 83 years old. After his victory Sabeni was rewarded with a shirt and a towel. Sabeni continued teaching his fighting style until he died peacefully at the age of 85 on the 15th of August 1945. He was buried at Jalan Kuburan Lama Tanah Abang (Old Graveyard Road) and later the street name was by the local government from Jalan Kuburan to Jalan Sabeni (Sabeni Road).
At this time the Sabeni style is preserved by the children and descendants of Sabeni and is still practiced in Tanah Abang. Bapak M. Ali Sabeni, the 7th child of the silat champion, is not only continuing to teach his father's silat style, but his is also an artist belonging to the Sambrah Betawi organization. Now at 72 years old, he has passed on the torch to his own son Bang Izul. Bapak M. Ali Sabeni has expressed his desire that his family's Silat style can be preserved and developed by the new generation so that his family's legacy will not be lost.
The Sabeni style a type of Maen Pukulan, or Pencak Silat, created by Engkong Sabeni (1860-1945) and come from the Tanah Abang area in Jakarta. Its unique characteristic is close-quarter fighting with quick hand movements synchronized with leg sweeps to knock down an opponent.
In the Sabeni style, speed is the most important attribute (there is story that says when Engkong Sabeni demonstrated his jurus, his feet never touched the ground). It is difficult to apply the techniques correctly without speed. The Sabeni style was both feared and respected while Engkong Sabeni as alive, some of his applications were even adopted and incorporated into other styles.
The Sabeni style has 15 basic jurus (forms) that are divided into Jalan Jurus and Jurus Inti. Some of the techniques that have become legendary in the Jakarta are Jurus Kelabang Nyebrang and Merak Ngigel. The combine quick and unrelenting upper body attacks along with sweeping leg movements that can be done on the left or right side. When done at high-speed, these moves are hard to counter because the opponent's concentration is split between the upper body and lower body attacks.
Jurus Merak Ngigel has been used successfully against other Silat fighters in the Jakarta area and beyond. This is a very unique movement that looks like the peacock (merak) performing it's mating dance; showing off its feathers while shaking it's backside (ngigel). In the application, the attacker's hands are held close to the chest. They seize and pull the opponent into an elbow strike while the attacker uses his hip to attack the opponent's stance. When done with speed and accuracy, the opponent can be flung far away. This technique is typically used in a close-quarters situation where there is little room to move.
Although the Sabeni style focuses on empty-hand fighting, weapons are taught to the high-level students. The Golok (machete) and Cukin (cloth worn around the waist or shoulders) are some of the weapon used
At first, there were no student levels but they were created later in order to simplify the training methods so that every student had a clear goal. The ranking system is as follows:
1. Foundation level
2. Completed jurus level
3. Combination level
4. Teaching level
For the basic level until the combination level, the standard length of training is around 3 years if meeting twice a month. Reaching the teaching level (upon which a certification to teach is given) requires 2 years acting as an assistant teacher while at the same time their character and morality are assessed by their teacher.
The spreading of Silat Sabeni is very limited because it is a family system but now it is blossoming and in accordance to the pursuit of preservers, this style of Pencak Silat is now taught openly and focuses on teaching young children in Tanah Abang.
I hope this writing can be of some use,
Eko Hadi S
Taken from: http://silatindonesia.com/en/2007/07/maen-pukulan-aliran-sabeni-the-sabeni-fighting-style/
In the past, silat wasn't a widely recognized word to describe the indigenous martial arts. People (in the Sunda area) called it maen pukul, which literally translates as maen: playing and pukul: hit or to hit.About two weeks ago, a heavy rain drenched the pavillion with woven bamboo walls located in the font of Book Cafe in Duren Tiga Street, South Jakarta, where a group of people were gathered. Lightning streaked across the skies creating a foreboding atmosphere.
Kretek cigarettes and glasses of hot coffee were served and it was as if the cold and damp gradually receded as the talk about the history of Jiencin (one of Betawi's silat schools) began to flow. A middle aged man known as Muhammad Nurdin seemed to be unaware of the inclement weather outside as he sipped his hot coffee. His hands were flowing animately, describing a combat situation.
Based upon hearing the name Jiencin, it would be understandable if one were to conclude that the founder of the style (or the guru besar) was Chinese. This however, is not the case, for maen pukul Jiencin is a pencak silat style from Betawi.
"Jiencin was my father's nickname, the late Haji Husein bin Haji Utsman," said Nurdin (known affectionaly as Bang Udin) who is the current inheritor of the Jiencin silat style.
When he was younger, H. Husein was more commonly known as Bang Encin, however after completing his pilgrimage to Mecca, he became known as Ji-Encin. (Ji is a shortened form of Haji and Encin a variation of Husein).
"Maen pukulan is the Betawi terminology for pencak silat. In the past, people here were unfamiliar with the term 'silat', they called it maen pukul," he said.
According to Bang Udin, maen pukulan Jiencin was a style that spread and grew energetically among the youth of Betawi. During this period, silat was used in the fight against the Dutch occupiers.
Husein himself was no exception to the norm of the day, as he volunteered a portion of his life to participate in the revolution to free the motherland of the occupier by joining Tentara Keamanan Rakyat (TKR - transliterate to Soldiers for the Security of the People and translates to The Peoples Security Force).
As a member of the revolutionary guerilla forces, the young Husein moved from village to village and from district to district with his unit. Consequently, the places he became familiar with included the areas of Bekasi, Tambun, Karawang, Cikampek, Cikarang, Bogor and Ujung Kulon in Banten.
During his journeys, Husein had the opportunity to meet many well known silat stalwarts, capitalizing on these frequent exhanges with silat personalities from whom he was able to glean and internalize new ideas. "It was rare that the process didn't begin with them testing each other's skills, one against the other," said Bang Udin.
From the personal experiences he accumulated, and supported by talent and intelligence, Haji Encin was able to successfully fuse silat moves and principles from a number of pencak silat styles, which included Cingkrig, Bandul, Beksi, Suliwa and Gerak Rasa, to become a unique silat without a name. "Consequently we called the style Jiencin as that was his name," he said.
Upon his return to Jakarta, the providence provided by his experience and wealth of knowledge made him a respected figure by friend and foe alike in the areas of Kampung Baru (now known as Warung Buncit), Duren Tiga, Tegal Parang, Pancoran and Mampang Prapatan.
There is one note-worthy principle that this style firmly adheres to. Haji Encin always advised, don't ever sell, but if other people want to sell, then we buy, which is a metaphor for, don't go looking for an enemy, but if we are confronted by one, we don't run.
"The adherence to principle combined with the good-will he commanded, as well as having never been defeated, helped to enhance and elevate his already considerable reputation," said Ahmad Fikri who is the head of the Jiencin style.
Haji Encin was born in 1922 and died in the year 2000. A number of his sons and students continue with his lifetime effort to expand the style, which has its headquaters in Mampang Prapatan XV No. 20, Duren Tiga, South Jakarta.
Jiencin's 12 jurus are characterized by their hard and fast hand work. "Each strike and move has to be filled with power," said Bang Udin. Additionally, the body's movement should also be hard and fast.
In the early stages students are taught to develop and hone the skills of striking jurus (with the hands), defensive footwork and "ngeles" or the ability to evade an attack. In the latter stages they exercise to develop rasa, which functions to hone reflexes to anticipate an adversary's attack.
Even as a combination of styles, the Jiencin style contains a complete and comprehensive technique including an arsenal of strikes, locks, blocks, evasions and elbow strikes, with the exception of kicks. It doesn't have kicks, but does include knee strikes to the groin and leg sweeps.
As well as learning the arts of self defence, the Jiencin student learns amalan (morality). The method is by performing routine invocations of prayer before physical exercise and breath development with prayer chanting after exercise. "These activities are relevant to the purpose of the school, which is to strengthen Islamic faith," said Fikri.
Taken from:
http://silatindonesia.com/en/2007/08/the-history-of-the-aliran-style-of-betawi-silat-jiencin/
Surau Sumber Gerak - The place of devotion, from where the source of movement comes. Locks are the distinctive feature of gerak Silek Kumango.Translation note: Silek means silat in the traditional language of Minangkabau, West Sumatera in Indonesia. Gerak means movement in Indonesian and Surau indicates a communal place of devotion e.g. the place to learn about religion and silat.
Guru Tuo Lesmandri grimaced as he attempted to withstand the pain, his neck subjected to a what would normally be fatal locking combination (jurus). There was a moment of intense labored silence, then as he signaled his surrender, he gasped, "yes, yes, enough, enough!"
The young pesilat drew a deep gasping breath as the powerful lock was released easing the pressure from around his neck. "If he'd continued, most possibly I wouldn't be going home," said Lesmandri, while rising and placing his kopiah (a black velvet rimless cap usually worn by Muslim males in Indonesia) back into position on his head. Judging by the reaction of the group of eye witnesses' to the event, it was clear that the prevailing emotion was one of respectful awe. The remarkable old man who had just demonstrated the application of the painful lock described above was Guru Gadang (Guru Besar) Lazuardi Malin Marajo.
Lazuardi along with his group of West Sumatran pesilat were visiting Jakarta last week with the specific purpose to strengthen the bonds of friendship within the Sahabat Silat community.
As guests of the head of the DPRD, Asrul Nurhasan (who is also the head of the Pencak Silat Group of Tanah Datar) as well as of Aslim Nurhasan, head of the Limpapeh Foundation, the group were able to share and explain a lot about their style (aliran), Silek Kumango.
Translation Note: DPRD or Dewan Perwakilan Rakyat Daerah is The Peoples Representative Council for a Region similar to a regional senate.
According to the known history, the name "Silek Kumango" had its origins in the name of the village from where the originator came, Syekh Abdurrahman al-Khalidi who was better known as Syekh Kumango.
The guru who as a young man was known as Alam Basifat, was born in Nagari Kumango (the Kingdom or Land of Kumango), in the sub-district of Sungaitarab (Tarab River), in the district of Tanah Datar, West Sumatra. According to accepted history he was born in 1832 and passed away in the year of 1932. He lived to the age of 100.
However, what is more amazing is the following discovery by a researcher of Silat Kumango, Agoes Tri Mulyono. Based upon the retelling of family history by direct descendants of the guru, it transpires that Syekh Kumango was born in the year 1782, which means that he actually lived for 150 years.
For 15 years, Alam Basifat drifted to and fro as a misfit on the streets. However that all changed as he applied himself to the teachings of Islam under the supportive patronage of Syekh Abdurrahman, until eventually he became a religious scholar/leader (Ulama). His experiences over the previous 15 years as a street waif had a major impact on his knowledge and understanding of the principles of personal combat, said Agoes.
In addition to that, the religious teachings of Islam also provided a strong influence, in that it shaped the characteristic philosophy that underpins the physical techniques of Silek Kumango. These influences are also the reason why Kumango is different than other silek aliran (silek styles) in Sumatra, many of whom take their inspiration from the movements of animals, for example from the tiger.
Our moves begin their journey from the surau (devotional place to study Islam), said Guru Gadang Lazuardi Malin Marajo. The same applies to the source of our underlying philosophy. In the Minang language we say, hiduik nan ka dipakai, mati nan ka ditumpang, he said.
It means that the courtesy and behavior a man chooses to use in their daily lives, should always be motivated by piety and an uncontestable morality, because there will be judgement on all of our actions, both good and bad on earth when we eventually die.
It's not surprising therefore, that the over-arching character of Kumango is one based on the concept of defense, and it only takes the offensive initiative when truly pressed to do so and all other options are exhausted. Defense is the major characteristic of Silek Kumango because it is forbidden to retaliate straight away, he said.
Should a Kumango pesilat be attacked by an adversary, the first attack should be compared to that of a mother who is angry toward her child. What that means is that one should sincerely focus on the incident as if our mother were giving advice, such that it falls on us to try to understand and not to retaliate with aggression. Translated into the application of a physical nature, what needs to be performed is a jurus of evasion, said Guru Tuo Lesmandri.
Furthermore, should the adversary continue to press the attack a second time, a Kumango pesilat has to consider it as the motivation of a father who is angry at his child, such that we must still use a jurus of evasion and resist the impulse to retaliate.
So to if the adversary attacks for the third and fourth time, the analogy to be made is that they must be considered in the light of a guru (teacher) and a relative who are angry at us.
Only after the fifth attack, should a Kumango pesilat be obliged to retaliate with locking maneuvers to incapacitate the enemy, in order to reach a speedy resolution to the conflict and to seek forgiveness. If the enemy attacks using a weapon, the locking techniques must then be performed with speed and force, said Lesmandri.
Indeed, locking techniques are a unique and specific feature of Silek Kumango. Out of the 11 jurus within their arsenal, nearly all of them aim to incapacitate the adversary using locking techniques. One jurus contains within it tens of pecahan or extrapolations of method and possibilities contained within the jurus.
The murid (student) who wishes to learn has to firstly internalize and understand all of the jurus so that they can continue to pursue the multitude of knowledge contained within. Those who succeed in internalizing the 11 jurus are called khalifah.
While those who reach the level where they understand all the knowledge there is contained within the jurus (isi or pecahan) is known as a guru tuo.
What is interesting, is that in Tanah Datar we can observe the level of skill a pesilat has achieved by the way they wear their sarung (also known in the west as a sarong). If the sarong is rolled on the hips, it indicates a pesilat who is still in the early stages of training. Because the sarong has the additional function to store weapons and to shield the stomach from the slash of a sharp weapon.
However, if the sarong is slung across the shoulders, it indicates that the wearer is in the middle stages of their training. The sarong can at any moment be used as a weapon to tie and lock the adversary, he said. An skilled pesilat artist, will wear their sarong on top of their kopiah. In this case, we can't even begin to imagine how they would use their sarong against an adversary.
Taken from:
http://silatindonesia.com/en/2007/08/silek-kumango-locks-are-the-distinctive-feature-of-gerak-silek-kumango/
We are glad to be back to give you news and informations about martial arts all over the world. We hope you can enjoy this blog.
Kuntao is a form of Chinese martial art which practiced in South East Asia. This form of martial art have usually been influenced by Indonesian martial arts of Pencak Silat.History
The original Chinese Kuntao styles came from China. The styles still exist in China and Taiwan, but Kuntao styles have been spread for centuries by the Chinese merchants and other traveling Chinese people. Forms of Kuntao are practiced in Indonesia, Singapore, Malaysia (particularly Borneo), and the Southern Philippines as well as in some other countries. Some Kuntao styles were not changed, but many were changed because of some reasons. Many styles were changed because the styles had to be adapted to new environments, fighting in different terrains, fighting local styles, and defending or fighting with local weapons.
Etymology
The word Kuntao in Hokkien dialect means "way of the fist". It similar to Mandarin term of Chuan Fa which means "fist technique".
Styles and Forms
Most Indonesian Kuntao styles began to integrate techniques from Pencak Silat styles and often called Kuntao Silat. Some even changed their name to Silat. Kuntao Silat also practiced by several ethnic groups in Southern Philippines. It is said that it is the combination of indigenous Pencak Silat and Chinese Kuntao which arrived in that places by Chinese merchants.
Some styles and forms of that we can found today, for example are:
- Kuntao Silat de Thouars, a combination of several Kuntao and Pencak Silat styles which created by Willem de Thouars
- Malabar Kuntao Silat, created by Willem de Thouars' student, Steve Gartin
- American Kuntao Silat, a friendlier and less brutal version of the original Malabar Kuntao Silat which created by Steve Gartin
- Talio American Kuntao, created by Roberto Torres based on several Kuntao, Pencak Silat, and Arnis styles
- Liu Seng Kuntao, a hybrid Kuntao Silat system which created by Willem Reeders
See also Pencak Silat
Pencak Silat (or Silat) is Indonesian traditional martial art. This type of martial art was rooted from Malay cultures. Pencak Silat is widely known in Indonesia, Malaysia, Singapore, Brunei Darussalam, and wherever that Malay descendants are exist, such as in Southern Thailand and Southern Philippines.History
Consisting of about thirteen thousands islands, Indonesia remains one of the richest centers of ethnic and cultural diversity today. Though little is accurately known of its ancient history, the impact of both cultural and combative influences from other countries such as China and India has been widely documented. The migrations between peoples of these many islands have been frequent and of long duration, and the combative and mystical elements that continued to evolve over time developed into highly sophisticated martial arts.
There are three major combative forms that presently found in Indonesia. They are Pencak Silat, Kuntao, and a variety of "endemic" forms. It is generally conceded that Pencak Silat is the best known self defense discipline and the one that has the strongest association with spiritual practices. There are many theories abound concerning its origins. However, a commonly held view suggests that it first developed in the Minangkabau Kingdom on the west central coast of Sumatra (now the Province of West Sumatra). While probably a relatively crude form during its formative development in the eleventh century, by the fourteenth century it had become a highly refined and sophisticated technical art that belonged exclusively to the kings of Majapahit and their court officials. Over time, the practice of this combative art was open to the other social classes. Combative influences derived from Indian, Chinese, and Arabic sources as well as travel among the various islands led to rapid diversification of varying styles currently exceeding over 150 in number.
Etymology
The term pencak generally connotes skillful body movements in variation for self defense. Silat refers to the fighting application of pencak. While these two components can be demonstrated separately, neither can be said to exist authentically without the other.
Systems
One of the most eclectic martial arts, Pencak Silat styles make used of both armed and unarmed techniques, employing fast, deceptive movements, blending with an opponent's force, and directing it along specific channels where it may be controlled. Weaponry includes numerous blade, staff, stick, and projective instruments, as well as unarmed techniques that includes hand strikes, kicks, grappling, and methods of falling. Technical characteristics of the respective style are determined by physical abilities and cultural mannerism of the people of a particular area, and major characteristics can be generally localized to specific regions. For example, foot and leg tactics in Sumatra; hand and arm tactics in West Java, Borneo, and Celebes; grappling tactics in East Java, Bali, and Sumatra; and a synthesis of foot and hand tactics in Central Java, East Java, Madura, and Bali.
Most systems begin with physical training, learning various movements, and applying various techniques to avoid physical injury at the hands of an assailant. Having mastered this preliminary foundation, the practitioner may proceed to develop his inner power. The effort to develop the inner power can be expressed in various ways.
Aspects
There are four main aspects in Pencak Silat:
- Mental and Spiritual Aspect
- Art and Culture Aspect
- Martial Art Aspect
- Sport Aspect
Capability Levels
Briefly, the Pencak Silat practitioners (or called pesilat) are divided into some levels according to their capability. Those levels are:
- Pemula (novice)
- Menengah (intermediate)
- Pelatih (coach)
- Pendekar (fighter, skilled duelist)
Organizations
The International Pencak Silat Federation is also called PERSILAT (Persekutuan Pencak Silat Antara Bangsa). This organization is founded by Indonesia, Singapore, Malaysia, and Brunei Darussalam. The member of PERSILAT now have reached 33 countries throughout the world. The other organizations of Pencak Silat, for example are:
- IPSI (Ikatan Pencak Silat Indonesia) - Indonesia
- PESAKA Malaysia (Persekutuan Silat Kebangsaan Malaysia) - Malaysia
- PERSISI (Persekutuan Silat Singapura) - Singapore
- EPSF (European Pencak Silat Federation)
Styles and Forms
Today, there are many styles and forms of Pencak Silat. About two of three are founded and created in Indonesia.
Indonesia:
- Perisai Diri
- Merpati Putih
- Tapak Suci Putera Muhammadiyah
- Elang Putih
- Silek Tuo (or Silat Tua)
- Silek Harimau (or Silat Harimau)
- Silat Cingkrik
- Silat Cimande
- Silat Cikalong
- Silat Serak
- etc.
Malaysia:
- Gayung Malaysia
- Silat Cekak
- Silat Lincah
- etc.
Southern Thailand:
- Gayung Fatani
Philippines:
- Maphilindo Silat (founded by Dan Inosanto)
East Timor:
- Kmanek Oan Rai Klaran (KORK)
Europe:
- Perisai Diri
- Gerak Ilham
United States:
- Silat Serak
- Soempat Silat
- ODF Silat
- Tongkat Silat
- Bukti Negara
- Pukulan Cimande Pusaka
- Persatuan Pencak Silat Inti Ombak
Arnis and Eskrima (or Escrima) are Filipino traditional martial arts. Both of the fighting systems, in general, are use knife, sword, spear, or stick as the weapon.History
Filipino combat skills were derived from many sources. It is generally thought that an early pygmy tribe (called the Negritos) were the first settlers to arrive from Central Asia. Three separate Malay migration followed, beginning around 200 BC, the last continuing until the middle of the fifteenth century AD. During this period, the second group of people who called Brahins, came from India to Sumatra, creating the famous empire of Sriwijaya. The third migration involved the takeover of the Sriwijaya Empire by the Majapahit Empire, originally formed in Java. Other than the use of bladed weapon brought by the Malay migrations, martial skills from China entered the islands country following earlier Indian influences. The invasion of the islands by Spaniards in the early part of the sixteenth century eventually forced the highly developed martial arts of Kali underground. However, the initial defeat of Magellan at the hands of Lapulapu on Mactan Island served to illustrate the skill of the natives in the use of the blade and hardwood stick as viable weapons.
The martial arts of Kali (derives from kalis, Tagalog, sword/sabre) came to signify various system of self defense that made use of bladed weapons. Dating back prior to the arrival of Portuguese and Spanish explorers in the early sixteenth century, Kali also referred to a stick, empty hand, or multi-weaponed art that had been used effectively as a system of self defense by the islanders for centuries.
When the Spaniards returned after their initial defeat, they brought firearms as well as additional reinforcements. Adopting the strategy of conquering specific regions of the islands and then using the natives to conquer their neighbors in adjoining areas, the Spanish victory was assured. Though Filipino martial arts were outlawed, in 1637 the Spaniards introduced komedya (derived from comedia, Spanish), a socio-religious play that dramatized the religious victory of the Spaniards over the natives. The mock combat portrayed in these plays served to secretly preserve the martial movements and techniques as well as transform aspects of the martial arts that were later outlawed in 1764. These modifications later became known as Arnis and Eskrima. Under American rule in the 1990s, the arts resurfaced and were use to fight the Japanese in World War II. A number of practitioners remained on the islands while others migrated to the United States.
Systems
Though its beginning are rooted in weapons combat, especially blade, dagger, or stick, the Filipino martial arts are complete self defense disciplines, making use of a variety of weapons and empty hand techniques. There are over a hundred styles or systems of Filipino martial arts. They are often divided into three main groups, which are northern systems, central systems, and southern systems. In general, the northern systems are based on the long stick and long blade, are designed to be used at a long range, and seldom have an empty hand component. The central systems are based on the principles of sword and dagger, use the stick from training and fighting, are designed to be employed at medium range, and have a sophisticated empty hand art to be used against armed opponents. And finally, the southern systems use the blade for training and combat, possess an empty hand component, and are used at medium or close range.
Arnis is the term that refers to those systems generally based on sword and dagger (espada y daga). While Eskrima often pertains to those systems based on the use of the single stick (solo baston) or double stick (doble baston). Both terms now are largely interchangeable an generally maintain all three components. Terminology is often fluid and imprecise among various practitioners of even the same system.
Famous Practitioners
The Filipino martial arts now are globally known thanks to the kindness of some Hollywood action movies. The arts are also known because of the struggle of the famous international martial arts experts who also the practitioners of Arnis and/or Eskrima like Dan Inosanto, Cacoy Canete, Elmer Ybanez, Tony Diego, Teofilo Velez, Richard Bustillo, Ryan Gialogo, Edgar Sulite, Leo Gaje, Armando P. Angeles, Leo Giron, Mike Inay, Ernesto Presas, Remy Presas, and Angel Cabales.
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