Pencak Silat

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Pencak Silat demonstration in Jakarta.

Pencak Silat is the generic term for the traditional martial arts of the Indonesian-Malay archipelago . The term roughly translated means "exercises in techniques for self-defense and their application in combat". Pencak Silat is mainly practiced in Indonesia , Malaysia , Brunei and the southern Philippines . In addition to many main styles, there are numerous village styles. The terms Pencak Silat and Silat can be used synonymously. Pencak Silat is referred to as a "martial art", but in some regions the term exclusively refers to the Olahraga competition style , which is a heavily modified, substantially defused form of traditional Silat.

In its original form, Pencak Silat is a versatile, extremely effective close combat system. The martial art was used in all armed conflicts in the archipelago, for example in the defense of the Mongol invasion of Java in 1293, in the Philippine-American War from 1899 to 1902, in World War II in the fight against the Japanese, in the Indonesian War of Independence from 1945 to 1949 and others. The regional conflict between the island kingdoms of Majapahit on Java and Srivijaya on Sumatra from 1293 to around 1377 was also of particular importance. After they were broken up, the remains of the Srivijaya brought Silat to Cebu in the Philippines.

Silat enjoys a high cultural and social status, especially in West Java, and is accordingly also taught there as part of school sports. In addition to the aspect of self-defense and competition, the movements and breathing techniques learned can also be used for meditation and general health. The forms, called jurus in most styles, can also be danced.

In 2019, the Silat tradition was included in the Representative List of the Intangible Cultural Heritage of Humanity .

etymology

The name Pencak Silat first appeared in 1948 when Ikatan Pencak Silat Indonesia (IPSI, "Association Pencak Silat Indonesia") was founded with the aim of uniting all Indonesian martial arts in one association. Originally, the various regional names were more in use, including penca , maenpo, mancak or silek .

history

The origins of Pencak Silat, as with many Southeast Asian martial arts, are largely unknown as little has been written about them and the stories have always been passed down orally from generation to generation.

Archaeological finds from the 6th century AD show that formalized combat systems were already being learned on the Malay Peninsula and Sumatra at that time . So the origins of Pencak Silat must go further back in time.

There are numerous legends of origin. The Minangkabau , an ethnic group based in Sumatra, trace their martial art Silek back to Datuk Suri Dirajo. He had learned a self-defense method from his father, Cati Bilang Pandai, which was known as Gayuang . The four generals of the Sultan Maharajo Dirajo, Kuciang Siam from Thailand, Harimau Campo from Cambodia, Kambiang Hutan from India and Anjieng Mualim from Persia added additional techniques and aspects. From Gayuang was Silek Usali . This is now called Silek Tuo , "old Silek" .

In the Javanese epic Kleid Sunda the warriors of the Kingdom of Sunda are described as great masters of Silat when they escorted their princess Dyah Pitaloka as a potential wife for Hayam Wuruk , the Raja of Majapahit , and in 1357 in a battle on the Bubat field against the soldiers the Majapahit fought.

From the 17th century to the middle of the 20th century, large parts of the Malay archipelago were under Dutch colonial rule under the name of Dutch East Indies . During this time, the practice of pencak silat was strictly forbidden. This also applied to the sultanates of the Malay Peninsula, which were under British colonial rule. In both cases, the training was only possible in secret or behind closed doors.

organization

The world association of Pencak Silat is PERSILAT (Persekutuan Pencak Silat Antar Bangsa) based in the Indonesian capital Jakarta . PERSILAT was founded in 1980 by the four most influential national associations of the states Indonesia, Malaysia , Singapore and Brunei within PERSILAT, while the umbrella organizations of other states play a subordinate role when it comes to fundamental questions in the direction of Pencak Silat.

The four founding members (Anggota Pengiri) are:

  • IndonesiaIndonesia Indonesia : IPSI (Ikatan Pencak Silat Indonesia)
  • MalaysiaMalaysia Malaysia : PESAKA (Persekutuan Silat Kebangsaan Malaysia)
  • SingaporeSingapore Singapore : PERSISI (Persekutuan Silat Singapura)
  • BruneiBrunei Brunei : PERSIB (Persekutuan Silat Kebangsaan Brunei Darussalam)

In addition to these four founding members, 27 national umbrella associations are currently represented in PERSILAT, including the German Pencak Silat Federation (GPSF) and the Pencak Silat Association Austria (PSVÖ).

Styles

Pencak Silat reflects the cultural diversity of its area of ​​origin in every respect. The selection of styles is correspondingly large. These are named among other things after their region of origin, special places, people, but also after plants and animals or the techniques they contain. Here are some examples:

  • Silat Melayu means that the respective style has its origin in Malaysia
  • Sera is a Sunda style named after its stylist Abah Sera
  • Pukulan Patikaman from Kalimantan attaches great importance to punches (ind. Pukul )
  • Bangau Putih means "white crane"
  • Cimande is a style whose name refers to a village as well as a river
  • The lotus (ind. Terate ) has a special meaning in the style of Persaudaraan Setia Hati Terate (PSHT)

There is a considerable east-west divide, both qualitatively and quantitatively. West Sumatra and West Java (Sunda) not only have the largest number of styles, but also the oldest, most developed and those with the greatest technical scope. The reasons for this are usually mentioned as being the sphere of influence of the Srivijaya and Minangkabau as well as the historical significance of the Riau Islands for the cultural development of the region. A clear change can already be felt in Central Java, as far as the technical repertoire is concerned, which is continuing further and further east. On the neighboring island of Bali, only the Bakthi Negara and Sandhi Murti styles, which were created around 1955 and were historically influenced by Sunda-Silat, can now be found. In Lombok there is no longer any known, independent style of silat. There they practice a primitive stick fight with Peresean as a kind of national sport.

techniques

Pencak Silat includes both archaic fighting and hunting techniques of the indigenous population, which are often based on the imitation of predators (e.g. tigers and crocodiles) or plants (creepers, thorn plants), as well as techniques from foreign cultures. They came into contact with the archipelago through migration, trade, alliances, wars or religious common ground. As a result, in Pencak Silat one often finds parallels to martial arts from other countries, including India, China, Persia, Thailand, Cambodia, Vietnam and Japan.

At first, starting positions (kudas, pasang) , step sequences (langkhas) , kicks and upper body techniques are learned. At this stage the student (murid) does not necessarily have to know how to use them in combat. Combined in a way determined by the stylist ( Pendekar ), these techniques result in so-called jurus . These are sets of single or multiple movements that build on each other, which simulate fighting against imaginary opponents. By jurus not only the techniques learned to be deepened, but also rehearsed in the fight anticipated movements of the enemy. This enables the silat fighter (pesilat) to control the course of the fight to a certain extent or to manipulate the attacker after his attack in order to put him out of action as quickly and sustainably as possible. The resulting movements can initially be viewed as a pure art form, Seni - Silat , or danced as Ibing Penca or kembangan . The application, buah , the jurus is conveyed in partner exercises . The aim is to internalize the movements and techniques in a possible fight, which is why great importance is placed on clean and safe execution. The teacher ( guru ) sets the curriculum and monitors and corrects the students. Traditional styles are used to train without protective equipment. There is also no sparring in the traditional sense, as the techniques taught are not suitable due to the very high risk of injury and the frequent use of cutting and stabbing weapons. Instead, there are friendly partner duels, in which it is tested in a respectful way, which possibilities to react arise from the respective situation. One type of this training is called usik in West Java .

Each silat style has its own special features or has an individual technical focus. Some styles prefer fist, forearm, or elbow strikes. Others attach great importance to levers or kicks. Often these differences have historical reasons, for example physical disabilities of the stylist, which they wanted to compensate in this way. But tactical requirements can also be the cause. In the Kingdom of Sunda, for example, soldiers were more likely to be trained as lone fighters, while the Majapahit placed more emphasis on soldiers who fought in formation. This is partly still reflected today in the styles of the respective former territories.

The Gelek principle is typical of the Silek Minangkabau. This requires a high degree of mental and physical self-control and attention. Gelek enables the Silek fighter to recognize the intentions and attacks of his opponent at an early stage. If an attack occurs, the fighter usually evades by skillfully rotating the upper body and tries to carry out an immediate counterattack. The counterattack depends on the strength of the attack. In other words, the more violent, the clearer the resistance.

In Pencak Silat West Java, the so-called Sunda-Silat, the principle is also used in general. Instead of evading with the entire body, however, defense techniques are preferably carried out with the arms or hands. Representative for this are the styles Cimande and Sera.

dress

Training is usually done barefoot in a uniform consisting of a shirt with long sleeves and long, wide-cut trousers. The most common color of clothing is black, but green, red or white uniforms also exist. In this way, the respective styles can partly be recognized or narrowed down. Traditionally one also wears a head covering made of fabric, the ikat . Each region has different methods of binding this. Depending on the style and occasion, sarong , Ihram / Makka belts and a variety of other headgear can also be worn, including the Kopiah . Patches with the logo of the respective school ( Perguruan) can often be found on the chest, sleeves or back .

weapons

In addition to unarmed combat, practicing with weapons is very important in Pencak Silat, which is why almost every style has its own repertoire of special weapons. Some are listed here.

  • Badek - a dagger, mainly from the Bugis in Makassar used
  • Cabang - a fist knife
  • Celurite - a sickle
  • Kayu / Batang - a stick about 70 cm long
  • Karambit - a short, strongly curved knife, the shape of which is modeled on the claw of a tiger
  • Kris - a dagger, often with a wavy blade
  • Kujang - a sickle-like short sword of the Sundanese
  • Lembing / Seligi / Sibat - a spear
  • Pedang / Sundang - a single-edged sword
  • Parang / Golok - a single-edged saber
  • Tongkat / Toya - a bamboo or rattan stick

mysticism

The terms Kebatinan and Ilmu , the "inner knowledge", are used to summarize the spiritual aspects of traditional Pencak Silat. This belief finds expression in a multitude of rituals, symbols and objects, which are assigned supernatural powers and are intended to bring advantages to the wearer in combat or in everyday life. When it comes to secret techniques or mantras, for example to protect yourself from physical attacks, one speaks in this context of "inner strength". In Debus , for example, wandering showmen show how they suppress their sensation of pain or become apparently invulnerable. The Moros in the south of the Philippines prepared their Silat warriors, called Juramentados by the Americans, with ritual baths and a special type of bandaging. Wearing talismans was also common.

In the Merapati Puthi style, which is also used by the Indonesian special unit Kopassus, a special breathing technique is used to generate this inner force. As proof of their skills, members of the school conduct break tests on metal plates.

The well-known martial artist and author Donn F. Draeger suspected that followers of the Setia Hati Terate style from Central Java would use a kind of secret hypnosis technique in combat. In Indonesia, it is also customary at Keris -Schmieden, called EMPUS to give complex produced daggers with special properties in order. For example, they are intended to help their owner achieve greater prosperity or social recognition. In addition to materials such as iron and nickel, kris daggers also contain meteorite rock for this purpose.

Music and theater

Randai performance in Padang Panjang near Padang , West Sumatra

Pencak Silat, like many Southeast Asian martial arts, is often accompanied by music. Each region has its own styles and instruments. In the west of Java, in the province of Jawa Barat , pencak silat performances are traditionally accompanied by a Kendang Pencak ensemble, named after the double-headed barrel drum kendang . The melody-leading instrument of this ensemble is the cone oboe tarompet . The Minangkabau of West Sumatra perform their martial art Silek in the Randai Theater, accompanied by singing, clapping and various instruments, including the Saluang bamboo flute . The use of their wide trousers, called galembong , as an instrument is particularly typical . The fabric is stretched by a wide step, after which you can drum on it.

The Malay theater style Bangsawan in Malaysia and Indonesia is a form of opera in which music, dance and drama are combined. This contains a considerable number of forms of movement from the Pencak Silat. Furthermore, Zapin elements of Pencak Silat are used in the Islamic dance style .

As a martial arts

In contrast to the traditional styles, competitions can be held in full contact with protective clothing in Olahraga. A fight lasts three rounds of two minutes each. Kicks and punches are only allowed above the belt, but head attacks are prohibited. Throwing and gripping techniques are also used. Scoring is given for hits, successful defenses and throws.

literature

  • Hiltrud Cordes: Pencak Silat: The martial art of the Minangkabau and their cultural environment. Afra, Frankfurt am Main 1992, ISBN 3-923217-51-X .
  • Quintin Chambers, Donn F. Draeger: Javanese Silat. The Fighting Art of Perisai Diri. Kodansha International, Tokyo 1978, ISBN 0-87011-353-4 .
  • Donn F. Draeger: Weapons and fighting arts of Indonesia. 2nd edition, Charles E. Tuttle Co., Rutland VT 1992, ISBN 0-8048-1716-2 .
  • Sheikh Shamsuddin: The Malay Art Of Self-defense: Silat Seni Gayong. North Atlantic Books, Berkeley CA 2005, ISBN 1-55643-562-2 .

Web links

Individual evidence

  1. ^ A b Dan Inosanto: The Filipino Martial Arts. Know Now Publishing Company, 1980
  2. O'ong Maryono: The militarization of Pencak Silat during the Japanese Occupation and the Era of Revolution. In: Rapid Journal, Vol. 6, 2002
  3. ^ Scott McQuaid: World War II Silat. In: Irish Fighter Magazine , 2014
  4. a b O'ong Maryono: Pencak Silat in the Indonesian Archipelago. In: Rapid Journal Vol. 4, No. 2, 1999, p. 38f.
  5. a b c d e f g h Donn F. Draeger: Weapons & Fighting Arts of Indonesia, 1972
  6. Silat . In: unesco.org , accessed on April 23, 2020.
  7. Guru Edwardo Guci: Roots Of Silek Tuo Minang. The WAI - Warrior Arts of Indonesia, November 30, 2015, accessed October 24, 2017 .
  8. O'ong Maryono: About the Indonesian Pencak Silat Organization (IPSI) and the International Pencak Silat Federation (PERSILAT). (accessed on May 19, 2009)
  9. Members of PERSILAT. persilat.org (accessed May 19, 2009)
  10. a b c d Herman Suwanda: Pencak Silat: Through My Eyes . Ed .: Empire Books. 2006, chap. 14 .
  11. a b demank ahmad: SEMINAR 24 JANUARY 2016, PUKULAN PATIKAMAN SILAT KUNTAU BORNEO INDONESIA. January 25, 2016, accessed November 13, 2017 .
  12. History of PGB Bangau Putih . In: PGB Bangau Putih :: Persatuan Gerak Badan Bangau Putih . ( pgbbangauputih.org [accessed November 14, 2017]).
  13. Sport Singapore: Pencak Silat Artistic Female Team - Regu Finals 1st Placing (Day 5) | 28th SEA Games Singapore 2015. June 10, 2015, accessed November 13, 2017 .
  14. Rakean Abdi Sunda: Pencak Silat Indonesia: Ibing. October 2, 2016, accessed November 13, 2017 .
  15. ^ WarriorArtsIndonesia: Silek Tuo Minang. August 16, 2012, accessed November 13, 2017 .
  16. ^ A b c d Ian Douglas Wilson: The Politics of Inner Power: the Practice of Pencak Silat in West Java. 2002
  17. ^ Silek Tuo Minangkabau - Basic principles with Guru Edwardo Guci. Retrieved November 11, 2017 .
  18. Jurus GILES. Step by step learning pencak silat by Garis Paksi Indonesia. Retrieved November 11, 2017 .
  19. Pawai Pencak Malioboro Festival 2017-Garis Paksi. Retrieved November 11, 2017 .
  20. ^ Fight Quest: Indonesia (Pencak Silat). January 25, 2008, accessed November 12, 2017 .
  21. Tausug Invulnerability . In: Moroismo . January 11, 2014 ( wordpress.com [accessed November 13, 2017]).
  22. Kenneth J. Conboy: Kopassus: Inside Indonesia's Special Forces . Equinox Publishing, 2003.
  23. MERPATI PUTIH (TRADISI 2016). Retrieved November 12, 2017 .
  24. Ger Giesen: The Magickal Kris . 2006.
  25. ^ Uwe U. Pätzold: The Music in Pencak Silat Tournaments is gone. De-Vitalization of a Performance Culture? (PDF; 109 kB) on August 5, 2005 on ethnomedia.de
  26. Kirstin Pauka: Theater & Martial Arts In West Sumatra: Randai & Silek of the Minangkabau. 1998
  27. See Zainal Abdul Latiff: Revisiting “Pencak Silat”: The Malay Martial Arts in Theater Practice and Actor Training. In: Asian Theater Journal, Vol. 29, No. 2, Fall 2012, pp. 379-401