Sitbatan Kali-Silat

Other Benefits of Silat

2012-01-25T00:15:00.000-08:00

Pencak Silat is one of the most efficient methods of self-defense ever devised (second to none in my personal opinion, based on 30+ years of experience in a variety of martial arts), aiming at dealing with situations with the least possible effort while achieving the quickest and most effective results. While it is unmistakably a serious fighting art originating from jungle village survival, and is thereby less 'filtered' through modern civilization than most of the more familiar martial arts one commonly encounters, at the same time there is a strong and indispensible dance connection, utilizing a very similar set of movement principles as found in skilled cultural dance with regard to breath, balance, center, and precision in both movement and internal attitude. In fact its dance aspect is a traditional form of entertainment at social gatherings in Indonesia. As the movement principles become more and more deeply internalized, one gains the skill and smooth flow of performing improvisational Silat movement to music, which I often find myself enjoying playing with on dancing occasions! Silat is truly an art in which artistic sense and high-level functionality come together in a holistic way.

In addition, internalizing the principles of Silat movement imparts balance, remedial effects, and more efficient physical movement capability to many areas of life, not unlike T'ai Chi, with which it shares many common principles. For example, I personally am prone to sciatic nerve inflamation due to a back injury when I was younger, and reverting to the Silat movement modality enables me to much more easily deal with day-to-day tasks, even including lifting heavy objects, allowing me to physically function with much less trouble than otherwise at times of especially bothersome sciatic flare-ups.

In conclusion we can state that Silat can not only keep you alive in the face of unwanted physical assault, but it is otherwise good for you as well. On top of that, it is also enjoyable as an aesthetically cool movement art, both in the way it feels in one's body to do it, and in the way it looks.

by Chris Burbick

History of the M1911 Pistol

2011-10-22T20:14:00.001-07:00

We identify genius by its impact. It changes things and its vision endures. In the world of firearms, there is one designer whose work changed everything and endures, John Moses Browning. Browning is most frequently remembered as the designer of the 1911 .45 ACP and the Browning High Power, but he also created the Winchester 30-30, The Winchester Pump Shotgun, The Browning Auto-5 Shotgun (produced by Remington as the Model 11), The BAR (Browning Automatic Rifle) and the Browning .50 caliber Machine Gun, plus most of the .30 cal and .50 cal machine guns produced by Colt and used in WW II. He is credited with 128 gun patents, and some fifty million sports and military weapons were manufactured from those patents during the forty-seven years he was an active inventor.

During the same time frame that John Browning was putting the Winchester Repeating Arms Company on the map, a highly motivated tribe of warriors, known as the Moro, were giving the U.S. Army fits in the Philippines. To prepare for battle, the Moro used a combination of body binding with leather, narcotics, and religious ritual to put themselves into an altered state of consciousness which left them insensible to injury. Soldiers found that their revolvers chambered in .38 Long Colt simply would not stop the Moro. It should be noted that their .30 Krag rifles didn’t do a whole lot better against these warriors.

John Browning began to experiment with self-loaders in 1889, inspired by Hiram S. Maxim who had invented a machine gun six years earlier. Browning converted a Winchester 1873 lever-action to an autoloader by using the action of the gases at the muzzle. A machine gun using this same operating principle was built in 1890 and 1891. From this work evolved a machine gun design ultimately built and sold by Colt as the Model 1895 machine gun, popularly called the “Browning Potato Digger” because of its downward arcing, gas-operating piston system. Browning’s first self-loading pistol was also a gas-operated weapon.

Based on the experience with the Moros and extensive testing on animals and human cadavers, an Army Ordnance Board headed by Col. John T. Thompson (inventor of the Thompson sub-machine-gun) and Col. Louis A. La Garde, determined that the Army needed a .45 caliber cartridge to provide adequate stopping power. In the mean time, Browning who was working for Colt, had already designed an autoloader pistol, around a cartridge similar in dimension to the .38 Super. When the Army requested designs for a new handgun, Browning re-engineered this .38 autoloader to accommodate a .45″ diameter cartridge of his own design with a 230 gr. FMJ bullet, and submitted the pistol to the Army for evaluation.

The selection trials began in 1906 and Browning’s pistol faced competition from pistols submitted by Colt, Luger, Savage, Knoble, Bergmann, White-Merrill and Smith & Wesson. Browning’s design and the Savage design were selected in 1907. The Army called for additional tests of function and reliability which revealed that neither Colt’s nor Savage’s offerings had reached the desired perfection. The Ordnance Department instituted a series of further tests and experiments, which eventually resulted in the appointment of a selection committee in 1911.

Browning was determined to prove the superiority of its handgun, so he went to Hartford to personally supervise the production of the gun. There he met Fred Moore, a young Colt employee with whom he worked in close cooperation trying to make sure that each part that was produced for the test guns was simply the best possible. The guns produced were submitted again for evaluation to the committee. A torture test was conducted on March 3rd, 1911. The test consisted of having each gun fire 6000 rounds. One hundred shots would be fired and the pistol would be allowed to cool for 5 minutes. After every 1000 rounds, the pistol would be cleaned and oiled. After firing those 6000 rounds, the pistol would be tested with deformed cartridges, some seated too deeply, some not seated enough, etc. The gun would then be rusted in acid or submerged in sand and mud and some more tests would then be conducted.

During the trials, several alterations were made to the original design such as a single swinging link, an improved manual safety, and the inclusion of a grip safety and a slide stop. The other significant change was to the grips, which were angled more acutely and lengthened slightly.

In its final form, the M1911 was a locked-breech, single-action semi-automatic pistol. It was chambered for the .45 ACP cartridge and had a magazine capacity of seven rounds. Its weight unloaded was 39 ounces; overall length was 8.25″; the height was 5.25″. Sights were fixed, although the rear sight was housed in a dovetail slot that allowed it to be drifted either left or right for windage adjustments. The pistols were finished in blue and fitted with checked wood stocks.

Browning’s pistols passed the whole test series with flying colors. It was the first firearm to undergo such a test, firing continuously 6000 cartridges, a record broken only in 1917 when Browning’s recoil-operated machine gun fired a 40000 rounds test.

The report of the evaluation committee (taken from “The .45 Automatic, An American Rifleman Reprint,” published by the National Rifle Association of America) released on the 20th of March 1911 stated :

“Of the two pistols, the board was of the opinion
that the Colt is superior, because it is more
reliable, more enduring, more easily disassembled
when there are broken parts to be replaced, and
more accurate.”

On March 29th, 1911, the Browning-designed, Colt-produced .45 Automatic pistol, was selected as the official sidearm of the Armed Forces of U.S.A., and named Model 1911.

When we entered the Great War, the U.S. government had purchased some 140,000 M1911 pistols from both Colt and Springfield Armory. The Armory tooled up in 1913 to make M1911s and help fill initial orders. Altogether some 31,000 M1911s were built at Springfield prior to the U.S. entry into World War I. To meet wartime requirements, they made 45,000 more, all in 1918.

Guns made for these production runs were all stamped UNITED STATES PROPERTY on the frame. The slide carried the inscription MODEL OF 1911 U.S. ARMY. Production runs increased when the World War I started and continued to increase through 1918. By May 1918, it had increased to 1,000 per day. The summer months of 1918 saw an increase to 2,200 per day.

To meet the needs of our expanding armed forces, 1917 planners estimated that a total of 765,000 pistols would be required. The estimate was later revised upward, first to 1.3 million and then to 2.7 million.

Filling the projected needs meant that pistols would have to be made by contractors other than Colt. Thus orders were placed with Remington-UMC, Winchester, Burroughs Adding Machine Co., Lanston Monotype Machine Co., National Cash Register Co., A.J. Savage Munitions Co., Savage Arms Co., and two Canadian firms, Caron Brothers Mfg. Co., and North American Arms Co., Ltd. Of those firms, only Remington-UMC delivered any meaningful quantity (22,000 of 150,000 ordered). North American did make some pistols, but the total was probably less than 100.

A number of foreign companies or governments were licensed to manufacture the Colt-Brownings in a variety of calibers. It is interesting to note that Colts at one time were produced under the direction of the Nazi government. In 1915 the Norwegian government was licensed to manufacture the pistols. When Nazi troops occupied Norway in World War II, they ordered the government arsenal to start production. The Nazi’s planned to use the pistol to arm their occupying forces. However, only about 1,000 guns were produced in 1941 and 1942.

After World War I, the Army’s Ordnance Department evaluated the Colt .45′s combat performance. They recommended the following changes:

1. Wider front sight to develop “Patridge-type” of sights, allowing the shooter to quickly align both front and rear sights under various lighting conditions.

2. Longer hammer spur. Both changes 2 and 3 work together to prevent the web between the thumb and the forefinger being pinched between the hammer and the safety spur when the gun is fired.

3. Longer grip-safety spur.

4. Arched spring housing fills the shooter’s hand and checkering backstrap provides a better grip.

5. Relief cuts in the frame around the trigger allowing easier access to the trigger.

6. Shorter trigger with knurled face to avoid the trigger finger from slipping.

These changes were put into production on June 15, 1926 as AUTOMATIC PISTOL, CALIBER .45, MODEL OF 1911A1.

World War II was a replay of the situation in 1917, but worse. Colt .45s were in demand, not only by the U.S. Armed Forces, but also by the military establishments of our major allies. Again, contractors other than Colt provided the balance of the 2.5 million .45s made during 1941 to 1945. In all, four contractors added their share to Colt’s 480,000-pistol contribution. Remington-Rand produced 1.03 million. Ithaca turned out 370,000. Union Switch and signal Co. of Swissvale, Pa., received and filled an order for 55,000 M1911A1s. And Singer Sewing Machine contracted to provide 500 1911A1 pistols—which it did.

In the early 1970s, the Army decided to do something for its General Officers in terms of personal protection. The M1908 Colt Pocket Hammerless pistols issued to General Officers since World War II had finally outlived their service life. To correct this situation, Rock Island Arsenal, Rock Island, Illinois began modifying the standard M1911-A1. The pistol’s slide and barrel were shortened just over .75″(1.905cm) and the barrel had one locking lug removed. A full-length recoil spring guide was installed, as was an enlarged set of fixed sights. Checkered, walnut grip panels inlaid with a plate bearing the officer’s name replaced the standard pistol’s brown plastic grips. Adopted in 1972 as the United States Pistol, General Officers’, Caliber .45, M15, it is similar in both size and weight to the civilian Colt Combat Commander. The M15’s increased muzzle blast and recoil are a small price to pay for what is hoped to be a personal weapon of last resort

The M1911-A1 pistol remained in service through World War II, the Korean War, and the War in Vietnam. The old war-horse proved to be particularly useful in the tunnel fighting that went on in Vietnam. For more info on the discernment of the various manufacturers of 1911 pistols during the war years, see the Who Made It?

The Norwegian 1911 (Model 1912 and 1914)

Colt .45 Autos have been copied, both here and abroad, almost since the first ones were made. The first of the foreign copiers was Norway. Seeking a suitable semi-automatic pistol, the Norwegian military decided on the M1911 as early as 1912. In 1913 and 1914, the Norwegians purchased 300 commercial .45s from Colt and then, having established that no Norwegian product was acceptable, began to negotiate for a license to build guns in Norway. Under an agreement signed in January, 1915, payment of 25,000 kroner bought the Norwegians a set of Colt’s drawings and the right to make M1911 pistols at their Kongsberg Weapons Factory for as long, and in whatever quantity they desired.

Formally adopted as the “Colt Automatisk Pistol Model 1912,” the first 500 guns are virtual twins of the Colt product, differing only in marking. The second production lot, begun in 1919, carried a different slide marking — 11.25 m/m Aut. Pistol M/1914. The M/1914 also features a slide release lever that is distinctly different from those on both Colt and M/1912 Norwegian pistols.

The Kongsberg plant turned out about 20,000 M/1914 pistols between 1919 and the early ‘30s. Then, military demand satisfied, the line shut down. Under German occupation during World War II, the production of M/1914 was re-started, and another 10,000 were produced. Following the war, a few M/1914s were assembled from parts to bring the total made to just under 33,000.

— From The .45 Automatic, “Service Pistol Surrogates” by J.B. Roberts, Jr.

M1911-A1 Modelo 1927

After adoption of the M1911A1 in the United States, the Argentine government purchased the pistol from Colt as the Model 1927. The order to Colt was for a run of 10,000 guns for the Argentine Army. These guns were serial numbered in their own range from 1 to 10000. The original finish of these guns was blued with a brush blue finish and they had checkered walnut grips. The way to recognize them is that on the right side of the slide it has the following markings:

EJERCITO ARGENTINO
Colt CAL. 45 MOD. 1927 S/N

In the 1930’s, the Argentines secured license to manufacture their own .45s. These are called “Sistema Colt” to distinguish them from the actual Colt Modelo 1927. These Model 1927s were made by Fabrica Militar de Armas Portatiles “Domingo Matheu,” in Rosario, Argentina. They are marked “F.M.A.P” or “D.G.F.M. (F.M.A.P)” on the left side of the slide and “Ejercito Argentino, Sist. Colt, cal. 11.25 m.m. MOD 1927″ in two lines on the right. All Model 1927s bear the Argentine seal on the slide.

An estimated 38,000 copies of the Colt M1911 .45 caliber pistol were made at Rosario; another 75,000 were produced in 1947-1966 (some of which were still in service with elements of the Argentine military during the Falklands/Malvinas war in 1982).

All Sistemas were originally blued, except a few that were specially ordered for the Navy. Early guns had checkered walnut stocks, later had black or brown hard rubber. They were numbered on the frame, slide, barrel, and magazine. Most examples noted have been either reblued, or phosphated; many of the phosphated examples have blued small parts.

In addition to military production, the firm of Hispano Argentino Fabrica de Automoviles. SA (HAFDASA), manufactured an unlicensed copy of the Colt known as the “Ballester-Molina.” Most features of the HAFDASA gun are taken directly from the Colt product. The trigger and trigger linkage differ, however, in that the trigger pivots, and the trigger extension is external. The Ballester-Molinas also lack the grip safety. The story that the Ballester-Molinas are made from steel from the German battleship Graf Spee is a delightful but false legend. Both the Model 1927 and the HAFDASA .45s are extremely well-made pistols. For more on the Ballester-Molina, click here.

Civilian Commercial Production by Colt

In the early 1930′s, Colt offered a target version of the basic civilian Model 1911. This National Match pistol first appeared in 1933. These pistols differed from the standard grade because they incorporated a match barrel, checked trigger, checked arched grip, walnut stocks and the internal parts were hand honed. Also included on later versions were a ramped front sight and an adjustable rear sight. These models were marked “NATIONAL MATCH COLT Automatic Calibre .45″ on the left side of the slide. During World War II, the National Match Model was discontinued, but resumed in 1957. This newer version was referred to as the “Gold Cup National Match.”

In 1950 Colt Introduced the Lightweight Commander. This pistol was chambered in 9mm, .38 Super or .45 ACP with a 4 1/4″ barrel and full size grips. It was built in both steel and aluminum alloy frame variations, and was produced until 1976.

The MKIV Series 70 Government Model Colt pistols were manufactured from 1970 to 1983 and have “70G” as a prefix in the serial numbers on the models made from 1970 to 1976. The models made from 1976 to 1980 have “G70″ suffixes. Models made from 1979-1981 have “B70″ suffixes and models made from 1981 to 1983 have “70B” prefixes. The Series 70 had, in addition to the Government model, a Series 70 Combat Commander, Series 70 Lightweight Commander, and Series 70 Combat Government. The Series 70 featured an accurizer barrel bushing for improved accuracy.

In 1983, Colt presented the MKIV Series 80 pistol. It was a single action with 5″ barrel. It was offered with checkered walnut grips and rubber combat style grips. This model had a firing pin safety incorporated.

In 1985, the United States Armed Forces replaced the M1911 with the Beretta 92F to the everlasting consternation of 1911 devotees everywhere. There were several reasons for the switch. The U.S. was the only NATO country not using a 9mm as the standard issue sidearm and there was a desire to issue a pistol chambered for the ubiquitous 9mm for logistical reasons. The Marines in particular resisted the switch to the Beretta and only accepted delivery when ordered to do so by Congress. Many special forces units within the armed services still select 1911-pattern sidearms. In 1998 The FBI S.W.A.T. team adopted the Springfield 1911A1 as standard issue. Anecdotal evidence out of Desert Storm indicates that the Berettas jammed because of the fine sand in the desert and the Marines broke out the 1911′s.

Today (1998) 1911-pattern pistols are produced by Colt, Springfield Armory, Kimber, Para-Ordnance, Wilson Combat, Les Baer, Ed Brown, Caspian, STI, Robar, Auto-Ordnance, Strayer-Voight, Charles Daley, IAI, Llama, and others. The 1911 is perhaps more popular today than any time in its long and illustrious career.

A lot of people believe that the 1911-pattern pistol is the greatest combat handgun ever built. I certainly wouldn’t argue with them, although I am aware that some other good pistols have been designed since 1911. It remains one of the best fighting guns ever, even though the single action design has become something of a liability in this hoplophobic milieu in which we live. Rather than stoking the “best” argument which is truly endless and without resolution, I will say only that the 1911 occupies a very special place in the history of combat weaponry, and in the hearts of pistoleros everywhere. It was the 1911 in the hands of Cpl. York which brought down the German patrol, which downed the Zero for 2nd Lt. Bagget, and fought until dawn against overwhelming odds with Kouma, Basilone, and Schmid. It was the 1911 which lay under John Dillinger’s pillow and dangled from the drunken hand of Machine Gun Kelley at his capture. This rich history coupled with the superb performance of the pistol is unique and will never be duplicated.

History of the M1911 Pistol

2011-10-22T20:13:00.001-07:00

“Of the two pistols, the board was of the opinion that the Colt is superior, because it is more reliable, more enduring, more easily disassembled when there are broken parts to be replaced, and more accurate.”

On March 29th, 1911, the Browning-designed, Colt-produced .45 Automatic pistol, was selected as the official sidearm of the Armed Forces of U.S.A., and named Model 1911.

After World War I, the Army’s Ordnance Department evaluated the Colt .45′s combat performance. They recommended the following changes:

1. Wider front sight to develop “Patridge-type” of sights, allowing the shooter to quickly align both front and rear sights under various lighting conditions.

2. Longer hammer spur. Both changes 2 and 3 work together to prevent the web between the thumb and the forefinger being pinched between the hammer and the safety spur when the gun is fired.

3. Longer grip-safety spur.

4. Arched spring housing fills the shooter’s hand and checkering backstrap provides a better grip.

5. Relief cuts in the frame around the trigger allowing easier access to the trigger.

6. Shorter trigger with knurled face to avoid the trigger finger from slipping.

These changes were put into production on June 15, 1926 as AUTOMATIC PISTOL, CALIBER .45, MODEL OF 1911A1.

The Norwegian 1911 (Model 1912 and 1914)

— From The .45 Automatic, “Service Pistol Surrogates” by J.B. Roberts, Jr.

M1911-A1 Modelo 1927

EJERCITO ARGENTINO Colt CAL. 45 MOD. 1927 S/N

Civilian Commercial Production by Colt

History of the M1911 Pistol

2011-10-22T20:07:00.000-07:00

“Of the two pistols, the board was of the opinion that the Colt is superior, because it is more reliable, more enduring, more easily disassembled when there are broken parts to be replaced, and more accurate.”

On March 29th, 1911, the Browning-designed, Colt-produced .45 Automatic pistol, was selected as the official sidearm of the Armed Forces of U.S.A., and named Model 1911.

After World War I, the Army’s Ordnance Department evaluated the Colt .45′s combat performance. They recommended the following changes:

1. Wider front sight to develop “Patridge-type” of sights, allowing the shooter to quickly align both front and rear sights under various lighting conditions.

2. Longer hammer spur. Both changes 2 and 3 work together to prevent the web between the thumb and the forefinger being pinched between the hammer and the safety spur when the gun is fired.

3. Longer grip-safety spur.

4. Arched spring housing fills the shooter’s hand and checkering backstrap provides a better grip.

5. Relief cuts in the frame around the trigger allowing easier access to the trigger.

6. Shorter trigger with knurled face to avoid the trigger finger from slipping.

These changes were put into production on June 15, 1926 as AUTOMATIC PISTOL, CALIBER .45, MODEL OF 1911A1.

The Norwegian 1911 (Model 1912 and 1914)

— From The .45 Automatic, “Service Pistol Surrogates” by J.B. Roberts, Jr.

M1911-A1 Modelo 1927

EJERCITO ARGENTINO Colt CAL. 45 MOD. 1927 S/N

Civilian Commercial Production by Colt

1911 .45 Caliber Pistol and Philippine History

2011-09-06T03:17:00.000-07:00

Sayoc Kali Sama Sama 2011

2011-04-01T21:14:00.000-07:00

Sayoc Kali Sama Sama 2011

Location: Casa Hacienda, Tejeros Convention, Rosario, Cavite, Philippines

Date: 8 am April 9 to 5pm April 10, 2011

Sayoc Kali Philippines will be holding Sama Sama Pilipinas 2011, its annual gathering of local Sayoc Kali practitioners on 8am April 9 to 5pm April 10, 2011 in Casa Hacienda, Tejeros Convention, Rosario, Cavite, Philippines.

Tuhon Michael Anthony Sayoc will be giving a seminar during the event. The affair is open to all interested.

Please email us at sayockalipilipinas@yahoo.com or text Lakan Leo at 09293496036 for inquiries.

p1000 Seminar fee covers training, free official Sayoc Kali shirt and training certificate.

For all Sitbatan members and those interested to join from Pangasinan. Text me Guro Rohnee Gumpal aka Brother Mujahid 09068195825 so we can leave as a jamaat (group).

Jazakalakhair

Mujahid

about Sayoc Kali:

Sayoc Kali is an edged weapon based style of Filipino Martial Arts. It is a family system, headed by Christopher Sayoc, Sr.. The motto of the style is, "All Blade, All the Time".

The Sayoc family lineage links back to General Licerio Topacio, of Cavite. General Topacio was the military engineer of the Katipunan secret society and was among the first Katipunan members to urge Supremo Andres Bonifacio to wage a revolution against Spain.

Sayoc Kali is taught as part of the more general Sayoc Fighting System, which includes sword, stick, tomahawk, karambit and whip. Sayoc Kali emphasizes the use of the blade. It includes techniques for single knife, multiple knives, projectiles, and secondary support to firearms. Empty hand training is under the Sayoc Silak curriculum.

Sayoc Kali presents itself as an evolving system. The Sayoc family hosted a number of Filipino Martial Arts masters who travelled to the east coast of the United States during the 1970s and learned Filipino Martial Arts from them. Interaction and training from these Filipino Martial Arts masters gave the Sayoc family the idea of creating Sayoc Kali.

Guro Dan Inosanto calls Sayoc Kali, "A highly evolved Filipino Martial Art".

Sayoc Tactical Group is Sayoc Kali's military and law enforcement division.

Sayoc Combat Choreography represents Sayoc Kali's entertainment and film division. SCC has choreographed fight scenes for films such as The Hunted and Confessions of a Dangerous Mind.

Sayoc Silak is the non-edged weapon curriculum.

Sayoc Kali Global is headed by Christopher Sayoc, Sr. His father was former corrections officer and head of the Sayoc system, Baltazar "Bo" Sayoc. Tatang Baltazar "Bo" Sayoc retired from full time martial arts teaching in the late 1990s. He died in January 2007 after returning to the Philippines from the U.S. and founding Sayoc Kali Philippines. Lakan Leopoldo Lasaleta presently leads the propagation of Sayoc Kali in the Philippines. Its curriculum includes the entire spectrum of the Sayoc Fighting System, giving equal emphasis on blade and stickfighting.

Master Level Sayoc instructors with over twenty years experience respectively are Roberto Torres, Felix Cortes, Raymond Dionaldo, Rafael Kayanan, Ricardo Kayanan and Thomas Kier.

Many Sayoc instructors also have respective systems of their own encompassing a wide range of influences, disciplines and arts.

PENTJAK-SILAT: A Brief History and Overview of the Diverse Martial Arts of Indonesia

2011-03-22T00:47:00.000-07:00

PENTJAK-SILAT:
A Brief History and Overview of the Diverse Martial Arts of Indonesia
by Joseph Bruchac

"The teeth are hard and decay, the tongue is soft and remains."

I first heard those words over thirty years ago, spoken by my first martial arts teacher. They represent the essence of Pentjak-silat, the powerful, (but little-known in the United States) martial art that is the national sport of the great chain of islands off the southeast coast of Asia which is known as Indonesia.

What is Pentjak-silat? What is its history? And what is its relevance to modern life?

Although I will give some answers to those questions, it is important to realize that they are not the only answers. In fact, those questions can only truly be answered through physical application and long study. Like that ancient proverb with which I began, some things that seem simple become more complex--and meaningful--the longer you look at them.

It can also be said, quite truthfully, that "The true Pentjak is never seen." That was another of my teacher's favorite sayings. Three decades later, I am still learning its meaning.

My first teacher of Pentjak-silat was born in Indonesia, where he grew up and began his study of the martial arts during a difficult period in its post-colonial history. His own story is, in part, the story of his native land.
Formerly known as the Dutch East Indies, Indonesia gained its independence from Holland following the Second World War. It is made up of no less than 13,360 islands including some of the largest and most famous islands in the world. Among those Indonesian islands are Sumatra, Java (home of the capital city of Jakarta) , Borneo, Bali, and Irian Jaya, which is the western half of New Guinea. From Banda Aceh at the far tip of Sumatra to Irian Jaya is a distance of over 3,500 miles.
Its current population of 200 million makes it the fourth most populous nation in the world. Although 90% of the people of Indonesia describe themselves as Muslims, there is an incredible diversity of languages and cultures--some 300 different ethnic groups and about 250 languages. Among the things that strengthen the sense of nationhood in Indonesia are the official common language of Bahasa Indonesia, the national ideology of Pancasila (which means Five Principals: Belief in One God, national unity, humanitarianism, democracy, and social justice), and Pentjak-silat.
There are many warrior traditions within the various islands of the chain that was controlled, to a great or lesser degree, by the Dutch. There were many small kingdoms and principalities on the islands. Rajahs and Kings and indigenous chiefs often found themselves engaged in battle against each other, the colonial powers, or the pirates of the Java Sea and the Indian Ocean. The Dayak people of Borneo and the Bataks of Sumatra became especially well-known for their abilities as fighters with their hands and feet and curved swords, resisting both the Dutch and, during World War II, the Japanese invaders.
Following independence, a Communist insurgency was defeated during a civil war that cost half a million lives. Among those who died were not only insurgents, but also ethnic Chinese and members of the large population of mixed Dutch and indigenous ancestry. There was also a religious aspect to this, for the majority of Indonesias are either animist or Muslim while the Chinese were Buddhist and the Dutch-Indonesians were Christians. Some estimate that 50,000 mixed-blood Indonesians perished during this time. Thousands of others in this relatively well-off and educated class emigrated to Holland to escape the turbulence of the times.

My teacher's family, the Vandeinses, who were related to one of the royal families, were among those who left Java. His father was a highly-trained aircraft mechanic who easily found work. There was now a large expatriate Indonesian community and my teacher continued his training under an Indonesian master in Holland.
However, with the influx of so many refugees, race relations in Holland had become a problem. Anti-immigrant riots began to take place during which Indonesians and their homes were targeted. On more than one occasion, my teacher used his martial art to defend himself or others from mob violence in the Netherlands. Many of the techniques of Pentjak-silat are designed to deal with multiple attackers. (He would later use those same skills while working crowd control as a police officer and a security guard in the United States. saving a fellow officer on one occasion. The other policeman had made the mistake of pursuing a fence jumper into a crowd during a huge rock concert. The crowd attacked him, knocked him to the ground and his life was in danger. Suddenly, as those who saw the event described it to me, there was a whirlwind of action. The attackers went flying in all directions. My teacher had dived into the fray. Those who had not been thrown off, backed off as he helped the injured man up and walked him out of the suddenly subdued crowd.)

The Vandeinse family moved again, this time to Canada where my teacher worked with a variety of martial arts schools as an instructor. Their final move, in the early 1970s, was to the small upstate New York town of Ballston Spa. There my teacher's father found employment at the small regional airport and looked forward to a peaceful existence in a community known for its friendliness. Tragically, he died soon after their arrival from a congenital heart condition. His fatal heart attack happened on Christmas eve, leaving behind his wife, three daughters and two sons, including my teacher, the oldest of the five children and now the head of their family.
By then, my teacher had started his own school. There are many different schools, styles, or branches of Pentjak-silat and I will discuss some of them later. During his lifetime of training, which began when he was a very small child, my teacher mastered more than a dozen of these various styles.
During his more than three decades of teaching, the names for his school would vary--as would his own name and title--to reflect his teaching style and the image he wished to present to the world of himself and his art. That diversity of names and titles was seen by some as inconsistency, but I believe that it was a reflection of both his complex personality and cultural background and the richness of the art of Pentjak-silat itself. When I first began study with him in 1974, our school was known as the Cemo-Sai Academy and the Indonesian title by which we called him was Guru.
Cemo-sai has a double meaning., both "sharp as a blade" and "Person and spirit." And in Indonesia a "Guru" is a master teacher.

Having reached that point where my own acquaintance with Pentjak-silat began, it is now time for me to turn to those original questions for they were among the questions I asked at that time and was given answers to over a period of many years of study.

What is pentjak-silat?
What is its history?
And what is its relevance to modern life?

What is Pentjak-silat?

It is the martial art of Indonesia.
It is a two-part system, emphasizing neither punching nor kicking but balancing the upper and lower body. It also emphasizes the balance of both sides of the body, with neither left nor right being dominant, but equally developed.

The two words which make up its name may be translated as follows:

Pentjak: the method and philosophy of fighting
Silat: the application of this method; the actual fighting

However, that simple answer is only the broadest description of this effective, deadly, once highly secret, and infinitely varied fighting system. As I traced its origins over the years, a clearer picture emerged.

The History of Pentjak Silat

Animal Teachers

Like most, if not all of the martial arts, pentjak-silat has its origin in the animal world. On the Asian mainland, the birth of martial arts has been traced back to the time when an Indian holy man observed and then copied the defensive and attacking movements of such creatures as the crane and the tiger. One of the stories about the origin of pentjak-silat tells how a woman named Bersilat on the island of Sumatra studied the way monkeys fought and incorporated their behavior into the development of the fighting style that bears part of her name. As it grew and developed, spreading across the islands of the vast archipelego, the names and characteristics of other Indonesian creatures became part of pentjak-silat.
In modern pentjak-silat, those names describe both hand techniques and the various dances of attack and defense (called katas or forms in other Asian martial arts) that have become most sylized in the famous temple dances of the island of Bali.

Here is a partial list of those animal names that are now an integral part of Indonesian martial arts:

Belebis: Crane
Elang: Eagle
Harimau: Tiger
Kalong: Bat
Komodo: Giant lizard
Kuching: Cat
Labalaba hitam: Spider
Matjan: Tiger
Monjet: Monkey
Ular: Cobra or Snake

Island Styles

Although traditional stories claim an indigenous origin for pentjak-silat, there is no doubt that its development was, at the very least, impacted by outside influences. The island of Sumatra is separated from the Southeast Asian Mainland by only a narrow strip of water, the Strait of Malacca. For thousands of years, Arab dhows, Chinese junks, and all manner of fishing boats and other vessels have moved freely back and forth between the islands of Indonesia and the rest of Asia. Many aspects of southeast Asian culture, including material culture and religious traditions were adopted and adapted by the various peoples of Indonesia who have always been quick to learn new ways and then make them uniquely their own.
The fighting arts are surely no exception. Indonesian weapons and the techniques to employ them can be seen to resemble those of Southeast Asia and the Phillipine islands. Kicking and punching styles and grappling techniques often bear a strong resemblence to those of such disciplines as Shaolin boxing, Tai Chi, and Muay Thai. However, it should also be noted that pentjak-silat always emphasizes flowing, graceful, and circular motions--not the linear styles of attack and defense characterizing certain Korean and Japanese ways. For good reason, pentjak-silat has been described as the most dance-like of the martial arts.
By the 14th century, the islands of Indonesia had become united by the Majapahit rulers, whose base of power was the island of Java. Pentjak-silat had become a highly developed art, but it was now just as secret and restricted as it was effective. Only the Majapahit sultans and the nobility were permitted to learn pentjak-silat Although aspects of pentjak could be seen in the dance forms of the various islands, the true silat was forbidden to the commoners.
Gradually, following the 14th century, pentjak-silat began to be more widely and openly taught. Those who mastered pentjak-silat were supposed to have not only incredibly deadly physical skills, but also such mystic powers as hypnosis, mind-reading and healing through touch. A true master of pentjak-silat gained the title of Pendekar and was regarded as invincible. Each island developed their own styles of pentjak-silat and even from one village to the next there might be great differences.
For example, in the volcanic mountains of Western Java between Bogor and Bandung, the fighting art is studied in a religious setting. Meditation, fasting, and prayers are used to increase the practicioner's inner power. Stomping the earth as they danced, adherents display their art publicly by breaking coconuts with their wrists or engaging in ritual combat which stopped short of inflicting serious injury. Whereas on the island of Madura, to the east of Java, things were different. Their pentjak-silat, while equally mystic, was traditionally never practiced as a sport or displayed as a dance. Its only use was to kill the enemy.
Despite its many forms, there are some generalizations that can be made about the outward movements and techniques of Pentjak-silat. The equal emphasis on upper and lower body techniques is one. Punches and kicks, the use of arms and legs are of equal value in attacking, countering and blocking. It just depends on the situation.
Another characteristic of Pentjak-silat is the ability of fighters to go from a standing to a sitting posture and then leaping up to attack like a monkey. Some attacks may also take place from flat on the ground or on all fours, like a tiger. (Ground fighting is an important part of many of the forms of this martial art. Many of the techniques of, for example, Brazilian jiu-jitsu can be found in the joint locks and throws of Pentjak-silat.) Dropping from a strong upright stance to a cross-legged sitting posture--and rising back up to the feet again--may also be done in a corkscrew motion.
Spinning techniques, where the fighter steps one leg behind the other and then drops low to either evade or attack are also commomn and may be done so quickly that the fighter literally seems to disappear from in front of the opponent. Close-in fighting, in which knees, elbows, shoulders and hips are used, while maintaining contact with your adversary, is another characteristic. I have heard this described as "Adhesion," by such American teachers as Bob Orlando. My own master called it "Sticky Hands." This is also related to the circular hand technique we called "Trapping"--trapping a strike from an opponent with first one hand and then the other, before delivering your own counter strike with the hand that initiated the trap. (This may be done at such split-second speed that it is difficult for the naked eye to see more than the final counter-blow.)
Spinning, sticky hands, and trapping all make use of the principle of the circle. Force and power are built through speed and following the shape of a circle is the most effective way to build speed in the least amount of space.
Expert practicioners of Pentjak-silat are also said to have the ability to hypnotize an opponent, as well as to engage in self-hypnosis to induce a state where they are impervious to pain and capable of superhuman feats. There are other aspects to the "psychic" side of this martial art, include the ability to read minds and move objects at a distance that are commonly believed throughout Indonesia to be within the abilities of the most accomplished Gurus. Sleight of hand and deception may play into this. Confusing an opponent by slapping your thighs, raising one hand high over your head before delivering a kick, or staring so deeply into your adversary's eyes that he is momentarily distracted are common practices. It is also not uncommon for Indonesia masters of the martial arts to also be celebrated puppeteers. Shadow puppetry, accompanied by gamelan music and a chanted narrative, is an extremely popular form of entertainment that has deep religious overtones. The dexterity of hands and fingers required to be a master puppeteer also increase one's abilities in fighting. The stories told in shadow puppet plays, of warriors and heroes, gods and monsters, are also said to deepen one's understanding of all aspects of life, including the true way of the warrior.
Another aspect of Pentjak-silat which all the various styles have in common is the philosphy behind the fighting. The word of greeting that my teacher taught me to use to open and close each class is a simple, but powerful one that reflects both the Muslim culture of Indonesia and the purpose behind this and so many martial arts. That word is Selamat. It means Peace.
You must never despise anyone, even your enemy. If you lose your desire for peace, no matter how many battles you win, you will always lose in the end.

Pentjak-silat today

The modern history of Pentjak-silat includes a number of interesting developments. One has been the gradual spreading of Pentjak-silat beyond the islands of Indonesia into the west. Holland was, for obvious reasons, the first western nation where various styles of this multi-faceted martial art gained a strong foothold. Virtually all of the teachers of Pentjak-silat who are now in the United States trace their lineage in one way of another to the Netherlands. In most cases, they are people of Dutch descent who were taught by other Dutchmen who learned their art in Indonesia. Only a few of them, like my teacher, were either born in Indonesia or were of Indonesian descent. This is not meant to imply that their knowledge of Pentjak-silat or their abilities as practicioners are limited. They are simply one or more steps removed from the original cultural matrix from which Pentjak was born and where it is still practiced in innumerable forms. Many of the secrets of this martial art have never left the great archipelego.
Another modern development, which did not take place in the west but on its home islands, has been the way in which Pentjak-silat has been embraced by modern Indonesia. The island's defense forces are rountinely trained in Pentjak-silat as are the various law enforcement branches. Just as the Secret Service protects American presidents, expects in silat form the bodyguard of the leaders of Indonesia and there are numerous instances of such men subduing attackers or sacrificing their own lives to protect the Indonesian president.
Senam pagi, or Morning Exercise, is the government national fitness program of the island nation. It is practiced outside at the start of the work day, much as Tai Chi is done in unison by great masses of people in China. However, Senam pagi it neither as tranquil nor as slow-moving as Tai chi. In fact, its movements, while graceful, may appear quite violent to the uninitiated on-looker. Its purpose, however, is not aggressive. It builds both physical fitness and a sense of national unity in this country that is made up of so many different islands, ethnic groups and indigenous languages.

What is the relevance of Pentjak-silat to modern life?

This, of course, is a question that may be asked of all the martial arts. If the only purpose of a martial art was fighting, then the advent of firearms might be seen as the end of its usefulness. In China the superiority of guns to fists was proven during the so-called "Boxer Rebellion a century ago. At that time the British were dominating China and, quite frankly, running the opium trade. When the Chinese attempted to end British domination, among those who rallied to the cause of Chinese nationalism were the Boxers, masters of kung fu wu su. Their martial arts ability was so great that it was believed even bullets could not stop them. But they did.
Yet the defeat of the boxers in China did not mean the end of Chinese martial arts. The worldwide popularity of what Hollywood calls "kung fu" is evidence of that True, many are drawn to the flash and showmanship and the impossible cinematic feats performed by acrobats with invisible wires attached to their bodies. But anyone who has really studied wu su, even for a short time, can tell you there is more to Chinese martial arts than just fighting.
Yes, you may learn from the study of any martial art, including Pentjak-silat, skills that may help you defend yourself in a fight. However, understanding your own capabilities, developing self-confidence and physical awareness are just as important--if not more important. In fact, the truly successful student of any martial art is less likely to find herself or himself in a fighting situation--outside of the controlled environment of the dojo or the tournament. The discipline of following the instructions of your teacher and taking part in the ancient, meaningful and ritualized patterns of behavior that is part of the study of any martial arts eventually becomes self-discipline. Confidence, physical fitness and overall health, a respectful attitude towards others, personal discipline, a meaningful awareness of yourself and the world, and a sense of balance and completeness are characteristic of those who have learned the most from their study of martial arts. How many of those things are lacking from the lives of average Americans?
The question then is not whether or not there is any modern value in the study of martial arts. The question is why one would choose to study Pentjak-silat rather than any other style.
My own answer to that lies in the wholistic nature of this martial art. It combines the grace of Tai Chi with the power of karate. Rather than focussing on one part of the body or one technique, it emphasizes the use of many weapons, an awareness of the entire body working in balance. I am not saying that every aspect of Pentjak-silat is superior to all other styles, but that its range encompasses so much. When compared to other styles by impartial observers, it is generally agreed that silat ranks high in all of the basic areas, including punching, kicking, grappling, ground techniques, weaponry, and overall effectiveness against an attacker. Other styles, and this is not meant as a criticism, but a simple fact, may offer little or no training in two or more of those areas while emphasizing on approach. Kendo, for example, is the art of the sword. Judo focusses on throws, grappling and ground techniques while Tae Kwon Do pretty much ignores those to concentrate on kicking. Silat, however, embraces them all.

Although I have not discussed this previously, it could be said that there are four major areas or divisions to Pentjak-silat.

The Four Divisions

The first and most obvious division involves the techniques of striking and blocking. Many but not all of these techniques resemble or are virtually the same as a number of those those used in Kung Fu Wu Su, Karate, Tae Kwon Do, Muay Thai, and other Asian fighting arts. The various stances of Pentjak-silat, such as the basic stance (called the horse stance in many styles), forward stance, cat stance, snake stance, and others are taught in this area. I know of no martial that has greater variety and effectiveness in stances or in striking and blocking techniques.

The second area encompasses the techniques of throwing and ground combat. These throws and ground moves have much in common with Aikido, ju jitsu, wrestling and the increasingly popular Brazilian form of Jiu-jitsu popularized by the Gracie family and referred to as ground grappling. However, the throws and joint locks and other ground techniques are again so many that I do not think any other style has a greater variety. (As with striking and blocking techniques, this variety is due to the many schools of Pentjak-silat and the ways each islans of Indonesia developed their own fighting. The Complete Idiots Guide to Martial Arts by Cezar Borkowski and Marion Manso (1999) states that there are 200 styles of Silat in Indonesia. I believe that to be a considerable underestimation.)

The third area of Pentjak-silat is weaponry. The long staff, the kris (curved knife), the sword, single and double sticks, and a number of other indigenous weapons are among those employed. Here we have a similarity to Japanese Kendo and Filipino arnis. Both the use of these weapons and the ways to disarm an opponent using them are taught. One of the dozen or more styles mastered by my teacher is Bela Diri. Although using weapons is not a part of that style, while studying Bela Diri I learned innumerable ways to disarm attackers using the knife or the stick. In our study of weapons we learned such forms as "The Singing Swords of Bali," which employs two short bladed swords and a series of circular criss-crossing motions.

The fourth area is that of Philosophy and, if we are to believe what some say they have experienced, the development of paranormal abilities. The true Pentjak that is never seen. One neither has to believe in this mystic level of Pentjak nor attempt to study it to appreciate the basic philosophy of this martial art. It is to develop not only the student's mind and body, but also his or her spirit.

The Enduring Knife Culture in the Philippines

2011-02-15T22:10:00.000-08:00

Long before the balisong made its debut in Hollywood through the efforts of Dan Inosanto and Jeff Imada (the balisong was once dubbed “The Nunchaku of the 80s”), the Filipino butterfly knife had already been featured in Philippine cinema during the 1960s. It was the late actor Eddie Fernandez who had used the balisong in many of his films. Such glorification of the knife on the silver screen is an indication of an innate and enduring blade culture among Filipinos.

The knife, in earlier periods of Philippine history was an integral part of a man’s daily wardrobe. Filipino martial arts (FMA) teacher and writer Krishna Godhania told of an article in his possession titled “The Father of Philippine Boxing,” the story, which was about a certain Eddie Tait reads, “…there has been a gradual discarding of the deadly knife without which the average Filipino once thought himself hardly dressed.”

A typical Filipino knife technique

Growing up near a slaughterhouse, I personally witnessed the bloody havoc that ensued from alcohol fuelled knife fights. Before and shortly after the declaration of martial law in 1972, the carrying of knives and handguns were quite a norm among urban Filipinos. One event that was ingrained in my mind as a young boy was when my mother’s compadre barged into our house one afternoon seeking refuge after his hand was hacked in a knife fight. I can still remember his blood spattering the floors of our living room. I myself started carrying a knife when I was 11-years old.

Blade culture was already flourishing in the Philippines when the Spaniards came.

The notes of Antonio de Morga Sánchez Garay (1559-1636), compiled in his book “Sucesos de las Islas Filipinas,” describes the “balaraw,” a bladed weapon of pre-Hispanic Filipinos, Morga wrote, "The weapons of these people are, in some provinces, bows and arrows. But those generally used throughout the islands are moderate-sized spears with well-made points; and certain shields of lightwood, with their armholes fastened on the inside. These cover from top to toe, and are called carasas [kalasag]. At the waist they carry a dagger four fingers in breadth, the blade pointed, and a third vara in length (about 11 inches), the hilt is of gold or ivory. The pommel is open and has two crossbars or projections, without any other guard. They are called bararaos [balaraw]. They have two cutting edges, and are kept in wooden scabbards, of those of buffalo horn, admirably wrought. With these they strike with the point but more generally with the edge. When they go in pursuit of their opponents, they show great dexterity in seizing his hair with one hand, while the other they cut off his head with one stroke of the bararao and carry it away. They afterwards keep the head suspended in their houses, where they may be seen; and of these they make a display, in order to be considered as valiant, and avengers of their enemies and of the injuries committed by them. . . "

Analyzing Morga’s account, the noticeable use of the natives of precious materials such as ivory and gold in the construction of fighting knives is a good indicator that a sophisticated blade culture already exists during that period. Praising the aesthetics of the balaraw, Morga described it as "admirably wrought."

Filipino fighters throughout history commonly expressed veneration to their blades through ornamentation. A portion of the book “Jungle Patrol: The Story of the Philippine Constabulary” by Vic Hurley tells of the weapons of the members of dreaded Pulahanes cult of Samar, the part reads, “The bush opened again after a while, and Captain Cary Crockett came back to the beach. His men were carrying trophies of the chase now; great crescent-shaped blades that were heavily weighted toward the point. The knives were without guards, and the handles were of carabao horn and heavily mounted with silver. The edges were as keen as razors. These were the talibongs of the hillmen – the great fighting bolos of the fanatical mountaineers.”

Another Philippine blade that the Spaniards and American colonizers found formidable is the Mindanao kris.

A 1969 movie poster of Eddie Fernandez

The Mindanao kris is said to equal the temper of the finest blades of Toledo and Damascus. The bladesmiths who forge these amazing blades also practice spiritual purification rituals similar to those observed by the katana makers of feudal Japan. The Mindanao kris is notorious for its ability to cut through the barrel of a Springfield rifle with one stroke.

The short knife is a favorite back-up weapon of a number of Filipino generals during the Philippine American War as indicated in the chronicles of Gen, Leon Villafuerte published in Orlino Ochosa’s book “Bandoleros: The Outlawed Guerillas of the Philippine-American War of 1903-1907,” it reads, “We arrive at 10 a.m. in Cavite in uniforms with our daggers and pistols, accompanied by Captains Winfield Scott Grove and Rafael Crame and Dr. Dominador Gomez.”

The carrying of a blade is still an enduring practice among Filipinos in some areas of the Philippines today. In one my visits to Batangas (the home of the balisong knife), I have met men who still carry this unique Filipino blade both as a tool and self-defense weapon.

By Perry Gil S. Mallari

Dukun, the master of black magic

2011-01-28T00:08:00.000-08:00

by uyungs

One aspect of the Indonesian culture that you’re not likely to get to see is the practice of ‘black magic’ or witchcraft. When you talk to regular Indonesian people they might tell you they believe in black magic, although they don’t practice it. Generally Indonesians do not like discussing black magic, especially their own experience with it, but its all around.

Today black magic, together with white magic such as fortune telling, love magic, healing massage and countless other forms, continues to play a dominant role within Javanese cosmology. Many local people believe in it wholeheartedly. All disasters, be they personal or communal, are attributed to black magic. Unusual or sudden death, crop failure, death of livestock, and marriage problems are all caused by a local dukun santet. Elsewhere in Indonesia, people will often consult a dukun to learn about the source of a relative’s illness.

Dukuns probably have more of a hold in Java than in Bali. Most Javanese are Muslim, so they are not supposed to dabble in other supernatural practices. When personal family crisis arrives, people will often consult a dukun, behind closed doors. In Bali the daily offerings placed at intersections and doorways to keep evil spirits at bay, are part of Balinese life. Apedanda (high priest) will have special powers himself to ritually cleanse and offer blessings.

Banyuwangi in East Java is a place associated with the practice of black magic.Banyuwangi has long been known as one of the most powerful centers of black magic in Indonesia, along with Banten in West Java and the island of Lombok. Banyuwangi’s fertile land has bred a farming culture with close links to the spiritual world. As a buffer zone between the islands of Java and Bali, Banyuwangi also has a long history of violent struggle which in the past often met with failure. This combination of fertility and failure led to an obsession with sorcery among the peoples of Banyuwangi.According to one history, black magic practiced today in Banyuwangi is a blend of animistic belief and Islamic mysticism which arose out of inter-religious conflict during the Mataram court from the 16th century onwards. Another account tracks the origins of Banyuwangi’s black magic to Tulung Agung, a region in the west of East Java.

Black magic in Banyuwangi takes on two major forms.

1. The first is sihir, black magic used to kill another person. This generally comes in the form of busung, where the victim’s stomach will grow grotesquely in size. It is believed various items such as knives, nails, broken glass, even small frying pans or animals can be found inside the stomach. Busung victims rarely escape death.

2. The second type of black magic in Banyuwangi is rapuh, sorcery designed to make the victim suffer throughout their lifetime. Symptoms include sudden blindness or deafness, paralysis or uncontrollable shaking and trembling.

Dukun santet are feared, and feelings of revenge often occurs in villagers. However, revenge killings of dukun santet were rare. Banyuwangi villagers have long kept black magic in check at the local village level. A code of ethics among Banyuwangi dukun santet forbids them from using their magic against people in the same village. If this occurs the accused dukun must undertake an oath of innocence in the local mosque. A dukun found guilty by fellow villagers was usually exiled from the village and perhaps his home and possessions torched.

Dukun are indistinguishable from everyday people. Some are reverent teachers of Islam, some are comical, and some are gentle parental figures. All are strong characters and inspire respect in their own ways. Dukun believe that their spiritual powers are a gift from God. If those powers are abused through personal gain or nethical intent, they will be lost or weakened.A person’s ability to become a dukun is generally passed down from their dukun ancestors. However, some form of preparation, at least initially, is necessary for dukun to receive their spiritual power. This usually consists of long periods of meditation and fasting for days or even months.

Once the dukun has received this spiritual power, he or she needs to learn the skills and knowledge of dukun practice. Some dukun learn these skills from another dukun or from books on ilmu Jawa that are readily available in bookshops. Others say their skills were taught to them by spirits whom they continue to consult for advice on the diagnosis and treatment of their clients.As the dukun practice is based on altruism, payment for their services is minimal. It is only a token of thanks, discreetly given to the dukun in a handshake at the end of the consultation.

Payment can be in the form of money, tobacco, or consumables used during the consultation such as flowers, herbs and incense. It usually is between the value of A$2 and A$5. As such, dukun live modestly and are neither rich nor poor but have enough with which to survive. A well-off dukun is often suspected of fakery.The dukun of Java have the wondrous ability to help people in all areas of their lives including the mind, body and soul through ancient practices. This intriguing and important aspect of Javanese culture provides hope, solace, healing and a sense of meaning for people in these uncertain and irrational times. It is no wonder the dukun trade is flourishing.

Pentjak Silat History

2011-01-27T23:58:00.000-08:00

IntroductionLong before the Christian era, according to Indonesian historians 1500 years BC, it was the inhabitants of Tongkin and Annan (modern day Vietnam) who, due to various reasons, explored and settled on the current Indonesian islands. These explorers were more highly developed culturally than the indigenous peoples of the island groups now known as Indonesia. To this day one still finds evidence of the Dongson-culture. The original inhabitants were very primitive and darker in skin color as can be found today on Madagascar, Irian Jaya (New Guinea) and other Melanesian islands. The small groups of Vietnamese immigrants who later established themselves on these islands formed alliances, intermarried and formed the first true and oldest recorded kingdom, Kutai in southeast Kalimantan, in 400 AD.
SriwijayaA little over two hundred years later a great empire arose: Sriwijaya which stretched out over all of Indonesia and into parts of Thailand. This was in the years 650 to 1300 AD A kingdom was established, having its cultural center on the banks of the Nusi River. During this period between 650 and 750 AD a mighty temple was built in central Java called the "Borobudur" the largest Buddhist temple ever built on earth, with an unknown technology and considered today, as one of the "7 wonders of the world". The most notable ruler of this empire was Ratu (king) Balaputradewa (856-860 AD) the son of Ratu Samaratungga of Mataram (eye of God) who was a practitioner of Buddhism. It would seem logical that the Visayans who traveled over to Indonesia from India through Burma were much better armed and trained in warfare than the immigrants of Vietnam or the peoples of Indonesia and therefore were able to effectively rule this empire for so long. Their contribution to Indonesian culture is still evident today in Bali and in the common usage of various terms such as "guru" from the two words "gu" (one who dispels) and "ru" (darkness) in other words a wiseone or teacher.
The Kingdoms of East JavaAlways at war with the Sriwijaya were the kingdoms of east Java. Under the leadership of Ratu Darmawangsa in east Java during the wars to repel invaders, one can find evidence of combat and self-defense techniques (980 AD - 1017 AD). An alliance was created by Darmawangsa with prince Airlangga, son of Udaya of Bali, when Airlangga married Darmawangsa's daughter. When Airlangga became Ratu (1019 AD - 1042 AD) the techniques of Pentjak Silat became clearly more formalized and refined. The fighting techniques of Pentjak Silat were further refined during the periods of the following Ratus:
Ratu Dhoho (Kediri)
Ratu Joyoboyo (1135 AD - 1157 AD)
Ratu Tunggul Ametung (1222 AD - 1292 AD): Ruler of the Singasari kingdom who's wife was the famous princess Ken Dedes. It was at this time that an exceptional personality suddenly entered into the area neighboring the Singasari kingdom named, Ken Arok. It turned out later that he was not Javanese. Ken Arok was interested in contacting powerful wizards and seers. He traveled with Empu Gandring a Hindu-wizard who taught him all sorts of crafts (black arts, witchcraft). On Ken Arok's orders Ratu Tunggul Ametung was assassinated with a "Kris" (the mystic blade of Indonesia) provided by wizard Empu Gandring, and given to the assassin. The assassin was then immediately put to death by Ken Arok, who then took Ken Dedes as his wife and ascended onto the throne becoming Ratu of Singasari. This then was the beginning of the most famous empire in east Java the Mojopahit.
Mojopahit (1293 AD - 1470 AD): Here we see the test of Pentjak Silat under the leadership of Ratu R. Wijaya with the help of Adipati Arya Wiraraja. These two men led their armies against the dreaded forces of Sih-Pe, Ike-M'se and Kau-Sing, Generals under the command of Emperor Kubilai-Khan and drove them back. This and other victories expanded the Mojopahit empire until, under the rule of Ratu Hayamwuruk it encompassed all of the Indonesian islands and Malaysia. It was Gajahmada who during this period created an elite army of specially trained warriors called the "Bayangkara". Mataram (1586 AD to 1755 AD) was the last recognized kingdom or government, with its capital city named Pasar Gede (Kotagede). Therefore we can see that Pentjak Silat had many influences in its evolution as a fighting art, from the intermarriages with Vietnamese and Visayans, in warfare, exposure to trade with other countries such as China, as well as to Hinduism, Buddhism and eventually Islam.

www.anakserak.com

Beach Training at Binmaley, Pangasinan

2011-01-24T21:16:00.000-08:00

TIPUNAN SA PANGASINAN BEACH TRAINING

Saturday noon and Sunday noon Feb 19-20 2011

Open invitation to Tipunan sa Pangasinan, a martial arts training camp
at a beach resort in Binmaley Beach, Binmaley, Pangasinan.

Training will be provided by Filipino Fighting Arts Int’l (FFAI) masters and other guest masters in arnis, silat, karate, kickboxing and self-defense.

Get a jump on summer with this fun event. It is beach blanket bingo meets Lapu-Lapu on the shores of Pangasinan.

Make your reservations now; space is limited.

Limahong

2011-01-15T20:43:00.000-08:00

Limahong
By Ambeth Ocampo
Philippine Daily Inquirer

OFTEN OVERLOOKED in the Lopez Museum collection of works by Felix Resurreccion Hidalgo are studies of a painting on the defeat of Limahong showing dead Chinese pirates on a beach. Limahong, many of us remember from Philippine history class, was a fierce pirate who tried to conquer the Philippines in the 16th century but was repelled by the combined efforts of the Spaniards and the natives.

What made the story marvelous was how he escaped using a secret tunnel from his lair in Pangasinan to the open sea and back to China. I read up a bit on Limahong recently and found out that the name we remember him by is an alias, it is Fukien for his real name, Lin Feng. This terrible name first appears in history in a report to the Chinese emperor on Oct. 3, 1572 placing the number of his pirate gang at not more than 500 to 600 men. Crushing Lin by force was recommended instead of the usual manner of buying a pirate chief’s surrender by offering him official rank.

Another reference to Lin is dated June 1574. He is reported to have escaped to Fukien with over 10,000 men. (Was this a pirate band? It seemed to be an army.)

In August 1574 he attacked and plundered Ching-lan, was pursued and engaged in Wang-kang (part of Taiwan). Then he disappears from the Chinese sources for a year.

The Spanish sources record a sighting of him and his group in Manila Bay on Nov. 29, 1574. In Juan Gonzalez de Mendoza’s “History of the Great Kingdom of China,” Lin is reported to have defeated Vintoquiam, a rival pirate, and to have a fleet of about 95 ships. Lin captured merchant vessels from Manila as he fled from the Chinese government and learned that Luzon was an easy target because the Spaniards could not put up a sufficient defense. Lin sailed to Manila with 62 ships and expected no resistance from a city that was allegedly populated by old people and invalids.

In Francisco de Sande’s report to Philip II dated June 7, 1576 Lin was sighted off Ilocos where he encountered and destroyed a Spanish ship with 22 men on board. An eyewitness reported this to Juan de Salcedo in Vigan, who went out to investigate and sighted the pirate fleet sailing southward to Manila. Salcedo sent word to Governor Lavesares and made haste to the capital with 54 soldiers. On the eve of Nov. 30, 1574 Lin dropped anchor in Corregidor and sent his trusted Japanese associate Sioco, with 700 men armed with pikes, arquebuses and battle axes on small boats to attack the harbor. An easterly wind (taken by the Spanish as divine intervention) delayed the Chinese who arrived northwest of Manila around 8 or 9 in the morning. Natives reported to Master of Camp Goiti (for whom Plaza Goiti in downtown Manila is named) that the city was under attack from the king of Brunei. Sick in bed Goiti dismissed the report since the southeast monsoon winds made an attack from Brunei improbable. Goiti was one of the casualties in the advance attack of the Chinese. When Sioco’s forces approached Manila, they were driven back by arquebus fire that killed about 80 Chinese pirates.

Sinsay, an influential Chinese in Manila, briefed Lavezares on the situation and assured him that the attack was by a pirate band and not from the forces of the Emperor of China. His advice on the defense of Manila included the removal of thatch roofs from houses to avoid fire from Lin’s slash and burn offensive. Sinsay warned that Lin usually mounted a major assault three days after his first attack.

On Dec. 2, 1574 the pirates landed near the ruins of Goiti’s house. There Lin divided his men into three groups: the first took the attack route taken three days earlier, the second went up to the streets of Manila, and the third attacked from the beach. They burned houses as they made their way to the city but were again repelled by Spanish defenses. Lin retreated to Cavite and after two days sailed to Pangasinan where he settled and began building a fortress.

Lavezares re-grouped his men, appointed Salcedo Master of Camp, ordered the execution of two native chiefs he suspected of aiding the Chinese, and planned an attack on Lin that took three months of preparation. On March 23, 1575 Salcedo sailed from Manila with 59 ships and arrived in Pangasinan on March 30 with 256 Spaniards and 2,500 natives (another source gives a smaller headcount: 250 Spaniards and 500 natives). Salcedo attacked Lin’s fort while his other ships captured pirate vessels and burned them. Then all his forces converged and lay siege on the fort where they took many prisoners, including women and children.

The Spanish retreated when the Chinese fort was reinforced. Salcedo was unhappy with the outcome and said so, demoralizing his men.

Both sides spent months waiting for the other’s next move. The Chinese rebuilt their fortress and ships while the Spaniards whiled away the days gambling and extorting tribute from the natives.

On Aug. 4, 1575 Lin with 37 vessels sailed through the blockade of the Spaniards, out of Pangasinan, and back to P’eng hu. There are sightings of Lin in the Chinese historical record, but on Feb. 28, 1576 it was reported that Lin abandoned his men. He then disappears from all records, and disappears from history.

What would our history be if Limahong succeeded and became ruler of the Philippines?

Silat: The Deadly Art of Indonesia and Malaysia

2010-12-22T22:27:00.000-08:00

By Terry H. Gibson http://www.blackbeltmag.com

Eddie Jafri was one of the first to teach pentjak silat in the United States, conducting clinics throughout the country in the 1970s and ’80s.
(Photo courtesy of David E. Steele)

You are minding your own business, buying a newspaper at your local convenience store, when a belligerent drunk decides to take a punch at you simply because you met his stare for a second too long. What the drunk doesn’t know is that you are trained in the Indonesian martial art silat, and you are therefore able to move easily into close range where your big guns—the knees, elbows and head—can be brought into play. This range is referred to as the “battleground” by Indonesians.

Now that you’ve entered the battleground and are literally in the drunk’s face, you can begin the “tranquilizing process”—a vicious combination of elbows, knees, finger jabs, head butts and kicks to his groin, shins, thighs, eyes or any other vulnerable target. If he is still a threat after your initial salvo of blows, your combinations must continue. Can you sweep him to the ground? Can you elbow his spine? Can you stomp on one of his feet and force him off-balance? These are just a few of the possibilities available to an accomplished silat stylist.

What Is Silat?

Roughly speaking, silat means “skill for fighting.” There are hundreds of different styles of silat, most of which are found in Indonesia, Malaysia, Singapore, southern Thailand and the southern Philippines. Common to all of these styles is a combat-oriented ideology and the use of weaponry.

In Indonesia, there exist hundreds of styles of pentjak silat, as well as many systems of kuntao, a form of Chinese boxing that bears many similarities to silat and is found primarily within the Chinese communities in Indonesia. There are also many systems that blend pentjak silat and kuntao. “Chinese fighting tactics have had positive influences on the development of pentjak silat,” says noted martial arts historian and author Donn Draeger.

Malaysia is home to a style known as bersilat, which can be divided into two forms: putat, a dancelike series of movements intended for public display, and buah, a realistic combat method never publicly displayed.

Bersilat is also found in the southern Philippines, as well as langkah silat, kuntao silat and kali silat.

Silat techniques vary greatly, from the low ground-fighting postures of harimau (tiger) silat to the high-flying throws of madi silat. One particularly vicious madi throw involves controlling your opponent’s head, leaping through the air, and using your body weight to yank him off his feet as your knee slams into his spinal column. A typical harimau takedown involves coming in low against an opponent’s punch, capturing his foot with your foot, and forcing his knee outward with a strike or grab to the inside knee to effect the takedown.

Rikeson silat focuses primarily on nerve strikes, while cipecut silat makes extensive use of the practitioner’s sarong for throwing and controlling the opponent. A rikeson silat stylist might take an opponent down with a finger-thrust attack to the nerves situated in the crease between the upper leg and torso. Cipecut practitioners will deflect an attack with their sarong, then wrap it around the opponent's head, utilizing the significantly improved leverage to yank him to the ground. Bukti negara pentjak silat, as developed by Paul de Thouars, relies on a sophisticated leverage system to achieve almost effortless throws.

In this self-defense sequence, silat stylist Terry H. Gibson (left) scoops (1) his opponent’s
jab and simultaneously traps (2) his foe’s other hand in place. Gibson is now free to
deliver (3) an elbow to his opponent’s face. Gibson then grabs (4) his adversary’s hair with
both hands and pulls (5) his head into a knee smash.
(Photos courtesy of Terry H. Gibson)

In Philippine silat, it is common to trap your opponent’s foot with your own foot while controlling his head and arm, then spin him in a circle. The opponent’s body rotates 360 degrees, but his knee and foot remain in place, causing severe injury.

The sheer number of silat styles allows practitioners a tremendous amount of variety, as well as a certain amount of freedom and self-expression. By researching a number of silat systems, you can add tremendous diversity to your combat arsenal.

Weaponry

Virtually all silat styles, particularly Philippine silat, emphasize weapons training. In the areas where silat originated, carrying a weapon, usually one of the bladed variety, was for generations a fact of life for the general male populace. A silat practitioner will normally be skilled with a knife, stick, sword, staff, spear, rope, chain, whip, projectile weapons or a combination thereof.

The kris sword, with its wavy blade, is one of the most common weapons in Indonesia and Malaysia. Another wicked weapon found in Indonesia is the karambit (tiger’s claw), a short, curved blade used to hook into an opponent’s vital points. According to Draeger, the karambit is used in an upward, ripping manner to tear into the bowels of the victim.

Most silat systems emphasize low, quick kicks, primarily because of the likelihood the practitioner will be confronting an opponent armed with a bladed weapon. A good rule of thumb is to never try a kick against a knife-wielding opponent, unless the kick is delivered at close range and is used as a support technique.

When facing an opponent who attempts (1) a roundhouse kick, silat stylist Terry H. Gibson uses his knee to jam the kick at the shin, then counters (2) with a hard kick to his opponent’s knee joint.
(Photos courtesy of Terry H. Gibson)

Silat Components

What comprises a good silat system?

The following are some of the key components:

• Efficient entry system. The style must have techniques that allow you to move quickly and efficiently into close range of your opponent. It must also include training methods that will hone your timing, precision and accuracy when employing those techniques.

• Effective follow-up techniques. The system must have effective punching and kicking techniques. Heavy-duty techniques such as head butts, knee smashes and elbow strikes must be highly developed. “Finishing” techniques are more effective if your opponent is properly “tranquilized.”

• Devastating finishing techniques. After you have entered into close range and applied a “tranquilizing” technique to your opponent, the next step is to apply a “finishing” technique, such as a throw, sweep, takedown, lock or choke, to end the confrontation. Locking maneuvers will break or render ineffective an opponent’s joint. Choking techniques will produce unconsciousness. Takedowns, throws or sweeps will slam the opponent into the ground or other objects with enough force to end a confrontation.

• Reatistic weapons training. Most silat systems emphasize weapons training at some point. This training will include realistic contact-oriented drills rather than forms practice and will greatly improve your reflexes, timing, accuracy, rhythm and precision. It’s amazing how quickly practitioners improve when facing a bladed weapon traveling at a high rate of speed.

Silat theory, then, is simple: Enter into close range of the opponent, apply a “tranquilizing” technique such as a punch or kick, and then “finish” the opponent off with a heavy-duty technique such as a lock, sweep, choke or throw.

Silat in the United States

Suryadi (Eddie) Jafri was one of the first to teach pentjak silat in the United States, conducting seminars throughout the country in the 1970s and ’80s before returning to Indonesia several years ago.

The well-respected de Thouars teaches silat publicly at his Academy of Bukti Negara in Arcadia, California, and also conducts seminars across the United States each year.

Defending against an opponent’s left jab, silat stylist Terry H. Gibson (left)
parries (1) the blow and simultaneously strikes the biceps. Gibson blocks a right cross, countering (2) with an elbow to the biceps. Gibson then applies (3) an armbar maneuver, finishing (4) with an elbow smash to the spine.
(Photos courtesy of Terry H. Gibson)

Another fine instructor is mande muda pentjak silat stylist Herman Suwanda, who divides his time between Los Angeles and his home in Indonesia. Mande muda is a composite of 18 different silat systems.

Dan Inosanto of Los Angeles uses his weekly seminars as a forum to spread silat, as well as other martial arts. Inosanto has studied with de Thouars, Jafri and Suwanda in Indonesian pentjak silat. He has also worked with John LaCoste, who taught Inosanto kuntao silat, bersilat, kali and langkah silat of the southern Philippines. Inosanto also trained under Nik Mustapha in Malaysian bersilat.

There are actually only a few qualified silat instructors in the United States, and most of them are not easy to find. If, however, you have the good fortune to undertake the study of silat under a competent instructor, prepare yourself because you are in for an exciting, invigorating exploration into one of the world’s richest and most effective martial disciplines.

About the author: Terry H. Gibson is a Tutsa, Oklahoma-based martiat arts instructor who teaches various styles of silat, muay Thai and jeet kune do.

Silat Melayu Keris Lok 9

2010-12-22T22:13:00.000-08:00

Silat Melayu Keris Lok Sembilan (9) is one of the traditional Keris arts found in Silat Melayu. It is an old system that traces its roots back to the famous Malacca Sultanate.

After the fall of Malacca in 1511,the Sultanate split three ways and a part moved south to settle in Sarawak (Kuching), then finally to Kuantan in Pahang. It has been this branch of the Sultanate that has kept this closely guarded system through out the centuries.

The art is now taught and headed by Cikgu Azlan Ghanie, the editor of the Malaysian Silat publication "Seni Beladiri". Silat Melayu Keris Lok 9 was taught to him from his father, and has been passed down through his family from his great-grandfather Haji Salleh.

On his mother's side Cikgu Azlan Ghanie is of Bugis origin, descended from the Pahang warrior Pendekar Endut (one of Mat Kilau and Tok Bahaman's gurus). Silat Melayu Keris Lok 9 is one of the only silat systems remaining that teaches Keris first as a basic weapon of war to give understanding in both armed and unarmed combat. The art is very much seni based, in which one learns many intricate seni pieces (forms).

One is firstly taught the grueling set of traditional exercises called "Senaman Tua" which aid to strengthen and condition the body. upon completion of the Senaman Tua, one is taught the different forms known as "loks" (lok is a Malay term for a curve on the blade of a Keris).

The Loks are all mostly Keris forms, there are 5 Loks (numbered 1, 3, 5, 7 and 9) to be learned to complete the basic syllabus. These Loks hold the keys and secrets to the system which teach one the principles of fighting in armed and empty hand combat. The Basic syllabus takes 2 years of regular training to complete.

Traditionally the keris is regarded as much more than just a weapon and the adab (manners/ rules of behaviour) surrounding this art are extremely important. The keris is a symbol of the ancient culture and traditions of the Malay race and must be kept with much respect, with owning a Keris one carries heavy responsability. As well as learning the deadly combat aspects, the customs and traditions behind the Keris are a necessary part of the syllabus.

In the past Silat Melayu Keris Lok 9 has been a carefully guarded system open only to selected Pesilat of 10 or more years experience, however today the art is being taught and practised more openly. Cikgu Azlan teaches Silat Melayu Lok 9 In Kuala Lumpur, Malaysia and has large number of students in his gelanggang.

Source: Silat Association United Kingdom website at http://www.silat.f9.co.uk/

Keris in Silat Telapak Nusantara

2010-12-22T22:12:00.001-08:00

In Silat Telapak Nusantara, the keris plays a very important role. It signifies the higher levels of the physical techniques and symbolises the key to opening the spiritual side of silat or kebatinan. Keris is considered a weapon which in turn contains within it multiple weapons or functions. Every inch of the keris is used fully: from the blade, the handle to the sheath, every single part.

It is considered as the earliest 'extension' of the hand before a student learns any other kind of weapon. When holding a keris, one is considered to have extended one’s limbs. It is not treated as a foreign object. It can be use to stab, slice, slash and block; and can be a very versatile weapon of offense and defense.

The first lesson of keris in Pertubuhan Seni Silat Telapak Nusantara Malaysia comes from “Bunga Bongsu” or “Silat Pengantin”. A set of form called “Keris Kosong” inside “Bunga Bongsu” is trained with such details. One must feel all the movements, seen and unseen, coming from the “Keris Kosong”.

There are many variations for hands movements that must be understood and felt. All these variations have different results in reality of applications. There are also various body and limb movements. One must feel even the slightest movement while practicing. When one’s understanding deepens, not moving must also be considered as movement.

There are also many physical and spiritual philosophies that must be applied. Breathing techniques are also essential. There are many physical, semi-spiritual and spiritual practices that must be understood and applied in perfecting one’s keris skill. When one acquires a complete understanding of keris, one can fully utilise it from tip to toe, from handle to sheath, from the blade to the “ganjah”.

Many masters use the keris as a metaphor for the human body due to its many uses, uniqueness and functions. When attacking, a keris can inflict a lot of damage to many target areas with just one movement. The handle and the sheath can be made as very good defence tools or shields to block or parry enemy attacks; either empty handed or armed.

The handle and sheath can also function very well as a dangerous weapon of attack. Some keris masters carve their handle and sheath from extremely hard wood or very fine and hard metal. This will not only make their keris look very exotic but also enable their handles and sheaths with weapon qualities. In our school's style, keris techniques are mastered to tame the keris and not to worship it. There are many cultural and Islamic manners that must be implied in it.

After mastering the “Keris Kosong”, one must train in duel the “Keris Sanggah Satu” techniques. This is the first details of the “Keris Kosong”. Instead of using only one keris for both exponent in “Keris Kosong” technique, one keris for each exponent will be used in “Keris Sanggah Satu”. Both exponents will be train to use keris against each other simultaneously.

The blade is the first part of keris to be used in “Keris Sanggah Satu” followed by other part of the keris in the next lesson. There will be 3 levels in “Keris Sanggah” or “Sanggah Keris”. Each level is unique and will emphasise different aspects of keris utilisation while perfecting the previous level. It is said that taming a keris and its techniques signify a tamed nafs or oneself or one’s desire toward Allah (swt) with the Sunnah or the way of the Prophet Nabi Muhammad (saw).

Written by Ustaz Saiful Muhammad, guru utama Silat Telapak Nusantara
Sourced from http://silat-melayu.ning.com/profiles/blogs/the-keris

Art of the Keris

2010-12-22T22:05:00.001-08:00

He is a third generation keris maker and he may be the last as none of Pak Mazin's sons shows an interest in learning the craft, writes WILLIAM THADDAEUS.

Pak Mazin forging seven types of metals to make the blade.

Rising above the banks of the Sungai Perak is a village called Padang Changkat near Kuala Kangsar. Here lives a diminutive little man plying an art that has been passed down three generations — the art of keris-making. Mazin Abdul Jamil, in his early 50s, is one of the few masters in this traditional art.

The keris was a weapon used by warriors in the old days, but it gradually became a symbol of royalty or nobility and a part of the royal costume.Nowadays, anyone can buy a keris but be prepared to dig deep into your pocket because they don’t come cheap. That’s because the making of a keris takes at least a month, depending on the design, size and type of materials used. Sometimes, it requires the work of several artisans to put together a keris.

For instance, if you require silver or gold inlays, then a gold or silversmith would work on this. Prices range from RM500 to RM3,500 depending again on materials, size and design. The most expensive types of keris are those with a handle and casing carved out of ivory.

Family Tradition
Mazin comes from a long line of keris makers. His grandfather, Pandak Mamat, arrived in Kuala Kangsar from Sumatra in the later part of 19th Century. The family has Javanese roots and his grandfather was said to be a royal swordmaker in Sumatra. When he died, his son, Pandak Mat Yunus, continued his craft.

Pandak Mat Yunus has many sons, but Mazin is the only one who has carried on with the family tradition till today. Fondly called Pak Mazin, he started learning to make keris at the tender age of 12. A few years later, he was already making miniatures under the watchful eye of his father.

By the time he was 25, he had acquired all the skills needed to not only make keris but also other types of weapons like lembing (spears) and golok (machetes), the specialty being the ceremonial “golok Perak”.

In the 1980s, when Sultan Azlan Shah was appointed Sultan of Perak, Pak Mazin and his father were commissioned by royal intermediaries to produce 16 pieces of keris. He was also requested to display 45 of his keris at the Pasir Salak Museum.

Pak Mazin has also made the keris for other royal families but today, his business comes mainly from avid collectors who acquire them not only for the beauty of the art but also to maintain and upgrade their collections. His customers come from all over the country and include foreigners, especially Europeans and Americans.

Between 1973 and 1980, he was invited by the National Museum, University of Malaya and Genting Highlands to give demonstrations of his skills and to showcase his products. Sadly, none of his children is keen to follow in his footsteps. However, that does not stop him from teaching the art to others. In fact, there is a steady stream of students from various universities and other learning institutions who come to learn under his tutelage.

Painstaking Process
According to Pak Mazin, making a keris is a very compartmentalised operation, starting with acquiring hardwoods from the jungle for the sarong (casing) and ulu (handles). Kemuning, sena, petai belalang and surian are some of his favourite woods. Then begins the process of carving and polishing them, but probably the most difficult part of the whole process is the making of the bilah (blade). For this, he has to forge seven types of metals over a hot fire in his workshop and to hammer the blade into the required shape.

Pak Mazin lives in the village with some of his 12 children. In recognition of his skills, the government has, recently, helped finance the building of a small showroom next to his house where visitors can view his works or make a purchase.So the next time you visit Kuala Kangsar, make a detour to Padang Changkat to visit the master keris maker.

Text and Pictures by William Thaddaeus
Sourced from http://www.nst.com.my/Current_News/TravelTimes/article/HeritageCulture/20080428151018/Article/index_html

The Origins of Keris Melayu

2010-12-22T21:57:00.000-08:00

The keris is a weapon used by the Melayu since the era of the Melayu Sultanates more than 800 years ago. It was used by the pendekars, armies and palace nobility. It was also revered as a ceremonial tool and a symbol of royalty.

Research has shown that the keris originated from the Majapahit empire which ruled in the 13th century. After the decline of the Majapahit, many of its blacksmiths migrated to other areas such as Jawa, the Sumatran islands, the Sulawesi islands and finally to the Melayu Peninsula. The keris developed as a weapon in the Melayu Peninsula up until the point it was occupied by the British. British law banned the wearing of the keris on the body or used as a weapon but only allowed its ceremonial role.

There are many different types of keris, however, the Keris melayu as used by the Melayu normally displays the features of the original Majapahit keris, which has the Jawa Demam hilt and a boat-shaped piece on the sheath.

Parts of the Keris Melayu
Names of different keris parts:
1. Hulu (hilt)
2. Sarung (sheath)
3. Pendokok/ bedokoh
4. Sampir
5. Buntut (end)
6. Perut (stomach)
7. Pamor (pattern)
8. Lok (wave)
9. Bilah/ awak/ mata keris (blade)
10. Aring/ ganja (crosspiece)
11. Puting/ unting/ oting (tang)
12. Pucuk/ hujung mata (blade tip)
13. Tuntung
14. Belalai gajah (elephant trunk)/ kembang kacang
15. Lambai gajah/ bibir gajah (elephant lips)
16. Bunga kacang
17. Gandik
18. Dagu keris (chin)
19. Kepala cicak (gecko head)
20. Leher cicak (gecko neck)
21. Gading gajah (elephant tusk)
22. Ekor cicak (gecko tail)
23. Janggut (beard)
24. Kepit/ sepit rotan (rattan pincers)
25. Lurah/ kambing kacang
26. Tulang/ tulangan (spine)

The 'gecko head' and 'gecko tail' get their names from the gecko resemblance when viewed from the tang end. The ganja comprises the gecko head, neck and tail. The ganja and the blade are two different pieces which are assembled later. However, there is a keris type where both of these are of a single piece, called the Keris Ganja Seiras or the Single View Keris.

The Spiritual Value of the Keris
The keris is not only a weapon, but it also carries certain symbolic meanings. The tang of the keris represents masculinity, while the crosspiece with its hole in the middle represents femininity. The combination of both elements gives birth to a balance in life and power.

The blade of the keris represents the shape of a dragon, which is closely connected to water and rivers. Water is the source of life, thus the dragon is a mystical lifeform that represents power. A keris with no waves represents a resting or meditating dragon, while a wavy keris represents a moving dragon. The belalai gajah and lambai gajah represents and elephant, which is an allegory for power.

The keris was originally made from a composition of iron mined from the earth and the meteoric iron ore. This produces a pamor which is believed contained magical powers as a result of the blending of earthly and heavenly elements.

The keris is also believed to have an affinity or rapport with its owner. The owner will measure the length of the keris from its crosspiece down to its tuntung using his thumbs while reciting holy verses or a mantra. He will cease his recitation when one of his thumb arrives at the tuntung and depending on which verse marked the arrival will determine the affinity between keris and owner. An owner who truly believes in this affinity will not buy or use a keris which does not have this quality, irrespective of the value, beauty or scarcity of the keris.

The Melayu societies of the past would practise keeping kerises on the crossbeam of their homes as protection against enemies, evil spirits and diseases. It is believed that a keris would rattle and make sounds in its sheath when danger approached. Some are even believed to unsheath and fly to the enemy on their own, or when the owner pointed towards the enemy's location, the keris would fly out to the enemy and kill him.

Is it any wonder then, why the keris is so highly revered by some owners who faithfully bathe their kerises every Thursday night (deemed a special night) or once a year in the month of Muharram, to ensure that the power of the keris is not left untended and cause it to run amok or leave the keris totally. However, with the advent of Islam to the Melayu Peninsula, many of these beliefs have been discarded and what remains is a cleaning or weapon care ritual.

Famous mystical Kerises
Among the most popular kerises is the Keris Tamingsari owned by Hang Tuah which was believed to gran invincibility to its wielder. On the other hand, Hang Jebat's keris has a void in its blade which allows its owner to the future, and it was by this way that Hang Jebat discovered his impending death at the hand of his own blood brother, Hang Tuah.

The Keris Kai Condong, which is inhabited by an evil spirit, flies and kills anyone its finds when night falls. This keris was eventually defeated by three other mystical kerises which combined and baited it into a magically prepared pounder, which instantly destroyed it. However, the destroyed keris finally flew away to rejoin a comet of the same meteoric ore from which it was made.

This article was translated by Mohd Nadzrin Wahab from the original article "Asal Usul Keris Melayu" at http://www.mishafbisnes.com.my/krafmelayu/keris.htm

The Culture of Silat

2010-12-22T21:56:00.000-08:00

edited by Mohd Nadzrin Wahab

In ancient times, Silat was as much a part of Melayu culture as any other form of education and prepared young men for adulthood. Because of this, there is a strong emphasis in this art on self-defence. However, war was not always on the Melayu mind.

Silat sits at the nexus between all aspect of Melayu culture. A true pendekar (warrior) will often have an artistic soul and cultivate interests in cultural fields such as keris metalwork, woodcraft, traditional dancing, Melayu dress, medicine, music and many more. Because of this, Silat still plays an important role in the lives of thousands of people across the Melayu world particularly with the rural village dwellers practising and making it part of their daily routines.

These pendekar were synonymous with the local medicine man, religious teacher or blacksmith, indicating society’s regard for such people of knowledge. Usually, a pendekar can also play traditional musical instruments such as the serunai, gendang ibu, gendang anak and gong, which normally accompanies silat dance performances.

Performances are still held during wedding ceremonies, festivals, or official celebrations. In such occasions, it is known as Pulut, referring to the sticky, glutinous rice that is often eaten at Melayu parties and wedding receptions.

Influences
Silat has a strong influence of learning from the environment. Many of the movements will reflect animals that you will find in nature more so than some of the other martial arts. One of the most important animals to them was the tiger, being seen by the culture as a symbol of strength and power. Thus, one will find movements in Silat to be explosive and aggressive bursts of attacks.

Outside factors that influenced the growth of Silat Melayu in Malaysia includes those from the islands of Sumatera and Jawa. Aspects of this can be seen in the clothing fashions, terminology of the movements, spiritual practises and the music that accompanies the wardances. In spite of this, the traditional concept of Silat Melayu remains unique and preserved.

Although silat techniques vary between one style and another, the cultural reality remains, that the applications of the body such as the fist, feet, knees, elbows and traditional weaponplay were similar if not identical. A particular style could be identified from their salutations and wardances.

Personal Development & Spirituality
Silat exponents are trained from a tender age to take advantage of the agility and 'moldability' of a young body and mind. Trainees are whipped into shape through several years of tough training. The rigorous and back-breaking routine ensures physical resilience, stamina and agility.

To complete the balance, mental and spiritual self-discipline, based on Islamic teachings, is developed. You might ask what martial art has in common with spirituality, and the answer is simple - the stronger you are, the more peaceful and the better you know how to gain freedom and maintain it.

Most probably, other then the practice of spiritual matters, it is their inherent and intimate knowledge of the body structure and parts, veins and arteries, the body movements, even psychology, and to use all this knowledge in perfecting their art of self-defence, which made them invincible.

The Pendekar
Every pesilat nurtures a similar ambition, to one day become a Pendekar. A Pendekar is not simply an expert in the combat arts of silat, but is also able to master its spiritual and medicinal aspects. The mind of a Pendekar is like the wind. Its presence can be detected, but cannot be directly observed. His wisdom creates situations that makes his opponents lose their focus, thus incapable of anticipating his actions.

A pendekar is like a teacher. He is qualified to teach his students and may authorise any loyal disciples in the various branches of knowledge that he had acquired during his lifetime.
However, to achieve the status of the Pendekar requires perseverance. Without years of immense courage and incalculable effort, all his works could be for naught. Alternatively, this could also depend on their talents of mastery. Last to master means last to succeed.

http://silat-melayu.blogspot.com

Adat & Adab in Silat

2010-12-22T21:49:00.000-08:00

by Mohd Nadzrin Wahab

Adat and adab are both Arabic words, loosely translated, meaning Norm and Manner. Most of the time, they have been misrepresented to mean Culture/ Custom and Protocol/ Manners. In reality, Adat in Bahasa Melayu is used to mean Islam, specifically the Shariah, Islamic Law. Therefore, all Adat is based on the Fiqh, or understanding of the Islamic Law. That is why this word crops up so often in Melayu literature or expressions such as Silat.

However, modern usage has confused and relegated it to Istiadat (rites/custom) status where only the observable action of the culture is taken into account. It is because Adat is equated with Islamic observance that many pesilat tend to place importance on it when in reality, it is at best, a permissible act in religion.

Adab, which is usually equated with ethics or manners is in Melayu culture quite comprehensively crystallised, ranging from the different types of hand clasping (salam) devoted to parents, teachers, superiors, friends and strangers to the usage of different fingers for different reasons (e.g. pointing with the thumb, etc.) However, it is the core of adab that is most important and not its expressions.

Adab is essentially the regulation of relationship. In Islam and Melayu culture, there are four types of relationships: with Allah, amongst human beings, with the environment and with oneself. As a Muslim, it is lawfully not wrong to conduct salat with only a cloth covering your navel to knees but it is definitely Adab-less, since no one would even consider dressing in such a way to meet an earthly king, let alone the King of Kings. This is Adab.

Amongst human beings, respect is noted in various ways and differs from culture to culture, where intention is codified and decoded by members of the same culture. I shall not touch on that. Since there is no emotional nor cultural aspect in our relationship to the environment, there are no limits to what we can do.

For example, the Prophet Muhammad (PBUH) treated his camels and herds with care, gave names to his swords and mirror and made them personal. Likewise, a graphic artist's first taught lesson is to respect the cutting blade or it will take off a good chunk of your index finger one day.

Finally, respect (Adab) towards oneself. This includes performing prayer and eating healthily, exercising and such. I once saw a resting motorcyclist sit on his helmet. He no doubt put it back on his head. Those who are sensitive to this will understand what I mean. Applying powder to one's armpits by using the back of the hand and not the palm shows good character, especially when shaking hands with others. This is Adab.

If I were to put it into one word, it would be mindfulness. Mindfulness of the needs of the relationships we conduct with ourselves, our environment, our fellow human beings and Allah.
A question, then, comes to mind. Should a non-Melayu foreigner (or non-Nusantarian) be forced to practise adat and adab Melayu when studying silat, thus transforming his or her value system to conform to that of the art they study?

The following is my answer: It has been said by some silat masters that they teach silat to foreigners in the hope that they will become good Muslims. What this means, in reality, is not so much the conversion itself but the personality change that occurs during martial education.

There is a sort of cocooning of the confused non-Asian, surrounded by the rich culture, language and people that inevitably, he will himself be pressured to change and like it, or reject the change and be branded an outsider.

However, attitude is a nasty thing here in the many-times colonialised Southeast Asia, so much so that most of the time, the silat practising white man becomes nothing more than a white man practising silat and most communities still see it as a novelty and not an induction into their culture. They'd sooner accept a Chinese, Indian or Arab, since the hostile history is not apparent or nonexistent.

Because of this, many foreigners (especially Westerners) who study silat here are apologetic of their colonial past, or their resemblance to those masters of yore and usually submit themselves to the machinations (the connotation here education, not manipulation) of the silat master. So, the question of should he practise adab usually depends on the strength or focus of his master's education.

Fortunately, the world being the global village that it is today, many cultures are vying for a top spot in the hearts of its citizens. One of my American lecturers said once that everyone in Kuala Lumpur dresses like they were something out of a fashion magazine. We seem to have become more American than the Americans themselves.

The Dutch are fairly surprised to know that we have McDonald's, KFC, Burger King, Long John Silver's, Coffee Bean, Starbuck's, Pizza Hut, Hard Rock, Planet Hollywood, Hiltons and who knows what else littering KL, while they only have a few McDonald's. So, I guess, this "shouldness" is part of that cultural war.

Interestingly, my answer to the earlier question is, though it may seem biased, I would have to say, yes. A foreigner who studies silat and is keen on understanding the roots of the philosophies and attitudes within silat, has to experience the adab of relationships within its cultural context, or risk second-guessing and/ or misinterpreting the silat lessons itself, which as many pesilat understands, is not limited to jurus-jurus, buah, sapuan and others like it.

However, everyone has a right to practise their own culture. So I suppose, treat silat like a university where all of the university by-laws are your laws, until you leave it to forge your own path in life. Then, if you have permission by your master, integrate your lessons into your cultural contexts and teach them to your local students, all the while understanding the original intention behind them.

Reminds me of our local McDonald's and Pizza Hut serving congee and satay dishes a la carte.

http://silat-melayu.blogspot.com

More Pictures from FFAI Tournament Manila 2010

2010-12-22T21:39:00.000-08:00

Players from Bicol and Bohol and Master Jay de Leon (far Right) me in 2nd to the left

Master Jay de Leon (FFAI and Tipunan USA)(far left), Master Sanchez (Maceda Arnis / Karatedo), and Master Godofredo Fajardo (founder of FFAI)

Maceda Players and Mrs Susan V. Gumpal (3rd from the right)

Brother Ismael Nate getting ready for Full Contact Arnis

2010-12-22T00:06:00.000-08:00

FMA CORNER: Silat and the FMA

By Perry Gil S. Mallari - October 19, 2009

Silat as a martial art is characterized by graceful dancelike movements. While it thrives in southern Philippines, silat in the strictest term is not an indigenous Filipino martial art (FMA).

I first witnessed an exhibition of silat ohlaraga (sport silat) in 1991 and I remember being impressed with the artistry of the movements of the players. The second time I saw a silat performance was in an informal gathering of martial artists in 2006. It was combat silat this time and the two practitioners demonstrated their ways of using a knife. I would describe their techniques as very aggressive and ballistic.

Mark Wiley in his book “Filipino Martial Culture” wrote that silat and Islam came to the Philippines hand-in-hand, “Along with the transplantation of Malaysian martial arts came their practitioner’s Islamic religion. The Muslim religion may have filtered into the Sulu archipelago and Mindanao as early as the thirteenth-century. In the Philippines, early evidence of an Islamic presence is furnished by a tombstone of a trader-missionary in Indanan, Sulu. It bears the inscription “710 AH,” using the Islamic dating system, which in relation with the Christian calendar, is approximately 1270 A.D. By 1380, Islam had spread throughout Mindanao and Sulu.”

Nid Anima in his book “Filipino Martial Arts” specifically named four characters responsible for bringing silat in the Philippines, it reads, “Available historical data points to three persons – Tubba, Sahudah and Wabulong – as the ones who introduced the silat into this country during the latter half of the 19^th century. All three belongs to the Celebes tribe known as Bugis. But they seem to be not really the first, after all. Another member of the Bugis tribe by the name of Samaru, also a master of this deadly martial sport, came much earlier than these three men credited with the introduction of silat.”

Besides his personal research, Anima pointed to the works of the following writers as the sources of the materials in his book: “The Arnis in Sulu” (Sunday Times Magazine, February 18, 1962) and “The Disappearing Sport of Filipino Wrestling” (Sunday Mirror Magazine, September 4, 1962) by Lamberto Ticsay; and “Ancient Filipino Sports” by Tirzo Rodriguez published in Go Magazine.

Silat flourishes in Mindanao though not easy to find. One teacher who once taught Mindanao silat generously to Muslims and non-Muslims in the Philippines was the late Hadji Yasser Tanadjalan.

Tanadjalan, who has a background in judo, escrima and karate was taught by his father their family system of silat. He said that there are more than a 100 styles of silat in Mindanao. Tanadjalan named the brand of silat that he taught publicly “Mindanao Silat Asli.”

In an interview conducted by Marilitz Dizon for the Rapid Journal (Volume 4 No. 2) at the turn of the century, Tanadjalan explained the secret nature of silat in Mindanao, it reads, “In Mindanao, if your parents do not know anything about the art, then you don’t bother to look for the art. No one will just teach it to you because this art is usually hidden. Mindanao’s practices are quite different as against how the silat forms are more openly practiced in Indonesia, Malaysia or in Manila.”

Tanadjalan became the head coach of the Philippine sport silat team in 1986. In that year, the Philippine team bagged a gold, silver and three bronze medals when the country’s players only managed to bring home bronze medals in the past – a testament to his excellent coaching skills. Sport silat in the Philippines falls under the jurisdiction of the Philippine Pencak Silat Association.

In the same interview, he pointed out the differences between the traditional and sport aspects of the art, he said, “For sport, the artistic aspect is more emphasized. So the beauty and harmony of pencak silat is shown. There are also specific target areas only. Whereas in non-sport you can fling and hit anywhere.”

Tanadjalan also stated that not too many practitioners in the Philippines are knowledgeable in the use of inner power or tenaga dalam, “But people in Manila don’t know anything about this even if they are into the sport of silat. It is only the people of Mindanao, Indonesia, Malaysia, Brunei and Singapore who know,” he said.

While he taught silat to anyone he deemed worthy, Tanadjalan explained that there are facets of silat that can only be understood by Muslims, “There are two kinds of silat. One is the silat that everyone knows as the martial art or pentjak silat and the other is silat rahmi, which means the way of the religion,” he said.

Hadji Yasser Tanadjalan passed away on December 25, 2007.

Though silat technically is not an indigenous FMA, styles of silat that were deeply rooted in various parts of the Philippines developed a distinct character. Indonesian writer and researcher Dipika Rai commenting on the fighting methodology and practical design of the Mindanao kris wrote the following words, “The Filipino blades are different because they are used differently. The Moro style of fighting is much different than that used in Java. Many of today's eskrima styles have roots in these southern Muslim styles. They tend to be from the slashing school and the original design of the Java keris was not suitable.”

While no official documentation exists on the matter, silat could have instilled its influence on the various indigenous FMA through intermarriage between Muslims and Christians and through friendly exchange of knowledge between practitioners from both camps.

from www.fmapulse.com

[ Silat is FMA "Filipino Martial Art", If you have Filipino Muslims who are native to the Philippines and Silat is indigenous to the Filipino Muslims, then Silat would be part of the FMA. ... my opinion Mujahid ]

Congratulations New Black Belts 2010

2010-12-18T23:48:00.001-08:00

Congratulations!

Ustad Yasser Sultan promoted to Black Belt. Upright Muslim brother and brave fighter. unrelenting in his studies and practice.

CONGRATULATIONS!

Samuel S. Nate aka brother Ismael. Outstanding Muslim brother and brave fighter. Enigmatic, Explosive Kali-Silat fighter.

FFAI Tournament 2010 Manila

2010-12-18T23:35:00.001-08:00

Arnis Players from Bicol and Bohol

GM Bambit Dulay (center)

Maceda Arnis Players

Master Jay DeLeon (far left), my wife: Mrs. Susan Gumpal, Me. Ismael Nate, and GM Godofredo Fajardo

Master Jay Deleon (far left), Me, GM Godofredo Fajardo, Ismael Nate, and Ustad Yasser Sultan

YMCA Saturday Class 2010

2010-12-18T23:21:00.001-08:00

A. Racman (left) knife snatching techniques with Nawaf Hamid from Abu Dhabi (right)

stick locking using Kali-Silat techniques

chokes using Kali stick

Using Kali Stick to defend against kicks (lower attacks)

Ustad Yasser Sultan (left) and Ibrahim Kaisy (right) practice KALI-SILAT techniques (tombak "short spear" or two handed bayonet)

Jameelah Gumpal Arnis Demo at Reiland School 2010

2010-12-18T23:15:00.000-08:00