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Silat
(Contributors: Jeffrey Chapman - jchapman@armory.com
Russ Rader - rlrader@ix.netcom.com
Tim Rivera - river@umr.edu)
Intro:
Pencak Silat is the Indonesian and Malaysian set of Martial Arts,
all with different styles and schools (over 400 of them). Some
of them use different spellings, depending upon their lineage
- Dutch-Indonesian Silat is typically "Pentjak Silat" and "pure"
Indonesian styles "Pencak Silat." The Indonesian spelling is used
here, not to exclude some Silat styles, but for uniformity.
Origin: Indonesia and Malaysia
History:
Since Silat is an umbrella term covering many styles, it is not
possible to give a single history. Some of the arts are very old
(1000 years?), and some were developed less than 50 years ago.
Also, as with other arts, the history of Silat is somewhat unclear.
There is a mixture of indigenous techniques along with techniques
borrowed from Chinese arts and Indian arts such as Kalaripayit.
Description:
Pencak Silat depends heavily on an indigenous weapons and animal-styles
heritage. In the (distant) past, it was predominately a weapons
system; empty hand techniques are derived from the weapons forms.
It is still often said that there is no silat without the knife.
Techniques are quite varied, although kicks are not emphasized
much. Foot work is sophisticated and the development of stability
is of major importance. The foot and and hand techniques are so
subtle and intricate that they are often taught separately, then
integrated after the student has mastered them individually. There
is a good balance between offensive and defensive techniques.
Different styles of Silat use different terminology to describe
a practicioner's ability - "guru" is frequently used to refer
to a proficient instructor, "kang" for senior students, and "pendekar"
someone who has developed a high level of skill and possibly spiritual
development. However, the usage varies from style to style, and
possibly even from school to school.
Training:
As an example, Pencak Silat Mande Muda has a complex and rather
rigorous system of training, which includes classical empty hand
and weapons forms, practical empty hand, weapons, and improvised
weapons techniques, stretches, physical conditioning, and breath
control. Although the forms are often performed with musical accompaniment,
much like a dance, they are nevertheless extremely valuable both
as conditioning methods and as encyclopedias of technique.
Sub-Styles:
Mande Muda, Serak (also spelled Sera and Serah), Cimande (Tjimande),
Cikalong (Tjikalong), Harimau, Mustika Kwitang, Gerakan Suci,
Perisai Diri, many others.
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