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Tuesday, January 25, 2011

Spirit in Gendang Silat

Music is one of the key elements that can raise the spirit pesilat. In silat, silat of music called "gendang silat" or "serunai silat"Gendang  dan erunai is a musical instrument in the silat.




Gendangsilat is a mysterious, often heard when pesilat gendangsilat, pesilat will feel like a spirit in him into a warrior. silat movements, hovering in the foyer of his mind and feels as if he were doing movements. indeed it is a mystery, just pesilat only can feel the spirit.




Download : Music Silat Kedah

Sunday, January 23, 2011

Bunga Silat Application in Martial Arts

When dealing with "bunga silat" or caprice invoke all sorts of things in the human mind. All kinds of argument and debate was cast in the forums and web pages about the beauty and the role of "bunga" in self-defense martial arts. Various visual and practical elements of martial arts based on the understanding of the flow respectively.

But is it true that a debate that has "bunga" in martial arts mean? Here I will reveals little about the secrets and the true meaning of "bunga" in the Malay martial art silat! Before it was more worthwhile to look back at the fact that his own martial arts lessons.



Silat Curriculum Malay / Malaysia it comes to educational content in the curriculum of the Malay Silat tradition of two cases of "bunga" and "Tapak Empat. " Two things resulted in the seven titles at every stage of "bunga",  Jurus, Belebat, Tapak, Buah, Tempur Seni (Combat) dan Tempur Bela diri (Combat self-defense martial arts)

In silat, the Malay martial arts movement is the key to the "bunga" or "bunga silat" in which collected all the motion, method, manner and form of Malay Silat.

Therefore, every pesilat must be over all steps, the "kuda-kuda" and understand the functions and concepts to develop a method of martial arts.




"bunga" means the basic, basic or beginning of signs of life. The traditional Malay martial arts practitioner, "bunga Silat" is considered as a key to see the perfection of a martial arts teacher flow.

Tidiness and beauty of "bunga silat" must contain the symbol and meaning of martial arts as a method of martial arts. Therefore, the warriors prefer performing "bunga silat" of view the presentation at the combat.

"Bunga Silat" performances require durability and extensive experience in the science of martial arts to see the rules, meaning and symbolism behind "Bunga Silat" movement. While the performances were at the performance skills that are easily understood.

video form www.SilatMalaysia.com


Video from www.PusatCemerlangSilat.com

Monday, January 17, 2011

Combat Silat: Empty-Handed Counter-Attack

In "Empty-Handed Counter-Attack", there are several different ways, called "masuk". They include: feet, hand, knee, elbow, and kick methods. Through the implementation of these entries, a pesilat has the ability to not only "find" their current location in relationship to the attack and the adversary, but also through the study of the rest of the system components they can use this Combat Positioning System as a method to more easily find the "destination" or the end the conflict.

Often the term "Masuk" is used to differentiate between the specific application of a movement to "bridge the gap" or "enter" into an opponents space versus the general use of a movement without application. To clarify, the term "Masuk Kaki" refers to the act of entering the opponent's space by the use of a step. A step or stepping pattern is often referred to as Langkah. For sure, the steps involved in the "Masuk Kaki" could be considered Langkah. However, these steps are specific and purposefully created to be used as methods of entry into an opponents space and are thereby given the title of "Masuk Kaki". For example, when the opponent to kick your right foot from the right to left. we can do "masuk" with his left foot kick.






In "Empty-Handed Counter-Attack", move Points pesilat is one of science to be learned and practiced. This knowledge is an advantage to us to launch an offensive move quickly before the opponent moves to attack!



great malay martial arts silat  by yon

Friday, January 14, 2011

Techniques Against Armed Attacks

Techniques Against  Armed Attacks : great malay martial arts silat
In studying orthodox pencak silat, the trainee must sooner or later take into serious consideration how to cope with an armed assailant. He must, whether under conditions of training or in actual combat, learn the capabilities and limitations of an armed enemy. This he must do both when he is unarmed and when he is armed.

The stress on combative reality cannot be overemphasized when the trainee is practicing the methods and exercises of pencak silat. He must do nothing in his training routine that he would not do in fighting an enemy who is trying to kill him. By concentrating on this in training he will be able to adapt the methods he has learnt with complete facility when a real combat situation occurs.

How well or rather how safely the trainee effects the outcome in dealing with an armed enemy is entirely dependent upon his understanding and abilities in meeting an unarmed enemy. If he can do that well, the transition to coping with the armed enemy is only a matter of application. 

Method A

 In #1, the assailant (on right) is standing with his left side to the camera, and his right hand, though empty for the purpose of the illustration, could easily be holding a weapon with which to strike at the defender, whose responses may well be the same whether the hand is empty or not. Two methods of defense will 'illustrate this point. The defender has already, in # 1, intercepted the assailant's right arm with a sweeping open-handed catch of that arm from the inside, using his left hand to grasp the attacking arm between the elbow and the wrist. Following Method A, the defender pulls the assailant'r attacking arm forward and downward, thus jerking him off-balance and forwards. The defender simultaneously strikes with his opened right hand, uring a knife-edged formation, at the assailant's head (# 2). The assailant's reaction to this blow is one of shock as he, at the same time, attempts to resist the forward movement imposed on him by the defender. This he does by straightening his body and leaning backward, putting himself offbalance backwards. Even had the defender's intended blow fallen short, the combined action would have had the allimportant effect of moving the assailant back. The defender utilizes this reaction ofthe assailant to throw him backwards to the ground. He does so by putting his right leg behind the assailant's right leg and, using the combined power of both his arms, forces the assailant further backward over the outstretched leg (# 3). Ncfte that the defender does not step forward until he has obtained a rearward movement from his enemy. This is a safeguard: if the assailant does not react by moving backward, the defender is still in a position to deliver a forward snap-kick into the groin of his enemy.

Method B
Method B is shown above (# 1-# 3). In the first two, the defender has used a left-hand catch on the assailant's attacking right arm in order to "float" the assailant upward and forward by pulling the captured arm toward him on a plane more or less parallel to that of the ground. Simultaneously, he has taken two other actions; he has put his right footjust in front of his assailant's right foot, and he is in the process of delivering an open-handed knife-edge blow to the left side of his assailant's head or neck. In # 3, he uses the combined power ofhis arms and a sharp twist of his body to the left in order to wheel the assailant backward to the ground. Note that in Method B the defender steps forward immediately, at the moment that he pulls the assailant forward and delivers his open-handed blow. To have remained behind would have invited a kick from the enemy, perhaps with devastating results for the defender. Once the defender's response to the unarmed assailant has been perfected in both methods, a weapon may be placed in the assailant's right hond and identical responses to the attacks shown practiced. Under these conditions the the addition of certain weapons changes nothing in the mechanics of defense-but does serve to heighten the emotional atmosphere of the combat.

Method C



(1) Pesilat prepared for battle. (2) The attacker to stab. (3)(4) Pesilat deflect attacks while avoiding. (5) Pesilat hit back at the neck.


great malay martial arts silat  by yon

Sunday, January 9, 2011

Spirituality in the Silat

In silat, kebatinan is internal and in the heart, hidden, and mysterious. This is the most difficult stage to achieve in learning silat. Kebatinan means one who searches to develop inner tranquility and the rasa diri (an intuitive inner feeling) through a method of self-submission. One may experience intuitively the divine prescnce of the Almighty residing within the heart. This is the awakening of the heart and a special knowledge like an unseen treasure that only those who recognize the essence of the Almighty can discover. The practitioner of kebatinan seeks to cultivate the true self, achieving harmony, and ultimately unity. Achieving kebatinan is quite strenuous; it is a search to develop good and noble character. It is a personal search of an intuitive connection to the Almighty, and a positive way of life. Kebatinan may be practiced in Islam, Hinduism, Buddhism, Christianity,
or any other religious or mystical movement. Kebatinan for Muslims is steeped in the lslamic faith. Anything beyond that is considered as shirk (associating partners with Allah). In Silat, spirituality acquired through the practice of prayer, dhikr, or meditating.



great malay martial arts silat  by yon

Saturday, January 8, 2011

Video Kris







great malay martial arts silat  by yon

Parts of Kris

Kris is divided into three parts, eyes, upper and sarong. Dagger eyes made of several layers of different types of steel and has a number of specific luknya or just straight. These characteristics that distinguish him among the dagger-dagger, and have names such as Majapahit keris, kingfisher, Bugis, Javanese, Madurese and others.




Dagger(kris) eye shape of the eye is divided into two straight keris (dagger Sundang). This dagger is more earlier work as a weapon to kill the sentenced offenders. Typically, eye-lok berlok keris being used by the ancients (the swordsman) as a personal weapon. Lok-lok dagger has an odd number of kris berlok three, five and seven are called the keris sepukal. Keris berlok nine and fifteen were called dagger story. While dagger berlok nor more than nineteen or keris is a dagger chain remona. However, a function of both the present as a dagger and the royal insignia.

great malay martial arts silat  by yon

Kris (Keris)

Keris (kris) is a weapon used in the short-Malay nationalism since more than 600 years ago. It is used to defend itself and as a means of imperial greatness. Keris is always associated with the supernatural and extraordinary privileges which supposedly kills by stabbing enemies on foot containers.

      Sang Guna was the first person during the times of Sultan Muhammad Shah of Malacca has been forging a long dagger, three-inch size. Metals iron and wax mixture is the main star was a dagger.

     Looking from the perspective of history, has existed since the dagger is considered 650 years ago. The researchers mainly from the Western Orientalists, such as GC Woollsy, Stamford Raffles, Griffith Williams to produce a lot of theories and opinions about their studies and most of them agree that the dagger was in existence before the 14th century. Sir Stamford Raffles claimed the statues in the Temple Quarter in Java shows a dagger was made by man, circa 1361 to 1362. However, this argument is opposed by Crawford in his opinion that it is the image icons swords and spears. He also holds a dagger had been introduced by Inarkato Pati, Raji in Janggolo in the 14th century.
Dr. Van Stein Callenfels also proposed a theory about the existence of a dagger in the 7th century through the creation of Majapahit keris. Theories and opinions expressed by the researchers on the history of the keris is not uniform. This has been evidenced by Griffith Williams also expressed the short arms was created in the 14th century and the 15th century.

     Wooley also said that the keris was created at the time of Majapahit, and is the spread of these weapons created by other people who are under Majapahit. The fall of the Majapahit Empire cause people to roam and explore other areas in the Nusantara archipelago to bring the traditional dagger then modified to suit local. Although many theories about the origin produced a general Malay weapon, but not to answer the question of when and where the history of the keris from the plan until now.
History of the Malay world's best weapon is also inseparable from the stories of magic, dagger has demonstrated the power of heroism, supremacy, and an amazing miracle. First, a dagger as a personal weapon as a determinant of power and the nature of the 'users'. Works of art etched on the arms also displays the contents, the contents of a mystical story, legends, and myths of their own. The story of the mystic dagger that is described as a dagger can fly or find themselves construed find new applicants. The story of the hidden dagger from the sheath is conceptualized as a thirst for human blood. Leaning dagger story belongs Kiai (Majapahit) is said to be 'batty' intended to kill opponents and friends without the keris owner. Keris first named to the Hang Tuah, the said twenty-one made of iron species from different places. The story is supposedly a dagger Malay warrior, able to kill the victim when the eye is a dagger stabbed in the foot container left by the victims on the sand, and can poison fish in the estuary if the dagger was washed at the river mouth by the master.

     High art can be seen in the variety of points a dagger straight and berluk, carvings and ornaments on the upper reaches of creative and holster. There eyes are shaped like a dagger of flames, and gloves as well as the hilt of a shape and shows a harmonious rekacorak carvings, sculpture and sculpture in the rich quality. Each work of art requires high artistic craftsmanship and expertise in depth. Among kris-kris dagger on display is the Peninsula and Kris kingfisher.

     The weapons on display is the daily use of weapons of Malaysian society. Among them are the coconut and areca nut hook knife, blade shape, nipple parang, parang tapeh, sugarcane machete, machetes slaughtered cattle, cut the crackers machete, knife and tapping SOCIAL gambier leaves.

      Straight wooden spear measuring 6 feet long and fitted with a spear points like a knife in one base. These included the spearhead in the wood and reinforced with a bonding metal rod or hoop. Javelin is found in Malaysia mostly sharp-edged, made of wood or bamboo. Metal-edged spear that was originally made of either copper or bronze, and later replaced by iron or steel, have been used in Malaysia since centuries ago. Now the spear is used only for official functions and ceremonial royal only.

Java Kris

 Tamingsari

 Majapahit Kris


great malay martial arts silat  by yon

Thursday, January 6, 2011

My Body is My Weapon

One of the unique features of pentjak-silat is its recognition of the importance of the various weapons available to the, fighter and its freedom in permitting him to choose whichever
seems most suitable to the particular occasion. By making correct use of the weapon he has chosen, the pentjaksilat exponent shapes the attacks of his enemy (or enemies), rendering:them harmless, even if only momentarily, until a conclusi~e counterattack can be delivered. Knowledge of the nature of the various weapons available enables the fighter to deal effectively with the one chosen by his enemy.

   Weapons used in pentjak-training and in silat-applications are of two chief types: anatomical (empty-hand or unarmed responses, making use of parts of the body) ; and implemental (armed responses, making use of tools as well as weapons). Customarily, training is first devoted to basic
drills utilizing only anatomical weapons, and not until the trainee is adequately skilled in their application does he progress to other types of weapons. The shift from one type of weapon to the other involves no great change in posture or movement, for pentjak-silat anticipates the possible use of , implemental weapons, and all empty-hand movements.

when correctly performed may, with equal effectiveness and safety, be used with implemental weapons. Let us consider, first, some of the anatomical weapons available. The choice of the part of the body to be used is very much as in karate-do, but the formation of the weapon is not necessarily quite the
same, nor is the choice of target area. A pentjak-silat exponent concentrates on the so-called center-line vital areas, regarding the most vulnerable part of the enemy's body as falling within an imaginary band looped around the longitudinal plane from the top of the head to the base of the
groin; the width of this imaginary band is equivalent to the width of the enemy's head.

 
The centerline vital areas

 Stroke Techniques 







The Hands
 These may be formed in a great variety of ways for use in combat. The above diagram, depicts the formations of the hand that are so familiar in karate-do they are not given explanatory descriptions here. However, pentjak-silat makes use of still other hand formations that are much less common, or wholly unknown, in karate-do; these are shown in diagram below along with suggested methods of delivery and the
most suitable target areas. 





The tight fist is held so that it is flexed and locked at the wrist, with the midknuckles in line with the long axis of the forearm, to form a concave or saddle-back sway on the back surface of the hand. Occasionally a convex surface is formed by flexion in the inward direction so as to reach certain targets (The above diagram). Delivery of the arrowhead fist may be either by thrust or strike action. Favorite targets for the delivery of the arrowhead fist by either action include the face, throat, solar plexus, ribs, kidney areas, groin, the head, forearms, backs of hands, and shinbones. Delivery of the arrowhead fist as a thrust punch into the midsection, throat, or face is shown in Training.  For more information, please download the link 

great malay martial arts silat  by yon

Introduction of Silat

Doubtless the earliest men, as prehistoric immigrants to the islands now known as Malaysia and Indonesia, had methods of self-defense. Perhaps at first these primitive peoples were primarily concerned with self-defense against wild animals. Later, as their wanderings took them into different areas, they came into unavoidable contact with other peoples-some unfriendlyand defense against humans became necessary.

    Art objects and artifacts show that, by about the eighth century A.D., specific systems of combative measures had been evolved and were operative in the Riouw Archipelago, which lies between Sumatra and the Malay Peninsula. Such systems, however crude, were greatly influenced by various continental Asian cultures, and spread as fighting arts into Malaysia and Indonesia. The Menangkabau people of Sumatra took these early fighting arts and developed them into a particular Indonesian style. One of the earliest powerful kingdoms, that of Srivijaja in Sumatra, from the seventh to the fourteenth centuries, was able to extend its rule by means of the efficiency of its fighting skills. The civilizations of eleventh century Java developed a wider range of weapons and fighting arts that reached technical perfection under the Majapahit kings of the thirteenth to sixteenth centuries. Originally these fighting arts were the exclusive property of Indonesia's noble ruling class, which kept them a closely guarded secret. But gradually members of the peasantry acquired the skills and were responsible for developing them to a high degree of efficiency. These orthodox systems came in time to be known collectively as pentjak-silat.

 The consensus of expert opinion is that the expression "pentjak-silat" literally infers "to fight artfully." But this is not complete enough, nor is it descriptive enough to convey the full meaning of this art. It is essential to understand that pentjak-silat is based on the meaning of its two components. One, pentjak, is a training method for self-defense: it consists of a wide range of controlled body movements directed to that purpose. Silat, the second component, is the application of the training method-the actual fight. There can be no
q-il-at.- w.i thout ~ent iak.O n the other hand, pentjak without . - silat skills as its objective is purposeless.
Indonesian pentjak-silat is little known in the West. Those who see i.t for the first time may perhaps make a rough comparison with the better known Japanese (or Okinawani karate-do, Korean taekwon-&, or even the Chinese ch'uan-fa methods. But such comparisons are inaccurate with regard to the techniques.Through a careful study of this book some of the technical differences which mark pentjak-silat apart from other fighting forms will become apparent. For the moment, it is enough to realize that pentjak-silat was developed exclusively by Indonesians, who regard it as an intrinsic part of their cultural heritage. It therefore deserves to be described in its own terms and judged by its own standards. The primary purpose of pentjak-silat is always selfdefense. No conscious effort is made to make orthodox pentjak-silat a system of physical education or a sport. Pentjak-silat's technical fundamentals deal with the use of weapons; no combatant is ever required to enter combat relying only on his empty hands. Therefore weapons of all kinds are studied and applied to combat situations. These weapons may be anatomical, as in karate-dfi (fist, elbow, knee, foot), or they may be implements (sword, stick, staff, club, knife, and others). Pentjak-silat has an additional
peculiarity in that virtually all movements performed empty handed may be performed equally fluently and safely when the combatant is armed. This is not true of present-day Japanese karate-do, though it may be found in many earlier orthodox forms of combat on the Asian continent and in Okinawa.

 All pentjak-silat is traditionally evasive. Its characteristic responses to an attack are light, fast, deceptive movements; it seeks to avoid bone-crushing contact with the assailant's charge. Customarily it does not oppose the force of the assailant but rather blends with it and directs it along specific channels where it may then be controlled, allowing the assailant to be eventually subdued. Thus, by long tradition, it is usually defensive in application: the pentjak-silat exponent prefers to await the attacker's moves before taking
action. However, this is not an absolute condition by any means.

 Almost all pentjak-silat technique operates as a "soft" or "elastic" style of fighting-alert, responsive and adaptive, ready to neutralize whatever aggression it encounters. It has an easily recognized, peculiar, pulsating tempo. In fact, although it is not essential to the proper performance of pentjak movements, percussion music frequently accompanies training exercises. This is done primarily for much the same reason that the musician makes use of a metronome, but with pentjak-silat the music has the further effect of heightening the emotional atmosphere of the training, rather as war drums affect tribal warriors. Almost all pentjak-silat movements are based on characteristic movements of animals or people. Thus, it is not uncommon to find that the action of a particular style bears some such title as pendeta ("priest"), or garuda ("eagle"), or madju kakikiri harimau ("taking a tigerlike stance"). A couple of other delightfully descriptive titles are lompat sikap naga ("jumping in dragon style") and lompatputri bersidia ("jumping like a princess and standing near"). The suggested femininity in the latter title is misleading; counterattacks delivered by this method can be astonishingly fierce.

 As has already been suggested, pentjak-silat, being a true fighting art, makes no use of warming-up or preparatory exercises, for it recognizes that under fighting conditions a man will have neither time nor opportunity to warm up. As actions preliminary to more energetic drills, pentjak-silat uses directly related and instantly convertible movements that are of silat value. Isolated actions or exercises of the calisthenic type are considered meaningless and unnecessary.

 In fact, an exponent of pentjak-silat is trained to be ready to ward off an attack at any time; his body must be flexible enough to make an instantaneous response. Crouching
stances and smooth movements into and out of low postures require the exponent to be both extremely strong and flexible in his legs and hips-qualities that can be developed to their fullest only when pentjak-silat is accepted as a way of life. Indonesians make daily use of the full squat posture, a posture that, as anyone knows who has tried it, requires well-developed and flexible leg muscles. Some of the stances and postures of pentjak-silat make greater physical demands than those of Japanese karate-do: they will thus be found to
offer an interesting and useful challenge to advocates of karate-do.

Although pentjak-silat is practiced today by all classes of Malaysian and Indonesian society, the people of the kampong ("village") take to it most readily. It may be seen in the remotest jungle or mountain village and on the most inaccessible island; hardly a schoolboy (or girl, for that matter) is without some ability to demonstrate the particular style practiced in the region they live in.


     In Malaysia, silat is a Malay word which means martial arts. Malay silat is a generic term for many Malaysian martial arts. There are at least 150 known Malay silats in Malaysia. Most popular ones are Silat Gayong (pronounced Guy Yoog), Silat Cekak, Silat Sendeng, Silat Keris Lok 9 and Silat Gayong Fatani. There is also another silat style called silat Melayu. This silat is considered as the oldest Malay silat. 

 The Malay silat during training and exhibition must normally be accompanied by the silat music, and the musical instruments comprise the drum, the gong and the flute. This is the real silat, with accompaniment of music, without which not. In the old days, the music played are varied. During a battle or war, music which encourages bravery and to uplift the spirits are played. During training, a different tune is played for different dance movements.

great malay martial arts silat  by yon
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