Silat
Olympic sport | No |
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Silat | |
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Country | Malaysia |
Domains | Martial Art |
Reference | 01504 |
Region | Asia and the Pacific |
Inscription history | |
Inscription | 2019 (14th session) |
List | Representative List |
Silat is the collective term for a class of indigenous
The word silat is used by Malay speakers throughout Southeast Asia, but is officially called Pencak silat in Indonesia. The word Pencak silat has been adopted globally in reference to professional competitive silat for sport, similar to the Chinese word wushu. Regional dialect names include penca (West Java), dika or padik (Thailand), silek (the Minangkabau pronunciation of silat), main-po or maen po (in the lower speech of Sundanese), and gayong or gayung (used in parts of Malaysia and Sumatra).
Both Pencak silat and Silat were recognized as a piece of Intangible cultural heritage by UNESCO (United Nations Educational, Scientific and Cultural Organization) in December 2019.[3][4]
Etymology
The origin of the word silat is uncertain. The Malay term silat is linked to Minangkabau Indonesia word silek, thus a Sumatran origin of the term is likely.[1] It possibly related to silambam, the Tamil martial art which has been recorded as being practiced in Malaysia since at least the fifteenth century in Malacca.[5] The preset forms of silambam are known as silatguvarisai. According to Malaysian source, the word 'silat' is said to originate from the Arabic word 'silah' (سِلَاح) meaning 'weapon'[6] or 'silah' (صِلَةُ) meaning 'connection'.[7] The most popular theory in Malaysia is that it derives from sekilat meaning "as (fast as) lightning."[8]
Other theories derive silat from the Sanskrit śīla meaning morality or principle, or the Southern Chinese saula which means to push or perform with the hands.[8] The Sanskrit theory is particularly popular in Thailand, as sila is an alternate form of the word silat in that country. Other similar-sounding words have been proposed, but are generally not considered by etymologists. One example is si elat which means someone who confuses, deceives or bluffs. A similar term, ilat, means an accident, misfortune or a calamity.[9] Yet another similar-sounding word is silap meaning wrong or error. Some styles contain a set of techniques called Langkah Silap designed to lead the opponent into making a mistake.[8]
In its proper usage in the languages of its origin, silat is often a general term for any fighting style. This is still common in Indonesia where in some regions both silat and kuntao are traditionally interchangeable.
Origins
Legend
A number of stories exist detailing the history of particular styles, which are often used as origin myths for silat in general. One such tale is of a woman named Rama Sukana who witnessed a fight between a tiger and a large hawk. By using the animals' movements, she was able to fend off a group of drunken men that attacked her. She then taught the techniques to her husband, Rama Isruna, from whom they were formally passed down. There are several variations of this story depending on the region where it is told. On the island of Bawean, Rama Sukana is believed to have watched monkeys fighting each other while the Sundanese of West Java believe that she saw a monkey battle a tiger.[10]
The legend in the Malay Peninsula is where the heroine is named Teemoh. The daughter of a raja in the Indonesian Archipelago, her husband is a possessive man named Uma.[8] In this version, Teemoh tries to scare away a white-rumped shama or murai batu (more than one of them in some versions) that flies at her as she bathes. With each move the bird makes, she attempts to wave it off with her hands, and spins as it flies around her. Rather than fighting off drunken men, Teemoh fends off her own husband who tries to beat her with a stick for taking so long. The fact that this legend attributes silat to a woman reflects the prominence of women in traditional Southeast society, as can still be seen in the matriarchal adat perpatih customs of West Sumatra.
Another legend tells of three Minangkabau warriors from West Sumatra, Indonesia. By their masters' instruction, the young men were travelling north in the hope of attaining moksha (enlightenment). On their journey, they were caught up in a bloody battle near the Thai border. One of the three was wounded but managed to escape into a forest. Following a stream, he reached a waterfall where he stopped to rest. The warrior noticed a lotus flower come down the waterfall but even as it was pushed below the surface by the waterfall, the lotus would float back up completely intact. The warrior tried throwing a stone and then a stick at the lotus, both with the same result. Finally he went into the water and tried slashing at it with his sword but the lotus would only swirl away, still unharmed. The exhausted warrior then fell into the water and upon climbing out, he contemplated how this principle of overcoming the hard with the soft could be applied to battle. He subsequently created a method of silat with his two compatriots. This story is often told in the Malay Peninsula either as the origin of a particular lineage or to explain the spread of silat from the Minangkabau heartland into mainland Southeast Asia. A Minangkabau-style silat called silek minang influenced the style of silat in Negeri Sembilan in the Malay Peninsula.[11]
The time period for this tale is generally believed to be the 14th century. However, a later version with a more Islamic setting places it during the 17th century. In this version, the three men are named Burhanuddin, Shamsuddin and Aminuddin. Rather than a quest north for enlightenment, they journey to Aceh where Islam has recently been introduced in order to learn more about the new religion. Their status as warriors is not mentioned, nor a battle. Instead, Burhanuddin is filling a water jar when he sees the lotus blossom. He then thought he heard a voice from the tree telling him to teach others what he learned. Upon returning home, each of the three men became religious teachers. This version of the story links it with Burhanuddin Ulakan, a Minangkabau man who studied in Aceh and became the first Muslim preacher in West Sumatra.[12]
History
The silat tradition is mostly oral. In the absence of written records, much of its history is known through myth and archaeological evidence. It is believed that this form of martial arts developed around the developments of
The earliest evidence of a more organised silat comes from the
The influence of the
The
Folklore commonly credits the promulgation of silat to pendeta or Hindu-Buddhist sages, often through the study of animals and the natural world. The priests were said to combine the animal movements with meditative postures (semadi) and mystic hand positions (mudra), much like the kuji-in of ninjutsu. The animal-based concept was most likely adopted from Indian martial arts.[17] The village shamans or dukun would often learn silat both as part of their craft and for defending themselves while travelling. Bomoh in some communities such as the Kadayan are required to complete their training in silat before they are initiated. Silat is still an integral aspect of healing rituals such as main puteri. Through this connection, silat is used as a method of spiritual training in addition to self-defense.[8] Systems exist which focus exclusively on the internal rather than the physical, such as the Joduk style of Bali.[18]
Nomadic boat-dwellers in Southeast Asia and southeastern China were often misconstrued as pirates for political reasons, but
Southeast Asian trade had already extended into
As India came under the rule of conquerors from Central Asia and the Middle East, the Indian traders who frequented Southeast Asia introduced knives of Arabian origin to the western coast of the Indonesian Archipelago. Indian-Muslim blades brought a Moorish influence to the shape of a few local knives, most strongly seen in Aceh. These weapons, sometimes erroneously called "Muslim weaponry", spread into Sulawesi and West Malaysia by the 19th century. The only notable examples of such blades are the
Since the
Weapons
Prior to the introduction of firearms, weapons training was actually considered to be of greater value than unarmed techniques and even today many masters consider a student's training incomplete if they have not learned the use of weapons. Except for some weapon-based styles, students must generally achieve a certain degree of skill before being presented with a weapon which is traditionally made by the guru. This signifies the beginning of weapons-training. Silat uses the principle of applying the same techniques both armed and unarmed, though not quite to the same degree as is done in the Filipino martial arts. Unlike eskrima, silat does not necessarily emphasise armed combat and practitioners may choose to focus mainly on fighting empty-handed. Advanced students practice unarmed against armed opponents.
Among the hundreds of styles are dozens of weapons. The most commonly used are the staff, broadsword, and various types of knives. Silat today is often associated with the kris or dagger which was traditionally used mainly as a last resort when the fighter had no other weapon available or lost their main weapon in battle. As such, older styles place less importance on the weapon, particularly in Indonesia. However, its significance as a cultural symbol has raised the importance of the kris to such an extent that it has become the primary weapon of many later systems in the Malay Peninsula. Silat's traditional arsenal is largely made up of objects designed for domestic purposes such as the flute (seruling), rope (tali), sickle (sabit) and chain (rantai).
Training
Initiation
To signify the initiation of a new student, certain rituals may be carried out. This may include fasting for a few days, or drinking herbal tea. Silat masters traditionally never charged fees for their teaching, but money or some other gift may be offered by the aspiring student. Such practices usually don't apply today, especially outside Southeast Asia, but a few schools like Silat Lintar preserve their own initiation ritual.
Salutation
Silat practitioners begin and end each routine and practice session by saluting their teacher, partner or any spectators as a show of respect. The handsign used is dependent on style and lineage. The vast majority of silat exponents use the Hindu-Buddhist
Some traditional Javanese schools use another handsign in which the left hand clasps the right fist. In the context of silat, the fist symbolises martial skill while the opposite hand is a sign of courtesy and camaraderie. This is meant to convey mutual respect and shows that the fighters are willing to learn from each other. Like the namaste it recalls the idea of duality. A few systems, such as silat Pattani, may have their own form of salutation unique to that particular system.
Stances and footwork
Every style of silat incorporates multi-level fighting stances (sikap pasang), or preset postures meant to provide the foundation for remaining stable while in motion. The
Forms
Forms or jurus are a series of prearranged meta-movements practised as a single set. Their main function is to pass down all of a style's techniques and combat applications in an organised manner, as well as being a method of physical conditioning and public demonstration. While demonstrating a form, silat practitioners often use the open hand to slap parts of their own body such the shoulder, elbow, thigh or knee. This reminds the pesilat that when an opponent comes close there may be an opportunity to trap their attacking limbs. Aside from solo forms, they may also be performed with one or more partners. Routines pitting one fighter against several opponents are common in silat. Partnered forms are useful for teaching the application of techniques, particularly those attacks which are too dangerous to be used in a sparring match.
Tari ("dance") are freestyle forms which haven't been arranged beforehand but are created spontaneously. With a partner, tari is used as a way of sensitivity training similar to Chinese
Sparring
Sparring in silat may be done according to official competitive rules with protective gear, or traditionally with no protection at all. In either case, attacks to vital areas are prohibited. Sparring, as with silat training in general, was often done in varying conditions to prepare the fighter for combat in any situation. The most common of these was training in dim light, sparring against several opponents, fighting unarmed against a weaponed opponent, and fighting in darkness or blindfolded. Others include fighting in a tight space (common in Bajau styles), on a slippery surface (as in Minang styles), or from a seated position (a fundamental of Sunda styles). Experienced practitioners may fight against up to twelve opponents, a practice known as kerojok in Javanese. The defender is attacked by both armed and unarmed opponents. Weapons can be interchanged between the attackers, while the defender is allowed to steal and use the weapons against them. These matches were traditionally full-contact and highly dangerous, but are generally kept light-contact today.
Competition
While sparring may vary according to style and school, official matches follow the rules outlined by IPSI. These are:
- Strikes are only legal if they hit between the shoulder line and the waist. Each successful strike is awarded one point.
- Hitting the face or below the belt is a penalty.
- Throws in themselves are not awarded points, and ground follow-up is permitted.
- A joint-lock is awarded 10 points.
- Immobilising the opponent by holding them helpless is worth 5 points.
Energy
In silat culture, the energetic body consists of interlocking circles called cakera. The cakera's energy rotates outwards along diagonal lines. Energy that emits outwards from the centre line is defensive while offensive energy moves inwards from the sides of the body.[14] By being aware of this the silat practitioner can harmonise their movements with the cakera, thereby increasing the power and effectiveness of attacks and movements. Energy could also be used for healing or focused into a single point when applied to sentuhan, the art of attacking an opponent's pressure points. Folklore describes legendary techniques that allow the fighter to attack from afar using energy alone without physically touching the opponent.
Terms of address
In Indonesia, anyone who teaches silat is addressed as Guru or teacher. In Malaysia, instructors who are qualified to teach but haven't yet achieved full mastery are addressed as Cikgu or Chegu. Masters are called Guru while grandmasters are called Mahaguru meaning supreme teacher. The terms cikgu and guru are often interchangeable. An elderly male master may be addressed as Tok Guru or Tuk Guru (lit. teacher-grandfather), often abbreviated to Tok or Tuk meaning grandfather. The Javanese equivalent of this term is Eyang Guru which may be used for an elderly master or the teacher's master. In all countries where silat is practised, the honorary title of Pendekar may be officially bestowed onto a master by royalty or unofficially by commoners.
Music
Music is used in silat to determine the rhythm of a trainee's movements. This training aspect, often simplistically seen as "performance", is what is known as pencak. These movements are often displayed during festivities such as weddings or a royal installation. They can be done either solo or with a partner and are accompanied by music played by a live band. Several traditional dances were influenced by silat, such as the inai from northern Malaysia. In the Minangkabau area silat is one of the main components in the men's folk dance called randai,[19] besides bakaba (storytelling) and saluang jo dendang (song-and-flute).
The music played during silat performances is known as gendang baku in the Malay Peninsula, and gendang pencha among the
Types of silat drums include the gendang ibu or "mother drum" and the gendang anak or "child drum". The serunai, which also comes in long and short variations, is what gives silat music its distinct sound.
In popular culture
This article needs additional citations for verification. (August 2013) |
Film
Silat's appearance in film dates back to black-and-white Indonesian and Malay movies.
- Puteri Gunung Ledang, Malaysia's first big-budget movie, featured two highly publicised fights choreographed by a silat exponent. Upon the film's release these scenes were not well-received, with reviewers criticising the battles as badly-choreographed, too short, and generally over-hyped.[21]
- Ong-Bak 2which only briefly features a style of tiger silat.
- The 2009 Indonesian film The Raid 2: Berandal was similarly well-received but drew criticism for its graphic violence,[25][26] and was banned from a theatrical release in Malaysia.[27]
- The 2014 Indonesian movie The Golden Cane Warrior has helped revive interest in the historical silat genre (cerita silat) which has been dormant in film for years.[28]
- The 2014 Brunei movie Yasmine is about a teenage female protagonist who learns silat.[29]
- The 2016 American film The Accountant features the main character being trained in and using silat.[30]
- The 2018 Indonesian movie Wiro Sableng 212 also revived the historical silat genre, adapted from popular silat novel series in Indonesia titled Wiro Sableng. Set on the 16th century island of Java, it tells the story of Wiro Sableng, a young pendekar who receives a task from his teacher Sinto Gendeng, a mysterious old female warrior, to arrest Mahesa Birawa, an evil villain which is also her former student.[31]
Television
Period dramas which feature silat have been a common staple of Indonesian television for many decades, typically supplemented by wire-work and/or CG effects. In Malaysia, this genre is said to have reached its peak during the 1990s when directors like Uwei Shaari strove to depict silat in its original form by casting martial artists rather than famous actors. Series from that period such as Keris Lok Tujuh, Pendekar: Bayangan Harta and Keris Hitam Bersepuh Emas are still regarded as the country's best costume dramas before the genre began to decline in Malaysia after the early 2000s. Aside from period dramas, authentic silat is often featured in other genres, such as the Indonesian series Mawar Merah and the made-for-TV children's movie Borobudur. In Malaysia, various styles of silat are regularly showcased in martial arts-themed documentary serials like Mahaguru, Gelanggang and Gerak Tangkas. Other instances of silat on television include the following.
- An episode of Discovery Channel's series Fight Quest showcased pencak silat in Bandung, Indonesia .[32]
Literature
Silat in the literary tradition can be traced back to the old
Comics
The earliest instance of silat in graphic novels are found in Indonesian comics of the 1960s which typically featured heroes that were expert martial artists. The titles Si Buta Dari Gua Hantu, Jaka Sembung, Panji Tengkorak and Walet Merah all gave rise to popular films in the 1970s and 80s. Indonesian action star Barry Prima made a name for himself portraying the character of Jaka Sembung onscreen. Silat is featured in Malaysian comics as well but none have become well-known, due partly to the genre not being popular among Malaysians. Outside Southeast Asia, silat has been featured in the Japanese manga titles Kenichi: The Mightiest Disciple and Kengan Omega.
Radio
The most well-known Indonesian radio shows began in the 1980s, all of them historical dramas concerning the adventures of martial artists in Hindu-Buddhist kingdoms of medieval Java and Sumatra. The most famous of these were Saur Sepuh, Tutur Tinular and its sequel Mahkota Mayangkara. Each programme was highly successful in their home country, and continue to spawn films and television series.
See also
- Kuntao
- Pencak Silat
- Silambam
- Silat Harimau
- Silat Melayu
- Styles of silat
- Weapons of silat
References
- ^ ISBN 978-1-59884-243-2.
- ^ "Pencak Silat | Asian Games 2018 Jakarta - Palembang". Asian Games 2018 Jakarta - Palembang. Retrieved 2 September 2018.
- ^ "UNESCO - Traditions of Pencak Silat". ich.unesco.org.
- ^ "UNESCO - Silat". ich.unesco.org.
- ^ Tan Sri Dato' Seri Ahmad Sarji bin Abdul Hamid. The Encyclopedia Of Malaysia: Sports And Recreation. Kuala Lumpur: Archipelago Press.
- ^ Ahmad Zuhairi Abdul Halim, Hariza Mohd Yusof & Nizamiah Muhd Nor 1999, p. 181
- ^ Department of Heritage Malaysia 2018, pp. 3
- ^ ISBN 1-55643-562-2.
- ^ Silat Dinobatkan Seni Beladiri Terbaik by Pendita Anuar Abd. Wahab AMN (pg. 42 SENI BELADIRI June 2007, no: 15(119) P 14369/10/2007)
- ISBN 978-979-9341-60-0.
- ISBN 978-602-508-466-9.
- ISBN 979-980-6611-14-5. pp.286-289.
- ^ Sulalatus Salatin - Compiled and arranged by Tun Sri Lanang Archived 2013-11-13 at the Wayback Machine and reinterpretations by Abdul Samad Ahmad - Dewan Bahasa & Pustaka (DBP), 1977 from the copy of Raja Bongsu; MS. 18 Sir Stamford Raffles; Singapore; 1953
- ^ ISBN 978-983-42328-0-1.
- ^ ISBN 978-0-8048-1716-5.
- ^ Thesis: Seni Silat Melayu by Abd Rahman Ismail (USM 2005 matter 188)
- ISBN 978-0-87011-436-6.
- ISBN 1576071502.
- ^ Kirstin Pauka (2003). "Umbuik Mudo and the Magic Flute: A Randai Dance-Drama". Asian Theatre Journal. 20 (2).
- ^ The Tiger from Tjampa, retrieved 2 September 2018
- ^ Hari Azizan (2004). "Good enough... for a local film". The Star (Malaysia). Archived from the original on 2 November 2013.
- Twitch Film. Archived from the originalon 27 July 2009.
- ^ Kurniasari, Triwik (2 August 2009). "'MERANTAU' revives Indonesia's martial arts in film". The Jakarta Post.
- ^ "Merantau Warrior". Fortean Times. Archived from the original on 29 October 2013. Retrieved 10 May 2012.
- ^ "Review: The Raid 2 is too gory to stomach". Rediff. 30 May 2014.
- ^ Mancini, Vince (22 January 2014). "Paramedics Called To 'Raid 2′ Premiere: 'The Most Violent Mainstream Film Since Passion Of The Christ'". UPROXX.
- ^ Awani, Astro (8 April 2014). "The Raid 2: Berandal banned due to excessive violence". astroawani.com.
- ^ The Golden Cane Warrior, retrieved 2 September 2018
- ^ Yasmine (2014) (Review), 19 November 2015, retrieved 7 January 2019
- ^ "The Accountant: Interview With Director Gavin O'Connor". Screen Rant. 15 October 2016.
- ^ "Wiro Sableng 212", IMDb, retrieved 2 September 2018
- ^ "Fight Quest: Indonesia (Pencak Silat)". TV.com. Retrieved 2 September 2018.
Further reading
- Quintin Chambers and ISBN 0-87011-353-4.
- DeMarco, M. (2010). "Practical Fighting Strategies of Indonesian Kuntao-Silat in the Willem Reeders Tradition"
- Sarina Md. Yusof, Suhana Aiman and Norlizah Abdul Hamid (2005). Physiological Profile of Malaysian Silat Olahraga Athletes. Institute of Research, Development and Commersialisation (BRC), Universiti Teknologi MARA, Malaysia, Project file no.: 600-FSR (5/2)27.