Wednesday, December 22, 2010

Silat: The Deadly Art of Indonesia and Malaysia

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


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


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


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


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

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


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



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

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 19th 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 ]

Saturday, December 18, 2010

Congratulations New Black Belts 2010



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



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



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


Wednesday, December 8, 2010

How to Make Your Own Training Equipment for Your Filipino Martial Arts

By Jay de Leon
Originally published in WorldBlackBelt, 2005

Weight Machine The last decade has seen an explosion of training equipment in every kind of sports, especially high-tech gadgetry calculated to increase performance levels. You see them in fitness centers, professional team training rooms, schools and even home gyms.
Martial arts is no exception. While the progression might not be that dramatic or high-tech, still I have seen the changes from makiwaras and regular heavy bags to training mannequins like “Bob” and fancy heavy bags, filled with everything from water to sand to cotton.

Utilizing training equipment in Filipino martial arts (FMA) has many advantages, just like in traditional martial arts. It is a good way to develop attributes (power, speed, stamina, etc.). It is a relatively safe way to train, considering the inherent dangers associated with weapons. It is a fun way to train, especially when a training partner is not available or you simply want to work solo drills.
In my case, most of the training equipment I have employed can probably be described as homemade, crude, cheap yet unbelievable effective and loads of fun to use. A couple of them were the result of my fertile imagination. Most of them, though, are versions of equipment the old time practitioners used. For purposes of this article, we will not include protective armor and training weapons; that’s an entirely separate discussion and article.
Here then, are some effective yet fun, and very cheap training equipment you can build to supplement your training in FMA.


Rubber Tires
This item is the cheapest training equipment in all sports, and it has become associated with FMA. Yes, we are talking about discarded auto rubber tires, so the cost to you is zero. The simplest use is to tie one and hang it from a tree or a strong beam, and you whack away with your sticks to your heart’s content. You can hang two or three of them upright, one on top of another, freely hanging, and now you can practice your power drills, hitting high, medium and low. One instructor I knew must have had an abundant supply of them, so he stacked them flat, one on top of another, up to a man’s height, with a thick heavy pole in the middle anchored to the ground to hold them together. One bit of advice—use your old sticks, because your sticks will get black streaks from the tires.

Wooden dummy
An indispensable training equipment for kung fu practitioners is the mook jong or wooden dummy—a wooden representation of a man with arms and legs. Kung fu practitioners practice empty hand blocks and strikes as well as kicks on the wood, developing amazing strength and power in their techniques. Well, I devised my own mook jong for my FMA, except of course it was no wooden dummy. It was a wooden and steel dummy. The body was wooden, just a normal square beam, but the arms and legs were made of steel pipes, covered with industrial foam and duct tape. I am the most “unhandy” man around, yet I was able to build this dummy by myself over a week’s time, with a cost of about $100.00. My students and I have used this dummy for single stick, double stick, espada y daga, live blade drills, live hand drills and many other drills. My dummy is about 12 years old now, still has a lot of mileage left in it, and in spite of the beatings and death blows I have dealt it, will no doubt Wooden Dummy out live me.


Bladed weapons posts
These are literally wooden posts or beams, anchored to the ground and sometimes atop as well. At one school, I had four of these posts, of different sizes and thickness, because they were leftover material. One post was bare, except for the painting of a face at the appropriate level. The other three had varying amounts of padding and duct tape. We used these posts for live blade training. We practiced back cuts (we broke Ka-Bars, Bowie knives and assorted knives on them), knife throwing, (be ready to have your walls, floor and other weapons gouged by errant missiles), testing how deep our folder carries could slice through thick padding of different materials, how quickly and how much distance we could cover and deliver a slash or a thrust, and other drills. We found out that, contrary to what Bruce Lee said in one of his movies, boards sometimes hit back—your bladed weapon could turn Bladed weapons post against you and cut you.

Knife-throwing Target
I mentioned knife-throwing in the previous section. For you serious knife-throwers, you need a serious target. Buy or get a wooden pallet. I have actually seen an ad wherein somebody was giving pallets away. Reinforce and cover the target side fully with wooden blocks, planks or leftover wood. Paint your target on the wood (bull’s eye, human silhouette). Make sure you have a good backstop. Let her rip. True confessions : A long time ago, I bought shurikens from a mail order company which came unsharpened. We sharpened them and had a blast throwing them at such a target. Our backstop was one side of a detached garage, which eventually became pockmarked from errant shurikens launched Targetby wanna-be ninjas that could not throw straight.


Swinging Rattan Sticks
This is again another simple training device. Simply tie two rattan sticks together at their center, so that they form an X. Just like the tire, hang from the branch of a tree or a beam in your dojo or garage, at around eye or head level. Perform sinawali drills or similar drills. Depending how much space you have, or how much challenge you want out of the drill, you can hang two or three of these around you, forcing you to pivot or close the distance. Again, you can make this drill as simple or as challenging as you want.


Swinging Tennis Ball
All you need is a tennis ball, a metal or aluminum pipe about a foot long, and some rope. Just draw the ball through the rope at one end, draw the rope through the metal pipe and hang the contraption from a branch of a tree or a beam. The object is to hit the tennis ball with your single stick. The trick is to adjust the timing of the return of the ball such that the interval is not too long and you have too much time to hit the ball, or the interval is so short that you cannot hit the ball. Once you get the right timing and the hang of it, it is really fun. At the very least, it is an excellent hand-eye coordination drill and you can make the drill more complex by doing witiks (snaps or flicks), thrusts, twirls, etc.


Dead Trees
The cost of this equipment is zero, because the equipment is a dead tree. You can do this drill only if you live in the Philippines or a tropical country, or you live in a plantation here in the U.S. First of all, you practice on a dead tree or one that is not expected to bear any more fruit.& Please do not hurt a living tree. Second, it has to be a soft wood or pulp tree. Example of trees I have slashed to ribbons include banana trees and papaya trees. Again, depending on the weapon you have and the thickness of the tree, it can be a fun drill in how to slash and thrust. How did you think those Filipino farmers with bolos around their waist get to be so good slashing and thrusting?

Sunday, December 5, 2010

Traditional Pencak Silat Cimande Girang Walisongo







www.indotalisman.com

Introduction

With over 1.800 different styles of Pencak Silat throughout the islands of Indonesia, you can imagine that no two styles of Pencak Silat look exactly alike, however all these share common fundamental laws and principles. Each style depicts the area of origin and its' ethnic group with their own characteristics The word pencak is originally from Java and it refers to the martial arts of that area. Penca, without the k is the original spelling of the Sunda language. In fact, the old masters from Tari Kolot Cimande call their art "Penca", "Ameng" or "Ulin", "Penca (Aliran) Cimande", "Ameng Cimande", or "Ulin Cimande" Pencak with the k , comes from Bahasa Indonesia, the national language of Indonesia and refers to the movement or beauty of the martial arts. The word Silat comes from the areas of Sumatra, the Philippines, Malaysia, Singapore, Brunei and others. Silat refers to the actual fighting and its origins with the famed walisongo mystical teachings S = syariat I= ibadah L= laku A= aqidah T= tariqat. Or commonly known as silat The (composed) term "Pencak Silat" is of quite recent origin, it was officialised in 1973 by the IPSI, and had been growing in use since about the late 1940ies..As there are numerous styles of silat here in the west being propagated by their western disciples , whom have kindly imparted their opinions and interpretations of this obscure martial arts majority of the time leading to confusion due to lack of appreciation of the cultural dimensions of the art and much personal ego! Therefore it gives me great pleasure to introduce a true native master of real traditional silat cimande whom hails from the island of java a native in particular of west java (sunda), which has a very rich martial heritage termed as pusaka / karahun by the sundanese. The beautiful rice fields, tea plantations and rubber tree crops are the result the rich earth that is surrounded by volcanoes making West Java beautiful and colorful in the scenery, culture and the arts. The West Javanese people, otherwise known as the Sunda people, are easy going and happy and very martial by nature having a rich martial tradition. In West Java you can see Pencak Silat routinely performed in village ceremonies. It is commonly seen at weddings, celebrations of the rice harvest and circumcisions. It is especially important to perform Pencak Silat at circumcisions because it is believed when a boy is circumcised he changes from a boy to a man. Pencak Silat was a reflection of his manhood and it also helped divert his concentration from the pain of the procedure. In Indonesia, Pencak Silat was originally taught as a secretive art to the family and to members of the village. Now there is a modern version of Pencak Silat which caters to the public. It is taught in the school systems starting in elementary schools and continuing throughout the colleges and universities.

There are very few teachers here in the west that can transmit true and real traditional pencak silat in its entirety and pure original form with an emphasis on a holistic approach of training mind body and soul in harmonious way into a balanced entity. Which brings us to the introduction of Guru Haji Pak Muhammad Ariffin Mang Ipin whom is a renowned and infamous master teacher of the highest caliber from the Cimande silat tradition. He was born and raised within the heartlands of west java in the port city of Banten.in Java their was 2 main historical spots for Cimande "Banten area" and "Tari Kalot area".In Banten, Cimande is a very famous style, a lot of people is practising it. Banten is also famous for alot of 'ilmu batin' (ilmu means science, knowledge) and the performances of this silat is traditionally called debus which is basically a show of invincibility and invulnerability. People walk on fire, climb ladders of sharp swords and so on. Historically debus was used by the Wali's to get people attracted to Islam by demonstrating the magical powers of the spirit most of the traditional Schools from Banten the Debus are connected to the Pencak Silat schools some are doing Debus some not but they are going together during demonstrations, celebrations...Once the capital of the empire Banten now Banten is a small town at the north western coast of Java. At this point the Dutch and the English first landed on Java and were held struggles and trade. There are still many places in Banten which remind to the colonial time.The main site in Banten is the Mesjid Agung. This mosque was built in 1559 by the son of Sultan Hassanudin and is the major sight in Banten. In opposite of the mosque are the remains of the royal palace Surosowan which was built by the Dutch Muslim Hendrik Lucas Cardil and destroyed by the son of the son of the sultan. Later the Sultan Agung rebuilt the kraton but it was destroyed again by the Dutch in 1832.On the road to Serang close to the Surosowan is the Kaibon Palace which is now partly restored. North West of the mosque are the ruins of the fort Speelwijk. This fort was built by the Dutch in 1682 and overlooks the see. Close to the fort is the old Chinese temple Klenteng. This 200 years old temple is now completely renovated and still in use.

Sunan Gunungjati (walisongo) was the founder of Cirebon. He married the sister of Sultan Trenggono of Demak, and led military expeditions for Demak against Banten As "Fatahillah" he defeated the Portuguese when they tried to take Sunda Kelapa (now Jakarta) in 1527.Some stories have Sunan Gunungjati active around the 1470s and 1480s, under the name "Hidayatullah", other stories have him active around the 1520s, and associate him with the name "Fatahillah". In the 1480s he would have been the grandson of the king of Pajajaran; in the late 1520s he would have fought the Portuguese near what is today Jakarta. he passed away in 1568, by which time he would have been as old as 120 years Banten's founder and first ruler, posthumously known as Maulana Makhdum or Sunan Gunung Jati, is considered as one of the nine saints of Java; he and his first three successors, Hasanuddin, Yusup and Muhammad, are given the religious-sounding title of Maulana (commonly used for very learned or saintly ulama) before their names. This seems to indicate that these early rulers were saints or had the possession of (esoteric) Islamic knowledge and powers (ngèlmu) and are associated with the martial arts and the world of the jawara, the strongmen dominating much of rural Banten. Debus, the cultivation of invulnerability to fire and sharp metal objects, is the most conspicuous representative of these techniques. Their techniques are an eclectic blend of Muslim spirituality and mysticism, their sacred formulas including Islamic Arabic invocations alongside Javanese and Sundanese formulas (jampé for healing purposes, jangjawokan for martial prowess, invulnerability. The central element in debus, "playing" with pointed iron skewers that are violently thrust against the body, There is one striking difference between debus Banten and of the Middle East and India: in Banten the skewers, however violently thrust or hammered, do not pierce the skin, whereas elsewhere the miracle consists in their passing through the body without causing any harm. The emphasis in Banten (as elsewhere in Indonesia where similar techniques exist) is on invulnerability, not on indifference to pain, and this is explicitly related to warfare and the martial arts. (An accomplished debus practitioner is also believed to be bullet-proof). Debus techniques were part and parcel of the martial arts arsenal of the jawara, along with other magical (or psychological) techniques for such purposes as invisibility, hitting an adversary from a distance. Tarekat-related techniques are only one part of debus, and debus teachers are not necessarily, also tarekat shaikhs. Some of them lead tarekat-type communal devotions but none is an authenticated tarekat khalîfa. Others are primarily martial arts teachers and are not acquainted with dhikrs and râtibs at all. Even the Islamic formulas used, in order to be effective, have to be "filled" or "bought" by fasting, bathing with water of sacred springs such as the Sumur Tujuh on the slopes of Mt Karang, and various other ascetic exercises. Identical results may, incidentally, be achieved by different means: one may recite a formula (that has been "bought" in advance), wear an amulet (that has similarly been "filled"), or temporarily "borrow" some of his master's powers (that are transferred by means of a jiad, a "blessing formula").

Maulana Sultan Hassanudin Walisongo

Sunan Gunung Jati, took his son, Maulana Hasanuddin, on a miraculous journey to Mecca to perform the hajj. After performing the rites of the pilgrimage they go on to Medina to pay their respects to the Prophet's shrine, and it is here that Maulana Hasanuddin receives an initiation in the Naqshbandiyya tarekat.Sultan Hasanuddin before controlling this Banten area did tapa in places that uptil now it was considered as the cosmic centre in Banten, namely the Pulosari Mountain, the Coral Mountain and the Panaitan Island before him departed for Mekkah to do the pilgrim's religious duties. Sultan Hasanuddin was taught the Knowledge of the Sufis, Perfect Knowledge. He made the vow of allegiance to his shaikh (bai`at), was given the silsila and the litanies (wird) of the Naqshbandiyya, received formal instruction (talqîn) in its dhikr and other spiritual exercises (sughul, Arabic shughl, "work"), and finally received the Sufi cloak (khirqa), symbolising his embarking upon the Sufi path. one can only receive instruction in these practices (talqîn) from an authorised teacher of the tarekat, and only after pledging a vow of obedience (bai`at) to this shaikh. The shaikh gives his disciples permission (ijâza) to practice the tarekat; he may also authorise one or more of them to teach it to others, i.e. appoint them as his khalîfa. In this way a hierarchically ordered network of teachers may emerge. Each shaikh can show a chain of authorities for the tarekat he teaches, his silsila or spiritual genealogy. Usually the silsila reaches back from one's own teacher up to the Prophet, with whom all tarekats claim to have originated although there have been modifications along the way. A Sufi's silsila is his badge of identity and source of legitimation; it provides him with a list of illustrious predecessors and shows how he is related to other Sufis.The Naqshbandiyya was known, and enjoyed prestige, in Banten court circles. The association with Medina rather than Mecca is correct, and gives a cue as to when the Naqshbandiyya became known in Banten. In the 17th century, Medina was a major centre for this brotherhood. Maulana Hasanuddin's affiliation with it is therefore honorable, serving to strengthen the religious foundation of his dynasty. The tarekat appears here as a form of secret mystical Knowledge (and probably a source of power, kasektèn) possessed, by the ruling dynasty.

Bantenese and tari kolot tradition, , maintains and considers Maulana Hasanuddin, not his father Sunan Gunung Jati, as Banten's first Muslim ruler and founder of Pencak Silat Cimande Girang.. Present practitioners of the invulnerability technique debus, , also claim that their secret knowledge derives from Maulana Hasanuddin,the founder of not only Pencak Silat Cimande and Debus but also Banten's Royal dynasty. Debus is just one instance of tarekat-related techniques being transposed to a different context of meaning and put to a different set of purposes; one may find numerous other instances in Indonesia The fame of Banten's spirituality has made some of the debus teachers and practitioners also popular as healers, called upon to set broken bones or to massage away physical pain but especially to cure diseases or other complaints believed to be caused by magic or evil spirits.

Guru Besar Haji Dumyati(past) and Guru Besar Haji Aos Suganda(present) Grandmasters

Guru Haji Pak Muhammad Ariffin Mang Ipin his family has a sound lineage/genealogy and a healthy appreciation practice and mastery of original walisongo silat and traditional healing arts which he chose over debus practice . his grandparents having being respected masters and veterans of the oldest silat of west java the most honored and reputed pencak silat cimande tari kolot girang pusaka karahun walisongo , his grandmother specialized in the rare gynecological healing aspects of silat cimande , whom was highly respected for her high level of skill and very much adored for her compassion. This rich tradition of practice and mastery of silat and its related healing arts and esoteric mystical traditions within his family inspired and motivated Guru Haji Pak Muhammad Ariffin Mang Ipin at that time in his youth with the advise and blessings of his family to seek out the then Guru besar in Tari kolot in Cimande village to further refine his studies and broaden his horizons and acquire a true understanding of his family pusaka karahun heritage. As for the meaning of "Tari Kolot": The word "tari" in Sundanese has a different meaning than in Bahasa Indonesia - in Sundanese it means something like " (vanished) garden", "a place where once a garden was" , the actual meaning of "Tari Kolot" is something like "old (vanished) garden". Guru Haji Pak Muhammad Ariffin Mang Ipin was very blessed and extremely fortunate to have met and been accepted as a closed door disciple of the late Guru Besar (grandmaster) and cimande village elder Haji Dumyati he studied assiduously everyday while leaving with his guru daily for just under a decade until his demise into the devine presence! He then continued and completed his studies of original silat cimande under the current de facto Guru besar Haji Aos Suganda the late grandmasters son as per the late grandmasters wish this humble attitude and sincere practice Resulted in him a profound realizations and complete holistic understanding and comprehension of the truths inherent in true silat cimande and the refinement of both the combative and healing / spiritual dimensions and other aspects of this noble art, and attained his khatam in the art after almost nearly 3 decades of learning , this highlights the fact to readers and prospective students to remain cautious of others whom state otherwise that in essence learning true silat can take a lifetime and not just a matter of weeks or months as some have stated and claimed regardless of there talent or quick learning abilities of those whom claim to have done so it would seem logically and practically impossible and improbable.!

The names of the Pencak Silat styles come from various sources such as the name of the village it originated from or the name of the founder or creator of the system. Most villages in West Java start with "Ci" Ci means pointing to a particular village or Chi which can mean water. This is why many of the rivers start with Ci.Cimande is the name of a village, a river and a style of Pencak Silat in West Java and mande is a agricultural tool for collecting and raising water.also Cimande has simple but very effective jurus and applications. The Cimande style is found in three different aliran (streams) CimThe word Cimande (not Chi-Mande, also tjimande is an old Spell, now we use Cimande) comes from Ci and Mande. Ci comes from word "cai" (cai is Sundanese, means water... because West Java is rich of water source and river) and mande is tiger. Cimande means water that tiger always come to drink. In Sundanese, it is normal named a place after a water ("cai"), like cikalong, ("kalong" = bat) which means the water where in the three round the river have many bat. Cimanuk, ("manuk" = bird) which means a river that has many birds, etc.ande Girang, Cimande Tengah consisting of 50% spiritual and 50% physical training and considered a mid mountain system and Cimande Hilir with emphasis on ilmu gerak badan which is completely physical considered a lower basin / mountain system, which is mostly mixed with other sundanese silatl. British martial artist are fortunate That the Cimande syllabus taught by Guru Haji Pak Muhammad Ariffin Mang Ipin is the rare Girang upper mountain system which is the mother system with its emphasis mostly on the spiritual , Mountain referred to is the one joined and over looking the sacred cimande river , this particular and very unique style also takes its inspiration from the observation of nature, ritual prayer and from the sacred river( It is considered sacred because of the fact that a prominent spiritual saint visited and resided within the area for quite some time whom is considered to be the actual founder of cimande silat his body is buried in a tomb in banten) with its constant flow of currents resembling the flow of water in religious ablutions and the flow of water within the human body which is composed of 70 % water , this rare and ancient system remains true to its holy origins being the original pure and unadulterated form as handed down from Sultan hassanudin the famous saint and founder of the style , it is known as the infamous Girang style. As it is a misnomer that the founder of Cimande was Abah Kahir as some ignorant practioners with incomplete training and knowledge have claimed so . To those who truly know and have been privy to its history will tell you that abah kahir was only one of its later teachers that popularized the sacred system Not its founder. This Silat Cimande is unlike any existing styles of Silat of today. The workout of this Silat involving a spiritual and inner meditative respitory practice will assist in overcoming any exhaustion. This is termed as ‘Isim Silat’. It is important to practice and experience these breathing and meditative techniques in the natural surrounding, preferably in the jungle, where, there are gorges, cliffs, rivers or waterfalls so that you can sit somewhere on rock and meditate. This meditation is to initiate your inner-self with Mother Nature; to listen to the water flows; the chanting of birds, sound of insects and whispers of the wind. Full concentration and total involvement with this surroundings will assist the Silat exponent to feel himself as part of Mother Nature; and hence to develop his total perception. Words can hardly express adequately the philosophy of this martial art as its origins are shrouded in mystery. Cimande elements seem to have mixed into almost every Javanese style.

Originally, Cimande was using long distance fighting techniques, i.e. the fighter would stand within a distance of a few feet from the opponent, which will make it possible for the fighter to dodge opponent's attack. The distance also makes it dominant for counter attacks. In launching attacks, every fighter (pesilat) should always pay close attention to position of feet or stance and keep a certain distance from the opponent. The use of Kuda-kuda pipih can easily be adjusted/increased in speed or frequency, as one can expect an opponent to strike with a fast punch or kick within a distance. Therefore one need to adjust one's own speed in order to level with the opponent. The girang cimande system is one of the most feared and respected styles of silat. In this system the adept hunts for the arms and limbs and will first attack the attacking limb to disable the opponent and to make the attackers offensive tactics obsolete. An attack to the arms means breaking anything from his fingers to his shoulders. Developing the arms takes and requires years of patient practice in complex but sophisticated cimande 2 man hand/arms drills along with secret massage and application of herbal treatment called balur to toughen the limbs. Cimande has been the most influential alrian in west java and is not only considered to be of pure sundanese endeavor without any external influences but also the eldest /original silat of the sunda people. Its influence is extensive, the majority of perguruan found today trace some link be it technical, philosophical or historical to silat cimande. As in tarikolot cimande in its pure original form and taught the way since its inception , uninfluenced by modern innovations and as such that we are most blessed and fortunate as the public to have such a positve esoteric martial art disseminated and propagated into the uk public for its general welfare courtesy of Guru Haji Pak Muhammad Ariffin Mang Ipin a true gentleman a master teacher and his closed door disciples loyal and hardworking senior experienced martial artists , the famed martial arts extraordinaire and walking encyclopedia of the martial arts and founder of the British Silat Federation British born uk chief instructor Mr Nicholoas Blanchette and the infamous Mr Simon Das .

Silat is a traditional Malay martial art born of a variety of influences, generally accepted to be five: physical genetics, spiritual genetics, nutrition, natural environment and social education (customary or religious). In order to understand what a particular silat IS, you will have to look into the varying degrees to which these elements have played a role in its development. A teacher who is a liar will never create a silat that will fall in line with Islam. But because silat was once known for being a vehicle to inculcate Islamic values, it has created a consensus amongst masters that silat is inherently Islamic. Therefore, a silat based on kufur cannot be called silat. But if you mean that in Islam, martial arts are tolerated and promoted as a method of preserving the kulliyat of Islam, then, I would say that silat is the answer for this aspect of religion. The "Islam is not silat but Silat is Islam" statement is close to this in meaning, but confuses, especially those who have no background in Islamic studies. Maybe it is better to say that Islam is not silat, but promotes its study to achieve a higher goal. silat is about finding the good in oneself and his relationships with himself, his environment, his circles and with Allah and straying from the bad of these.

As is true in the law of opposites, the wayang must indeed act in accordance to will of his Dalang, for only the will and power of the dalang exist. All else is his knowledge cast into shadow. Pesilat practicing there forms often try and reflect on the meaning of form in its greater context. Of course we all know 'Kick', 'punch' 'block' etc within our forms just like every one of our sentences that we speak. All sentences are made up of familiar words. Similarly when one reads poetry, many of the words are clear and obvious, yet the meaning is often hidden in that which is most obvious. Every move that we make is a word, for every action has a name. This world being the realm of action, must indeed by like a book. In this Causal world every effect must have its cause. Letters and words do not exist by themselves; everything is in relationship with another. If every reaction is linked to its action and all words make sentences, then all that a persilat sees before him must be poetry or a story being narrated to him. Harmony is the balance of the yin and yang, that which connects and balances the two opposite forces. Only through harmony can opposing forces be balanced. it is the unity of the opposing forces that bring the balance, for one cannot exist without the other. One can only understand the meaning of the words, when one reads the sentence as a whole. And every sentence must have its point. Balance is much like unity, in its opposing poles; it finds a common point to unite. That point is unique, as balance cannot be shared by 2 points, and it can only be balanced if it accepts the whole as one. We are the authors of every sentence that we write and move that we make, yet the world all around us is a book written of which we are contained within. Every chapter stands alone and in opposition in its disunity, yet as the yin and yang it is accepted as a whole in its unity. Everything has a name, so everything is a word. Words are used to write books. So if the world is a book then who is its author? When a pesilatan moves in his form, all he can do is try and understand the poem of his master. All his success or failings is within his will and power. It is his knowledge that give him harmony.

It is almost mandatory for other schools to pay some kind of symbolic homage to this particular aliran girang silat cimande. The gurus of the girang system have a healthy appreciation of the other two alirans stating with pride that all 3 aliran have the same roots , however they are far more selective in choosing prospective students , even more difficult is actually acquiring a master / guru of this rare and much sort after system.. Then it is much harder to keep then to get as the highest caliber of moral conduct and self discipline is obligatory at all times. If accepted as a student S/he is not only instilled with offensive and defensive capabilities of the highest level of mastery and bringing about a state of balance to harmonize with their surroundings and nature but also as Inevitably silat cimande girang is related to Malay herbal/ spiritual medicine , correct body alignment through proper breathing techniques meditation and spiritual quest in a mystical and religious sense, an art of essence, esoteric, artistry and healthy appreciation love and respect for mother nature! The way this ancient art is transmitted also is a blessing and fascination for its adepts! The aspirants reflect the attributes of the sacred river cimande itself as it is hereditary in which it shows the notion of life and the livening as its forever flowing, it helps the adepts to maintain calm yet sharp and alive in analyzing difficult situations. It is important for the disciple to harmonize with Mother Nature, as the girang system being the mystical art being holy and pure, is made purposefully for ones life and for nature itself. The disciples are further taught to assess the negative characteristics they may possess! They assist the adept to recognize the artificial self (ego) that he has acquired.It is important itself that in Cimande Silat, strong emphasis on spiritual training is of great importance a discipline to control, develop and improving one’s spirit and character. Now, returning to the previously mentioned ‘Isim Silat’, it is claimed that through the subtle knowledge which underlies Silat movements known as the force of ‘Kebatinan’ are harmonized not only in the nervous and circulatory systems but in the finer system of the mind and soul. Breathing techniques, which is fundamental to the proper functioning of the body movement is said to benefit the vital energy, the nervous system, the blood circulation, thereby, creating a balance physical and psychological state of mind. This follows with the notion that Silat is to fulfill the herbal medicine belief for the natural healing source of curing and maintaining healthy body-alignment

Guru Haji Pak Muhammad Ariffin Mang Ipin Cimande Girang Walisongo

Guru Haji Pak Muhammad Ariffin Mang Ipin the wondering dervish Cimande teacher from West Java recently resident in the UK is renowned and highly respected the world over as a miraculous healer of extraordinary abilities , having healed all forms of ailments and diseases from peoples off all walks of life from your average laypersons to aristocrats and heads of states, devoting his whole life to healing and serving others in his own unique and humble way may Allah sanctify his secret. He does shin and forearm conditioning using balur. He prays and hits worthy and successful students to the bone (traditionally with black sugarcane) and bruises you all along the shin and forearm then rubs in the balur (which means stuff to spread over and rub in not necessarily the Cimande ointment) and after several very painful sessions the bruising stops and the pain goes. Sore but effective for getting hard shins knees elbows and arms.

His balur is home-made in Cimande village and pops when the bottle is opened and amongst other things the ingredients are a certain type of sugar-cane and earth worms. Some other ingredients of Guru Haji Pak Muhammad Ariffin Mang Ipin balur apart from earth worms and sugarcane are banana trunk and turmeric. I suppose the original recipe was created through inspiration and different families in Cimande have different recepies. Even now people say that it is not only the ingredients that make it work, rather it is the prayers and the fasting put into it. The dzikir and prayers of the maker does have effect on the quality of the balur. One finds the confirmation of the traditions of the elders in 'real' science in this case very interesting and such a blessing!Cimande has a reputation throughout Indonesia for healing bones. They use special oil called "balur" for the purpose of healing the bones. Balur is often used after training to heal injuries incurred to the bones of the forearms. Cimande is highly respected for both its bone healing and it's Pencak Silat Cimande by nature had a lethal and devastating arms conditioning and strikes. People just couldn't match the awesome striking with the arms and hands that Cimande had.

Among martial-artists of Pencak Silat in Java, Indonesia, the Cimande oil is quite famed for its power of invulnerability and its ability to assist the healing of broken bones, bruises, wounds, muscle-pull, twisted ligaments, etc. The physical formula and appearance of the Cimande oil may vary from one producer to another, but the power permeating them as empowered by these producers are not the same. Some of the ingredients of the Cimande oil are scarce and not easily obtainable, therefore occasionally, the producers of the Cimande oils have to make do with what is available and use the best substitutes--this also contributes to the different appearances from one stock to another even by the same producer. There are many of these Cimande oils sold in traditional markets but not all are genuine--most have been diluted by their resellers to make more profit, so one has to exercise caution when purchasing them. The reseller's practice of cutting the oils is looked upon with a great amount of irritation by their producers. There are basically two types of Cimande oils--although more are said to exist. These two types of oils may have various appearances, and often, even resembling; however, they are to be differentiated by their purposes and not their looks. The first type is the regular Cimande "balur" oils used for massages, for healing bruises and minor injury cases. The second type helps to heal broken-bones and applied for major muscle injury. It also builds-up invulnerability against sharp-weapons and punches in the user. Some Cimande-oils may be ingested for healing the organs. Cimande-oils may have strong sweet-sourish odors depending on the ingredients used.

The Cimande-oil is highly praised by those involved in martial-arts and contact-sports. The specific ingredients of the oil and the process by which it is made are the possession of a number of families in Cimande and are a closely guarded secret. the history of Cimande oil is that it was for treating the wounds or broken bones of students or opponents who suffered injuries in fight The special healing and strengthening qualities of the oil are then ‘activated’ by the recital of mantra unique to the family concerned. The oil in itself is not unusual, it is the mantra that brings it to life Balur Cimande or Balur Silat is a liniment traditionally used in the heavy forearm and shin conditioning of Cimande. It contains different herbs in a coconut oil base prepared in a process that takes about two months and several steps. The herbs contain adaptogenics, antiseptics, analgesics, anticoagulants and a number of other things. It's like Dit Da Jow but an awful lot better and, when used properly, breaks up bruises, even very deep ones. Its main claim to fame is increasing bone density. Impact and conditioning will do that, but the Balur definitely speeds up and deepens the effect.The tradition of healing in cimande is interwoven with pencak silat. The techniques used for massaging broken bones are drawn directly from the jurus of cimande pencak silat. Training instills an understanding of human anatomy and a sensitivity towards how the body works , as well as what hurts . unlike conventional methods that seel to imobilise the damaged bone , it is vigorously massaged. After this painfull experience balur is applied , then the limb is bandaged and splinted. The oil absorbs easily into the skin and is believed to saturate the bones , strengthening them, and making the arms both resilient to blows and extremely slippery . the result is that the arms become impervious to pain , and it is believed that it becomes impossible for an opponent to grasp or hold them.

To attune totally to the environment, knowledge of natural science is an important area of study such as herbs medication and body massage. This also emphasizes physical conditioning as a must and the practice executed with speed, agility, power, flexibility, endurance, timing and body coordination. These aspects are however related and incorporated with the inner and spiritual meditative practice which not only enhance physically and mentally but also exalt the Silat exponent to be alert in concentration yet relaxed wisely at the same time. Cimande also assimilates the use of natural herbs for health and medication, proper balance in nutrition and sufficient rest. But the foremost understanding in the fundamental of Silat is being a Mother Nature lover of the Sundanese cultural and spiritual / religious values. A Cimande practitioner should not become a slave to fixed system of stiles and to feel that style is the ultimate form of combative art. The truth is that it will deffinatly leads to clogginess and stagnant system of styles, a system which does not blend with the natural environment, the style without a state of the art.

Cimande girang teaches you far beyond martial arts aspects, it lets you appreciate life, its principles and its concepts are civilized disciplined and humane. This Silat embrace certain concepts which are totally different from most of the other oriental martial arts. It is more than just a martial art; it involves the mastering of the physical and well-coordinated body movements depicting the artistry of the surrounding nature witch is also complimented by the distinctive cultural music and traditional dance movements. Hence, this silat can be considered as the most fascinating, elegant, graceful and the most esoteric of all the martial arts that exist today. It is essential for those who whish to be the disciples of this Silat to possess artistic qualities because the Silat’s ceremonial costume and accoutrements alone mirror its distinctive features.Cimande Silat movements are generally supple and intricate, and it has soft, gentle, flexible fluidity in contrast to its lethal and deadly offence and defense postures. It involves controlled breathing, health discipline and also the involvement of inner or spiritual and also meditative undertakings. These aspects are derived from the natural environment the true and real Sundanese Pendekars resides in, that is usually surrounded by exotic landscapes of hills and mountains; of rivers and waterfalls; of Coral Sea and palm beaches; of the flora and fauna in the dense tropical jungles were varieties species of wildlife can be found.

Jurus Kelid Cimande ( dodging techniques) :

jurus (moves) of Cimande is devided into : 33 Kelid (dodging)duduk (sitting) and berdin(standing) Cimande, 17 Pepedangan ( wepons ) Cimande Kelid and Pepedangan are self defense techniques. We can see that the dodging techniques is stressing on the hands as source of power/strength. These moves are the core moves which is meant for blocking and knocking down of an opponent. In all, the Jurus Kelid looks somewhat unique compared to other styles. This is usually done in pairs by sitting position, two facing each other, with both legs folded. Sparring partners performing strikes and defense in sitting position. Purpose of this training is to develop one's imagination and visualization skills to figure out and decide which stance and moves are proper to be used in a standing position. If hand moves are mastered, the proper stance to use can easily be determined.

The jurus kelid contain the self defense unarmed and against allsorts of bladed weapons techniques of cimande all the jurus are trained in pairs whilst in a seated cross legged position , this evolved from the practice of training after prayers in the dargah . Seated in pairs, students practice alternately attacking and defending, in all jurus contact is made between the forearms in order to condition them. After the students have mastered the jurus duduk sitting and strengthened their forearms, they begin practicing the jurus in conjunction with standing at differing levels of height of stances beridin and step patterns langkahs. Cimande jurus are also inspired from the routines of everyday life as found in traditional sundanese kampongs. Just as natural phenomena are believed to reflect universal laws, so human culture also reflects universal generative principles. As the fundamentals and principles of cimande jurus are contained within the practice of everyday life, instinctively all humans possess cimande techniques and is practiced by everyone unknowingly. As the names of some of the jurus reflect natural everyday body movements ie batekan and guraran etc! The ability to look after oneself is given by god to every creature, whereas martial arts is a creation of humans ordained by Allah.

This pure form of cimande does not contain any animal forms and oral tradition holds that its founder Sultan hassanudin created the jurus after he performed night prayers tahajud ascetism and and isitikarah to seek guidance from god ,he received inspiration to develop jurus entirely based on Alif and Lam characters of the Wholly Arabic alphabet. According to sufi perspective the quran is directly associated with the human body and expresses all the possible correspondences between micro and macro cosmos. The movements act as a mystic vocabulary, by moving in a manner that reflects the divine word as it is ultimately only Allah who moves us – usik malik anging allah nu marengkeun. Cimande silat is not choreographed techniques but they include esthetic. Its more techniques made from learning the body and all his possibilities in attack or defense .cimande is the human style in silat when many others are animal’s styles. cimande is a strictly Human style. Silat cimande is not strictly physical because it has been made with the philosophy of Islam. Any moves and steps have been made by the help of the quran and its mystic’s saints. We are Humans and not animals so we move like humans and not like animals. You can reproduce the jump of a tiger but you will never jump like it does, you can move like a bat but you will never fly, you can act like a monkey but you still have different moves than them because your bodies have been made differently by the creator. A human style, like cimande has been created and made with the proper moves of humans and divine inspiration. No animals can walk like us or move the body like we can. Original Cimande Silat is not merely of fixed and conventional styles dipicted from the wild animals way of fighting but it is developed in such a manner, as to overcome the attacks of wild animals namely tigers, jaguars and even elephants, by implementing divinely inspired movements jurusans.

1. tonjok bareng (simultaneous punch)
2. tonjok saubelah (single punch)
3. kelid selup (dive dodge)
4. timpah seubelah (single strike)
5. timpah serong (side strike)
6. timpah duakali (double strike)
7. batekan
8. teke tampa
9. teke purilit
10. tewekan
11. kedutan
12. guaran
13. kedut guar
14. kelid dibeulah
15. selup dibeulah
16. kelid tonjok (dodge & punch)
17. selop tonjok
18. kelid tilu
19. selup tilu
20. kelid lima
21. selup lima
22. peuncitan
23. timpah bohong (mock strike)
24. serong panggul
25. serong guwil
26. serong guar
27. singgul serong
28. singgul sebelah
29. sabet pedang
30. beulit kacang
31. beulit jalak pengkor
32. pakala alit
33. pakala gede

Tonjok forming fist
Teke using fingers
Tewekan finger tips thrusting flat
Kedutan hand palm
Guaran using outer or inner side of hand
Singgulan using wrist

In the finals refinements of Cimande the art of pinpoint precision striking was developed to a very high degree. Even in the Juru’s of Cimande deal with knife defences and that deal with knife attacks. The concept is simple but brilliant! juru’s come into play that teach knife offences. Both forward and reverse grips are utilizes. A person who is confident and assumes the Cimande on guard knife position is less likely to even be attack than most other ready positions. In relation to a knife attack. when you are one with God, God is one with you, and that is the ultimate protection. This condition of being one with God is ultimately what the silat practitioner aims to achieve. Then (s)he has boundless energy as (s)he is one with the energy that makes the universe exist. According to the contemporary definition of pencak silat the art must have a spiritual aspect. Without God it can't be silat. silat is about winning fights but remember the ideal is to to win without humiliating (putting down). There are different levels of winning a fight using silat the highest being without a fight and your opponent becomes enlightened like the way Muhammad SAW conquered Makkah. The highest level of true knowledge is of bringing to life not of killing. One might fight once, twice, a hundred times in one's life but most of the time one is breathing, eating, sleeping, working, making love, praying and just doing simple everyday things. Silat should make you a winner in all these everyday activities not only in fighting a human attacker. Traditional silat aims to survive and ultimately lays everything in God's Hands. Only God and not silat can help you survive an attack with whatever weapon. However God has made available proper silat training in the physical and the spiritual so we should make use of this Blessing.

This original jurus of Cimande Girang may not have the dramatic impact of the other oriental martial arts. It is the development of rhythmic movements and physical fitness, both integral parts of the fighting arts. Cimande encourages discipline and non-violent attitude towards the opponent with effective twisting, holds, locks and fall which enable the practitioner to become supple and free from harmful adhesions. Cimande also teaches the disciple to achieve a state of balance and harmony with nature. Henceforth, understanding fluid body alignment and total awareness of the posture are being developed. In addition to that, emphasis upon intense and intuitive use of senses, the disciple will be able to improve reactions, perception and movement co-ordination. The disciple will learn to use the opponent’s force and power, bringing the opponent into imbalance stances and thus neutralizing the aggressive action. The above descriptions may sound an easy thing to accomplish, but the co-ordination required is much more complex. Cimande is simple when you understand how it is being practice, but obtaining the state of art is initially very difficult, painful and tedious. The extraordinary aspect of this Silat practice lies in its simplicity. Every movement in Cimande Silat is being so of itself, stance, steps and calculated ergonomics poise depending on our body structures and builds. This Silat apprehends the correct form of styles and techniques that are beneficial to the practitioner and towards which he is naturally inclined. The next step is to explore the person’s ability and hence develops his skill effectively, blending the basic Silat movements with suppleness and fluidity. This also makes the practitioner’s body flexible, a contrast from other forms of martial arts which requires muscular bound bodies. That is why it is difficult to identify this Silat exponent which does not by any stretch of the imagination, bring to one’s mind a martial arts exponent

Jurus Pepedangan Cimande (Cimande weapons)

After mastering the jurus buang kelid the next stage of training is the jurus pepedangan . These jurus are a simulation of combat with weapons. This style is stressing on the flexibility of the feet and striking techniques using the Golok and pedang and cane. Rattan cane is used to replace the sword/machete when doing training or mock fight.

1. Ela-ela
2. Ela-ela sabeulah
3. Selup kuriling
4. Selup jagangan
5. Selup tagogan
6. Setup piceunan
7. Balungbang
8. Balungbang sabeulah
9. Serongan
10. Serongan sebeulah
11. Samberan
12. Samberan sabeulah
13. Selup piceunan dua kali
14. Opal likur
15. Selup piceunan dua kali dabeulah
16. Opal likur sbeulah
17. Selup bohong

The pepedangan consists of 1 set of flow of moves, i.e. elakan sebeulah - selup kuriling - jagangan - tagongan - piceunan - balungbang - balumbang - sabeulah - opat likur - buang dua kali - selup kuriling langsung - selop bohong

Real Cimande is a fighting art, in which it usually took place in confined areas such as winding paths of the jungles or within the lanes of the kampungs (villages) in the past. To fully understand the art of fighting in Cimande Silat, one requires patients and understanding of the natural surrounding and environment one must learn to observe the scenery of the mountains and the jungle eco-system with the filing of atmospheric change, enthusiasm and initiation. To have experienced such things, the disciple will understand the existence of Silat in a boarder sense. Indeed, those who have explored the jungles gorges, rivers and mountains will also experience one’s own nature, both physically and emotionally. In the climax of exhaustive exploration, he naturally discovers that all the senses and faculties of fitness, courage and decisiveness will be fully tested. Without such experiences and understanding, Silat loses its primary purpose and as a result, some Silat practitioners of today are deviated from the true path. Therefore, the solution to thr problem requires adjustments and reassessments in the practitioners themselves.

Tepak Selanchar

The "Aliran Cimande" is also very famous because of its art form or "kembangan", which is usually thought of as the root of Sundanese "Penca kembangan". They have a famous "ibing", that is called "Ibing Tepak Salancar Cimande", which is of marvellous beauty to see and hear (together with the "Gendang Penca" music ensemble)In essence within the Girang style as taught by Guru Haji Pak Muhammad Mang Ipin there are within the Pencak Silat Cimande Girang from Tarik Kolot, Cimande village in West Java use the first original dance of Cimande as passed on from Maulana Sultan hassan udin, its originator. 3 Tepak Selancar is a demonstrative art moves (accompanied with pencak drum beats) and not only used for kembangan but also for buka gellangang (to ritually open the school/training area). This style is only performed for the beauty as each move is very artistic and is followed by music in form of pencak drum beats, which includes 2 large drums (indung) and 2 smaller drums (kulantir), which regulates the rhythms. Melody of the trumpet and as small gong (kempul) or bende which accompanies every move should follow the beating of drums. Common standard music titles are: Tepak Dua, Tepak Dungdung, Paleredan, Golempang and Tepak Tilu.

Cimande Silat teaches us is the way of learning to depend on your inner-self for expression, which must not blindly follow the master. Silat Cimande practitioner must have the feeling of independent, self-reliance and not finding security in imitating the style of his Silat Guru. A martial artist who exclusively drills on set styles of movement is losing his freedom of understanding fluid body coordination. This martial artist will actually become a slave to a fixed system of styles that will soon reveal the lacking of dexterity and pliability. True Cimande Silat teaches us how to understand human nature first, then to liberate yourself to the movement of the movement of the suppleness and gracefulness, every movement of this step should never be considered the ultimate truth. The steps are just the basic of understanding form of movements and it is never a final usage in martial art. Silat in itself means Man

Student Candidate and Code of Ethics

All candidates of Cimande students are required to obey and honor certain rules and code of ethics of the school before entering into training. One of the requirements is to go through a series of traditional 7 day fasting from Monday through Thursday..Patalekan Cimande is explained in such a way and repetitively to student candidates in order for them to fully understand and comprehend while their hands are being held by the teacher as symbol for acceptance. The next step is for the teacher to say a prayer, tawasul, and drop a mixture of water and bettelnut (sirih) extract that has been blessed into t the student's eye (peureh), this tradition is called "keceran" and is meant to sharpen the student's eyes. The function of Cimande is basically for spreading Islamic Sufism, and therefore the devotion for God and His apostles while doing all of His commands and avoid the taboos is a must to all Cimande practitioners. Cimande is used for controlling all animal lust and other lust that does not benefit human beings. Cimande is not to be used for controlling (or having superiority against) other human beings. Talek Cimande is basically the spirit of the pencak itself, without Talek Cimande, the pencak is like a corpse without soul which spreads out an unpleasant (rotten) smell. The silsilah is incorporated into the structure of training in cimande , the prayer amalan tasawal serves a dual purpose, it is a way of paying tribute as well as means of seeking the spiritual blessings berkah of past masters . The invocation of their names both authenticates and blesses practices in the present. The oath talek acts as both a contract between guru and disciple , and as a guideline for appropriate behaviour.

Cimande oath (Patalekan Cimande) :

1. Faithful and obedient to God and His apostles
2. Respectful to parents
3. Respectful to teacher and government (ruler)
4. Avoid gambling and stealing
5. Avoid arrogance, boasting or showing off
6. Avoid adultery
7. Avoid lies and deception
8. Avoid drunk and drugs
9. Do not take advantage or abuse fellow creatures of God
10. Do not pluck nor take without permission
11. Avoid envy and hatred
12. Do not avoid paying debts
13. Always be polite, humble and appreciative to other fellow human beings
14. Learning Cimande is not for showing off, boasting or for acting recklessly, but for achieving safety on earth and in heaven.

The true Silat Cimande is not governed by fixed form of styles that distinguishes it from other styles. It is actually a form of self-examination which does not depend upon series of rules or classification of techniques and methods. The core of understanding Silat lies in the individual mind that has been orientated into the Sundanese way of life; cultural, environmental and religious knowledge. Learning traditional Cimande Silat constant process of understanding the history and heritage of the Sundanese culture. Cimande is never a giver of truth. It is only a guide to the truth that the practitioner must discover and explore both internally and externally, until ultimately it is fully integrated into his inner self. It is the truth that transcends styles and discipline. It is the simplicity of the art and the beginning of understanding nature and of our inner-being. Finally Silat Cimande to the practitioner means life, whereby the involvement of spiritual aspect, the chanting of Gods names and ritual prayer for developing closeness to the heart, soul and kinetic art of mind over mater as well as the force of cosmic energy by an intense and intuitive use of the senses to achieve the so-called connection to the heart of divinity or to develop a sixth sense. It is not easy to master Cimande Ilmu Persilatan Silat Cimande Girang. The disciple mast ask God for the answer, let it be the Hindu God, the Muslim God, the Buddhist God, the Christian God, the god of Moses; It is One God for all. Learn the five principles of Silat is Kembangan, buah, isim, bigi and finally batin Silat. Kembangan incorporates patterns and ergonomic applications of the human anatomy, purpusly for health and expressing the artistic movements. The buah is the result of a Kembagan when fertilized; it eventually bears buah and these forms of sequences of Cimande combat techniqes. The Isim is the understanding inner forces by regular and routine breathing techniques meditation and prayer. The Bidji is related to herbs medicine and anatomy for developing internal energy. Lastly the spiritual Batin is the understanding of our existence and relationship with God and faith in true religious knowledge under a true guide and teacher.

In some ways, you might say that Cimande theory is as simple as hit and block. It is a powerful art, with most of the Indonesian men and women family of Cimande hiding from the public what they knew. Even if you were to ask them if they knew pencak silat, they would deny any knowledge of Cimande, or pencak silat in general. Being humble is a big part of being in good standing with the community and being a respectful person in pencak silat. We have no need to prove what we know, because what we know is part of our daily life. If you go to Cimande, you won't find people looking and talking like they know how to fight, but rather like everyday people working together to survive and live ordinary lives. They help one another in the village, sharing their knowledge with their family and neighbors. In terms of its technique and philosophy cimande is defensive and it is strictly forbidden for students to initiate an attack. Cimande is also a physical issue and is in with and supportive of religious teachings but not a substitute to them. Cimande is not only a defense art but it is a total definition of human fulfillment, human essence and human grace. It is a martial art that makes a person fearless. It makes a person forgiving. It makes a person concentrate. Every movement is originated, organized and projected for the parameter in which there is nothing but success. It needs dedication. It needs devotion. It needs time. Real growth in Cimande students comes from real sincere practice. This silat which discloses its true identity is known as the art of the mystical warrior!Cimande Silat Girang as taught by Guru Haji Pak Muhammad Ariffin Mang Ipin and his UK representatives Chikgu Sheikh Abdul Rahman aka Mr Nicholas Blanchette and Mr Simon Das, and other junior assistants is a true way of Silat, with fluid, supple and graceful movements which will lead to the art of the mystical warrior; the Girang Cimande Silat Wallisongo the ultimate achievement of the art of self defense.

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