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Silat

From Wikipedia, the free encyclopedia
For other uses, seeSilat (disambiguation).

Silat
AVietnamesepesilat armed withgolok
FocusSelf-defence
HardnessFull-contact,semi-contact,light-contact
Country of originIndonesia(asPencak Silat)
Brunei,Malaysia,Singapore,southernThailand,southernPhilippines,and southernVietnam
Olympic sportNo
Silat
CountryMalaysia
DomainsMartial Art
Reference01504
RegionAsia and the Pacific
Inscription history
Inscription2019 (14th session)
ListRepresentative List
A demonstration of theMinangkabaustyle of silat.

Silatis the collective term for a class ofmartial artsfrom theNusantaraand surrounding geocultural areas ofSoutheast Asia.It is traditionally practised inBrunei,Indonesia,Malaysia,Singapore,Southern Thailand,Southern PhilippinesandSouthern Vietnam.[1]There are hundreds of different styles (aliran) and schools (perguruan) which tend to focus either on strikes, joint manipulation, weaponry, or some combination thereof.

The wordsilatis used byMalay speakersthroughout Southeast Asia, but is officially calledPencak silatin Indonesia. The wordPencak silathas been adopted globally in reference to professional competitive silat for sport, similar to the Chinese wordwushu.Regional dialect names includepenca(West Java),dikaorpadik(Thailand),silek(theMinangkabau pronunciationof silat),main-poormaen po(in the lower speech ofSundanese), andgayongorgayung(used in parts of Malaysia andSumatra).

Pencak silatis one of the sports included in theSoutheast Asian Gamesand other region-wide competitions. Pencak silat first made its debut at the1987 Southeast Asian Gamesand the2018 Asian Games,both of which were held in Indonesia.[2]Training halls are overseen by separate national organisations in each of the main countries the art is practised. These organisations areIkatan Pencak Silat Indonesia(IPSI) in Indonesia,Persekutuan Silat Kebangsaan Malaysia(PESAKA) in Malaysia,Persekutuan Silat Brunei Darussalam(PERSIB) in Brunei, andPersekutuan Silat Singapura(PERSISI) in Singapore. Its practitioners are calledpesilat.

Both Pencak silat and Silat were recognized as a piece ofIntangible cultural heritagebyUNESCO(United Nations Educational, Scientific and Cultural Organization) in December 2019.[3][4]

Etymology

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The origin of the wordsilatis uncertain. TheMalaytermsilatis linked toMinangkabauIndonesia wordsilek,thus aSumatranorigin of the term is likely.[1]It possibly related tosilambam,theTamilmartial art which has been recorded as being practiced inMalaysiasince at least the fifteenth century inMalacca.[5]The preset forms of silambam are known assilatguvarisai.According to Malaysian source, the word 'silat' is said to originate from the Arabic word 'silah' (سِلَاح) meaning 'weapon'[6]or 'silah' (صِلَةُ) meaning 'connection'.[7]The most popular theory inMalaysiais that it derives fromsekilatmeaning "as (fast as) lightning."[8]

Other theories derive silat from theSanskritśīlameaning morality or principle, or theSouthern Chinesesaulawhich means to push or perform with the hands.[8]The Sanskrit theory is particularly popular inThailand,assilais an alternate form of the word silat in that country. Other similar-sounding words have been proposed, but are generally not considered by etymologists. One example issi elatwhich means someone who confuses, deceives or bluffs. A similar term,ilat,means an accident, misfortune or a calamity.[9]Yet another similar-sounding word issilapmeaning wrong or error. Some styles contain a set of techniques calledLangkah Silapdesigned to lead the opponent into making a mistake.[8]

In its proper usage in the languages of its origin, silat is often a general term for any fighting style. This is still common in Indonesia where in some regions bothsilatandkuntaoare traditionally interchangeable.

Origins

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Legend

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A number of stories exist detailing the history of particular styles, which are often used as origin myths for silat in general. One such tale is of a woman named Rama Sukana who witnessed a fight between atigerand a large hawk. By using the animals' movements, she was able to fend off a group of drunken men that attacked her. She then taught the techniques to her husband, Rama Isruna, from whom they were formally passed down. There are several variations of this story depending on the region where it is told. On the island ofBawean,Rama Sukana is believed to have watchedmonkeysfighting each other while theSundaneseofWest Javabelieve that she saw a monkey battle atiger.[10]

The legend in theMalay Peninsulais where the heroine is named Teemoh. The daughter of arajain the Indonesian Archipelago, her husband is a possessive man named Uma.[8]In this version, Teemoh tries to scare away awhite-rumped shamaormurai batu(more than one of them in some versions) that flies at her as she bathes. With each move the bird makes, she attempts to wave it off with her hands, and spins as it flies around her. Rather than fighting off drunken men, Teemoh fends off her own husband who tries to beat her with a stick for taking so long. The fact that this legend attributes silat to a woman reflects the prominence of women in traditional Southeast society, as can still be seen in the matriarchaladat perpatihcustoms ofWest Sumatra.

Another legend tells of threeMinangkabauwarriors fromWest Sumatra,Indonesia.By their masters' instruction, the young men were travelling north in the hope of attainingmoksha(enlightenment). On their journey, they were caught up in a bloody battle near theThaiborder. One of the three was wounded but managed to escape into a forest. Following a stream, he reached a waterfall where he stopped to rest. The warrior noticed alotus flowercome down the waterfall but even as it was pushed below the surface by the waterfall, the lotus would float back up completely intact. The warrior tried throwing a stone and then a stick at the lotus, both with the same result. Finally he went into the water and tried slashing at it with his sword but the lotus would only swirl away, still unharmed. The exhausted warrior then fell into the water and upon climbing out, he contemplated how this principle of overcoming thehard with the softcould be applied to battle. He subsequently created a method of silat with his two compatriots. This story is often told in the Malay Peninsula either as the origin of a particular lineage or to explain the spread of silat from the Minangkabau heartland intomainland Southeast Asia.A Minangkabau-style silat calledsilek minanginfluenced the style of silat inNegeri Sembilanin the Malay Peninsula.[11]

The time period for this tale is generally believed to be the 14th century. However, a later version with a more Islamic setting places it during the 17th century. In this version, the three men are named Burhanuddin, Shamsuddin and Aminuddin. Rather than a quest north for enlightenment, they journey toAcehwhere Islam has recently been introduced in order to learn more about the new religion. Their status as warriors is not mentioned, nor a battle. Instead, Burhanuddin is filling a water jar when he sees the lotus blossom. He then thought he heard a voice from the tree telling him to teach others what he learned. Upon returning home, each of the three men became religious teachers. This version of the story links it withBurhanuddin Ulakan,a Minangkabau man who studied in Aceh and became the first Muslim preacher in West Sumatra.[12]

History

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Bas-relief of a battle scene atPrambananTemple, Indonesia, depicting weapons of the time such as the sword, shield, club, bow, and akris-like dagger

Thesilattradition is mostly oral. In the absence of written records, much of its history is known through myth and archaeological evidence. It is believed that this form of martial arts developed around the developments ofBukit Siguntang Mahamerukingdom inPalembang,Sumatra,Indonesia.As narrated in theMalay Annals,the beginning of the Sumatran empire, started with a story of Paduka Demang Lebar Daun andSang Nila Utamawhich took place inBatang Musi River.Paduka Demang Lebar Daun was officially styled as the forefather (Mangkubumi) of the Nusantara peoples in Malay archipelago by Sang Nila Utama through their oath. From the Bukit Siguntang Kingdom it developed into three full-grown empires in Malay history. One of them is thePagaruyung Kingdom(West Sumatra,Indonesia) under the rule of KingAdityawarmanaround the 12th century.[13]

The earliest evidence of a more organised silat comes from theRiau-Linggaarchipelago, which acted as a land bridge between the Indonesian Archipelago and the Malay Peninsula. Located between Singapore and Sumatra island, the local population gathered great mobility in small boats. The journeys of these sea-nomads regularly extended as far as theMaluku Islandsin the east, theLesser Sunda Islandsin the south, andTenasserim Islandin Myanmar. At some point or another they came into contact with theThais,Malays,Toraja,Han Chinese,Bugis,Moluccans,Madurese,Dayaks,Sulu,Burmeseandorang asliuntil they spread across the Indonesian Archipelago. Their heterogeneous systems of combat are termedsilat Melayu.Practiced since at least the 6th century, they formed the basis for the fighting arts of Indonesia, Brunei, Malaysia, Singapore, and Southern Thailand. From its birthplace of Riau, silat quickly spread to theSrivijayaempire and the Minangkabau capital ofPariaman,both powers known for their military might. Srivijaya in particular propagated silat as it extended its rule not only throughoutSumatrabut intoJava,Borneo,Cambodia,and theMalay Peninsula.

The influence of theIndian subcontinentandSouthern Chinawere fundamental to the development of silat.[8]By adopting the Indian faiths of Hinduism and Buddhism, Southeast Asian social structure became more organised.[14]Images of Hindu figures such asDurga,Krishnaand scenes from theRamayanaall bear testament to the Indian influence on local weapons and armour.Formsare said to have been introduced by the Buddhist monkBodhidharma,born inCentral Asiaor India (5th or 6th century CE), who came to Southeast Asia via the Srivijayan capital ofPalembang.[14]Many of silat's medicinal practices and weapons originated in either India or China. The slapping actions in silatjurus(in which the practitioner slaps their own body) are reminiscent ofIndian martial arts.[15]Some form of wrestling is indeed portrayed in Indonesian temple art. The martial arts practised by the Chinese community of Southeast Asia are referred to askuntao.[15]

TheBook of Liangmentions a kingdom calledPolingor Poli southeast ofGuangdong.Thought to be located in the Malay Peninsula, the people of this kingdom are said to have customs identical withCambodiaand the same produce asSiam.Their weapons are purportedly the same asChinawith the exception of thechakramwhich locals are said to be highly skilled with. Art associated with thecandi of Indonesiadisplays the weapons of the time. Among the weapons featured in murals are swords, shields, bows, clubs, spears,kris,and halberds. The carveddvarapala(gate guards) found in temples around the region are ogres armed with clubs and swords. Between the 11th and 14th centuries, silat reached its peak underMajapahit.Founded byRaden Wijayaafterrepelling the Mongols,the empire united all of Indonesia's islands and extended its influence into peninsular Malaysia. Silat was and in some cases still is used by the defence forces of various Southeast Asian kingdoms and states in what are nowIndonesia,Malaysia,Singapore,Vietnam,ThailandandBrunei.[16]

Folklore commonly credits the promulgation of silat topendetaor Hindu-Buddhist sages, often through the study of animals and the natural world. The priests were said to combine the animal movements with meditative postures (semadi) and mystic hand positions (mudra), much like thekuji-inof ninjutsu. The animal-based concept was most likely adopted fromIndian martial arts.[17]The village shamans ordukunwould often learn silat both as part of their craft and for defending themselves while travelling.Bomohin some communities such as the Kadayan are required to complete their training in silat before they are initiated. Silat is still an integral aspect of healing rituals such asmain puteri.Through this connection, silat is used as a method of spiritual training in addition to self-defense.[8]Systems exist which focus exclusively on the internal rather than the physical, such as the Joduk style of Bali.[18]

Nomadic boat-dwellers in Southeast Asia and southeastern China were often misconstrued as pirates for political reasons, butFaxianandZhao Ruguaboth described fierce warriors armed with an arsenal of weapons who would attack passing boats around Singapore, Sumatra, Java, and the South China Sea. Local rulers likeParameswararelied on the local boat-people to maintain control of their territory, and they played a key role in the region's power struggles even into the colonial era. True piracy saw an increase after the arrival of the European colonists, who recorded Malay pirates armed with sabres,krisand spears across the archipelago even into the Gulf of Siam. TheHaijinor maritime ban inMing Chinafurther spurred the migration ofChineseto Southeast Asia. MaroonedCantoneseandHokkiennaval officers would set up small gangs for protection along river estuaries and recruit local silat practitioners as foot soldiers known aslangorlanun(Malay for pirate). Chinese pirates likeLiang DaomingandChen Zuyibecame so successful that they managed to come into positions of leadership. Whether pirates or not, Southeast Asia's boat people were crucial to the accumulation of weapons and techniques in silat. Through their journeys they acquired weapons from across the region, came into contact with other fighting styles, and spread silat intoBrunei.[15]

Southeast Asian trade had already extended intoOkinawaandJapanby the 15th century. The number ofJapanese peopletravelling the region increased after theBattle of Sekigahara.By the early 17th century there were small Japanese communities living and trading inIndochina.Some arrived with the official red seal ships while others were warriors and pirates from the losing side of the Sekigahara war. Although mostly confined toSiam,some Japanese escaped to Cambodia and Indonesia after theAyutthaya Kingdomwasattacked by the Burmese.Silat shares many similarities with Okinawankarateas well as the throws and stances of weapon-basedJapanese martial arts[15]which probably date back to this time. Trade with Japan ended when the country went intoself-imposed isolationbut resumed during theMeiji era,during which time certain areas of Malaysia, Indonesia and Singapore became home to a small Japanese population. After theJapanese Occupation,some silat masters incorporated thekatanainto their systems.[15]

As India came under the rule of conquerors from Central Asia and the Middle East, the Indian traders who frequented Southeast Asia introduced knives of Arabian origin to the western coast of the Indonesian Archipelago. Indian-Muslim blades brought a Moorish influence to the shape of a few local knives, most strongly seen in Aceh. These weapons, sometimes erroneously called "Muslim weaponry", spread into Sulawesi and West Malaysia by the 19th century. The only notable examples of such blades are thejambiaand thekaris,the latter being a short Acehnese hook-like knife (not to be confused with the indigenouskris).

Since theIslamisation movementof the 1980s and 90s, there have been attempts to make silat more compliant with modern Muslim beliefs and practices.[14]Many instructors justify this by creating new histories to tie their style with Islam and distance themselves from traditional folklore. Some Malaysian silat schools go so far as refusing to teach non-Muslims, or to perform at non-Muslim weddings. This has given rise to various misconceptions that silat is inherently Muslim or can only be practised by followers of the Islamic faith.[8]In actuality, theHindu-Buddhistandanimisticroots of the art were never eradicated, and remain very evident even among Muslim practitioners. As a result of this modern trend, many traditional practices and styles have become increasingly rare. It is now illegal for Muslim practitioners in Malaysia to chantmantra,bow to idols, or attempt to acquire supernatural powers. Traditionalmeditationis sometimes also discouraged or altered, and the incantations spoken before training or during massage are now often replaced with prayer recitation.

Weapons

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Main article:Weapons of silat
Balinesekriswith golden sheath, surmounted by the face of a demon (raksasa) with diamond eyes

Prior to the introduction of firearms, weapons training was actually considered to be of greater value than unarmed techniques and even today many masters consider a student's training incomplete if they have not learned the use of weapons. Except for some weapon-based styles, students must generally achieve a certain degree of skill before being presented with a weapon which is traditionally made by the guru. This signifies the beginning of weapons-training. Silat uses the principle of applying the same techniques both armed and unarmed, though not quite to the same degree as is done in theFilipino martial arts.Unlike eskrima, silat does not necessarily emphasise armed combat and practitioners may choose to focus mainly on fighting empty-handed. Advanced students practice unarmed against armed opponents.

Among the hundreds of styles are dozens of weapons. The most commonly used are the staff, broadsword, and various types of knives. Silat today is often associated with thekrisor dagger which was traditionally used mainly as a last resort when the fighter had no other weapon available or lost their main weapon in battle. As such, older styles place less importance on the weapon, particularly in Indonesia. However, its significance as a cultural symbol has raised the importance of the kris to such an extent that it has become the primary weapon of many later systems in the Malay Peninsula. Silat's traditional arsenal is largely made up of objects designed for domestic purposes such as the flute (seruling), rope (tali), sickle (sabit) and chain (rantai).

Training

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Silat training inSanta Clara, California.

Initiation

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To signify the initiation of a new student, certain rituals may be carried out. This may include fasting for a few days, or drinking herbal tea. Silat masters traditionally never charged fees for their teaching, but money or some other gift may be offered by the aspiring student. Such practices usually don't apply today, especially outside Southeast Asia, but a few schools like Silat Lintar preserve their own initiation ritual.

Salutation

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Silat practitioners begin and end each routine and practice session by saluting their teacher, partner or any spectators as a show of respect. The handsign used is dependent on style and lineage. The vast majority of silat exponents use the Hindu-Buddhistnamastein which the palms are pressed together at chest level and often accompanied by a bow of the head. This represents the balance of two opposing forces represented either by theharimau(tiger, male aspect) andbuaya(crocodile, female aspect) or by thenāga(dragon) andgaruda(giant eagle). This concept is referred to asjantan betina(male-female) and is equivalent to the androgynous IndianArdhanarishvaraor the Chineseyin and yang.The head or upper body is usually bowed as a sign of humility. This was used as a greeting in ancient times, as can still be seen throughout much ofIndochina,and until recent decades it was also a form of apology among Malays. The practical purpose of the salute is to trigger the proper state of mind for training or fighting. Additionally, it serves as a technique in itself to block attacks aimed at the face.

Some traditionalJavaneseschools use another handsign in which the left hand clasps the right fist. In the context of silat, the fist symbolises martial skill while the opposite hand is a sign of courtesy and camaraderie. This is meant to convey mutual respect and shows that the fighters are willing to learn from each other. Like the namaste it recalls the idea of duality. A few systems, such assilat Pattani,may have their own form of salutation unique to that particular system.

Stances and footwork

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Main article:Footwork (martial arts)

Every style of silat incorporates multi-level fighting stances (sikap pasang), or preset postures meant to provide the foundation for remaining stable while in motion. Thehorse stance(kekuda) is the most essential posture, common to manyAsian martial arts.Beginners once had to practice this stance for long periods of time, sometimes as many as four hours, but today's practitioners train until it can be easily held for at least ten minutes. Stances are taught in tandem withlangkah(lit. "step" ), a set of structured steps. Langkah consist of basic footwork and kicks made to teach how best to move in a fight. Thelangkah kuching(cat step) andlangkah lawan(warrior step) are among the more prominent examples of langkah. After becoming proficient at langkah, students learn footwork patterns ortapak( "sole" ) from which to apply fighting techniques. Each tapak takes account of not only the particular move being used but also the potential for change in each movement and action. Among the most common formations aretapak tiga,tapak empatandtapak lima.All together, the stances, langkah, and tapak act as a basis for forms-training.

Forms

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During performances, practitioners would usually perform a full set of jurus to emulate a full combat scenario.

Forms orjurusare a series of prearranged meta-movements practised as a single set. Their main function is to pass down all of a style's techniques and combat applications in an organised manner, as well as being a method of physical conditioning and public demonstration. While demonstrating a form, silat practitioners often use the open hand to slap parts of their own body such the shoulder, elbow, thigh or knee. This reminds the pesilat that when an opponent comes close there may be an opportunity to trap their attacking limbs. Aside from solo forms, they may also be performed with one or more partners. Routines pitting one fighter against several opponents are common in silat. Partnered forms are useful for teaching the application of techniques, particularly those attacks which are too dangerous to be used in a sparring match.

Tari( "dance" ) are freestyle forms which haven't been arranged beforehand but are created spontaneously. With a partner, tari is used as a way of sensitivity training similar to Chinesechi sao.[14]The aesthetic aspect of forms is called flower (kembanganorbunga) or art (seni) forms. They are performed in slow, graceful movements with a dance-like quality.

Sparring

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Sparring in silat may be done according to official competitive rules with protective gear, or traditionally with no protection at all. In either case, attacks to vital areas are prohibited. Sparring, as with silat training in general, was often done in varying conditions to prepare the fighter for combat in any situation. The most common of these was training in dim light, sparring against several opponents, fighting unarmed against a weaponed opponent, and fighting in darkness or blindfolded. Others include fighting in a tight space (common in Bajau styles), on a slippery surface (as in Minang styles), or from a seated position (a fundamental of Sunda styles). Experienced practitioners may fight against up to twelve opponents, a practice known askerojokinJavanese.The defender is attacked by both armed and unarmed opponents. Weapons can be interchanged between the attackers, while the defender is allowed to steal and use the weapons against them. These matches were traditionally full-contact and highly dangerous, but are generally kept light-contact today.

Competition

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While sparring may vary according to style and school, official matches follow the rules outlined by IPSI. These are:

  1. Strikes are only legal if they hit between the shoulder line and the waist. Each successful strike is awarded one point.
  2. Hitting the face or below the belt is a penalty.
  3. Throws in themselves are not awarded points, and ground follow-up is permitted.
  4. A joint-lock is awarded 10 points.
  5. Immobilising the opponent by holding them helpless is worth 5 points.

Energy

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In silat culture, the energetic body consists of interlocking circles calledcakera.The cakera's energy rotates outwards along diagonal lines. Energy that emits outwards from the centre line is defensive while offensive energy moves inwards from the sides of the body.[14]By being aware of this the silat practitioner can harmonise their movements with the cakera, thereby increasing the power and effectiveness of attacks and movements. Energy could also be used for healing or focused into a single point when applied tosentuhan,the art of attacking an opponent's pressure points. Folklore describes legendary techniques that allow the fighter to attack from afar using energy alone without physically touching the opponent.

Terms of address

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In Indonesia, anyone who teaches silat is addressed asGuruor teacher. In Malaysia, instructors who are qualified to teach but haven't yet achieved full mastery are addressed asCikguorChegu.Masters are calledGuruwhile grandmasters are calledMahagurumeaning supreme teacher. The termscikguandguruare often interchangeable. An elderly male master may be addressed asTok GuruorTuk Guru(lit. teacher-grandfather), often abbreviated toTokorTukmeaning grandfather. The Javanese equivalent of this term isEyang Guruwhich may be used for an elderly master or the teacher's master. In all countries where silat is practised, the honorary title ofPendekarmay be officially bestowed onto a master by royalty or unofficially by commoners.

Music

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Basic drum set

Music is used in silat to determine the rhythm of a trainee's movements. This training aspect, often simplistically seen as "performance", is what is known aspencak.These movements are often displayed during festivities such as weddings or a royal installation. They can be done either solo or with a partner and are accompanied by music played by a live band. Several traditional dances were influenced by silat, such as theinaifrom northern Malaysia. In the Minangkabau area silat is one of the main components in the men's folk dance calledrandai,[19]besidesbakaba(storytelling) andsaluang jo dendang(song-and-flute).

The music played during silat performances is known asgendang bakuin the Malay Peninsula, andgendang penchaamong theSundapeople ofWest Java.The traditional tunes are often influenced byNepalese music.The instruments vary from one region to another but thegamelan(Javanese orchestra),kendangor gendang (drum),suling(flute) andgongare common throughout Southeast Asia. Drums are the main and sometimes only instrument inMinangsilat ofWest Sumatra.The most common instruments inMalaysiaare thegendang(drums) andserunai(oboe). Music from the northern part of the Malay Peninsula more closely resemblesThai music.

Types of silat drums include thegendang ibuor "mother drum" and thegendang anakor "child drum". Theserunai,which also comes in long and short variations, is what gives silat music its distinct sound.

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Film

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Silat's appearance in film dates back to black-and-white Indonesian and Malay movies.Shaw Brothersand Cathay-Kris Studio produced more than 40 popular titles featuring silat in Malaysia during the 1950s-60s. Famous examples from this period includeTiger from Tjampa(1953),[20]Panglima Besi,Seri Mersing,Musang Berjanggut,Hang Jebat,Serikandi,and Malaysia's first colour movie,Hang Tuah.While silat was featured in all these films for the purpose of the plot, the depiction of the art was not a priority. What was shown was essentiallysilat wayang,designed for stage performances. There was very little choreography arranged beforehand and they were never promoted as either action or martial art movies. Accordingly, actors at the time usually had no prior training in silat, resulting in what are now considered generally poor depictions of the art. However, silat became increasingly prominent in Indonesian movies during the 70s, resulting in more professional and authentic depictions of the art in both historical films as well as action movies. Indonesian action stars Ratno Timoer and Advent Bangun were famous for 80s silat films such asThe Devil's SwordandMalaikat Bayangan.In Malaysia on the other hand, silat became increasingly rare on-screen during the subsequent decades. After the year 2000, silat was featured to varying degrees of importance in popular Malay movies such asJiwa Taiko,Gong,KL Gangster,Pontianak Harum Sundal Malam,and the colour remake ofOrang Minyak.Other notable instances of authentic silat in film include the following:

  • Puteri Gunung Ledang,Malaysia's first big-budget movie, featured two highly publicised fights choreographed by a silat exponent. Upon the film's release these scenes were not well-received, with reviewers criticising the battles as badly-choreographed, too short, and generally over-hyped.[21]
  • Queens of Langkasukais the first Thai film to prominently feature silat. Among the few other Thai movies to do so is 2008'sOng-Bak 2which only briefly features a style of tiger silat.
  • The 2009 Indonesian filmMerantaushowcased Silek Harimau, one of the oldest silat systems in existence. The film had a positive reaction from cinema critics[22]and is credited with reviving Indonesia's martial arts in film.[23][24]The movie generated enough interest for the film's director and lead actor to follow up withThe Raid: Redemptionin 2011 which received international acclaim. Its sequelThe Raid 2: Berandalwas similarly well-received but drew criticism for itsgraphic violence,[25][26]and was banned from a theatrical release in Malaysia.[27]
  • The 2014 Indonesian movieThe Golden Cane Warriorhas helped revive interest in the historical silat genre (cerita silat) which has been dormant in film for years.[28]
  • The 2014 Brunei movieYasmineis about a teenage female protagonist who learns silat.[29]
  • The 2016 American filmThe Accountantfeatures the main character being trained in and using silat.[30]
  • The 2018 Indonesian movieWiro Sableng 212also revived the historical silat genre, adapted from popular silat novel series in Indonesia titledWiro Sableng.Set on the 16th century island of Java, it tells the story of Wiro Sableng, a youngpendekarwho receives a task from his teacher Sinto Gendeng, a mysterious old female warrior, to arrest Mahesa Birawa, an evil villain which is also her former student.[31]

Television

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Pencak Silatfinals at the SEA Games XXVI

Period dramas which feature silat have been a common staple of Indonesian television for many decades, typically supplemented by wire-work and/or CG effects. In Malaysia, this genre is said to have reached its peak during the 1990s when directors like Uwei Shaari strove to depict silat in its original form by casting martial artists rather than famous actors. Series from that period such asKeris Lok Tujuh,Pendekar: Bayangan HartaandKeris Hitam Bersepuh Emasare still regarded as the country's best costume dramas before the genre began to decline in Malaysia after the early 2000s. Aside from period dramas, authentic silat is often featured in other genres, such as the Indonesian seriesMawar Merahand the made-for-TV children's movieBorobudur.In Malaysia, various styles of silat are regularly showcased in martial arts-themed documentary serials likeMahaguru,GelanggangandGerak Tangkas.Other instances of silat on television include the following.

Literature

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Silat in the literary tradition can be traced back to the oldhikayator epics which became popular as literacy spread among Southeast Asian commoners, specifically commoners from theMalay Peninsulabeginning around the 13th century. Stories such asHikayat InderajayaandHikayat Hang TuahfromMalaysia,focus on legendary or semi-historical martial artists. In Indonesia, this tradition has continued into modern times in the form of historical silat novels orcerita silat,equivalent to the Chinesewuxiagenre. Notable authors include Bastian Tito, Kho Ping Ho and S.H. Mintardja whose popular books have been adapted into period-dramas for television such asWira SablengandNaga Sasra Sabuk Intan.While this genre is nearly unknown in Malaysia, silat does sometimes feature in Malay novels andanthologiesset during theMalacca Sultanateera. Outside Asia, silat was referenced inTom Clancy's Net Forceby Steve Perry, although the books give a fictionalized portrayal of the art.

Comics

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The earliest instance of silat in graphic novels are found in Indonesian comics of the 1960s which typically featured heroes that were expert martial artists. The titlesSi Buta Dari Gua Hantu,Jaka Sembung,Panji TengkorakandWalet Merahall gave rise to popular films in the 1970s and 80s. Indonesian action starBarry Primamade a name for himself portraying the character ofJaka Sembung onscreen.Silat is featured in Malaysian comics as well but none have become well-known, due partly to the genre not being popular among Malaysians. Outside Southeast Asia, silat has been featured in the Japanese manga titlesKenichi: The Mightiest DiscipleandKengan Omega.

Radio

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The most well-known Indonesian radio shows began in the 1980s, all of them historical dramas concerning the adventures of martial artists in Hindu-Buddhist kingdoms of medievalJavaandSumatra.The most famous of these wereSaur Sepuh,Tutur Tinularand its sequelMahkota Mayangkara.Each programme was highly successful in their home country, and continue to spawn films and television series.

See also

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References

[edit]
  1. ^abGreen, Thomas A.; Svinth, Joseph R. (2010).Martial Arts of the World: An Encyclopedia of History and Innovation.ABC-CLIO. p. 324.ISBN978-1-59884-243-2.
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  3. ^"UNESCO - Traditions of Pencak Silat".ich.unesco.org.
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  5. ^Tan Sri Dato' Seri Ahmad Sarji bin Abdul Hamid.The Encyclopedia Of Malaysia: Sports And Recreation.Kuala Lumpur: Archipelago Press.
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Further reading

[edit]
  • Quintin Chambers andDonn F. Draeger(1979).Javanese Silat: The Fighting Art of Perisai Diri.Tokyo: Kodansha Internat.ISBN0-87011-353-4.
  • DeMarco, M. (2010). "Practical Fighting Strategies of Indonesian Kuntao-Silat in the Willem Reeders Tradition"
  • Sarina Md. Yusof, Suhana Aiman and Norlizah Abdul Hamid (2005). Physiological Profile of Malaysian Silat Olahraga Athletes. Institute of Research, Development and Commersialisation (BRC),Universiti Teknologi MARA,Malaysia, Project file no.: 600-FSR (5/2)27.
[edit]
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