07 February 2008

Silat Kuntau Tekpi Podcast

Silat Kuntau Tekpi USA has hosted its first podcast on its site and is open to everyone. In the first episode, cikgu muda Jeff Davidson (a.k.a. JDTekpi) interviews cikgu Omar B. Hakim as he describes his early development in the Southeast Asian martial arts under Tuhon Gaje, and his later experiences in Indonesia and Malaysia.

You will hear some fascinating insight into the theory and practice of the Melayu fighting arts from cikgu Omar's unique perspective. Omar is very highly regarded in Pekiti-Tirsia circles - and deservedly so. I am happy that you guys will be able to benefit from his knowledge via this podcast.

Listen to guru Omar Hakim talk about: Kali, Mande Muda, Silat Cekak and Silat Kuntau Tekpi.

Click here to listen http://web.mac.com/tekpi/Tekpi.Org/News.html

06 February 2008

Hang Tuah - Man or myth?

Who is Hang Tuah? Warrior, mystical figure or a figment of a writer’s imagination? ALLAN KOAY talks to a historian about whether documentation leans towards man or myth.
Many stories abound, of the great Malay warrior, who – along with his four friends, Hang Jebat, Hang Kasturi, Hang Lekir and Hang Lekiu – upheld and protected the kingdom of Melaka, and who was so loyal to the Sultan that he even killed his own friend who had rebelled against the ruler.
Schoolchildren grow up learning about the adventures of Hang Tuah, older students study them in history lessons. Filmgoers have seen Hang Tuah in many guises, the latest being M. Nasir’s portrayal in the RM16mil epic Puteri Gunung Ledang.
Yet, according to Prof Datuk Dr Mohd Yusoff Hashim, who has written several books and hundreds of articles on Melayu history, there is no solid historical record that could undeniably prove Hang Tuah’s existence. Except for one.
Prof Yusoff, whose books include Persejarahan Melayu Nusantara (Historiography of the Malay Archipelago) and Sejarah Melayu: Persepsi Sejarah dan Kesusasteraan (Sejarah Melayu: A Historical and Literary Perspective), strongly believes Hang Tuah did exist, and that the proof is in the Sejarah Melayu written in 1537.
The main problem, said Prof Yusoff, is that people’s perception of who Hang Tuah is very much coloured by the more fictional Hikayat Hang Tuah.
"Malay literature consists of many genres, such as history, undang-undang (laws), religion and epics. We have to differentiate between them," said Prof Yusoff, who is president and rector of the Malacca Islamic College of Technology. "The story of Hang Tuah comes in two genres – history and the epic."
The only historical record that perhaps could prove the existence of Hang Tuah, portrayed by M. Nasir in the film Puteri Gunung Ledang, is the Sejarah Melayu.
Oral history also plays a part in the story of Hang Tuah, and Prof Yusoff sees that as problematic because oral history can be very speculative.
"People can say anything they want," he explained. "The Javanese say Hang Tuah originated from Java. The Bugis say he originated from Bugis. The Perak people say he came from Perak. These people based their stories on the oral tradition. Of late, they are saying Hang Tuah came from China."
Sejarah Melayu was written much, much earlier than Hikayat Hang Tuah. According to Prof Yusoff, the earliest version of Sejarah Melayu was written in 1537.
"After that, it became a very popular work," he said. "It was copied and re-copied so many times that now, we have at least 29 versions of the Sejarah Melayu."
The Hikayat Hang Tuah is believed to have been written sometime between 1641 and 1726, and as such, the book contains a lot of additions, omissions and interpolations. It is "an epic based on
historical facts" and as such, should not be taken literally as the truth, but should be regarded as truth blended with fiction.
But Hikayat Hang Tuah proved to be the more popular work, as it contains fantasy and romance, unlike Sejarah Melayu which contains facts and records of historical events that, to the layman, may be dull and boring.
In Hikayat, the famous warrior is portrayed as having mystical powers and lethal fighting moves. He even possessed the ability to speak many languages, after being given a magical potion by a prophet. All he had to do was dab his lips with the potion and he would be able to speak the local tongue of whatever locale he was in.
As such, the writer of Hikayat wrote that the warrior was an ambassador sent by the Sultan to many foreign countries such as India, China and Turkey. He is said to have even performed the Haj.
Prof Yusoff said none of this is mentioned in Sejarah Melayu. But he believes the writer probably referred to various written works for ideas. In fact, Prof Yusoff made an interesting discovery in his research.
"The writer also referred to the Bustan’us-Salatin (Garden of Kings), which was a historical and religious work by Sheikh Nuruddin ar-Raniri (a religious scholar from Aceh)," he explained.
"This work was written in the early part of the 17th century. So it was written earlier than the Hikayat Hang Tuah. I found that the writer of the Hikayat not only referred to the Garden of Kings, but also copied certain passages word-for-word, to make up the story of Hang Tuah visiting Turkey.
"And the story about Hang Tuah visiting China was taken from the Sejarah Melayu, from the story about Melaka delegates headed by Tun Perpatih Putih who were sent to China.
"Hang Tuah may have been an ambassador, but he was probably sent to only as far as Indonesia and other places in the Melayu Archipelago."
Hang Tuah, according to Sejarah Melayu, also never met Puteri Gunung Ledang, but it was instead a member of his entourage who met the princess and noted her conditions for marrying the Sultan. Hikayat Hang Tuah also claims that Hang Tuah and his entourage went to Majapahit 10 times, but in the Sejarah Melayu, they only visited it once.
Hang Tuah also never went to Pahang to bring Tun Teja back to Malacca, as written in Hikayat, but it was a court official by the name of Hang Nadim who did so. Hikayat’s immense popularity, said Prof Yusoff, could possibly account for the many discrepancies and variations pertaining to the story of Hang Tuah, and it even prompted some people to claim that Hang Tuah never existed and was just a figment of someone’s imagination. And the many versions of Sejarah Melayu also add to the confusion.
It has been long known that it was not Hang Jebat but Hang Kasturi who was killed by Hang Tuah, and Prof Yusoff said this was written in the original Sejarah Melayu. But the more popular story that involves Hang Jebat prevails in people’s minds. That episode alone has over the years divided opinions.
In the P. Ramlee film Hang Tuah, as Hang Jebat dies in his arms, Hang Tuah (played by P. Ramlee) utters: "Siapa yang bersalah? (Who is wrong?)"
In the 1960s and 70s, the popular opinion was that Hang Jebat was the hero, and Hang Tuah was giving blind loyalty to the ruler. But Prof Yusoff said this view was borne of the anti-establishment mindset of the time.
"To me, Hang Tuah was the hero," he elaborated. "He was the one who really upheld the kingdom. Without this kind of character, the kingdom would have fallen into chaos and collapsed. Whatever happened, regardless of what people said about him, he remained loyal to the ruler, until the day he died.
There was even an anecdote about how, one day, the Sultan’s horse fell into a pool of faeces. No one dared rescue the horse, except Hang Tuah. He jumped into the pool and pulled the horse out. After that he had to clean himself for seven days and seven nights.
"That may be a joke, but the message is about undivided loyalty. The king is the highest, without whom there would be no kingdom. After all, the word kerajaan (kingdom or government) comes from the word raja (king)."
But it remains that no definitive historical record exists to prove Hang Tuah’s existence, except for Sejarah Melayu. Even in The Suma Oriental, by Tome Pires who came to Melaka in 1513, two years after the collapse of the empire, there is mention of a laksamana (admiral) but no specific mention of Hang Tuah by name. But the site claimed to be the grave of Hang Tuah in Tanjung Kling, Melaka, was gazetted by the state government more than 10 years ago as the true Makam Hang Tuah.
And Prof Yusoff remains strongly convinced that Hang Tuah was a real person, of flesh and blood, who lived in Melaka and served under three rulers, and died during Sultan Mahmud’s rule. And his reason is more than convincing.
"I dare say that Hang Tuah was a real figure, and I base my conclusion on the Sejarah Melayu," he said. "If you deny Hang Tuah’s existence, it means you also deny the whole historical text of the Sejarah Melayu."
Sourced from www.tourism-melaka.com/melaka/hangtuah.pdf

05 February 2008

Fight Quest - Pencak Silat Review

Here's a review of the Fight Quest - Pencak Silat episode by a good friend, Azizul Ismie Mohd Puad (a.k.a Djambu), a pesilat currently studying medicine in the Ukraine. Visit his blog here about life as a Malaysian student in Odessa.

"I watched the episode after successfully downloading it from the internet. The line was quite bad, but I managed to download it after a few days of trying.

"This time, a pair of white guys [Jim and Doug] go around the world to learn the various martial arts from each continent. They reached the nation of Indonesia and studied the art of silat under guru Rita Suwanda and guru Dadang.

"In the end, they have to battle with the champs of pencak silat [or maybe the champs from Perguruan Silat Mande Muda] The episode is absolutely better compared to the Human Weapon: Silat episode [The History Channel].

"I say this because this time, the program managed to get their facts straight. No made-up stories to spice up the show. Just plain, true and simple facts. The training session also looks more gruel and demanding even though I'm quite sure that the secret training ground is not so secret [if it's secret, it won't be shown on tv right?].

"I loved the part when Jim says that he can't really get the 'art' part in 'martial arts'. At least, he admitted it and tried. I also loved the part when guru Rita Suwanda expained why the hand movements are done so and so and the difference between the guarding pose [as explained by Jim].

"Still, the guarding pose is used in Mixed Martial Arts bouts to protect the face but in pencak silat tourneys, the face and neck are not to be hit. In one of the training sequences, Ddoug accidentally hit his opponent's neck causing him to gag.

"But later he got his fair share of pain when his foot hit the other guy's elbow and began swelling like 'a zombie in a movie'. The fight scene in the end also was more fair compared to the Human Weapon episode because this time, they fought in a proper ring, proper attire and with proper juries.

"Human Weapon: Silat episode's final fight was supposed to test the white guy with 5 vs 1 but it was really 1 vs 1 with 5 guys, one after another. [In the end the white guy passed. I'm sure if it's really the final test for Silat Gayong, the guy would have failed]

"Even though Jim and Doug lost their matches, I think guru Rita and guru Dadang have done a great job in promoting silat to the world".

Thanks for letting me pinch the review djambu!

04 February 2008

International Paris Open Pencak Silat 2008 (IPO 2008)

The International Paris Open Pencak Silat 2008 (IPO 2008) will held in Paris on March 21-23 2008. It consists of demonstrations, Silat Olahraga and Silat Seni tournaments. I will post more information as they become available.

Watch the snazzy trailer for the event below.


Original Article by Mohd Nadzrin Wahab

03 February 2008

Pendekar

In Malaysia, Pendekar is a term normally associated with persons who have very good or exceptional mastery of Silat Melayu.

This term is probably the best starting point if one wants to understand what Silat is and the attitudes, mentality and culture of the people who practice this very deadly art form.

The word Pendekar comes from a combination of two malay words, 'Pandai' which means clever and 'Akal' which means mind or intellect. It is hard to convey the actual nuances when these words are expressed in malay but roughly Pendekar can mean 'Clever Mind'. This meaning trancends just mere martial arts skill alone as a Pendekar is also respected by the society that he lives in for his wisdom and knowledge, an embodiment of an ideal concept. He is sought for his counsel and ability to heal, a contrast to his deadly skills.

In the art that the Pendekar practises, this utilization of the intellect to rationalize the full range of weapons that he has been naturally endowed with is expressed in the way that he uses the body as an integrated system devoted to the subjugation or destruction of his enemies whichever is most suitable for the situation at hand. In Bahasa Melayu this is expressed as 'Dari hujung rambut ke hujung kaki', meaning 'from the tips of our hair to the tip of our toes', all are potential weapons to be used at the right moment.

He is not locked in by a single paradigm but understands that his knowledge and perception is limited, humility and nobility is his character and reflected in his behaviour. In many cases the Pendekar is also a religious leader in his community. Frequently he would have travelled extensively and studied under many masters of different styles.

The Pendekar may teach an amalgamation of these styles but not giving any name to the art form that he teaches. He normally chooses to teach in small groups of students and often the best teach in this manner.

To a layman, the Pendekar may not be recognisable as a fighter. They are quite often small in stature typical of the people from this region, soft spoken and gentle, moving with the grace of a dancer. When a Pendekar executes the 'Bunga' silat, a flowery dance like form typical of Silat styles you see grace and very little power.

And yet when a Pendekar explodes into action, the whole body moves with grace, precision and power, making full use of the opponents own momentum to subjugate and destroy him. Often, it is the opponents own aggresiveness force that defeats him for the Pendekar will flow with the attack, never confronting force with force unless it is absolutely necessary.

You will not see a Pendekar moving in an uncoordinated manner, he will normally stand still upright in a relaxed stance not quite what a layman expects. At times he may assume postures to confuse or entice an enemy to fall into his trap.

He may simply stand with both arms to his side even in the face of an agressive opponent calmly devoted to the remembrance of his Creator even as he faces his enemy. His attitude is that all his opponents and he himself are encompassed within the power of their Creator, there is no power that can subjugate but the Creator's and it is to HIS will does the Pendekar submit.

A true Pendekar will teach his students this for when the opponent is full of rage, we must be calm, for in calmness via this remembrance will, god willing, victory come to us. Rage will reduce our intellect and by so doing the full execution of our Silat is not possible. Fire must never be fought with fire but with elements that will douse that fire.

Perhaps the best way to illustrate this is a response to a simple punching attack to the solar plexus. As the punch is executed by the opponent, the Pendekar who may stand upright in a normal standing position rotates his body by explosively rotating his hips, putting his weight on the balls of his foot.

Force is generated by the rotation of the of the hips, ball of foot, shoulders, which is also flexed at the instance of striking, and a flick of the wrist so that the full force of his body and arm arrives as a highly focused one or two finger strike to the opponents throat.

He makes no move to block the punch at all and the opponents fist may actually hit him but because he has rotated his body the punch has lost it's lethal power. The Pendekar realizes that a strike is only effective if it is focused, move beyond the range of this focus even a little bit and the opponents strike is of no consequence. A simple movement will suffice. Why run when we can walk?

A term for this kind of close range combat is called 'sepadi'. 'Padi' is a grain of rice, so this word means that the distance between us and the opponent is just one grain of rice. The style of flow is called, 'angin se angin, colek secolek' which is a bit difficult to translate. 'Angin' can mean wind or breeze, 'colek' is like a gentle playful stroke or prodding with our finger.

Roughly it conveys the meaning that we move like the air striking with precision, often the finger or toe is used as nerve strikes. Light taps are used to unbalance the opponent keeping him under the Pendekar's control.

This is the essence of Silat, subtlety, speed, flow, often seemingly gentle to the point of impracticality and utilization of the human intellect. A Silat style as practised by the PENDEKAR reflects the culture and attitude of the Melayu, a race known to be gentle, polite, soft spoken and yet fierce when provoked.



A book I would love to own, but is only available in libraries today.
This article was written by Abu Mansur and was sourced from http://www.geocities.com/~pendekar/

02 February 2008

Appreciate, before it's too late

Silat. Pencak. Gayung. Call it what you want, there’s just no denying that all of these are a part of the whole. Melayu, Bugis, Sunda, Minang, Mendeleng. They’re just names to describe a particular origin. But when you strip away the black cloth or gold-threaded ornamentation, the palace or peasant origins, the aggressive striking or undulating gestures, you’re left with nothing but a man.

A man who shoulders the heavy burden of caring for his family, his nation and his way of life. Of what use is self-defence if not to defend these? Of what import is combat if not to combat evil? Of what worth is life if not to sacrifice for worthwhile ideals? These are the true reasons an martial art is born, to champion the cause of truth, to empower the weak of ways and to preserve the tranquility of peace.

And yet, there are those in this world who would betray those who imparted those values, those martial arts to them. They seek benefit from the glow that this virtuous expression of the human soul provides. For self-interest, they would auction off what pride they had left to the highest bidder to create mindless, emotionless yes-men whose only task in life is to revere them.

This post is dedicated to the masters who have spent their lives in anonymity, suffering in silence as their ‘students’ race on, never to look back. If they did, they would see that the humble fountain from which they drank their fill has now dried up for lack of kindness.
SILAT MELAYU: THE BLOG weeps for those forgotten ones. The Living Treasures who have now left us, and those who are still unappreciated amongst us. Who are they? They are the elders. He might be that lonely man in your village waiting for someone to ask what he knows, or the bench potato who decides to die with his knowledge rather than sell them meagerly to ungrateful offspring. They have all been forcibly retired from their love.
It is ironic then, that the power, speed and grace of Silat pales in comparison with the poison of its greatest enemy. Apathy. Have you appreciated your Living Treasure today? Salam persilatan!
Original Article by Mohd Nadzrin Wahab