Martial Arts - Arte marcial: Pencak Silat - Silek Luncua from Solok area - Indonesia - Randai 1930s - 2 videos - Wiki data en Castellano and English
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Silat
Silek Luncua from Solok area
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Martial Arts - Arte marcial: Pencak Silat - Silek Luncua from Solok area - Indonesia - Wiki data en Castellano and English
Pencak Silat es un arte marcial de origen indonesio, el cual se practica en Indonesia, Singapur, Malasia, Tailandia, Vietnam, Brunéi... Básicamente en todo el sudeste asiático. También se practica en casi todos los países europeos, donde cabe destacar España, Holanda y Francia. Estados Unidos, Australia o Perú son otro ejemplo de donde también se practica.
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Pencak Silat en España
En Pencak Silat llegó a España de la mano de Jon Barrenetxea a mediados de los 70. Las primeras clases se impartieron en la escuelas de artes marciales de Madrid. Si bien al principio eran clases puntuales complementarias al Karate Shotokan impartido por el propio Jon Barrenetxea, finalmente se creó un grupo que trabajaba en pro de la evolución del PENCAK SILAT en España.
Hacia los año 80 se crea un nuevo grupo de Pencak Silat en el gimnasio Iraragorri de Zuazo (Galdakao). Desde entonces el Pencak Silat se expandió ha diferentes puntos de la geografía Española. Sin embargo hoy en día se practica casi únicamente en el País Vasco, de donde son la mayor parte de los representantes del equipo estatal español. También existen escuelas en Córdoba, y Santander.
Desde 1984 el objetivo de las escuelas de Pencak Silat de todo el estado fue la creación de una federación estatal con la que poder coordinar la expansión del Pencak Silat de manera autosuficiente y autonoma. Por eso y después de negociaciones con las principales federeaciones estatales de artes marciales, Judo, Taekwondo y Karate, se decidió crear la Federación Nacional de Pencak Silat España. Siendo esta, a su vez, desde 1987, parte de la Federación Internacional de Pencak Silat.
También en Extremadura existe una escuela de origen Holandés y en Barcelona se imparten clases de una escuela tradicional de Singapur reconocida por la PERSISI y por PERSILAT.
Etimología
La palabra Pencak significa "ataque eficaz" y Silat, "movimiento artístico". Este arte marcial es bastante desconocido para el público en general, pero dentro del mundo de los deportes y de las artes marciales en concreto goza de un buen renombre.
Origen
Hay evidencias de que Silat fue influenciado por las artes marciales de China y la India. Muchas de las prácticas médicas de la región y las armas se originaron en la India o China, y muchas técnicas son reminiscencias de la lucha hindú.
A pesar de que numerosos mitos intentan explicar la institucionalización del Silat, la mayoría de ellos sólo se refieren a un estilo específico.Las primeras evidencias de Silat enseñadas en su forma actual se encuentran en Sumatra, donde, según la leyenda local, una mujer basó su sistema de combate en los movimientos de los animales que observó en lucha. Maestros todavía creen que los primeros estilos de Silat fueron creados por la observación de animales, y estos estilos derivan probablemente de la base animal indio de artes marciales.Varias bases se dicen que han sido introducidos por el monje budista Bodhidharma en el siglo quinto o sexto, desde la India hasta el sudeste de Asia a través de la base de Sumatra reino de Palembang.
Silat también se utiliza como un método de entrenamiento espiritual, además de defensa propia. Con el tiempo fue utilizado por las fuerzas de defensa de Langkasuka, Champa, Srivijaya, Beruas, Melaka, Makassar, Aceh, Majapahit, Gangga Negara, Pattani y otros reinos en el sureste de Asia. Sin embargo, Silat no se limita a una determinada clase social o de género, fue practicado por todos sin restricciones. Incluso hoy día, se enseña a menudo en las familias que han heredado las tradiciones culturales, tales como la talla en madera, danza, herboristería o la ejecución de instrumentos musicales.
Vestimenta
Utilizan un kimono o baju de color negro generalmente con un cinturón o batik de color.
Para ocasiones especiales y dependiendo del estilo de PS (Pencak Silat) que se practique se puede encontrar bayus naranjas, verdes, blancos... Además es costumbre adornar las vestimentas con trapos a la cabeza o con telas artesanales de seda con dibujos hechos a mano de gran calidad que reciben el nombre de seron, sarrun...
Otros estilos optan por adornar el bayu con rebordes dorados, pequeños gorros, escudos de sus escuelas...
Técnica
A diferencia de otros marciales el PS utiliza como parte fundamental la música, cada movimiento del practicante es acompañado por una gran banda de músicos con instrumentos originarios tradicionales del sureste asiático. Esta banda se llama gamelán y tiene entre sus instrumentos gongs, xilófonos de madera y metal, tambores de madera y piel... Sin embargo, los que marcan el ritmo de la música no es la banda, si no los combatientes. Cuanto más rápido se muevan los combatientes, más rápida irá la música.
Los combates se desarrollan en una arena cuadrada de 10 metros por 10 metros. Dentro de este cuadrado existen dos círculos, uno de 8 metros y otro de 3 metros de diámetro. Los combatientes se sitúan uno enfrente del otro, guardando una distancia de 3 metros (los del círculo del centro).
El PS se basa en la esquiva y contra-ataque. Como todo arte marcial es una disciplina de lucha dedicada a la defensa personal.
¿Por qué esquiva?
Para responder a esta pregunta hay que hacerse a la idea de que no siempre es fácil parar un ataque de frente. Por eso esta disciplina utiliza una esquiva que consiste en salir de la trayectoria del ataque para evitarlo bien sea dando un salto, desplazando el cuerpo lateralmente... de cualquier manera es posible evitar un ataque si el agredido se aparta de la línea de ataque o trayectoria de la agresión.
¿Por qué contraataque?
Después de haber realizado la esquiva hay que neutralizar al adversario mediante un golpe, o una técnica para reducirlo. A la acción de responder a su ataque mediante otro ataque se le llama contraataque.
En este apartado sale a relucir otra faceta excepcional en el PS, la técnicas de suelo. Pocos artes marciales trabajan y controlan tanto como el PS moverse cómodamente por el suelo. Este tipo de técnica crea un shock en el contrario al verse perdido ante la impotencia de poder enfrentarse a un contrincante que se mueve tan bien y rápido en el suelo como de pie.
Enlaces externos
- Federación Española de Pencak Silat
- Club Silek Tuo Galdakao de Pencak Silat
- Club Kumango de la UPV/EHU (Bilbao) de Pencak Silat
- Entrenamiento de Silat en Barcelona
- Maestro de combate - Pencak Silat 1/6
Randai 1930s
Silat is a collective word for indigenous martial arts of the Indonesian Archipelago of Southeast Asia. Originally created and developed in Sumatera Island and Java in what is now Indonesia, then spread to peninsular Malaysia, southern Thailand and Singapore, silat was also traditionally practiced in Brunei, the Philippines, Cambodia, Myanmar, and Vietnam. As a result, it is closely related to other Southeast Asian martial arts including krabi krabong and eskrima. Practitioners are called pesilat. The Chinese fusion of silat is known as kuntao.[1]
There are hundreds of different styles but they tend to focus either on strikes, joint manipulation, bladed weapons, throws, animal-based techniques, or some combination thereof. Silat schools are overseen by separate national organizations in each of the main countries the art is practiced. These are Ikatan Pencak Silat Indonesia (IPSI) from Indonesia, Persekutuan Silat Kebangsaan Malaysia (PESAKA) from Malaysia, Persekutuan Silat Brunei Darussalam (PERSIB) from Brunei and Persekutuan Silat Singapura (PERSISI) from Singapore.
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Terminology
The origin of the word silat comes from the Minang word silek,[2] the etymology of silek itself cannot be traced.
Originally the word silat was used as a generic term for martial arts, including systems from outside the region. Some Malay-speakers (especially in Indonesia) still use the word as such, as can be seen in the term ilmu silat (knowledge of silat) which can used for any fighting style. Today, the word has a formidable arsenal of terms used to refer to martial arts in Southeast Asia.[1] It is usually called pencak silat in Indonesia or silek in the Minangkabau language. Some examples of the word's application in Malaysia and Singapore include seni silat (art of silat) and seni bela-diri (art of self-defence).
History
The actual history of Silat is unknown. Folklore has it that Pencak Silat (the Silat style of today's Indonesia) was created by a woman named Rama Sukana who witnessed a fight between a tiger and a large bird. She then taught the techniques to her husband Rama Isruna from whom they were formally passed down. There are several variations of this story depending on the region where it is told. On the island of Bawean, Rama Sukana is believed to have watched monkeys fighting each other while the Sundanese people of West Java believe that she created cimande after seeing a monkey battle a tiger.
Meanwhile, Silat Melayu (the Silat style of current-day peninsular Malaysia) was believed to have been influenced by silambam, a martial art brought into the region by the Hindu-Buddhist kingdoms who have been in contact with the Malays even before the rise of Malacca Sultanate as evidenced by Kedah's 5th century Bujang Valley civilisation. Over time, Silat Melayu was refined into the specialized property of royalty, pendekar, and generals. Kings encouraged princes and children of dignitaries to learn silat and any other form of knowledge related to the necessities of combat. Prominent fighters were elevated to head war troops and received ranks or bestowals from the raja. One of these was the famous 15th-century Melakan warrior Hang Tuah.
Southeast Asia trade had already extended into Okinawa and Japan by the 1400s. The number of Japanese people travelling to Java and Malacca increased after the Battle Of Sekigahara. By the early 1600s there were small Japanese communities living and trading in Indochina. The Okinawan karate was believed to be influenced by Silat. Silat also share similarities in throws and stances of other weapon-based Japanese martial arts[3] which may date back to this time. Trade with Japan ended when the country went into self-imposed isolation but resumed during the Meiji era, during which time certain areas of Malaysia and Singapore became home to a small Japanese population. After the Japanese Occupation, some silat masters incorporated the katana into their styles. The weapon is still used in some systems today although its application has little relation to actual Japanese kenjutsu.
Silat warriors wore minimal armour, if any at all. A rattan shield or a breastplate, was the only protective gear used to Silat users. The older forms of silat consequently relied more on agility than they do today. During the colonial era when the western system of law enforcement was introduced, police officers who practiced silat emphasised trapping and joint locks so as to disable criminals without killing or injuring them unnecessarily. The styles created during this period are the most widespread today. Indonesians and Malaysians would later use silat to attempt liberation themselves from the colonial Dutch and British, respectively[4], such as in the case of Tok Janggut of Kelantan.
Since the Islamisation movement of Malaysia in the 1980s and 90s, there have been attempts to make silat more compliant with Islamic principles. It is now illegal for Muslim practitioners in Malaysia to chant mantera, bow to idols or practice traditional meditation to supernatural powers. This has given rise to various misconceptions that silat is inherently Muslim or can only be practiced by followers of the Islamic faith. In actuality silat has existed long before Islam was introduced to Southeast Asia and is still practiced by non-Muslims. The Hindu-Buddhist and animistic roots of the art were never eradicated, and remain very evident even among Muslim practitioners of traditional styles. Balinese exponents often argue that the newer and more "Islamised" forms are less authentic and less useful in real combat. Some of these old methods have been lost after silat masters in pre-dominantly Muslim areas could no longer teach them, but others still endure among conservative training schools in Indonesia and Thailand.
Training
Stances and footwork
Almost every silat style incorporates multi-level fighting stances (sikap pasang), or preset postures meant to provide the foundation for remaining stable while in motion. The horses stance (kuda-kuda) is the most essential posture, common to all styles of silat. 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 with langkah (lit. "step"), a set of structured steps. Langkah consist of basic footwork and kicks made to teach how best to move in a fight. The langkah kuching (cat step) and langkah lawan (warrior step) are among the more prominent examples of langkah. After becoming proficient at langkah, students learn footwork patterns or tapak ("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 are tapak tiga, tapak empat and tapak lima. All together, the stances, langkah and tapak act as a basis for forms-training.
Forms
Forms or jurus are a series of prearranged meta-movements practiced as a single set. Their main function is to pass down all of a style's techniques 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. Choreographed forms pitting one fighter against several opponents are common in silat, especially styles which emphasise defense against multiple attackers. 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. With a partner, tari is used as a way of sensitivity training similar to Chinese chi sao.[5] The aesthetic aspect of forms is called flower (bunga) or art (seni) forms. They are performed in slow, graceful movements with an intentional dance-like quality. Their purpose is to hide the subtle applications of a certain technique from onlookers or to trick the opponent into making a mistake during battle. Once the student has learned basic techniques, forms, and footwork, they are taught how to attack before being attacked, in self preservation. Silat exponents are entrusted to use their knowledge confidently in its rightful place and to ensure that their knowledge does not fall into the hands of the irresponsible.[6]
Weapons
Main article: Weapons of silat
Along with the human body, silat employs a wide variety of weapons. Prior to the introduction of firearms, weapons training was actually considered to be of greater value than unarmed techniques and even today many masters consider a student's training incomplete if they have not learned the use of weapons. Except for some weapon-based styles, students must generally achieve a certain degree of skill before being presented with a weapon which is sometimes made by the master. This signifies the beginning of weapons-training. Among the hundreds of styles are dozens of weapons. The most commonly used are the kris (dagger), parang (machete), tongkat (walking stick) and sarong. The kris is accorded legendary status in Indonesian culture and is the primary weapon of most silat systems, although some styles prefer the stick for its versatility. Silat's traditional arsenal is largely made up of objects designed for domestic purposes such as the flute (seruling), rope (tali), sickle (sabit), chain (rantai) and trident (serampang).
Energy
In silat culture, the energetic body consists of interlocking circles called cakera. The cakera's energy rotates outwards along diagonal lines. Energy that emits outwards from the centre line is defensive while offensive energy moves inwards from the sides of the body.[5] By being aware of this, the silat practitioner can harmonise their movements with the cakera, thereby increasing the power and effectiveness of attacks. Energy could also be used for healing or focused into a single point when applied to sentuhan, the art of attacking an opponent's pressure points. The highest form of sentuhan supposedly allows a pesilat to attack pressure points using energy alone without physically touching the opponent.
Music
The movements of silat are often performed as a dance during festivities such as weddings. These performances can be done either solo or with a partner and are accompanied by music often played by a live band. Several traditional dances were influenced by silat, such as the inai dance from Malaysia. In the Minangkabau area silat is one of the main components in the men's folk dance called randai,[2] besides bakaba (storytelling) and saluang jo dendang (song-and-flute).
The music played during silat performances is known as gendang baku or gendang silat baku in Malaysia and gendang pencha among the Sunda people of west Java. The instruments vary from one region to another but the gamelan (Javanese orchestra), kendang (drum) and gong are common throughout Southeast Asia. The Minangkabau of west Sumatra play the music of talempong and sometimes use a type of flute called saluang. The most common instruments in Malaysia are the gendang (drums), serunai (oboe) and seruling (flute). Music from the northern Malay Peninsula more closely resembles Thai music.
Types of silat drums include the gendang ibu or "mother drum" and the gendang anak or "child drum". The serunai, which also comes in long and short variations, is what gives silat music its distinct sound. As with a tomoi match, the speed of the music adapts to the performer's pace.
Terms of address
In Malaysia, silat instructors who are qualified to teach but haven't yet achieved full mastery are addressed as Cikgu or Chegu, a contraction of encik and guru. Masters are called Guru or teacher while grandmasters are called Guru Agong or Mahaguru meaning supreme teacher. An elderly male master may be addressed as Tok Guru or Tuk Guru (lit."teacher-grandfather"), often abbreviated to Tok. The honorary title of Pendekar may be officially bestowed onto a master by royalty or unofficially by commoners.
In Indonesia, a teacher or masters in silat are called guru without the encik, tok guru, etc.; while the pendekar still has the same meaning in Indonesia. In the past, students in a silat school would be treated as one family and addressed each other as such. Junior students were called adik seguruadek. Senior students were addressed as abang seguru or kakak seguru ("elder brother/sister of one master") which were usually shortened to abang or kak. These terms vary according to local dialect. The Javanese term for addressing a senior is Kang. Seniority depends both on one's age and level of experience. ("younger sibling of one master") or
See also
References
- ^ a b Douglas Farrer (2006). "`Deathscapes' of the Malay Martial Arts"". Social Analysis 50 (1). http://socioblogsg.files.wordpress.com/2007/01/farrer_wp_174.pdf. Retrieved 2007-10-28.
- ^ a b Kirstin Pauka (2003). "Umbuik Mudo and the Magic Flute: A Randai Dance-Drama". Asian Theater Journal 20 (2).
- ^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles E. Tuttle Co.. ISBN 9780804817165.
- ^ Sheikh Shamsuddin (2005). The Malay Art Of Self-defense: Silat Seni Gayong. North Atlantic Books. ISBN 1556435622.
- ^ a b Zainal Abidin Shaikh Awab and Nigel Sutton (2006). Silat Tua: The Malay Dance Of Life. Kuala Lumpur: Azlan Ghanie Sdn Bhd. ISBN 9789834232801.
- ^ Martabat Silat Warisan Negara, Keaslian Budaya Membina Bangsa PESAKA (2006) [Istilah Silat by Anuar Abd. Wahab]
- Quintin Chambers and Donn F. Draeger (1979). Javanese Silat: The Fighting Art of Perisai Diri. Tokyo: Kodansha Internat.. ISBN 0870113534.
- D. S. Farrer (2009). Shadows of the Prophet: Martial Arts and Sufi Mysticism. Springer. ISBN 9781402093555. http://books.google.com/books?id=5H2pjzRD8RAC&printsec=frontcover&source=gbs_atb.
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