SELF DEFENSE

GRADE 7 – BRAVENESS

TITLE:
PENCAK SILAT

STUDENTS: EMMANUEL RAVEN R. PAJAC

PRINZESS MAE GUILABO
PRINCESS HANNAH KOLNOG
GIAN KURT JACABAN
ALESTER VERZOSA
KARL EURICK DAVID

TEACHER: REGGIE C. PACHONG

 WHAT IS PENCAK SILAT?

Pencak silat is the indigenous martial art of Indonesia. The term, pencak silat, has only been
used as a term of general application since about the 1950s and after Indonesian independence.

A wide diversity of styles and techniques occur by reason of the wide diversity of development
by different people in different regions without necessarily emanating from a common
source. There are many hundreds of different styles (aliran) spread across the 13,000 islands
comprising the Indonesian archipelago and they can differ markedly.

Pencak silat (by different names) is part of a common Malay culture spanning Malaysia,
Indonesia, Singapore, Brunei Darussalam, and the Philippines. "Silat Melayu" is a common term
for the types of silat in the Southeast Asia peninsular consisting of Malaysia, Thailand, Brunei
and Singapore. "Bersilat" is used in Malaysia. "Pasilat" is a term sometimes used in the
Phillipines. Often the shortened version of "silat" suffices.

The term pencak silat derives from two components. The word "pencak" (and its dialectic
equivalents) is commonly used in Java, Madura and Bali, whereas the term "silat" (or "silek") is
more likely in Sumatra.

Pencak has different associations in different places. It is associated with dance performances
performed to specific rhythms provided by drummers and publicly performed. The contrary was
the case for the Javanese people of West and Central Java; for them it meant self defence and, as
such, was inappropriate for public consumption and certainly not for general display.

It is sometimes said that "pencak" relates to the traditional dances and "silat" to the self defence
aspects (for instance the Minangkabau of West Sumatra); but this may perhaps be over simplistic
and by no means universally adopted. On this topic, Donn Draeger said:

"It will be apparent from the definition of pentjak-silat [old spelling] … that it can be
practiced in two different ways. But underlying all is the fact that pentjak is practiced to
develop silat ability; pentjak is never practiced for its own sake. With rare exceptions it
is only the pentjak component that the casual observer is committed to see; his untutored
eye is reaches the natural conclusion that what he sees is the whole. The regulated
performance of pentjak utilizes a beauty of action, fluidity, and quickness that can appear
to be a dancelike rhythm. Add to this the percussion music …, which usually
accompanies pentjak training, and the view's conclusion is intensified. But the music is
used much like a metronome in order to determine rhythm of movement for trainees, not
to make pentjak a dance form. The music is of course dispensed with in silat.

WHERE DID IT COME FROM?

The history of pencak silat, as with other martial arts, is virtually impossible to ascertain as it
was an oral tradition. Further, the practice and learning of martial arts was often bound up with
obligations of secrecy and this is perhaps even more so in Indonesia than in most other
places. The lack of verifiable documentation makes a precise understanding of the history
elusive.
Similar to many Asian martial arts an inspirational source of techniques and styles are attributed
to the behavior, actions, character and attributes of animals. Practitioners copied the movements
and stances of tigers, eagles, snakes, crocodiles, monkeys, scorpions and dragons. Not only are
stances named after members of the animal kingdom, but some pencak silat styles make such
close associations with the animal kingdom that they take their names from animals such as
harimau (tiger) and garuda putih (white eagle).

Legends vary as to the origins. Some attribute it to the monkeys and their fighting style which
were copied by humans. In West Java the Cimande style is said to derive from a woman
emulating the movements of a tiger fighting with a monkey. An interesting aspect in many of
the legends is the prominent role attributed to women as the originators of the art.

Methods of fighting are likely to be as old as mankind itself. Its systemization and development
tend to run in tandem with the development of kingdoms and the waging of wars between
kingdoms. A substantial influence on the arts indigenous to Indonesia would have been the
interaction with other kingdoms in South and East Asia, especially in China and India. The
influence of kuntao from China came from the many coastal towns in Java where trade with the
Chinese was common. Perhaps the strongest influence was in Jakarta (formerly Batavia) as a
result of a large influx of Chinese. Many Chinese were brought there in 1619 to build the city.

When trying to establish a source from which the plethora of different styles emanated, the styles
of West Sumatra and West Java are often referred to. In West Sumatra, in the Minangkabau
region pencak silat may have developed from a single source. In West Java, the well known
Cimande style is very prominent. It is to these regions and styles that the source of pencak silat
is often attributed. Whether they were the source or not, they were likely to have been integral to
developments elsewhere.

More recently

Silat schools (perguruan) operated similar to other Asian martial art schools as organizations for
the passing on of cultural and moral values as well as fighting skills. Ethical behavior was a
requirement and the relationship between teacher and student was a very important
one. Training was much more than simply engaging in a physical activity.

Silat schools became less important in terms of general education when the Dutch government
introduced a public schools programme in the early part of the 20th century. An indirect
consequence of this was the development of a more formal structure being given to silat schools
because of the loosening of the previous informal ties. Masters of the art set rules regulating the
behavior and ethical standards expected of students. It was usual for the strict enforcement of
regulations, including prohibiting students to study with other schools and forbidding the
teaching of outsiders.

No doubt the Dutch colonial government would have had some unease about the existence of
these schools. The schools could readily be perceived as organizations with the potential to
promote a nationalistic ideology and resistance to the Dutch colonial government. It is often said
that government scrutiny forced some schools into a underground existence, particularly if there
was any hint of association with political activity.
 [1] Donn Draeger's reference to 157 "officially recognized" styles probably dramatically
underestimated the numbers.Draeger, Donn F "The Weapons and Fighting Arts of Indonesia";
Charles E. Tuttle Company Japan 1972, p.33. He refers to "several hundred" in a subsequent
publication: Chambers C. and Draeger D. "Javanese Silat: The Fighting Art of Perisai Diri"
Kodansha International Ltd Japan (1978)

[2] Draeger, Donn F "The Weapons and Fighting Arts of Indonesia"; Charles E. Tuttle
Company Japan (1972), p.37-8

HISTORY OF PENCAK SILAT?

Pencak silat was chosen in 1948 as a unifying term for the Indonesian fighting styles. It was a
compound of the two most commonly used words for martial arts in Indonesia. Pencak was the
term used in central and east Java, while silat was used in Sumatra, Malay Peninsula and
Borneo.

WHERE IT CAME FROM PENCAK SILAT?

Pencak silat (by different names) is part of a common Malay culture spanning
Malaysia, Indonesia, Singapore, Brunei Darussalam, and the Philippines. "Silat Melayu" is a
common term for the types of silat in the Southeast Asia peninsular consisting
of Malaysia, Thailand, Brunei and Singapore.

WEAPONS OF PENCAK SILAT

 Kris – Pencak Silat. The Kris is an asymmetrical dagger that is used in the Indonesian martial art
Pencak Silat. ...
 Krabi Krabong. This martial art form evolved in Thailand and literally means sword (krabi) and
stick (krabong).
 Balisong – Eskrima.
 Karambit – Pencak Silat.
 Sarong – Pencak Silat.
Kris

Krabi krabong

Basilong
Karambit

Sarong
PICTURES OF PENCAK SILAT
WAY OF LIFE
The "Pencak-Silat," is a realistic combat doctrine, adapted to real situations when life is in
danger and are forced to defend themselves. In contrast to the martial arts Pencak-Silat students
not fought against each other in training, but only practiced, in order to prevent unnecessary
injuries and no matches.