Characteristics of your style

Discussion in 'Silat' started by Dao, Mar 11, 2012.

  1. Dao

    Dao Valued Member

    I have very little experience with Silat but have been an enthusiastic observer for the past 20 years or so, as my teacher has always taught Pencak Silat as well as jujutsu.

    The style of Silat that he teaches looks to be characterized by the use of deceptive weight transfers and using position and movement to alter the fighting distance.
    There is much more to it than that but from my observations this would be characteristic of his style.

    What is characteristic of your style, or styles of Silat you have obseved?

  2. nasigoreng

    nasigoreng Valued Member

    you need to check out Don Draeger's classic "Weapons and Fighting arts of Indonesia.

    I just remembered some awesome podcasts by Omar Hakim who is an instructor of Kuntao Tekpi. He is very well-informed about silat. In these podcasts he discusses his research into Silat.
  3. pakarilusi

    pakarilusi Valued Member

    My Family Style focuses on weapons fighting.

    The main weapon is the Golok Perak. A knife similar to the Parang.

    From day one, the student is taught with a weapon. Of course, a mock weapon first... ;)

    The logic is that we focus on the "worse case scenario" first, life or death armed confrontations, then work our way to lesser degrees of confrontations.

    The Focus in my Style is on the Permainan (some call this Pulut). It is a game-like training, the focus in my Style is not on the Jurus or Buah (step by step set attack and defense movements).

    But my Family Style is a relatively "old school" style, so it is a bit different in its approach.
  4. Rebo Paing

    Rebo Paing Pigs and fishes ...

    In a nutshell? We seek to be able to move and express power efficiently and naturally. We practice for insight into the proficient body method via the principles for natural movement (krida). As a guide to insight, we keep in mind that;

    1. All movement/energy/power originates in the pusar (dantian) engaging the area we call the hip girdle section (encompassing the pelvic floor).
    2. The body in its natural state is a tensional integrity and all movement/energy/power exists in relation to gravity.
    3. Efficient movement depends on playing the flow that exists between empty/insubstantial and full/substantial (we call it kosimbang; anagram for kosong, isi and titimbangan).
    4. Breathing is natural and regulated by the rhythm of movement, via expansion and compression. Never hold nor force the breath.
    5. The mind must be centred and neutral.

    Mostly people will develop according to what we call the Panca Krida Wiyasa; the five steps of growth and development toward mobility and movement mastery. These are:

    1. Laku Enom, which means young expression of form. Laku Enom is the unrefined and self conscious expression of the beginner. The hallmarks of laku enom are a reliance upon the form and dogma. The dogma of movement and mobility is often the idealised form that is used to convey the idea of a specific energy.
    2. Madosi, seeking the meaning, which refers to the process of exploration, listening to our body-mind with intuition. It is through the process of intuition and relevant testing that the body-mind fine tunes a particular skill.
    3. Wangsit. Wangsit refers to the many times along our journey that we have the epiphany of direct experience. It is the removal of doubt, the a-ha moment experienced by the body-mind. Without it, body knowledge will not happen on a profound level.
    4. Sawiji. The integration and unity of the spirit in the movement and the congruence of mind and body. When our structure and flow is congruent, it may be said that we approach mature expression that is the hallmark of mastery.
    5. Mateng (or medok). It means ripe or ‘perfection’ or ‘just right’. Mateng is the description of the manifestation of the natural flow of life expressed through our laku, our being. Gerak nurani, the Arabic word (nurani) for the light from one’s eye describes a feature or indicator of the state. It has become absorbed into the language and means that the psycho-physical integration is free and intuitive.

    We focus on tangan kosong (empty hands) until the pesilat's life/silat expression is mateng at which point the pesilat is free to pursue what they consider appropriate.
  5. pakarilusi

    pakarilusi Valued Member

    Wow, Rebo... That Panca Krida Wiyasa is really deep.

    My Family style is more Zen, you learn what you learn through doing the Permainan.

    Each person learns something different, even physically.

    But that's our way...
  6. Rebo Paing

    Rebo Paing Pigs and fishes ...

    Yes ... it is the same but maybe you don't see that? That's ok ;)

    N.B. Ma'af untuk respons yang sangat terlambat!
  7. pakarilusi

    pakarilusi Valued Member

    One of the styles I've studied...

    [ame=""]DEMO PERSEMBAHAN SILAT | SKUAD 86 (PSCSPSM) | KAFA Kuala Kangsar 2013 - YouTube[/ame]
    Last edited: Sep 4, 2013

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