Pencak Silat Lemahabang Siap Berprestasi - Harian Umum Radar Karawang

Pencak Silat Lemahabang Siap Berprestasi - Harian Umum Radar Karawang

BERLATIH SILAT SMP

 Kini di SMPN 2 Tirtamulya anak anak mulai berlatih silat karena dia oftimis ingin mengikuti event event yang di ikuti oleh silat, berkaitan sebentar lagi akan ada PORKAB bulan desember tentunya AKADEMIK SILAT LEMAHABANG terus mengerahkan tenaga untuk melatih demi mengikuti event tersebut alhasil kemarin dalam BUPATI CUP walaupun tidak mendapatkan ranking yang memuaskan tapi tetap persilatan yang di pimpin oleh WAYIM ,S.Pd.I tetap berjaya di darat karena rasa ingin memelihara kebudayaan bangsa indonesia ini yang nyata nyatanya dulu dunia persilatan di gandrungi oleh para pejabat kenegaraan di jaman kerajaan KAHURIPAN Prabu Siliwangi yang kemudian menghasilkan sejarah berlanjut pada penyebaran Islam oleh Kian Santang Murid Syekh Quro dia adalah Tokoh Sufi di Kab.Karawang yang berkaiitan dengan jaman Sejarah Kerajaan Tarumanegara, tentunya Persilatan di pake oleh Para Penyebar Islam sebagai bentuk untuk melawan kedzoliman para musuh islam , itulah sejarah singkat persilatan di Kab Karawang khususnya JAWA BARAT

menjelang PORKAB Karawang

Menjelang nanti  ada agenda PORKAB bulan desember 17-22 -2012 , insya allah kita atlit dari lemahabang akan kembali turun walaupun kemarin sempat tertunda untuk meraih juara satu, tapi itu tak surut bagi pengurus AKADEMIK PENCAK SILAT LEMAHABANGyang di ketuai Wayim,S.Pd.I dan Sesepuh Lemahabang yg telah dulu berjasa dan sempat berjaya di dunia persilatan Karawang , kini kita sebagai generasi penerus mampukah untuk mengembalikan Event tersebut mari kita berusaha,.......khususnya dari calon Atlit yg meliputi anak pelajar smp ataupun sma, yg walaupun dari segi royalti lembaga sekolah belum maxsimal untuk para pelatih yg memang notabenenya ikhlas beramal

Silat

Assalamu'alaikum Wr.Wb

Dengan adanya Blog Akademik Silat Lemahabang semoga Persilatan di wadas tetap jaya,
pencak silat mempunyai 4 Aspek .
1.Beladiri
2.Seni
3.Olaharaga
4.Spiritual

Silat dan wayim

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For other uses, see Silat (disambiguation).

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A Vietnamese pesilat

Silat is a collective word for indigenous martial arts that originates from Indonesia, it is traditionally practiced in, Malaysia, southern Thailand, Singapore, Vietnam, Brunei and the Philippines.
There are hundreds of different styles but they tend to focus either on strikes, joint manipulation, throws, bladed weaponry, or some combination thereof. Silat is one of the sports included in the Southeast Asian Games and other region-wide competitions. Training halls 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.

Contents

Etymology

The origin of the word silat is unknown. It likely comes from the Tamil word silambam, which has long been practiced by the Indian community of Malaysia.^{[citation needed]} The Tamils also use the word silatguvarisai to define their silambam movement patterns. Other similar-sounding words have been proposed but none have been proven.
Originally silat was used as a generic term for any system of fighting in the region. 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

A silat exponent in Bali, Indonesia

Fighting arts in the Malay Archipelago arose out of hunting methods and military training by the region's native inhabitants. The descendents of former headhunters still perform ancient wardances which are considered the precursor of the freestyle form in silat. While these aborigines retained their tribal way of life, the Indo-Malay diaspora instead based their culture on China and India. By adopting the Indian faiths of Hinduism and Buddhism, their social structure became more organised.^[2] Evidence shows that silat was influenced by both Chinese and Indian martial arts.^[3] Many of the region's medicinal practices and weapons originated in either India or China, and silat's thigh-slapping actions are reminiscent of Hindu wrestling.^[4] The Chinese community also practiced their own localised martial arts known as kuntao, which both influenced and borrowed from silat.
Although numerous myths attempt to explain the institutionalisation of silat, most of them concern only a specific style. The earliest evidence of silat taught in its present form is found in Sumatra where, according to local legend, a woman based her combat system on the movements of animals that she had seen fighting. Masters still believe that the first styles of silat were created by observing animals, and these styles were probably derived from animal-based Indian martial arts.^[5] In the fifth or 6th century, pre-determined sets are said to have been introduced by the Buddhist monk Bodhidharma who came from India to Southeast Asia via the Sumatra-based kingdom of Srivijaya in Palembang.^[2] Through this connection, silat is also used as a method of spiritual training in addition to self-defense.^[3]
Silat was eventually used by the defence forces of Langkasuka, Champa, Srivijaya, Beruas, Melaka, Makasar, Aceh, Majapahit, Gangga Negara, Pattani and other kingdoms in Southeast Asia.^[6] Except for generals and royalty, Indonesia-Malay warriors wore minimal armour, if any at all. A rattan shield, or a breastplate at most, was the only protective gear available to the average soldier. This may have been one of the reasons why the older styles relied more on agility than they do today. Despite the Hindu caste system which held sway in ancient times, silat was never confined to any particular social class or gender but was practiced by all without restrictions. Even today, it is often taught in families who have inherited cultural traditions such as woodcarving, dance, herbalism or the playing of musical instruments.
Southeast Asian trade had already extended into Okinawa and Japan by the 15th century. The number of Japanese people travelling the region increased after the Battle of Sekigahara. By the early 17th century there were small Japanese communities living and trading in Indochina. 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 to Siam, some Japanese escaped to Cambodia and Indonesia after the Ayutthaya Kingdom was attacked by the Burmese. Silat shares many similarities with Okinawan karate as well as the throws and stances of weapon-based Japanese martial arts^[4] which probably 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 Indonesia, Malaysia and Singapore became home to a small Japanese population. After the Occupation of Japan, some silat masters incorporated the katana into their styles.
Since the Islamisation movement of 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, practice traditional meditation, or attempt to acquire 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. 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

Salutation

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-Buddhist namaste in which the palms are pressed together at chest level. This represents the balance of two opposing forces such as light and dark or hard and soft. 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 of Indochina, 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 traditional Javanese schools use another handsign apparently borrowed from the Chinese 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. This concept is referred to as jantan betina (male-female) and is equivalent to the Chinese yin and yang. A few styles, such as silat Pattani, may have their own salutation unique to that particular system.

Stances and footwork

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. The horse stance (kuda-kuda or kekuda) is the most essential posture, common to many Asian 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 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

Silat is an important part of randai performances.

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 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. Choreographed forms 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 Chinese chi sao.^[2] The aesthetic aspect of forms is called flower (kembang or bunga) or art (seni) forms. They are performed in slow, graceful movements with a dance-like quality. 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.^[7]

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 traditionally made by the guru. 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 Indo-Malay 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) and chain (rantai).

Energy

In silat culture, the energetic body consists of interlocking circles called cakra. 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.^[2] By being aware of this, the silat practitioner can harmonise their movements with the cakra, 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.

Music

Basic drum set

The movements of silat are often performed as a dance during festivities such as weddings or a royal installation. These performances 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 the inai dance from northern Malaysia. In the Minangkabau area silat is one of the main components in the men's folk dance called randai,^[8] besides bakaba (storytelling) and saluang jo dendang (song-and-flute).
The music played during silat performances is known as tanji silat baku or gendang baku in Malay Peninsula, and gendang pencha among the Sunda people of West Java in Indonesia. The instruments vary from one region to another but the gamelan (Javanese orchestra), kendang (drum), suling (flute) and gong are common throughout Southeast Asia. The Minangkabau of west Sumatra play a set of gongs known as talempong and sometimes use a type of flute called saluang. The most common instruments in Malaysia are the gendang (drums) and serunai (oboe). 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.

Silat drum sample

Terms of address

In Indonesia, anyone who teaches silat is addressed as Guru or teacher. In Malaysia, 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 while grandmasters are called Guru Agong or Mahaguru meaning supreme teacher. The terms cikgu and guru are often interchangeable. An elderly male master may be addressed as Tok Guru or Tuk Guru (lit."teacher-grandfather"), Tok or Tuk is abbreviaton of datuk, often abbreviated further to Tok. The elderly master as well as the teacher's teacher is called Eyang Guru (lit."teacher-grandfather") in Javanese. In both countries, the honorary title of Pendekar may be officially bestowed onto a master by royalty or unofficially by commoners.

In Popular Culture

Film

Silat has been featured as the primary fighting style in many movies.

• In few recent Malaysian movies like Sembunyi (2012) and Jiwa Taiko (2012)
• The main character, Rama, as well as some other characters such as Andi, Mad Dog, and Jaka fight using silat in the 2011 Indonesian film The Raid: Redemption.
• There is some silat (as a minor part of the story) in the 2011 Indonesian movie Pengejar angin.
• The main character, Yuda, as well as another character, Eric, fight using silat in the 2009 Indonesian film Merantau (both characters are silat experts). This film features silat harimau Minangkabau (Minangkabau tiger style silat).
• There is some silat in the 2009 Indonesian movie Rasa.
• The character Hang Tuah fights using silat within the first 10 minutes of the start of the 2004 Malaysian movie Puteri Gunung Ledang (the silat is a very minor part of the story).
• There is silat fighting in the 1992 Malaysian movie Syahadat.
• There is silat fighting in the 1992 Malaysian movie Kelisa.
• There is some silat fighting in the 1990 Malaysian movie Tuah.
• There is silat fighting in the 1984 Malaysian movie Matinya Seorang Patriot
• There is silat fighting in the 1978 Indonesian movie Si Ronda Macan Betawi.
• There is some silat in the 1970 Indonesian movie Si Pitung.
• More than 40 titles of malay movies produced by Cathay Kris Studio during 1950s- 1960s. Most notably in Panglima Besi, Seri Mersing, Sultan Mahmud Mangkat Dijulang & Hang Jebat.
• There is silat fighting in the 1956 British Malayan movie Hang Tuah
• There is silat fighting in the 1953 Indonesian film Harimau Tjampa also known as Tiger from Tjampa. This film features silat harimau Minangkabau (Minangkabau tiger style silat).

Television

• Silat was the feature of an episode of the Fight Masters TV series (National Geographic Asia).
• Silat was the subject of the 13th episode of the television show, Human Weapon.
• There is some silat fighting in the Malaysian television series Keris Hitam Bersepuh Emas