Which of These Martial Arts Is Known as the Way of the Foot and Fist Answerscom

Indonesian martial arts includes a multifariousness of fighting systems native to or developed in the archipelago of Indonesia, both the age-quondam traditional arts, and the more recently developed hybrid combatives. In the Indonesian linguistic communication the term bela-diri (lit. self-defense) is used to mean martial fine art, and in essence the Indonesian fighting arts are meant as ane's defense force against perceived threat and assault. Other than physical training, they often include spiritual aspects to cultivate inner strength, inner peace and higher psychological ends.^[1]

Today, Indonesian fighting styles are synonymous with pencak silat, a term coined for the martial arts of the Indonesian archipelago.^[ii] Yet, a number of fighting arts in Indonesia are not included within the category of silat. Western misconception links silat with "jungle tribes" but in actuality, pencak silat was neither created nor traditionally practised past Indonesia's tribal inhabitants, many of whom have unique martial arts of their own. Some of these traditions accept been preserved as a complete fighting organization, e.g. pencak silat and kuntao. Other methods are either no longer practiced or only exist in a more sportive grade such as the spear-throwing of pasola or the dance of cakalele.

History [edit]

Battle scene on bas-relief of Penataran, Majapahit era

Some parts of the archipelagic realm that is today Indonesia was the scene of warfare amidst the native populace for much of its long history, and the people of the region naturally adult effective methods of gainsay and self-defense.^[1] Archaeological findings dating from prehistoric times have uncovered a diversity of stone and metal weaponry such every bit axes, arrows and spearheads. These implements would have doubled as hunting tools and weapons of gainsay between and amidst tribes. Tribal warfare, although oftentimes motivated past resources, lands and slave grabbing, was also a solution to settling disputes, as well as a component of coming of age rituals. The practice of headhunting developed the martial skills of some tribes to a loftier level such every bit the Dayak, Batak, and Nias people. Warriors from militaristic tribes were appreciated past other factions, and were recruited by developed kingdoms and polities as mercenaries. Traditional war dances were used both to reenact battles and equally a grade of training, a precursor to the preset forms or jurus of subsequently fighting systems. Displaced Baiyue from present-mean solar day Prc and Vietnam (particularly the Dong Son culture) during the first centuries of the common era introduced statuary-casting to the Nusantara and resulted in the development of native edged weapons such as the parang, klewang, mandau, badik, kujang, golok and kris. Chinese direct swords arrived early, and ancient Javanese curved swords evidence Indian derivation.

Contact with India and the forming of aboriginal kingdoms pb to the transition from tribalism to the golden historic period that was Indonesia'south Dharmic civilization. Pencak silat developed in this era^{[ vague ]}, spreading quickly from Sumatra into nigh the whole of the archipelago. In comparison to the country's tribal fighting systems, pencak silat shows decidedly more influence from the Asian mainland, specifically Prc and the Indian subcontinent. Pencak silat tied the art of combat with practices of meditation and spiritual development, calculation a new layer to the martial arts aside from merely existence used to fight or impale so that it was used consistently throughout Republic of indonesia'south history.^[3] The wide geographical area in which pencak silat was skilful is naturally reflected in its diversity of techniques and weaponry, some indigenous and some adopted from outside through maritime trade. Chinese communities continued to establish themselves, their native kuntao influencing the local martial arts.

Gunpowder technology in cannons and muskets immune many kingdoms and polities in Indonesia to be conquered and subjugated by European power. A further influx of Chinese were brought in as labourers, increasing the proliferation of kuntao styles. Only while the Europeans could effectively overtake and concur the cities, they plant it impossible to control the smaller villages and roads connecting them. Indonesians took reward of this, fighting an undercover war through guerilla tactics. Equally guns were not widely available, indigenous blades were used in these attacks. Folklore portrays the rebels as Robin Hood-similar martial artists such every bit Si Pitung. Later Indonesia won its independence from colonization, the role of martial arts similar pencak silat in nation-building was recognized. The Indonesian Pencak Silat Clan (IPSI) was founded to unite the country's pencak silat schools under a single governing trunk. Information technology has been incorporated into the unarmed gainsay training of Indonesia'southward polce and military, as well as existence an extra-curricular activity in schools, and a combat sport in able-bodied events. Many of the more violent martial practices such as headhunting and duels to the expiry either cruel out of popularity or were banned. A number of fighting styles have managed to survive by adapting. In some cases they became less lethal like pasola, or at times by being promoted as a trip the light fantastic for the amusement of tourists.

Systems [edit]

The following are complete martial arts designed for fighting or self-defense.

Pencak Silat [edit]

Pencak silat is a compound of the two well-nigh commonly used words for martial arts in Indonesia. Pencak was the term used in central and e Java, while silat was used in Sumatra and Kalimantan. In modern usage, pencak and silat are seen as being ii aspects of the same practice. Pencak is the essence of grooming, the outward aspect of the art. Silat is the internal essence of combat and self-defense, the true fighting application of the techniques.^[4] The earliest evidence of pencak silat is in sixth-century Riau from where it saw further evolution under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Java. The art gradually spread throughout most of what is at present Republic of indonesia and reached its peak in the medieval Majapahit kingdom. Generalizations of silat techniques are difficult due to the diversity of systems. Whatever function of the body is used and subject area to assail. Strikes, grabs, locks, and weapons are all incorporated. Training is oftentimes supplemented with internal methods of development such as meditation.

Kuntao [edit]

Kuntao is a Hokkien term for martial arts, in this case referring to those practised by the Tionghoa community of the Indonesian archipelago. Kuntao has a long history in the region dating back to aboriginal times. Such has been the influence between kuntao and pencak silat that the terms are used interchangeably in some regions. Every Chinese customs in Indonesia either has or historically had some style of kuntao, but they were not taught openly until the latter one-half of the 20th century. Northern and southern Chinese martial arts are represented in kuntao, both from the external and internal schools. Some systems were directly imported from Red china and underwent petty or no changes, such every bit thaikek (taiji), pakua (baguazhang or eight-trigram palm) and peh-ho (baihequan or white crane fist). Other pop systems originate from the same states as the Chinese communities who exercise them, so that Fujian, Shandong, Kongfu and Guangdong styles boss.

Caci [edit]

Caci duel using rattan whip equally weapon and shield as protection.

Caci (pronounced "chachi") is a grade of fighting with a whip or stick.^[5] It appears to be indigenous to Flores in East Nusa Tenggara, just it is as well practiced in Bali and Lombok.^[5] The fine art is sometimes called cacing or ende in Flores, and larik or kebat in Riung, while in Balinese information technology is known as ende. The term caci is said to derive from the Manggarai words ca meaning ane and ci meaning test, indicating a ane-on-ane test between the fighters. According to local sociology, caci during festivals began with 2 brothers who endemic a buffalo. When the younger blood brother savage into a deep hole, the older blood brother had to slaughter the buffalo to go its skin to help his sibling escape from the hole.^[vi] The community celebrated this act of honey with a festival in which caci matches were held.

At that place are two types of caci: with a whip (tereng or agang) or a stick (agang). The whip may be either long or brusque. The brusque whip corresponds to the cambuk of Java and measures three feet in length. The long whip is five–6 feet long and fabricated from palm stems tied together with either rattan or strips of h2o buffalo hibernate. The stick is an undecorated piece of hardwood measuring i-1.5 yards long and 2 inches in diameter. The shield is of round or elliptical shape. As well traditionally undecorated, information technology is known as giling or nggiling when made of buffalo hide and perisai kayu when made of wood. Both the whip and the stick form were traditionally practiced in Manggarai Regency, but the stick is rarely seen today. In Bali and Ngada Regency, merely the stick form exists.

In a caci match, the two fighters (who are always male) take turns alternately attacking and defending. The attacker is permitted 3 blows to whatever part of the beefcake, while the defender attempts to block with his shield. The defender is not allowed to attack while defending, but in the case of whip-fighting the defender may spin the whip above his head to prevent the attacker from endmost in. Stick techniques are all swings without any thrusting. Caci at ane fourth dimension served as a form of conflict direction within and between villages. Fighters are divided into the host group (ata one) and the challenger grouping from some other hamlet (ata pe'ang or meka landang). Victory is obtained by hitting the opponent's face or head. In erstwhile times, championship bouts were held in which the object was to bullheaded the opponent's eye. The winner is required to happily sing a quatrain while the loser replies in a low vocalism to prove despair.

Fitimaen [edit]

Fitimaen is a course of stick-fighting from Buru in the Maluku Islands. The term comes from the Buru discussion maen which means stick. The maen are either made from rattan or from native hardwood, of which there are hundreds of varieties.^[5] Sparring sessions are short to minimise injury, and preparation is advisedly conducted for the aforementioned reason. They may be fought with one or a pair of sticks, the length of which depends on personal preference. The first written testament of fitimaen comes from a British naturalist who recounts that the natives are "adepts at quarterstaff" and that even children "practice with singular skill their cuts and thrusts". While spears and metal knives were likewise used by the Buru Alifuru for fighting, their preference has always been the fighting staff. Donn F. Draeger calls them the best stick and staff fighters in the whole of Indonesia although not a particularly combative community. The blowpipe (sumping) and bow and pointer could likewise be used for warfare merely are generally hunting implements. Two styles of fitimaen are ascendant, ane from Namlea and the other from Leksula.^[5]

Tinju [edit]

The word tinju means fist-fighting and unremarkably refers to western boxing. In Flores a course of boxing exists which involves 4 people. As 2 boxers fight, each is steered past a partner property their waistband from behind. Attacks may be delivered with the open mitt, closed fist, backhand, elbow, or a combination of these. But the hands, artillery and shoulders may be used. Kicks and throws are not permitted. The history of tinju is unknown but information technology is most common in Bajawa and virtually probable originated in that location. In earlier times, each boxer would concord a shine round stone in 1 hand and wrap the hand in cloth. Matches are full-contact and victory is determined on points.^[5]

Tarung Derajat [edit]

Immature Tarung Derajat fighters.

Tarung Derajat is a total-contact martial art created by Haji Achmad Dradjat in Bandung, West Java. Developed in the 1960s, it is a hybrid organization which incorporates boxing, grappling and street-fighting.^[vii] Tarung Derajat is officially recognized as a national sport and used as bones training past the Indonesian Regular army. Tarung Derajat emphasizes punching and kicking, simply is not limited to these, as grappling and sweeping are likewise included in its training. Practitioners are known simply equally petarung significant "fighter".

Since the 1990s, Tarung Derajat has been refined as a combat sport. In 1998, the Tarung Derajat arrangement officially became a member of the KONI. Since so, the system has a spot in Pekan Olahraga Nasional, a national multi-sport contest held every four years. The principal Tarung Derajat clan, KODRAT (Keluarga Olahraga Tarung Derajat), now has sub-organizations in 22 provinces in Indonesia. It was introduced as an exhibition number in the 2011 Southeast Asian Games in Palembang, Indonesia.^[eight]

[edit]

The following are related martial practices including combat sports, duels, ritual battles, mock combat, and war dances. All are exclusive to males unless otherwise stated.

Pasola [edit]

Pasola is a tradition of state of war between ii opposing camps, chasing afterwards throwing a wooden javelin at an opponent

Pasola is a course of mounted spear-fighting from western Sumba. The word pasola comes from the local word for spear and derives from the Sanskrit sula. According to legend, pasola originated with a adult female from the village of Waiwuang. When her hubby - a local leader - left home for an extended period, she believed him to be dead and eloped with a new lover from another hamlet. After her husband returned, the woman still chose to stay with her new lover, and the two were married. To forget their leader's sadness, the people of Waiwuang held the festival of pasola. Originally the participants rode horses and threw spears at each other in an attempt to spill blood to the basis, as a way of thanking the ancestors for a successful harvest and ensuring some other prosperous rice harvest. The ritual changed over time into more of a mock battle. The spear tips are now blunt and their metal tips removed. Whereas it was in one case considered an honor to die during pasola, only accidental deaths occasionally occur today. The human and horse blood which used to deluge the field is now solely from sacrificed pigs, dogs, and chickens. Armed law are kept on guard to foreclose fights from breaking out. Showtime in the 2010s, pasola has been promoted as a "game" for visiting spectators. The outcome traditionally begins when a certain kind of sea worm swims to shore, signifying the end of the wet season and the first of crop-planting. Today, the elders make up one's mind on the date in advance for the sake of tourists. Pasola is ever held for four weeks in February and March.^[9]

Debus [edit]

Debus is a martial art that shows immunity with sharp weapons, this is martial arts originating from the Sundanese people in the Provinces of Banten and West Java.

Payuq [edit]

Payuq is the traditional Dayak class of wrestling, especially native to the Kenyah people of East Kalimantan. The give-and-take payuq derives from the Sanskrit term bahu-yuddha and means "physical fighting". Matches are held annually during the harvest festival. The aim of a payuq match is to lift and slam the opponent to the ground. Physical force and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-similar form of wrestling called bebintih pregnant "common tackle". Matches have place in stale rice paddies after existence harvested and a circle is set in the centre of the field every bit a ring. The aim is to button the opponent out of the circle or knock them to the ground. Wrestlers - always male - hold their opponent's loincloth and shove their shoulders confronting each other while using their legs to trip the opponent.^[10]

Sisemba [edit]

Sisemba is a kick-fighting action practised by the Toraja of South Sulawesi. While sisemba is its formal proper name, it is also known as semba or sempak. Native to the Batan and Pangalla areas in the Due north Toraja Regency, it is today mainly seen in the Toraja cultural centre of Rantepao. The ritual of mass boot-fighting is usually performed as part of the rice harvest festival in Tana Toraja villages. According to tradition, sisemba is a prerequisite for the next successful harvest.^[11] In the practice of sisemba, hundreds of participants from two villages bring together hands and class lines of two or more people. They may be linked past the arms or past clasping hands. The line is not necessarily straight just may accept the form of a Five-shape, an inverted 5-formation, a wedge, a circular arc either concave or convex, or any other shape. Once joined in line, all participants must exist linked except the men on the ends of each line. Once the opposing ranks come within range, they kick at each other in an attempt to knock players out of the opponent'due south line.^[11] A divided line is then overwhelmed by the superior numbers of the opposing line, who manoeuvre and environs stragglers. Smaller lines are however capable of more agile manoeuvres, such equally sending the histrion at the finish of a line flying through the air completely off the basis, and then pulling them dorsum in a whip-like manner after they've struck the opponent. Any sort of kicks are allowed and whatsoever part of the body may exist targeted and then long equally the link to the line is maintained. An individual who has been knocked out of line may become upward and rejoin their line; until rejoining he is off-limits to the attacks of the opposing team. In earlier days, such an individual would be kicked into submission or until unconscious.

Sisemba originated as a form of mass defence in which every man in the village repelled invaders. It served its purpose well enough that no form of pencak silat, wrestling, or any other unarmed fighting art exists in the Toraja culture. Sisemba was as well used as a fashion of settling disputes between kampung. Victory was obtained simply past reducing the numbers of the opposing team through injury. Today it is a harvest-time festivity, performed on harvested rice fields. Matches last for several hours each solar day over a period of weeks during the harvest season. The winner is decided based on the superiority of technique just injuries are nevertheless frequent, particularly to the face. To ensure that the match runs smoothly, the hamlet elders act as supervisors. If a participant or a pair of them was deemed to be likewise violent, the village elders volition separate them from the crowd.^[xi]

Cakalele [edit]

The cakelele is a male person war-trip the light fantastic toe practised by the aboriginals of Due north and Central Maluku. Hybrid forms also exist in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, it originated as a way for the warriors to celebrate subsequently a successful raid. From the age of sixteen, village boys would report and work for 3–v years with the kakehan, the men's secret guild. The fine art of combat formed part of their education, as was the cakalele. While non an bodily martial art, the dance has preserved some techniques and the full range of aboriginal weaponry, making information technology greatly of import in the study of Republic of indonesia'due south native fighting methods. Backed by the rhythm of the drum and gong (tifa) and fife (sulin), two opposing captains appoint in mock-combat with a spear (sanokat) and long knife (lopu). Supporting warriors wield long knives and a narrow wooden shield known as salawaku.^[12] ^[13]

Mekare-kare [edit]

Mekare-kare pandan boxing in Tenganan village, Karangasem, Bali.

Mageret pandan is a Balinese method of fighting using a sharp, thorny pandan gild paired with a shield. It is sometimes called makare-kare in Balinese and known as perang pandan in Indonesian, literally pregnant "pandan battle". Mageret pandan is practiced past the Bali Aga population of Tenganan hamlet in Karangasem Regency. The people of Tenganan are devotees of the deity Indra. To honour Indra every bit a warrior god, many major religious festivals in Tenganan involve a ritualistic battle.

The tradition of mageret pandan is said to have originated with King Maya Denawa who claimed himself a god greater than the unabridged Hindu pantheon. He forbade the people from performing their religious ceremonies, which angered the gods. Indra himself fought and defeated Maya Denawa for his blasphemy, and their battle was commemorated through mageret pandan.^[14]

Today it is done as a ritual to honor the gods and the ancestors. The weapon used in mageret pandan is a xv cm club made by tying 10-15 leaves of pandan (Pandanus amaryllifolius) together. Each of the leaves is edged with small precipitous thorns. The shield is a rattan buckler. Techniques are more often than not swinging strikes, simply grappling is used when in-fighting. Participants compete shirtless, wearing simply a sarong (kamen) and traditional headdress (udeng). Co-ordinate to tradition, the mageret pandan is compulsory for Tenganan males. For the young, it serves as a rite of passage into manhood; children as young as seven accept participated.^[xv]

Kabasaran [edit]

Kabasaran is a Minahasan war dance from North Sulawesi, performed by several men clad in crimson. Kabasaran dancers were traditionally farmers or guards who served equally waranei (warriors) when the village was attacked.^[16] The waranei status forth with their weapon is inherited from father to son.^[16]

The basic structure of the trip the light fantastic consists of ix trip the light fantastic toe moves (jurus) using either the sword (santi) or spear (wengkouw). The footwork pattern consists of 2 steps to the left and another two to the right. Dancers are known as kawasalan indicating a pair of fighter cocks.^[16] The dance is accompanied by percussion instruments such as gongs, drums or kolintang called pa 'wasalen.

Sitobo Lalang Lipa [edit]

Reenactment of sitobo lalang lipa or tarung sarung, dueling in a sarong using badik, found in Bugis civilisation in the past.

Sitobo lalang lipa or Sigajang laleng lipa is the Bugis term for a type of knife duel formerly practiced past pesilat of the Bugis-Makassar communities and also in Batak tribes. The challenger stands with a loosened sarong effectually him and invites the other man to stride into the sarong. Knives in their right hands, the two duellists fight to the death inside the confines of the sarong. This fierce method was used for conflict resolution in Bugis-Makassar community in the by. If ii men having disputes that can not be resolved through parley, their honour has been trespassed, and none of them admitted their mistakes, the merely way to resolve this dispute is through a deadly duel in a sarong.^[17]

In Bugis culture, at that place are three of import concept that should be uphold; Ade (adat) or traditional customs, Siri (shame or self worth) or in this instance i's pride and laurels should be protected fiercely to avoid the shame of humiliation, and Pesse (compassion). In Bugis civilization, the Siri aspect is the virtually dominant, thus conflict regarding one's honour might occur.^[17]

This method of fighting originated in ancient Republic of india where the duellists fought with knives in their right hands while their left hands were tied together. It is unknown in what function of Southeast Asia this duel was start introduced, merely it was expert in Thailand where the fighters boxed each other with the correct easily. Duelling within a sarong rather than tying the easily together appears to be unique to Indonesia. Amongst the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak still use another type of pocketknife known as the raut. Duelling is no longer practiced today, but reenactments of sitobo lalang lipa are still performed at cultural shows in Republic of indonesia.^[17]

Weapons [edit]

Nias warrior armed with spear and shield

Badik : a pocketknife or dagger developed by the Bugis and Makassar people of southern Sulawesi
Chabang : short-handled trident, literally significant "branch"
Cambuk / Pecut : whip, might be fabricated from diverse materials; rattan, bamboo, fabrics, leather to stingray's tail
Celurit/ Sabit : a sickle, unremarkably used in farming, tillage and harvesting of crops.
Kerambit/ Kuku Macan : a bract shaped like a tiger'southward claw
Kipas : traditional folding fan preferably fabricated of hardwood or iron.
Klewang : a type of single-edge longsword with a protruding notch almost its tip.
Kris : a dagger, often with a wavy blade made by folding different types of metal together then washing it in acid.
Kujang : Sundanese blade roughly shaped like a deer'southward antler.
Parang/ Golok : machete ordinarily used in daily tasks such equally cut through forest brush.
Pedang : sword, either straight or curved
Rencong/Tumbuk Lada : slightly curved Aceh and Minang dagger, literally pregnant "pepper grinder".
Samping/Linso : silk sash worn around the waist or shoulder, used in locking techniques and for defence force against blades.
Sundang : a double edge Bugis sword, often wavy-bladed
Tameng/ Perisai : shield made of hardwood, weaved rattan, or sometimes metal.
Tombak/ Lembing : spear or javelin fabricated of bamboo, steel or wood that sometimes has horsehair fastened near the bract.
Toya : rod or staff made from wood, steel or bamboo.
Trisula : a trident or iii-pronged spear

In pop culture [edit]

Indonesia has showcased its martial arts in cinema, novels, comics, theatre, and TV series for decades. The term silat as a genre refers specifically to historical stories involving martial artists. These need not necessarily feature the silat field of study itself, but also includes Chinese wuxia and Japanese jidaigeki. The silat genre began equally an oral and theatrical tradition before showtime being written in the form of medieval hikayat. The modernistic silat novel was a 20th-century evolution of the literary silat genre, giving rise to comics and somewhen movies. Early silat films (as with many contemporary Tv set series today) placed less emphasis on the bodily fights and more on drama, resulting in poor depictions of the art. This inverse in the 1980s due to the popularity of radio shows featuring pencak silat experts in the old Indonesian kingdoms of Pajajaran and Majapahit circa the 14-15th century. Historical epics such as Saur Sepuh, Tutur Tinular and Misteri Gunung Merapi have been adjusted both for TV and film. Indonesian movie house differentiates this from modern action films or laga. The latter may or may not include traditional fighting styles, but the modernistic setting makes it distinct from the silat genre proper.

While Indonesian movies and TV serial accept always had a large following in neighbouring Malaysia and Singapore, it was the 2009 film Merantau that brought international attention to the cinematic genre and pencak silat in general. The pic had a mostly positive reaction from movie theatre critics^[18] and generated plenty involvement for the pb actor to follow up with The Raid: Redemption in 2011 which received international acclamation. Its sequel The Raid 2: Berandal was similarly well-received but drew much criticism for its extreme gore,^[19] ^[20] leading to the flick being banned in Malaysia.^[21]

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Belt Mag. Retrieved half dozen July 2015.
^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles Due east. Tuttle Co. ISBN978-0-8048-1716-five.
^ "Silek Harimau Minangkabau: the True Martial Art of W Sumatra". Wonderful Indonesia. Retrieved 8 July 2015.
^ Howard Alexander, Quintin Chambers, Donn F. Draeger (1979). Pentjak Silat: The Indonesian Fighting Art. Tokyo, Nippon : Kodansha International Ltd. {{cite book}}: CS1 maint: multiple names: authors list (link)
^ ^a ^b ^c ^d ^e Draeger, Donn (1992). Weapons & Fighting Arts of Indonesia (Tuttle martial arts ed.). Tuttle Publishing. ISBN9781462905096 . Retrieved 11 November 2015.
^ Indra Harsaputra (5 Apr 2013). "Manifesting strength and love". The Jakarta Postal service. West Manggarai, East Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (xiii November 2011). "Tarung derajat looking for bigger stage". The Jakarta Mail. Djakarta. Retrieved 11 November 2011.
^ "Tarung Derajat Tampil di SEA Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved 11 Nov 2015.
^ "Indonesian isle sees future in age-one-time horseback boxing". The Star. 3 Apr 2014.
^ Suryadi Gunawan. "'Payuq', 'Bebintih' Roh Para Pegulat Kaltim di Ajang Internasional". Antara News.com (in Indonesian). Retrieved 11 November 2015.
^ ^a ^b ^c Husain (4 May 2012). Glori K. Wadrianto (ed.). "Menyaksikan Tradisi "Sisemba" di Toraja Utara". Kompas Travel (in Indonesian). Retrieved xi November 2015.
^ P. E. De Josselin De Jong (1984). Unity in Diversity: Indonesia as a Field of Anthropological Study. Foris Publications. ISBN9-0676-5063-3.
^ Albert G Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal State. ISBN9-0545-0004-2.
^ Luh De Suriyan (13 July 2016). "Melihat Aneka Ritual Kesadaran Lingkungan di Desa Sosialis Tenganan Pegringsingan". Mongabay republic of indonesia (in Indonesian).
^ Anton Muhajir (18 June 2009). "Ritualistic boxing honors the ancestors". The Dki jakarta Post. Tenganan. Retrieved 21 September 2015.
^ ^a ^b ^c "Tarian Kabasaran". Republic of indonesia Kaya (in Indonesian).
^ ^a ^b ^c "Membela Harga Diri Lewat Tradisi Sigajang Laleng Lipa di Makassar". kumparan (in Indonesian). Retrieved 10 Apr 2020.
^ Brown, Todd (23 July 2009). "PiFan 09 Review: MERANTAU". Twitch Motion-picture show. Archived from the original on 27 July 2009.
^ "Review: The Raid 2 is too gory to tum". Rediff. 30 May 2014.
^ "Paramedics Called To 'Raid 2' Premiere: 'The Most Violent Mainstream Picture show Since Passion Of The Christ'". UPROXX.
^ "The Raid 2: Berandal banned due to excessive violence". astroawani.com.

Farther reading [edit]

Quintin Chambers and Donn F. Draeger (1979). Javanese Silat: The Fighting Art of Perisai Diri. ISBN0-87011-353-4.
Sean Stark (2007). Pencak Silat Pertempuran: Vol. 1. Stark Publishing. ISBN978-0-615-13968-five.
Sean Stark (2007). Pencak Silat Pertempuran: Vol. 2. Stark Publishing. ISBN978-0-615-13784-1.
O'ong Maryono (2002). Pencak Silat in the Indonesian Archipelago. ISBN9799341604.
Suwanda, Herman (2006). Pencak Silat Through my eyes. Los Angeles: Empire Books. p. 97. ISBN9781933901039.
Bricklayer, P.H. (2012) "A Barometer of Modernity: Hamlet performances in the highlands of W Sumatra," Access: Critical Perspectives on Communication, Cultural & Policy Studies, 31(ii), 79–90.

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Source: https://en.wikipedia.org/wiki/Indonesian_martial_arts