Do Traditional Martial Arts Have a Place in a Post Mma World?

Indonesian martial arts includes a variety of fighting systems native to or developed in the archipelago of Indonesia, both the age-old traditional arts, and the more recently developed hybrid combatives. In the Indonesian language 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 defence confronting perceived threat and assault. Other than physical preparation, they often include spiritual aspects to cultivate inner forcefulness, 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] However, a number of fighting arts in Indonesia are not included within the category of silat. Western misconception links silat with "jungle tribes" merely in actuality, pencak silat was neither created nor traditionally practised by Republic of indonesia'southward tribal inhabitants, many of whom have unique martial arts of their own. Some of these traditions have been preserved equally a complete fighting system, e.g. pencak silat and kuntao. Other methods are either no longer skilful or only be in a more sportive form such every bit the spear-throwing of pasola or the dance of cakalele.

History [edit]

Boxing scene on bas-relief of Penataran, Majapahit era

Some parts of the archipelagic realm that is today Republic of indonesia was the scene of warfare amid the native populace for much of its long history, and the people of the region naturally developed effective methods of combat and cocky-defense force.^[1] Archaeological findings dating from prehistoric times have uncovered a variety of stone and metallic weaponry such equally axes, arrows and spearheads. These implements would accept doubled every bit hunting tools and weapons of combat betwixt and among tribes. Tribal warfare, although often motivated by resources, lands and slave grabbing, was as well a solution to settling disputes, equally well as a component of coming of age rituals. The practice of headhunting adult the martial skills of some tribes to a high level such as the Dayak, Batak, and Nias people. Warriors from militaristic tribes were appreciated past other factions, and were recruited past developed kingdoms and polities every bit mercenaries. Traditional war dances were used both to reenact battles and as a form of training, a forerunner to the preset forms or jurus of later fighting systems. Displaced Baiyue from present-24-hour interval Cathay and Vietnam (particularly the Dong Son civilization) during the first centuries of the mutual 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 directly swords arrived early, and ancient Javanese curved swords bear witness Indian derivation.

Contact with Republic of india and the forming of aboriginal kingdoms lead to the transition from tribalism to the gilt historic period that was Indonesia's Dharmic civilization. Pencak silat developed in this era^{[ vague ]}, spreading quickly from Sumatra into nearly the whole of the archipelago. In comparing to the state'southward tribal fighting systems, pencak silat shows decidedly more influence from the Asian mainland, specifically China 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 being used to fight or kill so that it was used consistently throughout Indonesia's history.^[3] The wide geographical expanse in which pencak silat was practiced is naturally reflected in its diversity of techniques and weaponry, some indigenous and some adopted from exterior through maritime merchandise. Chinese communities continued to found themselves, their native kuntao influencing the local martial arts.

Gunpowder technology in cannons and muskets immune many kingdoms and polities in Indonesia to exist conquered and subjugated by European power. A farther influx of Chinese were brought in equally labourers, increasing the proliferation of kuntao styles. Merely while the Europeans could finer overtake and hold the cities, they found it incommunicable to command the smaller villages and roads connecting them. Indonesians took advantage of this, fighting an underground war through guerilla tactics. As guns were not widely available, indigenous blades were used in these attacks. Folklore portrays the rebels as Robin Hood-like martial artists such as Si Pitung. After Indonesia won its independence from colonization, the role of martial arts like pencak silat in nation-building was recognized. The Indonesian Pencak Silat Association (IPSI) was founded to unite the country's pencak silat schools under a single governing body. It has been incorporated into the unarmed combat grooming of Indonesia'southward polce and military, besides as being an actress-curricular activity in schools, and a combat sport in athletic events. Many of the more trigger-happy martial practices such as headhunting and duels to the death either cruel out of popularity or were banned. A number of fighting styles accept managed to survive by adapting. In some cases they became less lethal like pasola, or at times by beingness promoted as a dance 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 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 and Borneo. In mod usage, pencak and silat are seen as being two aspects of the aforementioned practice. Pencak is the essence of training, the outward aspect of the art. Silat is the internal essence of combat and cocky-defence force, the truthful fighting application of the techniques.^[4] The earliest evidence of pencak silat is in 6th-century Riau from where it saw further development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Java. The art gradually spread throughout nearly of what is now 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 to assault. Strikes, grabs, locks, and weapons are all incorporated. Grooming is ofttimes 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 past the Tionghoa community of the Indonesian archipelago. Kuntao has a long history in the region dating dorsum to ancient 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 fashion of kuntao, merely they were not taught openly until the latter 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 footling or no changes, such equally thaikek (taiji), pakua (baguazhang or 8-trigram palm) and peh-ho (baihequan or white crane fist). Other popular systems originate from the same states equally the Chinese communities who practice them, so that Fujian, Shandong, Kongfu and Guangdong styles dominate.

Caci [edit]

Caci duel using rattan whip as weapon and shield every bit protection.

Caci (pronounced "chachi") is a form of fighting with a whip or stick.^[v] It appears to be ethnic to Flores in East Nusa Tenggara, just information technology is too practiced in Bali and Lombok.^[v] The fine art is sometimes chosen cacing or ende in Flores, and larik or kebat in Riung, while in Balinese it is known every bit ende. The term caci is said to derive from the Manggarai words ca significant 1 and ci pregnant exam, indicating a 1-on-1 examination between the fighters. According to local sociology, caci during festivals began with ii brothers who endemic a buffalo. When the younger brother vicious into a deep pigsty, the older brother had to slaughter the buffalo to get its pare to help his sibling escape from the hole.^[6] The customs celebrated this act of dearest with a festival in which caci matches were held.

In that location are two types of caci: with a whip (tereng or agang) or a stick (agang). The whip may be either long or brusque. The brusk whip corresponds to the cambuk of Java and measures 3 feet in length. The long whip is 5–half dozen anxiety long and made from palm stems tied together with either rattan or strips of water buffalo hide. The stick is an undecorated slice of hardwood measuring ane-ane.5 yards long and 2 inches in bore. The shield is of round or elliptical shape. Besides traditionally undecorated, it is known equally giling or nggiling when made of buffalo hide and perisai kayu when made of woods. 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, just the stick form exists.

In a caci friction match, the two fighters (who are always male) take turns alternately attacking and defending. The assailant is permitted three blows to whatever part of the anatomy, while the defender attempts to block with his shield. The defender is non allowed to assault while defending, but in the example of whip-fighting the defender may spin the whip above his caput to forbid the attacker from closing in. Stick techniques are all swings without whatever thrusting. Caci at in one case served as a form of conflict management within and between villages. Fighters are divided into the host group (ata ane) and the challenger grouping from another hamlet (ata pe'ang or meka landang). Victory is obtained by hitting the opponent's face or head. In sometime times, championship bouts were held in which the object was to blind the opponent'south eye. The winner is required to happily sing a quatrain while the loser replies in a low vocalisation to show despair.

Fitimaen [edit]

Fitimaen is a form of stick-fighting from Buru in the Maluku Islands. The term comes from the Buru word maen which ways stick. The maen are either made from rattan or from native hardwood, of which in that location are hundreds of varieties.^[5] Sparring sessions are brusque to minimise injury, and training is carefully conducted for the same reason. They may be fought with i or a pair of sticks, the length of which depends on personal preference. The first written attestation 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 also 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 peculiarly combative community. The blowpipe (sumping) and bow and arrow could also exist used for warfare but are more often than not hunting implements. Two styles of fitimaen are ascendant, one from Namlea and the other from Leksula.^[five]

Tinju [edit]

The word tinju ways fist-fighting and usually refers to western boxing. In Flores a form of boxing exists which involves four people. As two boxers fight, each is steered past a partner holding their waistband from behind. Attacks may exist delivered with the open hand, closed fist, backhand, elbow, or a combination of these. Merely the hands, arms and shoulders may be used. Kicks and throws are not permitted. The history of tinju is unknown but it is about mutual in Bajawa and almost likely originated there. In earlier times, each boxer would agree a smooth round stone in 1 manus 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 full-contact martial art created by Haji Achmad Dradjat in Bandung, West Coffee. Developed in the 1960s, information technology is a hybrid arrangement which incorporates battle, grappling and street-fighting.^[7] Tarung Derajat is officially recognized as a national sport and used every bit bones training by the Indonesian Army. Tarung Derajat emphasizes punching and kicking, just is non limited to these, every bit grappling and sweeping are also included in its grooming. Practitioners are known just as petarung pregnant "fighter".

Since the 1990s, Tarung Derajat has been refined as a gainsay sport. In 1998, the Tarung Derajat organization officially became a member of the KONI. Since and so, the system has a spot in Pekan Olahraga Nasional, a national multi-sport competition held every iv years. The main Tarung Derajat association, 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 post-obit 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 war between two opposing camps, chasing later throwing a wooden javelin at an opponent

Pasola is a form of mounted spear-fighting from western Sumba. The word pasola comes from the local discussion for spear and derives from the Sanskrit sula. According to fable, pasola originated with a woman from the hamlet of Waiwuang. When her husband - a local leader - left home for an extended menses, she believed him to be dead and eloped with a new lover from another hamlet. After her husband returned, the woman nevertheless chose to stay with her new lover, and the ii 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 footing, every bit a way of thanking the ancestors for a successful harvest and ensuring another prosperous rice harvest. The ritual inverse over time into more than of a mock battle. The spear tips are now blunt and their metallic tips removed. Whereas information technology was one time considered an honour to die during pasola, only accidental deaths occasionally occur today. The human being and equus caballus blood which used to drench the field is now solely from sacrificed pigs, dogs, and chickens. Armed law are kept on baby-sit to prevent fights from breaking out. Kickoff in the 2010s, pasola has been promoted as a "game" for visiting spectators. The event traditionally begins when a certain kind of sea worm swims to shore, signifying the terminate of the moisture flavor and the beginning of crop-planting. Today, the elders decide on the engagement in accelerate for the sake of tourists. Pasola is always held for four weeks in Feb 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 Coffee.

Payuq [edit]

Payuq is the traditional Dayak form of wrestling, specially native to the Kenyah people of East Kalimantan. The discussion 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 strength and technique are the deciding factors in payuq. The neighbouring people of Kutai practise a sumo-like form of wrestling called bebintih meaning "mutual tackle". Matches take place in dried rice paddies after being harvested and a circle is gear up in the centre of the field as a ring. The aim is to push the opponent out of the circumvolve or knock them to the ground. Wrestlers - always male - concord 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 kicking-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 North Toraja Regency, it is today mainly seen in the Toraja cultural heart of Rantepao. The ritual of mass kick-fighting is commonly performed as part of the rice harvest festival in Tana Toraja villages. According to tradition, sisemba is a prerequisite for the next successful harvest.^[xi] In the practice of sisemba, hundreds of participants from 2 villages join easily and class lines of two or more people. They may be linked by the artillery or by clasping easily. The line is non necessarily straight but may accept the class of a Five-shape, an inverted Five-formation, a wedge, a round arc either concave or convex, or whatsoever other shape. In one case joined in line, all participants must be linked except the men on the ends of each line. Once the opposing ranks come inside range, they kick at each other in an effort to knock players out of the opponent'south line.^[11] A divided line is then overwhelmed by the superior numbers of the opposing line, who manoeuvre and surround stragglers. Smaller lines are however capable of more agile manoeuvres, such as sending the histrion at the finish of a line flight through the air completely off the ground, and so pulling them back in a whip-similar manner subsequently they've struck the opponent. Any sort of kicks are allowed and any part of the trunk may be targeted then long as the link to the line is maintained. An individual who has been knocked out of line may become up and rejoin their line; until rejoining he is off-limits to the attacks of the opposing team. In before days, such an individual would be kicked into submission or until unconscious.

Sisemba originated every bit a course of mass defence in which every homo in the village repelled invaders. It served its purpose well plenty that no class of pencak silat, wrestling, or any other unarmed fighting fine art exists in the Toraja civilization. Sisemba was also used as a way of settling disputes between kampung. Victory was obtained just by reducing the numbers of the opposing team through injury. Today information technology is a harvest-fourth dimension festivity, performed on harvested rice fields. Matches terminal for several hours each mean solar day over a period of weeks during the harvest season. The winner is decided based on the superiority of technique only injuries are nevertheless frequent, specially to the face up. To ensure that the friction match runs smoothly, the village elders act as supervisors. If a participant or a pair of them was deemed to exist too fierce, the hamlet elders volition separate them from the oversupply.^[11]

Cakalele [edit]

The cakelele is a male war-trip the light fantastic practised by the aboriginals of 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 later on a successful raid. From the age of xvi, village boys would study and work for iii–5 years with the kakehan, the men'south secret gild. The art of combat formed part of their education, as was the cakalele. While non an actual martial art, the trip the light fantastic has preserved some techniques and the full range of aboriginal weaponry, making information technology profoundly of import in the written report of Indonesia'due south native fighting methods. Backed past the rhythm of the pulsate and gong (tifa) and fife (sulin), two opposing captains engage 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 club paired with a shield. It is sometimes called makare-kare in Balinese and known every bit perang pandan in Indonesian, literally meaning "pandan battle". Mageret pandan is practiced by the Bali Aga population of Tenganan village in Karangasem Regency. The people of Tenganan are devotees of the deity Indra. To honour Indra as 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 boxing was commemorated through mageret pandan.^[14]

Today it is washed as a ritual to honour the gods and the ancestors. The weapon used in mageret pandan is a xv cm guild made by tying x-fifteen leaves of pandan (Pandanus amaryllifolius) together. Each of the leaves is edged with modest sharp thorns. The shield is a rattan buckler. Techniques are generally swinging strikes, but grappling is used when in-fighting. Participants compete shirtless, wearing just a sarong (kamen) and traditional headdress (udeng). According to tradition, the mageret pandan is compulsory for Tenganan males. For the young, it serves every bit a rite of passage into manhood; children as young as 7 take participated.^[xv]

Kabasaran [edit]

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

The basic structure of the trip the light fantastic consists of 9 trip the light fantastic toe moves (jurus) using either the sword (santi) or spear (wengkouw). The footwork pattern consists of two steps to the left and another two to the correct. Dancers are known as kawasalan indicating a pair of fighter cocks.^[16] The trip the light fantastic toe 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, constitute in Bugis civilisation in the past.

Sitobo lalang lipa or Sigajang laleng lipa is the Bugis term for a type of pocketknife duel formerly adept by pesilat of the Bugis-Makassar communities and also in Batak tribes. The challenger stands with a loosened sarong around him and invites the other man to step into the sarong. Knives in their right hands, the two duellists fight to the decease within the confines of the sarong. This violent method was used for conflict resolution in Bugis-Makassar community in the past. If 2 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 civilization, there are 3 important concept that should be uphold; Ade (adat) or traditional customs, Siri (shame or cocky worth) or in this example 1'southward pride and honor should be protected fiercely to avoid the shame of humiliation, and Pesse (compassion). In Bugis culture, the Siri aspect is the most dominant, thus conflict regarding one's honour might occur.^[17]

This method of fighting originated in ancient Bharat where the duellists fought with knives in their right hands while their left hands were tied together. It is unknown in what part of Southeast Asia this duel was first introduced, but it was practiced in Thailand where the fighters boxed each other with the correct hands. Duelling within a sarong rather than tying the hands together appears to exist unique to Indonesia. Amid the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak notwithstanding utilise some other type of knife 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 knife or dagger developed by the Bugis and Makassar people of southern Sulawesi
• Chabang : short-handled trident, literally significant "branch"
• Cambuk / Pecut : whip, might be made from various materials; rattan, bamboo, fabrics, leather to stingray'due south tail
• Celurit/ Sabit : a sickle, commonly used in farming, tillage and harvesting of crops.
• Kerambit/ Kuku Macan : a blade shaped like a tiger'southward claw
• Kipas : traditional folding fan preferably fabricated of hardwood or iron.
• Klewang : a type of unmarried-border longsword with a protruding notch near its tip.
• Kris : a dagger, often with a wavy blade made by folding different types of metallic together so washing information technology in acid.
• Kujang : Sundanese blade roughly shaped like a deer'south antler.
• Parang/ Golok : machete ordinarily used in daily tasks such as cutting through woods brush.
• Pedang : sword, either straight or curved
• Rencong/Tumbuk Lada : slightly curved Aceh and Minang dagger, literally meaning "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 made of bamboo, steel or forest that sometimes has horsehair fastened near the bract.
• Toya : rod or staff made from forest, steel or bamboo.
• Trisula : a trident or 3-pronged spear

In popular 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 discipline itself, but also includes Chinese wuxia and Japanese jidaigeki. The silat genre began as an oral and theatrical tradition before first existence written in the form of medieval hikayat. The mod silat novel was a 20th-century evolution of the literary silat genre, giving rising to comics and eventually movies. Early silat films (every bit with many gimmicky Tv series today) placed less emphasis on the actual 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 erstwhile 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 adapted both for TV and film. Indonesian cinema differentiates this from modernistic action films or laga. The latter may or may not include traditional fighting styles, but the mod setting makes it distinct from the silat genre proper.

While Indonesian movies and TV serial have always had a large following in neighbouring Malaysia and Singapore, it was the 2009 picture show Merantau that brought international attention to the cinematic genre and pencak silat in general. The film had a mostly positive reaction from movie house critics^[xviii] and generated enough interest for the lead thespian to follow upwards with The Raid: Redemption in 2011 which received international acclamation. Its sequel The Raid ii: Berandal was similarly well-received but drew much criticism for its farthermost gore,^{[nineteen] [20]} leading to the flick beingness banned in Malaysia.^[21]

Run into also [edit]

• Styles of silat
• Armed forces history of Indonesia

References [edit]

1. ^ ^{a b} "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Belt Magazine. Retrieved vi July 2015.
2. ^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles East. Tuttle Co. ISBN978-0-8048-1716-5.
3. ^ "Silek Harimau Minangkabau: the True Martial Fine art of West Sumatra". Wonderful Indonesia. Retrieved viii July 2015.
4. ^ Howard Alexander, Quintin Chambers, Donn F. Draeger (1979). Pentjak Silat: The Indonesian Fighting Fine art. Tokyo, Nippon : Kodansha International Ltd. {{cite book}}: CS1 maint: multiple names: authors list (link)
5. ^ ^{a b c d east} Draeger, Donn (1992). Weapons & Fighting Arts of Indonesia (Tuttle martial arts ed.). Tuttle Publishing. ISBN9781462905096 . Retrieved eleven November 2015.
6. ^ Indra Harsaputra (5 Apr 2013). "Manifesting force and beloved". The Jakarta Postal service. West Manggarai, East Nusa Tenggara. Retrieved 21 September 2015.
7. ^ Agnes Winarti (13 November 2011). "Tarung derajat looking for bigger stage". The Dki jakarta Post. Jakarta. Retrieved 11 November 2011.
8. ^ "Tarung Derajat Tampil di Bounding main Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved 11 November 2015.
9. ^ "Indonesian isle sees time to come in age-old horseback battle". The Star. three Apr 2014.
10. ^ Suryadi Gunawan. "'Payuq', 'Bebintih' Roh Para Pegulat Kaltim di Ajang Internasional". Antara News.com (in Indonesian). Retrieved 11 November 2015.
11. ^ ^{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.
12. ^ P. E. De Josselin De Jong (1984). Unity in Variety: Indonesia as a Field of Anthropological Study. Foris Publications. ISBNnine-0676-5063-3.
13. ^ Albert M Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal Land. ISBN9-0545-0004-two.
14. ^ Luh De Suriyan (13 July 2016). "Melihat Aneka Ritual Kesadaran Lingkungan di Desa Sosialis Tenganan Pegringsingan". Mongabay indonesia (in Indonesian).
15. ^ Anton Muhajir (18 June 2009). "Ritualistic boxing honors the ancestors". The Jakarta Mail. Tenganan. Retrieved 21 September 2015.
16. ^ ^{a b c} "Tarian Kabasaran". Republic of indonesia Kaya (in Indonesian).
17. ^ ^{a b c} "Membela Harga Diri Lewat Tradisi Sigajang Laleng Lipa di Makassar". kumparan (in Indonesian). Retrieved 10 April 2020.
18. ^ Brown, Todd (23 July 2009). "PiFan 09 Review: MERANTAU". Twitch Picture. Archived from the original on 27 July 2009.
19. ^ "Review: The Raid 2 is besides gory to breadbasket". Rediff. 30 May 2014.
20. ^ "Paramedics Called To 'Raid 2' Premiere: 'The Almost Violent Mainstream Moving-picture show Since Passion Of The Christ'". UPROXX.
21. ^ "The Raid two: 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. i. Stark Publishing. ISBN978-0-615-13968-5.
• 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.
• Mason, P.H. (2012) "A Barometer of Modernity: Village performances in the highlands of Due west Sumatra," Admission: Critical Perspectives on Communication, Cultural & Policy Studies, 31(2), 79–90.

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

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