Jujitsu Kreimerãƒâ¢ã¢â€šâã¢â€žâ¢s Martial Arts Training 1460 W Patrick St Frederick Md 21702

Indonesian martial arts includes a multifariousness 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 art, and in essence the Indonesian fighting arts are meant as ane's defence confronting perceived threat and assault. Other than physical training, they often include spiritual aspects to cultivate inner force, inner peace and higher psychological ends.^[i]

Today, Indonesian fighting styles are synonymous with pencak silat, a term coined for the martial arts of the Indonesian archipelago.^[2] Nevertheless, a number of fighting arts in Indonesia are not included inside the category of silat. Western misconception links silat with "jungle tribes" but in actuality, pencak silat was neither created nor traditionally practised by Indonesia'southward tribal inhabitants, many of whom have unique martial arts of their own. Some of these traditions have been preserved every bit a complete fighting organization, eastward.g. pencak silat and kuntao. Other methods are either no longer proficient or only exist in a more sportive class 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 amongst the native populace for much of its long history, and the people of the region naturally developed constructive methods of combat and self-defence.^[1] Archaeological findings dating from prehistoric times take uncovered a variety of stone and metal weaponry such as axes, arrows and spearheads. These implements would have doubled as hunting tools and weapons of combat between and among tribes. Tribal warfare, although often motivated by resources, lands and slave grabbing, was too a solution to settling disputes, equally well as a component of coming of age rituals. The practise of headhunting developed the martial skills of some tribes to a high level such as the Dayak, Batak, and Nias people. Warriors from militaristic tribes were appreciated by other factions, and were recruited by adult kingdoms and polities as mercenaries. Traditional state of war dances were used both to reenact battles and as a class of training, a precursor to the preset forms or jurus of later fighting systems. Displaced Baiyue from present-day China and Vietnam (peculiarly the Dong Son culture) during the showtime centuries of the mutual era introduced bronze-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 straight swords arrived early, and ancient Javanese curved swords prove Indian derivation.

Contact with India and the forming of ancient kingdoms atomic number 82 to the transition from tribalism to the golden historic period that was Indonesia'due south Dharmic civilisation. Pencak silat developed in this era^{[ vague ]}, spreading chop-chop from Sumatra into nearly the whole of the archipelago. In comparing to the country's tribal fighting systems, pencak silat shows decidedly more influence from the Asian mainland, specifically Mainland china and the Indian subcontinent. Pencak silat tied the art of combat with practices of meditation and spiritual development, adding 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.^[three] The wide geographical area in which pencak silat was practiced is naturally reflected in its diversity of techniques and weaponry, some indigenous and some adopted from outside through maritime trade. Chinese communities continued to constitute themselves, their native kuntao influencing the local martial arts.

Gunpowder technology in cannons and muskets immune many kingdoms and polities in Republic of indonesia to exist conquered and subjugated past European power. A further influx of Chinese were brought in as labourers, increasing the proliferation of kuntao styles. But while the Europeans could effectively overtake and hold the cities, they found it impossible to control 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-similar martial artists such as Si Pitung. After Republic of indonesia won its independence from colonization, the role of martial arts similar pencak silat in nation-edifice was recognized. The Indonesian Pencak Silat Clan (IPSI) was founded to unite the country's pencak silat schools nether a single governing body. It has been incorporated into the unarmed combat training of Indonesia's polce and military, as well as being an extra-curricular activity in schools, and a gainsay sport in athletic events. Many of the more than violent martial practices such every bit headhunting and duels to the death either vicious out of popularity or were banned. A number of fighting styles accept managed to survive past adapting. In some cases they became less lethal like pasola, or at times past being promoted as a dance for the entertainment 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 nearly 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 Borneo. In modern usage, pencak and silat are seen as being two aspects of the same practice. Pencak is the essence of preparation, the outward aspect of the art. Silat is the internal essence of combat and self-defense, the true fighting awarding of the techniques.^[four] The primeval evidence of pencak silat is in sixth-century Riau from where it saw further development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Coffee. The fine art gradually spread throughout most of what is now Indonesia and reached its summit in the medieval Majapahit kingdom. Generalizations of silat techniques are hard due to the diversity of systems. Any part of the trunk is used and subject to set on. Strikes, grabs, locks, and weapons are all incorporated. Training is frequently supplemented with internal methods of evolution such every bit 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 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 community in Indonesia either has or historically had some style of kuntao, but they were non 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 Prc and underwent little or no changes, such as thaikek (taiji), pakua (baguazhang or eight-trigram palm) and peh-ho (baihequan or white crane fist). Other pop systems originate from the same states equally the Chinese communities who practice 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.^[five] It appears to be indigenous to Flores in E Nusa Tenggara, but it is too expert in Bali and Lombok.^[5] The 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 one and ci meaning exam, indicating a one-on-one test between the fighters. According to local folklore, caci during festivals began with ii brothers who owned a buffalo. When the younger blood brother vicious into a deep pigsty, the older blood brother had to slaughter the buffalo to go its pare to help his sibling escape from the hole.^[6] The community celebrated this act of love with a festival in which caci matches were held.

There are two types of caci: with a whip (tereng or agang) or a stick (agang). The whip may be either long or short. The brusque whip corresponds to the cambuk of Java and measures 3 feet in length. The long whip is v–6 feet long and made from palm stems tied together with either rattan or strips of water buffalo hibernate. The stick is an undecorated piece of hardwood measuring one-1.5 yards long and ii inches in diameter. The shield is of round or elliptical shape. Also traditionally undecorated, it is known equally giling or nggiling when made of buffalo hide and perisai kayu when fabricated 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, only the stick course exists.

In a caci lucifer, the two fighters (who are always male) take turns alternately attacking and defending. The attacker is permitted iii blows to any part of the anatomy, 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 foreclose the attacker from closing in. Stick techniques are all swings without any thrusting. Caci at i fourth dimension served as a class of conflict direction within and between villages. Fighters are divided into the host group (ata one) and the challenger grouping from some other village (ata pe'ang or meka landang). Victory is obtained by hitting the opponent's face or head. In sometime times, title bouts were held in which the object was to blind the opponent's heart. The winner is required to happily sing a quatrain while the loser replies in a low voice to prove despair.

Fitimaen [edit]

Fitimaen is a course of stick-fighting from Buru in the Maluku Islands. The term comes from the Buru give-and-take maen which means stick. The maen are either fabricated from rattan or from native hardwood, of which there are hundreds of varieties.^[5] Sparring sessions are short to minimise injury, and training is carefully conducted for the same reason. They may be fought with ane 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 also used past the Buru Alifuru for fighting, their preference has always been the fighting staff. Donn F. Draeger calls them the all-time stick and staff fighters in the whole of Indonesia although not a particularly combative community. The blowpipe (sumping) and bow and pointer could besides be used for warfare merely are generally hunting implements. Two styles of fitimaen are ascendant, one from Namlea and the other from Leksula.^[five]

Tinju [edit]

The discussion tinju means fist-fighting and commonly refers to western boxing. In Flores a form of boxing exists which involves four people. As ii boxers fight, each is steered by a partner property their waistband from behind. Attacks may be delivered with the open hand, closed fist, backhand, elbow, or a combination of these. Only the easily, arms and shoulders may be used. Kicks and throws are non permitted. The history of tinju is unknown but it is most mutual in Bajawa and most likely originated there. In before times, each boxer would hold a smooth round rock in i manus and wrap the mitt in cloth. Matches are full-contact and victory is determined on points.^[v]

Tarung Derajat [edit]

Young Tarung Derajat fighters.

Tarung Derajat is a total-contact martial art created by Haji Achmad Dradjat in Bandung, West Java. Adult in the 1960s, information technology is a hybrid organization which incorporates boxing, grappling and street-fighting.^[7] Tarung Derajat is officially recognized as a national sport and used equally basic training by the Indonesian Army. Tarung Derajat emphasizes punching and kicking, merely is not limited to these, equally grappling and sweeping are as well 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 competition held every four years. The master Tarung Derajat clan, KODRAT (Keluarga Olahraga Tarung Derajat), now has sub-organizations in 22 provinces in Republic of indonesia. It was introduced equally an exhibition number in the 2011 Southeast Asian Games in Palembang, Republic of indonesia.^[viii]

[edit]

The following are related martial practices including gainsay 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 after throwing a wooden javelin at an opponent

Pasola is a form of mounted spear-fighting from western Sumba. The give-and-take pasola comes from the local word for spear and derives from the Sanskrit sula. According to legend, pasola originated with a woman from the village of Waiwuang. When her husband - a local leader - left habitation for an extended period, she believed him to be dead and eloped with a new lover from another hamlet. Subsequently her husband returned, the woman still chose to stay with her new lover, and the 2 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 try to spill blood to the ground, as a fashion of thanking the ancestors for a successful harvest and ensuring another prosperous rice harvest. The ritual changed over time into more than of a mock boxing. The spear tips are now blunt and their metal tips removed. Whereas information technology was once considered an honour 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 police are kept on guard to prevent fights from breaking out. First in the 2010s, pasola has been promoted as a "game" for visiting spectators. The consequence traditionally begins when a sure kind of ocean worm swims to shore, signifying the end of the wet flavor and the beginning of crop-planting. Today, the elders decide on the date in accelerate for the sake of tourists. Pasola is always held for four weeks in February and March.^[9]

Debus [edit]

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

Payuq [edit]

Payuq is the traditional Dayak form of wrestling, specially native to the Kenyah people of East Borneo. The word payuq derives from the Sanskrit term bahu-yuddha and means "concrete fighting". Matches are held annually during the harvest festival. The aim of a payuq match is to lift and slam the opponent to the footing. Concrete strength and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-like form of wrestling chosen bebintih significant "mutual tackle". Matches take identify in dried rice paddies subsequently being harvested and a circle is set 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 - agree their opponent'due south loincloth and shove their shoulders confronting each other while using their legs to trip the opponent.^[10]

Sisemba [edit]

Sisemba is a boot-fighting action practised by the Toraja of South Sulawesi. While sisemba is its formal name, it is besides known as semba or sempak. Native to the Batan and Pangalla areas in the North Toraja Regency, information technology is today mainly seen in the Toraja cultural eye of Rantepao. The ritual of mass kick-fighting is normally 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 exercise of sisemba, hundreds of participants from two villages bring together hands and grade lines of ii or more than people. They may be linked by the arms or by clasping hands. The line is not necessarily directly but may take the form of a V-shape, an inverted 5-formation, a wedge, a circular arc either concave or convex, or any other shape. One time joined in line, all participants must be 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's line.^[xi] A divided line is then overwhelmed past the superior numbers of the opposing line, who manoeuvre and surround stragglers. Smaller lines are however capable of more active manoeuvres, such as sending the histrion at the end of a line flying through the air completely off the ground, so pulling them back in a whip-like manner later they've struck the opponent. Any sort of kicks are allowed and whatsoever part of the body may exist targeted so long as the link to the line is maintained. An private who has been knocked out of line may go up and rejoin their line; until rejoining he is off-limits to the attacks of the opposing squad. In earlier days, such an individual would be kicked into submission or until unconscious.

Sisemba originated equally a grade of mass defence in which every man in the hamlet repelled invaders. Information technology served its purpose well enough that no form of pencak silat, wrestling, or any other unarmed fighting fine art exists in the Toraja culture. Sisemba was too used equally a way 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 final for several hours each day over a period of weeks during the harvest season. The winner is decided based on the superiority of technique but injuries are still frequent, peculiarly to the face. To ensure that the match runs smoothly, the village elders act as supervisors. If a participant or a pair of them was accounted to be too violent, the hamlet elders will separate them from the crowd.^[11]

Cakalele [edit]

The cakelele is a male state of war-dance practised by the aboriginals of North and Central Maluku. Hybrid forms also be in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, it originated as a fashion for the warriors to celebrate after a successful raid. From the historic period of sixteen, village boys would study and work for 3–five years with the kakehan, the men'southward surreptitious society. The art of gainsay formed part of their didactics, as was the cakalele. While not an bodily martial art, the dance has preserved some techniques and the total range of aboriginal weaponry, making it greatly important in the study of Republic of indonesia's native fighting methods. Backed by the rhythm of the drum 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 battle in Tenganan village, Karangasem, Bali.

Mageret pandan is a Balinese method of fighting using a sharp, thorny pandan club paired with a shield. Information technology is sometimes called makare-kare in Balinese and known equally perang pandan in Indonesian, literally pregnant "pandan boxing". 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 entire 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 information technology is done as a ritual to honour the gods and the ancestors. The weapon used in mageret pandan is a 15 cm club made past tying 10-15 leaves of pandan (Pandanus amaryllifolius) together. Each of the leaves is edged with small-scale sharp thorns. The shield is a rattan buckler. Techniques are mostly swinging strikes, only grappling is used when in-fighting. Participants compete shirtless, wearing simply a sarong (kamen) and traditional headdress (udeng). According to tradition, the mageret pandan is compulsory for Tenganan males. For the young, it serves equally a rite of passage into manhood; children as young as seven have participated.^[xv]

Kabasaran [edit]

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

The basic structure of the dance consists of ix trip the light fantastic moves (jurus) using either the sword (santi) or spear (wengkouw). The footwork pattern consists of two steps to the left and some other 2 to the right. Dancers are known as kawasalan indicating a pair of fighter cocks.^[16] The trip the light fantastic toe is accompanied past percussion instruments such every bit 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 culture in the by.

Sitobo lalang lipa or Sigajang laleng lipa is the Bugis term for a type of knife duel formerly practiced by 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 step into the sarong. Knives in their correct easily, the ii duellists fight to the expiry within the confines of the sarong. This violent method was used for conflict resolution in Bugis-Makassar community in the past. If two men having disputes that tin can not be resolved through parley, their honour has been trespassed, and none of them admitted their mistakes, the only way to resolve this dispute is through a mortiferous duel in a sarong.^[17]

In Bugis culture, there are three important concept that should be uphold; Ade (adat) or traditional customs, Siri (shame or self worth) or in this case one'due south pride and honor should be protected fiercely to avoid the shame of humiliation, and Pesse (pity). In Bugis culture, the Siri aspect is the well-nigh dominant, thus conflict regarding one'southward honour might occur.^[17]

This method of fighting originated in ancient India where the duellists fought with knives in their right easily while their left hands were tied together. It is unknown in what part of Southeast Asia this duel was first introduced, just it was practiced in Thailand where the fighters boxed each other with the correct hands. Duelling within a sarong rather than tying the easily together appears to be unique to Indonesia. Among the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak however utilise some other type of knife known every bit the raut. Duelling is no longer good today, but reenactments of sitobo lalang lipa are still performed at cultural shows in 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 meaning "branch"
• Cambuk / Pecut : whip, might be made from diverse materials; rattan, bamboo, fabrics, leather to stingray'southward tail
• Celurit/ Sabit : a sickle, unremarkably used in farming, tillage and harvesting of crops.
• Kerambit/ Kuku Macan : a blade shaped similar a tiger's claw
• Kipas : traditional folding fan preferably made of hardwood or iron.
• Klewang : a type of single-edge longsword with a protruding notch near its tip.
• Kris : a dagger, oft with a wavy blade made by folding different types of metal together and and then washing information technology in acid.
• Kujang : Sundanese blade roughly shaped like a deer'due south antler.
• Parang/ Golok : machete normally used in daily tasks such equally cutting through forest brush.
• Pedang : sword, either directly 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 defense force against blades.
• Sundang : a double border Bugis sword, frequently 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 attached almost the blade.
• Toya : rod or staff fabricated from forest, steel or bamboo.
• Trisula : a trident or 3-pronged spear

In pop culture [edit]

Republic of indonesia has showcased its martial arts in cinema, novels, comics, theatre, and Television series for decades. The term silat every bit a genre refers specifically to historical stories involving martial artists. These demand not necessarily feature the silat discipline itself, but besides includes Chinese wuxia and Japanese jidaigeki. The silat genre began as an oral and theatrical tradition before first being written in the form of medieval hikayat. The modern silat novel was a 20th-century evolution of the literary silat genre, giving rising to comics and eventually movies. Early silat films (as 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 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 adapted both for Television receiver and film. Indonesian cinema differentiates this from modern activity films or laga. The latter may or may not include traditional fighting styles, just the modern setting makes it distinct from the silat genre proper.

While Indonesian movies and TV series have e'er had a big post-obit in neighbouring Malaysia and Singapore, it was the 2009 picture Merantau that brought international attention to the cinematic genre and pencak silat in general. The film had a mostly positive reaction from cinema critics^[xviii] and generated enough involvement for the lead actor to follow upwards with The Raid: Redemption in 2011 which received international acclaim. Its sequel The Raid 2: Berandal was similarly well-received but drew much criticism for its extreme gore,^{[xix] [twenty]} leading to the motion picture beingness banned in Malaysia.^[21]

See likewise [edit]

• Styles of silat
• Military history of Indonesia

References [edit]

1. ^ ^{a b} "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Belt Mag. Retrieved vi July 2015.
2. ^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles E. 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 Art. Tokyo, Japan : Kodansha International Ltd. {{cite book}}: CS1 maint: multiple names: authors list (link)
5. ^ ^{a b c d due east} Draeger, Donn (1992). Weapons & Fighting Arts of Indonesia (Tuttle martial arts ed.). Tuttle Publishing. ISBN9781462905096 . Retrieved 11 November 2015.
6. ^ Indra Harsaputra (5 Apr 2013). "Manifesting strength and beloved". The Jakarta Post. West Manggarai, East Nusa Tenggara. Retrieved 21 September 2015.
7. ^ Agnes Winarti (xiii November 2011). "Tarung derajat looking for bigger stage". The Jakarta Post. Djakarta. Retrieved 11 November 2011.
8. ^ "Tarung Derajat Tampil di SEA Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved xi November 2015.
9. ^ "Indonesian isle sees future in age-old horseback battle". The Star. 3 April 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 M. Wadrianto (ed.). "Menyaksikan Tradisi "Sisemba" di Toraja Utara". Kompas Travel (in Indonesian). Retrieved 11 November 2015.
12. ^ P. E. De Josselin De Jong (1984). Unity in Diversity: 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 Country. ISBN9-0545-0004-ii.
14. ^ Luh De Suriyan (thirteen July 2016). "Melihat Aneka Ritual Kesadaran Lingkungan di Desa Sosialis Tenganan Pegringsingan". Mongabay indonesia (in Indonesian).
15. ^ Anton Muhajir (18 June 2009). "Ritualistic battle honors the ancestors". The Jakarta Post. 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 Moving-picture show. Archived from the original on 27 July 2009.
19. ^ "Review: The Raid two is too gory to stomach". Rediff. 30 May 2014.
20. ^ "Paramedics Called To 'Raid 2' Premiere: 'The Most Violent Mainstream Flick Since Passion Of The Christ'". UPROXX.
21. ^ "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. ane. Stark Publishing. ISBN978-0-615-13968-v.
• 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: Hamlet performances in the highlands of West 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