Jurus Tunggal (Single) in Championship Pencak Silat - Artistic (Seni) Category

Championship Pencak Silat - Artistic (Seni) Category

Jurus Tunggal (Single Jurus)

Pencak Silat competition category in which a Pesilat (one contestant) performs Jurus Baku Tunggal (single jurus) skill in a proper, accurate and stable manner with soulfulness, bare-handedly and armed.

Championship Rules for Tunggal category

Judge

Evaluate performance based on techniques/strength/aggression/expressiveness


Scoring

Performed by one Pesilat that performs his skill in Jurus Tunggal Baku (Single Compulsary movement)
Perform accurately and firmly, complete soulfully with empty hands and with weapons according to rules & regulations


1. Competition Equipment

1.1 Attire:

• A standard Pencak Silat attire of any color and plain (The top and bottom pieces may be of the same or different color)
• A headband (a veil not covering face, is not consider as a headband) and ‘kain samping’ of plain color or patterned
• The color choice and combination are entirely at the discretion of the Contestant
• It is allowed to have the badge of the contestant’s main association on the left chest and PERSILAT badge on the right chest
• The national flag on the left arm and the name of the country at the upper back of the attire

1.2 Weapon

For Pre-Teen and Pre-Junior,

• golok or parang is made of metal or wood, non-sharp pointed with length between 20 cm up to 30 cm. With the width of between 2 cm to 3.5 cm
•  ‘Tongkat’ (rod), made of rattan with the length of between 100-150 cm and diameter of between 1.5-2.5 cm

For Junior, Senior and Master,

•  golok or parang is made of metal or wood, non- sharp pointed with length between 30 cm up to 40 cm. With a width of between 2.5 cm to 4 cm

‘Tongkat’ (rod), made of rattan with the length of between 150-180 cm

2. Competition Stages

2.1  When a competition is participated by more than 7 (seven) contestants, a pool system will be implemented.

2.2  Three Contestants with the highest scores from each pool will compete again in the next round. unless the following round is the final.

The participants of the final round will be the best 3 (three)—in terms of gaining scores— from the previous competition pool stages.

2.3  The number of pool is decided in a meeting attended by International Technical Delegates, Competition Chairman and Council of Jury. The decision will be announced to the participants at the Technical Meeting.

2.4  The pool division for contestants are determined by drawing of lots during the Technical Meeting. Voting method, i.e either manually or digitally will be decided through voting at the Technical Meeting

2.5  Each category should be participated by minimum 2 (two) participants and directly goes to final round.

3.   Duration of Competition

The performance duration is 3 (three) minutes.

4.  Competition Procedure

4.1   The beginning of competition:

a. Juries reporting for duty to the Competition Chairman from the right side of the Competition Chairman

b. Show respect and readiness to perform duty

c. Taking the allocated seats.

4.2   The weapons that were certified by the Competition Chairman will be placed at the weapon quarantine station as prepared by the organizing committee.

Pesilat/coach will be allowed to collect the weapons just before he/she enter the arena (immediately after his/her name was announced)

4.3   Pesilat

a. Entering the arena from the left side of the Competition Chairman

b. Walk towards the centre of arena.

c. Pesilat is to place the weapon on the weapon stand (no assistance from coach)

d. Show respect to the Competition Chairman and turning back to show respect to the Juries. 

4.4   Competition Chairman will signal the Juries, time keeper and other Competition

official to alert them that duty is about to begin.

4.5  The showcase

a. Showcase the Opening PERSILAT greeting

b. The gong will be strike to mark the beginning of performance time Contestant to begin the showcase

c. Bare hand movement

d. With the Long knife / Golok

e. With the long stick / Toya (rod)

f. The gong will be strike to mark the end of performing time.

4.6   At the end of the performance

a. Contestant to show respect to the Juries and Competition Chairman from the centre of the arena

b. To leave the arena by the left side of the Competition Chairman

4.7   Time Keeping

a. The competition chairman will make sure/take charge of the showcase time.

b. The time keeper will keep track of the 3 minutes showcase.

c. Competition Chairman will announce the actual showcase time. (Should the

digital scoring is in used, the time tracking will be as displayed on the screen) 

5.   Competition Rule

5.1  Rules of the game

5.1.1  Contestant showcase the Jurus Tunggal Baku (Single Compulsory Movement) in three (3) minutes, begin with bare hand followed with weapon movement follow with long knife (golok) followed by the long stick (toya). 

A tolerance period of +/-10 seconds is allowed for Pre-teen and Pre-Junior catagories while +/-5 seconds for the Junior, Senior and Masters catagories

Should the tolerance period go beyond the limit, penalty will be imposed accordingly.

5.1.2   Jurus Tunggal Baku is showcase according to the sequential movement, such

as the movement sequence, precise techniques of with and without weapon,

rhythmic movement, firmness and expression

5.1.3   If the contestant failed to continue his/her performance due to whatever reason,

the Competition Chairman will declare he / she as being disqualified.

5.1.4   Uttering of voice is allowed

5.2   Penalties

5.2.1   Deduction of points will be imposed as such:

A. Mistake in movement sequence and techniques.

a.1 Deduction of one (1) point each time

i. mistake in movement sequence details

ii. Mistake in movement techniques

iii. Any missing movement (not done)

iv. Should a Pesilat lost grip of the weapon, as long as it does not touches the ground, a total of 1 point penalty for each wrong and/or additional movement incurred.

B. Time factor

b.1. beyond the tolerance period.

b.1.1 ten (10) to fifteen (15) seconds – deduction of 10 points for Pre-teen and PreJunior catogaries and five (5) to ten (10) seconds for Junior, senior and masters catogaries.

Should the showcase go beyond these tolenrance period the showcase will be stopped and declared disqualified.

C. Other factors

c.1 Exceed the arena limit (10m x 10m) –Deduction of 5 points

c.2. Drop of Weapon – Deduction of 5 points

c.3 Attire is not according to prescription – Deduction of 5 points (eg. Extra accessories, head gear or samping fall off)

c.4 Weapon came out loose from the handle or breaking of the long stick  Showcase will be stopped and declaired disqualified.

5.3  Other Decisions

5.3.1   The Referee Jury Council has the right to request for amendments of the penalties (impose penalty or withdraw penalty) following 3 or more Jury views and decision. Penalty imposed will be denied if it is only be given by 2 or 1 Jury.

5.3.2   When competition is unable to continue due to:

i. Juries failed to function (fall sick / injured / unconscious)

ii. Non-Technical factors (Electrical breakdown / disturbance / etc)

iii. External factors (something that is beyond human control, natural disaster etc)

Competition chairman will stop the competition with following guidelines:

• contestant involve (unless the last contestant) will be allowed to showcase the performance again right from the beginning (at whichever round he is contesting) with the same Juries, right after the last contestant completing his/her showcase.
• If it is during the last contestant showcase, contestant will be allowed to  eshowcase his performance from the beginning, at the latest 10 minutes after the technical problem is solved.
• The Jury that could not carry out duty is to be replaced.

5.3.3   Competition could not proceed due to any accident caused by the contestant (collision with Juries / Jury was hurt due to weapon flung to them, etc) Contestant will be disqualified. Competition Chairman will replace the injured Jury (after consultation with Technical delegate) and competition will resume with the next contestant.

5.4   Walk-over

Participation will be declared as Walk-over should contestant failed to report to

Competition’s Secretary after being call for the 3rd time.

The interval between the call outs will be at thirty (30) seconds each.

5.5   Disqualification

a. Points given to contestant will be withdrawn should it was realized (at the

end of the showcase) that the contestant failed to showcase the whole package or had perform the package sequence not in proper order.

b. Putting on a totally non-proper attire (not as stipulated) or using a wrong weapon (eg. Tombak instead of toya)

c. Pesilat is unable to continue the showcase due to his own fault

d. Matters that are stated at point 5.1.3, 5.2.1 (b1.1), 5.2.c4 dan 5.3.3

e. Pesilat is unable to show the letter of medical checkup before starting the first match (regardless of category) of the competition.

6.   Scoring

6.1. Scoring consists of:

6.1.1. Accuracy score includes the following elements:

a. The accuracy of movement in each Jurus

b. The accuracy of movement sequence

c. The accuracy of jurus sequence

Score is obtained from the total number of movements in Jurus Tunggal (100 movements) deducted by the penalty points.

6.1.2. Firmness scores include the following elements:

a. The firmness of movements

b. The firmness of movement rhythm

c. The firmness of movement soulfulness

d. The firmness of power and stamina

Score ranges from 50 to 60 points which is the accumulated score of the four firmness elements.

7.   Decision and announcement of the winner

7.1. The winner is the contestant who gains the highest score for his/her performance from 3 (three) our of 5 (five) jurors with elimination of the highest and the lowest score.

7.2. If the scores are equal, the winner will be determine accordingly:

i) The contestant who gains the total highest Technique points from the 3 (three) jurors as decided in para 7.1.

ii) The contestant who gains the highest points in firmness, soulfulness and stamina from 3 (three) jurors as decided in para 7.1.

iii) The contestant whose duration of performance is the closest to precise time of 3 (three) minutes. 

iv) The winner is the contestant who gains the least penalty points.

v) If the result remains the same, the Competition Chairman will do a toss coin on to the matress witnessed by Technical Delegate, Council of Juror and Team Managers of respective Contestant.

7.3. The score of each contestant is announced after the Jury has finished their

task in giving score to all contestants of every Jurus Tunggal (Single) category.

Total obtained scores will be shown in scoring board while announced by

Competition Chairman except when using digital scoring board where the scores from each Jury and total scores are displayed in the screen instantly.

Learn Jurus Tunggal (Single )

Different styles of Malaysian Silat

In this video we will meet with Pakcik Zainal ( Grandmaster of Penang Silat Tua Organization, Malaysia) teaches different styles of Malaysian Silat (fighting and weapon work).

From this video you'll know about;
-meaning of word Silat and its origins
-how many styles of Silat exist
-what is Malaysian Silat is and what difference between Indonesian and Malaysian Silat
-information about paying of respect from Silat Masters to MMA and much more

Basic silat techniques:
-basic punches
-basic strikes
-basic attacks
-basic principles

Silat Minangkabau Silek Tuo

Silek Tuo/Silat Minangkabau it is one of the oldest silat styles and the original kinematics is still intact. Silat Minangkabau is a martial art which is owned by the people of Minangkabau , West Sumatra , Indonesia which is inherited from generation to generation. Minangkabau society has a nature like to wander since hundreds of years ago. To migrate course they should have enough stock to protect themselves from the worst things during the trip or at the shoreline, such as being attacked or robbed. In addition to the preparation to go abroad, it is important to defense Silek village , against external threats.

Video Silat Minangkabau

The form and nature of his movement:
resembles a tiger is like nature, hard, attacking without patience
act immediately pounce. rely on hand strength.

How To Wear Sampin

Sampin, sometimes referred to as "samping". "Samping" is from the word "sampingan" meaning an "accompaniment" or "accessory", of the dress or attire.

Sampin is the cloth worn on the belly area covering the stomach up to the knees or slightly below the knees, or the mid-area of the body. Sampin is to wear with baju melayu, a traditional attire for malay men.

Although most of them are stitched and closed like a sarong, there are some men who prefer to wear one that is left unstitched at both ends of the cloth, and this cloth is called sarong lepas or as samping kain punca potong.

Usually, kain samping is about half the size of a normal sarong. It's worn over the trouser of a baju kurung. There are many variations to wear the kain samping but the basic technique is the easiest!


How to wear a Sampin for Silat

Step into the centre of the circular shaped sampin and pull the sampin up to waist level.

Bring the Left end of the sampin to centre to make a fold.

Bring the Right end of the sampin to centre to make a fold.

Apply more strength to adjust the tightness and fold the centre of the sampin inwards.

Video How To Wear Sampin

Video How To Wear Sampin

Sampin can also be used as a weapon

Sarong techniques

The use of Stingray in Silat

Stingray (English), Ekor Pari (Malay) or Buntot pagi (Tagalog). This weapon used in Silat. Stingray were originally used for urging animals forward or punishing criminals, and also as a form of torture. The Stingray was said to be popular among female silat exponents because of its light weight.

Seven basic attack in silat

In martial arts, attack technique is based on the ideology of each the styles of martial art. Like the Taekwondo, the concept is "the art of the feet and the hands" or "the art of kicking and punching" and "the way of the foot and the hand." That is why they use a lot of punches and kicks. In silat, to be a worthy and strong Silat fighter, either in the arena or on the street, there are seven self defense moves that really should be mastered. To fully master the techniques, you will probably have to train every day and if you have a unique personality or behavior, you may find that your fighting skills will need to be developed in a unique way, in order to make you the most efficient warrior possible.

Silat’s seven essential fighting techniques are:

Silat Gayung Fatani Malaysia

Punching 
Your opponent can be killed instantly if you employ either the uppercut or the straight punch effectively. You can develop your skill and strength with your punches by practicing grip exercises and push ups.

Silat Olahraga

Kicking  
In Silat, the focus is on targeting your kicks rather than trying to get them as high as possible, and training with a punching bag or kicking target can be an excellent way to perfect your kicks. The most effective kick is the front kick, because the power is targeted directly to your opponent.

Silat Gayong Malaysia

Elbow 
Many other fighting techniques including kick boxing have copied the elbow strike form Silat, and the technique is often used in an attempt to confuse tour opponent.

Silat Gayong Pusaka

Sweeping 
This technique can be employed to topple down an enemy, and Silat is one of the few martial arts fighting techniques that uses the sweeping movement. Your enemy can fall into a coma from being on the receiving end of a sweep, if they land the wrong way.

Silat Cekak

Catching 
Catching often follows a strike or topple, and when used effectively it can catch your enemy off guard.

Silat Lincah Malaysia

Locking 
Whether or not you have a weapon with you when you are fighting, the locking movement is one of the techniques that can actually break the bones of your opponent.

Silat Sendeng Malaysia

Counter Attack 
If your opponent catches your strike with either a leg or a hand, you can employ a counter attack also known as a polong. A martial arts technique that focuses on locking and catching should use the counter attack technique and this is a great strategy to employ if your opponent is not seriously dead or injured.

The fighting techniques described above should not be used unless you are highly trained and skilled and are in a very real and serious situation, as they are all very powerful and effective and can easily kill a man. The best Silat exponent is one who has a good heart, and you should keep in mind that these techniques are for self defense only and should be taken seriously.

Pukulan Combat

It didn't mean much to me when I first heard the words, ‘My body is my weapon”. After all, you could apply that claim to whichever martial art you might be learning. It wasn't until years later that I clearly understood the difference between what one could say about various arts. and what what we do.

You see the human body is composed of a variety of organs covered by the skin, and these represent a universe of 'soft' and 'hard' areas. Some areas teem with energy drainage spots or are crowded with nerves and muscles, others are vulnerable joints. Yet others look outwardly similar but are armour plated weapons!
The real secret of using your body like a weapon lies in lining up your amour plated parts against the opponents soft more vulnerable areas.When this is accomplished the opponent is hurt no matter what they do!

When this happens a 115 pound woman can drop a 250 pound man and no one can figure it out: This is our goal and we attain it through a unique delivery system. The body learns to move in an undulating unfathomable manner brought to life by the 'Bunga'. which unites spirit with movement. This means the Silat artist actually becomes so physically and mentally attuned to the opponent that it is not even necessary to look at them! Pukulan Silat is based can eleven physical principles which build and train the body. These are:
1. Principle of Penetration
2. Principle of Continuous Blow with Camouflage
3. Principle of Adhesion
4. Principle of Bamboo - Whip and Ricochet Hitting
5. Principle of Off-Timing - Mental, Visual and Auditory
6. Principle of Compacting - Thunderbolt strikes and Poison Hand blows
7. Principle of the Thorn
8. Principle of Decoying (Includes Indirect Hitting)
9. Principle of Destruction:
10. Principle of Body Armour
11. Principle of Hit Trapping

Penetration has more than one dimension. It includes the ability to close range and penetrate the opponent's defenses while negating their counters. Once in range, penetration involves various ways of intercepting incoming blows with blows of your own, and going through the aforementioned energy points muscles nerves and joints.

One of the major differences between our art ,and many others is that we do not block anything! Everything that comes into our range is struck! Punches can be struck aggressively by flanking and perhaps with a powerful forearm smash. Alternatively we may be more passive and guide the incoming blow into a more powerful destructive force – like the tip of the elbow. Kicks can be hit straight on with another kick, stopping them before they even start. Or we hit them at an angle. using penetrating toe points or heel kicks.

Head butts, points on the shoulder, and hip are other weapons to use when the opportunity arises. In many ways it's like the old paper, rock, scissors game.

Remember always to line up your superior body parts with the incoming weaker ones. Flank (if this is not possible) and quickly counter with the correct weapon.

Mastering Pencak Silat

Silat is a very big art in that there is a lot to be learned and there is no way that you can practice all of it or even a large part of it every day. So how should you train? In learning any martial arts, we can break the art into four pieces – mechanics, partner dynamics, real combat and internal aspects. 

Mechanics - Do you have your foot, your hand and your body in all of the right places and do you understand how they should be coordinated together. During this phase you should listen and watch in class for subtle movements and positions that your instructor makes. If you only have the books or the videos then look for every detail. Play the video in slow motion many times and watch where everything goes. Next head out to your garage or wherever you train and practice slowly in front of the mirror. Ask yourself if you look like the video or not? The answer for a while will be no, but keep tuning and fixing until you look good. Also do the techniques both slowly and at full speed. During this phase repetition is the key, but not mindless repetition. Don’t treat your training like reps on the weight machine.

Partner Dynamics - In this phase try the technique slowly with a partner. In your initial attempts the technique will seem “dirty”. Your partners arms and legs will seem to keep getting in the way and it all seems so messy. This is place you are learning to detect motion in your partner, learning about angles and you are learning that constant minor adjustments must be made. If the technique does not work like you think that it should then you need to ask if it is a question of mechanics, something you missed before, or is the problem in the dynamics. During this phase don’t kid yourself into believing that now you are super warrior and ready the take on the jungle. You made the technique work when both you and your partner knew exactly what was supposed to happen and your partner punched or kicked in the correct manner.

Real Combat - In this phase you need to begin slowly with your partner. This time you must maneuver yourself into the proper positions and adjust to the randomness of your partner. Care must be made to prevent injuries. This is not a contest to see who is the winner or loser. Gradually pick up the speed and eventually when you feel ready wear some protective gear and go at near full pace. Some techniques can’t be done at combat pace because they would cause serious injury, but do your best approximation. In this phase also evaluate your success or failure and ask is it due to mechanics, dynamics, fear or maybe you don’t have enough endurance or strength.

Internal Aspects - In this phase you want to integrate whatever animal spirit goes with that technique. Are you integrating the tenaga dalam with what you are trying to do? Have you been doing your tenaga dalam breathing exercises? Watch videos about the real animals, go to the zoo and see the real animals and attempt animal possession. In conclusion keep your training fun. If due to family or work you just can’t get with a partner very often at least try to get together once a week. Balance the other days with work on mechanics, tenaga dalam, endurance or strength. There is a lot to be learned and it should keep you busy a lifetime.

Effectiveness in fighting

Effectiveness in fighting is determined by the training methods you employ, not by the style or technique you perform. Efficient and effective training methods should address each and every component of fighting. Otherwise, an individual's safety can be jeopardised.

Here is formula for developing effectiveness in fighting:

Learning, practicing and mastering the basics 

Putting the basics together into combinations to form a drill 

Using drills to develop physical and mental attributes 

Sparring 

Special considerations 

1. Learning, practicing and mastering the basics:

The basics can be defined as a group of simple and direct, fundamental movements. These movements lay a foundation upon which you can build a myriad of combinations, drills and strategies. For example, all kick boxers, regardless of their level of experience, must maintain good footwork and keep their hands up at all times. To stand still and lower their hands down would invite the pain and injury, not to mention an inability to hit their opponent. So as basic as these movements are, they can not be overlooked or over stressed in training.

Practising the basics is one of the hardest things to do. Why? Because practising the basics are boring and mundane. Even though we know these movements lay the foundation, they do absolutely nothing for our ego or emotions. It is more fun to practice the cool, outrageous and flamboyant techniques that impress our family members, friends and co-workers. However, through consistent practice, we will one day master them and be done with them.

Mastering the basics is something that takes time. It can not be done overnight. To master the basics, you must correctly understand the mechanics involved with each technique, as well as practice them until you can perform them spontaneously and reflexively when presented with the appropriate stimulus. Although you may intellectually understand how to do a technique, that does not mean you can reflexively perform the technique under stress. You must take the basics to a level where you can perform them without thought. Then and only then will you have mastered them.

2. Putting the basics together into combinations to form a drill:

Learning is a process of time and effort. This process begins with learning and classifying the simple knows of life (the basics) and progressing towards the study of the very complex unknowns. When a child learns mathematics, he begins with a very simple known value system: he learns how to count from one to ten by using his fingers or toes. Once he can comfortably and confidently manoeuvre around these simple things, he can then be introduced to more complex things like counting to one hundred. Once proficiency is achieved at this new level, he can then be introduced to basic arithmetic (which is the idea of putting the basics together into combinations). When his grasp of basic arithmetic has grown to a very high level, he can then be introduced to more complex mathematics like algebra, geometry, trigonometry and calculus. This is the process of learning mathematics. This is also the process of learning how to fight. One you can perform the basics reflexively, you can move onto putting the basics together into various combinations.

3. Using drills to develop physical and mental attributes:

The purpose of a drill is develop instil certain habits into your repertoire of physical techniques, as well as develop specific attributes necessary to make your techniques work. Techniques without attributes are useless. Imagine a punch or a kick without speed, power, explosiveness, timing or accuracy. Would it hurt or incapacitate you? I think not! While it is important to learn and develop techniques, the bulk of your training should involve drills that develop specific attributes (like speed, power, accuracy, timing, strength, flow, explosiveness, footwork, sensitivity, cardiovascular endurance, flexibility, balance, co-ordination, line familiarization  spatial relationship, rhythm, awareness, proper mental attitude, focus, concentration, determination, pain tolerance, the will to survive, etc...).

4. Sparring:

Sparring is the next step in your progression of training. Sparring is one of the best tools to develop the timing of your techniques. For when you spar, you truly do not know what your opponent will do, so you must respond accordingly. You must develop your reflexes. Sparring should be done in stages. Stage one sparring is done with light contact hitting and at a slow workable speed. It's as though your and your opponent are cooperating with each other, however, you are not. Stage one sparring is for the development of reflex and timing.

After stage one sparring you must move on to stage two. This is where you bump up the contact and/or speed of the match. This is also where you begin to don protective gear. This stage is very exhausting! Especially when you combine different ranges (long, close and ground) to the match. Stage two sparring is for the development of endurance, focus, concentration, determination, and pain tolerance.

Finally, there's stage three. This is where you add multiple assailants and weapons to the training. This is also where you see the core personality of your trainees. When forced into a situation where they may be hurt, all trainees will show their true identities. I have seen it a thousand times. Joe blow at the office brags about being a great fighter. He talks incessantly about all the street fights he's been in, yet when put through an exhausting scenario involving some medium level contact, he cowers like a yelping dog who sticks his tail between his legs and runs like the wind. Stage three training is very helpful for determining how people will respond to unexpected violence! It is the stage of training where you put it all together. Stage three training will identify an individual's weak points, whether they be physical, mental or psychological.

5. Special considerations:

To fully prepare one's self to deal with violence, you must not only address techniques, drills and sparring, but you must also address those peculiar situations where the formula changes a bit. For example, when you are forced to confront violence, you will have no choice as to the time of day, the location, the environment, whether or not weapons will be involved, how many assailants will assault you, the range at which the altercation will start, what kind of clothing you will be wearing or what kind of mood you will be in. Each of these considerations makes the fight more complex. You must, and I repeat MUST, address these considerations in your training. Otherwise, you will be unprepared to deal with them when they rear their ugly heads!

My personal formula for efficient training that will lead to effectiveness in fighting is this: 

Techniques: learn, practice and master them 

Drills: learn, practice and master them 

Sparring: do it 

Special considerations: address them as needed 

How to Win A Silat Olahrga Match

It is not easy to be a silat champion. You need to train harder and sacrifice many things to achieve the champion status. Many peoples thought that this sport requires a fighter with 'born to be a fighter' quality in order to win a silat match. In one point it is true. However, it is not always right. This is because silat olahraga is a point-based system sport that not only requires you to be good a fighter, but also requires you master the fighting tactics during the match.

Many so-called 'born to be a fighter' exponents fail in early silat competition due to the stupidity to read a game. They tend to use all the self defense moves and skills to show how good they are in silat. But, the true is, silat olahraga is a very simple sport. You only need to master three simple techniques to win a game. There are; punching, kicking and topple down.

Here are the explanations of each of the technique in silat olahraga;

1. The punching technique. The most dangerous technique in silat is straight-punch. The jury will reward you one point for every successful hit to your opponent. In addition, you need to be good at other skill such as blocking technique in order to gain more points in silat match. However, if you block the opponent strike and followed with a successful punch, the jury will reward you 'one plus one point' or two points.

Based on these issues, it is important for you to train the blocking technique in order to gain more points using the punching technique. Scientific research shows that the number of successful hit using the punching technique is more than the kicking technique. Thus, by combining both techniques, you will have advantage to win a silat olahraga match.

2. The kicking technique. Even thought, the scientific research shows that the percentage of successful punching technique is higher than kicking technique, the point scores for every successful kick is two points. Thus, the combination of successful blocking and kicking technique will reward you 'one plus two point' or three points. This is critical if you only rely on kicking technique. You need to combine both of the defensive and attacking techniques to win a silat game.

3. Topple down technique. The jury loves this technique. When a silat fight between two silat exponents is even, topple down technique can influence the result of the fight. The secret is to train this technique at least 100 times a day with your partner. You also need to record and improve this technique until it is perfect.

Article Source: http://EzineArticles.com

Vital Points Strikes in Martial Art

A vital point is a pressure sensitive point on or near the surface of the human body. Vital points function like gateways to the nervous system, the main controller of the body, allowing you to use pain to influence the actions and reactions of an opponent. Even a single strike can cause serious damage, unconsciousness or, in rare cases, death.

The vital points of the body are listed below. A vital point is a part of the body that, when attacked in the right way (force, angle, accuracy), can cause paralysis, unconsciousness or even death. Attacks to nerves can lead to nausea, headaches or worse.

The impact on vital points is indicated by numbers as followed:

1 - Moderate pain
2 - Sharp pain
3 - Severe pain
4 - Unconsciousness or temporary paralysis
5 - Fatal

So, if you are aware of the results of attacking vital points on your opponent's arms and legs, it is possible to have a relatively clear shot at those targets. Once you have successfully struck these points, it will be too late for your opponent to adequately defend against further attacks to vital points. The normally harder to access points may now be seen as targets of opportunity and readily attacked.

A sound knowledge of the vital points located on the body's extremities can prove to be a valuable asset in any self-defense situation. This understanding offers you the door to enter should you wish to attack points on the head, neck, chest, or back, providing an equalizer for the serious student of self-defense.

Video Vital Points Strikes

The weapon of karambit

The Karambit

The Karambit is a remarkable utility knife that was born in the Indonesian archipelago with roots in Malaysia and the Philippines. Akin to the Swiss Army knife of today, this was the "pocket knife" of ancient villagers. This extraordinary little personal tool was first documented to be carried around the early 11th century AD and to this very day can be seen in various remote locations throughout the Indonesian islands, parts of Malaysia and the Southern Philippine islands.

 Although rumored to have been brought to America around the late 1800's, the Karambit was "officially" introduced to the United States sometime in the late 1950's and made popular, especially with martial artists, through the late 1970's and 1980's. Virtually unknown in the secular community, by the mid-1990's it was predominantly recognized as a martial arts training element derived from the heritage of Indonesian Pencak Silat, Malaysian Pencak Silat and Filipino Kali.

Tiger claws

Since before recorded time, different cultures around the globe developed different tools based on their needs. Some developed superior fishing tools, while others developed tools for planting crops. Tool design and application are a direct result of era and geography. A seaside dwelling tribe would develop different tools than would a mountainous or plains tribe. When various peoples migrated from one geographical location to another they brought with them their tools and way of life - sometimes peacefully, as in migration, and other times by war, as in the case of conquest.

According to my masters and the oral tradition that was passed down from master to student for centuries, prior to 1280 AD, most of West Java was part of the indigenous Pajajaran kingdom. The Badui tribe of West Java, the aboriginal people of Sunda, considered to be the ethnic group of the Pajajaran, lived relatively peacefully until the coming of the Majapahit empire (circa 1351 AD). At that time the Badui tribe quickly migrated to the rugged mountainous regions of the west, brought their weapons with them and remained self-governed.

The predominant uses of the Karambit in ancient times were similar to the uses of the European pocket knife: field work, including cutting twine or rope; chopping fruits and vegetables; and, in some rare cases, as an exceptional personal safety knife.

Karambit modern

In modern times as the Karambit (now much smaller in size than its battlefield-sized ancestor) is now recognized internationally as a traditional weapon of Pencak Silat. Read more

When a fighter unsheathed a battlefield Karambit in ancient times, the cutting edge was almost always smeared with some type of deadly poison, which acted almost instantly upon entry into the bloodstream via laceration of the flesh. Even the smallest cut was enough to usher the poison into the bloodstream. Knowledge and use of poisons derived from various species of poisonous frogs, snakes, scorpions and spiders were considered an essential element of a warrior's arsenal of close-quarter combative skills. These poisons rapidly accelerated death and were mostly feared for their nearly instantaneous killing power.

As a martial-arts implement, it is an extraordinary ancient artifact that permits the accomplished practitioner grace, style and freedom of creative movement. Very much akin to dance-like movements, the true art of the Karambit is like ballet.

The personal Karambit (smaller version of the battlefield Karambit) was primarily designed for targeting the nerves and joints. As a result of such a small cutting surface, most cuts cannot be made deep enough to kill someone. That is why the Karambit can be considered a personal self-defense tool. In contrast, the blade of the Karambit Besar (larger or battlefield version of the personal-sized Karambit) is longer and thus permits deeper cuts. According to the ancients, the battlefield Karambit was preferred not only for its superior length but for the fact that you could, as a result of the lengthy cutting edge, "spill the entrails of your enemies onto the ground." However, as it was in the West, with the advent of battle-worthy and functional firearms, bladed weapons became obsolete on the battlefield and relegated to the utilitarian uses of knives that we see today.

Specifically designed as a close-quarter self-defense weapon, the Karambit of old was additionally quite difficult to see in the hand due to its method of deployment and cover of the fingers. Doubly menacing was that it could not be disarmed as a result of its forefinger-grip design. It was unique to any other blade at the time as it could be used for both a medium and close fighting ranges without changing distance of the striking arm. It was also the only blade used in battle that could cut twice with a single arm stroke. All other blades of that era need one motion for one cut. The ancient battlefield Karambit was unique because:

    It could not be easily seen.
    It could not be easily disarmed
    It could change ranges without body movement
    It could deliver two strikes in a single arm motion.

Martial Arts Video: 

Kerambit is dangerous weapon in silat

Three Punches in Buah Pukul

Buah Pukul

Buah Pukul is a self defense moves in silat training system that required one to receive the attack first followed by counter strikes either using bare hand or weapon. It is also known as self defense. The self defense training can be done with two or more opponent in any silat training.

The techniques used in the training usually are based on your belt rank. However, most gurus will tell their students to improve their striking technique first before allowed to learn how to counter strike in the self defense training. This is because without knowing how to strike effectively, you will not understand the fundamental basis of self defense moves.

Self defense training will become easy once the silat exponent knows how to combine all the silat lessons in order to choose a perfect strike and technique while facing the enemy. Thus, you need to train three punches in order to counter strike your opponent effectively. These three punches are; straight punch (rejam), uppercut (sauk) and palm strike (rejuk). Here are the details of each strike on how to apply these techniques in self defense;

1. The straight punch is the common strike used by many martial arts. This is the perfect technique while receiving hard or fast punch (right hand) from your opponent. So, you need to avoid the strike by dodges to your left site and counter strike with your right hand to your opponent ribs. If you hit the target perfectly, your can break your opponent ribs instantly with only one strike.

2. The uppercut is used to punch your opponent that is taller than you. For example, your opponent’s punch you with his right hand to your face. Thus, you need to avoid the attack by dodge to your right side and simultaneously counter strike to his chin. The impact of the strike is so dangerous and powerful enough to break your opponent jaw. Thus, in order to master this skill you need to train the technique carefully with your partner during the self defense training.

3. The palm strike is similar with the uppercut style. However, instead of using fist, you are using your palm hand to strike to the jaw or nose of your opponent. This is a solid and hard strike. Most silat exponents train this technique by striking to the pounder board. In addition, many silat gurus prohibit their senior students from practicing this technique in front of new students during silat session to avoid any injuries. So, never use palm hand strike in the formal training session unless both silat exponents are capable enough to use the technique without hurting each other.

The silat training system emphasizes you to train all the techniques mentioned above regularly so that you can master the skills effectively. Thus, in order to master all these three techniques, you need two or three sparring partners with different weight, height and sizes. This is important so that you can feel the different force of strikes in order to receive and counter attack your opponent perfectly.


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Silat’s Key Components

What comprises a good silat system?

The following are some of silat’s key components:

• Silat Component 1: Efficient entry system. The style must have techniques that allow you to move quickly and efficiently into close range of your opponent. It must also include training methods that will hone your timing, precision and accuracy when employing those techniques.

• Silat Component 2: Effective follow-up techniques. The system must have effective punching and kicking techniques. Heavy-duty techniques such as head butts, knee smashes and elbow strikes must be highly developed. “Finishing” techniques are more effective if your opponent is properly “tranquilized.”

• Silat Component 3: Devastating finishing techniques. After you have entered into close range and applied a “tranquilizing” technique to your opponent, the next step is to apply a “finishing” technique, such as a throw, sweep, takedown, lock or choke, to end the confrontation. Locking maneuvers will break or render ineffective an opponent’s joint. Choking techniques will produce unconsciousness. Takedowns, throws or sweeps will slam the opponent into the ground or other objects with enough force to end a confrontation.

• Silat Component 4: Realistic weapons training. Most silat systems emphasize weapons training at some point. This training will include realistic contact-oriented drills rather than forms practice and will greatly improve your reflexes, timing, accuracy, rhythm and precision. It’s amazing how quickly practitioners improve when facing a bladed weapon traveling at a high rate of speed.

Silat theory, then, is simple: Enter into close range of the opponent, apply a “tranquilizing” technique such as a punch or kick, and then “finish” the opponent off with a heavy-duty technique such as a lock, sweep, choke or throw.

Tekpi Martial Arts Weapon

Tekpi

Malay nation's wealth of cultural treasures can not be separated from the influence of foreign cultures that can fit with the culture in Malaysia , one of the contributions of these cultures is Tekpi. Tekpi is a weapon that is widely known in the Malay martial art but is not a real weapon of Malay culture. Because that's actually very difficult to find tekpi in Malay heritage museum.

This weapon sai weapon similar to the Japanese culture. These weapons allegedly developed by Chinese settlers hundreds of years ago. Own characteristics different from most typical Malay weapon.

Tekpi most likely derived from the Chinese region, but the fighters Malay in Malaysia, Indonesia, and adept at using tekpi archipelago whose use is different from the sai in karate. In the Chinese martial art of self tekpi almost was not found. Tekpi also not found in the numbers Wushu. Chinese martial arts film also never displays tekpi or sai.

Tekpi is a weapon that is widely used in many Malay silat martial arts match. For example whacky positioning Malaysia as a weapon tekpi second choice after the kris, or Kuntau Tekpi using tekpi as the main weapon.

Tekpi

Silat type kuntau almost similar to the movements hard and effectively in Kuntao China (China). This is a natural thing due to the influence of Chinese civilization is very large in Southeast Asia.

The middle of the hilt is sharpely curved in line with the blade. The head is shaped like a fly and is used for punching. The two forks that falls on both left and right pointing straight down and with it ends pointing slidely out, is used to obstruct other weapons. The main function of the Tekpi is for defence against attacks by sharp weapon. The Malay community was named the center as batangtekpi while the left and right arm as sampir. Upstream end (kit form) known as matalalat or bungalawang. tekpi length is 15 inches by 20 inches.

Malay Silat in the world, there are many martial arts organizations to use weapons tekpi. Among the Lian Padukan, Gayong, Kuntau, Silat Melayu Asli Sejati,  etc.

Basic Tekpi

Basic Training Tekpi 1

Basic Training Tekpi 2

COUNTERATTACK TEKPI

Counterattack Tekpi 1

Counterattack Tekpi 2

Counterattack Tekpi 3

Counterattack Tekpi 4

Counterattack Tekpi 5

Counterattack Tekpi 6

 Counterattack Tekpi 7

CAUTION! Training without the guidance of the master will cause injury or death, then seek the true master