Silat For Beginners Video Training
There are hundreds of substyles of Pentjak-Silat. As with Kung Fu, it would be pointless to come up with a separate set of maneuvers for each one of them. Instead, several of the major substyles are described here, so that the player can pick one for his character if he wishes. A character need not have a substyle he can simply be a general Silat practitioner if the player wishes. Players who are interested in more information on these and other styles of Pentjak-Silat (and on this fascinating fighting art in general) should consult Donn Draeger's definitive work on the subject, The Weapons and Fighting Arts of the Indonesian Archipelago.
Bersilat is a martial art from Malaysia. Its name means, roughly, to do fighting. Its origins date to the 1400s. According to Malayan legend, its founder was Huang Tuah of Malaca some other legends attribute the art to a Menangkabau woman of Sumatra. As its name suggests, Bersilat is very similar to the Indonesian art Pentjak-Silat (q.v.) (in fact, some scholars believe that Bersilat is derived from Pentjak-Silat). It consists of both combative maneuvers, called silat buah, and graceful dance-like movements known as silat pulot which are performed for entertainment.
Pentjak Silat, which literally translates to choreographed fighting, is one of over two-hundred martial arts styles found in Indonesia. Pentjak Silat has a mystical side to its teachings, and it uses movements seen in Indonesian dance, as well as animal movements, to create an acrobatic style of kicking and punching. Many Pentjak Silat styles employ what are known as Binuntang Empat, which means animal fighting mannerisms. These styles mimic the fighting movements of the monkey, the tiger, the crane, the snake, the python, and the eagle. If you wish to mimic these substyles of Silat, you should cross-train in two or more of these styles. Pentjak Silat practitioners call their training halls Kendang. Students are either Pelajarn (Student), or for the slightly more advanced Murid (Disciple). They call their teachers Gurus, Pendekhar (Spiritual Grandmaster), or Dukun (Mystic).
Harimau, or tiger, Silat, a Sumatran style from the Menangkabau area, is an unusual fighting style. The combatants crouch very low to the ground, so low that they essentially crawl towards one another. This is done because of the stability such a stance provides on wet and slippery ground. Once the opponents get within striking distance, they may stay on the ground, or they may leap at each other and attack from a somewhat more upright position. Harimau stances are sometimes learned by silatists who practice other styles because of the stability they provide. To be counted a practitioner of Harimau Silat, a character must know the Block, Legsweep and Kick maneuvers. The Kick is usually low, taking a 2d6+7 location, but if two Harimau stylist are fighting each other on the ground the Kick takes its usual 3d6 location.
Based in the city of the same name in the Celebes, this substyle is known for its unusual cross-legged stances, which are used to turn quickly and evade an attack. There is very little forwards-backwards movement in Kendari Silat it is suited for use in narrow or cramped quarters, such as alleys or ships. To be counted a practitioner of Kendari Silat, a character must know the Block, Dodge and Punch maneuvers. Kicks are almost never used if they are, they take a 2d6+7 location roll.
Tjampur ( combined ) Silat is a Sumatran substyle which synthesizes maneuvers from both Pentjak-Silat and Kuntao. It concentrates on aggressive tactics (which are launched from surprise, if possible) and close infighting. A Tjampur stylist is never supposed to take more than one step backwards during a fight. Attacks are delivered to the center line of the body, primarily with the elbows and knees. Because of the dangers involved in using this brutal style, it is usually only taught to students who have already studied other silat styles and proven themselves worthy of advanced training. To be counted a practitioner of Tjampur Silat, a character must know the following maneuvers Kick (which takes a 2d6+7 hit location roll and can also be defined as a Knee Strike), Killing Strike, Punch and Rahasia Strike.
Many traditional styles have strong religious content, too. The religion might be external to the art (like Christianity for European knights or Islam for those who practice Pentjak Silat, pp. 189-191) taught in conjunction with the martial art or form its underpinning, informing how students are taught and which moves are considered proper even if the fighter doesn't practice the religion (e.g., Sumo, pp. 198-199, has close ties to the Shinto faith). Rarely, the style is the religion Shorinjikempo is officially a religion in Japan (see Kempo, p. 172-173).
The Indonesian Archipelago is a chain of hundreds of islands - most of them tiny - over an area that includes Borneo, Java, Sumatra, the Malay Peninsula, and the Philippines. it has a diverse mix of cultures the native Malay (once feared for headhunting and ritual cannibalism), plus Arab, Chinese, Dutch, English, indian, Portuguese, and Spanish, and their many religions. Countless martial arts have emerged from this jumble -most famously Pentjak Silat (pp. 189-191) and Kuntao (pp. 178-179). It's said that at least one form of Silat exists for each island
Southern Fist combat techniques vary from short punches to sweeping blows and circular blocks. They rely on circular hip movements to develop power for the blows and to evade incoming attacks. Southern Fist does teach kicks and leg blocks, but emphasizes the use of hands and arms. Numerous styles of kung fu and karate can be modeled using Southern Fist, as can Indonesian martial arts like pentjak silat.
Pentjak-Silat The national form of defense of Indonesia is pentjak-silat. This combat system appears to have first developed in the Sumatran Minangkabau kingdom in Indonesia. Over the following centuries it spread to the rest of the island of Indonesia. Some scholars say that the inspiration for pentjak-silat is due to the Chinese martial arts that strongly mimicked animal attacks. Local legend says that a peasant woman first discovered this combat system when she watched a tiger and large bird fight to the death. The word pentjak means a system of self-defense and silat as fencing, to fend off. Pentjak is practiced alone or with a training partner in a carefully controlled exercise, not unlike the Japanese kata forms. An unusual feature of this training exercise is that the use of percussive instruments as background music and training aids are frequently used. This can help the new student learn his timing and focus in this martial art. Silat can also be practiced separately, but it...
Harmimau Pentjak-Silat Basic Martial Arts Style 30 style points Description The uneven and slippery ground found in the region of Sumatra has had a great influence on the development of this martial art. The Harimau (or tiger) fighter considers an upright posture during combat as ineffective it is easily to lose one's balance on the slippery ground. The stylist prefers to get close to the ground. In some cases the stylist hugs the ground, using his legs, arms, and his back, side, or belly for support. The fighter practices attacking from this low posture with powerful kicks and other attacks. He may also spring up quickly at his enemy, surprising him with powerful clawing attacks. For more information on the history of Indonesian development of martial arts, see Section 2.3. Kumango Pentjak-Silat Basic Martial Arts Style 30 style points Description The loose and sandy soil found in the region of Sumatra has strongly influenced the development of this martial art. This version of...
Several martial arts - notably Wing Chun (pp. 203-204) and one form of Pentjak Silat (pp. 189-191) - claim a female founder in their legendary history. Tradition has it that Wing Chun is named after the woman who founded it, and that the Silat style was invented by a woman who observed two animals fighting. Neither origin is verifiable, but these styles certainly attract numerous female martial artists. Silat, especially, prides itself on female participation and has many women students and masters. Kalaripayit (pp. 168-169), too, has legends of female practitioners and instructors. Again, it's difficult to verify these but they clearly show that the art isn't solely for men.
Every specific style of pentjak-silat has its own technical characteristics, chief among which are the combative postures and movements. By observing the posture an enemy has assumed, and his subsequent movements, an expert can tell immediately what particular style of pentjak-silat he is up against, what attacks and defenses he may expect, and what defenses and countermeasures may be most safely and effectively used in coping with the enemy. To categorize all the various combative postures pentjak-silat makes use of would be a herculean task, and one obviously beyond the bounds of an introductory book of this nature. However, there are certain typical combative postures that may and indeed must be recognized if the novice is to make any progress in acquiring skill in the art. He should study each as it is presented and learn to identify its essential technical characteristics this, in turn, will give him invaluable clues as to its combative purpose and advantages. In preparation for...
Many martial arts have an associated body of folk beliefs. Pentjak Silat holds that the kris (p. 219) can kill merely by pointing. Masters of Kalaripayit (pp. 168-169) learn magical phrases to use in emergencies. Capoeira (pp. 153-154) is sometimes linked with Candomble, an African-derived folk religion. Some adherents of Chinese martial arts believed that incantations, willpower, and proper kung fu would make them invulnerable to blades and guns. The latter idea isn't uniquely Chinese - corpo fechado (Portuguese for closed body ) is a magic ritual, known to some Capoeira players, to become impervious to knives and bullets . . .
During the 1940s and 1950s, Pentjak Silat grew even more prominent in indonesia. The islands were Dutch possessions when they fell to the Japanese in World War ii. Many Indonesians resisted and fought alongside the Dutch against the Japanese. After defeating the Japanese, the indonesians turned to their fight for independence. The locals widely credited Pentjak Silat with giving them an edge over their opponents. its role in the fighting is debatable -
Filipino martial arts saw regular use in combat until relatively recent times. During the American occupation, after the Spanish-American War, the local resistance fought back using martial-arts skills. The ferocious Moros inspired the American military to beef up the service pistol from .38 to .45 caliber in order to better stop fanatical warriors. During World War ii, resistance fighters against the Japanese used Escrima and Pentjak Silat alongside firearms and explosives to attack the Japanese garrison.
After WWII, Asian martial arts continued to flourish. European judoka helped make Judo a competitive Olympic sport, and influenced its rules. Meanwhile, other Asian arts -such as Karate (pp. 169-172), and Pentjak Silat (pp. 189-191) brought back from Indonesia by the Dutch - became more popular. The French kickboxing style of Savate (pp. 193-194), its practitioners decimated by the World Wars, became more sportive in form.
One of the unique features of pentjak-silat is its recognition of the importance of the various weapons available to the fighter and its freedom in permitting him to choose whichever seems most suitable to the particular occasion. By making correct use of the weapon he has chosen, the pentjak-silat exponent shapes the attacks of his enemy (or enemies), rendering them harmless, even if only momentarily, until a conclusive counterattack can be delivered. Knowledge of the nature of the various weapons available enables the fighter to deal effectively with the one chosen by his enemy. Weapons used in pentjak-training and in silat-applica-tions are of two chief types anatomical (empty-hand or unarmed responses, making use of parts of the body) and implemental (armed responses, making use of tools as well as weapons). Customarily, training is first devoted to basic drills utilizing only anatomical weapons, and not until the trainee is adequately skilled in their application does he progress...
Kuntao (or kundao) is an Indonesian fighting style. It was developed before the birth of Christ by Chinese immigrants who transplanted Kung Fu and mixed it with maneuvers from Pentjak-Silat and Bersilat. There are many different substyles, some of which favor northern Chinese styles and some of which favor southern Chinese styles. Even today it is normally taught in secrecy, and only to those of Chinese ancestry. Traditionally, practitioners of Kuntao are rivals with practitioners of Pentjak-Silat, which is one of the reasons that both arts have seen actual combat use right up to the present day.
Perisai Diri ( P.D. ) is a popular Central Javan style whose name means self-shield. It was founded in 1955, and currently forms the basis for the self-defense training taught to most Indonesian military personnel. It synthesizes various Silat styles but does not incorporate maneuvers from any other fighting systems.
Also known as Perisai Sahkti, this substyle was founded in 1941. Its name signifies holy shield. It combines Javanese silat forms with maneuvers from some Japanese fighting styles. Its philosophical and religious roots tie it to Christianity and to Indonesian nationalism.
The5 sampling of basic pentjak-silat tactics that follows, although presented in the form of hypothetical combat, is biased on realistic occurrences that are fairly common. The situations and responses are intended to be utilized for pufFposes of self-defense, to be sure, but many of the situations mayv be put, just as they are shown, to the uses of sport (as for kkarate-do), while others may be modified with the same aim in mind. ElBaeh of the tactics described is typical of the pentjak-silat styles from which it has been taken. It is, therefore, by no me E.ns the only solution to the given combative situation, sinc every other style would have its own answer to the probolem the answer given may, in fact, not even be the Al ttthough pentjak-silat is a defensive art, it recognizes the truthn of the old adage that the best defense is a good offenses . In some of the situations that follow, therefore, the fightcer designated as the defender will be found to be more nearly an aggressor...
All Sumatran pentjak-silat styles make extensive use of leg tactics. Due to the environment of the people who reside on this large island, fighting tactics have come to rely on w ell-developed leg flexibility and strength. These special qualities have been made possible by the daily exercise involved in labor chores that require full-squatting, climbing, and jumping actions. Whether a lowland, coastal, or mountain resident, a Sumatran pentjak-silat exponent demonstrates an unusual ability with leg maneuvers, but is not at a loss when the hands and arms must be brought into use. The Menangkabau people of west-central Sumatra have made the Harimau ( tiger ) style a very effective and dangerous fighting form that is respected throughout Indonesia. Its technical fundamentals can be found, to a greater or lesser degree, in every other major orthodox pentjak-silat style, but important reasons for differences arise from the fact that uneven and slippery ground surfaces are most common in...
Bonus Feats Alertness, Athletic, Bear Hug, Block, Improved Block, Lock Block, Choke Hold, Combat Expertise, Combat Reflexes, Dodge, Endurance, Eye Gouge, Ground Fighting, Advanced Ground Fighting, Immovable, Improved Damage Threshold, Jab, Nimble, Pentjak Silat, Poise, Shao-Lin Kung Fu, Stealthy, Toughness.
The Rencong is one of the most bizarre weapons ever invented. An Indonesian weapon associated with Pentjak Silat, the Rencong is a knife meant to be held with the feet. The weapon adds to kicking damage, and if the wielder also uses a weapon in his hand, then all the normal penalties for two weapon fighting apply.
(Empath 9) HD 9d8+18 HP 62 Init +1 Spd 30 ft Defense 22, flatfooted 16 (+1 Dex, +6 Class, +4 Poise, +1 Dodge Focus) BAB +6 Atk +11 melee (2d6+0, Pentjak Silat), or +7 ranged (by weapon) SQ Resolute AL Respects Life SV Fort +10, Ref +7, Will +10, Rec +8 Rep +4 Str 10, Dex 13, Con 14, Int 12, Wis 18, Cha 8 Background Adventurer Occupation Martial Arts Instructor (Influence, Perception, Unarmed) Perks Precision Strike (Unarmed), Reactive Stance (Unarmed) Hobby Athletics Feats Attack Focus (Unarmed), Contemplative Master, Defensive Attack +1.5 to Defense per -1 attack by Martial Arts Master, Defensive Martial Arts Unarmed skill +2 higher by Martial Arts Instructor, Dodge Focus, Healer, Improved Trip trip DC reduced by 5 by Pentjak Silat, Mind Over Body Wisdom modifier +2 higher by Martial Arts Instructor, Pentjak Silat, Poise, Self-Help, Uncanny Dodge Access Contacts Followers Favors (4 points) Wealth 15 Possessions None
Some pirates fence, too - especially fictional ones such as Captain Blood (from the books by Rafael Sabatini) and the heroes of Errol Flynn movies. They don't have chi abilities but do display aptitude beyond that of normal men. Historical pirates would more likely be of common birth and have little opportunity to learn fencing. Appropriate styles for them include Bare-Knuckle Boxing, Dagger Fighting, and Combat Wrestling (pp. 204-205). Pirates range far and wide, and might encounter slaves adept at Capoeira (pp. 153-154), experts at African Stickfighting (p. 157), dismounted Mamluks using Furusiyya (pp. 159-161) to protect their fleet, Indonesians who practice Pentjak Silat (pp. 189-191), and so on. In a sufficiently cinematic (or well-traveled historical) campaign, practitioners of all of these styles might find their way to the Spanish Main
Kalaripayit (pp. 168-169) and Pentjak Silat (pp. 189-191) are particularly well-suited to a game that features magic. The former has spell-like mantras, while practitioners of the latter ascribe magical powers to the kris. If magic is a real, active force, then it would greatly enhance either art.
The Rencong is one of the most bizarre weapons ever invented. An Indonesian weapon associated with Pentjak Silat, the Rencong is a knife meant to be held with the feet. The weapon adds to kicking damage, and if the wielder also uses a weapon in his hand, then all the normal penalties for two weapon fighting apply. Traditional use involves wielding a Kujang with one hand and the Rencong with the opposite foot, which allows the wielder to surprise his opponent with the Rencong. Trained practitioners can slash with the Rencong (which is held between the toes, the blade extending up parallel to the calf) and still kick with the heel, while also wielding a weapon in the hands
In studying orthodox pentjak-silat, the trainee must sooner or later take into serious consideration how to cope with an armed assailant. He must, whether under conditions of training or in actual combat, learn the capabilities and limitations of an armed enemy. This he must do both when he is unarmed and when he is armed. (The latter, it must be noted, is beyond the scope of this book.) The stress on combative reality cannot be overemphasized when the trainee is practicing the methods and exercises of pentjak-silat. He must do nothing in his training routine that he would not do in fighting an enemy who is trying to kill him. By concentrating on this in training he will be able to adapt the methods he has learnt with complete facility when a real combat situation occurs. How well or rather how safely the trainee effects the out- , come in dealing with an armed enemy is entirely dependent upon his understanding and abilities in meeting an unarmed enemy. If he can do that well, the...
Pentjak-Silat Pentjak-Silat is the national fighting art of Indonesia. There are 157 recognized substyles (and potentially hundreds more that are unrecognized), making this art second only to Kung Fu in its breadth and diversity. The name is usually translated as something like to do fighting for self-defense or to fight using skilled body movements. Pentjak-Silat was first developed as a relatively crude fighting form between 600 and 1000 AD, probably beginning on the island of Riouw and passing from there into the Menangkabau kingdoms of Sumatra and out to all the islands. By the 14th century, it was sufficiently developed that the government saw fit to restrict it by law, the Majapahit sultans of the islands and their court officials were the only ones allowed to learn Pentjak-Silat. However, ongoing Hindu-Muslim conflicts in that time period and thereafter kept Pentjak-Silat alive among the populace. It was used to fight the native wars of independence against the Dutch, and...
Christopher Petrilli has distilled his knowledge of Japanese aikido, Indonesian silat and Filipino Doce Pares eskrima into an elevated system of stick fighting. In this amazing three-volume set, he teaches you how to move aggressively from largo mano range to close in-fighting, devastating disarming techniques and some of the most punishing locks, chokes and throws ever captured on video. Color, approx. 300 min. total. CRASHDVD DVD 89.95
Karate has developed several distinctive substyles, although not nearly as many as Kung Fu or Pentjak-Silat. Most of these styles are not strikingly different none of them require the character to buy particular maneuvers before he can call himself a practitioner of that particular substyle. The most prominent Karate substyles include
On the island of Madura, the pentjak-silat fighter is usually either a sailor or a farmer with a volatile temper. He has borrowed what he liked from other pentjak-silat styles, and has achieved good balance between arm, leg, and grappling tactics. His combative postures, thus, are quite variable and tend to make an encounter with a Madurese fighter a difficult and dangerous proposition. This fact is recognized by Indonesian peoples, most of whom genuinely fear him. Pamur Pentjak-silat
Pentjak-silat begins, naturally enough, as we have already indicated, with empty-hand pentjak training exercises. The trainee should practice each exercise precisely and slowly until he begins to feel that he is gaining confidence in the technique. When he is satisfied that he is doing exactly what the text calls for, then he attempts to inject into his execution of the exercise first fluency and then speed. It is only constant repetition that will enable him to perform the exercise accurately, smoothly, and quickly. He must repeat each training exercise over and over again until it feels comfortable any other feeling means that he is still short of his goal. In any case, he must always bear in mind that the soft and silkv, yet precise, movements of the pentjak-silat expert are the result of many hours of dedicated study and practice. A good share of the expert's training time is devoted to exercises, many of which appear in this chapter. Unless the trainee is prepared to devote...
The Karambit, or tiger claw, is a weapon most commonly associated with the Tiger substyles of Pentjak Silat. It is much like the Kujang, only with the blade curving out toward the target rather than back toward the wielder. It is wielded in much the same fashion as the Kujang, with the wielder slashing the arms and wrists of an attacker as he thrusts with a fist or weapon. Advanced Qualities The +1 damage listed for the weapon adds to the character's unarmed strike damage when using the Tiger or Pentjak Silat styles.
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