Malela

All things related to martial arts; in particular Silat and Kuntao. From a perspective of an individual who has been exposed to Indonesian, Malaysian, Singaporean and Bruneian forms.

[malela838]

This reminds me of the Kuntao practiced in Brunei Darussalam.

Keeping in mind that Kuntao is essentially Chinese (Southern) martial arts absorbed into Malay martial practice.

I love the form and structure of this particular pratice.

[malela838]

God talks to us; it's a question of whether we are listening. This car was in front of me on the way to work. Eight is a recurring number for me.

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A deep breath in the midst of all the silliness. This book sits firmly at my work desk. (at Citipower & Powercor Australia)

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Indian Clubs - Exercise Combo Tutorial 1 (by Paul Taras Wolkowinski)

Starting to use components of the techniques show cased in this particularly well-done tutorial.

[malela838]

Tengu Kamp Metode- flowdrill that conects it all. (by TENGUTEAM)

It's a nice visual of how different components of an art - when taught and trained properly - should come together coherently.

Nice to see the striking drills (hubud-lubud) as the base technique (entry, countering and attacking).

[malela838]

For a time Silat & Kuntao forms and the application of silat techiques on the punching bag were the basis of my personal practice.

In terms of practice, they were at opposite ends of the a spectrum,

Non-contact, and

Full-contact.

I realised that I needed a training equipment that provided a bridge between the two. Something that allowed for technical finesse, whilst also providing a small level of resistance.

I've always been a fan of Wing Chun and its training methodology. I am a particular fan of the WIng Chun wooden dummy; also known as the Mook Jong.

Ip Man on the Wing Chun dummy.

I set about on designing a similar 'dummy' for myself.

There were several considerations in the development,

The dummy had to be friendly enough to be able to work with all the Silat and Kuntao techniques that I had learnt. And,

The main body of the dummy had to be padded to allow for contact by either hand, elbow or foot.

I went for a two armed dummy, and omitted the usual 'leg' portion often seen on the traditional Wing Chun dummy.

In addition, I set it up in a triangular configuration that would allow me to use triangular footwork I picked up when I learnt Silat Chakak.

Loved it.

As to the construction, it was made with:

PVC pipes,

air-con insulation foam,

synthetic leather for the covering, and

wood for the 'arms': the arms were an exact replica of the one's I had obtained when I ordered a real Wing Chun dummy from the USA.

NOTE: I tried using my Silat and Kuntao techniques on a proper Wing Chun dummy, and was thrown off by the three arm and extended leg configuration.

[malela838]

tongbei (by realfoad)

The exercises that you see at the beginning of this video are real gems.

I've started to use them in my own private practice.

[malela838]

Tong Bei Application (by Jochen Wolfgramm)

There is sooooo much of a difference between a person who has lived and breathed the art, and one who has superficially skimmed it.

I love the assuredness of the applications that is shown in this video.

This gentleman obviously knows this art.

[malela838]

Silat and Kuntao: The Bad Press

Spurred on by some late afternoon talk with my brothers and some acquaintances… plus several cups worth of decaffeinated tea… I thought I'd write about and try to perhaps explain some of the more common negative perceptions with regards to silat/kuntao as it is practiced in Brunei Darussalam.

To summarise, the negative perceptions are as follows:

Silat is practiced by undisciplined practitioners who have a need to validate their skills by getting into altercations

Silat practitioners inadvertently get drawn into the practice of magic (ke-ilmuan, kebatinan) and/or cult practices

Silat is wholly impractical, with lots of dance-like movements that do not translate into effective application in a self-defense or combative situation

In answer to point 1: ‘…Silat is practiced by undisciplined practitioners who have a need to validate their skills by getting into altercations…’

All too often when I sit down with some of the elder practitioners of silat – Silat Chakak Brunei – stories inadvertently arise about how or when they once over stepped the boundaries of ‘majlis’ (formality) and inflicted injury upon a fellow practitioner during a ‘pertandingan’ (competition).

Putting aside all the machismo that is being aired during these sort of  impromptu conversations/discussions, it really does little justice towards promoting silat as an art that engenders discipline, respect for everyone irregardless of colour or creed and ultimately the preservation of a cultural heritage.

At first brush it may seem that too much emphasis is put upon the combative pursuits of these individuals, and not on the more ‘higher’ goal of bettering themselves.

But, sit down alittle longer and more often than not the conversations/discussions turn more sombre and regrets are expressed. Some practitioners have even gone so far as to say that they regret pursuing the practice of the art (silat) altogether.

Strange that… it’s almost as though the art is solely to be blamed for their own foolish choices and behaviours. I guess it all comes down to insecurities that are deeply held and hidden, but are then given vent and visibility through martial practice.

No, Silat in itself is not the cause of these anti-social and negative behaviours. The onus lays fully on the practitioners themselves, and their respective levels of emotional maturity.

In answer to point 2: ‘…Silat practitioners inadvertently get drawn into the practice of magic (ke-ilmuan, kebatinan) and/or cult practices…’

The practice of magic – or spiritualism – is a component of the art of silat. There can be no doubt about that. Culturally speaking the two are inseparably linked.

This can range from the recitation of religious verses (Islamic, Buddhist etc.). To the more exotic practice like ‘mandi di wasai’ which involves locating secluded water sources in the jungle in order to perform a ritual bathing ceremony. The purpose of which is to imbibe the individual(s) partaking in the act with bravery, invulnerability or spiritual cleansing.

I have seen some beginning practitioners of the art actually turning away from the art of silat, because too much emphasis was placed upon this aspect of art. Some parents even warn their children from partaking in silat, for fear of being led astray into questionable practices which may be in conflict with articles of their faith.

I feel that it is the responsibility of the guru (teacher) to ensure that they do not force these issues too much with their students. Moreover, the guru should take it upon himself to research and ensure that what he is teaching is within the confines of orthodox islam.

In truth, some teachers of Silat who actually lack the technical knowledge of the martial art, gloss over these inadequacies with even wilder and obscure references to magical practices.

A martial art - any martial art - which has even an ounce of efficacy will stand on its own feet. Without any need for elaborate explanations or obscure practices to make it relevant. The same applies to teachers of martial arts.

But it is also up to the practitioner – beginning or seasoned – whether or not to accept the spiritual teachings of their guru. In short, to be an adult about it. When I was introduced to some of these sorts of practices, I looked upon it all as part of the varied and interesting experiences that is sometimes associated with the martial arts of southeast asia. 

If silat is to have any real future locally and internationally, than this aspect of it – the ‘ke-ilmuan’ (mysticism) – has to be omitted.

I guess it is all very sexy. Some guru’s claim that ‘kebatinan’ or ‘ke-ilmuan’ is enough to make an effective fighter out of a person. So much so, that sometimes the physical techniques are made secondary to the learning of the weird and wonderful practices.

I’m sorry… no amount of incantation cam substitute for the essential components of skill: practice, practice, practice.

In answer to point 3: ‘…Silat is wholly impractical, with lots of dance-like movements that do not translate into effective application in a self-defense or combative situation…’

On this point I feel that it is a perception that is as much the fault of the guru/teacher as it is the student. Too much attention is put on the ‘bunga’ (formal presentation – which can look dancelike) and not on the buah (techniques).

I have met, and have heard recollections from other elder practitioners, where gurus/teachers that withhold key information that contributes to the efficacy of an art. In fact it is a commonly cited practice that where a silat style has 13 techniques, 9 would be taught to the student whilst the other 4 would be withheld. Just in case the student(s) decided to turn on the guru. Practical paranoia. 

But can you imagine the implications of this?… let's say the student then graduates with the 9 techniques he/she was taught. When it came to then teaching the art, would they then also withhold some techniques as well? The art in question would soon be lost to time.

I find that not enough time is invested into the basics of the art. Yes… there are the locks, throws, kicks and punches of the art. But every art has a core set of techniques which is the basis upon which all the other techniques are built. These should be drilled over and over again. Perhaps with the guru showing different applications or permutations of these core techniques. The basic techniques are the ones most likely to be recalled in a sparring/combative/self-defense situation. It is therefore logical that these are the ones that get the most attention and practice.

Application… is also what I find lacking in silat that I see. By application I mean one on one sparring. No… I don’t advocate full on sparring – although there is some merit in that – but cooperative and exploratory sparring where the partners seek to develop their skills together. Not unlike the practice seen amongst Aikidoka.

Most variants of aikido, however, hold no competitions, matches, or sparring. Instead, techniques are practiced in cooperation with a partner who steadily increases the speed, power, and variety of attacks in accordance with the abilities of the participants. Participants take turns being attacker and defender, usually performing pre-arranged attacks and defenses at the lower levels, gradually working up to full-speed freestyle attacks and defenses.

(http://www.atlantamartialarts.com/styles/aikido.htm)

Silat practitioners should take time to practice on the punching bag. The simple punching bag is a humbling tool when utilised properly. Weak wrists… imperfect kicks… impractical techniques… all get highlighted when practiced against the punching bag. I would also recommend extending this practice to spring loaded boxing stands or double end bags.

And lastly, I would encourage silat practitioners to start looking at and studying other arts. It helps widen ones perspective and provide a larger vocabulary from which to interpret their own silat techniques.

[malela838]

Kuntao Asli, is a very energetic form of traditional martial art found in Brunei Darussalam.

In it's competitive form - i.e. light contact - the exchanges can get alittle nasty. When the blood is up and tempers flare contact is bound to happen.

In traditional application, it is comprised of the following : 

Pacah Ampat: A signature opening 'bunga' (form) kuntao  that is executed in a manner that addresses the four cardinal points.

Pacah Satu: A bunga (form) kuntao that is executed in a straight line; a preliminary form executed after the Pacah Ampat. And, 

The Rangkaian Tiga Kuntao: The three formal attacking techniques that the attacker uses, or the defender responds to. 

The three formal attacking techniques or sequence, are:

Tumbuk Kanan - Right Punch

Tumbuk Kiri - Left Punch, and

Tumbuk Dua / Berpasang - Double / Paired Punches

Characteristics of Kuntao:

Most of the stances in Kuntao - when used in combat - is high up and close together. This facilitates quick movement in punching and kicking. The kicks are almost always waist level, and is limited to the front snapping kick. No side kicks or crescent kicks. And, Punching is of the standard type, no exotic applications here either. These three characteristics of Kuntao is the hallmark of most effective martial arts: Simplicity. 

Kuntao in it's aesthetic and traditional form varies from the above. The stances can be slightly longer and there are more examples of different types of strikes/kicks. You will see these differences in the signature 'Pacah Ampat' representative of the different schools/styles.

It is interesting to note that in the presentation of Kuntao everything is flowery and 'extended'. But in the application - combative or sparring - everything (technique and stances) gets abbreviated and 'shortened'. Most people who have used Kuntao in altercations will attest to its efficacy. The elders of my family in Kuala Belait all fall back on Kuntao when in a tight corner. Kuntao Brunei has even held it's own when taken across the waters and 'tested' in Singapore and Malaysia.

I never use to enjoy sparring or competing in martial arts... until now. I find that sparring - point, light or full - is instructive. It helps keep the practitioner 'honest'. Sometimes it is all to easy to get carried away with our own creativity. We build up techniques in response to attacks, and practice these techniques diligently... in isolation... without the feedback of a resisting opponent. The likely result?... responses to attacks that may or may not hold out in the midst of an altercation.

When one remembers that when the heat is on, fine motor skills deteriorates in direct proportion to time, fatigue, fear, anxiety and type of environment. 

In practical practice, one can always resort to a punching bag for 'realistic' application of techniques. 

The punching bag... a martial artist's best friend. Do yourself the favor of getting a good punching bag that has some substantial weight to it. The sort that won't just fly-off when landing a light-medium punch or kick.

When the punching bag is swinging around, try applying the techniques in your repertoire. You'll be surprised at the feedback.

Too much patty-caking (parries and arm traps) before a punch or kick, and the incoming punching bag will slam into you. You will also find that you will improve in timing your strikes/blocks and judging your distance, And, No authority behind your punches and kicks will show up very quickly.

Kuntao in Brunei Darussalam is mostly influenced by the Southern forms of Chinese Kung Fu: alot of short arm techniques and low kicks.

Reminiscent of Wing Chun, Hung Gar, White Crane and Southern Praying Mantis. 

Kuntao can be practised in two (2) ways,

Fast and fluid... transitioning between each position quickly and effortlessly. And,

Slow and plodding... the purpose here is to emphasise muscle tension and breathing (very much like the 'Three Battles' form of Karate and White Crane Kung Fu).

[malela838]

A visual of what Brunei and Bruneian's look like.