Silat - (Contributors: Jeffrey Chapman, Russ Rader, Tim Rivera)

Intro:
Pencak Silat is the Indonesian and Malaysian set of Martial Arts, all with different styles and schools (over 400 of them).  Some of them use different spellings, depending upon their lineage - Dutch-Indonesian Silat is typically "Pentjak Silat" and "pure" Indonesian styles "Pencak Silat." The Indonesian spelling is used here, not to exclude some Silat styles, but for uniformity.

Origin: Indonesia and Malaysia

History:
Since Silat is an umbrella term covering many styles, it is not possible to give a single history.  Some of the arts are very old (1000 years?), and some were developed less than 50 years ago.  Also, as with other arts, the history of Silat is somewhat unclear.  There is a mixture of indigenous techniques along with techniques borrowed from Chinese arts and Indian arts such as Kalaripayit.

Description:
Pencak Silat depends heavily on an indigenous weapons and animal-styles heritage.  In the (distant) past, it was predominately a weapons system; empty hand techniques are derived from the weapons forms. It is still often said that there is no silat without the knife.

Techniques are quite varied, although kicks are not emphasized much. Foot work is sophisticated and the development of stability is of major importance. The foot and and hand techniques are so subtle and intricate that they are often taught separately, then integrated after the student has mastered them individually. There is a good balance between offensive and defensive techniques.

Different styles of Silat use different terminology to describe a practicioner's ability - "guru" is frequently used to refer to a proficient instructor, "kang" for senior students, and "pendekar"
someone who has developed a high level of skill and possibly spiritual development.  However, the usage varies from style to style, and possibly even from school to school.

Training:
As an example, Pencak Silat Mande Muda has a complex and rather rigorous system of training, which includes classical empty hand and weapons forms, practical empty hand, weapons, and improvised weapons techniques, stretches, physical conditioning, and breath control.
Although the forms are often performed with musical accompaniment, much like a dance, they are nevertheless extremely valuable both as conditioning methods and as encyclopedias of technique.

Sub-Styles:
Mande Muda,
Serak (also spelled Sera and Serah),
Cimande (Tjimande),
Cikalong (Tjikalong),
Harimau,
Mustika Kwitang,
Gerakan Suci,
Perisai Diri,
many others.

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