KunTao Silat Glossary

GLOSSARY OF KUNTAO SILAT TERMS

Copyright Chas Clements, 1997, all rights reserved

As received from Paul, Victor & Willem de Thouars, with respect and honor

This effort is drawn from many sources. Primary and most significant is the DeThouars Family; The Elder Mother, her sons, Maha Guru Maurice, Pendekar Agung Paul, HaiTeng Sifu Willem, her daughter-in-law, Ebu Joyce Deerns DeThouars, and daughter Victoria, and the fine historical work by Maha Guru Victor I.C. DeThouars I must very gratefully acknowledge the help, support and instruction from Pendekar Jim Ingram and his Family and friends, SiGung U�Un Surya (Bill Chang) a great teacher of KunTao, Sheikh Shamsuddin Saleh and the Seni Gayung Family, many close family friends and relatives, the absolutely sterling work by Donn F. Draeger, and due diligence from other general literary sources and interviews of opportunity.

Selamat & Selamat.

You will find words of Dutch Indonesian usage, Badui, Batak, Bugis, Bahasa, Chinese of various dialects, Arabic Muslim words, Indian and Southeast Asian usages, Filipino and others. Sometimes a word in common usage will have a specific usage to we alone, sometimes to other martial styles or even religious interpretations. I mean no disrespect to anyone�s beliefs or any other version of history. The Glossary is drawn from the verbal instructions and direct personal history from the primary sources to me; as I understood it. There are many languages and cultures in Indonesia and �history is written by the literate of the winners�. The political and cultural overtones of the language and the history have ramifications far outside the intent and content of this small effort. This effort will, however, support our martial artis silat video presentation of the de Thouars Family Martial Arts.

The mistakes are mine. Where I have affected to use scholarly terms it is as a layman to the lexicographical usages, please forgive the intrusion. No great scholarly attempt was made to find a consistent spelling or to identify from what language root a term derives. Specialty idiom is treated as any other part of the language. Many words have multiple meanings; a literal meaning, an idiomatic meaning in the general populace, a place name, a particular technique within the style, a particular meaning within its context or in conjunction with another word, a secret meaning, &etc.

This work is in the area of martial art and reflects the cultural aspect, the traditions and history of my teachers. As in any other �history� or semantic assignment in language, there are great political, spiritual and cultural disagreements reflected in this information. I have sought to offend none. It is my sole intention to define words used in a very specialized field; to honor my Teachers.

Pukulan: from �pukul� or �bukul�, to strike or to collide, ‘an�: the study of, the study of striking. A Dutch Indonesian slang usage for a more generic style of self-defense instruction indicating a rough fighting or brawling. It is not solely the idea of striking with the fist, but the colliding of bodies. A major carrier of the blading art using the kerambit. Also ‘poekoelan’ (archaic)

Pentjak: Also, pencak, pentcak, pentcha, etc. (Pent ju ta: “strike, kick, block” Chinese usage), Choreography, The study and practice of movements that may be useful for fighting, or practiced for their own uses. A means of practicing combative movement with or without a partner without killing. The study of the working of the body in motion with the intent of combative and healthful training.

Pentjakkers: Very active fighters who study by seeking competition. The fighters in exhibitions of brawling. A Dutch-Indonesian slang usage.

Silat: Lit. �Lightning’. Combat usage of pentjak movements, the study of the lore of combat. ‘Blade’ There is no silat without knives, there is no knife (work) without silat.

Serak�: The tulen pusaka kendang fighting style of the Family DeThouars, embodied in the Pendekar Agung Paul DeThouars. Also known as the Decoy Style, taken from the name Bapak (Father) Serak�, the founder. Bapak Burung (owl) Serak� was one-armed and one foot was clubbed; his insights into distancing, exchange, multipart striking, etc. were codified by his senior student, Mas Djoet into an art for two armed practitioners. Bapak Serak� lived in Tjianjur and Mas Djoet lived, practiced and died in the Kramat section of Batavia (Betawi), now Jakarta.

KunTao: Originally a Chinese art, it shows great influence from Indonesian sources. Hsingpo, paqua and taikek (tai chi quan) have all been synthesized and influenced by contact with, primarily, Western Javanese (Sumatran) stylings. The high-toned Sifu Willem DeThouars is the KunTao stylist of the DeThouars family, and Bapak (founder) of KunTao Silat KunLun Pai, having gained advanced teaching rank in several representative arts of KunTao and Silat. Implies ‘internal’ styling, although the ‘hard’ concepts are also addressed.

KunLun: The KunLun Mountains are in the northwestern area of China called Turkestan or Sinkiang. The capitol city of Khotan is famous as being the Western/Southern fork of the Great Silk/Spice Road and a scholarly center of Buddhist teaching. To the North is the Taklimakan Desert. This area is Buddhist/Muslim with influences from the Shamanistic Animists of the desert. The Buddhism practiced is similar to Tibetan/Mongolian and the practice of Gautama Siddartha whose tribal influence, the Arjunas, was of the area. Very strong fighters have lived and studied in the KunLun area for many years. It has had a direct link with the Indonesias for over fifteen hundred years.

Tongkat: Lit. �Carrier stick�. The fighting stick of the family style; measured from the ground to the bottom of the groinsack. The three general sizes of stick are Tongkat Keciel (short stick) Tongkat Setengah (half stick) Tongkat Panjang (long stick).

Tongkat Silat: The style of Maha Guru Victor DeThouars, ‘the carrier of the movements (knowledge-pencak) of Serak��, for the American needs.

Bukhti Negara Silat: Lit. ‘Evidence of a continent’. The existence of the art is evidence that the greater continent of Serak� exists. The mystical style of Pendekar Paul. It came to him, in a flash of enlightenment in a single night, as a full blown system, unlike anything seen before. Major aspects of the art center on the use of the fighting floor; positioning and angles of incidence, meridians of weakness and of power, the use of levers and fulcrums, mental preparedness-tenacity and ferocity. It is an art of great subtlety and sophistication.

Malabar KunTao Silat:(Lit. “Voice of the Eastern Facing Mountain) An Eastern facing mountain is in the West (the Golden Mountain) The Voice (ThunderRock) is the translation between the Dutch Indonesian/ Chinese/ English culture and traditions and the American way of life.

The Kendang Silat Kuntao styling for Westerners; greater size and physicality, modern defense stylings to sophisticated attack, translators and archivers of the Dutch Indonesian culture to Americans. Given in Grace to Senior Lineage Student and First Practitioner, Steve Gartin, by the entire DeThouars Family.

Kilap: Also: khilap, kilat, others. Lit.: The thunderclap. An aspect of all fighting styles and the center of others. The hand of thunder, displante by percussion, hitting of weak points; implies centered, focused striking. It is an aspect of Kendang Silat, implying grappling technique as well as percussion technique. Petjut Kilat is the action of the whiplash kilat punch. Pukulan Pentjak KunTao Silat Kilap Betawi is a derivation of the grace of the DeThouars family instruction as it is practiced by Chas Clements and gives hormat to that lineage alone.

Tji: Lit.: ‘as flowing from a river’ The prefix that identifies a styling from Western Java. It is taken to mean ‘style’ or school, and the ‘river’ is a river of knowledge – it has nothing whatsoever to do with low river valleys. Tjimande, Tjikalong, Tjimatjan, Tjimonjet and others are examples. It also would imply a ‘village’ system; restricted to the inhabitants of a particular locale and maybe to the members of a particular family. A great rivalry exists between the various systems with long standing feuds in blood.

Betawi: Also; ‘Batavia’ (mod. Jakarta) Located on Western Java, Betawi is the port that Sunda speaking Sumatran peoples settled after crossing the Strait of Sunda over the past twenty-five thousand years. These people had brought their fighting styles with them and the word properly describes Menangkebau tribal stylings. The history is of a particularly brutal place with a lot of commerce between peoples of vastly different heritage.

Bugis: archaic �Bugghese�, The broad tribal name of Orang Menang from which Pak Serak� came. Well known for their sophisticated culture of great antiquity, they pursued professions as diverse as physicians and pirates.

Badui: Our lineage specific tribal name from Sumatra. They are known as the Invisible People of the Mountain Forest. They cultivate the single hand punch of startling ferocity, kill with poison, distract the mind and have never been conquered; their martial art is a matter of lifestyle. They also live in the territory called Gunung Kendang (Drum Mountain) near Bandung, Ngangdong, western Java, Palembang of Maccasser, Celebes, Borneo and etc. Their name for Pak Serak�, a White or interior Badui, was Bapak Burung (Father Owl) for his mystical, clairvoyant powers. Mas Djoet was a Blue or outer Badui. The kebatinan of these people is very strong; personifying power, projections (tujuh), ipoh (‘poisonings’), invisibility of intention, training the animal, withstanding discomfort, etc. Village of Tjibeo (Forbes, 1885)

Sumatra: Island Northeast of Java, separated by the Strait of Sunda. A very old culture ranging from the very sophisticated Courts of the Sultans to cannibalistic headhunters, pirates and bandits. A very combative peoples made up of the Menangkebau, Atjehnese and others. Our lineage is of the Orang Malayu, the Bugis people of the Menangkebau, Sunda speaking transplants to Western Java. A Muslim professing people with Persian cultural overtones (Northern Indian Moguls) and Bramanistic Hindu roots. They were great pirates, seamen & traders, craftsmen and the professions.

Batak: A cannibalistic people of tremendous ferocity, they are a part of our cultural martial lineage. Sometimes seen as primitives, they are sophisticated warriors, woodsmen and have a very complex social society. They were feared as raiders, coastal and river pirates as they preferred �long pig� to any other food source.

Their recipe is: Chile, peanuts and a little lemon juice; strip the meat alive, moisten in the lemon juice and roll in the chile. Sate` the meat and peanuts as the garnish. Serve immediately. This is a preferred �trail food� as the ingredients are light and travel well.

Majapahit: “Bitter fruit” Empire of Indonesia that challenged Kublai Khan, controlled much of the available landscape in the 12th through the 14th centuries. Supplanted the Menangkebau Empire of Sumatra. Hindu-Buddhist empire of Southeastern Asia from about 1250 to 1389. In Indonesia centered in East Java.

Kendang: Lit. Great drum. The fighting floor, challenge floor, of village oriented silat. At festivals, the village champion appears and dances his ‘kambangan’ and hears his challengers. If the challenge is issued, the contest is to sweep the opponent. The loser of that contest has the option to continue to the death or to retire from the arena. Combatants are required to bring to the contest: sweet herbs, cloth to wrap the body and burial money. Also; the practice floor, the masters house/school.

Kendang Silat: Combat styling for the challenge floor; a martial art specifically to fight other martial arts

Sunda Silat: Also: Bandung Silat, Main-po, po, Silat Betawi,(Betawie is also known as Batavia).Bandung is the birthplace of Uncle Willem (11 Jan 36) and one of the centers for martial art on West Java. A mountainous region reminiscent of the Gandung Kendang of eastern Sumatra, their place of origin.

Ulin Badui: the art of the Badui people, throat attacks

Po: �Focused (spiritual) Animal Hand�. The animal force (lung chiku) arts as well as the common hand. Used as an independent word as well as a suffix; mainpo, IeHsingPo, PoKwa Zen, to do �po�.

Mudra: �movement� in a sacred manner

Djuru: Short styling form, short hand/elbow form. Langkas may be composed of any number of djurus from six to ten to twenty-five, thirty-five or more. Tricks, techniques, timing, breath and distancing are all remembered while doing the djuru.

Djurusan: techniques from the djurus

The twelve djurus: (Mande Muda)

Ela ela Satu

ela ela dua

selup kuriling

tagangan

piceunan

tagogan

balumbong

sameran togogan

serongan

buangan dua kuli

patlikur

selup bohong

Langka: A series of djurus strung together to teach a particular aspect of silat. A ‘platform’ or grid to cut the fighting area into usable sections. A form/style of Silat; as in Langka Blekok, the crane style. Langka Tiga Luar (inside triangle langka) Langka Sliwa Luar (crossing interior (square) langka) Langka Sekurum Luar, Langkah Pancar Luar, Langkah Lima, Langkah Djuru Sepak, Langkah Djuru Combinasi. L.Tiga, adoption of torque and proper positioning of your space. Langkah Securum, three hundred and sixty degrees of sight. L. Sliwa, accepting of total elusiveness. L. Pancar, concept of constant change and awareness of your own space and that of your opponent.

Pukul: To collide; a short, two man fighting technique exercise, made up of movements from djurus, taught as fighting combinations for separate practice and also codifying and demonstrating martial principles that can be studied in greater detail.

Sembut: Short, formal, two-man combination for the understanding of skeletal principles; clearances, meridians and levers, movement on the langkah with martial purpose.

Ibing: dance movements to practice martial choreography

Sepadi: �one grain of rice� close combat art. Fighters separated by one grain of rice.

Palaredan: first ibing set. Seven movements set to gong music

Tepakdelo: second ibing set.

Sat: A �preparatory� percussive hit or blow with �locking inside� energy, a breath and sound technique (chiku)for explosive internal power and seal, it precedes a finishing blow or technical application. A true meeting of Chinese internal practice with Indonesian explosive intention. A series of sats precedes the pli-tok. Tok, Tok, Pli-tok- timing sequence practice mnemonic.

Tangkis: Interception (block) strike to stop opponents’ hitting power by jamming or pain to the body or strikes to deaden body members.

Sapu: Ankle sweep, torqueing throw for repositioning. Inside sweep-sapu luar, outside sweep-sapu dalem; practiced on the tiga, djurus on the top give hand technique options by body positioning.

Beset: Rear stepping sweep or tripping obstacle. Inside sweep-beset dalem, outside sweep-beset luar. Beset is the recovery and alternative for sapu as the throwing mechanism of the feet; practiced on the tiga, djurus on the top give hand technique options by body positioning.

Tempiling: Slapping (hard)

Tepuk Lalat: �slapping at flies�, a derogatory description of the body slapping aspect.

Dempe: low posture attitude

Chekeh: Choking neck attacks, distracting suffocation attack prior to torqueing for spine breakage.

Buka: opening- a beginning and an �opening� or dispersal of opponents attack

Buca: Interior wipe, trap/throw, nerve punch applications,

Displante: “unplant” by collision, cut the line, off-balance opponent, take his ground from him. Surprise his spirit, distract his martial intention.

Sodok: Jabbing as with the tip of a stick or sword.

Bakthi: Internal spirit; as in ‘chi’, but without the Taoist subjectivity/objectivity- useful power as would be ‘jing’ in Chinese with very active animist shamanist aspects. The taking of heads, cannibalism, trophy parts, the generation of the spirit animal, express the taking of the internal spirit of the opponent and the expression by the practitioner.

Kebatinan: Spiritual studies, kerochanian, djasmani (spiritual studies in martial art) The deliberate training of the martial spirit to withstand pain, overcome fear and confusion, intrude upon the opponent, personalize martial power, etc.

Ilmu Sehat: Internal power

Mantra: sounds of power

Pakalis: to make invulnerable

Pamuntet: annihilator

Pananggung: to help against weapons

Paneges: to cut down the base of the opponent

Paneguh: to strengthen you

Pangadin: to remove someone

Pangalah: for victory

Pangempung: to pulverize

Pangeweh: to cause the enemy trouble

Panglogor: to surround yourself with protection

Pangrong: to take the strength from the enemy

Pang-Ulih: to conquer

Panjriih: to bring about fear in the opponent

Sa-Lu: breathing, stepping, palm waving exercise to coordinate the body to the punch, knife applications.

Angin: a wind or breeze

Colek: �a playful touch of the finger�

Bayang- Bayang: Shadow essence

Galih Pakuan: weapons style of Mande Muda from Tjikalong silat

Buntut: Lit.: �Tigers’ tail’; pommel end of weapon, the end of a technique, the technique of delivering the end of the weapon.

Gubu: handle of a (weapon)

Matjan: Lit.: �Tiger,’ blade end of weapon, long end of stick. ‘Tjimatjan’ is the Javanese tiger style; standing tiger.

Kumbag: Elephant (as in Pamur silat) model

Puter Kepala: Lit.: ‘Turn the head’ The broad throw series utilizing the arm bar/ head turn.

Kuda Kuda An: Horse styling; kicks, flicking, lead exchanges and repositionings, the prancing and reversing method of cutting the fighting floor taught in langkah Tiga Lima,

Sidongkak: ‘He kicks’ as a horse (after the Pajakumbuk area of Sumatra, horse-breeders)

Sembah: Bowing posture, starts sicar dalem response to ambush attacks. Inside forcing attack breaker with very broad follow-up options.

Selamat: Lit.: �Peace’ as in Salaam, Shalom, selamat pada tua, peace to you (plural)

Sarong: The wrapped over-kilt of some Indonesians, a direct cultural indicator; wide weapons usage and survival skills surround the sarong. The fighting sarong is of fine, tightly woven tough cloth; wrapped many times about the body from the nipple/ armpit to the lower thigh, it will turn a slash or maintain body integrity in the stab. It forms a stable platform and blocking aspect connecting the two legs and is regulated to the tiga stance.

Hormat: Respect/loyalty/indebtedness. Gift of Hormat is the gift from the student in appreciation and respect for his Gurus� time, ability and generosity in teaching the art. Ma’afghan Hormat is the deepest gesture of respect for the head of the system. The gifts of Hormat for the entering student are: a sharp knife, a chicken, tea, tobacco, a length of cloth and ‘the gift of gold.’ The gift of Hormat for the continuing student and for the practitioner is to show his respect and appreciation for the gift of the guru to him. If a job needs doing, do it.

Adat: Laws of conduct; In the village system, it is expected that people will comport themselves with regard for certain basic laws. It governs the seniority system in an art, the political hierarchy of the village and surrounding land, the respect due age and special talent, the gift of madness and power.

Menangkebau: Lit.: �People of the ox-horn.’ Originally identified with Sumatra and specifically the southeastern end near the Straits of Sunda. They have, for centuries, provided a culture from which were drawn artists, craftsmen, holymen and councilors, fighting men and strategists, dancers and musicians, poets and explorers. They are identified with the mountains, Gunung, and are known for supple, strong leg tactics and deep postures. The kris is the status knife of the adult male.

Orang: Man, member of a group prefix

Kita Orang: We Men Together

Orang Menang: man of the Menangkebau

Orang Melayu: other Malaysians

Orang Utan: Old man of the Jungle, the orangutan is revered as a sentient being whom it is wrong to murder, he provides the model for the ape style (kalong) along with the rock ape. He teaches the techniques of invisibility, great strategic and intuitive awareness, deep strength, ‘long arm, short leg.’

Pendekar: Also ‘pandekar,’ Holy Champion; a fighting champion title which imputes spirituality and self mastery to the level of a holy man. The word may be a corruption of the Menangkebau words ‘pandai akal'(clever mind). The self discipline and willingness to submit (as a fighting man) to the requirements of a holy tulen pusaka are awesome and command the deepest respect imaginable.

Ahli: Expert in a martial skill

Pendetar: Non-fighting priest

Agung: Great-as in Pendekar Agung, ‘Great Champion’

Guru Tuan: ‘Prince’ teacher, uncle (brother of my mother)

Ebu: Auntie, princess. A female teacher, the wife of the teacher

Maha Guru: Professor leader of instruction. Responsible archiver of information of martial usage.

Guru: Leader of Practice. Not a �teacher� in the hierarchical sense, to participate in his practice is a learning experience. His gift of demonstration and instruction is a gift of love and compassion and civic responsibility.

Guru Muda: young instructor, Declared to learn Guru Silat to instruct as well as follow his own practice.

Guru Satu: student instructor, Under the direct supervision of a leader

Guru Dua: assistant teacher, Directing the advancement of practitioners

Guru Tiga: teacher leader, Responsible for instructing and leading practice leaders

Guru Empat: Master of Fist, Elder Teacher, honorific for years of service and dedication

Guru Silat: the information on the teaching mechanics of instructing in martial application.

Bapak: Father. Used to convey affection to a mentor, or founder of a style. Comes from the Bugis (Badui/ Sunda) usage.

Tangan: �human� hand, hand actions, techniques depending on the catching with the hand or the percussive usages of actions depending on intellectual analysis.

Tobrok: Colliding technique for displante, a major study in all Pukulan styles. Includes the colliding of psychic energies, blasting forward in all ways.

Sepah: kick

Buong: Underhand strike with a long arm with shoulder torqueing as a one-armed man..

Sang-sat: Palm up strike from underneath with the short hand.

Sang-Sat Tinge: High Sang Sat

Ten Dung Kakhi: Fighting Cocks’ kick, a spurring kick of movement around a defense or from an unexpected angle of incidence.

Blekok Sayap: crane wing blow

Burong Sayap: bird wing hit block

Ayam Mudasayap: Chicken wing hit block

Garis Melintang Gabar: Horizontal Picture Stance (decoy stance)

Tanaga Dalem: the Inner Dragon (chi�i)

Pechahan: “shattered” technique; the permutations of technique from any application

Ayer Terjun Pukul: waterfall punch attack series

Siku-Perisai: �branch shield�, Forearm and Elbow shield movements

Pengambulan Sepi: Ricochet indirect hitting

Segi Tiga: Triangle

Yangberbutar Siku: rotary elbow

Kiprait: large hand strike in the crane wing blow

Ketchepan: back hand speed punch

Garok: cat scratch

Genggam: Full fist mode

Duan Manangkis: leaf parries

Sa-Tengag Genggam: Half fist mode

Te: kick

Teratai: Shaolin “lotus flower” kick

Gedjelig: Downthrusting kick (stomp), may be delivered from any height to any target, intrusively climbing opponent steps.

Selosor: front snap groin kick scoops up to move sarong.

Sabit: Frontal instep kick (side to side kick)

Puntiar: to jump, inflicting your opponent with your body weight from a leap.

Pintuh: door (as a concept)

Pau: Explosive breathing expansion block with shoulder, a reply from sicar dalem to ambush, an expression of tobrok.

Kontak: KunTao and Silat techniques that emphasize punching, pinching, torqueing of nerve centers, meridians, the blood and the breath.

Sabit Tumit: heel thrust kicks, pins and harsh steps.

Susulan: Reverse sickle heel kick (the hackysack kick). One of the kicks that are governed by the sarong as a fighting uniform.

Tjimonjet: Monkey styling (Hanuman sized monkey)

PaMonjet: Father Monkey Silat

PaMacan: Father Tiger Silat

Sera: monkey style (water element)

Sjatung: Shantung martial art practiced as KunTao in Djakarta.

Ten Tera: lit. �Royal Army�, practitioners of Silat.

Dit Da Jao: �Iron Hitting Wine� a generic name for Medications for healing bruises, toughening the skin, strengthening the bones.

Ipoh: The Poisoning Art. The construction and delivery of a broad variety of poisons. An ancient and sophisticated art in itself and an aspect of various styles of silat. The upas tree is a favorite, as are; beetle, snake, putrefaction, herbal�s and minerals. A civically minded art, it is practiced on behalf of the tribe and not for �personal� reasons. A sorcerer would be killed in self-defense or forced to exile.

Tujuh: The Pointing Art. This is a chiku practice with very definite shamanist aspects. The pointing may be with the finger, a special tool made from a human femur, a kris and so forth.

Raja: a kingly figure of a large tribal group.

Rani: the feminine of Raja

Devi: a superhuman personage of exceptional power.

Hadji: Traditionally means a Muslim that has made the pilgrimage requirements of Islam. In the Indonesian Muslim culture it has come to mean a spiritual man of power and knowledge not necessarily having completed the pilgrimage. It would be a title applied by others to a man, not by a man to himself.

Sultan: a Muslim kingly figure not necessarily hereditary.

Atjeh: Formidably combative people of Northern Sumatra, never conquered.(also, Acceh, Aceh).

Saribas: Malay pirates made up of fugitives from various tribes affiliated with the Dyaks of Borneo. Many of the leaders; panglima and juramudi were Bugis peoples because of the intellectual superiority of their strategy and tactics..

Combinase: Combinato, Combinate, others. A combining of the stylings of several martial styles; Serak�, Tjimande, Okinawate, KunTao, etc. The present Djuru Satu is derived from the original Djuru Combinasi.

Hilot: KunTao Silat Healing Art originally for martial arts injuries, similar to the advanced Kappo art. An positive expression of the martial ChiKu; healing massage, stroking of the spirit, infusion of spirit, Known as �healing in the bloodstream�.

Pak Serak�: Founder of Serak� system (1790(?)-1860(?) A man of the (White) Badui tribe of the Bugis people of the Menangkebau of Sumatran Sundanese extraction. He was a practitioner of nine martial styles, offering combat proficiency in three; four Indonesian, two Indian and three Chinese. Challenged at birth by having one arm short to the elbow and a clubbed foot, he was able to see strengths and weaknesses in martial arts and to formulate his own. Known as Bapak (Father) Burung (Owl) for his prescience, clairvoyance and intuitive discernment, he killed tigers and wild water buffalo with his hand. Pak Serak� was a widely employed martial trainer, bodyguard to Sultans, political activist and martial consultant to nobility. Died in Kramat, Batavia, Djakarta.

Mas Djut: (Also, Djoet)d.1930(?).(Kramat, Betawi) A Senior Student of Pak Serak� and the man responsible for organizing the system from the teachings of Pak Serak�. As Djoet had two arms, two legs, he saw the utility of the one armed mans’ style as practiced by himself. Passed the art to Johan DeVries and to his nephews, John and Ernes DeVries. The present Pendekar (Paul DeThouars) was the student of John DeVries, his Great Uncle by marriage. Mas Djut was bodyguard to the Sultan of Ponti Anak on Borneo as Pak Serak� had guarded the Sultan of Aceh.

Proa: Long prow, shallow draft, lateen sail, galley oars; fighting ship of the pirate tribes. They were often crewed by over 100 oarsmen plus the fighting crew. (Also, prahu)

Bangkong: a Dyak fighting ship, often crewed by upwards of fifty men. Shallower draft, very maneuverable.

Panglima: Captain of a fighting crew, pirate captain, tribal leader.

Juramudi: Helmsman, lieutenant, trusted advisor; of a fighting crew.

Wako: (Chinese: wo-k�ou) Chinese pirates often associating with Malay pirates farming the South China Sea. The word means �Japanese pirate� but it simply means that the pirates could dock with the Japanese under some circumstances. A major transfer point for martial skills and traditions.

Pisau: A short, single edged utility knife. The basic personal fighting knife of all cultures. Other small knives; sewar, sakin, pisau belati.

Kris: kriss, kreese; A pistol grip, double-edged dagger of various sizes and shapes, often wavy. The main blading weapon of the Menangkebau people.

Golok: A short to medium length broad, thick, single edged fighting cleaver.

Dao: the long blade of the Dyaks. Often decorated with human teeth, hair, trophy parts, etc. The scabbard also contains a short bladed, long handled knife of special spiritual significance. The blade resembles a Filipino Kampilan, the grip has a hooked projection.

Dao: the single edged cutlass of the Chinese mainland. A favorite weapon of traders and pirates.

Chien: the long double edged swords of the Chinese mainland.

Parang: A cutlass style, single edged sword of aboriginal construction.

Kelewang: A broadsword type. Other swords; pedang, rudus, pamandap

Arit: A sickle; often used in pairs or with another weapon.

Tombak: A spear with a removable blade. The blade is used as a separate weapon when the spear is inconvenient to carry. Other spears; lambing, kujur, kunjur

Tjaluk: A sickle bladed short knife.

Kerambit: A tiger claw weapon; a ring to one finger with a curved blade projecting from the little finger side. The knife for the Pukulan art.

Rante: rante ber gangedug, rante delima, rante kembok, others, Long chain weapons with weights, blades, etc. (6 to 9 ft. or more)

Pajung: special Umbrella used as fighting weapon, both folding and full umbrella styles are practiced.

Rantjau: Punji Stick; rolled bamboo sliver covered with poisons, bamboo stake buried at one end, thrown poisoned sticks.

Gingall: also, �jingall�, swivel wall gun for kraton, swivel gun for proas or junks.

Pusaka: �Heirloom�, holy legacy- The Serak� is a Family pusaka to be conserved and passed on intact and unchanged to the next generation.

Beladiri: “Personal Shield” A personal protection art that emphasizes practicality, it is updated and refined at every opportunity. It has no ‘sparring’ applications and the principles can be very simple.

Tjimande: �Flowing Water Hands� Art. Brother art to Serak�, founded by Mas Embah Kahir (1760) passed to Pa Atma of Tjimahi near Cogreg-Bogor, West Java, to Carl Deerns, the father in law of Guru Tuan Willem and so to Joyce and Willem DeThouars. Alun Alun Tjianjur, a place of beautiful women, the mayor Prince Aria (Adipat Wirantanudatar 1766-1813) Kamurang, a district of Tjimande, Prince Memed Sastra Hadi Prawika (Kornel 1935) Five sons: Endut, Olan, Otang, Komar and Oyut. Died 1825 buried in Sereal Bogor. Student Pendekar Age. An art for whom the model is human, not animal.

Tjikalong: Brother art to Serak�. Known as Bat Style but only from the fact that it comes from the village known for its� bats, involves no hanging upside down. Actually a style drawn from the large primate actions; Rock Apes, OrangUtan, Shimpanzee, etc.

Timbangan: �a balance scale�. Study of the balance of power between fighter and opponent. Two man drills for sensitivity- push hands

Tjibandar: Centerline attack style

Kari: Block and counter style

Tjipecut: Whipping style, sarong style

Madi: Displante style, jerking to offbalance, striking to submission

Longar: long arm movements of the one armed man; striking with the whole arm, throwing with the pressure of the long arm.

Tjimatchan: Javanese Tiger style, fights upright with long sweeping movements, skin attacks, long bone traps, precision striking, ferocity.

Harimau: Sumatran Tiger Style, low to the ground, creeping movement to upset opponent to the ground for finishing techniques.

TjiOeler: Snake Style, nerve center attacks, muscle splitters, organ attacks, bone displacements, evasion.

Tjiwaringen: Brother art to Tjimande, emphasizes long-arm techniques and exquisite balancing as a martial technique.

Silat Batu Mande: Bathing Rock Silat; observation of maiden fighting off four attackers

Silat Puteri Mande: Bathing Princess Silat

Naga: dragon snake

Raja Naga: King Snake Dragon, highest expression and most advanced animal form, combines’ aspects from all forms; animal, human, spirit and immortal. Yang to Phoenix Yin.

Oelar Sendok: King Cobra. A sophisticated styling implying poison hand technique.

Hitam Oelar Sendok: Black Cobra

Oelar Sawa: Python

Patahkan Tulang: to hunt the leg. Leg attack style- harimau

Setria: Patriot (a martial attitude). The open heart and selflessness of the patriot.

Setria Hutan: Patriot Forest (a martial attitude).

Putri: Lit. A Lady: Styles derived from the actions or attitudes of women. putri bersedia, ladies in preparation Putri Sembhyang, ladies worshipping Putri berhias, ladies dressing Putri sepasang pair of flowers

Siku-Siku: also, Tjabang, Trisula, Sai (Okinawan) Three Branch Iron truncheon, main weapon of Serak� (Alexander the Great) Originally a treebranch used to picket animals, later a weapon of the privileged classes, associated with animal ownership and metal.

KunLun Pai: lit. ‘Focused animal hand of Kun Lun Brotherhood’- Kun Lun is a region of the mountains of Hukien, near the Taklimakan Desert, capital city is Khotan. A centre of Buddhist scholarship and one of the centres of Shaolin temple boxing. Islam meets Buddhism and the Tibetan practices.

The Lineage of KunLun Pai is as follows: Li Po Chang, scholar of the Neijia Chang, Po Qua Zen- his student, Liem Ping Wan of Doasim, founder of Chuan Chu Ie Shing-I, his students; Tan Tong Liong, Wim Chen, Buk Chin of the arts, Que Moi Shantung Kung Fu Chuan Fa, Kwantung Po Kwa Zen and TaiKek and Pa-kua Zen Kun Tao, the art of Fuekchin Kun Tao and Hukien KunTao. The Silat is drawn from the Kendang Silat of Hadji Sardjono Guru and Raden Djuaggan, Ganjung System of Mahil Atmo, the Pamur of Madura and Pecut Silat, the Silat of Bondo Waso of Guru Besar Tai Ing. The influence of European Boxing (Mr. Hamilton, Kampananachorn, Thailand) and European Fencing (Msr. L�Compte Legrands� Combat Fencing Ecole) are also very stongly represented. These arts are embodied in the person of Hai-Deng Sifu Willem DeThouars, God Grace him. The KunLun Pai also describes the cigar dalem group (a Pai) ‘a group of men going about doing honourable work’ The fingers of the animal hand are separate but joined in the doing of honorable work.

Tulen: Lit. Purity- close to the source, the old Tulen Styles are: Silat Serak�, Tjimande, Silat Kemango of Edgar van der Groen, TjiKalong, Tenje’kan and Pukulan Silat Betawie.

Pamur Silat: Silat from the Island of Madura. Characterized by bladework, no sparring application, minimal foot shifting as on a sandy beach, good old mans’ style. Guru Besar TaiEng taught the Pamur of Bondo Waso. Emphasis the “matjan” tiger. See also Pamor.

Isi: Lit. ‘Feeling’, A philosophical study about physical actions and their results.

Tangkapan: to catch or grasp the enemy, a study of exploiting vulnerabilities.

Bantingang: To throw the enemy, a study of displacements.

Sambut Pukui: to evade, parry, and strike, an exercise of technique by agreement.

Pombas Mian: to kill as a final decision without remorse or hesitation.

Dasar: Fundamentals (12 of each) of the Art

Djurus: any step by step elements of a study or system or process

alis plarian: to dodge & escape as an object of exercise

kamasukan: the successful entry into the enemies defense, a study of tactics.

To Count:

Satu — one

Dua — two

Tiga — Three

Empat — four

Lima — five

Enam — six

Tujuh — seven

Delapan — Eight

Sembilan — nine

Sepuluh — ten

Sebelas — eleven

duabelas, tigabelas, empatbelas, limabelas, enambelas, tujuhbelas,

seratus — one hundred

seribu- one thousand

Setengah: One-half, as in Tongkhat Setengah.

Murid: Formally accepted Student of the Art, not a casual relationship.

Pandai: Skilled craftsman (martial arts rank-practitioner)

Gilap: Lit.: �Brightening’ The training and action of instant response to attack. An aspect of the training of the intention.

Tiga: Lit.: �Three’ Basic platform for fighting one person, angle of attack and defense utilizing meridian theory. The concept of ‘three’ runs through the art constantly, breathing, meditation, structures of concepts, etc.

Ma’aaf: prefix word of respect

Sudah: “Yes, I understand.”

Moker: a punch of startling ferocity from the Petjut Kilap Silat, Dutch Indonesian slang.

Kinjit: squatting, cross body, elbow directed throw series.

Siloh: Cross-legged offensive/defensive seated position for warriors. Also the means for going to the ground while supporting the weight of the opponent to control his body, or to seat next to the opponent as he is thrown to the ground so as to continue in groundfighting. A very strong part of Harimau tiger styling. Sempok is back seated siloh, Depok is front seated siloh. Siloh satu (warriors’ seat) Siloh Dua (tailor style) Siloh Tiga (kneeling seat)

Tangkis Garis: Blocking cut, a jam to the thrust or punch, thrust to the weapons arm.

Tendangan: To kick (or knee) and the displante resulting.

Totok: Foreknuckle punch to sternum that attacks throat without withdrawing (slides upward, presents elbow).

Tepisan: To parry (not a block, more finesse).

Gunting: �Scissors’ The gunting concept is of crushing, trapping, mirror strikes, etc. A broad series of techniques and applications.

Meliwis: Swallow (a bird), a style that accepts PoKwa readily, very evasive with intercepting strikes, locks and throws.

Lingsang: Otter; an agile grappling presentation style

Kuda ayer: Hippopotamus (water horse) a rushing, overwhelming presentation style.

Garuda: Mythical bird, the mount of Agni (bringer of fire), eagle demon, associated with the aspect of the Phoenix. Very scholarly study, the equal of Dragon, utilizes all aspects of human, animal, spirit, immortal models.

Tekken: Walking cane, hooked staff, as weapon. The hook points forward.

Pagakay: throwing dart, poisoned

Tangkapan: To catch the enemy while positioned to throw, control the wrist of the opponents� striking arm to use as a handle, a study in all arts.

Bantingang: To throw the enemy (mid-throw actions). Adjustments to his body weight and movement, prepositioning his body for destructive contact with the ground, distractive actions to prevent defensive adjustments by opponent.

Kamasukan: The entry into the enemies’ defenses. The transition from responsive action to proactive attack.

Pombas Mian: The decision to kill as a last resort of defense. This is the previous decision as well as the effecting of the action.

Sambut(s): Practice techniques for evasion, parry/counterstrike. A method of practicing specific technical responses in a string. A form of restricted sparring against one or more opponents.

Kambangan: Lit.:’Flower Dance.’ The movement of the dance is a non-threatening means of practice, a way of meeting girls and a form of challenge to observers to see the �flower� (techniques) of a practitioner. The difficult and athletic ‘palm waving’ movements train footwork, breathing, attack positions, skeletal interception, body torqueing, positional changes to various directions, etc. It can be performed with a scarf, a candle, a saucer of water with a floating flower, etc. The music is provided by the Gamelan orchestra that also accompanies the fighting contests. It is also practiced as a headhunters dance, with the heads carried in baskets hung from the shoulders. Also a Royal blading art practice. One of the oldest, most effective and most traditional arts. Also, kembaggan, ‘randai’ saucer dance

Tjio Bakh: Lit.: ‘Try it,’ a challenge response.

Shiapa Brani: Lit.:, ‘Who has the guts to fight?’, A challenge to a group to produce its� champion.

Kitai Brani: Lit.: �I(we, my group) have the guts to fight,’ challengers response

Amas Adrai: DeThouars family motto: With God, We Prevail (We shall survive)

Pukul Turush: Lit. straight in punch, to fight until the end

MahdJiu: lit.: �Go Ahead’ a challenge

Nje-brang: Crossing sang-sat, to cross-over (a platform direction from Langka Sliwa), a kuda exchange. Training the ankle positions to effect major torso repositionings. Ankles/angles.

Tiga Lima: Langkha Lima- walking the tiga in djurus; sapus, besets-eighteen count, Kuda to reverse.

Tiga Dalem: inner gate langkha

Lompat Kuda: �jumping� horse

Tenunan: web

Silang: cross patterned langkha

Sa-Tengah Bulan: Half moon steps

Langkha Empat: four movement langkha, adds kicking to other langkhas

Pamor Silat: From Madura, sandy beach style- good platform, stepping in, hand traps, minimal jumping to the side, attention to footing-good ‘old mans style.’ Very direct knife attacks. see also Pamur, Bondo Waso

Latihan Matchan: single hand short stick (tongkat style) in a tiger modality, presents as a blade.

Dalem Lan Sup: Lit.: �Sour fruit’ Outside converts to inside, response technique against the knife.

Kraton Guards: Guardians of the Kraton (palace, armed enclosure). The central Javanese bodyguards of the Sultan of Jogja who were the standard by which warriors were measured, instructed by Pak Serak�. The Visayan (southern Phillipino) styles are derivative.

Kerojok: the fighting of one against many, a continuing technical practice

Petjut: The action of a whiplash, a forward punch, Silat Kilap Petjut is a beladiri style of the DeThouars family.

Gunting: Scissors blow with stick.

Gatok: butterfly blow with stick

Pesilat: a practitioner of silat

Pentjakkers: People who are part of the martial arts community, Dutch Indonesian slang. Also, “brawlers”

KunTaoers: people who practice KunTao, Dutch Indonesian Slang.

Potong Leher: Knife defense ending with the reversal of the opponents weapon to his throat.

TjiNgkrik: Brother art, springing, evasion, siloh, monkey hands, started by woman observing monkeys fighting.

Silat Kwitang: Big mans art, Chinese influence on indigenous art, vicious. Mustika Kwitang is one of the expressions (as taught by Pendekar Jim Ingram).

Palaredan: Tjikalong langka

Arbir: five foot halberd, a groove in the staff orients the blade edge for the user at all times.

Sunnah wal jamaah: “Team effort” training of the body mind and spirit to act as one; five senses, body, balance, speed, timing, accuracy.

Gowakang: Breathing (a study in all martial arts)

Nampon: Enervating exercises , breathing with body movement and discipline

Ulinapas: Breathing exercise for emotional and response control

Yantra: mental pictures

Bathin: Spirit (internal)

Zahi: Spirit (external)

Batin-zahi: Yin-Yang

Hantu: “Spirit” (external) an expression of the Animistic heritage of the Sumatrans.

Tanjakan: Mountain style, high and low attacks, uneven ground

Kailat: Closing on the target

Kilat: Speed of precise execution, not just quickness- celerity. Another spelling of Khilap; connotes thunderous percussion without warning to vulnerable targets.

Elakan: Evasions, avoidance

Rikesan: breaking bones style

Panggau: Warrior, dependable practitioner

Cigar Dalem: Inner Circle, the close guard. The inner area of body defense. The private personal bodyguard of the leader, House Students, the Pai.

Ratu Duri: Lit. �To take the intestines of an opponent�. King of Thorns, The Thorny King, Kingly Power of a Continent. Emphasizing the Chiku action of making the body hurt the opponent when he hits it. The action of the Indonesian Continent showing its’ martial power to the world by a style that includes wisdom from many sources. A particularly vicious attitude and technical series emphasizing pulling the skin from the integument, joint blasting and torqueing, internal organ targeting.

Pai Yun: Tiger Descending the Mountain. The first tiger form of KunLun Pai KunTao; a standing tiger form of the Shaolin style with aspects of Tjimatjan.

Macun Turun Dari Gunung: Tiger Descending the Mountain

Ling Sing Toy: a basic form in KunTao emphasizing the legs.

Wu Kung: The ‘strong warrior’ art of Shaolin and others. It conditions the body to war and privation, the mind to stress and the spirit to the power that war requires of the participant.

Tan Lung: A basic practice in KunTao. The “Trackless Art.” An individual expression of the understanding of the Art, its’ principles and techniques expressed as solo movement.

Djuru Satu: Lit. “First Hand Form.” Introduction to basic principles of KunTao Silat.

Guru Besar: Lit. “Great Teacher.” An honorific to a respected fellow teacher or one of another style.

HaiTeng Sifu: �clarified teacher� of KunTao, A great teacher subjected to extremely rigorous testing by his peers from other styles to prove or �clarify� his capabilities.

Bunga: Ritualized greeting style that includes self defense options. see also, Sembah

Rahasia: The teaching of the vital points, how to attack and defend them. More than anatomy, it includes; skeletal positioning openings, timing and insertion timing, chiku and tujuh manipulation, etc. See Kontak, Kilap

Bedok: a long handled meat Ax like the European Sheepsplitter cleaver, used as a shield and against fortified positions as well as a more personal weapon.

Buka: The covered fist, “open to all things”- �We can do anything you want to do.�

Juras Salong: closed body position (breaker to chamber)

Tarik: �Wide open and heartless hands� invitation to attack; inviting decoy motions, heartlessly enticing to attack. A prepositioning of defenses to decoy an attack; the psychological preparation for �remorselessness�.

Lawan: In a formal ritual combat, a signal to an opponent of having previously experienced combat. From the (right) Cat stance, left palm to face, fist to hip, begins the Langka Sliwa exchanges.

Andeka: surpassing in quality

Menarik Napas Dalam: deep breathing technique-chiku

Rasa: intuitive inner feelings of the opponents intention.

Sujud: self surrender to the righteous heart.

Batin: within the heart

Ingsun Sejati: true self without pretentions.

Tapa: ascetic practices

Semadi: Meditation

Berok: a monkey styling

TjiKak: a monkey styling

Maccacque: A monkey styling