More Great Kali from Kuya Doug Marcaida

Another Great Law Enforcement Seminar

 

Another fantastic class attended by the great men and women of the Law Enforcement community wrapped up this week.  We have been teaching our WARRIOR'S EDGE TACTICAL method of edged-weapon defense and empty-hand close quarter battle for close to 10 years now - and it's a consistent favorite with us, and the students!

Our thanks to "Lt. Ungyo" and Officer Jason "POW-der" for keeping our streets safe and for helping me train yet another fine cadre of Michigan's finest.  Thanks also to our students for their enthusiasm, questions, and willingness to train hard.  I know you have a very dangerous and often thankless job.  The old saying is true "As You Train, So Shall You Fight".  I hope I've given you some insight into being a smarter, more aware, more effective operator.

Just a few of the comments from the Participants-in-Blue:

“Guro Davidson’s training is an outstanding compliment to the PPCT instruction we receive at the Police Academy.  The training is fluid and adaptable.  This is a must for any police officer!” 

- M.J., Wayne County Sheriff Department

“Guro Davidson’s class introduces effective martial arts skills that are far superior to those typically taught in the U.S.A.  This course will enlighten the trainee not just to techniques, but an entire philosophy of Defensive Tactics.  I highly recommend this class”

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- R.L., Oakland County Sheriff Department 
“As a long time martial artist, I was very impressed with Guro Davidson and his instructors.  This was the most effective Police self defense class I’ve ever had in my 19 year career.”

-          - M.B., City of Eastpointe Police Department

“I’ve been an officer for over 12 years and am certified in two states as a Police Defensive Tactics Instructor.  The first 2 hours of Jeff Davidson’s class blew the past 12 years of my training away!”

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  - T.P., City of Troy Police Department

“Outstanding!  Clear, concise instruction using natural movements.  This class is a must for all Law Enforcement personnel.  I wish I would have known this prior to getting stabbed on duty years ago.”

- P.M., Sterling Heights Police Department

 “Guro Davidson teaches nothing less than pure survival in its simplest and most effective form”

- D.B., Wayne County Sheriff Department  

Seminars Are Great!

 

I had the pleasure of Guro Davidson’s teaching at several seminars.  I had been drawn to silat in high school because it seemed to offer much more complexity and subtlety than what I saw in the bulk of martial arts schools I had attended. I could tell from the movements in the silat system I began at that time, that there was much more to the art than was being taught--either because my instructors kept it to themselves or, more likely, had lost touch with the depth of their art and had homogenized it.  

 

After 7 years I felt I had learned relatively little of use, relatively little to differentiate it from any other run of the mill martial arts school save for some stylized movements in jurus whose martial application was neither practiced nor explained.   I chose to change arts but my desire to learn what I considered to be effective silat continued.  

 

That desire was first sated during seminars with Ka Jeff.  His instruction on those few occasions at seminars restored my hope that I may again find good instruction.   He is a very approachable, humble and inquiring martial artist and instructor and generous in his teaching approach.  I may very well have learned more from him about silat in a few hours than I had in the 7 years I spent training long ago.  He is a clean, crisp and sensitive/perceptive practitioner and his understanding and application of techniques is nuanced, subtle and precise.  Most importantly, he knows how to teach what he does.  

 

 He is also the only person I have seen teach an authentic african martial art--which was a pleasure to be introduced to.  And he learned it there, off the well-traveled path, doing it.   

 

His breadth of knowledge on Malaysian Silat, Kali, and African martial arts of Yoruba is impressive as is his ability to integrate them. Were it possible to make a daily 900 mile commute I would attend his school in a heartbeat.  If any serious martial artists need a reason to tour Detroit, Michigan, you’ve got one. 

Ed

Yoruba Martial Arts

My good friend Asis - Blacksmith and Martial Artist

I took a serious interest in the culture of the Yoruba people of Southwest Nigeria in the late 80's. Throughout the 1990's I was fortunate to be able to study under some very knowledgeable Elders such as Medahochi Kofi Omowale Zannu, Chief Adebolu Fatunmise, and Dr. Afolabi Epega. I made my first “pilgrimage” to Yorubaland in 2001, and have returned every year since with a new group of select, intrepid students for continuing education.

The Yoruba have an indigenous martial arts tradition that is largely unknown outside of West Africa. Interestingly enough, their arts appear quite different that the Muslim-influenced martial traditions typically found in the North. A close parallel to the Filipino Martial Arts is that the Yoruba styles are essentially the same theme with variations from village to village. I have observed these fighting styles in Ode Remo, Sagamu, Ile Ife, Ibadan, Abeokuta, as well as in ethnically Yoruba enclaves found “next door” in the Republic of Benin.*

The Yoruba word for warrior is Akin (literally “A Brave Person”). Akin can refer to a prolific military leader or even a distinguished hunter (Ode). In traditional culture, hunters exist on the very fringes of society, and have an extensive awo (secret knowledge) pertaining to fighting and combat, yet are not what we would think of as “martial artists” in our common usage of the word. Some of the terms used to describe martial arts practitioners as we would think of them are: Oniijakadi, Alonilowogba, and Eleeke.

The umbrella term for the martial art of the Yoruba is “Gidigbo”. If this word has an exact translation, I am unaware of it. Gidigbo encompasses various sub-disciplines such as wrestling (catch-as-catch-can), punching, and kicking - similar to the neighboring Hausa martial arts of Dembe, Ishakafa, and Kukawa - as well as fighting with machetes. Gidigbo matches are sometimes organized around important social functions, although regional tournaments just for the sake of sport are also common throughout the year. The bout typically begins with both opponents facing off, hands crossed (Enter the Dragon style) and quickly closes to all-out grappling - with elbows and head-butts added for good measure. When one of the wrestlers is thrown or otherwise knocked to the ground the match is concluded. Its all in good fun, but take it from me they do it with great gusto and it is very easy to be injured. Broken fingers, dislocated elbows/shoulders and torn knees are quite common.

The savvy Oniijakadi does not rely on mere physical strength alone, but brings all manner of strange charms (juju), incantations (awure) and paraphernalia obtained from a trusted Onisegun (medicine man) to the fight in order to gain an edge over the competition. This is very similar the concept of orasion (prayers) and anting-anting (amulets) in Filipino martial culture.

Whenever I go back to Nigeria and Benin, I have a number of teachers and sparring partners that I hook up with to learn new techniques or to rekindle old rivalries (strictly in a friendly way!) Of course, I spring for the refreshments afterwards, and I also reciprocate by teaching them some Kali in return (there is no problem finding sticks). On our most recent trip to Ijebuland, I had the teenagers collect old pillowcases, rags, and sandals and with some duct tape that I had brought we had a perfectly functional outdoor boxing gym - complete with heavy bag and focus mitts - and were soon working on punching drills. Being that I neglected to introduce the concept of a mouthguard, I hope those kids still have their teeth by the time I go back next year.

* I am in the process of editing footage of West African Martial Arts including matches, festivals, interviews with fighters and teachers, and other cool surprises that I have filmed during my travels. Stay tuned.

DOUBLE IMPACT !!!

Pencak Silat Cimande an Overview

First of all, I’d like to point out to that the Cimande style is one of the most famous in Indonesia and along with such styles as Minangkabau, is certainly one of the oldest. Many of the « newer » styles have historically drawn their inspiration from Cimande or have incorporated its techniques to some degree. The influence of Cimande is clearly recognized in many pencak silat styles in Java and Sunda. With this in mind, let’s specifically discuss some Cimande history.

It is important to know that most of the data pertaining to the origins of Cimande, its founder, and influences, has been handed down for centuries via an oral tradition. The founder of this style did not leave an « official » history in written form. With this in mind it seems very unlikely to say that this -or any – version is to be considered the ultimate truth.

We can only say with certainty that this-or-that version is accepted by a particular school, or a particular region, or village. Without any designs on proclaiming the « One Truth », it is interesting to examine the different versions in order to get a broad idea of the style, its founder(s), its ancestors. To that end, I offer several translations from reliable sources that I have gathered amongst various teachers while traveling in West Java.

PAK KAHIR’S LIFE

 

(http://www.kpsnusantara.com/index.html)
The life of Pak Kahir (excerpt from Gema Pencak Silat Vol.3 No. 1:18-19)

The creator of the style of Pencak Silat Cimande, Pak Kahir, was known as pendekar respected around 1760, when he first presented his « jurus mem’po Cimande » to his students. It was these same students who later spread his art in the surrounding districts like Batavia, Berkasi, Cikampek, Cianjur, Bandung, Tasik Malaya, Garut, Sumendang, CIAM, Cirebon and Kuningan.

As a merchant of horses, Pak Kahir regularly traveled away from his village of Cogreg Bogor. It was during these business trips that he was sometimes accosted by bandits and thieves. Through his mastery of combat, he was never hurt or robbed. During his many trips to the cosmopolitan port of Batavia, he met and exchanged ideas with fighters from Minangkabau land and China as well as local teachers in the region. He used these opportunities to share knowledge and test his skills with them. The interaction with fighters from different cultures enabled him to assess the effectiveness of his art.

During one of his visits to Cianjur, he met Raden Adipate Wiratanudatar (1776-1813) the sixth Regent of Cianjur. Shortly after this meeting, Pak Kahir decided to settle near Cianjur in the village of Kamurang. When the regent learned that Pak Kahir was an expert in martial arts, he asked him to teach his art to his family. In order to test Pak Kahir’s skill, the Regent arranged for him a fight with an expert of Chinese Kuntao from Macau. The battle took place on the esplanade of Cianjur and was won handily by Pak Kahir. His victory against the fighter Kuntao made him even more popular in the region of Cianjur.

In 1815, with his 5 sons, Endut, Ocod, Otang, Komar and Oyota, Pak Kahir to Bogor. The 5th son later spread Cimande in « Pasundan Tanah » (Sunda Land). Meanwhile, another student – Ace – continued the spread of Cimande in Bogor. The descendants of Ace are currently living in Tarikolot, teaching what is known as the « old system » which is referred to as « Cimande Tarikolot Kebun Jeruk Hilir. »

The early nineteenth century was the golden age of Cimande. It became the most popular style in West Java.

Pak Kahir died in 1825. His fighting art continued to be appreciated by the people of West Java. Other styles based its teachings were developed by students such as Pak Sera and Haji Abdul Rosidi. Haji Abdul Rosidi created his own style called Ciwaringin, changing some of the Jurus Cimande. But even with these changes, it is not very far from the original form of maen’po Cimande.

Today, Cimande is practiced around the world in one form or another. As Pak Kahir did not leave any written record of techniques, there are many diverse groups of Cimande relying heavily on oral tradition to establish history and method.

PAK KAHIR’S LIFE

(Courtesy of Eric Chatelier) From a historical novel Pangeran Sundanese Kornel

written by Raden Memed Sastrahadiprawira

The paragraph below gives a clear description of Abah Kahir (also known as Embah, or Ayah Eyang Kahir) the legendary creator of Pencak Silat Cimande. Of all the styles of Pencak Silat from Indonesia, Cimande is perhaps the most well known, oldest and most influential.

There are a number of versions on the life of Abah Kahir dealing with the origins of Cimande, sources of inspiration, and lineage. According to a popular version in the community of Pencak Silat Banten, Abah Kahir was a Badui, an ethnic group inhabiting the mountainous regions of southwestern Banten. According to legend, the Baduis are descendants of the soldiers (Ind.: bala Tentara) of Ratu Pucuk Umum, the last king of the Hindu kingdom of Pajajaran who was at the time the location of the current Bogor.

When Ratu Pucuk Umum abdicated before the Muslim armies led by Molan Yusup (Banten regent 1570-1580) in 1579, a concession was granted by the court stating that the king would be spared if they agreed to isolate themselves in this region. The tradition of the martial arts of Pajajaran was preserved and transmitted through the ages.

According to this version, Abah Kahir, who was from the Badui region of Cikeusik, was known as an expert in Badui Ulin (Silat Badui). His reputation soon spread beyond the Badui territory and several Pencak Silat exponents dared to test his skill. These challengers all died at the hands of Abah Kahir. The fact that blood had defiled the sacred land of Baduis was considered to be serious misconduct according to traditional laws. 

Among the Badui such misconduct could not remain unpunished. The elders decided to banish Abah Kahir from the Badui land.

To ensure that such incidents would not happen again, Abah Kahir adopted a code of silence during his sojourns regarding the Badui and their martial arts. It is said that this code of silence still exists in the present day.

Leaving his native land, Abah Kahir worked as a porter for a Chinese merchant. The merchant was a hard man, who was also a practitioner of Chinese Kuntao. One day Abah Kahir decided to take a rest from his work. The Chinese merchant became furious and ordered him to return to work immediately. The altercation quickly escalated into a fight which resulted in the death of Chinese merchant.

As a result of this incident, Abah Kahir was left with the feeling that through his lack of self-control, he had literally killed his livelihood. He vowed that from this moment, he would use his art only to serve humanity. It was shortly after this event that the term maenpo was created to refer to the Pencak Silat of the Sunda region.

Abah Kahir blamed himself because of its lack of self-control, he realized he had killed the source of his « livelihood « . He therefore sware that from this moment, he would use his art only to serve humanity. As Wessi pointed out, the Badui « Code of Conduct » has symbolic importance in Sundanese culture as a sort of Moral Compass. Owing to their isolation from the modern world and the minimal influence of Islam in this era, the Badui have maintained traditions that are no longer found elsewhere in West Java and therefore are regarded as more pure, or authentic. In the same vein, the Kingdom of Pajajaran is often mentioned as a symbol of pure Sundanese culture. There is even a belief which holds after his death a Sundanese becomes a « resident of Pajajaran » in the form of a tiger.

In the field of contemporary ethnography, the many legends surrounding the figure of Abah Kahir express two main themes: first they « nature-ize » the Cimande style by ascribing its creation to various phenomenon in the physical environment; and second, the legends refer to some form of Divine Inspiration on the part of the founder.

The influence of Pencak Silat Cimande in West Java is constantly expanding. The majority of schools that are found there today trace a link with Cimande either from a technical, philosophical or historical perspective. It’s almost become a rule for schools to express a tribute even if merely symbolic to Cimande. This style is also recognized in West Sumatra as one of the oldest, due to the fact that the word Mande means « mother » in the language of the Mingkabau.

In Kampung Babakan Tarikolot village, the current descendants of Abah Kahir adhere to their precious tradition. Here Cimande is still taught in the same manner as in the past, without any influence from other styles or other modern innovations. According to some village sources, Abah Kahir is not considered to be the creator of Cimande, but rather the first teacher of this style. According to a family tree held sacred by Ace Sutisna, – current leader of the family of Cimande (Keluarga Besar Cimande Pencak Silat) – Cimande begins with Embah Buyut, which translates literally to « great-grandfather » but in Sundanese means rather « founding ancestor ». It is not clear whether this term is linked to a particular individual or if it is used as a generic term that is related to founding ancestors generally.

According to Pak Ace, « from generation to generation descendants of Cimande use the name ». The silsilah traces 7 generations, which pak Ace considers to span for 350 years. If Embah Buyut was a historical figure it would mean he would have lived between the middle of the seventeenth and eighteenth century. This corresponds to the dates when Abah Kahir is supposed to have started teaching, circa 1760, making him a practitioner of the second generation of Cimande and the first generation as a teacher. In each generation there have been several teachers considered official representatives:

1. Abah Kahir
2. Abah Rangger
3. Abah Ace Naseh
4. Abah Haji Abdulshamad
5. Abah Abah Haji Idris and Haji Ajid
6. Zargasih Abah Haji, Haji Niftah, Haji Gaos, Ace Sutisna (currently)

The silsilah is incorporated into the structure of Cimande training. At the beginning of a latihan (training), a kind of prayer invoking the name of Amalan Tasawal is recited: These are excerpts from the Koran with a list of past teachers. The prayer has two functions: it is a way of expressing respect and is also a petition to receive spiritual blessings (ind.: berkah) from past masters. Expressing respect is an important part of Silsilah, it would be wrong to interpret this as a mere recitation of pedigree. The invocation of these names authenticates and blesses practice today.

The grave of Buyut Abah and his son Abah Rangger are found to the west of Kampung Tarikolot. Between the twelfth and the fourteenth day of the Muslim Maulud month, the graves of Buyut Abah, Abah Rangger as well as Ace Naseh Abah Abah and Kahir are visited by pilgrims, most of whom are from local Cimande and various communities of Pencak Silat in West Java. Many seek these tombs in the hope of receiving a blessing. According Pak Ace, Abah Kahir, was a simple farmer who spent his entire life around the villages of Cimande. The wide black pants (Sundanese: sontog or pangs) and the jacket off (Ind.: Baju kampret) worn at the time by Abah Kahir and other people of the village are, over time, becoming the official « uniform » of Pencak Silat.

This particular legend varies from the one that can be found in Cianjur.. It is said that Abah Kahir was born in the village of Kamurang in the district of Mande, Cikalong Kulon, part of the regency of Cianjur. In the tradition of Cianjur, it is said that Abah Kahir earned his living as a merchant of horses and traveled regularly to Batavia (Jakarta) and in other parts of West Java. During his travels, he often encountered problems with wild animals such as tigers and jaguars and also with thieves. It is through these experiences that Abah Kahir developed a formidable system of self-defense. At Batavia, he met followers of martial arts from China and West Sumatra who helped refine his art. When Raden Aria Wiratanudatar VI (regent of Cianjur / 1776-1813) became aware of the reputation of Abah Kahir, he hired him as a Pamuk – the Sundanese term for a master of Pencak Silat used by aristocrats. From this period, it is said that he taught only the family of the Regent, and eventually he himself became part of the Royal Court.

Abah Kahir had five sons: Endut, Otang, Komar, and oyota Ocod who developed Cimande from Bogor to Bandung in Cianjur and throughout West Java. Shortly after the death of Wiratanudatar in 1813, Abah Kahir setteled at Kampung Tarikolot, Cimande, where he remained until his death in 1825.

Pak Ace, reflecting back on the many stories of Abah Kahir’s combative exploits, considers them « stories of tough guys » (ind.: kisah jagoan). As far as Pak Ace is concerned, these words convey a negative image of Abah Kahir, making him out to be an aggressive man at odds with the spirit and philosophy of defense as the foundations of the Cimande style. « This gives a bad example, carrying loaded incidents of violence, focusing on the arrogance and other defects in the order of the ego, that are the anti-thesis of the fundamental values of Pencak Silat Cimande. »

In terms of technique and philosophy, Cimande is defensive and it is strictly forbidden for a student to engage in combat. As stated by one practitioner « Why fight? It’s exhausting! If you can avoid it, that is the best way ! ». Pencak Silat supports religious teachings, but it is not a substitute for religious obligations . Students are asked to follow their religious duties seriously.

According to Pak Ace, Jurus Cimande are inspired by everyday life according to the Sundanese tradition of farming, tending the fields, carrying firewood, cutting grass, a mosquito hunt, and sitting cross-legged in the mosque after prayers. Natural phenomena are supposed to reflect universal laws, and so human culture also reflects universal principles. Abah Buyut and Abah Kahir had the talent necessary to transform these simple movements of everyday life into techniques of self-defense (Ind.: beladiri): « The ability for introspection is given by God to all creatures, so self-defense is a creation of man, inspired by God. Since the principles of Cimande techniques are included in everyday action. » It is believed that instinctively, everyone possesses jurus Cimande … Pencak Silat is practiced by everyone, even if they do not realize it as such. » Physical techniques are specific to a place and time, while the logic of the body behind these movements is universal. The names of some jurus Cimande are a natural reflection of the actions of everyday life as shown in the Sundanese term batekan (to release a seizure) and guarana (to open something and observe what is to inside).

The ancestral Cimande taught at Kampung Cimande Tarikolot consists of:

33 jurus – 13 pepedangan – 1 ibing
The 33 jurus are performed seated and standing, single- or by twos.
The 13 pepedangan are forms utilizing a stick (of the palm to the armpit length). They are made to replace the Golok. It is easier to train with a stick (and it is less dangerous …). Once you develop control with the stick, you can then practice with a Golok.

The ibing is a dance in which one seeks to focus power in various parts of the body (wrists, shoulders, etc.) working with rhythm and music.

Information obtained from various sources
Many sources state that Abah Kahir had no children (by blood) but he did have disciples. Present day descendants at Kampung Cimande Tarikolot trace their lineage to Abah Rangger and not Abah Kahir.

There is a grave of Abah Kahir in Bogor that one may visit. However it is said by some the « real » tomb of Abah Kahir, is actually located in another village

Some also posit that Abah Kahir was not from Indonesia but came from an Arab country and that his real name was Abah Kohir (kohir meaning pray in Arabic), and together with Abah Rangger created Cimande.

A strongly held belief by the Kampung Cimande of Tarikolot is that Cimande is not for aggressive fighting but only to defend oneself and there are technically no « lethal » Cimande techniques.

A New Student's Perspective

A long-time student wrote the following essay a few years ago after completing his first year of training with us. Thank you, sir...sorry it took me so long to put it up!

Reflecting on my First Year of Training in Kali-Silat

The following is not intended to be a philosophical dissertation or an intellectual exercise. Rather, it is a portrayal of my serendipitous discovery of Kali-Silat and my thoughts, feelings, and experiences during my first year of training. I felt the need to share this with our Kali-Silat family with the hope of relating to those who started before me, to remind them of the challenges of a new student, and those who started after me, just incase they are having similar experiences and feel uneasy about it!

It was January 2001, I was continuing my training in taekwondo, TKD, and Aikido, holding a 1^st degree black belt in TKD, getting ready to test for my 2^nd in a few months, and a 1^st degree in Aikido. I was feeling pretty good about it, having put in many years of training and having the black belts to show for it! At the same time, however, I was searching for other arts to help round out what I had learned through Karate (many years earlier), Aikido, and TKD. I felt a strong need to learn “something else”. I thought about and tried a number of options:

• Karate (Japanese): been there, done that; when I was an undergrad student, too much like TKD, minus the kicks!
• Wing Chun: had one class with a Chinese practitioner, and thought it could be a good option, provided I could find a good school/instructor.
• Krav Maga: a few sessions were more than enough! I thought it was good aerobics, but I found it to be dangerous in a number of ways; but that could be subject of a paper by itself!!
• Tai Chi: Took several classes, I did like the flow and the meditative aspect, but learning the long form after a couple of classes seemed a bit too much. I realized it did have martial priciples behind it, but thought that transition from the stylistic to a combative approach would not be easy, necessary from a self-defense prespective.

Whatever I felt to be missing certainly was not getting discovered through my ever increasing portfolio of TKD Poomses (Korean for kata or form), which I never liked anyway, or the never ending turns, falls, and dives of Aikido, not to mention tripping over my hakama all the time (the traditional baggy Aikido/Samurai skirt-like pants)!

And then I discovered Kali-Silat, not through extensive research or expert recommendations, but pure chance! It was not that long ago, January 2001, when I noticed a Martial Arts school while driving home from work. I did not manage to catch the full signage as I drove by, but did notice the words “South East Asia”. That was enough to raise my curiosity. Through my training and studies I was aware of many of the major countries relative to martial arts, such as China, Taiwan, Korea, Japan, India, and others; but South East Asia? I had heard of Modern Arnis and Escrima, but did not know much about them, however, I had a feeling there was more!

The following week, after I had finished teaching my TKD class on a Saturday afternoon, I stopped by the school to check it out. Unfortunately it was closed, the sign on the window read, “Warrior Arts of South East Asia, -Kali-Silat”. I looked through the glass window to see what the school was like. Well, it was unlike any school that I had ever visited or trained at, looking very bare and lacking the usual trappings found in martial arts schools, such as training dummies, BOB, Bully, punching bags, thick cushy floor mats or any other training tools or toys. What I did see was a bare, well-worn thin red carpet, some blades on the wall, as well as blades and sticks resting on the floor. There were also many pictures, flags, masks, other artifacts, and letters/diplomas, which I could not read from behind closed doors, hanging on the walls. I really was at a loss trying to imagine what this school was about, it did not fit the usual mold, but it certainly peeked my curiosity even further. I wrote down the phone number and decided to call the school to find out more.

After a few phone tags, I connected with a Jeff Davidson who offered to give me a free training session. A week later, on a Friday evening, I arrived at the school for my free training. I was greeted by an unassuming individual, introducing himself as Guro Jeff Davidson. As he led me to a backroom for my private lesson, I walked past four students performing some knife drills, moving in unusual ways, and performing stabbing and slashing moves on their partners. The thought going through my mind was “this really looks strange”, but reminded myself to keep an open mind and avoid passing judgment too quickly; knowing other arts can make one judgmental, especially when people possess “black belts”!

OK, I am finally there, one-on-one with Guro. He starts off by asking me what other arts I have studied. He then gives me an opportunity to defend myself against punches and knife attacks using any of the techniques I knew from previous training. Piece of cake, I thought! So he starts coming at me, not necessarily fast, while I attempted to block and counter as they came. There was one minor issue, the attacks were not coming at me in the structured, rehearsed patterns that I was used to while working with my cooperative training partners.

After a while I was totally frustrated, and Guro sensing my frustration switched roles. Now I am attacking him; he instructs me to come at him as fast as I like, punch, kick (remember I am a TKD guy) and knife attacks; now I am thinking “time to make my point, let me get a shot on this guy”. Here we go again, I am coming as fast as I can, but not getting to the targets, getting counter-attacked on every attempt, and losing my weapon every time, when I used one!! OK, I get it, he made his point, much of what I have spent years training does not seem to be working very well! Now what? Next, Guro starts to discuss a few of the Kali-Silat principles, what he explained seemed to contradict most, if not all, the principles I had been taught over the years! Now I am really confused. Somewhere between the confusion and the frustration experienced during a 45-minute session I decided to sign up.

The first few classes felt extremely awkward for many reasons. Over the course of a few classes, I started to see the regulars at the school. Many of them appeared stand-offish towards the new students. Some students would try to instruct during the practice drills, fully recognizing that some of them did not know what they were talking about (I was used to that, having been a TKD instructor myself), but I went with the flow anyway. I felt a number of challenges relative to the different aspects of Kali-Silat:

Principles - The biggest challenge I was facing was not the techniques, the new ways of fluid movement, the dances (bungas), steps, or the body turns and shifts, rather, it was the constant contradictions against all the principles I was taught over the years, such as blocking and countering, solid/rooted stances, focusing and putting everything into a single powerful technique, fully extended techniques, muscular tension to create power, chambering of techniques, training for fighting through constant practice of poomses, and many more!! Kali-Silat seemed fluid, I liked it, but I knew it would take a while for me to re-program (de-program) after all those years of poomses and one-steps. It seemed hard, and took some time for Guro to stop me from breaking some old habits, such as chambering my techniques, and starting my punches at the hip!

Sense of Belonging - Another challenge for me was lacking a feeling of belonging and being accepted by the group. I was showing up for classes fairly regularly in the first several months, as my schedule allowed it; but I never felt a true sense of belonging or being part of the group. This was just how it felt. Gradually, it started to feel different, I felt better about being there, felt a better connection with the various instructors and most of the students, and started to have a better sense for what was being taught and what was going on.

Finite vs. Infinite – Another aspect of having trained in other arts is realizing that most arts have fairly limited facets and capabilities, although often being presented as having unlimited potential! I would like to see, e.g., a true Aikidoka show how they would kick (although I hear Ueshiba did practice kicks) or see a traditional TKD practitioner do a knife disarm, although some TKD schools do attempt to incorporate weapon techniques. On the other hand, having been exposed to only what I have seen in my first year of Kali-Silat training, I fully recognize I have not even scratched the surface. I do understand some of the principles and recognize that they provide infinite possibilities, without necessarily having to document and practice every single one of those possibilities.

Attitude – It took a while for me to realize that Kali-Silat was not just about knowing the moves and techniques, rather a big part of Kali-Silat was understanding and developing the necessary attitude, ranging from meditative to pure animal instincts! Not exactly a requirement for doing katas!

There are many other aspects relative to the myths and traditions promoted through most other martial arts, but the points raised here do provide a general outline of the issues and challenges I experienced. But please keep in mind that these were mostly due to my training in other arts, and some of the baggage I brought in with me.

Here I am, a year after I started Kali-Silat, have learned more concepts, techniques, and principles than I ever did over all the years of training in all other arts combined. I started my Kali-Silat training because of my frustration with the other arts, which were not providing the necessary challenges and learning opportunities that I was looking for. The variety and range of concepts, principles, and techniques covered in the systems we practice is providing me with everything I was looking for, and more. I have stopped looking for that elusive “next art” needed to help further round out my skills!

Due to my schedule, job and family commitments, I am unable to attend classes as often as I used to, and I miss that. I do, however, look forward to every class that I can attend, and leave every session satisfied that I learn something new, or learn more about something I thought I knew already. What I have learned over the course of my first year of Kali-Silat training has given me a solid foundation to better understand and deal with new concepts and situations, in very practical ways. By the way, after all those years of training I never did master those jump/flying/spin kicks to the head!!!

MABUHAY DETROIT KALI-SILAT!

F.K.

Silat Kuntau Tekpi in a Nutshell

Introduction

• Silat Kuntau Tekpi is a Malaysian martial art that originates in Kedah, a State in northern Malaysia that shares its border with Thailand. 
• Silat Kuntau Tekpi traces its roots back to 1556 when it was first taught to the Sultan of Kedah.
• Prior to 2005, Silat Kuntau Tekpi was a closed system that had never been taught outside of Malaysia.  
• Silat Kuntau Tekpi is actively being practiced by and taught to members of Malaysia’s Special Branch Units (both in the Military and Police) and undercover narcotics agents.

System Overview

• There are five levels in the Silat Kuntau Tekpi syllabus.
• Level One and Level Two focus on self-defense (beladiri), where the student stands in a relaxed and neutral stance and is attacked by an opponent.  Beladiri teaches the student how to explosively counterattack and either control or incapacitate their opponent.
• Levels Three and Four teach the student combat against multiple opponents, ground fighting and weaponry, particularly the use of the Tekpi which is known as the “King of All Weapons” in Kedah.
• Level Five teaches the student the spiritual system.

System Characteristics (the “Combat Formula of Silat Kuntau Tekpi”)

• The beladiri (self-defense) phase of training has three components: the counteroffensive entry, the off-balancing throws and finally the locks and/or incapacitating finishing strikes.
• The entries teach the student how to counterattack while their opponent is still attacking.  This way the force being generated by the opponent is deflected while the student steps in with a counteroffensive strike.  The effect is like two cars in a head-on collision, with only the attacker being injured.
• The “crash” entry is designed to physically and mentally unbalance the opponent.  The entries lead directly to off-balancing throws.  The Silat Kuntau Tekpi practitioner then proceeds to throw the opponent in such a way that the fall itself disables the opponent so that no further follow up is necessary.  Your body-weight + your opponent's body-weight is combined so that the opponent falls on an intentionally exposed and vulnerable joint, thus immediately incapacitating the opponent upon landing.
• Finally, the grounded opponent is either locked so he can be apprehended or he is struck since he is positioned in such a way that he cannot prevent the attack.

Some Questions

Tuhon Gaje tells it like it is to Kuya Jamal

More questions from email:

Why are you so secretive about teaching these days?

People used to say that our group was like a ‘cult’. I say that we’re more like a Secret Society. My personal focus has shifted over the years. I am less concerned with teaching the public than I am in tending to my advanced students. The only way I get better is if they get better. I have a very well trained advanced group and several of them have their own students who are getting solid basics. I have my own teaching niche (which btw is none of your business!) That being said, we accept new students on a probationary basis as explained on my website. Anyway, I have more fun training students than teaching them. We have almost surgical precision in weeding out non-serious people.

Why don’t you promote your seminars/gatherings?

We generally don’t like to advertise when Tuhon Gaje comes to town because we rarely open his seminars to the public. Its just a lot better when everybody knows each other and we can pick right up from where we left off the last time. We make exceptions on a case-by-case basis. You wanna see what we’re up to? Join us!

Do I need to have martial arts experience or be in shape to train in Kali?

No. It is more important that you are serious about learning. If you have chronic injuries, it may be wiser to learn senaman tua for a month before you progress to harder training. You don’t have to be in good physical condition to learn how to defend yourself, but a good part of the martial arts lifestyle is being in shape - which I define in terms of strength, flexibility, and endurance.

Do you guys sponsor/participate in stick fighting tournaments?

No. If you want to train for tournaments, contact Philip Gelinas - he’s the best.

What kind of knife/gun do you/should I carry?

I haven’t been offered any pistol endorsement deals lately, and I don’t give free advertising. The only blades I endorse are those made by my student, Manong Panday.

Who should I study Kali with here in the States?

My personal opinion is this: Kuya Doug Marcaida has been our mentor for years, and I consider him to be the most well rounded Kali teacher this side of Bacolod. In Texas, there are a few guys I have had direct experience with: the most high profile is Leslie Buck. Leslie is about as clean and precise as they come and also a nice guy. Other Texans keep a lower profile: Ricky Rillera is a bona-fide fighting machine - to the extent that Tuhon Gaje gave him the nickname “Crazy Ricky” (note: do you realize how hard-core you have to be for Tuhon to call you ‘crazy’?); Robert Slomkowski is wiry, explosive, and brutal - when he moves on you, it’s like you’re suddenly fighting three people; and of course, few people have ever been able to dissect the Art and teach it from the inside out like Omar Hakim. In Oregon, Steven Slomkowski is who I recommend. We also have a promising group coming up in Florida.

There’s guys all over that do Pekiti-Tirsia. I make recommendations based on personal experience.

If I join your group, will I be able to learn the “Batangas” knife fighting? What is the formal name of that style?

The ultimate decision as to who learns it is up to Tito Jun. If you train with us long enough you’ll meet him one way or another. I simply follow his recommendation. As to the formal name of the style, if and when Tito Jun is ready to let it be known to the community at large, he will do so.

What We Teach

OUR CURRICULUM

FILIPINO KALI

Kali is the legendary full-combat Art of the Philippines. This is our main system, and the foundation of everything we do. Our personal expression of Kali is a synthesis of several disciplines including Pekiti-Tirsia, Kali Deleon, and San Miguel Escrima.  We proudly teach all of the classical components of:

- Single and Double Stick  (Solo Baston; Doble Baston)
- Sword and Dagger (Espada y Daga)
- Staff (Sibat)
- Knife (Daga) and flexible weapons (Panyo)
- Combat Grappling (Dumog)
- Empty Hand Striking (Pangamut)
- Firearms (pistol and long gun)

To learn more about Filipino Kali, click here.

BARAKO BATANGUENO

 Ahighly unorthodox, unpredictable, and effective style of edged weapons and firearms tactics born and bred in the infamous Batangas region of the Philippines. The Batangueno knife/gun fighter develops an intensely personal expression of the Art through mastery of an essential template sequence of 29 (vientenueve) basic cutting techniques applied with strategic footwork.

 This style was passed to us by Manong Leon “Tito Jun” Saludo – one of the original surviving members of the group that “codified” this knowledge. Tito Jun is among the last generation of BATANGUENO blademasters who has truly LIVED his craft.

NOTE: This is NOT a public class! Instruction will be made available to select students only.

SILAT KUNTAU TEKPI

Seni Silat Kuntau Tekpi was founded by Panglima Taib (General Taib Bin Wan Hussein) in the Kedah region of Malaysia around 1890.

Panglima Taib learned various forms of Silat Kedah (Silat from the Kedah region), including the Silat from Panglima Ismail, which is the root of Silat Cekak and Silat Kalimah.

Panglima Taib organized his original syllabus into 360 Buah (combat techniques), which taught and covered all of the basic principles and pecahan (variations) of the Silat system. He taught his daughter (Siti Aminah) and passed the system on to her. She taught her son (Pak Guru) who taught his son, Cikgu Sani.

The modern syllabus was organized by Cikgu Sani as follows:

Level One:
- 21 Buah (Basic) – Teaches fundamental footwork, entries, throws and locks

Level Two:
- 21 Buah (Intermediate) – More “direct” combative Buah that draw upon the lessons and mastery of the first level

Level Three:
- Senaman Tekpi – Tekpi exercises for conditioning and combat
- Counters for all 42 Buah (from Level One & Level Two)
- Seven Buah Pukulan – Counter-offensive striking responses to an attack
- Five Buah – These are five advanced Buah only taught to Level Three students
- 21 Buah Tekpi – These are the Buah that teach how to strike and fight with the Tekpi

To learn more about Silat Kuntau Tekpi, click here.

CIMANDE MACAN GULING and TERUMBU GAJAH PUTIH

Macan Guling (Rolling Tiger) is a well known school of the Cimande system of Pencak Silat from Serang, West Java. This style is under the authority of the PPPSBBI (Persatuan Pendekar Persilatan Seni Budaya Banten Indonesia) an old and highly respected organization of 500,000 Silat players in West Java from 90 different styles.

The Cimande Macan Guling syllabus encompasses:
- Upper body striking (Juru-Juru)
- Footwork patterns (Langkah)
- Timing/fluidity/conditioning exercises (Kelidan)
- Machete (Golok)
- Knife (Pisau)
- Staff (Toya)
- Flexible weapons (Sarong)

GIDIGBO / JAKADI

 ”Gidigbo” is one of several martial arts indigenous to the Yoruba people of Southwest Nigeria.  It is a unique method of grappling, striking, and edged weapons practiced primarily by hunters, iron-workers, and bodyguards to the traditional village Elders.  There is a “ceremonial” expression of the Art which is performed for the public during annual festivals.  There is also a competitive expression performed at regional tournaments. We teach the rarely-seen combative aspect intended for self-preservation and protection.

How to Join

Want to Join the Fun?

 

We presently have 2 training locations.  Beginners group classes are offered Mondays – Wednesdays – Fridays from 7:30pm-9:00pm at:

Detroit Jiu-Jitsu

13939 Michigan Avenue - Suite 'H'

Dearborn, MI 48126

Advanced classes are offered Tuesdays – Thursdays – Sundays in Oak Park, Michigan.

Private training, semi-private training, and custom workshops for individuals and groups are also available.  

Not exactly sure where to begin? Please call us and we will be happy to answer your questions and recommend the best training options based on your personal goals and needs.  

Please call 248-981-7495 for more information.