[This glossary was put together by Chas Clements in 1992 unfortunately it is not alphabetized and there are several duplicate entries. I’ll try to straighten it out when I have time but may be a while. If any one wants to give it a shot email me at firstname.lastname@example.org]
This glossary is drawn from many sources, including: The DeThouars Family, Maha Guru Maurice, Pendekar Agung Paul, Hai-Deng Sifu Willem, Bapak Victor, Pendekar Willem Ingram, their wives and family friends and relatives, the absolutely sterling work by Donn F. Draeger, and due diligence from other literary sources and interviews.
The mistakes are mine. 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 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, a particular meaning within its context or in conjunction with another word.
This work is in the area of martial art and reflects the cultural aspect, the traditions and history of the teachers.
Pukulan: from ‘pukul’ or ‘bukul’ , to strike or to collide, ‘an’ : the study of, the study of striking. A Dutch Indonesian slang usage. It is not the idea of striking with the fist, but the colliding of bodies. 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 a partner without killing.
Pentjakkers: active fighters who study by seeking competition. A Dutch-Indonesian usage.
Silat: literally “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 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 and Mas Djoet lived, practiced and died in the Kramat section of Batavia (Betawi).
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 Hai-Deng 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’ stylings, although the ‘hard’ concepts are also addressed.
Tongkat: literally “carrier stick” – Also, the style of Maha Guru Victor DeThouars, “the carrier of the movements (knowledge-pencak) of Serak, for the American market. Also, the fighting stick of the family style; measured from the ground to the bottom of the groin. The three sizes of stick are Tongkat Keciel (short stick) Tongkat Setengah (half stick) Tongkat Panjang (long stick)
Bukti Negara: literally “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: literally “Voice of the Eastern Facing Mountain” – The Kendang Silat Kuntao styling of 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. literally “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 Petjut Kilap Silat as it is practiced by Chas Clements and gives hormat to that lineage alone.
Tji: literally “flows 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: Proper place name. also; ‘Batavia’ Located on Western Java, Betawi is the place 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 discribes Menangkebau tribal stylings. The history is of a particularly brutal place with a lot of commerce between peoples of vastly different heritage.
Bugis: The particular tribe of Orang Menang from which Pak Serak came. 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. They live in the territory called Gunung Kendang (Drum Mountain) near Bandung, Ngangdong, western Java. Their name for Pak Serak was Bapak Burung (Father Owl) for his mystical, clairvoyant powers. 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 very sophisticated traders to cannibalistic 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 Mohguls) and Bramanistic Hindu roots.
Majapahit: literally “bitter fruit” – Empire of Indonesia which challenged Kublai Khan, controlled much of the available landscape in the 12th through the 14th centuries. Supplanted the Menangkebau Empire of Sumatra.
Kendang: literally “great drum” – The fighting floor, challenge floor, of village oriented silat. At festivals, the village champion appears and dances his ‘kambangan’ and makes his challenge. If the challenge is answered, 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 is combat styling specifically 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 remeniscent of the Gandung Kendang of eastern Sumatra, their place of origin.
Djuru: short styling form, short hand form. Styles may be composed of any number of djurus from six to ten to twenty five or more. Tricks, techniques, timing, breath and distancing are all remembered while doing the djuru.
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, Langka Pancar Luar, Langka Lima, Langka Djuru Sepak, Langka Djuru Combinasi. L.Tiga, adoption of torque and proper positioning of your space. Langka 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 fighting technique, 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 langka with martial purpose.
Sat: percussive hit or blow, breath technique (chiku) for explosive internal power. A true meeting of Chinese internal practice with Indonesian explosive intention. A series of sats precedes the pli-tok.
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 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)
Dempe: low posture attitude
Buca: interior wipe, trap/throw, nerve punch applications
Displante: “displace” 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 active animist 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 study, kerochanian, djasmani (spiritual studies in martial art.) The training of the martial spirit to withstand pain, overcome fear and confusion, intrude upon the opponent, personalize martial power, etc.
Ilmu Sehat: Internal power
Sa-Lu: breathing, stepping, palm waving exercise
Buntut: literally “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: literally “tiger” , blade end of weapon, long end of stick. ‘Tjimatjan’ is the Javanese tiger style; standing tiger.
Kumbag: Elephant (as in Pamur silat)
Puter Kepala: literally “turn the head”‘. The 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 Langkha 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.
Selamat: literally “peace” – as in Salaam, Shalom, selamat pada tua, peace to you (plural)
Hormat: respect/loyalty/indebtedness. Gift of Hormat is the gift from the student in appreciation and respect for his 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: literally “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, holy men 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 knife of the adult male.
Orang: man, member of a group, Kita Orang (we Men together.)
Orang Menang: man of the Menangkebau
Orang Melayu: other Maylaysians
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’, Champion; implies 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 pusaka are awesome and command the deepest respect imaginable. ‘Agung’ is a modifier meaning ‘great’.
Pendetar: Non-fighting priest
Agung: Great-as in Pendekar Agung, ‘Great Champion’
Guru Tuan: ‘prince’ teacher, uncle
Maha Guru: Senior Teacher, Professor
Guru: Leader of Practice Guru Muda (young instructor) Guru Satu (student instructor) Guru Dua (assistant teacher) Guru Tiga (teacher leader) Guru Empat (Master of Fist)
Bapak: Father. Used to convey affection to a mentor, or founder of a style. Comes from the Bugis (Sunda) usage.
Chan Man Ran: Man Who Opens the Door of Knowledge, a very close teacher relationship described by a student, an honorific to the teacher.
Tobrok: colliding technique for displante, a major study in all Pukulan styles.
Buong: underhand strike with a long arm.
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.
teratai: Shaolin “lotus flower” kick
Gedjelig: downward thrusting 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
Pau: explosive breathing expansion block with shoulder, a reply from sicar dalem to ambush.
Sabit Tumit: heel thrust kicks
Susulan: reverse sickle heel kick (the hackysack kick)
Tji Monjet: Monkey styling (Hanuman sized monkey)
Dit Da Jao: Iron Hitting Wine medication for healing bruises.
Majapahit: Hindu-Buddhist empire of Southeastern Asia from about 1250 to 1389.
Atjeh: Formidably combative people of Sumatra, never conquered.
Batak: a cannibalistic people of Sumatra. They were in subservience to the Menangkebau and paid them tribute. Their recipe is Chili, Peanuts and a little lemon juice.
Combinase: Combinato, Combinate, others. A combining of the stylings of several martial styles; Serak, Tjimande, Okinawate’, KunTao, etc.
Hilot: Healing art for martial arts injuries, similar to Kappo. An expression of the ChiKu; massage, stroking of the spirit, infusion of spirit, Known as healing in the bloodstream.
Pak Serak: Founder of Serak system (1790-1860(?) A member of the Badui tribe of the Menangkebau of Sumatran Sundanese extraction. He was a practitioner of nine martial styles, offering proficiency in three; five Indonesian, two Indian and two Chinese. Challenged at birth by having only one arm 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 clairvoyance and discernment, he killed tigers and wild water buffalo with his hand.
Pak Serak was a widely employed martial trainer, bodyguard to Sultans, political activitist and martial consultant to nobility. Died in Kramat, Batavia, Djakarta.
Mas Djut: (also,Djoet)d.1930(?).(Kramat, Betawi) 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 Ernest 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.
Pisau: A short, single edged utility knife. The basic fighting knife of all cultures. Other small knives; sewar, sakin, pisau belati
Kris: A double edged dagger of various sizes and shapes. The main weapon of the Menangkebau people.
Golok: A broad single edged cleaver, very heavy.
Parang: A cutlass style, single edged sword.
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 .
Rante: rante ber gangedug, rante delima, rante kembok, others, Long chain weapons with weights (6 to 9 ft.)
Pajung: 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.
Pusaka: Heirloom, holy legacy- The Serak is a pusaka to be conserved and passed on intact to the next generation.
Beladiri: 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: Brother art to Serak, founded by Mas Kair (perhaps Mas Djoet) passed to Pa Atma of Tjimahi near Bogor, West Java, to Carl van Deerns, the father in law of Guru Tuan Willem and so to Joyce and Willem DeThouars.
Tjikalong: Brother art to Serak. Known as Bat Style but only from the fact that it comes from the village of bats, involves no hanging upside down. Actually a style drawn from the large primate actions; Rock Apes, OrangUtan, etc.
Longar: long arm movements
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.
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.
TjiPadang: A horse style emphasizing a multitude of kicks, stomps, rakes, toekicks, heeling, etc.
Raja Naga: King Snake Dragon, highest expression and most advanced animal form, combines aspects from all forms; animal, human, spirit and immortal.
Oelar Sendok: King Cobra
Setria: patriot (a martial attitude)
Setria Hutan: patriot forest (a martial attitude)
Putri: literally “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 tree branch used to picket animals, later a weapon of the privileged classes, associated with animal ownership and metal.
KunLun Pai: literally “focused animal hand of Kun Lun Brotherhood” – Kun Lun is a region of the mountains of Hukien, one of the centers of Shaolin temple boxing.
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 Family Styles, Kendang Silat of 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 and European Fencing 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 discribes 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: literally “purity” – close to the source, the old Tulen Styles are: Silat Serak, Tjimande, Silat Kemango of Edgar van der Groen , TjiKalong, Tenje’kan and Silat Betawie.
Pamur Silat: Silat from the Island of Madura. Characterized by bladework, no sparring application, minimal foot shifting, good old mans’ style. Emphasis the “harimau” tiger. see also Pamor.
Isi: literally “feeling”
Tangkapan: to catch the enemy
Bantingang: to throw the enemy
Sambut Pukui: to evade, parry, and strike
Pombas Mian: to kill as a final decision
Dasar: fundamentals (12 of each)
Djurus: step by step elements
alis plarian: to dodge & escape
kamasukan: the successful entry into the enemies defense
Satu – one
Dua – two
Tiga – Three
Empat – four
Lima – five
Enam – six
Tujuh – seven
Delapan – Eight
Sembilan – nine
Sepuluh – ten
Sebelas – eleven
duabelas – twelve
tigabelas – thirteen
seratus – one hundred
seribu- one thousand
Setengah: one-half, as in Tongkhat Setengah.
Pandai: skilled craftsman (martial arts rank-practitioner)
Gilap: literally “brightening” – The training and action of instant response to attack. An aspect of the training of the intention.
Tiga: literally “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.”
Kinjit: squatting elbow directed throw
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 front seated siloh, Depok is back 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.
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).
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, associated with the aspect of the phoenix. Very scholarly study.
Tekken: walking cane, hooked staff, as weapon. The hook points forward.
Tangkapan: to catch the enemy while positioned to throw.
Bantingang: to throw the enemy (mid-throw actions)
Kamasukan: the entry into the enemies defenses.
Tangkapan: control the wrist of striking arm to use as a handle
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 sparring against one or more opponents.
Kambangan: literally “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 techniques of a rival. The ‘palm waving’ movements train footwork, breathing, attack positions, skeletal interception, body torquing, positional changes to various directions, etc. It is performed with a scarf, a candle, a saucer of water with a floating flower, etc. The music is provided by the Gamelan orchestra which also accompanies the fighting contests. Also, ‘randai’ saucer dance
Tjio Bakh: literally “try it” – a challenge
Shiapa Brani: literally “Who has the guts to fight?” – a challenge
Kita Brani: literally “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: literally “straight in punch” – to fight until the end
MahdJiu: literally “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 repositioning. ankles/angles.
Tiga Lima: Langka Lima – walking the tiga in djurus, sapus, besets-eighteen count, Kuda to reverse.
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
Latihan Matchan: Stick (tongkat style) in a tiger modality, presents as a blade.
Dalem Lan Sup: literally “Sour fruit” – Outside 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 Pilipino) 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.
Guntung: scissor blow with stick.
Gatok: butterfly blow with stick
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 weapon to the throat.
TjiNgkrik: Brother art, springing, evasion, siloh, monkey hands, started by woman observing monkeys fighting.
Silat Kwitang: Big mans art, chinese influence on indiginous art, vicious. Mustapha Kwitang is one of the expressions (as taught by Pendekar William Ingram).
Arbir: five foot bladed weapon, a groove in the staff orients the blade edge for the user at all times.
Gowakang: Breathing (a study in all martial arts)
Bathin: spirit (internal)
Hantu: “Spirit” (external) an expression of the Animistic heritage of the Sumatrans.
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.
Cigar Dalem: Inner Circle, the close guard. The inner area of body defense.
Ratu Duri: lit. to take the intestines of an opponent. King of Thorns, The Thorny King, Kingly Power of a Continent. Emphasizing the ChiGung 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.
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 TjiMatchan.
Ling Sing Toy: a basic form in KunTao
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 of another style.
Bunga: Ritualized greeting style that includes self defence options.see also, Sembah
Rahasia: The teaching of the vital points, how to attack and defend them.
Bedok: a meat Axe
Buka: the covered fist, “open to all things”
Tarik: Open hand invitation to attack
Lawan: a signal of having experienced combat. cat stance, palm to face, fist to hip.
Andeka: surpassing in quality
Menarik Napas Dalam: deep breathing techinque-chiku
Rasa: intuitive inner feelings
Sujud: self surrender
Batin: within the heart
Ingsun Sejati: true self
Tapa: ascetic practices
Berok: a monkey styling
TjiKak: a monkey styling
Maccacque: A monkey styling
Sikap Kuda Hormat: Horse stance in attention.
Tongkat Langka Monyet: Tongkat monkey form for footwork.
Kaki Besi Kanan: Turn foot to the right (kick)
Kaki Besi Kirie: Turn foot to the left (kick)
Puter Sembilan Belas: Turn 90 degrees left.
Jalan Puter: Step and turn.
Naga Dimulka: Full Frontal Dragon
Sepak Naga: Low Front Dragon Kick (full)
Kuda Sepak Blekok: Horse up Crane kick
Sepak Dimulka: Snapping Frontal kick
Tukar: exchange (as of hands, or feet) Kuda
Puter Naga Diblakang: turning back dragon stand
Sapu Harimau: Tiger sweep
Sepak Blekok Didalam: inside Crane kick
Beset Diblakang: 90 degree Backsweep