Silat Locking Techniques - Application

These set of articles are about locking techniques and their role in real-life confrontations. In this article (Part 3) I will write about applying the techniques themselves.

Before reading further, may I remind you to not try to do the techniques shown here on your own. Get your martial arts instructor to help you out. You need to check with your physician first before attempting any form of exercise. Practise these techniques at your own risk. The full disclaimer can be found here. Read it first.

Please also be reminded that information given here is based on my own experiences in Silat, specifically Silat Seni Gayong PASAK. You may not agree to all that's written here. It is alright to disagree with me. It's just that this is my website and I mean to put my own experiences in writing. Another person somewhere in this world may have experiences in Silat, too, and his experiences may teach him something totally different from what's written here. That's not a problem with me.

I can't help but repeating the above lines. I just feel that I can't stress it enough.

My name is Azlan bin Abu Hassan, senior member of Silat Seni Gayong PASAK, a silat style of Bugis origin. My Grandmaster is the late Dato’ Meor Abdul Rahman bin Uda Mat Hashim, my main teacher is Hj. Hussain bin Kaslan. I am from Singapore.

Posted on 9th September 2006.

The Actual World of Silat Techniques

In the previous articles, I discuss about the Initial Moves prior to applying locks, and 'Application Concepts' in Locks (for lack of a better word). I suppose I should discuss about finishing moves, but I'm not sure if it's necessary. Finishing moves in Silat Seni Gayong PASAK is relatively easy. Either you break the opponent's neck or strike him somewhere. Rather, I would like to discuss how a technique looks like during practise, and how a technique(s) may look like when the technique(s) is actually used.

FYI:
There's something one should take note about in Silat Seni Gayong PASAK. This form of Silat is from the Bugis people, an indigenous people of the Malay Archipelago, or more accurately the Sulawesi Islands. This form of Silat is very distinct from the Silat styles of Javanese or Sundanese origins. I suppose SSGP was probably influenced by other silat or martial arts styles, something very common in modern times. But nevertheless, SSGP remains dinstinct from Javanese or Sundanese styles.

SSGP has three things; bunga, kuncian, permainan.

The bunga is very flowery and very graceful. Not much need to be said about it.
The kuncian is all the locking techniques that one will learn. Curiously enough, some of the locks feels more like choking techniques or striking techniques combination. In SSGP, there is no real intent to classify these set of techniques as striking techniques, these set as locks, and these set as chokes, what have you. All are lumped together as 'Kuncian'.
The permainan is like as if two practitioners, after learning the 'Kuncian' tries to apply them on each other, and to counter each other's efforts. It's like they're 'playing' with what they've learnt in a 2-man set form.

Consider the following technique:

The opponent punches and the exponent locks the opponent's arm as shown. The exponent trips the opponent so that he falls backwards. From here, the exponent ends the lock with a stomp ('Kuncian: TPHP Bengkong Buah 7').


Step 1	Step 2

But let just say the the fighters are fighting on a narrow pathway, surrounded by walls on either side. What would the right action for the exponent to doIt will be as shown below:

Step ?

The exponent would be better off slamming the opponent's head on the wall repeatedly until the opponent can no longer fight.

Consider the 'Buah' below. It is part of the description of 'Permainan: TPHP Bengkong Buah 3'.

	After some opening moves, the opponent punches and the exponent catches the wrist and simultaneously striking the opponent's chest with an open hand chop.
Step 1
	The exponent moves around the opponent's body and put his buttocks under his opponent's. He then throws his opponent in what one would call a hip throw.
Step 2
	The opponent flips backwards during the throwing attempt to avoid hitting the floor on his back.
Step 3
	The exponent and the opponent is now entangled is a pushing situation. And from here the 'permainan' continues...
Step 4

In a real life situation, the techniques will not be so clear cut. Real fighting is not chereographed, and your opponent will be trying to hurt you. In real life, what is described above may come out to be something like this:

	The opponent throws a sidekick (or a backkick, what have you). The exponent blocks with his right arm.
Step 1
	The exponent immediately steps forward and extends his arm under the opponent's armpit and across his chest. (This is the initial move for the technique 'Kuncian: TPHP Putih Pecah 1 Buah 1', by the way)
Step 2
	The exponent coils his arm around the opponent's arm and neck.
Step 3
	Without wasting time, the exponent put his buttocks underneath the opponent's and execute what one would call a hip throw.
Step 4
	Once the opponent is thrown down on the ground, the exponent is free to carry out striking attacks on the opponent.
Step 5

As you can see, the two sets of techniques are different on the surface. But in reality, they are the same. The technique used in the 'Permainan' showcased is actually a throw, or to most martial artist, a 'hip throw'. The technique also shows how to avoid such a throw. The whole idea is to actually practise this movement so well that one can throw his opponent easily, or if one is being thrown with this technique, one would know how to land on one's feet.

FYI:
You want to hear something sad? The truth is that most of Silat Seni Gayong PASAK practitioners, especially the junior ones, don't even realise that the technique above is a throwing technique. Of course they never name individual types of throws as I had explained earlier, but they should at least know that what they are practising is a throwing technique.

They go through the routine, pass grading, and they never bothered to ask "Why do I move like that?". I don't know about you, but I find that sad. If you learn any martial arts, you must learn it's 'essence' (for lack of a better word) first and foremost.

Consider the technique below. It is the main part of 'Kuncian: TPHP Bengkong Buah 1". It is a very basic technique.

	The opponent punches, and the exponent catches the wrist
Step 1
	The exponent strikes the joint of the opponent's punching arm, and executes a lock. (I believe this is what some would call an arm lock)
Step 2
	The exponent then pull the opponent so that he falls backwards and in a circular motion. The exponent then proceeds to do the next follow up move.
Step 3

Now let us consider a possible real life scenario.

	The opponent punches, and the exponent traps the punching arm.
Step 1
	The exponent strikes the joint of the opponent's punching arm, forcing the arm to bend and the opponent to bend forward, unbalanced.
Step 2
	The exponent quickly proceed to lock the opponent's punching arm while the opponent is still off balance.
Step 3
	The opponent, who unlike what one would expect in a training session, did not follow the locking movement by bending backwards. Inevitably, his joint will be dislocated.
Step 4

Why real life fighting is bad (for you, that is)

As one can see, the techniques shown here are quite harsh. That is because real life fighting is harsh. Or to use the correct terms; Brutal, even degrading. Silat forms and 'langkah' can give the impression of a dance rather than a martial art. It is a beautiful art, and no doubt it is this 'aethetic' value (did I spell it right?) that attracts some people into the art. But rest assured that when people like Hang Tuah, Datuk Bahaman, or Dol Said fight, they are definitely NOT dancing. Fights are fast and furios, usually last about 3 seconds per opponent. A martial art like Silat, with its long traditions, would not have survived if it is not useful in a real fight.

Real life situations are unpredictable. It cannot be accurately duplicated in training. No matter how hard you train, there is still a chance that you will be defeated. In the words of a great martial artist, martial arts cannot make you invincible. It can only give you an advantage (Bill Wallace's words, I think).

Another thing about real life fighting is that it is degrading. If you continually get into fights, it will affect you as a human being. It will make you expect to fight wherever you go. This can become some sort of a self-fulfilling prophecy where at first there are no problems, and when you walk into the room with the attitude of 'fight me if you dare', problems (translated to fights) will occur. That's why most good teachers will tell you not to fight if you can help it. It's not for the good of your adversary. It is for your own good.

Personally, after Polytechnic I usually walked away from most potential fights. Don't see the point, really.

Conclusion

This is the last of 3 articles about real life self defense. I will write some other stuffs in the future. There are a few more topics that I wanted to convey. Please bear with me if you don't fully understand the techniques shown. It is not my purpose to teach you silat techniques. You don't teach silat techniques through a website. My purpose is to convey an idea about real life fighting and how silat training fits into the picture.

Also, please do not copy these articles or words from these articles and call it your own. It would be very undignified of you to do that.

I hope that you find these articles useful, or at least entertaining. Do give suggestions by signing my guestbook or forum on the main page, but please be polite.

MAY PEACE BE UPON YOU.

Input your comments about this article here (Click on the PostReply button)

Back to: My Home Page | Other Self-Defense Articles