Pencak Silat (pronounced pen-chuck see-lut) is the official name used to indicate more than 800 martial arts schools and styles spread across more than 13,000 islands in Indonesia. The art has also reached Europe, and is especially popular in the Netherlands, Spain and France, though it is gaining popularity all over the world thanks to PERSILAT, the world-governing body for the martial art.

Terminology

In Indonesia, the official name used to indicate more than 800 martial arts schools and styles spread across more than 13,000 islands is "pencak silat". However, this is actually a compound name consisting of two terms used in different regions. The word "pencak" and its dialectic derivatives such as "penca" West Java and "mancak" (Madura and Bali) is commonly used in Java, Madura and Bali, whereas the term "silat" or "silek" is used in Sumatra. The ambition to unify all these different cultural expressions in a common terminology as part of declaring Indonesia's unity and independence from colonial power, was first expressed in 1948 with the establishment of the Ikatan Pencak Silat Indonesia (Indonesian Pencak Silat Association, IPSI). However, it could only be realized in 1973 when representatives from different schools and styles finally formally agreed to the use of "pencak silat" in official discourse, albeit original terms are still widely used at the local level.

History

It is not easy to trace back the history of pencak silat because written documentation is limited and oral information is handed down from the gurus or masters. Each region in the archipelago has its own version of its origin which is largely based on oral tradition.

Silat takes important role in country's history. Since the age of Ancient Indonesian Hindu-Buddhist kingdoms like Srivijaya, Majapahit, Kingdom of Sunda . They used silat to train their soldiers and warriors.

Archaeological evidence reveals that by the sixth century A.D. formalized combative systems were being practiced in the area of Sumatra and the Malay peninsula. Two kingdoms, the Srivijaya in Sumatra from the 7th to the 14th century and the Majapahit in Java from the 13th to 16th centuries made good use of these fighting skills and were able to extend their rule across much of what is now Indonesia, Malaysia and Singapore.

According to tradition of Minangkabau, their Silek (Minangkabau pencak silat) can be traced to the fore father of ancient Minangkabau people, Datuk Suri Dirajo.

It is said that according to old Javanese poetry, Kidung Sunda, the sentinels of the Prabu Maharaja Sunda exhibited great skill in the art of pencak silat when they escorted Princess Dyah Pitaloka to Majapahit as a potential bride for King Hayam Wuruk, and faced indignities that greatly affronted their honour[3]. In a battle that ensued at the Bubat field (1346), the Sundanese forces fought to the last drop of blood, using special pencak moves and various weapons,

Albeit the pencak silat styles employed in combat were different, we can still draw the conclusion that in Javanese kingdoms throughout the archipelago, pencak silat served the same function: to defend, maintain or expand territory.

Also in ancient times, the Buginese and Makasar people from South Sulawesi region were known as tough sailors, adventurers, mercenaries and fearless warriors . Throughout the archipelago, these people were known for their combat skills. Nowadays, some well known silat schools in Malaysia can trace their lineage back to ancient buginese warriors.

The Dutch arrived in the seventeenth century and controlled the spice trade up until the early 20th century, with brief periods of the English and Portuguese attempting unsuccessfully to gain a lasting foothold in Indonesia. During this period of Dutch rule. Pentjak Silat or Pencak Silat (as it is known in Indonesia today) was practiced underground until the country gained its independence in 1945.

The growing spirit of nationalism within pencak silat circles echoed the intensification of efforts to realise 'One Country, one Nation, one Language' in the archipelago. Following several incidents of mass uprising in the 1920s and the declaration of the Youth Pledge on October 10, 1928 in Batavia, the colonial government tightened and expanded its control over youth activities, pencak silat included. The colonial intelligence apparatus (PID) kept a close eye on all activities and organisations considered to be potentially in opposition to Dutch control. Training in pencak silat provided youths the strength, confidence and courage needed to resist the Dutch colonialists. Therefore pencak silat self-defence activities were closely scrutinised as they were suspected to be the front for political activities, and had to go underground. Training was done in private houses, in small groups of no more than five persons. At the end of the training, the pesilat had to leave one by one without attracting the neighbours' attention. At times, training would be carried out in secret locations in the middle of the night (from midnight to morning prayers) to avoid the scrutiny of the Dutch. Pencak silat teachers often made use of eerie locations such as graveyards, since even the police would be scared to go there, and they could be protected and safeguarded by the spirits of their ancestors.

Pencak silat matches too began to disappear from public eye following their prohibition by the colonial government in the 1930s. What is more, many pesilat, who were also political figures, met with bitter fates and had to live in prisons or isolated camps for several years. Pencak silat epics abound with stories of masters who 'were branded as extremists and forced to move around to avoid arrest', or who were punished for having opposed Dutch authority by using their pencak silat skills, both physical and spiritual. Although we cannot generalise and assume that all pencak silat teachers and schools opposed the colonial government, from the above it clearly appears that pencak silat played an important role in the struggle for independence.

Many pencak silat masters joined the Barisan Pelopor under the leadership of President Soekarno, to help realise the dream of an independent Indonesian nation. Among them were women freedom fighters like Ibu Enny Rukmini Sekarningrat, a Panglipur master from Garut . She fought against the Dutch alongside the Pangeran Papak Troops in Wanaraja, Garut, and the Mayor Rukmana Troops in Yogyakarta. As the capital city of the Republic of Indonesia at that time, Yogyakarta came under very heavy fire from Dutch troops. A great many pencak silat masters came from all over the archipelago to defend it from occupation. The same happened for Bandung, Surabaya, and other cities involved in the struggle.

Pencak silat was also instrumental to the revolutionary movement in Bali. After learning pencak silat as part of his Peta military training in West Java, national hero I Gusti Ngurah Rai gave lessons to his troops to boost the skills they needed to overthrow the foreign enemy. The soldiers in turn covertly trained the people of Banjar, even though the Dutch army forbade this. So today, pencak silat originating from West Java has taken root and developed on the island of Bali.

The heroism of pencak silat masters was not limited only to warfare. We must not forget their safeguarding the first President of the Indonesian Republic at a time of political uncertainty. It has been recorded in history that the night before the proclamation of independence on August 17, 1945, five special sentinels highly skilled in pencak silat guarded Soekarno.

Aspects

Music

Every region in the archipelago has its own music for Silat performances. In West Java, for example, Sundanese people use gendang penca [2]. In West Sumatra, Minangkabau people sometimes use a special instrument called Saluang.[3]

Styles and Techniques

There is no overall standard for Pencak Silat. Each style has its own particular movement patterns, specially designed techniques and tactical rationale. The richness of terms reflects a wide diversity in styles and techniques across the regions due to the fact that pencak silat has been developed by different masters who have created their own style according to their preferences and to the physical environment and social-cultural context in which they live. Lets take as example West Java, Central Java and West Sumatra. West Java is inhabited by a specific ethnic group with specific cultural and social norms. For them, pencak silat is part of their way of life or as they say is "the blood in their body". In their language they say "penca" or "menpo" (from "maen poho', which literally means play with trickery) to indicate their main four styles Cimande, Cikalong, Timbangan, and Cikaret and all the schools and techniques which have derived from them. The Sundanese people have always utilized penca/mempo' for self-defense and recreation, and only recently have started to use it as a sport in national and regional competitions. In its self-defense form, using hands fighting techniques combined with a series of characteristic footsteps such as langka sigzag (zigzag step), langka tilu (triangular step), langka opat (quadrangular step) and langka lam alip, penca can be very dangerous. Therefore it is kept secret and, especially its magic (tenaga dalam or inner power) component is only taught in phases to selected students.

Penca as art (penca ibing) has been a source of inspiration for traditional Sundanese dances such as Jaepongan, Ketu'tilu', Dombret, and Cikeruhan and actually it resembles dance in its use of music instruments. These instruments, called "pencak drummers" (gendang penca), are devoted exclusively to penca performances and consist of two sets of drummers (gendang anak dan kulantir), a trumpet (tetet) and a gong. Pencak performances also use standard music rhythms such as tepak dua, tepak tilu, tepak dungdung, golempang and paleredan. Penca as art is not considered dangerous and can be openly shown to everyone. From generation to generation until today, penca performances animate wedding parties, rituals of circumcision, celebrations of the rice harvest and all kind of national festivities.

Differently from West Java, in Central Java, Javanese people have traditionally used pencak only for self-defense and are not inclined to show it in public. Furthermore, the spiritual aspect (kebatinan) is much more dominant. This is probably related to the fact that pencak silat in Central Java developed from the Yogyakarta Sultanate and later expanded to surrounding neighborhoods after the kingdoms lost their political role in the XV and XVI centuries. In the keraton (Sultan's palace) pencak silat had undergone a transformation from pure martial art to be used in combat, to an elaborate form of spiritual and humanistic education. In this later form it spread outside the keraton walls where it developed the use of self-defense techniques to reach spiritual awareness as well as the use of inner powers to attain supernatural physical strengths.

Again pencak silat in West Sumatra is a different cultural expression in both its forms and meaning. Similarly to West Java, in West Sumatra a distinction is made between self-defense, called sile' or silat, and the related art version called pencak which has influenced many traditional dances such as Sewah, Alo Ambek and Gelombang. The ethnic group of Minangkabau who lives around the Merapi Mountain in West Sumatra regard silat as their village's heirloom (pusaka anak nagari) which is meant for the youth to defend themselves while traveling ashore and it is not intended for outsiders. Instead, pencak as a dance is accessible to everybody.

In this region almost every village (nagari) has a different style (aliran) of silat as reflected by the many names, some of which refer to the founders (like Silat Tuanku Ulakan, Silat Pakik Rabun, Silat Malin Marajo) and some to the original locations where the style was developed (Silat Kumango, Silat Lintau, Silat Starlak, Silat Pauh, Silat Painan, Silat Sungai Patai and Silat Fort de Kock). These styles can be classified into two main groups according to the foot-stands (kuda-kuda) they use. In the coastal area, silat styles use a very low kuda-kuda and prefer hand techniques whereas in the mountain area the kuda-kuda is higher and foot techniques are dominant. This is due to the different environments in which silat has developed. On the sand, a high kuda-kuda would not be stable and in the mountain, where the ground is oblique and uneven, a low kuda-kuda would be impossible to practice. As a Minangkabau proverb says: "Alam takambang menjadi guru" (the surrounding nature is our teacher).[6]

Weapons

Along with the human body, Pencak Silat employs several weapons. Among the hundreds of styles are dozens of weapons, including:

• Kris: A curvy blade made from folding different types of metal together and then is washed in acid, giving the blade its distinct look.
• Kujang: Sundanese blade
• Badik Buginese and Makasarese blade
• Pedang/Sundang: A sword, either single or double edged.
• Parang/Golok: A machete/broadsword, commonly used in daily tasks, especially those involving farming or harvesting.
• Lembing/Seligi: A spear/javelin made of either wood or bamboo.
• Kayu/Batang: Stick, staff or rod made of bamboo, steel or wood.
• Chabang/Cabang: Three-pronged knife thought to derive from the trisula (trident)
• Karambit: A small claw-like curved blade or dagger worn in the hair. Easily concealed and is known as a woman's weapon.
• Sabit/Clurit: A sickle, commonly used in farming, cultivation and harvesting of crops.
• Tongkat/Toya: A walking stick carried by the elderly or travellers.

References

1. Pencak Silat in the Indonesian Archipelago Rapid Journal, Vol 4, No. 2 (Book 12, 1999: 38 – 39) by Master O'ong Maryono
2. Soepandi & Atmadibrata 1977:45
3. Neill 1973:324
4. The Militarisation of Pencak Silat during the Japanese Occupation and the Era of Revolution Rapid Journal Vol 6, No. 3 (Book 21, 2002: 36 – 38) by Master O'ong Maryono
5. (Pencak Silat in the Indonesian Archipelago Rapid Journal, Vol 4, No. 2 (Book 12, 1999: 38 – 39) by O'ong Maryono.

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Wong Fei Hung & Kungfunya

Wong fei hung mungkin dikira cuma sebuah karya fiksi dalam suatu novel silat yg terkenal... namun keberadaan sang tokoh tersebut emang exist dan toko obatnya yg terkenal itu "Pho chi lam" emang ada...dan NYATA.. tokoh ini hidup dimasa cina sebelum revolusi nasionalis yang merubah sistim dinasti kerajaan menjadi sebuah negara (asas nasionalis kebangsaa) .

Wong Fei Hung (1847-1924) adlh seorang guru bela diri, tabib, guru ilmu pengetahuan, dan revolusioner. Moto hidupnya "menolong yg lemah dan yg gak mampu". Dia anak dari seorang ahli fisika, ahli obat2an dan guru bela diri, namanya Wong Kay Ying. Ayahnya ini yg mendirikan klinik obat yg namanya Poh chi lam dan Fei Hung sbg asisten ayahnya.
Fei Hung juga seorang revolusioner krn dia diam2 menentang org2 man chu.
klo soal Kung Fu.....dia belajar kung fu dari guru ayahnya. Ia belajar dasar2 seni bela diri Hung Gar. Ia juga ahli memainkan berbagai senjata terutama tongkat. Konon legendanya dia pernah melawan 30 org di Kanton.
soal ilmu obat2an dia belajar banyak dari ayahnya.

Anaknya, Wong Hawn-Sum juga mengikuti jejaknya. Ahli bela diri dan suka menolong org. Namun taon 1890 Hawn sum mati ditembak oleh gangster. Sejak kejadian itu Fei Hung tdk pernah lagi mengajarkan kug fu kpd anak2nya yg lain.
Istrinya ada 3, dan semuanya mati muda. Sampai saat dia menikah dg gadis remaja Mok Gwai Lan. Dia juga ahli bela diri. dan mengajar kung fu.
Taon 1924 Fei Hung meninggal dunia.sedikit sejarah ttg kung fu-nya Wong Fei Hung..., kung fu Hung Gar
sejak manchuria mengusai cina, banyak para revolusioner berlatih kung fu di kuil shaolin di bagian selatan cina. ada bermacam2 style yg dianjarkan spt style Wing Chun, yg merupakan bela diri original bruce lee (sebelum dimodifikasinya) dan style Hung Gar.

Hung Gar sendiri dicipatakan oleh Hung Hei-Kwun (sound familiar heh?). Dia dulunya seorg pedagang teh di fukien. sekitar taon 1700 dia jadi murid Shaolin. disaat pemerintah Ching menguasai kuil dg maksud utk menangkap para revolusioner. Hung hei kwun salah satu dari 30 org yg berhasil melarikan diri.

kemudian hei kwun mendirikan sekolah bela diri yg diberi nama Hung Gar. Dia beri nama begitu dg maksud utk menyembunyikan identitasnya sbg mantan shaolin. krn saat itu pemerintah ching anti shaolin. Hei kwun menikah dg Fong wing chun, yg mana adl seorang ahli beladiri shaolin crane. Konon kabarnya Hei kwun menggabungkan style-nya dg style shaolin crane.

Hung hei kwun memiliki memiliki murid yg bernama Luk Ah Choy.
Luk Ah Choy kemudian memiliki seorang murid yg berbakat, Wong Tai.
Luk Ah Choy juga mengajar kung fu kpd anak Wong tai, yg bernama Wong Kai Ying.
Wong Kai Ying kemudian mempunyai seorang anak yg bernama Wong Fei Hung.
Wong Fei Hung belajar dasar2 Hung Gar langsung dari Luk Ah Choy.

Wong Fei Hung selain merupakan guru bela-diri dan tabib terkenal, dia juga dikenal sebagai patriot bangsa yang cinta tanah air. Ia merupakan salah satu anggota dari "Ten Tigers of Guangdong" yang anti terhadap kolonialisasi bangsa Asing di China.Kungfu yang digunakan Wong Fei Hung adalah kungfu Hung Gar (dalam dialek Mandarin disebut "Hung Cia" atau "kungfu keluarga Hung"). Pada masa kini kungfu aliran Hung Gar merupakan salah satu style kungfu yang paling populer di dunia (terutama di Eropa) selain kungfu aliran Wing Chun. Kedua kungfu ini diciptakan kurang lebih pada saat yang sama. Bedanya, kungfu Hung Gar diciptakan oleh murid Shaolin yang bernama Hung Hei Kwun (Hung H'si Kuan atau Ang Hi Kuan ; kakak seperguruan Fong Saiyuk). Sedangkan kungfu Wing Chun diciptakan oleh seorang pendekar wanita murid dari bhiksuni Ng Mui yang bernama "Yip Wing Chun".

Satu hal yang diingat, Yip Wing Chun tidak sama dengan Fong Wing Chun istri dari Hung Hei Kwun. Fong Wing Chun yang dikenal sebagai istri Hung Hei Kwun adalah pewaris dari jurus Bangau, sedangkan suaminya adalah master dalam jurus Harimau. Karena itulah, style Tiger and Crane menjadi salah satu jurus utama dalam kungfu Hung Gar. Hal ini bisa dilihat pada lambang perguruan mereka (bisa dilihat di website).

Menurut kabar burung, kungfu ini tercipta pada saat biara Shaolin diserang oleh serdadu Dinasti Qing dan salah satu tokoh yang berpartisipasi dalam penyerangan tersebut adalah seorang tokoh bela-diri terkenal bernama Bak Mei. Bak Mei yang terus memburu sisa-sisa kekuatan Shaolin tidak pernah terkalahkan dalam pertarungan karena ia menggunakan jurus 'kebal'. Hung Hei Kwun sempat memikirkan cara yang tepat untuk mengalahkan Bak Mei (kabarnya ia pendekar aliran Wu Tang), yaitu dengan menggabungkan ilmu Harimau miliknya dengan ilmu Bangau kepunyaan istri-nya. Tapi sayang...sebelum ia sempat mempelajarinya Bak Mei keburu menghabisinya. Adalah Hung Man Ding, putra dari Hung Hei Kwun, yang akhirnya membalaskan dendam ayahnya dengan cara yang pernah diutarakan oleh ayahnya itu. Dari sanalah tercipta kungfu Hung Gar....Untuk jurus-jurus aneh yang dimiliki Wong Fei Hung di film OUATIC series seperti "tiger and crane" maupun jurus "tendangan tanpa bayangan" adalah nyata walaupun enggak sebombastis yang digambarkan dalam film. Jurus tendangan tanpa bayangan merupakan kreasi dari Wong Fei Hung sendiri dan berupa tendangan bertubi-tubi ke arah lawan (jurus tendangan tanpa bayangan di film yang paling mendekati bentuk asli-nya mungkin seperti tendangan yang diperagakan Donnie Yen di film Iron Monkey).

Di kehidupan aslinya, Wong Fei Hung memiliki banyak murid. Salah satunya yang paling terkenal dan paling berjasa mengembangkan kungfu Hung Gar ke seluruh dunia adalah Lam Sai Wing (Lin She Rong) yang sering dijuluki "Porky Lam" karena ia dulu berprofesi sebagai tukang daging.Mengenai Hung Hei Kun...
Mungkin yang ciptain Hung Gar itu bukan bener2 Hung Hei Kun. Pada jaman setelah shaolin diratakan dengan tanah, banyak biksu2 shaolin yg lari ke selatan dan menyamar dan hidup seperti orang biasa, sambil juga mempersiapkan diri mereka dengan bergabung dgn organisasi2 rahasia utk menjatuhkan Ching.
Nah pada masa itu mereka melatih wushu (kungfu) yang memang sudah pernah diformulasikan di Kuil Shaolin (wushu yang gak butuh waktu banyak utk dipelajari, sekitar 4-5 taon udah jago, krn mau dipake buat revolusi). Pada saat ini utk menghindari identitas mereka sebagai ex shaolin banyak wushu yang diganti namanya. Dan sejarah pun mereka acak2 supaya mereka gak terlihat sebagai ex shaolin dan bisa terhindar dari incaran tentara Ching. Jadi bisa aja kalo Hung Gar itu udah diformulasikan di kuil Shaolin dan kebetulan Hung Hei Kun ditunjuk sbg pewarisnya dan wushu itu dinamakan after Hung's name.

Mengenai Yim Wing Chun...
Ini juga udah pernah dibahas di forum BD.
Mungkin yang namanya Wing Chun itu gak betul2 ada loh. Sekali lagi karena wushu wing chun ini juga adalah wushu yg diformulasikan di kuil Shaolin, maka utk mengaburkan sejarah asal wushu tsb dari tentara ching, dibuatlah cerita tentang Yim Wing Chun tersebut. Supaya para revolusioner yg berlatih Wing Chun bisa terhindar dari incaran tentara Ching.
Kalopun Yim Wing Chun itu bener2 ada, bukan dia yang ciptain Wing Chun Kuen, sekali lagi penyamaran..

mengenai Bak Mei...
gua pernah baca di site apa ya, gua lupa.
Setelah dilakukan penelitian.. ternyata tokoh Bak Mei itu gak pernah terkait dengan Shaolin ato pun Bu Tong... Memang tokoh Bak Mei itu yang menciptakan wushu Bak Mei Kun (Tinju Alis Putih) yang dia ambil berdasarkan gerakan Harimau.
Wushu yang Bak Mei ciptain ini lumayan hebat dan dahsyat.Tapi entah kenapa dia jadi kambing hitam dalam peristiwa pembakaran kuil shaolin.

mengenai tendangan tanpa bayangan...
tendangan tanpa bayangan ini emang ciptaan Wong Fei Hung. Tapi bentuknya bukan tendangan bertubi2 ke tubuh lawan...
Tendangan tanpa bayangan itu maksutnya "si korban gak akan pernah tau dia itu ditendang darimana dengan kaki yang mana sampe sesaat setelah dia terkena tendangan itu sendiri". jadi bukan tendangan bertubi2, trus cepet banget, jadi dibilang tanpa bayangan. lebih tepat kalo dibilang tendangan tanpa permisi... tendangannya itu tersembunyi dibalik gerakan2 yang laen..
aduh kena tendang, darimana tadi dia nendang... begitu kira2 pikiran orang yg kena tendangan tanpa bayangan.

Oleh YanZen Manzyah

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Wong Fei Hung (1847–1924) was a martial artist, a practitioner of traditional Chinese medicine, and revolutionary who became a Chinese folk hero and the subject of numerous television series and films.

As a healer and medical doctor, Wong practiced and taught acupuncture and other forms of traditional Chinese medicine at 'Po Chi Lam', his clinic in Foshan, Guangdong Province, China, where he was known for his compassion and policy of treating any patient. A museum dedicated to him was built in Foshan.

Amongst Wong's most famous disciples were Lam Sai Wing, Leung Foon, Tang Fung, and Ling Wan Gai. He was also associated with Chi Su Hua, aka the Beggar So.

Early years

Legend has it that Wong Fei Hung was born in Foshan on the ninth day of the seventh month of the twenty-seventh year of the reign of Emperor Daoguang (1847). When Wong was five, he began his study of martial arts under his father Wong Kei Ying, one of the Ten Tigers of Canton. To supplement his poor family's income, he followed his father to Foshan, Guangzhou and throughout the rest of Guangdong Province to do martial arts performances and to sell medicines.

Well within his youth, Wong began showing great potential as a martial artist. At the age of thirteen, while giving a martial arts demonstration at Douzhixiang, Foshan, Wong Fei Hung met Lam Fuk Sing, the first apprentice of Tit Kiu Saam, who taught him the "tour de force" of Iron Wire Fist and Sling, which helped him become a master of Hung Gar. When he was sixteen, Wong set up martial arts schools at Shuijiao, Diqipu, Xiguan, Guangdong Province, and then opened his clinic 'Po Chi Lam' (???) on Renan Street in Foshan. By his early 20s, he was fast making his mark as a highly-respected physician and martial artist.

Later years

As a famous martial arts master, he had many apprentices. He was successfully engaged by Jiming Provincial Commander-in-Chief Wu Quanmei and Liu Yongfu as the military medical officer, martial art general drillmaster, and Guangdong local military general drillmaster. He later followed Liu Youngfu to fight against the Japanese army in Taiwan. His life was full of frustration, and in his later years he experienced the loss of his son and the burning of Po Chi Lam, an academy that went unsurpassed in martial arts competitions. On lunar year, the twenty-fifth day of the third month in 1924, Wong Fei Hung died of illness in Guangdong Chengxi Fangbian Hospital. His wife and two of his prominent students, Lam Sai-Wing and Tang Sai-King, moved to Hong Kong, where they continued teaching Wong's martial art. Wong became a legendary hero whose real-life story was mixed freely with fictional exploits on the printed page and onscreen.

As a martial artist

Wong was a master of the Chinese martial art Hung Fist. He systematized the predominant style of Hung Fist and choreographed its version of the famous Tiger Crane Paired Form Fist, which incorporates his "Ten Special Fist" techniques. Wong was famous for his skill with the technique known as the "Shadowless Kick". He was known to state the names of the techniques he used while fighting.

Wong Fei Hung also became adept at using weapons such as the wooden long staff and the southern tiger fork. Soon after, stories began circulating about his mastery of these weapons. One story recounts how he defeated a 30-man gang on the docks of Canton using the staff.

Wong is sometimes incorrectly identified as one of the Ten Tigers of Canton (a group of ten of the top martial arts masters in Guangdong near the end of the Qing Dynasty (1644–1912). His father Wong Kei Ying was one of the Ten Tigers, but Wong Fei-Hung was not. Due to his heroic efforts in defending China's pride during a period when Chinese morale was at an all time low, Wong Fei-Hung is sometimes known as the "Tiger after the Ten Tigers."

Portrayal in modern media

- Film

There was a Wong Fei Hung film series in Hong Kong from the late 1940s into the 1960s; it consisted of 99 movies. The star, Kwan Tak Hing, gained the nickname "Master Wong" due to his participation in the series. Numerous sources state that it is the most prolific movie series ever, and that Wong Fei Hung is the most portrayed character in movie history.

A short list of films portraying Wong Fei Hung is as follows:

* Challenge of the Masters (1976), played by Gordon Liu.
* Drunken Master (1978), played by Jackie Chan, with Yuen Siu Tien as the Beggar So.
* Magnificent Butcher (1979), played by Kwan Tak-Hing. Sammo Hung, Yuen Biao and Wei Pak starred as Wong's disciples, Wing, Foon and Chik.
* Once Upon a Time in China (1991), played by Jet Li. This is the first in a series of six films about Wong Fei Hung.
* Great Hero From China (1992), played by Chin Kar-Lok.
* Iron Monkey (1993). The young Wong Fei Hung is played by female martial artist Tsang Sze-Man. Donnie Yen portrays Wong's father.
* Once Upon a Time in China IV & V (1993) played by Zhao Wen Zhou
* Drunken Master II (1994), played by Jackie Chan. Ti Lung portrayed Wong's father.
* Drunken Master Killer (1994), played by Willie Chi.
* Last Hero in China (1995), played by Jet Li.
* Around the World in 80 Days (2004), Sammo Hung has a brief appearance as Wong Fei Hung.
* Shao Nian Huang Fei Hong (TV series, 2002), China.
* My Master is Wong Fei Hung (TV series, 2004), Hong Kong.

For a more extensive list, see List of Wong Fei Hung films.

- Theme song

Because it was used as the theme song of various Wong Fei Hung films (particularly the versions starring Kwan Tak Hing), the Chinese folk song On the General's Orders (???) (listen on http://www.last.fm/music/Wu+Man/_/The+Generals+Order+(Jiang+Jun+Ling)?autostart) is now associated with Wong Fei Hung.

In the Once Upon a Time in China series, the music was named A Man Should Better Himself (?????), with lyrics writtened by the late Wong Jim to On the General's Orders. It was sung by George Lam.

A rearranged version was rewritten and sung by Dayo Wong as Men Don't Cry theme song.

Wu Ke Qun sang a version based on the iconic theme song.[1]

Others

The character of Lee Rekka from SNK's Last Blade series is based on Wong Fei Hung as portrayed by Jet Li in the Once Upon a Time in China series.

The lead character of Fei Fong Wong from the Squaresoft video game Xenogears is based on Wong Fei Hung.

In author Will Thomas' third mystery novel, The Limehouse Text, his Victorian detective, Cyrus Barker, trained in Canton under Wong Fei Hung.

Stan Sakai has mentioned he plans to include a character based Wong Fei Hung in a future issue of his comic book Usagi Yojimbo.

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Kendo, or "way of the sword", is the Japanese martial art of sword-fighting. Kendo developed from traditional techniques of Japanese swordsmanship known as kenjutsu.

Kendo is a physically and mentally challenging activity that combines strong martial arts values with sporting-like physical elements.

Practitioners of kendo are called kendo-ka (kendo-ka), meaning "one who practices kendo", or kenshi (kenshi), meaning "swordsman".

Kendo is practiced wearing traditionally styled clothing and protective armour (bo-gu), using one or two bamboo swords (shinai) as weapons. Kendo may be seen as a Japanese style of fencing. However, the movements in kendo are different from European fencing because the design of the sword is different, as is the way it is used. Unlike western style fencing, kendo employs strikes with a defined 'edge' and tip of the shinai. Kendo training is quite noisy in comparison to other martial arts or sports. This is because kendo-ka use a shout, or kiai, to express their spirit, and when a strike or cut is performed, the front foot contacts the floor in a motion similar to stomping, called fumikomi-ashi.

There are estimates that about eight million people world-wide practice kendo, with approximately seven million in Japan. The "Kodansha Meibo" (a register of dan graded members of the All Japan Kendo Federation) shows that as of January 2003, there were 1.3 million registered dan graded kendo practitioners in Japan. The number of kendo players not yet graded to a dan level is not included: those kendo-ka would outnumber considerably the dan graded players.

Kendo is one of the modern Japanese budo- and embodies the essence of Japanese fighting arts.

The concept and purpose of kendo

In 1975 the All Japan Kendo Federation (AJKF) developed then published The Concept and Purpose of Kendo.

The concept of kendo

Kendo is a way to discipline the human character through the application of the principles of the Katana (sword).

The purpose of kendo

To mold the mind and body.
To cultivate a vigorous spirit,
And through correct and rigid training,
To strive for improvement in the art of Kendo.
To hold in esteem human courtesy and honor.
To associate with others with sincerity.
And to forever pursue the cultivation of oneself.

This will make one be able:
To love his/her country and society.
To contribute to the development of culture
And to promote peace and prosperity among all peoples.

History

Since the earliest samurai government in Japan, during the Kamakura period (1185-1233), sword fencing, together with horse riding and archery, were the main martial pursuits of the military clans. In this period kendo developed under the strong influence of Zen Buddhism. The samurai could equate the disregard for his own life in the heat of battle, which was considered necessary for victory in individual combat, to the Buddhist concept of the illusory nature of the distinction between life and death.

Those swordsmen established schools of kenjutsu (the ancestor of "kendo") which continued for centuries and which form the basis of kendo practice today. The names of the schools reflect the essence of the originator’s enlightenment. Thus the Itto--ryu- (Single sword school) indicates the founder’s illumination that all possible cuts with the sword emanate from and are contained in one original essential cut. The Muto- (swordless school) expresses the comprehension of the originator Yamaoka Tesshu, that "There is no sword outside the mind". The 'Munen Muso--ryu-’ (No intent, no preconception) similarly expresses the understanding that the essence of kenjutsu transcends the reflective thought process. The formal kendo exercises known as kata were developed several centuries ago as kenjutsu practice for warriors and are still studied today, albeit in a modified form.

The introduction of bamboo practice swords (shinai) and armour (bogu) to "ken" training is attributed to Naganuma Siro-zaemon Kunisato during the Shotoku Era (1711-1715). Naganuma developed the use of kendo-gu (bogu) (protective equipment) and established a training method using the shinai.

In addition, the inscription on the gravestone of Yamada Heizaemon Mitsunori's (Ippu-sai) (1638 – 1718) third son Naganuma Siro-zaemon Kunisato (1688–1767), the 8th headmaster of the Kashima Shinden Jikishinkage-ryu- Kenjutsu, states that his exploits included improving the bokuto and shinai, and refining the armour by adding a metal grill to the men and thick cotton protective coverings to the kote. Kunisato inherited the tradition from his father Heizaemon in 1708, and the two of them worked hard together to improve the bogu until Heizaemon's death.

This is believed to be the foundation of modern kendo. Kendo began to make its modern appearance during the late 18th century. Use of the shinai and armour (bogu) made possible the full force delivery of strikes and thrusts without inflicting injury on the opponent. These advances, along with practice formats, set the foundations of modern kendo.

Concepts such as mushin, or "empty mind" as professed by exponents of Zen, are an essential attainment for high level kendo. Fudoshin, or "unmoving mind", is a conceptual attribute of the deity Fudo Myo-O, one of the five "Kings of Light" of Shingon Buddhism. Fudoshin, implies that the kendoka cannot be led astray by delusions of anger, doubt, fear, or surprise arising from the opponent’s actions. Thus today it is possible to embark on a similar quest for spiritual enlightenment as followed by the samurai of old.

The Dai Nippon Butoku Kai was established in 1895 to solidify, promote, and standardise all martial disciplines and systems in Japan. The DNBK changed the name of Gekiken (Kyu-jitai, Shinjitai, "hitting sword") to kendo in 1920. Kendo (along with other martial arts) was banned in Japan in 1946 by the occupying powers. This was part of "the removal and exclusion from public life of militaristic and ultra nationalistic persons" in response to the wartime militarization of martial arts instruction in Japan. Kendo was allowed to return to the curriculum in 1950 (first as Shinai Kyougi "Shinai Competition" and then as Kendo from 1952).

Equipment and clothing

Bo-gu set.	A shinai.	Armour and clothing components

Kendo is practiced using a shinai. One, or more rarely two shinai, are used. The shinai is the practice "sword" and is made up of four bamboo staves, which are held together by leather fittings. Kendoka also use bokken/bokuto (wooden swords) to practice more formal, set forms known as kata.

Protective armour bo-gu, is worn to protect specified target areas on the head, arms and body. The head is protected by the helmet-like men, the forearm, wrist and hand by gauntlets called kote, the body by the do and tare. The clothing worn under the bogu comprises a jacket, or kendogi/keikogi and a hakama, which is a trouser-like garment with wide legs. A cotton towel or tenugui is tied around the head, under the men, to absorb perspiration and provides a base for the men to fit comfortably. Like in some other martial arts, kendoka train and fight barefoot.

Modern practice

Kendo is ideally practiced in a purpose-built do-jo-, though standard sports halls and other venues are often used. An appropriate venue has a clean and well-sprung wooden floor, suitable for the distinctive stamping footwork (fumikomi-ashi) used by the bare-footed practitioners.

In modern kendo, there are strikes (or cuts) and thrusts. Strikes are allowed only to be made on specified target areas, or datotsu-bui on the wrists, head or body, all of which are protected by bogu. The targets are men (top of the head), sayu-men or yoko-men (upper left or right side of the head), the right kote, or wrist at any time, the left kote when it is in a raised position (such as jo-dan-no-kamae also known as jo-dan) and the left or right side of the do- or torso. Thrusts are only allowed to the throat (tsuki). However, since an incorrectly performed thrust could injure the neck, thrusting techniques in free practice and competition are often restricted to senior dan graded kendoka.

Kendoka perform sonkyo after combat.

Two kendoka in tsuba zeriai.

Kendo target points, or datotsu-bui.

Two kendoka, one (left) is playing in nito- (two sword style)
and the other (right) is playing in itto- (one sword style).

Once a kendoka begins to practice in bogu, a practice session may include any or all of the following types of practice.

• Kiri-kaeshi: successively striking the left and right men, practice centering, distance, and correct technique, while building spirit and stamina.
• Waza-geiko: waza or technique practice in which the student learns to use the many techniques of Kendo with a receiving partner.
• Kakari-geiko: short, intense, attack practice which teaches continuous alertness, the ability to attack no matter what has come before, as well as building spirit and stamina.
• Ji-geiko: undirected practice where the kendoka has a chance to try all that has been learnt, against an opponent.
• Gokaku-geiko: practice between two kendoka of similar skill level.
• Hikitate-geiko: practice where a senior kendoka guides a junior through practice.
• Shiai-geiko: competition practice which may also be judged.

Competition

In shiai, or competition, a point (yuko-datotsu) is only awarded when the attack is made firmly and properly to (datotsu-bui) a target point with ki-ken-tai-ichi, or spirit, sword and body as one. This means that for an attack to be successful, the shinai must strike the specified target, the contact by the shinai must happen simultaneously with the attacker's front foot contacting with floor and the kendo player must vocalise an expression of kiai that displays good spirit. Additionally, the top third of the shinai must make contact with the target and the direction of movement (hasuji) by the shinai must also be correct. Finally, zanshin, or continuation of awareness, must be present and shown before, during and after the strike, then the kendo player must be ready to attack again.

In shiai, there are usually three referees, or shinpan. Each holds a red flag and a white flag in opposing hands. To signal a point, the shinpan raise the flag corresponding to the colour of the ribbon worn by the scoring competitor. Generally, at least two shinpan must agree, for a point to be awarded. The match continues until a pronouncement of the point that has been scored.

The first competitor to score two points wins the match. If the time limit is reached and only one competitor has a point, that competitor wins.

In the case of a tie, there are several options:

• The match may be declared a draw.
• The match may be extended (encho), and the first competitor to score a point wins.
• The winner may be chosen by a decision made by the shinpan, or hantei, in which the three referees vote for their choice. This is done simultaneously, by show of flags.

Men	Kote	Do	Tsuki

Grades

Technical achievement in kendo is measured by advancement in grade, rank or level. The kyu and dan grading system is used to indicate the level of one's skill in kendo. The dan levels are from sho-dan (first dan) to ju-dan (tenth dan). There are usually 6 grades below sho-dan known as kyu. The kyu numbering is in reverse order, with ikkyu (first kyu) being the grade immediately below sho-dan and rok-kyu (sixth kyu) being the lowest grade.

Hachi-dan (eighth dan) is the highest dan grade attainable through a test of physical kendo skills. In the AJKF the grades of kyu-dan (ninth dan) and ju-dan (tenth dan) are no longer awarded, but kyu-dan (ninth dan) kendoka are still active in Japanese kendo. International Kendo Federation grading rules allow national kendo organisations to establish a special committee to consider the award of those grades.

All candidates for examination face a panel of examiners. A larger, more qualified panel is usually assembled to assess the higher dan grades.

Kendo examinations typically consist of a demonstration of the applicants skill and for some dan grades, also a written exam. The hachi-dan (eighth dan) kendo exam is extremely difficult, with a reported pass rate of less than 1 percent.

There are no visible differences between kendo grades; beginners may dress the same as higher-ranking yudansha.

Kata

There are 10 nihon kendo kata (Japanese kendo forms). These are performed with wooden swords (bokken/bokuto), the kata include fundamental techniques of attacking and counter-attacking, and have useful practical application in general kendo. Occasionally, real swords or swords with a blunt edge, called kata-yo or habiki, may be used for a display of kata.

Kata 1–7 are performed with both partners using a daito- or tachi (long sword) style bokutoh of around 102 cm. Kata 8–10 are performed with one partner using a daito- and the other using a kodachi or shoto (short sword), style bokutoh of around 55cm. During kata practice, the participants take the roles of either uchidachi (teacher) or shidachi (student). The uchidachi makes the first move or attack in each kata. As this is a teaching role, the uchidachi is always the 'losing' side, thus allowing the shidachi or student to learn and gain confidence.

Nihon kendo kata were drawn from representative kenjutsu schools and tend to be quite deep and advanced. In some areas the regular training curriculum does not include nihon kendo kata.

In 2003, the introduction of Bokuto Ni Yoru Kendo Kihon-waza Keiko-ho, a set of basic exercises using a bokuto, attempted to bridge this gap. This form of practice, is intended primarily for kendoka up to ni-dan (second dan), but is very useful for all kendo students.

Outside Japan

The International Kendo Federation (FIK) was established in 1970 and in December 2006 admitted their 47th national or regional federation as an affiliate. The World Kendo Championships have been held every three years since 1970.

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