Pencak Silat’s Artistic Aspect & Pencak Silat “Dance”

One of the most important things in Pencak Silat is the artistic aspect. In west Java, already well known is the Ibing Pencak Silat. This is sometimes mistakenly considered a dance but there exists a significant difference between Pencak Silat dance and Ibing Pencak Silat.

Pencak Silat dance is choreographed, which means performing dance-like movements and this considered artificial Pencak Silat. On the contrary, Ibing Pencak Silat is a genuine Pencak Silat performance. The purpose of which is to throw the opponent; thus, it contains elements of self-defense. This performance is accompanied by specific background music called gendang pencak.

Ibing Pencak Silat has a deeper meaning if it is compared with Pencak Silat Dance. The ibing Pencak Silat not only concerns the artistic aspect but also emphasizes the deceptive self-defense techniques. Silat Dance on the other hand, just shows graceful and beautiful motions, which are based on Pencak Silat movement, and it doesn’t show any self-defense applications either.

Therefore, there is an uneasy feeling among pencak experts in west Java whenever Pencak Silat is referred to as a dance. Generally, these experts never mention Pencak Silat dance because they believe the artistic aspects are demonstrated through The Ibing Pencak Silat performance.

Pencak Silat was developed because of the society’s need for survival. It’s understandable to consider it’s dominant characteristic is self-defense alone but if we look at the historical context surrounding its development, we can see how other aspects emerged. During the time and specific socio-political conditions Indonesia experienced under control by Dutch, Pencak Silat organizations weren’t respected by the Dutch administration which tried to intimidate and oversee their activities.

This is why Pencak Silat activities transitioned from self-defense aspects into artistic performance. This is the strategy utilized by pendekars (warriors) who wanted Pencak Silat to last eternally. However, when carefully observing the artistic performance, one can still see the self-defense applications.

There are several elements that must be observed during the Ibing Pencak Silat performance.

First of all, the elements of beautiful movement (wiraga), also referred to as jurus which are taught to the pesilat (pencak silat performer) as a student. Mastery of these movements will prevent the pesilat’s performance from being monotonous or boring when performing on the stage (especially in Pencak Silat competition). Typically, it’s the pesilat’s ability to perform the systemized jurus correctly that is important. However, in the competition setting, the expression can be more extravagant and ornamental in order to earn more points from the judges.

The second element is rhythm or music (wirahma). This element differs from all other aspects of Pencak Silat. Gendang Pencak consists of traditional musical instruments that are usually used to accompany the pesilat’s performance on stage. The traditional instruments used are commonly used during Pencak Silat competitions, ceremonies, and other events in western Java.

The instruments collectively referred to as Kendang Pencak Silat consist of

• Gendang induk (big drum)

• Gendang anak (medium drum)

• Kulanter (small drum),

• Gong and

• Terompet (Flute)

The pencak drum is beaten by four drummers (called nayaga/wiyaga). They are charged with implementing the gendang silat so that the performance carries sufficient artistic value. It is also expected that the musical accompaniment will represent the cultural uniqueness of the player’s homeland and demonstrate beauty, etiquette, and proper aesthetics.

There is a harmonization between the rhythm of the drum, the flute, and the gongs that emit a unique and entrancing sound that also demonstrates a high level of art. The drummers play an important role in the Ibing Pencak Silat. The drummer can cooperate or ‘jam’ with the pesilat by beating out an accompaniment to new movements previously unseen before. Usually, the drummers make use of the ‘padungdung’ rhythm because it’s considered easier compared to the ‘paleredan’ or ‘tepak dua’ rhythms.

Whenever the pesilat performing onstage makes a mistake, then the rhythm and movements will no longer be synchronized and the audience will regard the pesilat’s understanding of the art to be imperfect. Because of this, the pesilat must train seriously to develop sensitivity towards the synchronization between the movements and established rhythms used in ibing Pencak Silat such as ‘paleredan’, ‘tepak dua’, ‘tepak tiga’ , ‘padungdung’, and others like these.

The third aspect regards spirituality. This is most important aspect for the pesilat because it provides the inspiration to commit oneself to the long and difficult training. Demonstrating this inspiration through Pencak Silat is considered important for both the martial skill and artistic aspect of silat. This is why the pesilat should understand the philosophy and the meaning of every movement and technique derived from jurus.

In addition to the elements mentioned above, there is another attribute that should not be ignored because it has been embedded into the art of Pencak Silat since its beginnings. This is the wearing of the pangsi as a uniform for performing Pencak Silat on stage or in competition, during training, examination, ceremony, and in any exhibitions. Pangsi is kind of Pencak Silat uniform and is popular in West Java.

The standard pesilat uniform is a black color pangsi, a sarong or leather belt, and a batik ikat worn on the heads. Recently, the traditional pesilat uniform has begun to decrease in popularity. Thus, the pesilat is free to select whatever suitable color, belt and headpiece (ikat, peci, or Muslim skullcap). The black color uniform is not mandatory, but belts should be worn to indicate the competence level of the pesilats.

Author : Agus Irwan SuhermanSH (HPS Panglipur)
Translated by : Ray Hook