Was There Ever Mixtures of Indonesian Chinese Martial Arts

April 25, 2022 Post a Comment

Indonesian martial arts includes a variety of fighting systems native to or developed in the archipelago of Republic of indonesia, both the age-onetime traditional arts, and the more recently developed hybrid combatives. In the Indonesian language the term bela-diri (lit. cocky-defense) is used to hateful martial art, and in essence the Indonesian fighting arts are meant as 1's defence force against perceived threat and attack. Other than concrete training, they oftentimes include spiritual aspects to cultivate inner forcefulness, inner peace and higher psychological ends.^[1]

Today, Indonesian fighting styles are synonymous with pencak silat, a term coined for the martial arts of the Indonesian archipelago.^[2] Nevertheless, a number of fighting arts in Indonesia are non included within the category of silat. Western misconception links silat with "jungle tribes" but in actuality, pencak silat was neither created nor traditionally practised by Republic of indonesia's tribal inhabitants, many of whom have unique martial arts of their ain. Some of these traditions take been preserved as a complete fighting system, e.g. pencak silat and kuntao. Other methods are either no longer practiced or only exist in a more sportive form such as the spear-throwing of pasola or the dance of cakalele.

History [edit]

Battle scene on bas-relief of Penataran, Majapahit era

Some parts of the archipelagic realm that is today Indonesia was the scene of warfare among the native populace for much of its long history, and the people of the region naturally developed constructive methods of combat and self-defense force.^[i] Archaeological findings dating from prehistoric times have uncovered a variety of stone and metal weaponry such as axes, arrows and spearheads. These implements would have doubled every bit hunting tools and weapons of gainsay betwixt and amongst tribes. Tribal warfare, although often motivated by resource, lands and slave grabbing, was also a solution to settling disputes, also every bit a component of coming of historic period rituals. The practise of headhunting developed the martial skills of some tribes to a high level such equally the Dayak, Batak, and Nias people. Warriors from militaristic tribes were appreciated by other factions, and were recruited by adult kingdoms and polities as mercenaries. Traditional war dances were used both to reenact battles and as a course of training, a precursor to the preset forms or jurus of afterwards fighting systems. Displaced Baiyue from present-day Red china and Vietnam (particularly the Dong Son civilisation) during the first centuries of the common era introduced bronze-casting to the Nusantara and resulted in the development of native edged weapons such as the parang, klewang, mandau, badik, kujang, golok and kris. Chinese directly swords arrived early on, and ancient Javanese curved swords show Indian derivation.

Contact with India and the forming of ancient kingdoms lead to the transition from tribalism to the gold age that was Indonesia'due south Dharmic civilization. Pencak silat developed in this era^{[ vague ]}, spreading quickly from Sumatra into well-nigh the whole of the archipelago. In comparing to the country'due south tribal fighting systems, pencak silat shows decidedly more influence from the Asian mainland, specifically China and the Indian subcontinent. Pencak silat tied the art of combat with practices of meditation and spiritual development, calculation a new layer to the martial arts bated from only being used to fight or kill so that information technology was used consistently throughout Indonesia's history.^[3] The wide geographical area in which pencak silat was proficient is naturally reflected in its diverseness of techniques and weaponry, some indigenous and some adopted from outside through maritime trade. Chinese communities continued to constitute themselves, their native kuntao influencing the local martial arts.

Gunpowder engineering science in cannons and muskets allowed many kingdoms and polities in Republic of indonesia to be conquered and subjugated by European ability. A further influx of Chinese were brought in equally labourers, increasing the proliferation of kuntao styles. But while the Europeans could effectively overtake and hold the cities, they found it impossible to command the smaller villages and roads connecting them. Indonesians took advantage of this, fighting an secret state of war through guerilla tactics. As guns were not widely available, indigenous blades were used in these attacks. Sociology portrays the rebels as Robin Hood-similar martial artists such as Si Pitung. After Indonesia won its independence from colonization, the function of martial arts like pencak silat in nation-building was recognized. The Indonesian Pencak Silat Association (IPSI) was founded to unite the country'southward pencak silat schools under a single governing torso. It has been incorporated into the unarmed combat training of Indonesia's polce and military, too as being an extra-curricular activity in schools, and a combat sport in athletic events. Many of the more tearing martial practices such equally headhunting and duels to the death either fell out of popularity or were banned. A number of fighting styles have managed to survive by adapting. In some cases they became less lethal like pasola, or at times by being promoted every bit a dance for the entertainment of tourists.

Systems [edit]

The following are consummate martial arts designed for fighting or cocky-defense.

Pencak Silat [edit]

Pencak silat is a compound of the two most commonly used words for martial arts in Indonesia. Pencak was the term used in central and east Java, while silat was used in Sumatra and Borneo. In modern usage, pencak and silat are seen as being 2 aspects of the aforementioned exercise. Pencak is the essence of training, the outward aspect of the art. Silat is the internal essence of combat and self-defense, the true fighting awarding of the techniques.^[4] The primeval prove of pencak silat is in 6th-century Riau from where it saw farther development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Java. The art gradually spread throughout most of what is now Republic of indonesia and reached its pinnacle in the medieval Majapahit kingdom. Generalizations of silat techniques are hard due to the diversity of systems. Any part of the body is used and subject field to attack. Strikes, grabs, locks, and weapons are all incorporated. Training is often supplemented with internal methods of development such every bit meditation.

Kuntao [edit]

Kuntao is a Hokkien term for martial arts, in this case referring to those practised by the Tionghoa community of the Indonesian archipelago. Kuntao has a long history in the region dating back to ancient times. Such has been the influence betwixt kuntao and pencak silat that the terms are used interchangeably in some regions. Every Chinese community in Republic of indonesia either has or historically had some style of kuntao, only they were not taught openly until the latter one-half of the 20th century. Northern and southern Chinese martial arts are represented in kuntao, both from the external and internal schools. Some systems were direct imported from China and underwent little or no changes, such every bit thaikek (taiji), pakua (baguazhang or eight-trigram palm) and peh-ho (baihequan or white crane fist). Other popular systems originate from the same states as the Chinese communities who do them, and then that Fujian, Shandong, Kongfu and Guangdong styles dominate.

Caci [edit]

Caci duel using rattan whip every bit weapon and shield every bit protection.

Caci (pronounced "chachi") is a form of fighting with a whip or stick.^[5] It appears to be indigenous to Flores in East Nusa Tenggara, but information technology is too skillful in Bali and Lombok.^[5] The art is sometimes called cacing or ende in Flores, and larik or kebat in Riung, while in Balinese it is known as ende. The term caci is said to derive from the Manggarai words ca meaning one and ci meaning test, indicating a one-on-one test between the fighters. According to local folklore, caci during festivals began with two brothers who owned a buffalo. When the younger brother fell into a deep hole, the older brother had to slaughter the buffalo to get its skin to help his sibling escape from the hole.^[6] The community celebrated this act of dear with a festival in which caci matches were held.

There are two types of caci: with a whip (tereng or agang) or a stick (agang). The whip may be either long or short. The brusque whip corresponds to the cambuk of Java and measures 3 anxiety in length. The long whip is five–6 anxiety long and made from palm stems tied together with either rattan or strips of h2o buffalo hide. The stick is an undecorated piece of hardwood measuring 1-1.5 yards long and 2 inches in diameter. The shield is of round or elliptical shape. Likewise traditionally undecorated, information technology is known as giling or nggiling when made of buffalo hide and perisai kayu when fabricated of wood. Both the whip and the stick form were traditionally practiced in Manggarai Regency, but the stick is rarely seen today. In Bali and Ngada Regency, only the stick form exists.

In a caci match, the two fighters (who are always male) take turns alternately attacking and defending. The aggressor is permitted three blows to any role of the anatomy, while the defender attempts to block with his shield. The defender is not allowed to attack while defending, but in the case of whip-fighting the defender may spin the whip above his head to prevent the assaulter from closing in. Stick techniques are all swings without whatever thrusting. Caci at once served as a course of conflict management within and between villages. Fighters are divided into the host group (ata one) and the challenger group from some other village (ata pe'ang or meka landang). Victory is obtained past hit the opponent's face or head. In former times, championship bouts were held in which the object was to blind the opponent's center. The winner is required to happily sing a quatrain while the loser replies in a low phonation to show despair.

Fitimaen [edit]

Fitimaen is a form of stick-fighting from Buru in the Maluku Islands. The term comes from the Buru word maen which means stick. The maen are either made from rattan or from native hardwood, of which at that place are hundreds of varieties.^[5] Sparring sessions are brusque to minimise injury, and grooming is carefully conducted for the aforementioned reason. They may exist fought with one or a pair of sticks, the length of which depends on personal preference. The first written attestation of fitimaen comes from a British naturalist who recounts that the natives are "adepts at quarterstaff" and that fifty-fifty children "practise with atypical skill their cuts and thrusts". While spears and metal knives were besides used by the Buru Alifuru for fighting, their preference has always been the fighting staff. Donn F. Draeger calls them the best stick and staff fighters in the whole of Republic of indonesia although not a specially combative community. The blowpipe (sumping) and bow and arrow could also be used for warfare but are generally hunting implements. Ii styles of fitimaen are dominant, one from Namlea and the other from Leksula.^[5]

Tinju [edit]

The word tinju means fist-fighting and usually refers to western battle. In Flores a form of boxing exists which involves 4 people. As 2 boxers fight, each is steered by a partner belongings their waistband from behind. Attacks may be delivered with the open up hand, closed fist, backhand, elbow, or a combination of these. Only the hands, artillery and shoulders may be used. Kicks and throws are not permitted. The history of tinju is unknown merely information technology is most common in Bajawa and well-nigh likely originated there. In earlier times, each boxer would concur a smooth round stone in one hand and wrap the hand in cloth. Matches are full-contact and victory is determined on points.^[five]

Tarung Derajat [edit]

Immature Tarung Derajat fighters.

Tarung Derajat is a total-contact martial art created by Haji Achmad Dradjat in Bandung, Westward Java. Developed in the 1960s, it is a hybrid system which incorporates boxing, grappling and street-fighting.^[7] Tarung Derajat is officially recognized as a national sport and used every bit basic training by the Indonesian Army. Tarung Derajat emphasizes punching and boot, but is non limited to these, as grappling and sweeping are likewise included in its training. Practitioners are known just as petarung meaning "fighter".

Since the 1990s, Tarung Derajat has been refined as a combat sport. In 1998, the Tarung Derajat organisation officially became a member of the KONI. Since so, the organization has a spot in Pekan Olahraga Nasional, a national multi-sport competition held every four years. The main Tarung Derajat association, KODRAT (Keluarga Olahraga Tarung Derajat), at present has sub-organizations in 22 provinces in Indonesia. It was introduced as an exhibition number in the 2011 Southeast Asian Games in Palembang, Indonesia.^[8]

[edit]

The following are related martial practices including combat sports, duels, ritual battles, mock gainsay, and war dances. All are exclusive to males unless otherwise stated.

Pasola [edit]

Pasola is a tradition of war between two opposing camps, chasing later on throwing a wooden javelin at an opponent

Pasola is a form of mounted spear-fighting from western Sumba. The word pasola comes from the local word for spear and derives from the Sanskrit sula. According to legend, pasola originated with a adult female from the village of Waiwuang. When her husband - a local leader - left home for an extended period, she believed him to be dead and eloped with a new lover from another village. Later her husband returned, the adult female nonetheless chose to stay with her new lover, and the two were married. To forget their leader'south sadness, the people of Waiwuang held the festival of pasola. Originally the participants rode horses and threw spears at each other in an endeavor to spill claret to the ground, as a way of thanking the ancestors for a successful harvest and ensuring another prosperous rice harvest. The ritual changed over time into more of a mock boxing. The spear tips are now blunt and their metal tips removed. Whereas information technology was once considered an honor to die during pasola, simply accidental deaths occasionally occur today. The man and horse claret which used to deluge the field is now solely from sacrificed pigs, dogs, and chickens. Armed law are kept on guard to prevent fights from breaking out. Beginning in the 2010s, pasola has been promoted as a "game" for visiting spectators. The event traditionally begins when a certain kind of sea worm swims to shore, signifying the end of the wet flavour and the beginning of crop-planting. Today, the elders decide on the date in advance for the sake of tourists. Pasola is ever held for four weeks in Feb and March.^[9]

Debus [edit]

Debus is a martial art that shows immunity with precipitous weapons, this is martial arts originating from the Sundanese people in the Provinces of Banten and West Java.

Payuq [edit]

Payuq is the traditional Dayak form of wrestling, peculiarly native to the Kenyah people of East Kalimantan. The discussion payuq derives from the Sanskrit term bahu-yuddha and means "physical fighting". Matches are held annually during the harvest festival. The aim of a payuq match is to lift and slam the opponent to the ground. Physical forcefulness and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-like course of wrestling called bebintih meaning "mutual tackle". Matches have identify in dried rice paddies after being harvested and a circle is prepare in the eye of the field equally a ring. The aim is to push the opponent out of the circle or knock them to the ground. Wrestlers - always male - concord their opponent's loincloth and shove their shoulders against each other while using their legs to trip the opponent.^[10]

Sisemba [edit]

Sisemba is a kick-fighting activity practised by the Toraja of S Sulawesi. While sisemba is its formal name, it is also known as semba or sempak. Native to the Batan and Pangalla areas in the North Toraja Regency, information technology is today mainly seen in the Toraja cultural heart of Rantepao. The ritual of mass kick-fighting is usually performed every bit part of the rice harvest festival in Tana Toraja villages. According to tradition, sisemba is a prerequisite for the next successful harvest.^[11] In the practise of sisemba, hundreds of participants from two villages join easily and form lines of 2 or more than people. They may be linked past the arms or by clasping hands. The line is not necessarily direct but may have the grade of a 5-shape, an inverted Five-formation, a wedge, a circular arc either concave or convex, or whatever other shape. In one case joined in line, all participants must exist linked except the men on the ends of each line. Once the opposing ranks come within range, they kick at each other in an effort to knock players out of the opponent'due south line.^[xi] A divided line is and then overwhelmed by the superior numbers of the opposing line, who manoeuvre and surround stragglers. Smaller lines are however capable of more agile manoeuvres, such every bit sending the actor at the end of a line flying through the air completely off the ground, and then pulling them dorsum in a whip-like manner subsequently they've struck the opponent. Any sort of kicks are immune and whatsoever function of the body may be targeted so long equally the link to the line is maintained. An individual who has been knocked out of line may get upwardly and rejoin their line; until rejoining he is off-limits to the attacks of the opposing team. In earlier days, such an private would be kicked into submission or until unconscious.

Sisemba originated as a class of mass defence in which every human in the village repelled invaders. It served its purpose well enough that no form of pencak silat, wrestling, or any other unarmed fighting fine art exists in the Toraja culture. Sisemba was likewise used as a way of settling disputes between kampung. Victory was obtained simply by reducing the numbers of the opposing team through injury. Today it is a harvest-time festivity, performed on harvested rice fields. Matches last for several hours each day over a menstruation of weeks during the harvest season. The winner is decided based on the superiority of technique only injuries are still frequent, particularly to the face up. To ensure that the match runs smoothly, the village elders act every bit supervisors. If a participant or a pair of them was deemed to be too violent, the village elders will carve up them from the crowd.^[11]

Cakalele [edit]

The cakelele is a male state of war-dance practised by the aboriginals of Northward and Central Maluku. Hybrid forms also exist in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, it originated equally a way for the warriors to celebrate after a successful raid. From the age of sixteen, hamlet boys would study and work for 3–5 years with the kakehan, the men'southward secret society. The art of combat formed part of their pedagogy, every bit was the cakalele. While not an actual martial fine art, the trip the light fantastic has preserved some techniques and the total range of aboriginal weaponry, making it profoundly important in the study of Republic of indonesia's native fighting methods. Backed by the rhythm of the drum and gong (tifa) and fife (sulin), two opposing captains engage in mock-combat with a spear (sanokat) and long knife (lopu). Supporting warriors wield long knives and a narrow wooden shield known as salawaku.^[12] ^[thirteen]

Mekare-kare [edit]

Mekare-kare pandan battle in Tenganan village, Karangasem, Bali.

Mageret pandan is a Balinese method of fighting using a abrupt, thorny pandan lodge paired with a shield. It is sometimes called makare-kare in Balinese and known as perang pandan in Indonesian, literally meaning "pandan battle". Mageret pandan is practiced by the Bali Aga population of Tenganan village in Karangasem Regency. The people of Tenganan are devotees of the deity Indra. To award Indra as a warrior god, many major religious festivals in Tenganan involve a ritualistic battle.

The tradition of mageret pandan is said to accept originated with King Maya Denawa who claimed himself a god greater than the entire Hindu pantheon. He forbade the people from performing their religious ceremonies, which angered the gods. Indra himself fought and defeated Maya Denawa for his irreverence, and their battle was commemorated through mageret pandan.^[14]

Today it is done as a ritual to honour the gods and the ancestors. The weapon used in mageret pandan is a 15 cm club made by tying 10-fifteen leaves of pandan (Pandanus amaryllifolius) together. Each of the leaves is edged with pocket-size sharp thorns. The shield is a rattan buckler. Techniques are generally swinging strikes, but grappling is used when in-fighting. Participants compete shirtless, wearing merely a sarong (kamen) and traditional headdress (udeng). According to tradition, the mageret pandan is compulsory for Tenganan males. For the young, it serves as a rite of passage into manhood; children as young as vii accept participated.^[xv]

Kabasaran [edit]

Kabasaran is a Minahasan war dance from Northward Sulawesi, performed past several men clad in crimson. Kabasaran dancers were traditionally farmers or guards who served as waranei (warriors) when the village was attacked.^[16] The waranei status forth with their weapon is inherited from begetter to son.^[16]

The basic structure of the dance consists of ix dance moves (jurus) using either the sword (santi) or spear (wengkouw). The footwork pattern consists of two steps to the left and another two to the right. Dancers are known every bit kawasalan indicating a pair of fighter cocks.^[16] The dance is accompanied by percussion instruments such equally gongs, drums or kolintang called pa 'wasalen.

Sitobo Lalang Lipa [edit]

Reenactment of sitobo lalang lipa or tarung sarung, dueling in a sarong using badik, found in Bugis civilisation in the past.

Sitobo lalang lipa or Sigajang laleng lipa is the Bugis term for a blazon of knife duel formerly proficient by pesilat of the Bugis-Makassar communities and also in Batak tribes. The challenger stands with a loosened sarong around him and invites the other human being to step into the sarong. Knives in their right easily, the two duellists fight to the expiry within the confines of the sarong. This violent method was used for conflict resolution in Bugis-Makassar community in the by. If two men having disputes that tin not be resolved through parley, their honor has been trespassed, and none of them admitted their mistakes, the just way to resolve this dispute is through a deadly duel in a sarong.^[17]

In Bugis culture, there are three important concept that should be uphold; Ade (adat) or traditional customs, Siri (shame or self worth) or in this instance one's pride and award should be protected fiercely to avoid the shame of humiliation, and Pesse (compassion). In Bugis civilisation, the Siri aspect is the most dominant, thus conflict regarding one'southward honour might occur.^[17]

This method of fighting originated in ancient India where the duellists fought with knives in their right easily while their left easily were tied together. It is unknown in what role of Southeast Asia this duel was first introduced, but it was practiced in Thailand where the fighters boxed each other with the correct hands. Duelling within a sarong rather than tying the hands together appears to exist unique to Republic of indonesia. Amidst the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak even so use another type of knife known as the raut. Duelling is no longer good today, but reenactments of sitobo lalang lipa are withal performed at cultural shows in Republic of indonesia.^[17]

Weapons [edit]

Nias warrior armed with spear and shield

Badik : a knife or dagger developed by the Bugis and Makassar people of southern Sulawesi
Chabang : brusque-handled trident, literally meaning "branch"
Cambuk / Pecut : whip, might be made from various materials; rattan, bamboo, fabrics, leather to stingray's tail
Celurit/ Sabit : a sickle, unremarkably used in farming, tillage and harvesting of crops.
Kerambit/ Kuku Macan : a bract shaped similar a tiger's claw
Kipas : traditional folding fan preferably made of hardwood or iron.
Klewang : a type of single-edge longsword with a protruding notch virtually its tip.
Kris : a dagger, oft with a wavy blade fabricated by folding different types of metal together and so washing it in acrid.
Kujang : Sundanese blade roughly shaped like a deer's antler.
Parang/ Golok : machete commonly used in daily tasks such as cutting through woods brush.
Pedang : sword, either straight or curved
Rencong/Tumbuk Lada : slightly curved Aceh and Minang dagger, literally meaning "pepper grinder".
Samping/Linso : silk sash worn around the waist or shoulder, used in locking techniques and for defense against blades.
Sundang : a double edge Bugis sword, oftentimes wavy-bladed
Tameng/ Perisai : shield made of hardwood, weaved rattan, or sometimes metal.
Tombak/ Lembing : spear or javelin made of bamboo, steel or wood that sometimes has horsehair attached near the bract.
Toya : rod or staff fabricated from wood, steel or bamboo.
Trisula : a trident or 3-pronged spear

In popular civilization [edit]

Indonesia has showcased its martial arts in movie theater, novels, comics, theatre, and TV series for decades. The term silat as a genre refers specifically to historical stories involving martial artists. These need non necessarily feature the silat field of study itself, merely also includes Chinese wuxia and Japanese jidaigeki. The silat genre began equally an oral and theatrical tradition before first being written in the grade of medieval hikayat. The modern silat novel was a 20th-century development of the literary silat genre, giving ascension to comics and somewhen movies. Early on silat films (equally with many contemporary Telly series today) placed less emphasis on the actual fights and more than on drama, resulting in poor depictions of the art. This changed in the 1980s due to the popularity of radio shows featuring pencak silat experts in the sometime Indonesian kingdoms of Pajajaran and Majapahit circa the fourteen-15th century. Historical epics such as Saur Sepuh, Tutur Tinular and Misteri Gunung Merapi have been adapted both for Television receiver and film. Indonesian cinema differentiates this from modern action films or laga. The latter may or may not include traditional fighting styles, just the modern setting makes it singled-out from the silat genre proper.

While Indonesian movies and TV serial take always had a large post-obit in neighbouring Malaysia and Singapore, it was the 2009 motion-picture show Merantau that brought international attention to the cinematic genre and pencak silat in general. The film had a by and large positive reaction from cinema critics^[xviii] and generated plenty interest for the lead thespian to follow up with The Raid: Redemption in 2011 which received international acclaim. Its sequel The Raid 2: Berandal was similarly well-received but drew much criticism for its extreme gore,^[19] ^[20] leading to the film beingness banned in Malaysia.^[21]

Come across also [edit]

Styles of silat
Military machine history of Indonesia

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Blackness Belt Magazine. Retrieved 6 July 2015.
^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles E. Tuttle Co. ISBN978-0-8048-1716-v.
^ "Silek Harimau Minangkabau: the True Martial Art of West Sumatra". Wonderful Republic of indonesia. Retrieved viii July 2015.
^ Howard Alexander, Quintin Chambers, Donn F. Draeger (1979). Pentjak Silat: The Indonesian Fighting Art. Tokyo, Japan : Kodansha International Ltd. {{cite book}}: CS1 maint: multiple names: authors list (link)
^ ^a ^b ^c ^d ^e Draeger, Donn (1992). Weapons & Fighting Arts of Indonesia (Tuttle martial arts ed.). Tuttle Publishing. ISBN9781462905096 . Retrieved 11 Nov 2015.
^ Indra Harsaputra (v April 2013). "Manifesting strength and love". The Dki jakarta Post. West Manggarai, East Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (13 November 2011). "Tarung derajat looking for bigger stage". The Jakarta Mail service. Jakarta. Retrieved xi November 2011.
^ "Tarung Derajat Tampil di Sea Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved 11 November 2015.
^ "Indonesian island sees future in age-old horseback battle". The Star. 3 April 2014.
^ Suryadi Gunawan. "'Payuq', 'Bebintih' Roh Para Pegulat Kaltim di Ajang Internasional". Antara News.com (in Indonesian). Retrieved xi November 2015.
^ ^a ^b ^c Husain (4 May 2012). Glori G. Wadrianto (ed.). "Menyaksikan Tradisi "Sisemba" di Toraja Utara". Kompas Travel (in Indonesian). Retrieved 11 Nov 2015.
^ P. E. De Josselin De Jong (1984). Unity in Diversity: Republic of indonesia as a Field of Anthropological Study. Foris Publications. ISBNix-0676-5063-3.
^ Albert G Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal Land. ISBN9-0545-0004-two.
^ Luh De Suriyan (thirteen July 2016). "Melihat Aneka Ritual Kesadaran Lingkungan di Desa Sosialis Tenganan Pegringsingan". Mongabay indonesia (in Indonesian).
^ Anton Muhajir (18 June 2009). "Ritualistic boxing honors the ancestors". The Jakarta Post. Tenganan. Retrieved 21 September 2015.
^ ^a ^b ^c "Tarian Kabasaran". Indonesia Kaya (in Indonesian).
^ ^a ^b ^c "Membela Harga Diri Lewat Tradisi Sigajang Laleng Lipa di Makassar". kumparan (in Indonesian). Retrieved x April 2020.
^ Chocolate-brown, Todd (23 July 2009). "PiFan 09 Review: MERANTAU". Twitch Pic. Archived from the original on 27 July 2009.
^ "Review: The Raid 2 is too gory to stomach". Rediff. 30 May 2014.
^ "Paramedics Called To 'Raid ii' Premiere: 'The Most Trigger-happy Mainstream Film Since Passion Of The Christ'". UPROXX.
^ "The Raid two: Berandal banned due to excessive violence". astroawani.com.

Shaffer Nothemould