About Capoeira

Some facts about Capoeira

Capoeira is a martial art integrated with dance, ritual, and gravity defying acrobatics. While it is fascinating to watch for the intricasy of the steps, the velocity of strike and evasion, and the beauty of acrobatics, capoeira is also an important repository of tradition, spirituality, and wisdom. The master passes to the student not only the dodging defenses, swift attacks, and wily feints of the game, but also the world of music, the rituals of respect, and the accumulated insight of generations of capoeira masters. More than a martial art or dance, capoeira is often considered a way of life by those who practice it.

The central ritual of contemporary capoeira is the roda de capoeira or "ring" of capoeira. The bodies of the other players who sing and direct the game with music form the circle within which the players will test each other. As much a game against one's self and one's limits as against a person's "companion" in the roda, capoeira demands that a person try to assert control over the space and the other player more with precision and mobility than with violence. The way of capoeira is not to resist, not to meet force with force, but instead to flow around, over, under, away, searching patiently for the right moment in which to strike. A good player is not violent. On the contrary, a good player is an artist who renders another's violent intentions impotent. The great capoeirista does not tire or feel fear, but, driven by the music of the berimbau and the singing of his or her comrades, continually finds new sources of energy and potential within the spirit.

While the acrobatics are what first attracts the audience to capoeira, watch for the relationships that develop in each game. The well-timed leg sweep, the devious head-butt, the perfectly-executed escape from certain capture, the move that impossibly changes from one thing to another in response to the other player - these are the hallmarks of a good player. A good capoeirista does not simply fight and trade blows; he or she creates in every game.

The jogo (game or match)

Ginga

The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and Capoeira Regional have distinctive forms of ginga. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular step on the ground. This movement is done to prepare the body for other movements.

The rest of the body is also involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria.

Attacks

Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. A possible explanation for the primary use of feet is the common West African belief that hands are for creation and feet for destruction[citation needed]. Another common explanation is that slaves in Brazil were commonly shackled at the wrists, restricting them from using their hands. Lastly, striking with the hands is often seen as unelegant and disruptive to the flow of the game. Elbow strikes are commonly used in place of hand strikes. "Cabeçadas" or headbutts are as common as they are in many of the fighting arts of the African Diaspora[citation needed]. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (pião de cabeça), hand-spins (pião de mão), handsprings (gato), sitting movements, turns, jumps, flips (mortal), and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes and feints are also an extremely important element in capoeira games and the setting of traps or illusory movements are very common.

Defenses

Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "escape", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive players to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.

Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick.)
Combinations

There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, e.g., at an opponent's drop of guard. Two kicks called meia-lua-de-frente and armada are often combined to create a double spinning kick.

Chamada

The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signaling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.

During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.

Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.

The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.

Volta ao mundo

Volta ao mundo means "around the world"

The volta ao mundo takes place after an exchange of movements has reached a conclusion, or after there has been a disruption in the harmony of the game. In either of these situations, one player will begin walking around the perimeter of the circle, and the other player will join the "around the world" before returning to the normal game.

Malandragem

As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the arts.

Silat Sendeng - One of arts of self defense, Malaysia

Getting to know Silat Sendeng (Malaysia)

Silat Sendeng founded by Allahyarham Long Mamat and expanded by Allahyarham Haji Hamid bin Haji Hamzah, named this silat by Seni Silat Sendeng Muar. First center under Allahyarham Haji Hamid is born at Sungai Mati, Muar, Johor Darul Takzim. After Allahyarham Haji Hamid past away on 19 May 1990, his younger brother, Allahyarham Haji Ismail bin Haji Hamzah was choosen to lead Seni Silat Sendeng and replaced as ‘Guru Utama’ (Grandmaster). On 11 July 1992, Seni Silat Sendeng Muar was register by the name ‘Pertubuhan Seni Silat Sendeng Malaysia’ with combining 7 branch of country like Johor, Melaka, Pahang, Perak, Kuala Lumpur, Selangor and Negeri Sembilan. Now, Pertubuhan Seni Silat Sendeng Malaysia has 42 training center in Malaysia and was born at lease 48 an expert instructor. Totally all members join or register to learn Seni Silat Sendeng is 2,240 members.

Pertubuhan Seni Silat Sendeng Malaysia (PSSSM) developed another training center at Kelantan, Sabah and Labuan. Under Allahyarham Haji Ismail leadership many things change and blaze like ideas and management. Every year PSSSM joins Wajadiri Programme organized by Kementerian Belia dan Sukan (KBS) Malaysia like matial art event, course, physical and charity activity. PSSSM are almost make appearence at ‘Kejohanan Seni Mempertahankan Diri Kebangsaan’ (National Martial Art Tournement) every year. PSSSM also makes a own tournament or event like Sendeng Full Contact (Sendeng Sparring), Silat Seni and other activity physical also charity.

Philosophy of Sendeng

-“If you want get a benefit what do you learn, let's bucket find well, not well find bucket. That means, how many highest knowlegde you learn but it not benefit, it same like your weapon (keris) not painful, if inncurred someone it not harmful to somebody."

-“Wise man using his mind when in silence and man using always thinking is always remember what they learn.”

-“Learning without think is danger and thinking without learning you already to lose.”

-“Get pain in class but don't pain outside class.”


Meaning of Sendeng

1) Seni / Art
’Seni’ or Art, it is have contain of meaning and philosophy to bring softly movement or step with clean or natty arrangement to act or to do a carnal movement.

2) Silat
Means skillful in carnal movement when to defend himself or attack using arm or with weapon.

3) Sendeng
Is dough all striking technics and parry, dodge or attacking tactics by ‘miring’ or ‘sendeng’ – awry or amiss, that means position in one side.

Big meanings in knowledge, flesh even spritual. Sendeng in knowlegde mean combination two units of word is ’Sen’ from word ‘Senggam’ give a meaning strong, secure and natty. While word ‘Deng’ was taken from word of ‘Dinding’ means place to defend, wall or safety position. From here when combine two words Sendeng is meaning ‘Position or safety, secure and strong in knowledge angle’.


Lesson of Sendeng

A General lesson of PSSSM has two characteristic, firstly is philosophy or words of silat and second is silat lesson. Philosophy or words of silat inside our silat is heritage from older master of silat. Words of silat, practitioner believe it is a highest level including teori and logic practical also have hiding meaning for every perform of silat movement.

Lesson of silat are separated in three part, basic level, middle level, skill and instructor level. In this level, it was separated in three core subject like seni (art), buang pukul and play silat weapon. Three of this lesson have a different style but still has same objective and angle because a practitioner must expert in three lesson if want to become as instructor or coach.

Silat Sendeng different in concepts, it not waiting any attacking besides that, it’s intercept attacking. In genuine, every attacking or striking was using following once philosophy ‘Sendeng punch cannot see or catch but if strike on target it will give damage to opponent’.

Silat Sendeng concept based on speed and powerful kicking or punch.

Thanks for the info.
For more information please Contact 017 - 332 5657 (Akmal A. Razak)

The Art of 8 Limbs...Muay Thai

Info about Muay Thai

The Secrets Behind the Art of the Eight Limbs
By Yoshi Kundagawa

Known as The Art of the Eight Limbs, Muay Thai is a martial art which is practiced in Southeast Asian countries under several different names. Using Muay Thai kicking drills the Thai military trains under a modified form of Muay Thai.

Muay Thai as we now know it originated in Thailand and has been practiced for hundreds of years and it origins, although sketchy can be traced back to Muay Boran which is a form of ancient boxing. Seeing that Thai culture is based on a combination of Chinese, Cambodian and Indian all their forms of martial arts would have had some influence of Muay Thai. This form of martial art became very popular with the general population and actually became a sport and fights in front of the public were incorporated into celebrations and festivals as entertainment. It was also used to entertain royalty and those who became more skillful became live in residents at the palace not only to entertain but to teach soldiers staff and indeed princes. It is still the number one sport in Thailand and Muay Thai has also become popular world wide. There are Mauy Thai schools and classes in most countries around the world and tournaments start at a local level and continue through to international levels.

Muay Thai is a science that uses the eight limbs of the body as weapons, two feet, two knees, two elbows and two hands. There is also a stand up neck wrestling hold that is important when using the knees and elbows properly. Using four principal techniques, Mauy Thai can be a devastating weapon.

The kicking technique is a distance combat weapon, kicks can be front and side, a round kick, a defense and block technique used against a kick and a sweeping inside and outside motion. Elbows are used in close, as defense against an elbow, self-defense with an elbow, a combination or a PAo which is a powerful technique. Knees are also used in close, a straight knee, side knee, round and a PAo and bag practice and for sparring. Punching incorporates balance, footwork and punching, bobbing and weaving, blocking and pivoting, counter punching and boxing combinations. Of course there are also strategies to use in the ring and many tactics to use against your opponent.

Naturally, like all martial arts there is a strong focus on conditioning both mentally and physically and there are a series of Muay Thai kicking drills, along with punch combinations, knee and elbow strike drills that are continually practiced be it using a punching bag, shadow kicking or with a sparring partner. These increase strength, speed, power and accuracy and are ideal for the beginner and the master alike.

Seni Silat Melayu (Malaysia)

Fact about Silat from the expert

Experience And Application Of Seni Silat Melayu # Posted by Ustaz Saiful Muhammad on January 14, 2009 at 1:12pm

Having combat experience doesn’t necessarily improve one’s ability in Silat. In fact, sometimes real fighting or combat experience contributes extremely little to the mastering of true Silat Melayu as a whole. One must broaden one's understanding of the word “experience”, this is particularly true in Silat.

Acquisition of knowledge in diverse Silat styles can be used as a tool in improving oneself, by focusing intently on the knowledge acquired. This can be done by finding the key components in every Silat style learned, and trying to gain a deeper understanding of it. Through extensive practice and under proper guidance, one will find the best way to deepen their understanding of Silat. True understanding only comes when proper knowledge and guidance is involved.

During my first few years of training in Rumpun Seni Silat Syeikh Ali, I was instructed by my masters in a variety of very strict methods of physical, mental and spiritual training that were exceptionally difficult, but also required both a deep understanding and great determination to perform to their satisfaction. This began in 1987. I subsequently received permission to teach (known as Ijazah) the first level of Rumpun Seni Silat Syeikh Ali in 1989, almost 3 full years after I completed the first level of Silat in Rumpun Seni Silat Syeikh Ali, which is Seni Silat Bongsu style.

During those 3 long years, I committed myself to learn, master and feel my newly acquired knowledge. This is the key to embracing the pure essence of Silat; learn, master and feel. I was asked by one of my masters, Cikgu Muhammad Khairuddin of Hulu Langat, Selangor, Malaysia, currently the Guru Besar Utama of Seni Silat Bongsu, to make Seni Silat Bongsu literally as if it were the very clothes on my back (“sebagai pakaian”) whilst in practice. In other words, it must become second nature whenever utilizing Silat.

Whilst under the tutelage of my late grandfather, Allahyarham Tuan Haji Ibrahim, the Guru Kaka and Guru Besar of Seni Silat Peninjauan, he forbade me from practicing any physical aspects or techniques of Silat. This was always the case throughout my early years of life and whenever I occasionally trained with him right up until he passed away 3 years ago at the age of 90 years old. But at the same time, I had to master my Silat, both physically and spiritually. Throughout his 60s and 70s he would always ask me to spar with him, but would never allow me to train myself in the physical techniques of Silat.

During my study-years at “sekolah pondok” (a type of traditional malay college for Islamic studies), I had the opportunity to learn more about Silat, both physically and spiritually. I met a master that was well known for his expertise and skill, named Ustaz Abang Solihin of Guar Cempedak, Kedah, Malaysia. Even though he was a much respected Silat master and Islamic scholar, his character was remarkable for his utmost humility and simplicity, both spiritually and physically, words and actions. I had the good fortune to study his exceptional and very rare “Ilmu Jurus 17” that was famous of the deadly results achieved from its techniques and feared by many. He taught me for one week and said I had already completed the course. It is so simple but it yet took me many years after that to understand it fully and be appointed as a master of.

There were many other Silat related episodes in my life that shaped the way I look at Silat. All are unique and very precious to me. I was forced to view many different and similar things in very different ways with each following master I studied under. Many of their ways were at that time unacceptable to me, largely due to youth and, of course, ignorance. Their ways often seemed strange or startling, but were also very rewarding experiences and proved so effective in achieving the goal that I was supposed to achieve. These were among the stories of my simple and humble journey through Silat that contributed to my personal Silat evolution.

Evolution and progression (of one’s skill) in Silat can only occur when one truly focuses and reflects upon those lessons learned through the course of their Silat studies. This evolution must always be guided by true masters, both physically and mentally. Evolving in Silat is actually a personal journey for each individual. It will develop in a very unique way, and solely for that individual.

The proper traditional Silat Melayu adab (or manners) has always been not to create new styles but to teach the traditional styles, whilst only sharing the core of one’s own evolution with others. Guiding others in their own development is the traditional way that Silat Melayu has been passed down since time immemorial. Not by creating another different style.

By creating another style, one only dilutes the original Silat knowledge which always guided others towards their own unique journey of Silat anyway. This transformation, which occurs jointly by attaining proper knowledge and understanding of authentic Silat, is a wonder that has been in practice since times of yore in the Silat world. Silat is a survival art that may have a beginning but seems there is no end, with regards personal development. By creating another style, we are in fact contributing to the destruction of each individual’s chance of personal evolution in the ancient and time tested systems.

There is nothing that is not combative in Silat. From the basics (ie, tapak, kelok, buah, langkah, bunga, etc.) until the more advance techniques (e.g. rasa, rapat, sobok, gompo, tinjau and many others) everything is versatile and very effective as a combat technique. The only weakness will be in one’s own understanding and explanation of the deeper secret of Silat, physically and spiritually.

If one has the key of understanding in any martial art, there are no ineffective or useless techniques. The blink of an eye, the sound of breathing or the slightest movement will always have seen and unseen effects. Even not moving at all can be considered as an effective technique.

In our Silat School style, we use the techniques of “tepat sipi, sipi lepas” when facing opponent as the fundamental of defense. “Tepat” literally means accurate, which mean assuming the accuracy of opponent strike. “Sipi” means inaccurate, which mean we will make the opponent’s strike inaccurately or missed with techniques. After doing the “sipi” we will do the “lepas” which means escape safely from any kind of current and future threat from the opponent.

In offensive mode, we will adapt the techniques of “umpan, pecah, Silat”. “Umpan” means luring the enemy in static, movements or striking but with such effectiveness that it can even end the fight if it accurately land on the opponent.

“Pecah” means breaking (while bridging) the enemy’s defense or plan mentally or if really necessary, physically. This breaking can result from “umpan” or can be done using another techniques followed after “umpan”, which is in “pecah”. “Silat” will be the final result meaning the closing in ending the fight with wisdom.

Result doesn’t necessarily come from kicking, punching or locking. It can also come from just a simple movements or not moving at all but result with severe physical or mental or spiritual effect to the opponent. “Silat” can also mean not fighting at all, just an act of wisdom in gaining victory. In fact the word “pendekar” which mean “pandai akal” literally means intelligent (“pandai”) mind (“akal”) signify a higher level of “pesilat”. The absolute truth is Silat is always about knowledge and wisdom.

Experience doesn’t necessarily mean what we want it to be. It can be just the understanding of knowledge itself, and not its applications. Development can only occur where there is a proper source of knowledge, constant practice whether in reality or training and understanding (that is the fruit of the whole process). Guidance must always be at the core of any kind of journey towards knowledge, guidance that comes from a true master, a true scholar, guidance that is in harmony with the teaching of Islam that is accepted with humility and sincerity by students.

Some secret about Wing Chun

Take a look at Wing Chun: An art and system

Self-Defense and the “What If” Syndrome. by Michel Boulet

“Wing Chun” is not a complete system”, we read on internet forums “How do we react when this or that happens?” “What if this or that kind of stylist?…” And it goes on and on.

I would say that studying any art with such a mind frame would rapidly bring what was an initial high motivation to a sub-zero level. Self-defense when studied as a trick collection whitch relies on memorization of “techniques” generally doesn’t take it’s practitioners a long way past a few dirty flicks.

What is needed is skill and what kind of skill is always the best?…The specialized skill based on a systematic approach where step (A) brings to step (B) and so on. Wing Chun propose such and approach. It is not alone in this field. Many arts, even if “incomplete” have a systematic way of fighting. Some specialize in ground grappling, long range kicking, arm locks, etc… The key, is to be very good at a few things.

What can a dedicated practitioner expect from his study of Wing Chun?…Very few things if he expect to feel like an invincible bad ass after a short time!…He will work on seemingly useless and non impressive forms. He will practice a bizarre exercise called “Chi Sau” and he will have to unlearn many natural responses like using force against force. He will ask questions about the “what if” bugging him at the moment and will be answered that almost any of the Wing Chun motions could do depending on the conditions. At this stage, no wonder that the insecure or the aggressive will be long gone from the school.

The persistent ones who were working on simply developing skill will begin to know the answer: Wing Chun is not about how to react on a given situation. It is about being an actor in it. It is about taking charge of it as fast and decisively as possible ,using not only a system called Wing Chun, but your own personal capacities as a person. Wing Chun is not dogma or religion. It is a specialized tool that you choose based on your personal preferences. Some prefer to strike. Others enjoy other things, that’s all. Make your tools very sharp ones. One way to realize this goal is to be aware of the defensive and offensive lines and to use a few well tuned and destructive weapons along with those lines. The few punches of the system, accompanied with the open hands, elbows, knees and simple low kicks can do the job and even a little too much depending on the situation. It would be good to use some judgment in this matter and not turn a banal self-defense case involving a drunk brother in law into a brutal aggression. A good advise is to develop the defensive arsenal of Wing Chun to the up most. Learn to flow with the opponent’s attacks and practice good control on your own attacks. It is a real guaranty for progress and skill.

One last thing!…Have fun in your Wing Chun journey. Treat it as an art and don’t think too much about self-defense!…Chances are you will never need to defend yourself anyway.