From Warriors to Sportsmen How Traditional Chinese Martial Arts Adapted to Modernity

Indonesian martial arts includes a variety of fighting systems native to or adult in the archipelago of Indonesia, both the age-sometime traditional arts, and the more recently adult hybrid combatives. In the Indonesian language the term bela-diri (lit. cocky-defense) is used to mean martial art, and in essence the Indonesian fighting arts are meant as one's defence against perceived threat and attack. Other than physical grooming, they oftentimes include spiritual aspects to cultivate inner strength, 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 Republic of indonesia are not included within the category of silat. Western misconception links silat with "jungle tribes" but in authenticity, pencak silat was neither created nor traditionally practised by Indonesia'south tribal inhabitants, many of whom have unique martial arts of their ain. Some of these traditions have been preserved as a complete fighting system, e.one thousand. pencak silat and kuntao. Other methods are either no longer skillful or only exist in a more sportive form such as the spear-throwing of pasola or the dance of cakalele.

History [edit]

Boxing scene on bas-relief of Penataran, Majapahit era

Some parts of the archipelagic realm that is today Indonesia was the scene of warfare amidst the native populace for much of its long history, and the people of the region naturally developed effective methods of combat and cocky-defense.^[one] Archaeological findings dating from prehistoric times have uncovered a diverseness of stone and metal weaponry such every bit axes, arrows and spearheads. These implements would have doubled as hunting tools and weapons of combat between and amongst tribes. Tribal warfare, although oft motivated past resources, lands and slave grabbing, was also a solution to settling disputes, equally well as a component of coming of historic period rituals. The practise of headhunting developed the martial skills of some tribes to a loftier level such as the Dayak, Batak, and Nias people. Warriors from militaristic tribes were appreciated by other factions, and were recruited by developed kingdoms and polities every bit mercenaries. Traditional war dances were used both to reenact battles and as a form of training, a precursor to the preset forms or jurus of afterwards fighting systems. Displaced Baiyue from present-mean solar day China and Vietnam (particularly the Dong Son culture) 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 straight swords arrived early on, and aboriginal Javanese curved swords show Indian derivation.

Contact with India and the forming of aboriginal kingdoms lead to the transition from tribalism to the golden age that was Indonesia's Dharmic civilisation. Pencak silat adult in this era^{[ vague ]}, spreading quickly from Sumatra into nearly the whole of the archipelago. In comparison to the country'southward 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, adding a new layer to the martial arts aside from simply existence used to fight or kill so that it was used consistently throughout Indonesia's history.^[iii] The wide geographical area in which pencak silat was practiced is naturally reflected in its multifariousness of techniques and weaponry, some indigenous and some adopted from exterior through maritime merchandise. 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 power. A further influx of Chinese were brought in equally labourers, increasing the proliferation of kuntao styles. But while the Europeans could finer overtake and hold the cities, they found information technology impossible to control the smaller villages and roads connecting them. Indonesians took advantage of this, fighting an underground war through guerilla tactics. Equally guns were not widely available, indigenous blades were used in these attacks. Folklore portrays the rebels every bit Robin Hood-similar martial artists such as Si Pitung. After Indonesia won its independence from colonization, the role of martial arts similar pencak silat in nation-building was recognized. The Indonesian Pencak Silat Clan (IPSI) was founded to unite the country'south pencak silat schools under a single governing body. It has been incorporated into the unarmed combat training of Indonesia's polce and military machine, as well every bit beingness an extra-curricular activity in schools, and a combat sport in athletic events. Many of the more violent martial practices such as 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 similar pasola, or at times past being promoted as a dance for the entertainment of tourists.

Systems [edit]

The post-obit are consummate martial arts designed for fighting or self-defense.

Pencak Silat [edit]

Pencak silat is a compound of the two virtually usually used words for martial arts in Indonesia. Pencak was the term used in fundamental and due east Java, while silat was used in Sumatra and Kalimantan. In modern usage, pencak and silat are seen as being two aspects of the same practise. Pencak is the essence of grooming, the outward aspect of the art. Silat is the internal essence of combat and self-defence force, the true fighting application of the techniques.^[4] The primeval evidence 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 fine art gradually spread throughout most of what is now Indonesia and reached its peak in the medieval Majapahit kingdom. Generalizations of silat techniques are difficult due to the diversity of systems. Any part of the body is used and bailiwick to set on. Strikes, grabs, locks, and weapons are all incorporated. Grooming is often supplemented with internal methods of evolution such as meditation.

Kuntao [edit]

Kuntao is a Hokkien term for martial arts, in this case referring to those practised past the Tionghoa community of the Indonesian archipelago. Kuntao has a long history in the region dating dorsum to aboriginal times. Such has been the influence betwixt kuntao and pencak silat that the terms are used interchangeably in some regions. Every Chinese community in Indonesia either has or historically had some mode of kuntao, but they were not taught openly until the latter 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 directly imported from Prc and underwent little or no changes, such as thaikek (taiji), pakua (baguazhang or eight-trigram palm) and peh-ho (baihequan or white crane fist). Other popular systems originate from the aforementioned states as the Chinese communities who exercise them, so that Fujian, Shandong, Kongfu and Guangdong styles dominate.

Caci [edit]

Caci duel using rattan whip as weapon and shield as protection.

Caci (pronounced "chachi") is a grade of fighting with a whip or stick.^[v] It appears to be indigenous to Flores in East Nusa Tenggara, just it is also practiced in Bali and Lombok.^[five] The art is sometimes called cacing or ende in Flores, and larik or kebat in Riung, while in Balinese it is known equally ende. The term caci is said to derive from the Manggarai words ca meaning one and ci significant examination, indicating a one-on-one exam 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 pare to help his sibling escape from the hole.^[vi] The community celebrated this deed of dearest with a festival in which caci matches were held.

In that location are two types of caci: with a whip (tereng or agang) or a stick (agang). The whip may exist either long or curt. The short whip corresponds to the cambuk of Java and measures iii feet in length. The long whip is five–6 feet long and made from palm stems tied together with either rattan or strips of h2o buffalo hibernate. The stick is an undecorated piece of hardwood measuring i-1.5 yards long and 2 inches in diameter. The shield is of round or elliptical shape. Also traditionally undecorated, it is known as giling or nggiling when made of buffalo hide and perisai kayu when made of wood. Both the whip and the stick form were traditionally practiced in Manggarai Regency, just 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 attacker is permitted 3 blows to any office of the beefcake, while the defender attempts to block with his shield. The defender is not immune to attack while defending, but in the case of whip-fighting the defender may spin the whip above his caput to preclude the aggressor from closing in. Stick techniques are all swings without any thrusting. Caci at one time served equally a form of disharmonize management within and betwixt villages. Fighters are divided into the host group (ata one) and the challenger group from another village (ata pe'ang or meka landang). Victory is obtained by hit the opponent's face or head. In former times, championship bouts were held in which the object was to bullheaded the opponent's eye. The winner is required to happily sing a quatrain while the loser replies in a low vox 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 ways stick. The maen are either made from rattan or from native hardwood, of which in that location are hundreds of varieties.^[5] Sparring sessions are short to minimise injury, and training 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 get-go written attestation of fitimaen comes from a British naturalist who recounts that the natives are "adepts at quarterstaff" and that even children "practice with singular skill their cuts and thrusts". While spears and metallic knives were also 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 peculiarly combative community. The blowpipe (sumping) and bow and pointer could besides be used for warfare but are more often than not hunting implements. Ii styles of fitimaen are ascendant, one from Namlea and the other from Leksula.^[5]

Tinju [edit]

The word tinju means fist-fighting and usually refers to western boxing. In Flores a form of boxing exists which involves four people. As two boxers fight, each is steered past a partner holding their waistband from behind. Attacks may exist delivered with the open hand, closed fist, backhand, elbow, or a combination of these. Only the hands, arms and shoulders may be used. Kicks and throws are non permitted. The history of tinju is unknown but it is most common in Bajawa and nigh likely originated at that place. In before times, each boxer would hold a shine round rock in 1 hand and wrap the hand in cloth. Matches are full-contact and victory is determined on points.^[5]

Tarung Derajat [edit]

Young Tarung Derajat fighters.

Tarung Derajat is a full-contact martial fine art created past Haji Achmad Dradjat in Bandung, West Java. Adult in the 1960s, information technology is a hybrid system which incorporates battle, grappling and street-fighting.^[7] Tarung Derajat is officially recognized equally a national sport and used every bit basic training past the Indonesian Army. Tarung Derajat emphasizes punching and kick, but is non limited to these, as grappling and sweeping are also included in its training. Practitioners are known simply as petarung meaning "fighter".

Since the 1990s, Tarung Derajat has been refined every bit a gainsay sport. In 1998, the Tarung Derajat organization officially became a member of the KONI. Since then, the system has a spot in Pekan Olahraga Nasional, a national multi-sport contest held every four years. The main Tarung Derajat clan, KODRAT (Keluarga Olahraga Tarung Derajat), now has sub-organizations in 22 provinces in Indonesia. It was introduced equally an exhibition number in the 2011 Southeast Asian Games in Palembang, Republic of indonesia.^[8]

[edit]

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

Pasola [edit]

Pasola is a tradition of war between 2 opposing camps, chasing after throwing a wooden javelin at an opponent

Pasola is a form of mounted spear-fighting from western Sumba. The discussion pasola comes from the local word for spear and derives from the Sanskrit sula. Co-ordinate to legend, pasola originated with a woman 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 woman all the same chose to stay with her new lover, and the 2 were married. To forget their leader'due south sadness, the people of Waiwuang held the festival of pasola. Originally the participants rode horses and threw spears at each other in an attempt to spill blood to the ground, as a mode of thanking the ancestors for a successful harvest and ensuring some other prosperous rice harvest. The ritual changed over time into more of a mock boxing. The spear tips are at present blunt and their metal tips removed. Whereas it was once considered an honour to die during pasola, simply adventitious deaths occasionally occur today. The human and horse blood which used to drench the field is at present solely from sacrificed pigs, dogs, and chickens. Armed police are kept on baby-sit to forbid fights from breaking out. Get-go in the 2010s, pasola has been promoted equally 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 season and the showtime 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 February and March.^[9]

Debus [edit]

Debus is a martial art that shows amnesty with sharp 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 grade of wrestling, particularly native to the Kenyah people of East Borneo. The word 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 friction match is to lift and slam the opponent to the footing. Concrete strength and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-like form of wrestling called bebintih meaning "common tackle". Matches take place in dried rice paddies later on existence harvested and a circumvolve is set in the centre 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 - hold their opponent's loincloth and shove their shoulders against each other while using their legs to trip the opponent.^[ten]

Sisemba [edit]

Sisemba is a kick-fighting activity practised by the Toraja of South Sulawesi. While sisemba is its formal proper noun, it is likewise known as semba or sempak. Native to the Batan and Pangalla areas in the North Toraja Regency, it is today mainly seen in the Toraja cultural centre of Rantepao. The ritual of mass kicking-fighting is ordinarily performed every bit part of the rice harvest festival in Tana Toraja villages. Co-ordinate to tradition, sisemba is a prerequisite for the next successful harvest.^[eleven] In the practice of sisemba, hundreds of participants from two villages bring together hands and form lines of two or more people. They may be linked by the arms or past clasping hands. The line is not necessarily straight only may take the course of a 5-shape, an inverted V-germination, 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 up within range, they kick at each other in an attempt to knock players out of the opponent's line.^[11] A divided line is then overwhelmed by the superior numbers of the opposing line, who manoeuvre and surroundings stragglers. Smaller lines are yet capable of more active manoeuvres, such as sending the player at the finish of a line flight through the air completely off the basis, and so pulling them dorsum in a whip-like style after they've struck the opponent. Any sort of kicks are allowed and any part of the body may be targeted then long as the link to the line is maintained. An individual who has been knocked out of line may become upwards 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 form of mass defence in which every man in the village repelled invaders. It served its purpose well plenty that no form of pencak silat, wrestling, or any other unarmed fighting art exists in the Toraja culture. Sisemba was likewise used every bit a fashion of settling disputes between kampung. Victory was obtained but by reducing the numbers of the opposing squad through injury. Today it is a harvest-time festivity, performed on harvested rice fields. Matches last for several hours each mean solar day over a period of weeks during the harvest season. The winner is decided based on the superiority of technique just injuries are still frequent, especially to the face. To ensure that the match runs smoothly, the village elders act as supervisors. If a participant or a pair of them was deemed to be too violent, the village elders will separate them from the oversupply.^[11]

Cakalele [edit]

The cakelele is a male state of war-dance practised past the aboriginals of North and Cardinal Maluku. Hybrid forms likewise exist in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, information technology originated equally a manner for the warriors to celebrate after a successful raid. From the historic period of sixteen, hamlet boys would report and work for 3–v years with the kakehan, the men'southward hush-hush society. The fine art of combat formed function of their education, as was the cakalele. While not an actual martial art, the trip the light fantastic toe has preserved some techniques and the full range of aboriginal weaponry, making it profoundly important in the written report 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-gainsay 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 boxing in Tenganan village, Karangasem, Bali.

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

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

Today it is done as a ritual to accolade the gods and the ancestors. The weapon used in mageret pandan is a xv cm order made past tying ten-xv leaves of pandan (Pandanus amaryllifolius) together. Each of the leaves is edged with small sharp thorns. The shield is a rattan buckler. Techniques are mostly swinging strikes, but grappling is used when in-fighting. Participants compete shirtless, wearing merely a sarong (kamen) and traditional headdress (udeng). Co-ordinate to tradition, the mageret pandan is compulsory for Tenganan males. For the young, information technology serves as a rite of passage into manhood; children every bit young as vii have participated.^[15]

Kabasaran [edit]

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

The basic construction 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 equally kawasalan indicating a pair of fighter cocks.^[xvi] The dance is accompanied past percussion instruments such as 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 culture in the past.

Sitobo lalang lipa or Sigajang laleng lipa is the Bugis term for a type of knife duel formerly skilful 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 man to stride into the sarong. Knives in their right hands, the two duellists fight to the death within the confines of the sarong. This violent method was used for disharmonize resolution in Bugis-Makassar community in the by. If 2 men having disputes that can non be resolved through parley, their honour has been trespassed, and none of them admitted their mistakes, the simply way to resolve this dispute is through a deadly duel in a sarong.^[17]

In Bugis culture, at that place are 3 important concept that should be uphold; Ade (adat) or traditional customs, Siri (shame or self worth) or in this case ane'south pride and honor should be protected fiercely to avoid the shame of humiliation, and Pesse (pity). In Bugis culture, the Siri attribute is the most dominant, thus disharmonize regarding one'south honour might occur.^[17]

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

Weapons [edit]

Nias warrior armed with spear and shield

Badik : a knife or dagger adult by the Bugis and Makassar people of southern Sulawesi
Chabang : short-handled trident, literally significant "branch"
Cambuk / Pecut : whip, might be made from diverse 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 blade shaped like 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 nigh its tip.
Kris : a dagger, oft with a wavy blade made by folding dissimilar types of metallic together and then washing information technology in acrid.
Kujang : Sundanese blade roughly shaped like a deer'due south antler.
Parang/ Golok : machete commonly used in daily tasks such equally cut through woods brush.
Pedang : sword, either straight or curved
Rencong/Tumbuk Lada : slightly curved Aceh and Minang dagger, literally significant "pepper grinder".
Samping/Linso : silk sash worn around the waist or shoulder, used in locking techniques and for defence confronting blades.
Sundang : a double border Bugis sword, often 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 blade.
Toya : rod or staff made from wood, steel or bamboo.
Trisula : a trident or 3-pronged spear

In popular culture [edit]

Indonesia has showcased its martial arts in cinema, novels, comics, theatre, and Tv serial for decades. The term silat equally a genre refers specifically to historical stories involving martial artists. These need not necessarily feature the silat discipline itself, but also includes Chinese wuxia and Japanese jidaigeki. The silat genre began every bit an oral and theatrical tradition before first beingness written in the form of medieval hikayat. The mod silat novel was a 20th-century development of the literary silat genre, giving rise to comics and eventually movies. Early on silat films (as with many contemporary Tv 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 old Indonesian kingdoms of Pajajaran and Majapahit circa the 14-15th century. Historical epics such every bit Saur Sepuh, Tutur Tinular and Misteri Gunung Merapi accept been adapted both for TV and motion picture. Indonesian cinema differentiates this from modern action films or laga. The latter may or may not include traditional fighting styles, merely the mod setting makes it distinct from the silat genre proper.

While Indonesian movies and Boob tube serial accept ever had a big following in neighbouring Malaysia and Singapore, it was the 2009 film Merantau that brought international attending to the cinematic genre and pencak silat in general. The moving-picture show had a mostly positive reaction from cinema critics^[eighteen] and generated plenty interest for the lead histrion to follow upward with The Raid: Redemption in 2011 which received international acclaim. Its sequel The Raid ii: Berandal was similarly well-received but drew much criticism for its farthermost gore,^[19] ^[20] leading to the motion picture being banned in Malaysia.^[21]

Encounter also [edit]

Styles of silat
Armed forces history of Indonesia

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Belt Magazine. Retrieved 6 July 2015.
^ Donn F. Draeger (1992). Weapons and fighting arts of Republic of indonesia. Rutland, Vt. : Charles E. Tuttle Co. ISBN978-0-8048-1716-five.
^ "Silek Harimau Minangkabau: the Truthful Martial Art of West Sumatra". Wonderful Indonesia. Retrieved 8 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 November 2015.
^ Indra Harsaputra (v April 2013). "Manifesting strength and love". The Jakarta Post. West Manggarai, E Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (13 November 2011). "Tarung derajat looking for bigger phase". The Djakarta Post. Jakarta. Retrieved 11 November 2011.
^ "Tarung Derajat Tampil di Body of water Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved 11 November 2015.
^ "Indonesian island sees future in age-former horseback battle". The Star. 3 Apr 2014.
^ Suryadi Gunawan. "'Payuq', 'Bebintih' Roh Para Pegulat Kaltim di Ajang Internasional". Antara News.com (in Indonesian). Retrieved 11 November 2015.
^ ^a ^b ^c Husain (4 May 2012). Glori K. Wadrianto (ed.). "Menyaksikan Tradisi "Sisemba" di Toraja Utara". Kompas Travel (in Indonesian). Retrieved 11 Nov 2015.
^ P. Eastward. De Josselin De Jong (1984). Unity in Diversity: Republic of indonesia as a Field of Anthropological Written report. Foris Publications. ISBN9-0676-5063-3.
^ Albert Thousand Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal Land. ISBN9-0545-0004-2.
^ Luh De Suriyan (13 July 2016). "Melihat Aneka Ritual Kesadaran Lingkungan di Desa Sosialis Tenganan Pegringsingan". Mongabay indonesia (in Indonesian).
^ Anton Muhajir (18 June 2009). "Ritualistic battle honors the ancestors". The Dki jakarta Mail. 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 10 April 2020.
^ Brown, Todd (23 July 2009). "PiFan 09 Review: MERANTAU". Twitch Film. Archived from the original on 27 July 2009.
^ "Review: The Raid ii is likewise gory to tum". Rediff. 30 May 2014.
^ "Paramedics Called To 'Raid 2' Premiere: 'The Near Trigger-happy Mainstream Film Since Passion Of The Christ'". UPROXX.
^ "The Raid two: Berandal banned due to excessive violence". astroawani.com.