Which Martial Art Is Used More for Mental and Physical Relaxation Rather Than for Physical Combat

Indonesian martial arts includes a multifariousness of fighting systems native to or adult in the archipelago of Indonesia, both the historic period-old traditional arts, and the more recently adult hybrid combatives. In the Indonesian language the term bela-diri (lit. self-defense) is used to hateful martial art, and in essence the Indonesian fighting arts are meant as one's defence confronting perceived threat and assail. Other than concrete training, they frequently 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 Indonesia are non included within the category of silat. Western misconception links silat with "jungle tribes" only in actuality, pencak silat was neither created nor traditionally practised by Republic of indonesia'due south tribal inhabitants, many of whom have unique martial arts of their ain. Some of these traditions have been preserved as a consummate fighting arrangement, e.grand. pencak silat and kuntao. Other methods are either no longer expert or but exist in a more sportive grade 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 amongst the native populace for much of its long history, and the people of the region naturally developed effective methods of combat and self-defense.^[i] Archaeological findings dating from prehistoric times have uncovered a variety of stone and metallic weaponry such as axes, arrows and spearheads. These implements would have doubled as hunting tools and weapons of combat between and amid tribes. Tribal warfare, although often motivated past resources, lands and slave grabbing, was also a solution to settling disputes, too as a component of coming of age rituals. The practice of headhunting adult the martial skills of some tribes to a high 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 forerunner to the preset forms or jurus of later fighting systems. Displaced Baiyue from present-day China and Vietnam (particularly the Dong Son culture) during the start centuries of the common era introduced bronze-casting to the Nusantara and resulted in the evolution of native edged weapons such as the parang, klewang, mandau, badik, kujang, golok and kris. Chinese straight swords arrived early, and aboriginal Javanese curved swords show Indian derivation.

Contact with India and the forming of ancient kingdoms lead to the transition from tribalism to the golden age that was Republic of indonesia'southward Dharmic civilization. Pencak silat developed in this era^{[ vague ]}, spreading apace from Sumatra into nigh the whole of the archipelago. In comparison to the land'south tribal fighting systems, pencak silat shows incomparably more influence from the Asian mainland, specifically China and the Indian subcontinent. Pencak silat tied the fine art of combat with practices of meditation and spiritual development, calculation a new layer to the martial arts aside from merely being used to fight or kill so that information technology was used consistently throughout Republic of indonesia's history.^[3] The broad geographical area in which pencak silat was adept is naturally reflected in its multifariousness of techniques and weaponry, some indigenous and some adopted from exterior through maritime merchandise. Chinese communities continued to establish themselves, their native kuntao influencing the local martial arts.

Gunpowder technology in cannons and muskets allowed many kingdoms and polities in Indonesia to be conquered and subjugated by European power. A farther influx of Chinese were brought in equally labourers, increasing the proliferation of kuntao styles. But while the Europeans could effectively overtake and agree the cities, they found information technology impossible to command the smaller villages and roads connecting them. Indonesians took advantage of this, fighting an underground war through guerilla tactics. As guns were not widely available, indigenous blades were used in these attacks. Sociology portrays the rebels as Robin Hood-like martial artists such every bit Si Pitung. After Indonesia won its independence from colonization, the role of martial arts like pencak silat in nation-edifice was recognized. The Indonesian Pencak Silat Association (IPSI) was founded to unite the country's pencak silat schools nether a single governing body. It has been incorporated into the unarmed combat grooming of Indonesia's polce and military, as well as being an actress-curricular activeness in schools, and a combat sport in athletic events. Many of the more violent martial practices such as headhunting and duels to the expiry either fell out of popularity or were banned. A number of fighting styles accept managed to survive by adapting. In some cases they became less lethal like pasola, or at times by being promoted as a dance for the entertainment of tourists.

Systems [edit]

The post-obit are complete martial arts designed for fighting or self-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 mod usage, pencak and silat are seen as being two aspects of the aforementioned exercise. Pencak is the essence of training, the outward attribute of the fine art. Silat is the internal essence of combat and self-defence force, the truthful fighting application of the techniques.^[4] The earliest testify of pencak silat is in sixth-century Riau from where information technology saw further development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Coffee. The fine art gradually spread throughout virtually 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 torso is used and subject field to set on. Strikes, grabs, locks, and weapons are all incorporated. Training is often supplemented with internal methods of development such as meditation.

Kuntao [edit]

Kuntao is a Hokkien term for martial arts, in this instance referring to those practised by the Tionghoa community of the Indonesian archipelago. Kuntao has a long history in the region dating dorsum to ancient times. Such has been the influence betwixt kuntao and pencak silat that the terms are used interchangeably in some regions. Every Chinese customs in Indonesia either has or historically had some style 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 China and underwent little or no changes, such equally thaikek (taiji), pakua (baguazhang or 8-trigram palm) and peh-ho (baihequan or white crane fist). Other pop systems originate from the same states every bit the Chinese communities who do them, so that Fujian, Shandong, Kongfu and Guangdong styles dominate.

Caci [edit]

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

Caci (pronounced "chachi") is a grade of fighting with a whip or stick.^[five] It appears to be indigenous to Flores in East Nusa Tenggara, only information technology is also practiced in Bali and Lombok.^[v] The fine 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 exam, indicating a one-on-one test betwixt the fighters. According to local sociology, caci during festivals began with two brothers who owned a buffalo. When the younger blood brother cruel into a deep hole, the older blood brother had to slaughter the buffalo to get its peel to help his sibling escape from the hole.^[6] The community celebrated this act of dearest with a festival in which caci matches were held.

There are 2 types of caci: with a whip (tereng or agang) or a stick (agang). The whip may exist either long or brusk. The short whip corresponds to the cambuk of Java and measures 3 anxiety in length. The long whip is 5–six feet long and made from palm stems tied together with either rattan or strips of water buffalo hibernate. The stick is an undecorated slice of hardwood measuring 1-1.v yards long and 2 inches in diameter. The shield is of round or elliptical shape. Likewise traditionally undecorated, it is known equally giling or nggiling when fabricated of buffalo hide and perisai kayu when fabricated of woods. Both the whip and the stick form were traditionally skilful in Manggarai Regency, but the stick is rarely seen today. In Bali and Ngada Regency, just the stick grade exists.

In a caci match, the ii fighters (who are always male) take turns alternately attacking and defending. The assailant is permitted iii blows to any office of the anatomy, while the defender attempts to cake with his shield. The defender is non allowed to set on while defending, but in the example of whip-fighting the defender may spin the whip above his caput to prevent the attacker from closing in. Stick techniques are all swings without any thrusting. Caci at once served equally a class of conflict management within and between villages. Fighters are divided into the host grouping (ata one) and the challenger group from another village (ata pe'ang or meka landang). Victory is obtained by hitting the opponent's confront or head. In sometime times, championship bouts were held in which the object was to blind the opponent'south eye. The winner is required to happily sing a quatrain while the loser replies in a low vox to bear witness despair.

Fitimaen [edit]

Fitimaen is a course 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.^[five] Sparring sessions are short to minimise injury, and preparation 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 "practice with atypical skill their cuts and thrusts". While spears and metallic knives were also used by the Buru Alifuru for fighting, their preference has ever been the fighting staff. Donn F. Draeger calls them the best stick and staff fighters in the whole of Republic of indonesia although non a particularly combative community. The blowpipe (sumping) and bow and arrow could as well 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 unremarkably refers to western battle. In Flores a class of boxing exists which involves four people. As ii boxers fight, each is steered past a partner holding their waistband from behind. Attacks may be delivered with the open hand, closed fist, backhand, elbow, or a combination of these. Only the hands, arms and shoulders may exist used. Kicks and throws are not permitted. The history of tinju is unknown just information technology is most common in Bajawa and most likely originated there. In earlier times, each boxer would hold a smooth round rock in one hand and wrap the hand in material. Matches are full-contact and victory is adamant on points.^[5]

Tarung Derajat [edit]

Young Tarung Derajat fighters.

Tarung Derajat is a full-contact martial art created by Haji Achmad Dradjat in Bandung, West Java. Adult 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 as bones grooming by the Indonesian Army. Tarung Derajat emphasizes punching and kicking, just is not express to these, as grappling and sweeping are also included in its training. Practitioners are known simply equally petarung meaning "fighter".

Since the 1990s, Tarung Derajat has been refined every bit a gainsay sport. In 1998, the Tarung Derajat organisation officially became a member of the KONI. Since and then, the arrangement 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), now 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 combat, and war dances. All are exclusive to males unless otherwise stated.

Pasola [edit]

Pasola is a tradition of state of war betwixt two opposing camps, chasing after 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 hubby - a local leader - left home for an extended menstruum, she believed him to be dead and eloped with a new lover from another hamlet. After her hubby returned, the woman however chose to stay with her new lover, and the two were married. To forget their leader's sadness, the people of Waiwuang held the festival of pasola. Originally the participants rode horses and threw spears at each other in an endeavour to spill claret to the basis, as a way of thanking the ancestors for a successful harvest and ensuring some other prosperous rice harvest. The ritual inverse over time into more of a mock battle. The spear tips are now blunt and their metal tips removed. Whereas it was once considered an accolade to dice during pasola, simply adventitious deaths occasionally occur today. The homo and horse blood which used to drench the field is now solely from sacrificed pigs, dogs, and chickens. Armed police are kept on guard to prevent fights from breaking out. Get-go 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 moisture flavor and the beginning of ingather-planting. Today, the elders make up one's mind on the date in advance for the sake of tourists. Pasola is e'er held for 4 weeks in February and March.^[nine]

Debus [edit]

Debus is a martial fine art that shows immunity 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 form of wrestling, particularly native to the Kenyah people of East Borneo. The give-and-take 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. Concrete strength and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-like grade of wrestling called bebintih meaning "mutual tackle". Matches take place in dried rice paddies later on being harvested and a circumvolve is set up in the centre of the field as a ring. The aim is to push the opponent out of the circle or knock them to the ground. Wrestlers - e'er male - hold 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 activeness practised by the Toraja of South Sulawesi. While sisemba is its formal proper name, it is also 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 kick-fighting is normally performed as part of the rice harvest festival in Tana Toraja villages. According to tradition, sisemba is a prerequisite for the side by side successful harvest.^[11] In the practice of sisemba, hundreds of participants from 2 villages join hands and form lines of ii or more people. They may be linked past the arms or by clasping hands. The line is not necessarily direct but may have the form of a V-shape, an inverted V-formation, a wedge, a circular arc either concave or convex, or any other shape. Once joined in line, all participants must be linked except the men on the ends of each line. Once the opposing ranks come within range, they kicking at each other in an attempt to knock players out of the opponent'south line.^[xi] A divided line is 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 as sending the actor at the stop of a line flying through the air completely off the ground, and then pulling them back in a whip-like manner after they've struck the opponent. Whatsoever sort of kicks are allowed and any office of the body may exist targeted so long as the link to the line is maintained. An private who has been knocked out of line may become upwardly and rejoin their line; until rejoining he is off-limits to the attacks of the opposing team. In earlier days, such an individual would be kicked into submission or until unconscious.

Sisemba originated as a form of mass defense in which every man in the hamlet repelled invaders. Information technology served its purpose well enough that no form of pencak silat, wrestling, or whatsoever other unarmed fighting art exists in the Toraja culture. Sisemba was likewise used as a style of settling disputes between kampung. Victory was obtained merely by reducing the numbers of the opposing squad through injury. Today information technology is a harvest-time festivity, performed on harvested rice fields. Matches last for several hours each mean solar day over a catamenia of weeks during the harvest flavour. The winner is decided based on the superiority of technique but injuries are notwithstanding frequent, particularly to the confront. To ensure that the match runs smoothly, the village elders act as supervisors. If a participant or a pair of them was deemed to exist too fierce, the village elders will separate them from the oversupply.^[11]

Cakalele [edit]

The cakelele is a male person war-dance practised past the aboriginals of Due north and Key Maluku. Hybrid forms also exist in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, it originated as a way for the warriors to celebrate after a successful raid. From the age of sixteen, village boys would study and work for 3–five years with the kakehan, the men's secret society. The art of combat formed part of their education, as was the cakalele. While not an actual martial art, the dance has preserved some techniques and the full range of ancient weaponry, making information technology greatly important in the study of Indonesia'southward native fighting methods. Backed past the rhythm of the drum and gong (tifa) and fife (sulin), two opposing captains appoint in mock-combat with a spear (sanokat) and long pocketknife (lopu). Supporting warriors wield long knives and a narrow wooden shield known equally 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 sharp, thorny pandan social club paired with a shield. Information technology is sometimes called makare-kare in Balinese and known equally perang pandan in Indonesian, literally significant "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 honour Indra every bit 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 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 blasphemy, and their battle was commemorated through mageret pandan.^[xiv]

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

Kabasaran [edit]

Kabasaran is a Minahasan war trip the light fantastic from Northward Sulawesi, performed by several men clad in red. 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 male parent to son.^[16]

The basic structure of the trip the light fantastic toe consists of nine trip the light fantastic moves (jurus) using either the sword (santi) or spear (wengkouw). The footwork pattern consists of 2 steps to the left and another two to the right. Dancers are known as kawasalan indicating a pair of fighter cocks.^[xvi] The trip the light fantastic is accompanied by 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 practiced 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 step into the sarong. Knives in their right hands, the ii duellists fight to the death within the confines of the sarong. This violent method was used for conflict resolution in Bugis-Makassar community in the past. 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 only manner to resolve this dispute is through a deadly duel in a sarong.^[17]

In Bugis culture, at that place are three important concept that should be uphold; Ade (adat) or traditional community, Siri (shame or cocky worth) or in this instance one's pride and honor 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 ane'south award 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 part of Southeast Asia this duel was start introduced, but it was proficient in Thailand where the fighters boxed each other with the right hands. Duelling inside a sarong rather than tying the hands together appears to be unique to Republic of indonesia. Among the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak notwithstanding use some other type of knife known every bit 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 : curt-handled trident, literally meaning "co-operative"
Cambuk / Pecut : whip, might be fabricated from various materials; rattan, bamboo, fabrics, leather to stingray'southward tail
Celurit/ Sabit : a sickle, commonly used in farming, tillage and harvesting of crops.
Kerambit/ Kuku Macan : a blade shaped like a tiger'southward claw
Kipas : traditional folding fan preferably made of hardwood or iron.
Klewang : a type of single-edge longsword with a protruding notch near its tip.
Kris : a dagger, often with a wavy blade made past folding different types of metal together and and so washing it in acid.
Kujang : Sundanese blade roughly shaped like a deer'southward antler.
Parang/ Golok : machete commonly used in daily tasks such as cut through forest 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 force against blades.
Sundang : a double border Bugis sword, frequently wavy-bladed
Tameng/ Perisai : shield fabricated of hardwood, weaved rattan, or sometimes metallic.
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 iii-pronged spear

In popular civilization [edit]

Republic of indonesia has showcased its martial arts in cinema, novels, comics, theatre, and Television set series for decades. The term silat equally a genre refers specifically to historical stories involving martial artists. These need not necessarily feature the silat subject field itself, but also includes Chinese wuxia and Japanese jidaigeki. The silat genre began as an oral and theatrical tradition before kickoff being written in the class of medieval hikayat. The modern silat novel was a 20th-century evolution of the literary silat genre, giving ascent to comics and eventually movies. Early on silat films (every bit with many contemporary TV serial today) placed less emphasis on the actual fights and more 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 take been adapted both for Television receiver and film. Indonesian movie theatre differentiates this from modern activity films or laga. The latter may or may not include traditional fighting styles, but the modernistic setting makes information technology distinct from the silat genre proper.

While Indonesian movies and TV series have ever had a big post-obit in neighbouring Malaysia and Singapore, it was the 2009 film Merantau that brought international attention to the cinematic genre and pencak silat in general. The film had a mostly positive reaction from movie theater critics^[eighteen] and generated enough interest for the atomic number 82 role player to follow up 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 extreme gore,^[xix] ^[twenty] leading to the motion-picture show beingness banned in Malaysia.^[21]

See too [edit]

Styles of silat
Armed forces history of Republic of indonesia

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Belt Magazine. Retrieved half-dozen July 2015.
^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles Due east. Tuttle Co. ISBN978-0-8048-1716-5.
^ "Silek Harimau Minangkabau: the True Martial Fine 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 (5 April 2013). "Manifesting strength and love". The Jakarta Mail. West Manggarai, E Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (13 November 2011). "Tarung derajat looking for bigger stage". The Jakarta Post. Jakarta. Retrieved 11 November 2011.
^ "Tarung Derajat Tampil di Bounding main Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved 11 November 2015.
^ "Indonesian island sees hereafter in age-old 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 Nov 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. Due east. 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 G Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal Land. ISBN9-0545-0004-ii.
^ 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 Jakarta Post. Tenganan. Retrieved 21 September 2015.
^ ^a ^b ^c "Tarian Kabasaran". Republic of 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 2 is too gory to stomach". Rediff. 30 May 2014.
^ "Paramedics Called To 'Raid two' Premiere: 'The Most Vehement Mainstream Movie Since Passion Of The Christ'". UPROXX.
^ "The Raid 2: Berandal banned due to excessive violence". astroawani.com.

Duesbury Wrou1984