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Silambam (India)

The art of staff fighting has a long history in India. In the Vedic age, young men were routinely trained to defend themselves with staffs, and experts in their use were known to give them names, perhaps in much the same fashion that Samurai named their katana (swords). The long staff was already highly organized as both a method of self-defense and competitive sport in the State of Tamil as early as the 1st century A.D., and accounts in the 2nd century, such as Silapathiharam Tamil literature, abound with tales of the sale of Silambam staffs, swords, and armor to foreigners. Greeks, Romans, and Egyptians, as well as the Dravidian kings (kingdoms in southern India and Northern Ceylon that shared a common family of languages) frequented the Madurai trading center where the Silambam staff was considered a commodity. It is believed that the Silambum staff of Tamil was transported to Malaysia where its practice as a self-defense form flourished. The Silambam staff two-hand technique makes use of swift and agile footwork allowing precision and momentum to be channeled into thrusting, cutting, and sweeping strokes. The Silambam student develops defensive skills by learning to deflect stones thrown by groups of fellow practitioners with techniques called such things as the monkey strike, and the hawk strike, and the snake strike. Competitors in Silambam matches use staffs, the ends of which have been dipped in powder, to attempt to touch each other, with one point being awarded for touching below the waist and two for above. Three unanswered touches or a single touch to the forehead means victory, and the competitor who fails to maintain control of his staff also loses. Matches take place on firm ground in a circular twenty to twenty-five foot area. Matches have a predetermined time period.

Silat

An Indonesian and Malaysian set of martial art, dating to the 6th Century although probably not refined as a true martial art until the 14th Century. It has different styles and schools (over 400), but all the styles integrate weapons into their training. The generic name "silat" is used throughout much of Southeast Asia; in Malaysia it is known as Bersilat. Dutch-Indonesian Silat is typically Pentjak-silat and "pure" Indonesian styles Pencak-silat. Since silat is an umbrella term covering many styles, it is not possible to give a single history. Some of the arts are very old and some were developed less than 50 years ago. The history of silat is unclear, it is a mixture of indigenous techniques along with techniques borrowed from Chinese arts and Indian arts such as Kalaripayit.

Pencak-silat depends heavily on an indigenous weapons and animal-styles heritage. In the distant past, it was predominately a weapons system; empty hand techniques are derived from the weapons forms. It is still often said that there is no silat without the knife.

Silat emphasizes joint locks, sweeps, takedowns, and hand and foot strikes from unexpected angles and directions that are aimed at the body's weakest points. Instruction often involves the performance of traditional Indonesian dances. Most of the styles are indigenous, although some integrate Japanese and Chinese techniques and principles.

Techniques are quite varied, although kicks are not emphasized much. Foot work is sophisticated and the development of stability is of major importance. The foot and and hand techniques are so subtle and intricate that they are often taught separately, and then integrated after the student has mastered them individually. There is a good balance between offensive and defensive techniques.

Different styles of silat use different terminology to describe a practitioner's ability: "guru" is frequently used to refer to a proficient instructor, "kang" for senior students, and "pendekar" someone who has developed a high level of skill and possibly spiritual development. However, the usage varies from style to style, and possibly even from school to school.

Some variations include: Mande-muda, Serak (also spelled Sera and Serah), Cimande (Tjimande), Cikalong (Tjikalong), Harimau, Mustika-kwitang, Gerakan-suci, and Perisai-diri.

Thang-ta (India)

Thang-ta refers to the art of using the sword or spear against one or more opponents. This particular martial school of weaponry is related directly to Tantric practices and is practiced in three distinct ways. The first is completely ritual in nature; the second is comprised of a series of sword and spear dances, and the third is actual combat. This art is reputed to share a common origin with Sarit-Sarak.

Thoda (India)

This remnant of martial culture is popular in the districts of Shimla, Sirmaur, and Solan. Probably best described as a group demonstration sport, Thoda is the art of archery. It takes its name from the circular wooden ball used to replace the deadly arrowhead. Bows ranging in size from three and a half to six feet are used in its practice. The archers divide themselves into groups called the "saathis" and the "pashi," who are reputed to represent the descendants of the Pandavas and the Kauravas who in the days of the Mahabharata frequently battled in the Valleys of Kulu and Manali. Competition takes place yearly on Baisakhi Day (April 13th and 14t, which honors the Goddesses Durga and Mashoo). The event takes place on a marked fairground as both groups face each other at a distance of approximately ten yards. Each group in turn fires its arrows, targeting the opponents' leg area beneath the knee. Points are detracted for hits to other areas. The defenders may dance about, side step and kick their legs in an effort to foil accurate aim. All the while, observers cheer from the sidelines while participating teams sing and play martial music.

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