Guide to Indonesian Royal Family Martial Arts See in the Dark

Indonesian martial arts includes a diversity of fighting systems native to or developed in the archipelago of Indonesia, both the age-old traditional arts, and the more recently developed 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 i's defense force confronting perceived threat and assault. Other than physical training, they frequently include spiritual aspects to cultivate inner strength, inner peace and higher psychological ends.^[ane]

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 actuality, pencak silat was neither created nor traditionally practised by Republic of indonesia's tribal inhabitants, many of whom accept unique martial arts of their own. Some of these traditions take been preserved equally a complete fighting system, e.yard. pencak silat and kuntao. Other methods are either no longer practiced or only 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 among the native populace for much of its long history, and the people of the region naturally adult constructive methods of gainsay and self-defense force.^[1] Archaeological findings dating from prehistoric times have uncovered a variety of stone and metal weaponry such as axes, arrows and spearheads. These implements would take doubled as hunting tools and weapons of gainsay between and among tribes. Tribal warfare, although often motivated by resources, lands and slave grabbing, was too a solution to settling disputes, likewise as a component of coming of age rituals. The do of headhunting developed the martial skills of some tribes to a high level such every bit the Dayak, Batak, and Nias people. Warriors from militaristic tribes were appreciated by other factions, and were recruited past developed kingdoms and polities as 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-solar day China and Vietnam (peculiarly the Dong Son civilization) during the first centuries of the common era introduced bronze-casting to the Nusantara and resulted in the development of native edged weapons such as the parang, klewang, mandau, badik, kujang, golok and kris. Chinese directly swords arrived early, and ancient Javanese curved swords show Indian derivation.

Contact with India and the forming of ancient kingdoms lead to the transition from tribalism to the golden age that was Indonesia's Dharmic civilization. Pencak silat developed in this era^{[ vague ]}, spreading quickly from Sumatra into near the whole of the archipelago. In comparing to the land's tribal fighting systems, pencak silat shows decidedly 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, adding a new layer to the martial arts aside from merely being used to fight or kill and so that it was used consistently throughout Indonesia's history.^[3] The broad geographical expanse in which pencak silat was good is naturally reflected in its multifariousness of techniques and weaponry, some ethnic and some adopted from outside through maritime trade. Chinese communities continued to plant themselves, their native kuntao influencing the local martial arts.

Gunpowder engineering in cannons and muskets allowed many kingdoms and polities in Indonesia to exist conquered and subjugated past European power. A farther influx of Chinese were brought in as labourers, increasing the proliferation of kuntao styles. But while the Europeans could effectively overtake and hold the cities, they establish it impossible to control the smaller villages and roads connecting them. Indonesians took reward of this, fighting an secret state of war through guerilla tactics. Equally guns were not widely available, ethnic blades were used in these attacks. Folklore portrays the rebels as Robin Hood-like martial artists such equally Si Pitung. Subsequently Indonesia won its independence from colonization, the role of martial arts similar pencak silat in nation-edifice was recognized. The Indonesian Pencak Silat Association (IPSI) was founded to unite the country'southward pencak silat schools nether a single governing torso. It has been incorporated into the unarmed combat grooming of Republic of indonesia'southward polce and military, likewise as being an extra-curricular activity in schools, and a gainsay sport in athletic events. Many of the more violent martial practices such every bit headhunting and duels to the death either roughshod 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 following are complete martial arts designed for fighting or self-defense force.

Pencak Silat [edit]

Pencak silat is a chemical compound of the two most commonly used words for martial arts in Indonesia. Pencak was the term used in key and east Java, while silat was used in Sumatra and Borneo. In modern usage, pencak and silat are seen as being 2 aspects of the same practice. Pencak is the essence of training, the outward aspect of the art. Silat is the internal essence of combat and self-defense, the true fighting application of the techniques.^[four] The earliest bear witness of pencak silat is in sixth-century Riau from where it saw further development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Coffee. The fine art gradually spread throughout nigh of what is now Indonesia and reached its pinnacle in the medieval Majapahit kingdom. Generalizations of silat techniques are hard due to the diverseness of systems. Any part of the body is used and subject to assail. Strikes, grabs, locks, and weapons are all incorporated. Preparation is often supplemented with internal methods of development such as meditation.

Kuntao [edit]

Kuntao is a Hokkien term for martial arts, in this case referring to those practised by the Tionghoa community of the Indonesian archipelago. Kuntao has a long history in the region dating back to aboriginal times. Such has been the influence between kuntao and pencak silat that the terms are used interchangeably in some regions. Every Chinese community in Republic of indonesia either has or historically had some style of kuntao, merely 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 Communist china and underwent fiddling or no changes, such every bit thaikek (taiji), pakua (baguazhang or eight-trigram palm) and peh-ho (baihequan or white crane fist). Other popular systems originate from the same states as the Chinese communities who do them, so that Fujian, Shandong, Kongfu and Guangdong styles dominate.

Caci [edit]

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

Caci (pronounced "chachi") is a form of fighting with a whip or stick.^[5] It appears to exist indigenous to Flores in East Nusa Tenggara, but information technology is also practiced in Bali and Lombok.^[v] The art is sometimes called cacing or ende in Flores, and larik or kebat in Riung, while in Balinese it is known as ende. The term caci is said to derive from the Manggarai words ca pregnant one and ci meaning test, indicating a ane-on-one examination between the fighters. Co-ordinate to local folklore, caci during festivals began with two brothers who endemic a buffalo. When the younger brother vicious into a deep hole, the older blood brother had to slaughter the buffalo to become its skin to help his sibling escape from the hole.^[6] The customs historic this act of love 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 be either long or short. The short whip corresponds to the cambuk of Java and measures three feet in length. The long whip is 5–6 feet long and made from palm stems tied together with either rattan or strips of water buffalo hibernate. The stick is an undecorated piece of hardwood measuring 1-i.5 yards long and 2 inches in diameter. The shield is of round or elliptical shape. As well traditionally undecorated, it is known as giling or nggiling when made of buffalo hibernate and perisai kayu when made of woods. Both the whip and the stick course were traditionally proficient in Manggarai Regency, but the stick is rarely seen today. In Bali and Ngada Regency, only the stick course 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 whatever part of the beefcake, while the defender attempts to block with his shield. The defender is not immune to attack while defending, only in the case of whip-fighting the defender may spin the whip above his caput to prevent the attacker from endmost in. Stick techniques are all swings without any thrusting. Caci at one time served as a course of conflict management inside and between 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 hitting the opponent's face or head. In sometime times, championship bouts were held in which the object was to blind the opponent'southward centre. The winner is required to happily sing a quatrain while the loser replies in a low voice to show despair.

Fitimaen [edit]

Fitimaen is a form of stick-fighting from Buru in the Maluku Islands. The term comes from the Buru give-and-take maen which means stick. The maen are either made from rattan or from native hardwood, of which there are hundreds of varieties.^[v] Sparring sessions are short to minimise injury, and preparation is advisedly conducted for the aforementioned reason. They may be fought with ane or a pair of sticks, the length of which depends on personal preference. The first written attestation of fitimaen comes from a British naturalist who recounts that the natives are "adepts at quarterstaff" and that fifty-fifty children "practise with singular 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 Indonesia although not a especially combative community. The blowpipe (sumping) and bow and arrow could as well be used for warfare merely are more often than not hunting implements. Two styles of fitimaen are ascendant, one from Namlea and the other from Leksula.^[5]

Tinju [edit]

The word tinju ways fist-fighting and commonly refers to western battle. In Flores a class of boxing exists which involves 4 people. As two boxers fight, each is steered by a partner property their waistband from behind. Attacks may be delivered with the open manus, closed fist, backhand, elbow, or a combination of these. Just the hands, artillery 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 most likely originated there. In before times, each boxer would concord a smooth round stone in one paw and wrap the hand in cloth. Matches are full-contact and victory is determined on points.^[5]

Tarung Derajat [edit]

Immature Tarung Derajat fighters.

Tarung Derajat is a full-contact martial art created past Haji Achmad Dradjat in Bandung, Westward Java. Developed in the 1960s, it is a hybrid system which incorporates boxing, grappling and street-fighting.^[7] Tarung Derajat is officially recognized as a national sport and used as bones training by the Indonesian Army. Tarung Derajat emphasizes punching and boot, but is not express to these, equally grappling and sweeping are besides included in its grooming. Practitioners are known just equally petarung meaning "fighter".

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

[edit]

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

Pasola [edit]

Pasola is a tradition of war between 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 woman from the village of Waiwuang. When her hubby - a local leader - left domicile for an extended menstruum, she believed him to exist expressionless and eloped with a new lover from another village. Subsequently her husband returned, the woman still 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 endeavor to spill claret to the ground, every bit a way of thanking the ancestors for a successful harvest and ensuring another prosperous rice harvest. The ritual changed over time into more of a mock battle. The spear tips are now edgeless and their metal tips removed. Whereas it was once considered an award to dice during pasola, just accidental deaths occasionally occur today. The human and horse claret which used to drench the field is now solely from sacrificed pigs, dogs, and chickens. Armed police are kept on baby-sit to prevent fights from breaking out. Beginning in the 2010s, pasola has been promoted every bit a "game" for visiting spectators. The outcome traditionally begins when a certain kind of bounding main worm swims to shore, signifying the terminate of the wet season and the start of crop-planting. Today, the elders make up one's mind on the appointment in advance for the sake of tourists. Pasola is ever held for four weeks in February and March.^[nine]

Debus [edit]

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

Payuq [edit]

Payuq is the traditional Dayak class of wrestling, specially native to the Kenyah people of East Kalimantan. The word payuq derives from the Sanskrit term bahu-yuddha and ways "physical fighting". Matches are held annually during the harvest festival. The aim of a payuq match is to elevator and slam the opponent to the ground. Physical strength and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-like course of wrestling called bebintih meaning "mutual tackle". Matches take place in dried rice paddies after being harvested and a circumvolve is set in the centre of the field every bit a ring. The aim is to push button the opponent out of the circle or knock them to the footing. Wrestlers - always 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 boot-fighting activity practised by the Toraja of South Sulawesi. While sisemba is its formal name, it is also known equally semba or sempak. Native to the Batan and Pangalla areas in the North Toraja Regency, information technology is today mainly seen in the Toraja cultural middle of Rantepao. The ritual of mass boot-fighting is ordinarily performed every bit part of the rice harvest festival in Tana Toraja villages. According to tradition, sisemba is a prerequisite for the next successful harvest.^[xi] In the practice of sisemba, hundreds of participants from ii villages join easily and form lines of two or more than people. They may be linked by the arms or by clasping easily. The line is not necessarily straight simply may accept the class of a V-shape, an inverted 5-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 inside 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 surround stragglers. Smaller lines are however capable of more active manoeuvres, such as sending the role player at the end of a line flying through the air completely off the footing, and and then pulling them dorsum in a whip-like manner after they've struck the opponent. Any sort of kicks are allowed and whatever office of the body may be targeted and so long as the link to the line is maintained. An individual who has been knocked out of line may get upwards 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 course of mass defense in which every man in the hamlet repelled invaders. It served its purpose well enough that no form of pencak silat, wrestling, or whatever other unarmed fighting art exists in the Toraja civilisation. Sisemba was also used as a way of settling disputes between kampung. Victory was obtained merely by reducing the numbers of the opposing team 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 menstruation of weeks during the harvest season. The winner is decided based on the superiority of technique merely injuries are still frequent, particularly to the face up. 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 besides violent, the village elders will separate them from the crowd.^[11]

Cakalele [edit]

The cakelele is a male state of war-dance practised past the aboriginals of North and Cardinal Maluku. Hybrid forms as well 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 3–5 years with the kakehan, the men's secret society. The art of combat formed function of their education, as was the cakalele. While not an bodily martial fine art, the dance has preserved some techniques and the total range of ancient weaponry, making it greatly of import in the study of Indonesia'south native fighting methods. Backed by the rhythm of the drum and gong (tifa) and fife (sulin), 2 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] ^[xiii]

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

The tradition of mageret pandan is said to have originated with Male monarch 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.^[14]

Today it is washed as a ritual to accolade the gods and the ancestors. The weapon used in mageret pandan is a 15 cm club 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 more often than not swinging strikes, but grappling is used when in-fighting. Participants compete shirtless, wearing just a sarong (kamen) and traditional headdress (udeng). According to tradition, the mageret pandan is compulsory for Tenganan males. For the young, information technology serves as a rite of passage into manhood; children as young every bit seven have participated.^[15]

Kabasaran [edit]

Kabasaran is a Minahasan war dance from N Sulawesi, performed by several men clad in cherry-red. Kabasaran dancers were traditionally farmers or guards who served every bit waranei (warriors) when the village was attacked.^[16] The waranei status along with their weapon is inherited from begetter to son.^[16]

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

Sitobo Lalang Lipa [edit]

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

Sitobo lalang lipa or Sigajang laleng lipa is the Bugis term for a type of knife duel formerly practiced past pesilat of the Bugis-Makassar communities and also in Batak tribes. The challenger stands with a loosened sarong effectually him and invites the other man to step into the sarong. Knives in their right easily, the 2 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 by. If ii men having disputes that tin not exist resolved through parley, their honour has been trespassed, and none of them admitted their mistakes, the but way to resolve this dispute is through a mortiferous duel in a sarong.^[17]

In Bugis culture, there are three of import concept that should be uphold; Ade (adat) or traditional community, Siri (shame or self worth) or in this case 1's pride and honor should be protected fiercely to avert the shame of humiliation, and Pesse (compassion). In Bugis culture, the Siri attribute is the most dominant, thus conflict regarding ane's honour might occur.^[17]

This method of fighting originated in aboriginal Republic of 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 practiced in Thailand where the fighters boxed each other with the right hands. Duelling within a sarong rather than tying the easily together appears to be unique to Indonesia. Amidst the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak however use another type of pocketknife known every bit the raut. Duelling is no longer proficient today, but reenactments of sitobo lalang lipa are notwithstanding performed at cultural shows in Indonesia.^[17]

Weapons [edit]

Nias warrior armed with spear and shield

Badik : a knife or dagger developed by the Bugis and Makassar people of southern Sulawesi
Chabang : short-handled trident, literally meaning "co-operative"
Cambuk / Pecut : whip, might be made 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'south claw
Kipas : traditional folding fan preferably fabricated of hardwood or fe.
Klewang : a blazon of single-edge longsword with a protruding notch most its tip.
Kris : a dagger, often with a wavy blade fabricated by folding different types of metal together and then washing it in acid.
Kujang : Sundanese bract roughly shaped like a deer'south antler.
Parang/ Golok : machete commonly used in daily tasks such as cutting through woods brush.
Pedang : sword, either straight or curved
Rencong/Tumbuk Lada : slightly curved Aceh and Minang dagger, literally significant "pepper grinder".
Samping/Linso : silk sash worn around the waist or shoulder, used in locking techniques and for defence against blades.
Sundang : a double edge Bugis sword, oftentimes wavy-bladed
Tameng/ Perisai : shield made of hardwood, weaved rattan, or sometimes metal.
Tombak/ Lembing : spear or javelin made of bamboo, steel or woods that sometimes has horsehair attached about the blade.
Toya : rod or staff made from wood, steel or bamboo.
Trisula : a trident or 3-pronged spear

In popular culture [edit]

Republic of indonesia has showcased its martial arts in cinema, novels, comics, theatre, and Telly series 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 too includes Chinese wuxia and Japanese jidaigeki. The silat genre began every bit an oral and theatrical tradition earlier showtime existence written in the course of medieval hikayat. The modernistic silat novel was a 20th-century evolution of the literary silat genre, giving rise to comics and eventually movies. Early silat films (every bit with many contemporary TV series today) placed less accent on the actual fights and more on drama, resulting in poor depictions of the art. This inverse in the 1980s due to the popularity of radio shows featuring pencak silat experts in the sometime Indonesian kingdoms of Pajajaran and Majapahit circa the 14-15th century. Historical epics such as Saur Sepuh, Tutur Tinular and Misteri Gunung Merapi take been adapted both for TV and film. Indonesian cinema differentiates this from modern activity films or laga. The latter may or may not include traditional fighting styles, but the modern setting makes it distinct from the silat genre proper.

While Indonesian movies and Tv set series have always had a large following in neighbouring Malaysia and Singapore, it was the 2009 moving-picture show Merantau that brought international attention to the cinematic genre and pencak silat in general. The picture show had a mostly positive reaction from movie house critics^[18] and generated enough interest for the lead actor to follow up with The Raid: Redemption in 2011 which received international acclaim. Its sequel The Raid two: Berandal was similarly well-received but drew much criticism for its extreme gore,^[19] ^[20] leading to the movie being banned in Malaysia.^[21]

Run into also [edit]

Styles of silat
Armed services history of Indonesia

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Belt Mag. Retrieved 6 July 2015.
^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles E. Tuttle Co. ISBN978-0-8048-1716-5.
^ "Silek Harimau Minangkabau: the True Martial Art of Due west Sumatra". Wonderful Republic of 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 Republic of indonesia (Tuttle martial arts ed.). Tuttle Publishing. ISBN9781462905096 . Retrieved 11 November 2015.
^ Indra Harsaputra (five Apr 2013). "Manifesting strength and beloved". The Djakarta Mail service. West Manggarai, E Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (thirteen November 2011). "Tarung derajat looking for bigger stage". The Jakarta Mail service. Jakarta. Retrieved xi Nov 2011.
^ "Tarung Derajat Tampil di SEA Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved xi November 2015.
^ "Indonesian island sees time to come in age-old horseback boxing". The Star. iii 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 (four May 2012). Glori Thou. Wadrianto (ed.). "Menyaksikan Tradisi "Sisemba" di Toraja Utara". Kompas Travel (in Indonesian). Retrieved xi November 2015.
^ P. E. De Josselin De Jong (1984). Unity in Multifariousness: Republic of indonesia as a Field of Anthropological Study. Foris Publications. ISBN9-0676-5063-3.
^ Albert M 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 Post. Tenganan. Retrieved 21 September 2015.
^ ^a ^b ^c "Tarian Kabasaran". Indonesia Kaya (in Indonesian).
^ ^a ^b ^c "Membela Harga Diri Lewat Tradisi Sigajang Laleng Lipa di Makassar". kumparan (in Indonesian). Retrieved ten April 2020.
^ Dark-brown, Todd (23 July 2009). "PiFan 09 Review: MERANTAU". Twitch Picture. Archived from the original on 27 July 2009.
^ "Review: The Raid 2 is likewise gory to stomach". Rediff. 30 May 2014.
^ "Paramedics Called To 'Raid 2' Premiere: 'The Most Trigger-happy Mainstream Film Since Passion Of The Christ'". UPROXX.
^ "The Raid two: Berandal banned due to excessive violence". astroawani.com.