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Kuntao is not Self-defense
"Kuntao is not self-defense". This sentence may sound strange
to us, but according to Liem Yoe Kiong (1960:215) it has some value if
the name "kuntao" is taken literally. In his book "Ilmu
Silat" he explains that the word "kuntao" in Hokkian dialect
when translated into the Chinese official language or Kou Yu becomes "Djuen
Tho" which means, "punch". Self-defense was instead "Djuen
Su" since "Su" means "knowledge" (thus knowledge
of the punch). However, in Indonesia the Chinese community mostly used
the Hokkian dialect since the first and most numerous generation of Chinese
migrants came from the South of China where the Hokkian dialect is spoken.
Therefore, the name "kuntao" in its broader albeit mistaken,
meaning of self-defense became common also in Indonesia and it was soon
used as synonym for silat. To people in Java, Bali, Madura, and Sulawesi,
Kuntao seemed very similar to the Sumatrese Silat since it did not use
music as background as gendang penca in West Java and ketepongan in the
island of Madura.
A major linguistic change happened in the 1950s with the popularization
of the term "silat" and the gradual disappearance of the term
"kuntao". This was due to Ko Phing Ho from Surakarta who wrote
more than 300 serials of Chinese martial arts stories in newspapers, magazines
and books, using the word "silat" to refer to Chinese martial
arts or "kuntao". This trends was further developed in the 1960s
with the developments of comics by Yan Mintaraga and Ganes TH to promote
local legends and hero such as "Si Buta dari Gua Hantu" ("The
blind man from the ghost cave") and "Panji Tenggorak (The standard
with skull). Again "silat" was used to indicate to this time
local martial arts.
These books and comics became very popular among the people because at
the time there was no television and imported literature was limited because
of political restrictions. Consequently, the term "silat" became
embedded in people's culture and substituted the use of "kuntao".
Political pressure and discriminative policies to abolish the use of Chinese
languages in the Suharto's era further strengthened this trend. In the
1970s, when Hongkong kung-fu movies with David Chiang, Ti Lung and Bruce
Lee became popular and local silat movies started to be produced, people
distinguished between "silat Cina" of the Kungfu movies from
Hongkong and "silat Melayu" of the local action movies.
The dismissal of the term "kuntao" for both political and cultural
reasons is clearly reflected by the fact that also perguruan that use
"kuntao" techniques are not willing to admit it formally. For
example to an observer like me, at least 80% of the techniques of Perisai
Diri derives from Kuntao, while 10% is composed of Betawi, Kuningan and
Cimande techniques and 10% derives from silat Minangkabau. This dominance
of kuntao techniques is not surprising since the Master of Perisai Diri,
R.M. Soebandiman Dirdjoatmodjo trained with the Kuntao teacher, or Suhu,
Yap Kie San in Parakan, Banyumas Regency for 14 years after studying many
other silat and pencak forms. When he finished to study kuntao he established
in 1953 his perguruan, which is today, called "Keluarga Silat Nasional
Indonesia Perisai Diri". As the name shows, "silat" is
the preferred term!
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