Korean Drama With Girl and Martial Arts School in Wooda

Overview of martial arts in Republic of indonesia

Indonesian martial arts includes a variety of fighting systems native to or adult in the archipelago of Indonesia, both the age-one-time traditional arts, and the more recently adult hybrid combatives. In the Indonesian language the term bela-diri (lit. self-defense) is used to mean martial art, and in essence the Indonesian fighting arts are meant as one's defence against perceived threat and assault. Other than concrete training, they often 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] All the same, a number of fighting arts in Indonesia are non 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 Indonesia's tribal inhabitants, many of whom accept unique martial arts of their own. Some of these traditions take been preserved every bit a complete fighting system, e.g. pencak silat and kuntao. Other methods are either no longer practiced or only exist in a more sportive form 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 Republic of indonesia was the scene of warfare amid the native populace for much of its long history, and the people of the region naturally developed effective methods of combat and cocky-defense.^[ane] Archaeological findings dating from prehistoric times have uncovered a diverseness of stone and metal weaponry such as axes, arrows and spearheads. These implements would have doubled as hunting tools and weapons of combat between and among tribes. Tribal warfare, although often motivated by resources, lands and slave grabbing, was also a solution to settling disputes, also as a component of coming of historic period rituals. The practice 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 adult kingdoms and polities as mercenaries. Traditional war dances were used both to reenact battles and as a class of grooming, a precursor to the preset forms or jurus of subsequently fighting systems. Displaced Baiyue from present-day China and Vietnam (peculiarly the Dong Son culture) during the showtime centuries of the common era introduced bronze-casting to the Nusantara and resulted in the development of native edged weapons such every bit the parang, klewang, mandau, badik, kujang, golok and kris. Chinese direct swords arrived early on, and ancient Javanese curved swords show Indian derivation.

Contact with Bharat and the forming of ancient kingdoms atomic number 82 to the transition from tribalism to the golden historic period 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 comparing to the country'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 so that it was used consistently throughout Indonesia'due south history.^[3] The wide geographical area in which pencak silat was proficient is naturally reflected in its variety of techniques and weaponry, some indigenous and some adopted from outside through maritime merchandise. Chinese communities continued to establish themselves, their native kuntao influencing the local martial arts.

Gunpowder technology in cannons and muskets immune many kingdoms and polities in Indonesia to exist conquered and subjugated by European power. A further influx of Chinese were brought in as labourers, increasing the proliferation of kuntao styles. But while the Europeans could effectively overtake and concur the cities, they found it impossible to control the smaller villages and roads connecting them. Indonesians took advantage of this, fighting an underground war through guerilla tactics. As guns were non widely available, ethnic blades were used in these attacks. Folklore portrays the rebels as Robin Hood-like martial artists such every bit Si Pitung. After Indonesia won its independence from colonization, the part of martial arts similar pencak silat in nation-building was recognized. The Indonesian Pencak Silat Association (IPSI) was founded to unite the state'southward pencak silat schools under a single governing body. It has been incorporated into the unarmed gainsay preparation of Indonesia'southward polce and military machine, equally well as being an actress-curricular activity in schools, and a combat sport in able-bodied events. Many of the more violent martial practices such as headhunting and duels to the death either brutal out of popularity or were banned. A number of fighting styles have managed to survive past adapting. In some cases they became less lethal like pasola, or at times by beingness promoted equally a dance for the entertainment of tourists.

Systems [edit]

The following are complete martial arts designed for fighting or self-defense.

Pencak Silat [edit]

Pencak silat is a compound of the ii most usually used words for martial arts in Indonesia. Pencak was the term used in central and east Java, while silat was used in Sumatra and Kalimantan. In mod usage, pencak and silat are seen as being two aspects of the aforementioned practice. Pencak is the essence of training, the outward aspect of the art. Silat is the internal essence of gainsay and self-defense, the truthful fighting application of the techniques.^[4] The earliest evidence of pencak silat is in 6th-century Riau from where it saw further development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Java. The art gradually spread throughout nigh 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. Whatever part of the body is used and subject field to attack. Strikes, grabs, locks, and weapons are all incorporated. Training is ofttimes 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 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 between kuntao and pencak silat that the terms are used interchangeably in some regions. Every Chinese community in Indonesia either has or historically had some way of kuntao, just 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 fiddling 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 practice them, and then that Fujian, Shandong, Kongfu and Guangdong styles boss.

Caci [edit]

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

Caci (pronounced "chachi") is a form of fighting with a whip or stick.^[v] Information technology appears to be ethnic to Flores in Due 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 information technology is known as ende. The term caci is said to derive from the Manggarai words ca meaning one and ci meaning test, indicating a i-on-one test betwixt 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 pigsty, the older blood brother had to slaughter the buffalo to become its peel to help his sibling escape from the hole.^[6] The customs celebrated this act of love with a festival in which caci matches were held.

In that location are 2 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 3 feet in length. The long whip is 5–6 feet long and fabricated from palm stems tied together with either rattan or strips of h2o buffalo hide. The stick is an undecorated piece of hardwood measuring 1-i.5 yards long and 2 inches in diameter. The shield is of circular or elliptical shape. Also traditionally undecorated, it is known as giling or nggiling when fabricated of buffalo hibernate and perisai kayu when made of woods. Both the whip and the stick grade were traditionally practiced in Manggarai Regency, but the stick is rarely seen today. In Bali and Ngada Regency, but the stick form exists.

In a caci match, the 2 fighters (who are always male person) accept turns alternately attacking and defending. The attacker is permitted iii blows to whatever part of the anatomy, while the defender attempts to block with his shield. The defender is non immune to attack while defending, but in the instance of whip-fighting the defender may spin the whip above his caput to prevent the aggressor from closing in. Stick techniques are all swings without whatever thrusting. Caci at once served as a form of disharmonize direction within and betwixt villages. Fighters are divided into the host grouping (ata one) and the challenger grouping from another village (ata pe'ang or meka landang). Victory is obtained by hit the opponent'southward 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 discussion maen which ways stick. The maen are either made from rattan or from native hardwood, of which there are hundreds of varieties.^[5] Sparring sessions are short to minimise injury, and training is carefully conducted for the same reason. They may be 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 singular skill their cuts and thrusts". While spears and metal knives were also used by the Buru Alifuru for fighting, their preference has ever been the fighting staff. Donn F. Draeger calls them the all-time stick and staff fighters in the whole of Indonesia although not a particularly combative community. The blowpipe (sumping) and bow and arrow could also be used for warfare only are generally hunting implements. Two styles of fitimaen are dominant, 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 4 people. As ii boxers fight, each is steered past a partner holding their waistband from behind. Attacks may be delivered with the open up mitt, airtight fist, backhand, elbow, or a combination of these. Only the hands, arms and shoulders may be used. Kicks and throws are not permitted. The history of tinju is unknown but it is virtually common in Bajawa and most likely originated there. In earlier times, each boxer would hold a shine round rock in one manus and wrap the manus 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 art created by Haji Achmad Dradjat in Bandung, West 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 equally bones preparation by the Indonesian Army. Tarung Derajat emphasizes punching and kicking, but is not limited to these, every bit 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 equally a combat 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 competition held every four years. The main Tarung Derajat association, KODRAT (Keluarga Olahraga Tarung Derajat), at present has sub-organizations in 22 provinces in Indonesia. Information technology was introduced every bit an exhibition number in the 2011 Southeast Asian Games in Palembang, Republic of indonesia.^[8]

[edit]

The following are related martial practices including gainsay sports, duels, ritual battles, mock gainsay, and war dances. All are exclusive 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 discussion 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 menstruum, she believed him to be dead and eloped with a new lover from another village. Afterward her hubby returned, the woman nonetheless chose to stay with her new lover, and the ii 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 attempt to spill blood 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 than of a mock boxing. The spear tips are at present blunt and their metallic tips removed. Whereas it was once considered an honour to dice during pasola, only accidental deaths occasionally occur today. The human and equus caballus blood which used to deluge the field is now solely from sacrificed pigs, dogs, and chickens. Armed police are kept on guard to preclude fights from breaking out. Beginning in the 2010s, pasola has been promoted every bit a "game" for visiting spectators. The event traditionally begins when a sure kind of ocean worm swims to shore, signifying the stop of the wet season and the first of crop-planting. Today, the elders decide on the engagement in advance for the sake of tourists. Pasola is e'er held for four weeks in Feb and March.^[9]

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, peculiarly native to the Kenyah people of East Kalimantan. The give-and-take 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 lift and slam the opponent to the ground. Physical force and technique are the deciding factors in payuq. The neighbouring people of Kutai practice a sumo-like form of wrestling called bebintih meaning "mutual tackle". Matches accept identify in stale rice paddies later being harvested and a circle is fix in the heart of the field every bit 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 name, it is also known as semba or sempak. Native to the Batan and Pangalla areas in the Northward Toraja Regency, information technology is today mainly seen in the Toraja cultural centre of Rantepao. The ritual of mass kick-fighting is usually 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.^[eleven] In the practice of sisemba, hundreds of participants from two villages join hands and form lines of 2 or more people. They may be linked by the arms or past clasping hands. The line is not necessarily directly but may take the form of a Five-shape, an inverted V-germination, a wedge, a round arc either concave or convex, or any other shape. One time joined in line, all participants must exist linked except the men on the ends of each line. Once the opposing ranks come within range, they boot at each other in an endeavour to knock players out of the opponent's line.^[11] A divided line is so overwhelmed by the superior numbers of the opposing line, who manoeuvre and surround stragglers. Smaller lines are however capable of more agile manoeuvres, such equally sending the player at the terminate of a line flying through the air completely off the footing, and then pulling them dorsum in a whip-like fashion after they've struck the opponent. Any sort of kicks are immune and any part of the trunk may be targeted so long as the link to the line is maintained. An individual who has been knocked out of line may become up and rejoin their line; until rejoining he is off-limits to the attacks of the opposing team. In earlier days, such an individual would exist kicked into submission or until unconscious.

Sisemba originated equally a course of mass defence in which every human being in the hamlet repelled invaders. It served its purpose well plenty that no form of pencak silat, wrestling, or whatever other unarmed fighting art exists in the Toraja civilization. Sisemba was also used as a way of settling disputes betwixt kampung. Victory was obtained just by reducing the numbers of the opposing team through injury. Today it is a harvest-time festivity, performed on harvested rice fields. Matches final for several hours each solar day over a catamenia of weeks during the harvest season. The winner is decided based on the superiority of technique but injuries are still frequent, particularly to the confront. To ensure that the friction match runs smoothly, the hamlet elders human activity equally supervisors. If a participant or a pair of them was deemed to be too trigger-happy, the village elders will separate them from the crowd.^[xi]

Cakalele [edit]

The cakelele is a male person war-dance practised by the aboriginals of Due north and Central Maluku. Hybrid forms also be in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, it originated every bit a way for the warriors to gloat after a successful raid. From the age of sixteen, hamlet boys would study and piece of work for 3–5 years with the kakehan, the men's secret society. The art of combat formed office 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'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 pocketknife (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 abrupt, thorny pandan club paired with a shield. It is sometimes called makare-kare in Balinese and known as perang pandan in Indonesian, literally significant "pandan battle". Mageret pandan is proficient by the Bali Aga population of Tenganan village 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 accept 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 boxing was commemorated through mageret pandan.^[14]

Today it is done as a ritual to honour the gods and the ancestors. The weapon used in mageret pandan is a 15 cm guild fabricated 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, merely 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 young, it serves equally a rite of passage into manhood; children as immature as seven 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 village was attacked.^[16] The waranei status along with their weapon is inherited from father 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 equally kawasalan indicating a pair of fighter cocks.^[sixteen] The dance 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 blazon 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 easily, the two 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 two men having disputes that can not exist resolved through parley, their laurels has been trespassed, and none of them admitted their mistakes, the only style to resolve this dispute is through a mortiferous duel in a sarong.^[17]

In Bugis civilization, there are iii of import concept that should be uphold; Ade (adat) or traditional customs, Siri (shame or self worth) or in this instance one's pride and honor should be protected fiercely to avoid the shame of humiliation, and Pesse (pity). In Bugis civilisation, the Siri attribute is the most dominant, thus conflict regarding 1's award might occur.^[17]

This method of fighting originated in ancient India where the duellists fought with knives in their right easily while their left hands were tied together. It is unknown in what part of Southeast Asia this duel was first introduced, simply it was practiced in Thailand where the fighters boxed each other with the right hands. Duelling within a sarong rather than tying the hands together appears to be unique to Indonesia. Among the Bugis and Mangkasara, the weapon used in sitobo lalang lipa is the badik. The Batak however utilize another type of knife known as the raut. Duelling is no longer practiced today, just reenactments of sitobo lalang lipa are notwithstanding performed at cultural shows in Republic of 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 "branch"
Cambuk / Pecut : whip, might be fabricated from diverse materials; rattan, bamboo, fabrics, leather to stingray's tail
Celurit/ Sabit : a sickle, unremarkably used in farming, cultivation and harvesting of crops.
Kerambit/ Kuku Macan : a blade shaped similar a tiger'southward claw
Kipas : traditional folding fan preferably fabricated of hardwood or fe.
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 unlike types of metal together and and then washing it in acid.
Kujang : Sundanese blade roughly shaped similar a deer'south 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 against 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 fabricated of bamboo, steel or wood that sometimes has horsehair attached near the bract.
Toya : rod or staff made from woods, steel or bamboo.
Trisula : a trident or 3-pronged spear

In pop culture [edit]

Indonesia has showcased its martial arts in cinema, novels, comics, theatre, and Television set series for decades. The term silat as a genre refers specifically to historical stories involving martial artists. These need not necessarily characteristic the silat discipline itself, merely also includes Chinese wuxia and Japanese jidaigeki. The silat genre began every bit an oral and theatrical tradition earlier starting time being written in the course of medieval hikayat. The modern silat novel was a 20th-century evolution of the literary silat genre, giving rise to comics and eventually movies. Early silat films (as with many contemporary Goggle box series 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 erstwhile Indonesian kingdoms of Pajajaran and Majapahit circa the xiv-15th century. Historical epics such as Saur Sepuh, Tutur Tinular and Misteri Gunung Merapi accept been adjusted both for Television receiver and film. Indonesian cinema differentiates this from modern action films or laga. The latter may or may non include traditional fighting styles, simply the modern setting makes it distinct from the silat genre proper.

While Indonesian movies and TV series take e'er had a large following 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 pic had a by and large 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 acclamation. Its sequel The Raid two: Berandal was similarly well-received but drew much criticism for its extreme gore,^[xix] ^[20] leading to the film being banned in Malaysia.^[21]

Come across also [edit]

Styles of silat
Military history of Indonesia

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Black Chugalug Mag. Archived from the original on xiv September 2017. Retrieved half dozen July 2015.
^ Donn F. Draeger (1992). Weapons and fighting arts of Indonesia. Rutland, Vt. : Charles Eastward. Tuttle Co. ISBN978-0-8048-1716-v.
^ "Silek Harimau Minangkabau: the True Martial Art of West Sumatra". Wonderful Indonesia. Retrieved eight 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 (5 Apr 2013). "Manifesting forcefulness and love". The Dki jakarta Post. West Manggarai, East Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (13 November 2011). "Tarung derajat looking for bigger stage". The Jakarta Mail. Dki jakarta. Retrieved 11 November 2011.
^ "Tarung Derajat Tampil di Bounding main Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved xi November 2015.
^ "Indonesian island sees time to come in historic period-one-time horseback battle". The Star. three April 2014.
^ Suryadi Gunawan. "'Payuq', 'Bebintih' Roh Para Pegulat Kaltim di Ajang Internasional". Antara News.com (in Indonesian). Retrieved eleven 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 November 2015.
^ P. E. De Josselin De Jong (1984). Unity in Diversity: Indonesia as a Field of Anthropological Study. Foris Publications. ISBNix-0676-5063-3.
^ Albert M Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal Land. ISBNix-0545-0004-2.
^ Luh De Suriyan (xiii 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 Postal service. 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 Moving picture. Archived from the original on 27 July 2009.
^ "Review: The Raid ii is too gory to tummy". Rediff. 30 May 2014.
^ "Paramedics Called To 'Raid 2' Premiere: 'The Most Violent Mainstream Movie Since Passion Of The Christ'". UPROXX.
^ "The Raid ii: Berandal banned due to excessive violence". astroawani.com.