No One Who Uses a Martial Art That Makes People Explode Is Sane!

Overview of martial arts in Indonesia

Indonesian martial arts includes a diverseness of fighting systems native to or developed in the archipelago of Indonesia, both the historic period-old traditional arts, and the more recently developed 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 every bit i's defence against perceived threat and assault. Other than physical preparation, 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.^[ii] Nevertheless, a number of fighting arts in Indonesia are not included within the category of silat. Western misconception links silat with "jungle tribes" but in authenticity, pencak silat was neither created nor traditionally practised by Indonesia's tribal inhabitants, many of whom have unique martial arts of their own. Some of these traditions take been preserved as a complete fighting system, eastward.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 Indonesia was the scene of warfare amidst the native populace for much of its long history, and the people of the region naturally developed effective methods of combat and self-defense.^[1] Archaeological findings dating from prehistoric times take uncovered a diverseness of rock and metallic weaponry such as axes, arrows and spearheads. These implements would have doubled as hunting tools and weapons of combat betwixt 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 age 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 state of war dances were used both to reenact battles and equally a grade of training, a precursor to the preset forms or jurus of later fighting systems. Displaced Baiyue from present-twenty-four hours China and Vietnam (especially the Dong Son civilisation) during the showtime centuries of the mutual 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 ancient Javanese curved swords show Indian derivation.

Contact with Republic of india and the forming of ancient kingdoms lead to the transition from tribalism to the gilded age that was Indonesia'due south Dharmic civilization. Pencak silat developed 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 than 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 beingness used to fight or kill so that information technology was used consistently throughout Indonesia's history.^[3] The wide geographical surface area in which pencak silat was practiced is naturally reflected in its diversity of techniques and weaponry, some ethnic and some adopted from outside through maritime trade. Chinese communities connected to plant 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 further 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 information technology impossible to control the smaller villages and roads connecting them. Indonesians took reward of this, fighting an underground war through guerilla tactics. As guns were not widely available, indigenous blades were used in these attacks. Folklore portrays the rebels as Robin Hood-like martial artists such as Si Pitung. After Indonesia won its independence from colonization, the part of martial arts like pencak silat in nation-building was recognized. The Indonesian Pencak Silat Clan (IPSI) was founded to unite the country'southward pencak silat schools nether a single governing body. It has been incorporated into the unarmed combat training of Indonesia's polce and military, as well as being an extra-curricular action in schools, and a combat sport in athletic events. Many of the more violent martial practices such as headhunting and duels to the death either fell out of popularity or were banned. A number of fighting styles have 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 consummate martial arts designed for fighting or cocky-defense.

Pencak Silat [edit]

Pencak silat is a chemical compound of the ii most commonly used words for martial arts in Indonesia. Pencak was the term used in primal and east Java, while silat was used in Sumatra and Kalimantan. In modern usage, pencak and silat are seen as being two aspects of the same practice. Pencak is the essence of training, the outward aspect of the art. Silat is the internal essence of gainsay and self-defence, the true fighting application of the techniques.^[4] The earliest testify of pencak silat is in 6th-century Riau from where information technology saw further development under Indian and Chinese influence in the Hindu-Buddhist kingdoms of Sumatra and Coffee. The art gradually spread throughout most of what is now Republic of indonesia and reached its peak in the medieval Majapahit kingdom. Generalizations of silat techniques are difficult due to the variety of systems. Whatsoever part of the body is used and subject to attack. Strikes, grabs, locks, and weapons are all incorporated. Preparation is oftentimes supplemented with internal methods of evolution such equally 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 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 manner of kuntao, but they were not taught openly until the latter one-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 People's republic of china and underwent little or no changes, such as thaikek (taiji), pakua (baguazhang or viii-trigram palm) and peh-ho (baihequan or white crane fist). Other popular systems originate from the same states every bit the Chinese communities who practice them, and then that Fujian, Shandong, Kongfu and Guangdong styles dominate.

Caci [edit]

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

Caci (pronounced "chachi") is a form of fighting with a whip or stick.^[5] Information technology appears to exist indigenous to Flores in East Nusa Tenggara, but it is too expert 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 one-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 hole, the older brother had to slaughter the buffalo to get its skin to help his sibling escape from the hole.^[half-dozen] The community celebrated this deed of love with a festival in which caci matches were held.

There are ii types of caci: with a whip (tereng or agang) or a stick (agang). The whip may be either long or short. The brusk whip corresponds to the cambuk of Coffee 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 ii inches in diameter. The shield is of circular or elliptical shape. Also traditionally undecorated, information technology is known as giling or nggiling when made of buffalo hibernate and perisai kayu when made of wood. Both the whip and the stick form were traditionally practiced in Manggarai Regency, just the stick is rarely seen today. In Bali and Ngada Regency, only the stick form exists.

In a caci friction match, the two fighters (who are always male person) have turns alternately attacking and defending. The attacker is permitted three blows to any part of the anatomy, while the defender attempts to block with his shield. The defender is not immune to assail while defending, just in the case of whip-fighting the defender may spin the whip higher up his caput to prevent the aggressor from closing in. Stick techniques are all swings without whatever thrusting. Caci at one fourth dimension served equally a form of conflict direction within 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'southward confront or head. In one-time times, championship bouts were held in which the object was to blind the opponent's centre. The winner is required to happily sing a quatrain while the loser replies in a low voice to bear witness despair.

Fitimaen [edit]

Fitimaen is a form 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 at that place are hundreds of varieties.^[v] Sparring sessions are short to minimise injury, and grooming is advisedly 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 besides used by the Buru Alifuru for fighting, their preference has e'er been the fighting staff. Donn F. Draeger calls them the all-time stick and staff fighters in the whole of Indonesia although not a especially combative community. The blowpipe (sumping) and bow and pointer could too be used for warfare but are generally hunting implements. Two styles of fitimaen are ascendant, one from Namlea and the other from Leksula.^[5]

Tinju [edit]

The word tinju means fist-fighting and normally refers to western boxing. In Flores a form of battle exists which involves 4 people. As two boxers fight, each is steered by 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 be used. Kicks and throws are non permitted. The history of tinju is unknown just information technology is most mutual in Bajawa and near likely originated there. In before times, each boxer would hold a shine round rock in one manus and wrap the hand 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, Due west Coffee. Developed in the 1960s, it is a hybrid system which incorporates boxing, grappling and street-fighting.^[seven] Tarung Derajat is officially recognized as a national sport and used as bones training by the Indonesian Army. Tarung Derajat emphasizes punching and kicking, but is not limited to these, as grappling and sweeping are also included in its training. Practitioners are known simply every bit petarung pregnant "fighter".

Since the 1990s, Tarung Derajat has been refined equally a combat sport. In 1998, the Tarung Derajat organization officially became a fellow member of the KONI. Since so, the system has a spot in Pekan Olahraga Nasional, a national multi-sport competition held every iv years. The principal Tarung Derajat association, KODRAT (Keluarga Olahraga Tarung Derajat), now has sub-organizations in 22 provinces in Indonesia. It was introduced every bit 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 war between 2 opposing camps, chasing after throwing a wooden javelin at an opponent

Pasola is a course of mounted spear-fighting from western Sumba. The word pasola comes from the local give-and-take for spear and derives from the Sanskrit sula. According to fable, pasola originated with a adult female from the village of Waiwuang. When her husband - a local leader - left home for an extended period, she believed him to be expressionless and eloped with a new lover from another village. After her husband returned, the woman still chose to stay with her new lover, and the ii were married. To forget their leader'due south 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 blood to the footing, as a mode 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 battle. The spear tips are now blunt and their metal tips removed. Whereas it was once considered an honour to die during pasola, only accidental deaths occasionally occur today. The human and horse blood which used to drench the field is now solely from sacrificed pigs, dogs, and chickens. Armed law are kept on baby-sit to foreclose fights from breaking out. Start in the 2010s, pasola has been promoted as a "game" for visiting spectators. The outcome traditionally begins when a sure kind of sea worm swims to shore, signifying the finish of the wet flavor and the beginning of crop-planting. Today, the elders make up one's mind on the date in advance for the sake of tourists. Pasola is always held for four weeks in February and March.^[9]

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 West Java.

Payuq [edit]

Payuq is the traditional Dayak class of wrestling, particularly native to the Kenyah people of East Kalimantan. The word 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. Physical strength 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 take place in dried rice paddies after beingness harvested and a circumvolve is set in the centre of the field equally 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.^[x]

Sisemba [edit]

Sisemba is a kicking-fighting activity practised by the Toraja of Due 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 Due north Toraja Regency, it is today mainly seen in the Toraja cultural centre of Rantepao. The ritual of mass kick-fighting is commonly performed as office of the rice harvest festival in Tana Toraja villages. Co-ordinate to tradition, sisemba is a prerequisite for the adjacent successful harvest.^[eleven] In the practise of sisemba, hundreds of participants from two villages join hands and form lines of two or more people. They may be linked by the artillery or by clasping hands. The line is not necessarily direct but may take the form of a V-shape, an inverted V-formation, a wedge, a circular arc either concave or convex, or whatever other shape. One time joined in line, all participants must be linked except the men on the ends of each line. One time the opposing ranks come inside range, they kick at each other in an attempt to knock players out of the opponent's line.^[eleven] A divided line is then overwhelmed by the superior numbers of the opposing line, who manoeuvre and surround stragglers. Smaller lines are nonetheless capable of more active manoeuvres, such equally sending the actor at the end of a line flying through the air completely off the basis, and then pulling them back in a whip-like way after they've struck the opponent. Whatever sort of kicks are immune and any part of the trunk 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 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 every bit a form of mass defence in which every man in the village repelled invaders. It served its purpose well plenty that no form of pencak silat, wrestling, or whatsoever other unarmed fighting fine art exists in the Toraja culture. Sisemba was also used every bit a way of settling disputes between kampung. Victory was obtained just by reducing the numbers of the opposing squad through injury. Today it is a harvest-time festivity, performed on harvested rice fields. Matches last for several hours each day over a menstruum of weeks during the harvest season. The winner is decided based on the superiority of technique but injuries are nonetheless frequent, particularly to the face. To ensure that the match runs smoothly, the village elders human action as supervisors. If a participant or a pair of them was deemed to be too violent, the village elders will separate them from the crowd.^[11]

Cakalele [edit]

The cakelele is a male war-dance practised by the aboriginals of North and Cardinal Maluku. Hybrid forms besides exist in Sulawesi, Timor, and the Tanimbar Islands. Mentioned in native legends, it originated as a style for the warriors to celebrate after a successful raid. From the age of sixteen, village boys would report and work for iii–5 years with the kakehan, the men's secret society. The art of combat formed part of their education, every bit was the cakalele. While not an bodily martial art, the dance has preserved some techniques and the full range of aboriginal weaponry, making it greatly important in the study of Indonesia's native fighting methods. Backed by the rhythm of the drum and gong (tifa) and fife (sulin), two opposing captains engage in mock-combat with a spear (sanokat) and long knife (lopu). Supporting warriors wield long knives and a narrow wooden shield known as salawaku.^[12] ^[13]

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 gild paired with a shield. It is sometimes called makare-kare in Balinese and known every bit perang pandan in Indonesian, literally meaning "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 as a warrior god, many major religious festivals in Tenganan involve a ritualistic battle.

The tradition of mageret pandan is said to take originated with Rex 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 equally a ritual to honour the gods and the ancestors. The weapon used in mageret pandan is a 15 cm society made by tying 10-15 leaves of pandan (Pandanus amaryllifolius) together. Each of the leaves is edged with small abrupt thorns. The shield is a rattan buckler. Techniques are mostly swinging strikes, but grappling is used when in-fighting. Participants compete shirtless, wearing but a sarong (kamen) and traditional headdress (udeng). Co-ordinate to tradition, the mageret pandan is compulsory for Tenganan males. For the young, information technology serves every bit a rite of passage into manhood; children equally young equally 7 have participated.^[15]

Kabasaran [edit]

Kabasaran is a Minahasan war trip the light fantastic toe from Northward Sulawesi, performed past several men clad in reddish. Kabasaran dancers were traditionally farmers or guards who served as waranei (warriors) when the village was attacked.^[16] The waranei condition along with their weapon is inherited from male parent to son.^[16]

The basic structure of the dance consists of nine dance moves (jurus) using either the sword (santi) or spear (wengkouw). The footwork pattern consists of 2 steps to the left and some other two to the right. Dancers are known every bit kawasalan indicating a pair of fighter cocks.^[16] 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 pocketknife duel formerly practiced past pesilat of the Bugis-Makassar communities and too in Batak tribes. The challenger stands with a loosened sarong around him and invites the other man to footstep into the sarong. Knives in their correct hands, the two duellists fight to the death inside the confines of the sarong. This trigger-happy method was used for conflict resolution in Bugis-Makassar community in the past. If two men having disputes that can non be resolved through parley, their honour has been trespassed, and none of them admitted their mistakes, the only way to resolve this dispute is through a deadly duel in a sarong.^[17]

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

This method of fighting originated in aboriginal Bharat 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 first introduced, but information technology 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 notwithstanding use another blazon of knife known as the raut. Duelling is no longer skillful today, only reenactments of sitobo lalang lipa are still 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 significant "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, cultivation and harvesting of crops.
Kerambit/ Kuku Macan : a blade shaped like a tiger'south claw
Kipas : traditional folding fan preferably made of hardwood or iron.
Klewang : a blazon of single-edge longsword with a protruding notch nearly its tip.
Kris : a dagger, often with a wavy blade made by folding different types of metal together and then washing it in acid.
Kujang : Sundanese blade roughly shaped like a deer's antler.
Parang/ Golok : machete usually used in daily tasks such as cutting 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 effectually the waist or shoulder, used in locking techniques and for defence confronting blades.
Sundang : a double edge Bugis sword, often wavy-bladed
Tameng/ Perisai : shield made of hardwood, weaved rattan, or sometimes metal.
Tombak/ Lembing : spear or javelin made of bamboo, steel or wood that sometimes has horsehair fastened virtually the blade.
Toya : rod or staff fabricated from wood, 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 TV series for decades. The term silat equally a genre refers specifically to historical stories involving martial artists. These need non necessarily characteristic the silat field of study itself, but also includes Chinese wuxia and Japanese jidaigeki. The silat genre began as an oral and theatrical tradition earlier first existence written in the class of medieval hikayat. The mod 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 TV series today) placed less emphasis on the bodily fights and more on drama, resulting in poor depictions of the fine art. This inverse in the 1980s due to the popularity of radio shows featuring pencak silat experts in the quondam Indonesian kingdoms of Pajajaran and Majapahit circa the fourteen-15th century. Historical epics such every bit Saur Sepuh, Tutur Tinular and Misteri Gunung Merapi have been adapted both for Television receiver and film. Indonesian cinema differentiates this from modern action films or laga. The latter may or may not include traditional fighting styles, but the mod setting makes it distinct from the silat genre proper.

While Indonesian movies and Goggle box series accept always had a big following in neighbouring Malaysia and Singapore, it was the 2009 picture Merantau that brought international attention to the cinematic genre and pencak silat in general. The film had a more often than not positive reaction from cinema critics^[18] and generated enough interest for the atomic number 82 actor to follow up with The Raid: Redemption in 2011 which received international acclaim. Its sequel The Raid ii: Berandal was similarly well-received simply drew much criticism for its extreme gore,^[nineteen] ^[twenty] leading to the film being banned in Malaysia.^[21]

References [edit]

^ ^a ^b "Pencak Silat: Techniques and History of the Indonesian Martial Arts". Blackness Belt Magazine. Archived from the original on 14 September 2017. Retrieved 6 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 viii 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 (v April 2013). "Manifesting strength and dearest". The Jakarta Post. West Manggarai, Eastward Nusa Tenggara. Retrieved 21 September 2015.
^ Agnes Winarti (13 November 2011). "Tarung derajat looking for bigger stage". The Jakarta Mail service. Jakarta. Retrieved xi November 2011.
^ "Tarung Derajat Tampil di Body of water Games 2011". Tempo. Archived from the original on 24 September 2015. Retrieved 11 November 2015.
^ "Indonesian island sees time to come in age-erstwhile horseback battle". The Star. 3 April 2014.
^ Suryadi Gunawan. "'Payuq', 'Bebintih' Roh Para Pegulat Kaltim di Ajang Internasional". Antara News.com (in Indonesian). Retrieved eleven November 2015.
^ ^a ^b ^c Husain (4 May 2012). Glori K. Wadrianto (ed.). "Menyaksikan Tradisi "Sisemba" di Toraja Utara". Kompas Travel (in Indonesian). Retrieved xi Nov 2015.
^ P. E. De Josselin De Jong (1984). Unity in Diversity: Indonesia as a Field of Anthropological Study. Foris Publications. ISBN9-0676-5063-three.
^ Albert G Van Zonneveld (2002). Traditional Weapons of the Indonesian Archipelago. Koninklyk Instituut Voor Taal State. ISBNnine-0545-0004-2.
^ Luh De Suriyan (xiii July 2016). "Melihat Aneka Ritual Kesadaran Lingkungan di Desa Sosialis Tenganan Pegringsingan". Mongabay republic of indonesia (in Indonesian).
^ Anton Muhajir (18 June 2009). "Ritualistic battle honors the ancestors". The Dki jakarta Mail. 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 Apr 2020.
^ Chocolate-brown, Todd (23 July 2009). "PiFan 09 Review: MERANTAU". Twitch Movie. Archived from the original on 27 July 2009.
^ "Review: The Raid 2 is also gory to tummy". Rediff. thirty May 2014.
^ "Paramedics Called To 'Raid 2' Premiere: 'The Nearly Fierce Mainstream Film Since Passion Of The Christ'". UPROXX.
^ "The Raid two: Berandal banned due to excessive violence". astroawani.com.

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