Friday, June 8, 2012

Article on Sera / Serak Silat by Bapak Ventje De Vries; late student of Mas Djut and Uncle to Our Uncle.

Saturday, February 24, 2007 originally written by Michiel Meijer
(Serak publication pak Ventje De Vries; late student of pak Masdjoed; Tong Tong; The Netherlands 1962) Pak Masjoed is student of pak Sera; founder of Serak Style 
In next story; I will tell some about my youth. At young age I left my parent house (of course against the will of my parents); to get life experience to be become independent. Because of my few income; I lived with humble family in a small lane in Buitenzorg, among locals.

That’s how I learned Soendanees languish and adat; so I could good concentrate on poekoelan. Afterwards my master Masjoed gave me permission to give lessons myself. Finally people didn’t called me “djoeragan” (meneer) or anom (shortage of djoeragan anom (jonge meneer); but mamang (uncle); to express respect; what seems to be when they talked with each other discussing about “Mang Depris”. When they met me on the street; they welcomed with “Poenten Mang, bade angkat?”(Good day Mang; where are you going to?) Even aged people greeted me like this. I assume it’s because I never absence Pentjak competitions; as New Year celebrations in the stalls of Governor General and wedding and sunat parties. Parties with Governor General dated from period of Van Heutsz and were very popular; because winner of competition won 25 guilders (€ 12). There; many djagos and styles became famous. Even if losers were injured it never occurs; it became case for civil court. It was honest fight; to through your opponent; without weapons; and without revenge.

In Soenda area; there are 3 main Poekoelan styles; “Tjimande”, Tjikalong” and “Sera”, last one I practice. Main styles are divided into sub streams like “Tji Matjan (Tiger), Tji Monjet (monkey); and Tji Kampret (bat). So far I know about Batavia; well known style of Mr. Petite de Rooy; “Petjoet" of Mr. Schoor from Petodjo; also called (nickname) Si Pantek. In Padang; they practiced Padang style; mainly kicking. There is also Koentau; divided into 7 sub streams. My experience is that this style is practice in Palembang (see article T.T. 15-9-1962). Most famous practitioners in Buitenzorg are; Baha Boek and Baha Boit; both large / strong guys. That’s why they use heavy sikoe –sikoe’s in there style. Sikoe-Sikoe is made of steel; and has length from under arm to elbow. In Pontianak there is kind of style; where “les” is main issue. Body is trained to avoid punches; by stepping backwards or step aside. Hands of experienced practitioner of Pontianak can be tied behind his back; without to be hit. Lets practice; in Lankah Lima. (See figure A to E). Right foot on B and left foot on E; while body weight is on right foot. This stand is called koeda koeda. He stands in langkah 3. Cross on figure is extended with triangle FGB. Man from Pontianak stands with his right foot on G and with his left foot on F (with front to opponent). His third point is B; (right foot of opponent). Situation is as follows. His arms are not is fight position; asking to be hit. Opponent sees no defense; and tries to punch. Pontianak moves body backwards; and counters when opponent strike back arm; to give second punch. Body of Pontianak close to opponent; so that bodyweight of opponent (B - E) is based on E. Then followed with sapu sideway; to throw opponent. This les is also incorporated in Sera; so our counter would be almost similar; using arms and legs. Would be too complicated to write down on paper. Now follows description; of fight of Pentjakkers in pengkalan pentjak (pentjak arena). All Pentjak styles are split into Kembang (bloem) or dance; djoeroes (alphabet) or techniques; langkah’s or steps with techniques; and samboetan; fighting system of severe kinds of Pentjak. Included sabet (kick away opponent) and sabet (shift away opponent, by placing your foot at foot of opponent; while pushing body of opponent) Guiding music is wooden trumpet; 2 gendangs; and gong. Gendangs are elongated drums; both side played (called male and female) with the start of gendang “tepak tiloe” (3 rhythm) or “tepak doea” (2 rhythm); female sound start; and male answers with variations. For beginners it’s hard to recognize severe melodies and gendang rhythm. It’s also not easy to dance; stepping and movements at the same time. Rhythm of Tjimande is slow and dragged; because dance is mentioned to show agile arm- and hand movements; while Tjikalong rhythm is faster and pleasant rhythm. Written by "Mang Depris” Alias pak Ventje De Vries

(Notice the low stances as demanded by Uncle.-- Trent)