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The Cimande Knife

Combat - April 2004
It is said that knife attacks outnumber all other weapon attacks combined! Virtually every single martial
art that is street combat orientated contains some knife defense techniques. The sad truth, however, is
most are worthless! The defenses are usually made up of a few options:
1. Hit the arm out of the way and then attack the opponent or
2. Redirect the arm and then catch it in some fancy lock to remove the knife.
Some arts (like the Filipino styles) look very nice as they flow back and forth but that happens only so
long as the opponent knows the drill and is cooperating completely! All knife defenses have a chance of
working against a foolish and robotic type attacker, the kind I have never seen in a real situation. Knives
are usually used at close-quarters and the opponent slashes back and forth and stabs randomly and
erratically.
When I was teaching seminars with my teacher. Pendekar Suryadi Jafri during the 1980's, he'd pick the
smallest person at the seminar usually a girl. He'd ask if everyone knew knife defense Everyone would
say "Yes!" Then he would give a magic marker to the student he picked out and ask her to try and write
her name on the face and body of each person as they performed their knife defenses. I never saw one
unmarked person!
So what's the answer!
Let's go back and look at the development of Cimande for a moment. The founder of Cimande Emhah
Kahir began with Sera. which operated on the concepts of misdirection and striking. Sera is a monkey-
based art that was found to he ineffective against knife attacks. Next. Emhah Kahir invented Pamacan. a
tiger style that used nerve strikes, grabs and taking the opponent to the ground. Again. Pamacan was
not very effective against multiple and armed attackers. The art of pinpoint precision striking was
developed to a very high degree in the final refinements of Cimande and three of its Jurus deal with
knife defenses while three others deal with knife attacks. The concept is simple but brilliant!
Keep your limbs close to your body to protect your vital organs. Use the Jurus to deliver a first strike to
your opponent's limbs that sets him up for a second third and fourth strike to the hand holding the
knife. These strikes are performed in a lighting-fast manner and are called 'kilap' (lighting strikes) in
some schools.
No other part of the attacker's anatomy is attacked until the knife is gone from his grasp! Once contact
has been made, the opponent's arm is stuck to with the principles of adhesion. until the knife is gone. So
if he recoils with your first strike then moves forward, keep the blows raining down on his limbs.
A way to learn how to hit with this degree of speed is through playing the drums! -These can help build
accurate and fast short strikes that we also call 'poison hand hitting'. We call it that because to the
uninitiated, it seems like we have poison on our hands in order to take out the adversary so quickly with
almost nothing seen!
But what if you are using a knife to fight with! Well that's where the other three Jurus come into play.
The empty hand is replaced with the same quick fast snap cuts and slashes of the knife.

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A snap cut is a wrist-action technique in which the edge of the blade cuts across the bone severing
tendons and ligaments on the way.
A person using the Cimande on-guard knife position is less likely to be attacked than someone using
another ready position! I can honestly say this is the only defense I feel totally confident with. Nothing is
guaranteed to work every time but this is the best insurance policy I know of when faced with a knife
wielding assailant!


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Silat Fighting Magick
Combat - August 2003
Many of today's martial arts today have grown sterile. Extreme physical conditioning, often resulting in
overstretched tendons and ligaments, have replaced inner power and meditation. The body has grown
bigger while the mind and inner strength have deteriorated.
The internal aspects known as Kebatinan (mysticism) and Ilmu (sorcery/magic) are intrinsic parts of the
Indonesian martial art of Pencak Silat. Students from other arts that do not contain these aspects have
mixed emotions when faced with them for the first time.
First, one must realize that our art was designed as a moving ritual intended to gather forces from
within and without the practitioner. These include the principles of Father Sky and Mother Earth, and all
the elements associated with them - Earth, Wind, Fire, Water and Spirit. The spirit - Raja Naga -
symbolizes the embodiment of everything propelling the Tenaga Dalam (Inner Spirit/Power).
Trying to make the art work on purely physical skills alone is akin to using a coffee percolator as a
paperweight. It may be partially effective by accident but it certainly is not being used to its designed
potential!
After teaching Pukulan Cimande Pusaka Pencak Silat for many years. I can assure you we don't lack
outer physical aspects! The art contains 18 Jurus (sequences of upper body movements) performed both
left handed and right handed.
Each Juru contains thousands of applications. It also contains Langkas (moving forms), dozens of
specialized moves, and footwork patterns such as, Web patterns, War wheels. Pukulan Wall and
Wedges. with Tiger. Snake, Monkey and Crane animal styles. So the physical dimension has great depth!
Indeed many students from other styles have been completely overwhelmed at all these aspects!
With all that going for it, why study Kebatinan and Ilmu?
We follow a line of development from purely physical skills, beginning with the first level - joint
destruction. This is the most physical and the easiest to develop. It causes energy damage to the
opponent because his bones store Tenaga Dalam (Inner Power). However, delivering the strike requires
no inner power by the practitioner (though all strikes can be intensified with it, of course!).
The second stage is muscle and nerve damage. This requires more physical skill in terms of accuracy.
Again, inner power would intensify the results but it is not necessary to cause damage.
Third stage involves nerve damage. This requires precision and is very effective! Inner energy could
greatly increase this kind of damage.
The fourth stage involves energy damage and it is here that we cross the line. because no physical
power can cause this kind of damage. Application is transferred directly to the practitioner through the
acupuncture points. This can be accomplished at a distance from the opponent with sufficient training.
The student's Tenaga Dalam has been developing all the way through these steps if s/he has been
taught the art correctly.

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The correct understanding, of the Kebatinan and Ilmu make the development take place. The last step
will never occur without this so the potential of the other areas will he weakened.
The moving fighting ritual of Pencak Silat leads to altered states of consciousness which produce the
desired combat attitude in the tighter. Attitude has been called a warrior's primary weapon because it
allows functioning of the physical body without it being held back by doubt. fear and apprehension.
These negative feelings can actually halt physical skills. Altered states allow isolation of physical
attributes. which in turn sharpen specific skills.
Altered states in effect open a pathway, linking into the animal spirit lighting skills contained within that
most ancient portion of the human brain, often referred as the 'Reptilian Brain'. This area is most closely
associated with survival and real fighting skills - not tournaments or other such games.
An opponent facing someone who has turned off his conscious mind is facing someone without fear;
someone who is intimidated by neither size nor talk. This is someone who will fight with what we term
controlled recklessness'.
This is what Pencak Silat is all about! So embrace the Kebatinan and Ilmu of Pencak Silat, and you will
win in the end!


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The Tiger of West Java
Combat - February 2004
The mannerisms of the tiger are emulated in many forms of martial arts. The indonesian martial arts
which are usually associated with the tigers are Sumatran based systems such as Harimau.
One of the most common stories about the origins of Pencak Silat (the generic name associated with all
Indonesian martial arts) concerns a woman, who by watching the actions of a tiger was able to defend
herself from the husband's beatings!
Embah Kahir is the founder of the West Javanese art of Cimande and his style went through a process of
trial and error before culminating in Cimande. First he studied the monkey's ability to dodge, deflect and
unbalance its opponent. He developed a system called "Sera" from this study.
Once developed and battle tested, he then introduced his characterization of the tiger. So instead of a
deflecting blow followed by a strike, the opponent's arm was now simultaneously grasped and struck.
The attacking hands take on a claw type form because more nerve centers can be struck at once when a
claw hand strike is delivered! Then body weight can be used to drag the opponent to the ground where
claw-hand strikes, low kicks, rolling elbows and knees finish him off.
The beginning stance is normally a low crouch with both hands in claw position and slightly extended
towards the opponent. From this the practitioner can quickly drop into seated or full supine position
(even on the flat of the back!) as a decoy to lure the unwitting opponent into thinking the Pamacan
exponent is defenseless.
In the original Embah Kahir tradition, Pamacan in Cimande contains five Jurus (sets of moves) that take
the practitioner through strikes, low positions and leaps. Leaps are often used once the opponent has
fallen, the Pamacan exponent dropping on then with elbow and knees leading the attack.
The great thing about Pamacan and Sera for the Cimande exponent is the complementary flavor of the
moves. The principles and attitudes of the fighter remain intact. The result of this is to give the
impression of one system utilizing many techniques. Compare this with a person who attempts to glue
together different systems that simply don't match up in terms of intent or type/style of actions. One is
a cohesive fighting system; the other merely a cobbling together of techniques.
Embah Kahir used the same framework to build his evolutionary progression of fighting ideals. However,
some practitioners took only a portion to practice, and eventually changed it. That is why today it is
possible to see Sera that looks nothing like its original version. One person I know believes that he must
be doing a different art because what he does looks nothing like the original Sera! Another teacher has
removed this and added that, so though his art bears the name "Sera", it isn't any more!
That's why it's so important to find a Cimande teacher, who knows the roots of this great art and can
teach Sera and Pamcan in a way that does not alter the final Cimande. This is important because it was
the combining of these two concepts that allowed Embah Kahir to develop Cimande. which is
considered by West Javanese Pendekars as the most superior in terms of fighting.
The Pamacan is a fantastic way to develop the tiger aspects found in all Cimande exponents!


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Indonesian Sword - The Blade Within
Combat - March 2004
Todays popularity of films like The Last Samurai and Kill Bill have caused many people to look at one of
mankind's oldest weapons. While the two films mentioned focus on the Japanese tradition, we should
not forget that other cultures also have a very long tradition with the sword.
The long sword is referred to as the Pedang in the Indonesian arts. The pedang is usually a one-handed
sword. Heavy body armour was not worn because of the heat of the Indonesian sun, so the sword had
to be fast and useful in close jungle fighting.
We have an extensive sword curriculum in Pukulan Cimande Pusaka. Jurus (movements alone and with a
partner) are taught in two formats. The first mostly medium to close movements. The second (pedang
sulwa) use longer range
techniques that combine multiple empty hand strikes and sword cuts.
So what does this Indonesian art offer you?
Using the pedang is part of a spiritual quest and it forms a vital part of this art. As above, so below; as
without so within. Everything that exists is within you and it is only through finding an essence within
your being. and then expressing it mentally in a physical form that you can master anything. Sometimes
that which is without can be used as a key, to find that which is within. To achieve this means forming a
union between spirit and form through the 'gerak pedang baden' (sword body movement) and 'tacktic
pedang badans' (sword/body tactics). These exercises are moving mediations that I refer to as 'Washing
the body with the blade'.
You are taught how to place the thick back of the blade against your body and begin by slowly and
rhythmically moving your body while keeping the back edge welded to your body. Move it over and back
until the blade is gliding over every surface, losing the thought that it is separate from your own body.
At first you feel the cold steel against your body. but it soon disappears from your conscious thought.
During such times you may notice emanations rising from your blade. like heat waves, or perhaps a soft
glow. So the body turns and twists and spins, as though the body itself has become the blade! That is
why I call this. 'The blade within the body'.
This is the thread I speak about in my books. It is the ideal one aspires to, but it is elusive - like a wild
bird that sits on your hand of its own will but can fly off in an instant. The more you persist, the more
likely it is to return as conditions suit it.
Of course this all requires careful instruction by a qualified teacher, if only so that you don't cut yourself
in the process. This is possible even with experienced practitioners, especially when they use a sword
not designed for this type of training.
This then is a type of mediation in which one's will is fused with an object outside of the body, so both
function together as a unit. This fusion is very important in actual combat with one or more opponents.
Proper breathing is essential. You learn to breathe through the entire body (the 'badan rogan napas').
You and your sword move as one as your awareness of holding a sword in your hands fades. The blade

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seemingly appears here and there - all over the body - until the blade within the body merges with its
physical counterpart to give rise to a jimat sakti' (supernatural shield). Now the blade flows over and on
the surface of the skin like a drop of water that follows every contour. As the thought goes, so the blade
moves.
I hope these words go some way towards explaining the depth of physical and spiritual developments
associated with using the pedang in Pukulan Cimande Pusaka.


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The Lost Art of the Original Sera
Combat - October 2003
As time goes on it is difficult to distinguish in many cases, if the original intent of any Martial Art remains
intact. Eventually as other's mix in their own ideals and meanings or add other systems it becomes
difficult to tell the flowers from the weeds. The Art that I teach is Pukulan Cimande Pusaka. Cimande is a
West Javanese Art developed by one Embah Kahir in the late 1770's. I have studied a variety of the
Cimande expressions to understand as much as possible of the original intent. As Cimande spreads it
branched out in a variety of expressions due to geographic and cast diversity, what is not commonly
known is that Embah Kahir developed three fighting arts culminating in his finale and most perfect
Cimande. Embah Kahir's first Art, Sera is a fantastic key of some of Cimande techniques and where
taught in the old manner, teaches one how to build inner power (called Tenaga Dallam in Indonesia ).
What then is Sera? Now before we go any further, I must advise what I'm writing of only applies to
Embah Kahir original Version. This is easy to verify as it is the art known by the Pendekar of Cimande
Villages. While Cimande did have variations they all remain similar. While other systems that I have
seen, that use the name Sera or a similar name with a added letter appear to have morphed into an
entirely different expression. Indeed one of the teachers in an article a few years ago mentioned that it
was composed of a few Chinese Arts, as well as European Boxing with I guess the original. No other Sera
is known in than the one I'm referring to, by any of the experts I could find in Tarik Kolot Cimande Village
West Java. Embah Kahir is also the sole recognized originator period! That been said to avoid confusion,
the original Sera was based mainly on the fighting attitudes of the Monkey.
Monkeys however are great imitators, so in the Sera's Jurus (Jurus are movements of the Art, like a
form) you will see positions of other animals mannerisms, such as the Crane and Tiger. Old Sera contains
five such Jurus or sets of movement. However each Juru contains eight postures with a multitude of
applications. So since each Juru consists of eight segments, there are a total of forty postures. A very
important directive of Embah Kahir was to always begin each practice session with Bunga (a term that
means flower and shows the beauty and spirit of the art). This then is free form practice of all of the
moves. that the student knows up until that point. If the student knows all five Jurus. then forty
postures will be performed in a fluid and beautiful but clearly deadly manner. This is also believed to
invite the ancestors to be present for the practice. Visually, the stances are low and crouched, which
then at times raises up in one legged crane postures at all times remaining fluid and beautiful, with a
variety of elbows. grabbing breaks. heel palm. hammer fists and sweeps all performed. Off - Timing
movements famous in Cimande are used. being slow and coiled, to full speed in a flash and back to slow.
The only weapon that is associated with this art is Dirt. The practitioner from the normal low and
crouched position scoop up the dirt while moving slowly and then flings it in the eye of the opponent.
Sometimes the dirt is carried in preparation. Its flow, evasiveness and intrinsic energy development
capabilities formed many of the Cimande's most pride attributes. Under no circumstances is the old Sera
stiff or upright in stance. If you see any of these things it is a derivation from the real thing. I teach Sera
as it is an Embah Kahir Heritage Art, and I am authorized to teach this as well as Embah Kahir second Art
Pamacan and of course Cimande and have been awarded the title of Pendekar (Grand Master in physical
and spiritual aspects) once from P.P.P.S.B.B.I. (The organization of Old Pendekars) in Banten West Java
in Cimande and again in all three Arts Directly by the Elders of Cimande Village TariK Kolot and one of

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the highest regarded Pendekars there, Pendekar Mama Sukarma. In the next installment we will look at
Pamacan, Kahir's second Art and the Tiger of Cimande.


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My Body is My Weapon
Combat - September 2003
It didn't mean much to me when I first heard the words, My body is my weapon. After all, you could
apply that claim to whichever martial art you might be learning. It wasn't until years later that I clearly
understood the difference between what one could say about various arts. and what what we do.
You see the human body is composed of a variety of organs covered by the skin, and these represent a
universe of 'soft' and 'hard' areas. Some areas teem with energy drainage spots or are crowded with
nerves and muscles, others are vulnerable joints. Yet others look outwardly similar but are armour
plated weapons!
The real secret of using your body like a weapon lies in lining up your amour plated parts against the
opponents soft more vulnerable areas.When this is accomplished the opponent is hurt no matter what
they do!
When this happens a 115 pound woman can drop a 250 pound man and no one can figure it out: This is
our goal and we attain it through a unique delivery system. The body learns to move in an undulating
unfathomable manner brought to life by the 'Bunga'. which unites spirit with movement. This means the
Cimande artist actually becomes so physically and mentally attuned to the opponent that it is not even
necessary to look at them! Pukulan Cimande Pusaka is based can eleven physical principles which build
and train the body. These are:
1. Principle of Penetration
2. Principle of Continuous Blow with Camouflage
3. Principle of Adhesion
4. Principle of Bamboo - Whip and Ricochet Hitting
5. Principle of Off-Timing - Mental, Visual and Auditory
6. Principle of Compacting - Thunderbolt strikes and Poison Hand blows
7. Principle of the Thorn
8. Principle of Decoying (Includes Indirect Hitting)
9. Principle of Destruction:
10. Principle of Body Armour
11. Principle of Hit Trapping
Penetration has more than one dimension. It includes the ability to close range and penetrate the
opponent's defenses while negating their counters. Once in range, penetration involves various ways of
intercepting incoming blows with blows of your own, and going through the aforementioned energy
points muscles nerves and joints.

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One of the major differences between our art ,and many others is that we do not block anything!
Everything that comes into our range is struck! Punches can be struck aggressively by flanking and
perhaps with a powerful forearm smash. Alternatively we may be more passive and guide the incoming
blow into a more powerful destructive force like the tip of the elbow. Kicks can be hit straight on with
another kick, stopping them before they even start. Or we hit them at an angle. using penetrating toe
points or heel kicks.
Head butts, points on the shoulder, and hip are other weapons to use when the opportunity arises. In
many ways it's like the old paper, rock, scissors game.
Remember always to line up your superior body parts with the incoming weaker ones. Flank (if this is
not possible) and quickly counter with the correct weapon.