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Hakka Kuntao Silat DeThouars

Η μαχητική τέχνη Hakka Kuntao Silat DeThouars προέρχεται από την Ινδονησία και εστιάζει στην άοπλη μάχη και στην μάχη με μαχαίρι, η τέχνη είναι μίξη των τοπικών τεχνών μαχαιριού Pencak Silat (Σιλάτ) του Ινδονησιακού αρχιπελάγους με στοιχεία παραδοσιακού Shaolin και Wudang Kung Fu (συστήματα που είχαν μεταναστεύσει στην Ινδονησία), Western Boxing, Western Fencing και Grappling. Η τέχνη πέρασε στις ΗΠΑ με τον Willem DeThouars, ο οποίος ασχολείται με αυτές τις τέχνες όλη του την ζωή. Γεννημένος στην Δυτική Java εκπαιδευόταν από την παιδική του ηλικία με τον παραδοσιακό τρόπο στις μαχητικές τέχνες. Ο πατέρας του, οι θείοι του και τα αδέρφια του ήταν είναι επίσης καταξιωμένοι εκπαιδευτές Silat. Τα αδέρφια του Maurice, Paul και Victor δυστυχώς απεβίωσαν και εν ζωή είναι μόνο ο Willem.

Ακολουθούν μερικά χαρακτηριστικά στοιχεία της δομής εκπαίδευσης στην τέχνη του Kuntao Silat:

1. Djurus
Τα Djurus είναι φόρμες κινήσεων των άνω άκρων για την καλλιέργεια του συγχρονισμού των χεριών (Coordination), την ανάπτυξη κινητικής ροής (Flow) και την εφαρμογή αποδοτικής μηχανικής σώματος (Body Mechanics). Τα Djurus είναι ο θεμέλιος λίθος της τέχνης, η ίδια η λέξη Djuru σημαίνει Ρίζα (Root), όπου μέσω των Djurus πηγάζουν και ξεκλειδώνονται όλες οι τεχνικές...

2. Lankas
Τα Lankas είναι οι αντίστοιχες φόρμες κινήσεων των κάτω άκρων για την καλλιέργεια του συγχρονισμού των ποδιών και χεριών (Coordination), την ενδυνάμωση των συνδέσμων και αρθρώσεων των κάτω άκρων, την ανάπτυξη κινησιολογίας (Footwork) σε 360 μοίρες κίνησης κατά την αντιμετώπιση μαζικών επιθέσεων από πολλαπλούς αντιπάλους (Mass Attacks) και από κάθε πιθανή γωνία επίθεσης, καθώς και για την ανάπτυξη τεχνικών σαρώσεων (Sweeps), ρίψεων (Throws) και παγιδεύσεων των κάτω άκρων (Foot Trapping).

Ο ασκούμενος στην τέχνη Kuntao Silat εξασκείται μακροχρόνια σε φόρμες κινήσεων, δίνοντας έμφαση στην βελτίωση του χρονισμού των κινήσεών του σε σχέση με τον αντίπαλο (Timing) και στην ενίσχυση της μυικής μνήμης (Muscle Memory) μέσω της επανάληψης. Με σωστό χρονισμό ένας πιο μικρόσωμος άνθρωπος μπορεί να υπερνικήσει έναν πιο μεγαλόσωμο και δυνατότερο αντίπαλο... Ο χρονισμός είναι υψίστης σημασίας για τον ασκούμενο, ενώ η ταχύτητα και η δύναμη είναι δευτερεούσης προτεραιότητας στην εξάσκηση.

3. Buah
Τα Buah είναι οι μαχητικές εφαρμογές των Djurus και Lankas. Η λέξη Buah σημαίνει Φρούτο (Fruit), υποδηλώνοντας ότι οι μαχητικές τεχνικές παράγονται από τον ίδιο τον ασκούμενο μέσα από ένα πρίσμα προσωπικής ερμηνείας των Djurus και Lankas. Σε αντίθεση με άλλες κλασσικές πολεμικές τέχνες, η τέχνη Kuntao Silat δεν στηρίζεται στην τυποποίηση των τεχνικών και στην στείρα απομνημόνευσή τους, αλλά στην δημιουργία και συνεχή εξέλιξη τεχνικών μέσω προσωπικής ανάλυσης και κατανόησης των θεωριών της τέχνης. Η τέχνη Kuntao Silat είναι διαφορετική για τον κάθε ασκούμενο...

4. Kembangan
Στις σύγχρονες μαχητικές τέχνες η σόλο εξάσκηση μέσω σκιαμαχίας (Shadow Boxing) έχει αναμφίβολα θετικά αποτελέσματα στην εξέλιξη του ασκούμενου. Αντίστοιχος τρόπος προπόνησης στην Φιλιππινέζικη πολεμική τέχνη Kali είναι το Carenza και αντίστοιχος τρόπος προπόνησης στην τέχνη Kuntao Silat είναι το Kembangan. Εναλλαγή ρυθμών κίνησης, διασύνδεση τεχνικών, ελευθερία κίνησης και ροή αποτελούν στοιχεία που βελτιώνουν τις αθλητικές δεξιότητες (Attributes) του ασκούμενου κατακόρυφα... Η λέξη Kembangan σημαίνει Άνθος (Flower), υποδηλώνοντας την ανάπτυξη του ασκούμενου μέσω της σκιαμαχίας...

Η τέχνη Kuntao Silat δεν είναι μαχητικό αγώνισμα, ούτε τέχνη επίδειξης με χορευτικές κινήσεις, η επιτομή της τέχνης είναι η αυτοάμυνα... Ο Willem DeThouars διδάσκει την τέχνη όπως διδασκόταν πριν τον Δεύτερο Παγκόσμιο Πόλεμο, ως πολεμική τέχνη για ρεαλιστική αυτοάμυνα και εξουδετέρωση του αντιπάλου. Η αντιμετώπιση ενέδρας, η αντιμετώπιση πολλαπλών αντιπάλων, η χρήση και αντιμετώπιση όπλων στοιχειοθετούν το πλαίσιο εκπαίδευσης του ασκούμενου στην τέχνη Kuntao Silat...

Βασικές θεωρίες της τέχνης του Kuntao Silat:

1. Timing (Χρονισμός): Ο ασκούμενος δίνει έμφαση στην βελτίωση του χρονισμού των κινήσεών του σε σχέση με τον αντίπαλο και στην ενίσχυση της μυικής μνήμης (Muscle Memory) μέσω της επανάληψης. Με σωστό χρονισμό ένας πιο μικρόσωμος άνθρωπος μπορεί να υπερνικήσει έναν πιο μεγαλόσωμο και δυνατότερο αντίπαλο... Ο χρονισμός είναι υψίστης σημασίας για τον ασκούμενο, ενώ η ταχύτητα και η δύναμη είναι δευτερεούσης προτεραιότητας στην εξάσκηση.

2. Sensitivity (Ευαισθησία): Ανάπτυξη της κιναισθητικής αντίληψης (Kinesthetic Perception), αίσθηση και αντίληψη της κατάστασης του σώματος και της ισορροπίας του ασκούμενου, καθώς και του αντιπάλου.

3. Penetration (Διεισδυτικότητα): Τα βαλλιστικά χτυπήματα του ασκούμενου είναι πάντοτε διεισδυτικά με αποδοτική χρήση μηχανικής του σώματος και εκμετάλλευση της βαρυτικής δύναμης. Επίσης όλες οι επιθέσεις γίνονται διεισδύοντας μέσα στον χώρο του αντιπάλου από πολύ κοντινή απόσταση (Infighting).

4. Relaxation (Χαλαρότητα): Επίγνωση των ψυχοσωματικών εντάσεων και αποβολή των εντάσεων από το μυοσκελετικό σύστημα. Με αυτόν τον τρόπο βελτιώνεται η ευαισθησία και η διεισδυτικότητα των χτυπημάτων.

5. Continuous Flow (Συνεχής Ροή): Η ικανότητα διασύνδεσης συνδυαστικών κινήσεων χωρίς διακοπές ή επαναφορές.

6. Adhesion (Προσκόλληση): 'Αμεση προσκόλληση πάνω στον αντίπαλο σε αρχικό χρονικό στάδιο για την απόκτηση ελέγχου των μελών και τερματισμό των επιθέσεων του αντιπάλου.

7. Ranging (Εμβέλεια): Μελέτη, κατανόηση και έλεγχος των πεδίων και αποστάσεων ανάμεσα στον ασκούμενο και τον αντίπαλο ή αντιπάλους.

8. Bamboo (Ευκαμψία): Μέσω της σωματικής γωνιοποίησης και ευκαμψίας επιτυγχάνονται ισχυρά χτυπήματα με αποστρακισμό.

9. Off Timing (Αλλοίωση Χρονισμού): Αυθόρμητη αλλαγή της ταχύτητας, του ρυθμού και κάποιες φορές στιγμιαίες παύσεις ώστε ο αντίπαλος να μην μπορεί να χρονιστεί. Αυτό επιτυγχάνεται με πατήματα (Stomping) και κολαφισμούς (Slapping) προκαλώντας διανοητικό, οπτικό και ακουστικό αποπροσανατολισμό.

10. Explosiveness (Εκρηκτικότητα): Ο ασκούμενος καλλιεργεί συνεχώς την εκρηκτικότητα των χτυπημάτων από κατάσταση ηρεμίας και ακινησίας για μέγιστη απόδοση.

11. Compacting (Συμπύκνωση): Χρήση συμπυκνωμένης αλληλουχίας καταιγιστικων χτυπημάτων σε πολύ μικρό χρονικό διάστημα για την κατατρόπωση του αντιπάλου.

12. The Thorn (Το αγκάθι): 'Οταν κάποιος πάει να πιάσει ένα τριαντάφυλλο θα τρυπηθεί από αγκάθια... Τα αγκάθια του σώματος είναι οι αγκώνες και τα γόνατα. 'Οταν κλειστεί η απόσταση ο αντίπαλος θα δεχτεί συνδυασμούς καταστροφικών χτυπημάτων με αγκωνιές και γονατιές...

13. Deception & Decoying (Εξαπάτηση & Παγίδευση): Απόκρυψη των τεχνικών, ψευδεπιθέσεις και έμμεσα χτυπήματα.

14. Destructions (Καταστροφές): Συστηματική καταστροφή των εισερχομένων επιθέσεων του αντιπάλου με χτυπήματα στα νεύρα, μυς και αρθρώσεις.

15. Body Armor (Σωματική Θωράκιση): Συνεχής τοποθέτηση του σώματος σε θέσεις κάλυψης και προστασίας κυρίως για την αποφυγή επιθέσεων μαχαιριών.

16. Trapping (Ακινητοποιήσεις): Στιγμιαίος μερικός έλεγχος και παγίδευση των μελών του αντιπάλου, με έμφαση στο Kuntao Silat στην δημιουργία ανισορροπίας και εξαρθρώσεων των κάτω άκρων του αντιπάλου.

17. Adaptation (Προσαρμοστικότητα): Ο ασκούμενος γίνεται προσαρμοστικός στην αντιμετώπιση κάθε πιθανού σεναρίου επίθεσης, ενέδρα, ένας προς έναν, μαζικές επιθέσεις, χρήση και αντιμετώπιση όπλων, εκμετάλλευση του περιβάλλοντος χώρου και αντικειμένων.

18. Off-Balancing (Ανισορροπία): Η αποδόμηση και η πρόκληση ανισορροπίας στον αντίπαλο είναι από τις πρωταρχικές στρατηγικές της τέχνης του Kuntao Silat, με χρήση τεχνικών τραβήγματος και σπρωξίματος ο αντίπαλος αποδιοργανώνεται και βρίσκεται σε μία κατάσταση αίσθησης σωματικής πτώσης, ανίκανος να χρησιμοποιήσει τα μέλη του ή τα όπλα του...

Η μαχητική τέχνη Hakka Kuntao Silat DeThouars έχει τα εξής χαρακτηριστικά:

1. Όπλα Άνω Κορμού, χτυπήματα με πυγμές (Pukulan), παλάμες, πήχεις, αγκώνες, ώμους και κεφαλιές, κλειδώματα και λαβές (Kunci), άμυνες και αποκρούσεις (Tangkisan).

2. Όπλα Κάτω Κορμού, λακτίσματα (Tendangan), πατήματα, γονατιές, ρίψεις (Bantingan), ανατροπές (Kinjit) και παγιδεύσεις με τα πόδια (Foot & Leg Trapping), κινητικές αποφυγές (Elak) και πλάγιοι βηματισμοί (Gelek).

3. Jongkok Παραγωγή βαλλιστικής ενέργειας μέσω σωματικής βύθισης (Squatting, Sinking, Rooting).

4. Puturan Παραγωγή βαλλιστικής ενέργειας μέσω σωματικής περιστροφής (Gyroscopic Rotation).

5. Gosok Παραγωγή βαλλιστικής ενέργειας μέσω απορρόφησης της ενέργειας του αντιπάλου (Drawing, Rubbing, Scraping).

6. Άοπλη και ένοπλη μάχη, ο ασκούμενος στην Τέχνη μαθαίνει να αντιμετωπίζει τους αντιπάλους πρώτα άοπλα και μετά ένοπλα, με την λογική ότι οι πιο πιθανές μορφές επίθεσης υλοποιούνται μέσω ενέδρας και αιφνιδιασμού.

7. Οικονομία κίνησης και ενέργειας, η Τέχνη δημιουργήθηκε για επιβίωση και δεν συσχετίζεται με μαχητικά αγωνίσματα, προτεραιότητα είναι η άμεση εξουδετέρωση του αντιπάλου και η ασφαλής διαφυγή.

8. Adhesion, άμεση προσκόλληση πάνω στον αντίπαλο σε αρχικό χρονικό στάδιο για την απόκτηση ελέγχου των μελών και τερματισμό των επιθέσεων του αντιπάλου.

9. Muscle Memory, μέσω της επανάληψης οι κινήσεις γίνονται δεύτερη φύση στον ασκούμενο για να αυτοματοποιήσει τις αντιδράσεις του. Η καθημερινή εξάσκηση στις φόρμες Djurus και Langkas εξυπηρετεί αυτόν ακριβώς τον σκοπό...

10. Off-balance, η αποδόμηση και η πρόκληση ανισορροπίας στον αντίπαλο είναι από τις πρωταρχικές στρατηγικές της Τέχνης, αυτό υλοποιείται με τον έλεγχο του κρανίου ή της λεκάνης ή των γονάτων ή με στρέψη της σπονδυλικής στήλης του αντιπάλου, καθιστώντας ανίκανο τον αντίπαλο να παράγει βαλλιστικό έργο.

11. Petjut Kilat Silat, οι επιθέσεις στην Τέχνη είναι καταιγιστικές, με πλήξη συγκεκριμένων ανατομικών στόχων και βασίζονται σε μελετημένη μηχανική σώματος (Body Mechanics) για την αποδοτική παραγωγή ενέργειας. Το τρίπτυχο των στρατηγικών επιθέσεων Petjut (Whiplash), Kilat (Thunder bolt) και Silat (The skill behind the Art of killing) καθιστούν την Τέχνη Hakka Kuntao Silat DeThouars μία από τις πιο αποδοτικές μαχητικές τέχνες αυτοπροστασίας στον κόσμο...

12. Tearing, Joints & Bones Breaking, η εκμηδένιση της αξιομαχητικότητας του αντιπάλου, ο τερματισμός της συμπλοκής και η δημιουργία ασφαλούς διαφυγής επιτυγχάνεται στρατηγικά σε δεύτερο χρόνο με πρόκληση κινητικών και μηχανικών δυσλειτουργιών στο σώμα του αντιπάλου (ρίξη τενοντικών συνδέσμων, εξαρθρώσεις και θραύσεις οστών)...

13. Quick Recovery, η Τέχνη λαμβάνει πολύ σοβαρά υπόψη τις Μαζικές Επιθέσεις (Mass Attacks), η άμεση εξουδετέρωση του αντιπάλου και η γρήγορη απεμπλοκή είναι βασικά στοιχεία επιβίωσης...

Το μεγαλύτερο αρχιπέλαγος της γης επεκτείνεται από την Μαλαισία μέχρι την Νέα Γουινέα, αποτελείται από πάνω από 13000 νησιά και εκεί αναπτύχθηκε η θανατηφόρα μαχητική τέχνη Pencak Silat. Σε αυτό τον γεωγραφικό χώρο μέσα από πολέμους, εμπόριο, μεταναστεύσεις πληθυσμών και πρόσμιξη πολιτισμικών στοιχείων αναπτύχθηκε και μεταλλάχθηκε η τέχνη Σιλάτ από τον 4ο μέχρι τον 20ο αιώνα μΧ, οι επιρροές είναι έντονες από διάφορα μαχητικά συστήματα και προέρχονται από Κίνα, Ινδία, Νεπάλ, Αραβία και Φιλιππίνες. Υπάρχουν κυριολεκτικά εκατοντάδες στυλ της τέχνης στην Ινδονησία, Μαλαισία, Σουμάτρα, Μπαλί και Ιάβα, αυτή την στιγμή θεωρούνται ως πιο αξιόλογα και διαδεδομένα τα εξής: Hakka Kuntao Silat DeThouars, Maphilindo Silat, Bukti Negara, Silat Lincah, Mande Muda, Bersilat και Pukulan Serak. (Pencak σημαίνει σωματική κίνηση, η λέξη προέρχεται από τις εξής λέξεις Peng (απόκρουση), Tja (γροθιά) και Te (λάκτισμα), Silat σημαίνει μάχη, η έκφραση έχει την έννοια της μάχης χρησιμοποιώντας τεχνικές αυτοάμυνας).

Το Pencak Silat έχει 3 μαχητικούς τομείς:
1. Pentjak Silat (αυτοάμυνα)
2. Penjang Gulat (πάλη)
3. Ujungan (όπλα)

Στον πρώτο τομέα ο ασκούμενος μαθαίνει Djurus (κινήσεις του άνω κορμού και τεχνικές χεριών), Langkas (βηματισμοί), Sambuts (γυμνάσματα δύο ατόμων), Kembangan (ελεύθερη, μη προκαθορισμένη σκιαμαχία shadow-boxing), Sikap’s (στάσεις σώματος), Gerak’s (κινήσεις) και Serangan (επίθεση). Οι στάσεις σώματος και οι κινήσεις διαθέτουν ροή, αρμονία, εκρηκτικότητα και οι κινήσεις μιμούνται διάφορα ζώα όπως: Monyet Μαιμού, Kera Πίθηκος, Harimau Τίγρη, Pamacan Πάνθηρας, Ular Senduk Κόμπρα, Ular Sawa Πύθωνας και Blekok Ερωδιός.

Στον δεύτερο τομέα ο ασκούμενος μαθαίνει πάλη, ρίψεις, έλεγχο του σώματος του αντιπάλου με συνδυασμό γρήγορων καταστρεπτικών χτυπημάτων, λαμβάνεται πάντοτε υπόψη ότι μία επίθεση μπορεί να είναι μαζική για αυτό ο ασκούμενος μαθαίνει να παλεύει και να μάχεται πολλούς επιτιθέμενους με γρήγορη αποδέσμευση.

Στον τρίτο τομέα ο ασκούμενος μαθαίνει την χρησιμοποίηση διάφορων όπλων όπως: Pisau μαχαίρι, Pedang σπαθί, Cabang τρίαινα, ραβδί, Toya κοντάρι, Kerambit, Keris εγχειρίδιο, Sarong (ύφασμα), σχοινί κ.α. Καθώς μαθαίνει να χρησιμοποιεί διάφορα αντικείμενα από το γύρω περιβάλλον ως όπλα σε καταστάσεις αυτοάμυνας.

Στο Pencak Silat πρώτα ο ασκούμενος μαθαίνει άοπλη μάχη και μετά όπλα, σε αντίθεση με τα Φιλιππινέζικα μαχητικά συστήματα όπου συνήθως πρώτα μαθαίνει όπλα και μετά άοπλη μάχη.

Αν και κάθε στυλ Pencak Silat διαφέρει από άλλα παρόμοια στυλ σε ορολογία, τεχνοτροπία και φόρμες, όλα τα στυλ Pencak Silat διαθέτουν τα εξής κοινά σημεία και αρχές:

1. Kerojok, είναι η προετοιμασία του μαχητή στην αποτελεσματική αντιμετώπιση πολλαπλών μαχητών, μαζικών επιθέσεων και η χρησιμοποίηση θανατηφόρων τεχνικών για την εξουδετέρωσή τους.

2. Sepok Depok, είναι λακτίσματα όπου εκτελούνται όταν ο ασκούμενος βρίσκεται κάτω στο έδαφος. Κυρίως παρουσιάζονται τέτοιου είδους τεχνικές σε στυλ από την Σουμάτρα, σε αυτό τον γεωγραφικό χώρο οι βροχοπτώσεις είναι πολύ έντονες και το έδαφος πάντοτε είναι ολισθηρό και λασπώδες με αποτέλεσμα όλες οι συμπλοκές να καταλήγουν στο έδαφος. Με αυτό το σκεπτικό οι μαχητές του Pencak Silat προτιμούν να βρίσκονται στο έδαφος και να λακτίζουν καταστροφικά τον αντίπαλο παρά να βρεθούν σε κατάσταση πάλης.

3. Χρησιμοποίηση χτυπημάτων με αγκώνες, με το κεφάλι, με ανοικτή παλάμη, με την κόψη της παλάμης, με τις γροθιές, foot trapping, ρίψεις και τεχνικές κλειδωμάτων παρουσιάζονται σε στυλ από την Ιάβα.

4. Sarong, είναι ένα παραδοσιακό ύφασμα που προέρχεται από το Μπαλί και το φοράνε γύρω από την μέση όλοι οι ασκούμενοι στο Pencak Silat, χρησιμοποιείται σε τεχνικές αφοπλισμού, πνιγμού, καθήλωσης και ελέγχου.

5. Hit-Trapping, στιγμιαίος έλεγχος των μελών του αντιπάλου (hand & foot trapping) για την προετοιμασία εκτέλεσης ισχυρών χτυπημάτων, οι ασκούμενοι χρησιμοποιούν δύο βασικά γυμνάσματα για την επίτευξη αυτού του ελέγχου: Kilet (sticky hands) και Kaki Nempel (sticky feet).

6. Γυροσκοπική Περιστροφή, είναι η μετακίνηση και η περιστροφή του σώματος του αντιπάλου για πρόκληση απώλειας ισορροπίας και ρίψης, χρησιμοποιούνται αρχές μηχανικής σώματος για την επίτευξη αυτού του στόχου.

7. Συνεχής Ροή, αδιάκοπη ροή χτυπημάτων και σωματικής κίνησης. Ο ασκούμενος μαθαίνει να μην επανατοποθετεί σε μία αρχική θέση τα όπλα του (χέρια, πόδια, μαχαίρι) μετά από την ολοκλήρωση μίας αρχικής επίθεσης, αλλά την συνέχιση διαφορετικών χτυπημάτων και αποκρούσεων σε άλλες γραμμές επίθεσης.

8. Καταστροφές (Destructions), ο ασκούμενος μαθαίνει να καταστρέφει με την χρησιμοποίηση του αγκώνα, πήχη, γροθιάς και κόψη της παλάμης οποιουδήποτε εισερχόμενου χτυπήματος από τον αντίπαλο. Έτσι επιτυγχάνεται η μείωση της μαχητικής ικανότητας του αντιπάλου και η δημιουργία ανοίγματος για αντεπίθεση.

9. Εξάλειψη του κινδύνου, ο ασκούμενος μαθαίνει για την ασφαλή του διαφυγή από μία συμπλοκή να εξασφαλίζει ότι ο αντίπαλος έχει εξουδετερωθεί αποτελεσματικά, ώστε να είναι ανίκανος για μία άμεση αντεπίθεση.

Willem De Thouars Article by Bob Orlando

Looking at him, you would not think this slender, gentle-looking man capable of even defending himself, let alone meting out punishment, but beneath his smiling face and disarming manner beats the heart of a Kuntao master.  De Thouars comes from a family whose martial art heritage goes back to before the turn of the century.  His grandfather, great-uncle, father, uncles, brothers, and even his wife, are all martial artists.  With that kind of martial art heritage, one would have expected De Thouars to pursue his family's art of Pencak Silat Serak, but this was not the case.

Born in Indonesia on January 9, 1936, Willem de Thouars was the fourth (and smallest) of six brothers.  His brothers--all big men--practice the family art, an art that is well suited to their size.  Willem, on the other hand, is built nothing like his barrel-chested brothers.  Because of his slight build, de Thouars felt that the family art would not work as well for him.  Add to this his admittedly rebellious nature, and its little wonder that Willem chose to travel a different path.  Instead of studying the family's system, de Thouars pursued another.

Lineage

Kuntao, as taught by de Thouars, traces its origins back to the 19th century and a Chinese gentleman named Li Po Chang.  According to de Thouars, Li Po Chang was born in the Hunan province of China around 1830.  During his life he studied hsing-i, pa kua, and tai chi chuan, eventually developing his own system which he called, po kwa zen. 

After the death of Li Po Chang in 1900, one of his disciples, Lama Darmon, a Taoist priest, became the grandmaster of the system.  Later, he changed his name to Liem Ping Wan and moved to Indonesia, eventually settling in West Java.  It was while in Indonesia that Liem Ping Wan developed his system of chuan chu shing-i, and it is with this man that de Thouars began his martial art journey.

Willem de Thouars began Kuntao training under Liem at the age of five.  Although Kuntao is a very secretive art--one kept strictly for those of Chinese blood--Liem Ping Wan broke with tradition and accepted the young de Thouars as his student.  He did not do this as a favor to anyone, or to repay a debt--he simply took pity on a frail and sickly child.

Partly from tradition, but more likely because the young de Thouars' was so weak, his first six months of training consisted largely of pulling elephant grass and practicing the horse stance.  Both exercises may have been necessary to teach the young de Thouars discipline or to test his determination, but the physical exercise they provided also served to strengthen an otherwise frail child.

World War II saw de Thouars, along with many Indonesians, in Japanese internment.  It was during this time that his instructor, Liem Ping Wan was killed.  However, the death of his teacher did not mean an end to de Thouars' training.  Before his death, Liem had already introduced the young de Thouars to three of his "finished" disciples, setting the stage for him to continue his formal training with them.

From 1946 to 1953 de Thouars trained with Tan Tong Liong, studying his internal-external system of que moi shantung Kuntao.  In 1953, Tan Tong Liong sent de Thouars to Willem Chen, with whom he trained until 1954 in external kwantung po kwa zen Kuntao.  Like Tan Tong Liong before him, William Chen, when he felt that de Thouars' training had progressed sufficiently, sent him to the third of Liem Ping Wan's disciples, Buk Chin.  Under Buk Chin, de Thouars studied tai keh (t'ai chi) and pa-kwa zen Kuntao, completing his training with him in 1956.  This, however, was only part of the training de Thouars received during these early years.

In 1949, while still under the tutelage of his Kuntao teachers, de Thouars studied Sikwitang and Kendang Silat from Raden Sunario and Mas Atmo.  He trained with them for seven years.  Further, from 1950 to 1953, de Thouars studied samull petjut Silat (a combination of petjut Silat and Kuntao) from a Muslim priest named Raden Djuran Hadji Samul.  De Thouars' formal instruction in these Silat systems is directly responsible for some 30 percent of the principles, forms, and techniques he teaches in his system of kun lun pai--wu kung Kuntao--ratu duri Silat.  The other 70 percent of de Thouars' system is traditional Kuntao.

Kuntao

Chinese Kuntao is a punishing art characterized by tearing and breaking.  The opponent's extremities, for example, are attacked with devastating blows--punches and elbows to break down his defenses and open him up for an all-out assault.  (De Thouars often refers to this as "torturing" your assailant.)

Kuntao stances tend to be wider and deeper than Silat stances, with considerable emphasis being placed on seating.  (An example of the seating principle is dropping your center of gravity by lowering or deepening a horse stance.) Seating serves many functions, but a major one is to bring an opponent down, break his balance, or otherwise bring him to his knees.

Silat players also believe in bringing down their opponents, but they do it with a combination of sophisticated sweeps coupled with counter-balancing strikes.  Also, Silat, while containing circular moves of its own, is generally more linear than Kuntao (the circularity in Kuntao was one of the things that influenced de Thouars' decision to study the art).

Kuntao Tradition

One of the strongest traditions in Kuntao is the tradition of change.  Initially, I believed that Kuntao masters always sought function over form and consciously made changes as needed from one generation to the next.  This, it seems, may not be the case.

According to Donn Draeger (Draeger, 1992,164), Kuntao masters always taught less than thay knew to protect their superior status.  This practice left the dedicated student with the task of filling in the gaps.  Regardless of the masters' motivation, the upshot of this has been the constant upgrading of the art as each succeeding master added to the original system.

Li Po Chang took what he learned and synthesized it into his own system--Po Kwa Zen.  Liem Ping Wan, Li's disciple, further refined the art he received into a system he called Chuan Chu Shing Ie.  Liem Ping Wan taught three "finished" men: Tan Tong Liong, William Chen, and Buk Chin.  Each expanded and refined the art in different directions resulting in Tan Tong Liong's internal-external Shantung Kuntao, William Chen's external Fuekchin Kuntao, and Buk Chin's internal Hokkien Kuntao.  Following that tradition, de Thouars balances the need to keep alive traditions and traditional training methods with the needs presented by today's environment.

Kun Lun Pai

In some circles, it is almost a dirty word (certainly it has been misused and overworked), but eclectic is precisely the word that belongs here.  By definition, eclectic means "selecting what appears to be the best in various doctrines, methods, or styles." Through his studies, de Thouars has developed an eclectic system that borrows from the many martial influences Indonesia has produced.  Fusing Kuntao and Silat, he has produced a highly functional and effective Kuntao-Silat self-defense method he calls kun lun pai.

Willem de Thouars describes kun lun pai as an internal-external system.  Recognizing the fact that Americans generally are not drawn to internal systems, preferring the more physical, external arts, de Thouars starts students in the basic jurus (practice sets and forms) of Silat.  After a thorough understanding of these principles, the student is taken into external Kuntao (from the Shaolin side of Chinese martial arts).  This meets the need Americans have for getting "physical" and provides a suitable platform for advanced internal training.

Years of study and experience have convinced de Thouars that it is the combination of external arts with internal ones that produces the most effective fighter.  Advanced training, then, consists of shing-i and po kwa zen.  According to de Thouars, this makes kun lun pai an internal-external art consisting of 60 percent hsing-I and pakua (internal arts) and 40 percent Shaolin Kuntao arts and Indonesian Silat (external arts).

Willem de Thouars has approached modern-day Kuntao with a broadmindedness becoming its tradition, and the result has been a vitality and an ensured continuation of the principles his teachers received and passed on to him.

Other systems, styles, or arts seek to immortalize their founders by resisting change; even when change is necessary to meet modern needs.  What they do, however, is make ever-smaller the number of those willing to study what they offer, thereby condemning their arts to extinction.  Kuntao masters, compelled by need, continued to expand, change, and refine their arts.  In so doing, they insured their place in history because each generation of teachers offers skills that are relevant to their society's needs.

The student's individual needs are also very important to de Thouars, so his training varies with each individual.  For example, while weaponry has always been a part of Kuntao training, de Thouars teaches them only to mature advanced students, and only if they desire it.  Although proficient with such weapons as the toya (staff) and the tjabang (truncheon), de Thouars believes that in America today most of the ancient weapons are impractical for combat.  Their study can contribute to the student's combat effectiveness, but only in a limited way.  Kuntao is a combat art, so the emphasis has to be on what is practical, and there is more than enough to be learned and mastered in that area alone to keep one busy for a lifetime.  For these reasons, de Thouars emphasizes empty-hand techniques.

Finally, de Thouars is a very humble man, preferring to give credit to his instructors and other martial artists.  When complimented on his knowledge or skill, de Thouars always directs people to his instructors, calling them the "real" masters.  As for other modern Kuntaoers, his students have often heard him say "this Kuntaoer is a level above me," or "his Kuntao is really good." Further, de Thouars has worked with many other martial artists from various styles and has always recognized them as teachers and instructors in their own right.

This gem, hidden away in Colorado, has been a help and an inspiration to all who know him.  But to those of us fortunate enough to train with him, his instruction, guidance, and influence are beyond price.

Some Applications of Kuntao Silat

1. Two-hand front push; outward chopping blocks on inside of their arms, grab over arm to left elbow place the arm under your right arm pit and right hand to side of head turn twist to takedown.

2. Rt. Punch defense; Slap block outside of arm, Right eye jab to palm heel face/head turn counter clockwise outward and downward to take down, with footwork

3. Rt. Punch defense; Outward block with left hand, continue the energy to circle the punch downward and inward under your right arm pit, using your right hand, slap the left side of their head while you are stepping on their foot for a pinning takedown.

You as a martial artist! Do you see three self defense techniques? Or can you see a principle being used here? One that once understood can work in any situation.

Techniques and principles are like the yin/yang symbol. They must have both energies to work. A good technique will always represent a law or principle that works when done correctly. Techniques are the "what" and "how" to teach and learn the principles. They represent the person's style and specific applications that fit within specific situations. Techniques include such things as the proper stance, the mechanics of a particular punch or kick within the style or system. Principles are the "why" they are the elements which the techniques are built on. Principles include such things as economy of motion, quick recovery, spinning the head/spine or centerline to get a takedown as in the above techniques.

Principles have universal applications. They are natural laws that don't change or shift. The purpose of techniques is to illustrate principles. Therefore technique is a means to an end; not the end itself.

A person must master techniques; yet at the same time not become enslaved by them. There is no set number of techniques in Kuntao Silat it is a self expression of learning the right principles.

If you understand the movements of the human body and the principles of controlling it, there are so many ways to create your own techniques. Principles point the way, techniques get you there.

If you under stand them and use them you wont get confused, fooled and lost in your training. Techniques are the boat to get you across the river, don't put it on your back, as you tread across land. Remember it's not how many techniques you know or carry, but how well you apply the principles that count.

Kuntao Silat methods of Training

There are various methods of training within Kuntao Silat. Three of which is the fundamental stage learning of the various forms, the mastering/specialization techniques stage. Then the Refining or the personal expressive stage. Which is called Tan Lung: a basic practice in Kuntao.  The "trackless art" An individual expression of the understanding of the art, it's principles and techniques expressed as a solo movements. They also can be broken down into Introduction, training methods, entering, and coordination of the external and internal elements.

Kuntao Silat is a Chinese martial art, with Indonesian influence, which coordinates the two arts together using the methods of external physical action (yang) and internal mental strength and energy (yin). Through this coordination the entire body is able to manifest power and execute techniques with maximum strength and efficiency.

The external empasis on: Hands (shou) Eyes (Yan) Body (shen) techniques (Fa) and stepping (bu) and the internal emphasis is on essence (jing) Spirit (shen) Internal energy (chi) Muscular strength (li) Gong Fu (time and energy) These ten requirements can be considered the root and foundation of the Chinese martial arts practice.

When these internal and external elements are united and hormonized with Silat martial art techniques and priciples. They become live, fast and powerful. Naturally since Kuntao is a part of the Chinese martial arts. These ten requirements are heavily emphasized and practiced. Traditionally, Chinese martial fighting techniques are divided into four general fighting categories (ti) Kicking (Da) striking (Na) Seizing and controlling (shu) Wrestling/throwing/Sweeping.

In Kuntao Silat taking advantage of your opponent's body posture and centerline and applying the appropriate techniques to control opponent's base, angle, and leverage is an Indonesian principle to make your opponent fall. There are two basic elements in Kuntao Silat to be successful, the entry and the body manipulation to throw.

In Kuntao Silat training in fact, the effectiveness of Kuntao Silat, depends totally on all ten training requirements. Externally your eyes must always be on your target. It is the eyes which first observe and detect an opponent's movement, and then a decision is made by the brain, once a decision is made the techniques are executed through the nervous system to hands and legs in coordination with the body. That is why it is said; the eyes arrive, the hands immediately respond and the body follows with stepping.

Internally, in order to manifest the external techniques effectively, efficiently, and powerfully you must learn how to conserve your essence and cultivate and raise your spirit. Then you can build up abundant (chi) internal energy for when this abundant energy (chi) is directed to the muscles. They manifest strength and power. In addition, once your mind is in a highly alert state, your movements of hands, eyes, body, and foot stepping will become agile, and will move as one unit.

One last element of training is the understanding of attacking the Yin and Yang. All meridians are classified as either Yin and Yang. The basis of the classification is the direction of the Chi flow in the diurnal circle. Yin organs (negative have a chi flow direction of upward, or from toes to head. Yang organs (positive) have a chi flow of down, or head to toes. Other ways to classify yin/yang points are: The front of the body is yin, the back is yang. The left in Yin, and the right is Yang. The top is Yin and the bottom is Yang. To use this method you must use am application series that crosses the body and disrupts the yin/yang balance.

Forms of Kuntao Silat

The forms of Kuntao Silat are designed to allow the practitioner to practice the principles of Hsingy, Baguazhang and Pencak Silat and combine them with full expression and explosiveness. Each form in Kuntao Silat are taught to develop principles of teaching; such as in self defense situations, the concepts of footwork, posture and methods of developing internal energy. The various combative energies that one might learn in Chinese Kuntao are; coiling, stomping, shaking, ripping, follow through, and dead energy.

In Pencak Silat the subtle hand forms or Djurus are short but explosive sets that, teach to attack the vital areas in a continuous manner using spontaneous, upper body methods of crashing using palms-forearms-elbows shoulders, head butts. Along with footwork that delivers lower body crashing using feet, shins, stomps, knees, sweeps, and leg traps.

The fighting animals sets of Kuntao Silat shown below are taught to develop the energy, and characteristics and power of each animal that builds tremendous fighting ability for the Kuntao Silat practitioner.

The Tiger: heavy pouncing and tearing power

The Snake: coiling, wrapping and pen point striking power

The Monkey: Aggressive, chaotic, charging, evasive and explosive power

The Bear: Heavy hitting, shaking, ripping power

The Eagle: Smooth, seizing, ripping and clawing power

The Dragon: Twisting and wrapping, internal power

The unique training in Kuntao Silat is the blending of Chinese Kuntao and Indonesian Pencak Silat in that, they both make a more efficient and more realistic method of discovering for yourself what hidden movements and structure works for you. You obtain insight into the unifying principles of Kuntao Silat which are used to help the practitioner fight his fight without being confused about what you should do next. These principles are based on the physics of efficiency of technique, and economy of motion and are kept within the forms as secrets of the system.

The principles of movement help the practitioner to understand the endless variations of empty hand techniques. There are so many in fact that it is impossible to name them all. They stem from the root movements found in Cimande, Serak, Pencak Silat, Tai Chi, Hsingy, Baguazhang etc. Kuntao Silat practitioners make use of all parts of the body for joint breakers, locking, and striking weapons similar to the crane beak, tiger claw, eagle claw, panther fist etc. and are adapted in movement to various techniques and footwork. Adding pressure point tactics to the blend and you now have hitting, ripping, pinching, tearing, and squeezing which are a rich dimension to the art which are especially useful against larger assailants who may need prodding and convincing in order to make a technique work for escaping holds and locks, that the practitioner has somehow found himself caught in.

The process of learning Kuntao Silat is an important one, as the capability of correctly executing the movements and understanding what the movements actually mean are the keys to every practitioner of the art. The actual fighting techniques are classified according the different actions or movement of the animal or form. As an example: kicking (Tendangan), Hitting (Pukulan), Throwing (Bantingan), Locks, (Kunci), parrying (Tangkisan) and evasions and sidesteps (Elak/Gelek). 

In Kuntao Silat the practice of mock combat where one practitioner circles and than opens with an attack in an unfixed sequence of actions and the defender responds with counters and follow ups. This is an important training aid in learning to deal with combat situations. The training ends as the attacker takes distance and walks back into a circle walking their own way as the defender begins preparing for the next attack. In Kuntao Silat the practitioner is taught to move in accordance, to his will with confidence and self esteem in them and in the art.

Principles of Kuntao

The feet are the roots-motivated by the thighs, controlled by the waist, and manifested in the fingers. The shoulders should be drooped and relaxed.

With Diaphragmatic breathing, Elbows drooped, Neck/chin drooped, Chest sunken, Legs protect the groin, This stance or posture is sometimes called the stance of the bear .

Use evenness in all movements- not quick at one movement and slow at another. Interruption of movement is the gap in space and time which allows us to be attacked. The mind controls everything, when one part moves, every part moves. You either move away in the same direction of the attacker or move to the side and stick to him.

In force your attack should be exerted when the attacker is about to attack or move but not, a moment before or after. If you first move up, you should always move down next. Every joint in the entire body must be linked together so there is no interruption in movement. If the opponent does not move, I do not move.

If he makes the slightest move, I should move before him. The idea of force still continues- you mentally follow through the action, ready for a counter attack. When you are not required to move, you are as calm and sedate as a mountain. But when you move, you move with speed oft he torrential river.

A curved force is a circular force. A straight force is a square one. But, circularity must employ square ness before an issuing force can be produced. Force should be stored all of the time- not just before an attack. You store it in your body and direct it when needed.

The primary defenses within Kuntao are evading, parry, intercepting, trapping, destructions cutting into the angle. The secondary defenses are hand strikes, kicking, destructions, elbow strikes, knee strikes, takedowns and sweeps, throwing, joint immobilization.

The keys in primary and secondary combinations are using natural body mechanics, natural laws of combat including principles such as base angle leverage, your advantage of physical strength/speed, working within your physical limits (personalized) physical movement which economizes. The training to find the weakness of opponent, The understanding of all the about takes many years of training, and will come like a flash of lightening one day!

Kuntao Silat De Thouars Requirements

This will give you a general idea of the requirements in Uncle Bill's Arts

1. Jurus Satu (medium bassin)

Application : the entries (the most important learning)

follow up (striking) free flow
takedown: throw: puter kepala
reverse puter kepala
hip throw
thigh throw
Kengit
neck twist
arm drag
leg drag
sweep sapu & beset
joint lock wrist lock
arm bar
figure 4, etc.
Next from here you learn some application but you workout with a opponent who attacks you. And you use a free flow attitude (defense we play),

You begin the latihan tiga (sweep sapu/beset)

Jurus satu Low bassin
application to low attack to leg & takedown ground fighting

Jurus Satu (hight bassin)
more street self defense in upright position

you begin Jurus Satu in the monkey attitude... from hight to medium to low bassin you express the monkey... free flowing, unpredictable moves you can flow from the first part of the jurus to the third part... no pattern now just free flowing...

You develop the jurus in the tiga pattern

Jurus Satu with knifes ( solo knife or two knifes)

you workout with an opponent you play!

Kuntao Waves hands drills

Monkey line: 2 opponent go back/forward using trapping, sweep legs exercise

2. Bai Hung (Kuntao form & applications) platform footwork pattern exercises
3. Tang lang pai (Kuntao)
4. Jurus Dua / sticking hands drills
5. Pai yune(Kuntao)
6. Langhas Monjet
7. Ling Sing Toe (Kuntao)
8. Bagua green dragon (form) & a lot of applications

Each form is learned and you develop your technique from the form and most important are the entries...you play with a opponent (workout)

Basic first Jurus Satu... after training in the basic form, some student go to Baih Hung other to Jurus Dua, no real structure based on the individual physical make up!

Chinese Kun Tao by Uncle Willem de Thouars

Chinese Kun Tao was introduced to Indonesia, when streams of South East Asian tribes migrated all over the Indonesian archipelago 4.000 years ago. Many people of Cambodia, Viet Nam, India, China and Thailand have settled during that time primarily in Sumatra, Celebes (Sulawesi) and Java. Many of them brought not only their culture with them, but also their matters of fighting for self-defenses.

Chinese migrants came through Canton, and Hong Kong to settle in Sumatra in the Palembang area and in Java. As streams of them arrived to settle in the archipelago, most of them came from the South of China and were from the Hokkien region.

Chinese Kun Tao as a fighting art consists out of Northern and Southern styles. Kun Tao was also considered as one of the oldest terms for Chinese fist arts, comprised in secrets as family styles. Merchants in particular have studied old shaolin boxing arts as a safe guarding system to protect their businesses against attacks from the native Indonesians.

In the mid 1800's Chinese Kun Tao became noticed for its formidable fighting arts of self defense. In Palembang by the turn of the century about 7 Kun Tao groups has settled around the city of Palembang. The Chinese were forced to start creating their own secret societies. Some of the Shaolin boxers left China to broaden their future in horizons by immigrating to the archipelago. In the early 1900's they have settled in West Java, Central Java and in Maccasar.

The Chinese Kun Tao arts I have studied, as it was instructed to me by very strong Shaolin practitioners were mostly Southern, and some Northern Shaolin boxing arts. The origin and its roots go back to the rooting of Fut ga, the agile and fast movements of Tung Lung T'ai and the White Clouds Baqua. The green Dragon Paqua also influenced the upright positions in the system.

Kun Tao as a general term for Chinese fighting arts, as the oldest term used before Wu Su, or kung fu, or gung fu was ever mentioned – was also understood by many Chinese merchants as the term of Kuen Tao, Kuen Dao, and Koon touw. Chuan fa, and Chuan su. Most of the Kun Tao systems practiced in Indonesia are Northern Shan Tung and Southern Hokien.

The Northern styles uses long extended techniques with high kicks, many of the legwork are greatly influenced by the Tan Tui system of Shaolin. Sometimes the Northern styles are referred to as the High Mountains of China. The Southern systems on the other hand are noticed for their quick, fast and short range techniques. Both systems are formidable, graceful and powerful fighting arts.

Kun Tao techniques may also find their influences in Indonesia's Pencak Silat, and visa versa Pencak Silat may also have influenced Chinese Kun Tao during combat between a Silat exponent and a Kun Tao practitioner. No one knows for sure. As a practitioner of Kun Tao systems, and Indonesian Pencak Silat art, I value the martial practices of each system with much regards. There is always so much to learn about martial arts.

It should be noted that there are 3600 styles of Chinese temple boxing being practiced in the world, as the interest in martial arts is progressing, and there are for certain more than 400 martial arts of Indonesia.

Selamat,

Uncle Willem de Thouars

The fighting Art Kuntao Silat is originated from Indonesia and is focusing in empty hands fighting and knives, the art is a mixture of the native Pencak Silat knife arts of the Indonesian archipelago with elements of traditional Shaolin and Wudang Kung Fu (as it immigrated to Indonesia). The art came to USA with Willem DeThouars, who has spent a lifetime in these arts. He was born in West Java and has trained in the "old way" since childhood. His father, uncles and brothers were also accomplished Silat instructors. His brothers Maurice and Paul unfortunately passed away and the only living ones are Willem and his brother Victor.

Bapak Willem DeThouars "Uncle Bill" founder of Kuntao Silat DeThouars was born in 1936 in Paree, East Java, Uncle grew up in a Dutch-Indonesian family of renowned martial artists and fighters. While he also studied with great Indonesian Silat masters of the time, he primarily practiced Chinese Kuntao, a combat-oriented mixture of old Shaolin and internal Gung Fu systems of Tai Chi, Hsing-Yi and Pakua.

His system, Kuntao Silat DeThouars, combines "old school" Chinese Gung Fu, Indonesian Silat, Western Fencing, Boxing, Grappling, and animal energies, always rooted to the realities of life and death combat.

His mottos, "Internal cultivation, external manifestation" and "struggle with it!" explain it all.

Chinese-Indonesian Kuntao Training and Research

The fundamental stages of learning Kuntao a (Hokkien word is used to describe various Chinese fighting systems). In Kuntao one way of looking at the structure is:

1.Mastering the basics,

2.Developing Specialized techniques (short forms),

3.Refining, application and self expression stage.

The training curriculum is never set in stone and can lead the student to many different ways to interpret the art many instructor's add their own experiences into their Kuntao Art. A basic general training program would have:

1.Introduction to the art

2.Warm-up exercises, conditioning

3.Training methods various: (forms etc.)

4.Entering techniques, body control, defensive tactics

5.Co-ordination of the external and internal arts.

Because Kuntao is a Chinese art with very little or a lot of  Indonesian influence, depending on the region of the Indonesian Archipelago and Indo-Chinese cultures. The history of the transplantation of the Chinese combative arts into Indonesian are Shaolin temple derivatives, coming from the Shantung and Fukien temples. In the history of Chinese temples, the Fukien temple was the second most legendary of the Shaolin temples, it was known for the development of the body and iron-bone training, white monkey style and the fighting methods of short handed techniques, their primary stances where frontal crouching stances, using finger jabs, directed at the weak points of the anatomy.

The Shantung styles were known for applying many high-kicking techniques, floor rolling, and leaping tactics with short and long arm movements coming from a left lead side ways fighting stance. Both styles employ various short animal forms and lower and upper body conditioning, and many applications of techniques for self defense.
         
The learning and understanding of Chinese Kuntao is the physical co-ordination of the external physical action (yang) and the internal mental strength and energy (yin), as a major goal within it's training. Through this co-ordination the entire body is able to manifest power and execute techniques with maximum strength and efficiency. Therefore, the external emphasis is on Hands (Shou) Eyes (Yan) Body (Shen) Techniques (Fa) and Stepping (Bu) and the internal emphasis is on essence (Jing) Spirit (Shen), Internal energy (Qi) Muscular strength (Li) Gong Fu (Time and energy). These ten requirements can be considered the root and foundation of Chinese martial arts practice.

When these internal and external elements are united and harmonized with the Indonesian applications. The martial techniques will be alive, fast and powerful. Naturally since Kuntao is a part of the Chinese Martial arts. These ten requirements are also heavily emphasized and practiced. Traditionally, Chinese fighting techniques are divided into four general fighting categories (Ti) Kicking, (Da) Striking, (Na) Seizing and controlling, (Shu) wrestling and throwing..

In Kuntao taking advantage of your opponent's body posture and applying the appropriate techniques at the right time are Indonesian and Chinese based principles that work together to complete many techniques, such as the successful entry and the application of body manipulation too throw.

In fact Kuntao trainings effectiveness depends totally on all ten training requirements, The training and understanding of (Shen Fa) generally refers to body movement, which governs the action of a technique. In order to manifest strong power in a technique, you must know how to use your spine and chest to generate the power. The spine and the chest (i.e. torso) is considered to be two big bows which directs the power to the four limbs.

The movements of the torso are divided into four different categories: 1. Changing the chest's direction 2. Bending and extending the torso forward and back. 3. Waist rotation and twisting 4. Using the torso for attacking and defending because all four are connected to the torso (body) the movement of the body can lead or control the movement of the head and the limbs. The turning and twisting of the body can cause the arms to strike horizontally. When the body is extending forward or withdrawing backward, you can increase the distance for striking range or avoiding an opponent's attack.

From a power manifestation point of view the opening and closing of the chest or turning and twisting of the waist helps to store or emit Jin (Power) besides assisting the movement of the limbs, the torso can be used for attack and defense. For example: you can use your back or shoulder to press and strike an opponent, or turn and twist the torso to evade an opponent's attack.

The very same principles once understood can help you in controlling your opponent's power base and steal the opponent's energy (power), by the control of their torso (body).  Body movements in the Chinese martial arts should be lively and should emphasize the use of the waist. Also body movements must be quick. Even if you limbs are fast. You should always avoid bodily stiffness. A relaxed body is the key to agility and swiftness.

These Shaolin systems stand alone in there diversity and effectiveness with the added methodology of Indonesian systems, and the seamless way the principles are integrated between the Pukulan styles and Chinese boxing methods makes it hard to determine where one system ends and the other begins. These arts are only now becoming available to the western world, through the un-dying efforts of Willem De Thouars and a handful of other's.

Kuntao Silat methods

Basic physical applications of self defense

Method of Entry
There are many ways to enter deflecting the attack, parries, cutting the centerline, Checking and hitting, and destructions. the use of angulations and Ranges: Stay at (Long range) offensively attacking what attacks you, using kicking to close the gap to close range (Close range) trapping it and follow up with elbows and knees to throwing.

Boxing method Kuntao
Chinese boxing phase used for offensive purposes to enter to elbows, head butts, knees, etc. various concepts to maneuver and off balance the opponent to throwing, sweeping, takedowns.

Kuntao Silat Chaining
Empty hand trapping drills that check, trap, redirect, counter, with a chain reaction of Kuntao and Silat follow ups. Kuntao Silat Drills that heighten sensitivity.

Silat knife Concepts (knife fight)
Empty hand defenses originate from the knife, slashing becomes checking and retaining, cutting become slaps, thrusts become finger jabs, palm smashes, vertical punches, multiple low line kicking, foot trapping, with angulations and quick footwork.

Offsetting
The offsetting of the structure, turning opponent's body pivot points beginning with the head, attack the head the body will follow, turning the shoulder's, foot trapping, sweeping the legs, pushing and pulling, go with the force.

Training concepts three areas of self defense
1. standing in front of your opponent waiting for the first move
2. Offensive phase making the first move
3. Infighting phase counter for counter, sweeping, foot trapping, reversals, hand
trapping, locking, grappling.

The possibilities in Kuntao Silat defense and offense are endless. The art leads you to self discovery, through concepts and principles of simplicity.