Posted by PD USA Abah Aleh originated from Banten and journeyed to Garut before Similar to Panglipur other schools such as Pager Kencana (located in Suwondo
on 5/18/2006, 8:50 am, in reply to "Re: CIMANDE ABAH KHAIR & UYUT URSI"
67.101.195.246
Pencak Silat Art in West Java
By:O'ong Maryono
As mentioned in the previous journal, it is impossible to describe the
many styles of pencak silat seni (art) due to their enourmous variety,
and in this and future numbers I will have to limit myself to describing
only two clusters of styles found in West Java and West Sumatra. By
comparing them, the reader will be able to appreciate the pluralistic
nature of pencak silat seni, while recognising how difficult, if not
impossible, is the task of standardising its disparate artistic
manifestations.
Starting with pencak silat seni in West Java, it can be said
that as with styles in other regions, there has yet to be an explanation
as to how, when and why pencak silat emerged. What is known is that
its original name is `penca', or in the Cianjur region, `maempo',
meaning `main po¬ho' (playing false). In ancient manuscripts, there are
indications of the existence of pencak silat self-defence during the 13th
century, but information concerning pencak silat seni first appeared
during the 18th century. A number of books relate that at that time
pencak silat developed at the royal court of Cirebon on the north coast
of West Java, along with other local art forms, such as mask
performances and royal dances, and disseminated among the noble
classes in the Parahyangan region.
The aristocracy's exclusive control over pencak silat was terminated
when some members of the nobility, who became followers of Islam,
began to train their students in Islamic boarding schools. In doing so,
they followed the Islamic prescription to readily impart knowledge to
others, believing that when knowledge is used for the greater good,
Allah bestows everlasting rewards. From one boarding school to the
other, maempo spread throughout West Java. Along with Islamic
teachings, pencak silat seni penetrated all layers of society as a new
creative work that adopted Islamic teachings without abandoning
ancestral traditions. Up to the present day, maempo has flourished
amongst Islamic groups, although it is also studied and performed by
non-Muslims in West Java.
The regency where Sundanese art, including maempo, most prospered
was the Cianjur Regency. Especially, during the administration of
Regent R.A. Kusumaningrat (better known as Dalem Pancaniti, 1834-
1863), poetry reading, pencak silat seni, and fashion flourished.
Maempo, which was originally a collection of moves for self-defence
purposes, later incorporated the use of intonation and floor patterns
until it blossomed into a specific art of self-defence, a kind of artistic
performance which was given the name `penca ibing'. Nowadays, many
are the styles (ameng) peculiar to Cianjur, including: ameng Cikalong,
which was founded by Ajengan Ibrahim (1816-1906), ameng
Sahbandar founded by Mamak Kosim (1766-1880) and subsequently
developed into ameng Sulewah, and ameng Cikaret founded by a
student of Ajengan Ibrahim, Ajengan Sanusi (Suwondo 1981:139). A
number of Ci¬anjur masters also emigrated and imparted their
expertise to the inhabitants of their new destination, thus founding new
styles in West Java, and even as far as outside Java. Most of these new
styles are known by the name of the place where the Cianjur masters
settled, such as the Cimande style, which was founded in Cimande
(Bogor) by Bah Ka¬her in 1776. This does not rule out the possibility of
influences from other areas. As we discussed before, many Cianjur
masters learned from masters who lived in surrounding areas,
especially Ba¬tavia, including Ajengan Ibrahim who studied with Abang
Madi (Batavia), Abang Kare (Benteng Tangerang) and Abang Ma'rup
(Batavia) (Nunung bin Ibrahim).
By integrating adopted techniques and newly created movements with
traditional patterns and by synchronising them with the cadences of
local music, innovative combinations of steps and handwork emerged in
the course of time. Through this dynamic acculturation process,
Sundanese penca never ceased to grow, as shown by the tale of master
Abah Aleh's and his Panglipur group:
deciding to reside at Gang Durman, behind Pasar Baru, Bandung. In
1909 he established a group for training pencak silat seni by combining
a number of different styles and series of movements (jurus) learned by
various masters and improving them. In this way he developed
his own jurus in which he differentiated between `kem¬bang'
and `isi'. `Kembang' or art movements could be presented as an artistic
performance, invariably accompanied by the music of a pencak
drum. `Isi' or self-defence movements had to be practised secretly as
means to defend oneself. Abah Aleh named his school –or per¬guron in
Sundanese– as `Panglipur', which means `entertainment'.
The name `Panglipur' was first given by the Regent of
Bandung, Dalem Bintang. As the story goes, when Dalem Bintang was
suffering from a serious illness, he asked to watch a maempo
performance and a recitation of Cianjur poetry. Thus Abah Aleh was
invited with his perguron to perform maempo and Hamim to recite
Cianjur¬ poetry. Abah Aleh showed his jurus, executing aesthetic and
cohesive movements accompanied by a pencak drum, while Mr. Hamim
recited his poetry very gently and softly, accompanied by a heart
rending mandolin and a flute. After watching the performances of these
two masters, the Regent of Bandung, felt comforted and was cured of
his illness. In gratitude, he selected new names for the two artistic
groups. Abah Aleh's group was given the name `Panglipur Galih'
or `Penghibur Hati' (comfort to the heart) while the Cianjur art group
was given the name `Panglipur'. Later on, the groups decided to
exchange these names, as they were more befitting to their artwork.
The Panglipur group produced many masters as well as new
perguron. After completing their training, the members returned to their
respective villages and opened new perguron. Showing respect for their
masters and love for Panglipur, most new groups maintained the name
of the parent perguron, adding a new denomination to it, such as: Rayi
Panglipur, Panglipur Muda, Mekar Panglipur, Sinar Panglipur, Panglipur
Jembar Kencana, Simpay Panglipur, Panglipur Pama¬ger Sari and
Panglipur Siliwangi. To unify these many perguron in a formal
structure, a group of respected Panglipur masters took the initiative to
set up the Himpunan Pencak Silat Panglipur or Panglipur Pencak Silat
Association, which is today the largest pencak silat association in West
Java.
Sukajadi), Mande Muda (An¬col in Bandung regency), Sikep Wargi
(Cimahi), Gagak Lumayung (Garut, Tasik and Nagrek), Domas (Garut)
and Gajah Putih (Lembang) have a repertoire of techniques derived
from older Sundanese styles. Springing from the same cultural legacy,
these styles possess easily identifiable features: smooth, powerful
movements accompanied by standardised music, resulting in an
intonation and harmony between the movements and the beat. During
performance, one of two words (Ciaat... or Hiaa...) are cried out by the
practitioner, executing moves with an expressive face, or sometimes by
the nayaga (the musician). These iterations bring enjoyment not just to
the musician and the pesilat, but also to the viewers as we will discuss
more in the next journal.
1981 Sejarah Daerah Jawa Barat. Jakarta: Proyek Penelitiaan dan
Pencatatan Derah, Departemen Pendidikan dan Kebudayaaan
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