The Piper System Blog

Hi all.

I’ve been searching the net for references on African martial arts, out of idle curiosity more than anything specific - but what I found seems to do a disservice to the subject. I believe I may well end up deleting this post, for the reasons that it may be controversial in some of the views I will express, and that I may want to go back and do more research.

I’m African. I was born and raised in Africa. There are 54 African countries. There is however, no strong African voice on the subject of African martial arts traditions. But that’s okay, Africa is a HUGE continent. There should be many voices. But how come all the African experts are American?

One organisation that may carry weight is the De-Bordes Foundation, however this is not an endorsement of them. I’ve only recently heard of them and know of no locals who have. They seem to be a well organised group however, and I’m open to learning more.

Quote what statistics to me you like, but I feel the need to say this: the average African is more likely to be exposed to or be a victim of crime and violence than the average American or European. Therefore, the average African is more exposed to the kind of aggressive behaviour that can flash into physical violence, is more likely to see this as ‘normal’, is more willing to use force and can switch over to violence faster. Life’s a little rougher out here, but feel free to argue the point.

Everywhere, Africa is constantly referred to as if it is one big country like the US, when it is a continent with many different countries, all with diverse languages, cultures and traditions - like Europe. The French would hardly like to be seen as much like the Polish, the Germans a lot like the Italians, and the Spaniards much like the Swiss just because they all occupy one general land mass. This ‘African wrestling’ and ‘African boxing’ is far too vague. If I told you I’m learning ‘European dance’ and have some ‘European food’ at home wouldn’t that be too vague? I’ve heard of Spanish Flamenco, Swiss Waltz, French Ballet - so I’m sure it’s possible to be more specific. Food-wise, is it Danish pastry, French toast, English muffins, Swedish Cardamom or German apple strudel? I doubt English pub cuisine, ‘European’ as it might be, is representative of ‘European food’ or ‘European cuisine’.

The other thing that I find, which has also come up in face-to-face discussions with black Americans, is the fascination with all things Zulu. What’s that about? No one makes a big deal out of the Zulu here in South Africa (except for the Zulu), and I actually live in the same country the Zulus live in. Does someone please want to enlighten me? Why the need to change your name to Chaka/Shaka Something or Something Zulu? There are lots of other respectable Zulu names one could use.

For the Americans that seem to harp on this deep connection with Africa (”The Motherland”… said with reverence), from where I’m sitting you’re black and American, not African. Please decide whether you desire to be spiritually in tune with Africa and honestly embrace black people in Africa (but please don’t start wearing some random African countries’ traditional garb or a Nelson Mandela shirt) by embracing a somewhat chequered historical legacy as your ancestral roots, accept the fact that you and most Africans will have nothing in common and can’t relate - or decide if you’re so much more sophisticated and educated than these poor uneducated black people in Africa and did so well for yourself when you do get here; but really, I’ve had enough of the hypocrisy.

Then there’s the ‘African and African Diaspora martial arts research’ I read so much about. I would like to invite these researchers to contact me or Nigel, we’re researchers too. Yet, how come none of the African combat research people have mailed us to ask about Africa and its combat legacy from our perspective, even those that know about us and are excited about Piper going public?

I wrote to three email addresses for a web site on apparently African-based martial arts, looking to open a dialogue. All three addresses bounced. See http://www.zujitsu.com, I don’t know how much Zulu content there is, still I’d like to talk and learn more if they can get their email up. I wrote to Zulu Kai and Mukhanda Enterprise, check on Google. I’d like to hear back from them too. All the same, I feel ambivalent about people using Zulu/Shaka/Africa references too lightly to give their schools some sort of African authenticity. And where’s this Afrika place that I see mentioned? To me it makes Africa seem a little more primitive somehow. Anyway, for the researchers out there, my email is lloyd@pipersystem.com.

All this makes me think it’s time that the Piper web site changed a little bit. Well, the front page anyway. That being said, I would like to see more credibility with regard to African martial arts on the net. More local voices and better web sites wouldn’t hurt. If you lack the skills or the infrastructure to set one up, drop me an email and I’ll assist you.
I would prefer to see less ‘Zulu everything’ online, and less stealing authenticity by using the name Shaka Zulu. It makes for a less authentic feeling from what I can gather. Would you take me more, or less, seriously if I changed my name to Bruce Lee?

These are some random thoughts with no major point, however they are my thoughts after a period of browsing the net today. I’ve found too much that (to me, as an African) seemed inauthentic.

[ Perhaps here I should make a distinction. In my view, African systems of combat are less martial 'arts' than means of violence. They're rougher and readier, more raw and physical. They have less flow, are perhaps cruder with more "I am going to f*** you up" in them, less about elegance than about effectiveness. They are not easy to document in that they have added emotional dimensions which need to be understood non-intellectually, and are less apologetic about what they exist for. When seen through the typical Western lens they don't seem to translate so well. ]

The ’secret arts’ secretiveness makes it seem like there’s something to hide. The need to impress upon the world that Africa was there first and we have lots of super duper martial arts and so on really harms the growth and exposure of these systems. Yes, I do believe Africans are more innately aggressive and experienced with raw violence, that African have been using sticks as weapons for a long long time, and Africa can still be a wild place - but let’s stop with the amateur hour Zulu nonsense. Let’s stop making it look like African martial arts practitioners and genuine researchers are bullsh*t artists.

Comments are invited. Please click the comments link that follows. Our thanks to those who have commented on previous blogs, they’ve provided inspiration for additional articles.

Lloyd

Share This

In a previous post I mentioned the ‘real’ effect Piper practice exacts on an individual’s psyche and physical body. ‘Real’ in the sense of recreating the body’s responses when under extreme duress. This unfortunately has to be experienced in person because further explanation usually ends in 3rd graders calling me names again.

Now Piper’s apparent popularity can be attributed to this ‘real’ element, because after all it breeds intent which is coupled with purpose, and without purpose you have no direction. Hard-core martial arts enthusiasts are always searching for the next ‘real’ combat system that gets straight to the point, while pissing on all that’s traditional. It is a regular occurrence to hear about a brand new, deadly killing system that’s easy to learn being propagated by a guy renouncing his traditional rank and training,after ’seeing the light’…

But were the many years of pain and sacrifice it took us to get where we are right now a complete waste of our time because we didnt train real enough?

Tradition doesn’t prepare one for the street

Why are we searching for the ‘real’ in the martial arts, and why are we trashing traditional training, Kata and Kumite, in our endless quest for this ‘real’? Maybe it could be the escalating crime in certain areas forcing one to pursue a more direct solution to self-preservation or maybe because the practitioners of the various traditional systems feel that they are stuck on some fantasy battlefield in a war that ended a few centuries ago. Now before I go further, let me state that I have no traditional background whatsoever, so I can’t gainsay something I know nothing of. I was born into this ‘real’, a place where rank or belt meant nothing, but later realised that I was missing something: a place in the martial arts where I could escape to when this ‘real’ becomes a bit much.
Yes folks, if you want real and hardcore, then accept the stress and overwhelming pressure that accompanies it, since it is likened to rush hour traffic, paying taxes and dealing with bratty kids. What do you do when when this reality gets too much for you? You try and find some sort of escapism. A place where you can lose yourself and fight imaginary opponents safely, kill all of them without any jail time. I’m talking about a world where you can focus, meditate, become the Samurai, Shaolin monk or Ninja. A totally fantastic environment where you can be a stick fighter on Monday, a knife fighter on Tuesday, a wrestler on Wednesday, an archer Thursday and Friday you ride into battle with the Japanese Emperor and his boys. Cool,huh? This is like playing dress-up in the martial arts, but I think it also helps us get a clear perspective and appreciation for combat through the ages.

Forms (Kata)

Although there are hardcore fighters that dismiss the usefulness of kata, I think that a kata represents a perfect hypothesis to train the actual martial spirit and help your visual acuity by moving in 360 degrees. Again these is my thoughts, what I’ve found useful within the art form, but then again I dont have any solid background in traditional martial arts. These things I researched by being exposed to these arts due to Piper seminars.

I’m hard-core to the bone, but that’s never always a good thing since I’m not fighting for my life all the time. So what I need is a kind of balance, where the ‘bullshit’ section of the martial arts allows me to busy myself with learning more about other cool fighting cultures, the healing arts, film fight choreography etc. You see, folks, for most of us this is our life. The part that doesn’t address direct, hardcore street-based combat.

Who cares?

While it’s good to know that you prepared for a street scrap, but however you possess an asocial mindset in a modern era equipped with GUNS, then you’ll be probably be carried by 6 before you’re judged by 12. In our spare time we busy ourselves with things we really enjoy. Lloyd does his computer thing, while Jason and myself are avid video gamers. [Editor's note: I think he means that they play games while I do all the work on the web site] That’s as tough as we’ll ever get, but make no mistake, we can’t wait to train in another style or system if the opportunity arises.

So folks, let’s not crap on the traditional side of the arts cos you are gonna screw up my chances of ever becoming a Samurai warrior.

Now shut up and go practice your forms.

Share This

Hi all. Bandile surprised us with yet another piece of writing on African/South African stick fighting and martial arts. We are all glad to have him on board with his contributions to our research into African combat, his assistance is invaluable. His knowledge on the subject is really impressive, and we hope to have more material as time goes by. His blog is at http://blog.myspace.com/jozibandi

Regards

Lloyd

—0—0—0—

Since there is quite a lot of interest and some knowledge of African stick fighting out there, I though I should write a guide to how one would go about finding a stick-fighting instructor in South Africa. I thought I would first start by discussing the various martial arts available in South Africa and those that are claimed to come from here.

I spent a great deal of time researching African martial arts on the net and I was amazed at how many experts there are out there - and all of them come from America. Internet experts tell us Induku is a Zulu stick dance. I have seen some documentation that showed an American instructor demonstrating a long staff technique and calling it Induku.

The word Induku means stick, not dance. The dance element is called Ukugiya, which relates to a ceremonial individualised combat dance sequence designed to show a practitioner’s prowess with the stick, as a sort of kata if you will. It is used as a challenge to all those who are looking to take him on. The martial art is called Umulo Wenduku, roughly translated to stick fight.

Another amazing South African martial arts being pimped out there is called “Isimaphakade Samathongo” it is claimed to be a secret Zulu martial art. This must be another BS moneymaking scheme - there is no such thing. Let me break down the word for you, it is an Nguni term:

Isimaphakade = the all eternal
Samathongo = of the Ancestors

In English “The all eternal of the ancestors”, a well known saying, but not martial arts. So be careful when you learn an ‘African’ martial art outside of Africa.

The fighting arts that are available to learn in SA are:

• Libanda - a grappling system from the Congo
• Laamb - a fighting system from Cameroon which includes wrestling and boxing
• Dambe or Nigerian boxing

These are taught by a few immigrants who have decided to settle in S.A. Local systems are Cape knife fighting (Piper) and Stick-fighting, whether it is Nguni or Sotho. A quick Google session will tell you more about these arts.

Finding a Guru/Mlolongi

Simple answer, YOU DON’T. There are no Gurus in Africa, the concept is wholly Asian, which is the next continent on the right if you have a world map. I believe they make good sushi, curry and Dim Sum there too. Africans do not believe in kneeling at the feet of a wise man and absorbing wisdom, because more often than not the wise man is a wise guy who’s out for your money.

A lot of people I have talked to from overseas have an idea that they can get off a plane and start training. This can be done if you are willing to settle for a watered down affair hosted on a local game farm or tourist’s cultural show-village. The people you find there look really African, skins and all. And they will show you some moves and then go you can go home and start a Zulu martial arts school. This is similar to visiting China, taking a couple of lessons with the Peking Opera and then claiming to know Kung Fu. It works well until you get caught out.

What you need to learn real stick fighting are: connections, time, and resolve. Before this you need to forget everything you think you know about stick fighting and martial arts, it will only get in the way of your learning.

Connections

The areas where there are stick fighters are in southern kwaZulu Natal, the former Ciskei and Transkei (Eastern Cape), big city hostels or where there is a substantial immigrant community. The best time to go in Hostels is during the weekend. Sundays the men gather to sing and dance as well as play sticks. In the traditional areas it is during functions like initiation, a wedding and full moon festivals like Umbolorho or Umtshilo in the Eastern Cape. Attendance is by invitation, as only those who need to know would be told about it. The sparring is held in an isolated place, in the full moon light. At weddings and initiations it is done early in the morning in order to clear out any grievances or grudges that might come up during the day. So it becomes important to connect with a local guy who is a player or who might know of people who do.

If you are interested in learning, only carry a single stick. This means that the guys will go a little bit easier on you and play spar. If you come with two sticks then you are there for a fight, and if you just want to watch then carry nothing and say absolutely nothing. If you say or do something that offends someone else you will be loaned a pair of sticks. So be quiet and and don’t ask or offer advice.

A list of Don’ts

1. Don’t touch someone’s body or stick without permission
2. No jumping over someone’s stick
3. Don’t point at people
4. Never fight with someone younger than you
5. Never stand up or talk when someone else is talking
6. Don’t back down from a challenge, this is your best chance to learn
7. Never lose your temper, (you will do something stupid and there will be repercussions)

Custom dictates that the guy, who beats you has the duty to teach you so you become better next time.

Time

People don’t stick fight every day, so you have to be prepared to wait a bit before you see a stick fight. The best times to go are during the Easter and Christmas period as people congregate during this period.

Fighting heart

In a traditional setting you will not be taught stick fighting unless you have the heart of a stick fighter. The method of teaching is peer-based, and the elders sit around and watch and give advice only when they see that you have a fighting heart. This is gauged by your ability to defend yourself and fight back against a skilled opponent. In short you should show that you are ready to take a thrashing.

Nguni people admire the plucky underdog, especially the elders. They will take you aside after a good show and teach you a couple of moves. You are then expected to try them out and show some mastery before they show you anything else.

Paying money

Money will not assist in you getting the best training. It might open doors and introduce you to someone who will teach you. The Xhosa have a saying; “a fighter is measured not by the size of his mouth or his pocket, his measure is only by the shortness of his stick”. This is now changing, as there are academies in the Eastern Cape that teach people stick-fight.

So with this in mind you will stand a good chance of learning how to Qula. But remember you will not learn everything as a lot of specialized techniques are still guarded in secret and taught in families.

Share This

Hi all

This article was kindly provided by Bandile Dlabantu, a martial artist that I first met in Grahamstown after he invited me to do a mini seminar at the University. We’ve stayed in contact over the years, and I’ve been glad to know there was another who was researching combat disciplines and culture within South Africa. I hope that with time we will create greater awareness, knowledge and understanding of current and historical South African martial and combative traditions. For those who have requested more information on African stick fighting, this is our additional response to your requests. I hope this article gives you the greater insight you’ve desired.

Thanks Bandile. I hope there’s more that we can publish in future, I know you’re a prolific writer Regards

Lloyd

—–0—0—0—–

Introduction

I learned my stick fighting from my Grandfather, who was a brilliant stick fighter in his day, and still continues to practice with his brother. I’m a city guy. The only time I get to spar are vacations when I go visit about once a year, so I’m not half as good as I should be, considering who my teachers were.

I also had time to practise with guys who have done Kali or Escrima, just to keep myself sharp. This is not formal class but more like sparring sessions where we get together and hone our skills.

The Nguni

Nguni refers to the people who speak the Nguni group of languages, namely Xhosa, Zulu, Ndebele (Zimbabwe & SA), Swazi and Ngoni (Tanzania, Malawi and Zambia). These people developed a strong warrior ethic and methods of fighting, wrestling, weapons etc. These were later refined and made more effective by the warriors of King Sigidi kaSenzangakhona aka Shaka Zulu.

Firstly, stick fighting is a system used to prepare a young man for his role as a protector and nurturer of his home. He learns it to prepare himself for the task of the warrior; it is also a preparation for real spear fighting in battle. Stickfighting in S.A. is mostly confined in the rural areas where people still follow the traditional ways. Its expansion to urban areas has been retarded by it being associated with backwardness and illiteracy. It is quite sad as it is a beautiful art that has a lot to offer.

Nowadays there are gyms in kwaZulu Natal and the Eastern Cape that teach Induku as a traditional game. This is due to the tireless work of people like Mr Jimi Lawana and his wife.

Since it is a fighting-orientated art there are no set katas (forms). There are various sequences that are developed to teach the basic parries and evasions but these differ from region to region. There are also striking sequences teaching patterns of attacks drilled with verbal instruction.
Character built into a stick fighter

• Individuality
• Adaptability
• Fearlessness
• Ferociousness
• Winning with honour

Teaching

The teaching is still mostly peer-based, with no formal schools. Learning is almost exclusively by sparring and improvements are gauged on how one performs against a stronger opponent. The basics are taught when one is about 4yrs old using sticks made out of reeds. One is taught how to hold the stick, footwork, parries and modes of attack. After this initial training one is allowed to develop a personal style of fighting. The only way to improve is to keep sparring; each person develops a system of combat that suits his or her personality.

Three types of sticks are used:

• Igqudu (knobkierie) - used with a large shield
• Intonga - a sharpened stick used with a small shieldor on its own
• Isagweba - is a heavy headed throwing stick it was used during the war times to unhorse a rider or a charging opponent.

In kwaZulu Natal there is a special stick that developed for sparring, these are beautifully decorated and are quite expensive.

The Learning Process

The teaching of the arts starts at home, when a child is about 4yrs old. This stage focuses on teaching various empty hand blocks, faints, and footwork. It is normally mothers who teach the little guy this by play fighting with him, pretending to hit him whilst he ducks and parries. The father will also play some coordination games with him in order to get him to feel the stick.

When the child is old enough (8yrs or so) play sparring is started using reeds, usually far away from home so the kids cannot run back to mummy when the going gets tough. An older boy who acts as a teacher and referee; when things get too hot he cools them down. The young man then learns how to control his temper and fight to win cleanly within the rules of the duel. The sparring now is done with reeds, and flexible switches.

In the teenage years real sticks are used made from wild olive branches or other hard words. These are decorated with symbols and other designs. The stick length is determined by the wielders height and reach. The size of the stick also depends on the level of proficiency of the fighter with more experienced combatants preferring shorter sticks for close quarters combat.

There are four types of stick contests

Idabi

When different bands fight each other at the same time on an open field this is quite
dangerous as casualties are frequent. This form of fighting’s aim is manoeuvring the opponents into a non-defensible position. A favourite method is the Bulls horn formation that Shaka adapted and other counter methods.

Ukuxothela

When young men meet in a circle and challenge each other this is associated with much pageantry and is quite fun. The challenged then either prepares to fight or agrees with the statement and prevents a fight. The winner is the one who manages to beat all those in the circle in single man combat he is called the champion (Intshatsheli/Ingqwele). Each fight lasts about two minutes and there is no rematch.

Ukucela Umngeni

Is a contest between regional champions usually a week before an initiation ceremony. This is done to settle old scores before going into the mountain; this is the most dangerous of times as everyone one wants to make their mark (excuse the pun).

Ukuqula

Is the low impact game used by older men in traditional events, it is a test of skill. Its function is to show the fighters dexterity and the beauty of their techniques. This is also used in training for harder contests.

There are stick-fighting festivals held about twice a year in the former Trans and Ciskei. They are timed to co-inside with young men going to and from mountain initiation schools. There is another contest called imbutho, which is mostly hosted by young women only women. Imbutho is normally held next to a stream and attendance is by invitation another rule is no man is allowed to carry a stick only women play.

Ways of Winning

• Opponent puts sticks down
• Opponent runs away
• Opponent shout “Meela” (akin to saying “Uncle”)

The focus is on evasive footwork with feinting. The attacks are delivered with circles, straight lines and triangulation. There is also extensive use of verbal distraction, stomping and tactile distractions.

Delivery of a blow

Striking demands flexible joint movement to gather stick momentum. The stick blows are applied with a twisting movement on impact so as to generate more power. The stick seems to change direction at strike termination; this has been seen to produce enough momentum to break a bone.

The main target areas are

• Ankles – Iqatha
• Shin – Umbalo
• Pelvis – Isinqe
• Ribs- Imbambo
• Neck- Intamo
• Head – Kolo

The attacks are applied with varied rhythms and from personal experience most fighters have a sequence or system of attacking and tend to follow this same pattern only varying the distractions. A usual method attack is called ukuthunga, which means weaving, when a fighter would angulates his attack so as to connect with many targets. The sequences normally start with the crown of the head, twisting to neck, ribs, and knees terminating at the ankle. It can also start from the bottom up.

The arm or hand is not sort after too much as a target in sparring as the aim is to make the opponent voluntary drop his sticks and runs away. Only then can one truly claim they have won.

These are learned in real time with fighting so you develop what works under pressure. This way every stick-fighter is developed as an individual with a unique way of combat and strategy. The art is about defending yourself against aggressive attackers, serious injury and even death are known to happen.

Techniques

The options of using two sticks, with one used mostly for defense and the other mostly offense, depends on fighter’s choice. Single stick is also practiced, requiring much more speed and accuracy.

1. Offence / Ukuqula

• Hitting through straight and angular.
• Closing a gap
• Twisting blows circular

2. Defence / Ukuhlanganisa

• Guarding your face and ankles
• Diagonal guard
• Wiping guard
• Drop guard
• Pressing on weapons and tie-ups

Footwork

This is actually derived from traditional dancing, the best way to see stick fighting techniques, is to observe the Zulu ukugiya this is a solo drill where a fighter demonstrates his skill. The problem with this display is that anyone is allowed to challenge you on completion. People would want to see if the skill you have just shown.

Etiquette

Opponents have to cross stick before each bout as a greeting. One is not allowed to stab with a stick especially not in the face, as this is considered rude and insulting. The aim is to win with out making your opponent loose face. When one feels they cannot fight any more through injury or unwillingness one shouts “Meela” or drops their sticks.

For more information you can look at http://ejmas.com/jalt/jaltart_Coetzee_0902.htm it has a lot of information about the history though it leans towards the Zulu system.

Non-Traditional Methods

Traditional duels do not encourage knees elbows, headbuts - and no grappling. Purists like my uncles stick to the rules, especially for competitive combat. The non-traditional methods use hand, knee and foot striking, grappling and take downs. These other approaches were introduced in the days of Shaka; he was not a believer in showy technique and too much dependence on tradition and sought innovation. His approach to stick-fighting was to press on the opponent, controlling his weapons whilst reaping with the leg in order to make them fall.

Among the Xhosa the use of the shield was abandoned in the 200-year period of the Frontier war. The Xhosa, unable to fight in large battle sets against the better-armed British, adopted an exclusive method of guerrilla warfare using spears and stolen guns. The shield proved too cumbersome for this new approach to warfare. Instead of a shield Xhosa warriors learned how to use a single stick as a means of protection.

These methods are no longer practiced as there are fewer opportunities to use stick fighting in real combat. Another new introduction to traditional stick-fighting is Kali Escrima techniques, especially with the popularity of bootleg Dog Brothers and Burton Richardson stick fighting tapes. These foreign techniques and concepts are being skilfully modified to suit the needs of traditional stick fighters.

Share This

Is it authentic? Where is it’s lineage? Oh crikey, not another hybrid.

News of my system of Ronin Silat has started to grow in the martial arts world, especially with the popularity (and infamy of Piper. Many are curious about what my preferred system and training background are. Others ask the usual “Who are you & state your art and lineage” line, as if I’m actually going to write long articles on technique, spend paragraphs extrapolating combat principles and philosophies, and definitively claim why it’s viable for everyone to learn MY version of Silat…no no no no. After what I saw people do to Piper I’m careful about mentioning my hand-to-hand background to anyone I cannot train with in person.

Ronin Silat is nothing really, it’s an expression of my combat collaboration, of every martial art that was available to me over the years. Now, before I continue, let me make it clear that Nigel February did NOT train under a guru, master or some sort of grand master, wasn’t in the special forces, didn’t invade any countries (though I might know who did), didnot travel the world in search of enlightment (though it’s good to know all it takes is a visa to get it). AND, I have never met any of the real, hard-core, authentic, skirt-wearing, kris-wielding pencak silat guru dude, uh, people.

Whatever I know about Silat my late father taught me, which he learned from a really creepy fellow called Beirooz (or so he claims, since I never met Beirooz, who left for Iran when I was a kid). Now whether my dad got this knowledge from that dude or from somewhere else, I really dont know & I really dont care either. You see, what matters to me is that the ‘Silat’ I was shown was actually useful in a street encounter…THATS IT! So no skirts, dances, exotic Indo-Malay weaponry & a foreign language for me, thank you, please move along.

Dont get me wrong, I’m not dissing this culture & all respect to the original practitioners of the system, but I’m from Cape Town & I speak English. That means that I would want the actual combat concept or technique as is, & not the entire culture, language, history or traditions. I’m not saying this to offend those who were fortunate enough to have travelled to these far away lands & to have met these really amazing masters of the arts, but merely stating that I cannot name-drop like everyone else since S.A. was devoid of Pencak Silat masters at the time & still is. Now, in 1998 a Muslim man called Gielmie Hartley went to Malaysia to study under a Maha Guru in a Bersilat style called Seni Silat. He then came back home & started the 1st authentic Silat school - complete with costumes, djurus, weapons, music…the whole works!! That venture didnt last long as non-Muslims were forbidden to join, which also meant that his current students also started drifting away as tradition & religion took precidence over combat.

I’m not denigrating his name or reputation, but merely stating a fact that would explain just how ‘popular’ Silat really is in this country…

My silat training was very limited at the time, so whatever I knew was attributed to the little that my dad showed me (all of it technique-based), so that meant my further exploring other systems such as boxing, Greco-Roman wrestling, Tae Kwon Do, Muay Thai, Kung Fu etc…however it was the works of Ed Parker that really inspired me to formulate my own martial expression. You see, I never had the tutelage or guidance of a Silat guru - not even on paper, as very little was published on Silat at that time. Ed Parker’s combat philosophies & practical applications was really ground-breaking & literally changed my overall perceptions with regard to combat (ok ok, so Bruce Lee helped as well, but he was an obvious influence).

So between 1993 and 1997, I taught & practised Ronin Silat with my long-time friend & no.1 student, Shadley Kannemeyer, who is 1 of only 2 people ever graded in my silat style. Now a bit on Shadley: at 6′3″, weighing 240 lbs, he’s a real piece of work. Lived in orphanages & reformatories when he was a kid, learned ‘form-style’ fighting first hand, avid grappler who loves submission & the only guy, like myself, who holds the rank of Elder in the Piper System. He assisted me in training all master guardians in both Piper & Form, he is also NOT mentioned on the website. WHY?? Simply because Shadley’s an experience best served in person, well that & the fact that he doesnt practise martial arts via email, internet or forum. More about Shadley later.

Earlier I mentioned Ed Parker. It may have sounded more like I was leading the Parker cheerleading section. He just made sense. Here was a visionary that broke the confines & restraints of static movement & and offered a system of thought one could apply to any system or art. Suddenly techniques were no longer tradition-bound, concepts were no longer culture-driven & thinking for yourself was soooo ok! This affinity for Parker’s Kenpo concepts led me straight to Lloyd & his class-mates, who were the only American kenpo practitioners in Cape Town. That was back in ‘96 (Piper was already being taught to select students by now), where myself & Shadley were visiting Lloyd’s class once a month demonstrating Ronin Silat to the all the students. This obviously led to some of the kenpo guys and a few others joining us in the ‘garage’…which later became the stage to the infamous 7min 28sec Piper tape.

For those who watched it, while the blade stuff was all piper, the empty hand was Ronin Silat. We tried to tell everyone…but they were more focused on the guy with the knife…hmmmm, I wonder why?

Share This