The Art of Cindai

Wednesday, 24 October 2018 15:22

by Guru Scott McQuaid

The Indonesian combat system Pencak Silat has always been surrounded with effective deadly yet attractive weaponry from its culture. Among the bladed weapons and bamboo sticks is the more less than obvious weapon, the sarong cloth of Cindai.

Cindai is the Batik sarong that is traditionally worn by both Indonesian and Malaysian cultures. This attire has been adapted into silat as a defensive weapon. Cindai refers to the generic term for this sarong style of silat, used typically to lock, trap and choke the attackers.

Cindai is actually a cloth originating from the state of Gujerat, in India. It is believed that Gujerat traders brought in cindai cloth to Sumatra, Indonesia around the year of 1450. Since then the spread and use of cindai cloth extended to Bantam Island in Java and Pegu in Burma and onto the Malaysian Peninsula.

In South Sumatra, cindai cloth is referred to as 'Limar' which means to color the yarn. However, when referred to as 'limar cloth', the community recognizes it as cindai cloth. In ancient times, only royalty could afford such fabric but this cloth was also used as a belt attire for pesilats (silat players).

Cindai cloth is very fine and the manufacturing process requires twin tie weaving which makes the cindai cloth durable and capable of resisting weaponry, such as blades. These fabrics can be considered comparable to the use of silk clothes by the Mongol warriors, preventing arrows from penetrating their silk shirts.

The combative art of Cindai is said to be one of the highest levels of practice in silat and it requires the ability to react with instinct and to constantly adjust to the movement of the opponent. Martial Cindai is used in various styles of silat such as Silek Harimau, Silek Tuo, Harimau Berantai Silat, Cimande, Bakti Negara, Cingkrik, Silat Seni Gayong and many more.

A pesilat learns to wrap and lock their opponent using the cindai batik sarong, by parrying the attacker’s blade, wrapping the handler’s blade hand within the cloth, restricting its mobility and limiting the sharpness of the weapon. The pesilat then usually manoeuvres the other end of the cloth belt around their adversary’s neck, while choking and squashing the attacker’s body, condensing and limiting their overall movement.

In the style of Minangkabau Silek Harimau, the warriors will often place sharp rocks inside the cindai cloth and use it to whip and strike their opponent from a safe distance.

The use of a cloth against a blade is a standard code of practice in combative arts, used in military and self-defense systems. However the mechanics used in silat cindai are arguably more refined and more technical. The wrapping motion with the cloth can target specific areas such as the thumb and index finger, locking and breaking it, making it far easier to disarm your opponent’s blade hand. Another technique is binding your adversary by wrapping their hands or legs together repeatedly, ultimately rendering them useless.

It is important to note that the art of cindai is considered as one the last lines of defense against a bladed attacker.

Cindai plays an important role in Indonesian culture and customs and the cloth is used for the Javanese dancers traditional pants in the Yogyakarta palace and also in the wayang masks. On the island of Bali it is used in religious ceremonies.

It is said in Indonesia that cindai cloth is 'alive'. The thought behind this is due to its everlasting nature. It can take up to a hundred years for it to deteriorate and the colors rarely fade, it simply lasts. The Malaysians also believe that the cindai cloth has a form of spirit, only they relate to a more unrealistic magical thinking. They believe that cindai cloth requires 6 skilled craftsmen that were the king's weavers, with the 7th craftsman being a genie, hence the mystical elements.

Despite all the cultural elements and hocus pocus interwoven into the practice of cindai silat, the practical learning remains applicable and effective in combat. It doesn’t matter whether you are using a cindai batik sarong, the shirt off your back, your jacket, tie or even your leather belt. The execution remains the same and therefore relevant.

Published in Irish Fighter Magazine 2017.