Langkah training is a cornerstone of many systems of Silat; including Buka Jalan Pentjak Silat.
It is a foundational building block because it is so incredibly informative to those who spend focused time training this aspect of the art.
Time spent here informs footwork, handwork, base positioning, technique execution, turning around, and even strategy.
My Tuttle’s Concise Indonesian Dictionary defines langkah as pace or step.
In the case of langkah training, step is the preferred meaning.
Given that footwork is the topic, the obvious step is one that involves moving your foot from one location to another. Training langkah definitely involves moving your feet. You begin stepping from a specific point on the real or envisioned geometric shape – the triangle, square, or cross – and you end by taking steps to return to where you started.
But it also involves another type of step – or steps – to be more precise. In this case, the steps are a process for completing the langkah.
While there are a variety of ways in which each langkah may be “walked,” the most basic is:
In the case of langkah tiga, which is represented by the triangle, performing this four-part process three times would return you to where you started.
Just as there are a variety of ways in which each langkah may be “walked,” there are a variety of ways in which the hands may be moved during langkah training.
This variation applies throughout the entire step-by-step process.
Two examples will highlight this.
As one example, a simple cover or a specific technique from a juru may be used during the step.
As a second example, different simultaneous attack and defense maneuvers may be used during the slide. A parry and punch maneuver is one option. A grab and elbow combination is another option.
Two bases are present in Buka Jalan Pentjak Silat.
The first base is the lower base. It may be defined as the line between the feet.
The second base is the upper base. It may be define by the shoulders.
The arrangement of the bases – lower and upper – is a very important element of langkah training.
This arrangement changes throughout the four-step process mentioned earlier.
While many positional relationships exist throughout the maneuvering around the geometric shape, the one most stressed is the perpendicular relationship between the lower and upper base.
It is most stressed because it is fundamental to the art.
That perpendicular relationship is central to juru training, as well as technique execution.
Langkah training repeatedly informs the execution of two “sweeps” – the foot sweep and the back sweep.
On way it informs this execution is through base positioning.
In the case of the foot sweep, the lower base begins the execution and the upper base comes into play second.
In the case of the back sweep, it’s the other way around. The upper base begins the execution and the lower base comes into play second.
Another way it informs this execution is through specific foot or hand maneuvering.
In terms of the foot sweep, the heel remains on the floor until the point is “hit.” The foot is turned in and the ball of the foot is off the floor.
With regards to the back sweep, the hands are postured so that the trainee envisions controlling the opponent’s arm and manipulating his balance in order to make the way for the impending technique.
Yet another way it may inform is in the setup.
At times, the foot sweep may be the first thing executed. In this case, the point that is to be swept may be “highlighted” by the shoulder.
Turning around was half of the four-step process outlined earlier.
This reveals the importance of the turnaround.
Learning to turnaround is an important part of any self-defense art, as well as any system that considers multiple opponent scenarios, which Buka Jalan Pentjak Silat does.
Langkah training informs the turnaround through both form and function.
It informs through form by stressing that the head must always go first. The head turns first so the eyes can see. You always want to see what’s about to happen. Do not turn around blindly!
It informs through function by offering different hand maneuvers and base heights. Both hands may move together. One hand may move first with the other to follow. The base may remain relatively high. The base may drop prior to the turnaround.
Strategy is not a topic during the early stages of langkah training.
In time, however, strategy is another element that is informed by training langkah.
Two examples should suffice.
The are various strategies for “walking” langkah lima – the cross.
One strategy – kurung – seeks to dominate the center point of the cross. In this strategy, the foot that resides on the center point never moves off of that point. The other foot, however, moves all over the place.
Another strategy – pancar – seeks to flow out. In this strategy, the center point is freely abandoned for a moment, before being retaken.
All of the langkah contain strategic elements.
Langkah training informs footwork, handwork, base positioning, technique execution, turning around, and even strategy.
Given the incredibly informative nature of this foundational building block, I am confident you will spend plenty of focused time training this aspect of the art.
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