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Chapter 2

The First Ten Jurus


Introduction
In Pukulan Cimande Pusaka there are a total of eighteen jurus. Each juru teaches
movements that must be perfected in conjunction with the aforesaid eleven basic principles
and each one has an attitude. Each juru is practiced on the left and right side to develop both
sides of the body so if in a fight one has to quickly turn around, the side that you turn on will
be fully prepared. Remember Silat deals with a minimum of three attackers in the
practitioners mind at all times. Also there are the male and female principles to be
considered. The right side is considered the masculine side and the left is the feminine side.
Even the jurus themselves are broken down into a balanced gender. The first juru is
considered the masculine juru, as it sends force and power, while the second juru is
considered a feminine juru, since it seeks to decoy and draw in or seduce the opponent. From
the mating of juru one and juru two, the rest of the jurus are born. The esoteric principles are
left to Part II and III of the book. The inner planes must be mastered for completion.

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Juru One
Magick

Male - Electrical

Principle

Destruction, Adhesion, Compacting, Body Armor

Attitude

Attack

Beginning with the first photograph of juru one we see what is sometimes called the
sembah, or the respectful beginning (Photo 1). In fact this stance is also a fighting stance. All
jurus are started on the right side of the body and in this posture the right hand is held in a
fist, while the left hand is cupped over it. Most of the weight is
being carried on the left leg and the right is resting lightly on the
toes and ball of the foot, with the heel raised off the ground.
Notice the body is slightly hunched forward as this is the position
you will be in at all times. It serves to remove the middle targets
from your opponents reach and causes one to lower their height
and center of gravity. Also the lead or right foot is pointed slightly
to the left. To illustrate one of the fighting possibilities from even
the sembah, notice what happens in the illustration (Photo 2)
when the attacker, seeing a supposed opening in the Silat
practitioner, attempts to throw a blow in the area he believes is
vulnerable. The knuckles of the clenched hand are driven down
into his hand while the upper arm uses the recoiling effect from
the blow to propel a strike into the face. Again this must occur, as

Photo 1

in all jurus in a flowing manner so the attacker is not aware that an opening has been created
purposefully. So in the actual juru the first movement that takes place from the sembah is the
stomping of the right heel down on the ground while the left one raises (Photos 3A-3B),
followed immediately by the raising and lowering of the left in the same stomping action.

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Photo 2

Photo 3A

Photo 3B

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There is a lot of significance to this movement. In all of the hand and foot blows a slight
stomping action is produced by lowering the slightly raised heel flat to the ground on impact. This is
the principle of the whip and starts from the ground on up to the leg and arm. On every part of the
juru that hits, a slight stomping action is appropriate. This also prepares the student for the stomping
on and breaking of the small bones on the top of the opponents feet. In the same movement the foot
is trapped making a retreat very difficult. This stomping also demonstrates the principles of off timing
in both the auditory and visual modes, as well as the destruction principle. From this movement the
student then steps forward with the right foot into the fighting stance. In this position the feet are
approximately shoulder width apart to allow for quick mobility and rapid kicks (Photo 4). In this
step forward the leg is raised rather high in the usual Cimande manner, which appears as though the
practitioner has just stepped on a hot object, and raised the leg high and forward. This is a
protection movement against kicks and illustrates the principle of penetration and body armor.
As the foot is set down the right hand is rotated without it moving away from the left hand,
and slammed into the left palm (Photo 5). The power on this blow comes, as do the power from all
of our blows, from the complete relaxation of the strike with a sudden tensing of the body on
impact. This allows the body to be able to execute the flow, not get tired and throw blows from very
close range without the attacker being able to perceive them. The student must learn to keep
practicing this contact blow until a good deal of power is felt on the impact. This is the principle of
compacting. Beginners are allowed a slight outward arc until they get better at it, when no visible arc
is to be seen away from the fist. From this skill, the physical poison hand blows are developed and it
is the principle of compacting. As this is a naturalist system, meaning that it adapts to different body
styles and builds, the exact distance between the feet is not measured, however, it is better to be a
little to close together than too far apart. We are not interested in retreating, only in penetration with
quick evasive precision.
One way to get an idea is to stand as in the illustration with the feet together and then first
separate the toes as far apart as they will go, followed by the heels. You should now be about

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Photo 4

Photo 5

shoulder width apart. Now move the lead leg forward as far forward as it was sideways, and that is
about right. (Photos 6A-6C) One thing is important however, and that is when you step forward
make sure that the lead leg foot is slightly turned inwards (Photo 7). As the photo shows, this
exposes the muscle, which covers part of the shin bone to attack rather than the bare bone as would
otherwise be the case. Also the back foot should also be turned slightly inward so that if a line were
to be drawn extending from the tip of both feet, somewhere out in front these imaginary lines would
cross each other. This is a frontal stance, basically that purposely points all of your weapons at the
attacker. It allows both arms and legs and all parts of them direct access at the opponent while the
crouch stance and hand and arm positions build the body armor for protection. Side stances, while
protecting the midline from a direct attack, only allow easy use of the leg and hand and are at a very
real disadvantage against a good frontal fighter. If you wish to hit a target with a gun it must be
aimed at the target at all times or you will miss. I have seen teachers who said they could still use the
back arm and leg but if you watch them do it, just prior to delivering the strike they turn frontal. So,

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Photo 6A

Photo 6B

Photo 6C

Photo 7

what they are asking you to do is to waste time turning to a position you should have already been
in. In a real fight there is no time for this, one second could cost you your life.
From the last position then the left hand is extended forward while the right fist turns palm
out and is brought straight back to the chest (Photo 8). When the thumb of the back of the hand
touches the chest the elbow is fully ready to fire. This position helps to expose the sharp elbow bone
for a strike and prepare the elbow to be used without the usual obvious chambering. From here the
elbow is brought forward and hit against the left palm. There are two methods for the elbow strike,
either in the high gate square position as shown (Photo 9) or with a twisting torqueing downward
arc as you turn towards the open side on the strike. This then is the low gate square version (Photo
10) and is part of the elbow shields covered later, siku perisai. The choice of which to use is up to
the practitioner depending on the angle of attack one is practicing against. But generally the lower
gate is more advanced being more fluid and sneaky in its delivery. As illustrated, one of the fighting
principles is to reach forward grabbing the back of the attackers head and hair pulling forward into
the elbow strike. (Photo 11)
Also another favorite technique is to guide the oncoming punch directly into the exposed
elbow bone for total fist destruction, demonstrating the thorn principle in full form. Although
sounding hard to do, this is actually quite easy. To practice it just close your eyes and hit your elbow
against your open palm as in the juru. If you can do this with your eyes shut then it will be an easy
matter to direct the opponents punch into the elbow in the same manner. To practice this as in the
photo, put a blindfold on and have a training partner slowly extend his arm towards you (Photo 12).
At first, just slowly guide the fist into the elbow as soon as you make contact with it. This is just to
let you see that it can be done from feel alone. Later with the partners hand thoroughly protected,
you can try some half power blows to his fist while he picks up speed.
From here, the next action is a movement with the hand. Notice that upon the completion of
the elbow strike the rear hand is under the lead hand. This position allows the lower part of the
body to be defended against more easily and also sets you up to deliver a very camouflaged blow
that snakes out from under the elbow (Photos 12A-12B). This comes from a position that is known

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Photo 8

Photo 9

Photo 10

Photo 11

Photo 12
as the Hitam Ular Sendok or the Black Cobra position (Photo 12A), where the lead hand is
envisioned as the head of the snake and the under hand is the tail of the snake.
Anyway, the next move is called the buka, or opening, and this under hand comes up and
across the face, with the finger tips just below eye level and slightly open (Photo 13). One of its uses
is a close in hit block. From our last position the attacker throws a left to your head, and in
producing the buka, the hand is driven downward setting you up for the next blow, which is a
straight punch type blow to the head of the attacker (Photo 14). There are a great number of things
going on here. First of all it is imperative that one never reaches out for the hit block. Always let the
blow get as close as possible before starting the counter. This helps eliminate feints and gives your
opponent less time to react to your counter. Also, the line in, which the punch has been driven
downward allows the straight punch to be thrown up along the line of the attackers arm. This
makes it hard to see and hard to stop. In this hidden under arm position, the decoy principle is also
being demonstrated as it can clearly be seen in the photo that you appear open to a punch from

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Photo 12A

Photo 12B

Photo 13

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Photo 14
your left side. Especially since you just took his right side out of action. So we expect it, and are
prepared. Indeed it helps us defeat the attacker.
The straight punch is practiced being delivered in a forward or what we call a masculine
triangle fashion. The blows are directed inward toward the center. The arm is held very relaxed with
a slight open hand until the moment of impact where there is tension applied only for that instant.
The impact point is only with the center knuckle and the fist is held at a slight downward angle so
that knuckle lies on a straight line with the bones of the arm (Photos 15A-15B, 16 ). The smaller
area of contact allows more penetration of force to the target. As the punching arm reaches its apex,
the opposite hand is struck against the pushing arm with an open palm. This serves to keep the
triangular shape of the inward blow correct, toughens the punching arm and most importantly, if you
miss the blow, the arm will not swing wildly out of control, but will be stopped short by the back
hand. This illustrates the principle of body armor.
The blows also never fully extend, but always have a slight bend in them. This serves two

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important functions. One if you miss the blow or are trapped in an arm break blow or hold, you
stand less chance of your joint being broken. Two, it prevents energy from being blocked as it flows
through you. Some call this chi but the Indonesians call it the Tenaga Dalam or the Inner Dragon.
Locking your joints causes this energy flow to stop and will physically and mentally weaken you. All
real Pencak Silat teaches the mental or what they call the magickal side as well as the physical. So
we are very conscious about energy loss and build up in our movements. When this punch is
delivered, there is a slight, straightening of the back leg for an instant but not to a fully locked
position. The reason for the straightening can be seen in the photograph. (Photo 17) It allows the
force of the punch to travel in a more or less straight line from the hand and arm down the back,
down the leg, and into the ground. The force can then flow from the ground or your base straight
back to the attacker, which is the principle or ricochet hitting and demonstrates the law that for
every action there is an equal and opposite reaction. After the moment of the impact the back leg
immediately returns to the more bent position.
After this punch or pukal is delivered, the arm is returned to the side in an open hand
position. Notice also that the arm is never brought back so that the elbow sticks out behind
the back. This teaches the student that the blows should not be fully chambered or pulled
back before being used and demonstrates the principle of body armor and compacting. It is
body armor because the elbow is held against the sides of the body. In this position an
opponent can not slip a blow up and under your arm. If there were to be space there and your
arm itself took a solid blow, it could be propelled against your own body, hurting you with
your own elbow. The hand is held open for a number of reasons one being that this rearward
move simulates a rearward elbow. When you drive an elbow backwards, if you clench your
fist you move muscles, which can expose your funny bone nerve to being struck. Opening the
hand lessons this possibility greatly and allows you to be in an open relaxed position for
another forward punch. When the arm is withdrawn, notice that only two fingers of the left
hand are rested on the inside wrist area of the right hand (Photo 18). This is a power position
that keeps the male and female, yin and yang type energies flowing from one side of the body

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Photo 15A

Photo 15B

Photo 16

Photo 17

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Photo 18

to the other and is traditional.


The next move as illustrated is a double hand strike block known as an exchange across the
body in the opposite direction of what the buka traveled in (Photos 20A-20C). The hands are again
slightly open and just below eye level. This is classified as an in close hit block, and it has several
uses, of which one has a rather unusual use from the Ular Sendok or cobra snake part of the
system. As illustrated, the fingers are partially closed in a half fisted position and the blocks are done
with both hands firmly held together in a back and forth and up and down manner. Both hands are
firmly held together just below eye level and if the opponent tries for a head blow the head is tilted
to one side or the other while the hands strike upward into the soft targets of the opponent (Photo
21A). If the blow goes low then the body is sunk lower to the ground while the two elbows deal the
first blow to the attacking limb (Photo 21B), followed by a strike which is quickly applied by driving

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the two inverted half fist forward (Photo 21C). Again this is at very close range and illustrates but
one concept from this position. It utilizes body armor and the bamboo and destruction concepts.
After the exchange is completed it flows into the same position the right arm was in, cocked
for a straight punch with the same two fingers, from the left hand resting on the left wrist. A left
straight punch follows only this time the hand is withdrawn as a fist. As the left hand comes
downward in the fist position it gives you another hit block which is done Photo 22. In this
application, the right hand takes over first to divert the incoming blow, which is then struck by the
fist of the left hand as it comes down into position.
One more concept to exercise your mind is as follows (Photos 23A-23D). Against a wrist
grab, the Silat man uses the principle of the supported hand movement from right to left to give him
the leverage to not only free himself from the attack, but to pull the unsuspecting attacker directly
into the next incoming fist. So the juru began with the right hand in a fist and ends with the left hand
in a fist after the last straight punch. The examples given here are only a very few possibilities for you
to work with.
One of the tasks of the student is to use his perception to figure out juru applications, which
are called jurusans. These follow ups, also called physical elements, are variable even though the
basic juru does not change. As the student
understands the feel and correct principle of the
system he or she will know whether their application
is correct in the context of the Art. The beauty of this
is that one need not look to synthesize other Arts for
fighting applications. Everything that is possible is
contained here. As your understanding of the system
grows so will your applications to any circumstances.
This is as it should be and in such a manner the art
grows and the student may surpass the teacher. So
ends the outward part of juru one. Its attitude is one

Photo 22

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Photo 20A

Photo 20B

Photo 20C

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Photo 21A

Photo 21B

Photo 21C

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Photo 23A

Photo 23B

Photo 23C

Photo 23D

of destruction. Let me explain this little understood principle. These jurus are many things. Among
the actual physical applications there lies a prevailing essence or attitude that goes with it. In this
case because it has so many destructive moves and blows, if any destructive force is used in combat
it is said to be the attitude of juru one.
After you are sure of the correct moves of juru one on the right side be sure to then
practice it from the left side. This movement can be done in a number of ways. The first is
usually done for beginners. After the conclusion of the juru on the right side the student
simply draws up the back leg, or in this case the left leg to the beginning position or sembah
again. The juru is then produced from the left side. This procedure is called walking the line
and is done by a few Silat systems. One other method is to use half moon footwork as
shown in the photo angling the back leg out and ninety degrees to the left while flowing
directly into the close contact strike with the fist to the open palm (Photos 24A-24C).
Although the close together foot stomp is not done the lead leg stomps down with the heel as
it comes into position. You see the half moon footwork glides along on the ball of the foot so it is an
easy manner to stomp down easy manner to stomp down with a foot crunch trap as you glide in.
Indeed I tend to rise up slightly on all my juru moves coming down in flat contact with the ground
with one or both feet on every strike out of the juru. This makes for a slight foot stomp on each
move. It helps to add strength to the blows and adds auditory noise for the off timing principle. If
you use the half moon type of footwork be sure to be duplicate the handwork also pictured in the
change. You will notice that your rear hand drops low and your lead hand stays high to start with
(refer again to photo 24A). The practical application of this is that on a close encounter this low left
hand position would be a thumb slice (top part of the hand striking with the folded thumb), while the
left hand could be a palm strike to the face as the attacker bends forward from the strike. At the
same time the half moon foot move slides in and actually hits his inside foot ankle off balancing him
and or by dropping your weight down and also making contact with the shin knee, taking him down.
As you can see there are many elements of possibilities.

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Photo 24A

Photo 24B

Photo 24C

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The real secret to the jurus is that they in themselves are a pattern for moving in a fluid and
protective way. Done stiffly and like a robot they lose their true meaning. I have heard some
misinformed teachers say that too many people think Silat is only a dance so the forms should be
done in a powerful way only, disregarding the original principle of flow and deceptive beauty for
their egos. This is not Silat. The real deadliness of the physical part of the Art comes from its ever
changing disruptive patterns that can lull an attacker into a false sense of rhythm, only to turn into a
Tasmanian Devil and over run him. At any rate that is what this form of Silat is about and you can
take the lead with your opponent as you dance him to his defeat. Silat should not look like bad
kickboxing. Juru one then forms the beginning for all of the odd number jurus in the system. Juru
three begins with juru one and then something else is added to make juru three. And so it goes
with the other odd numbered jurus. Juru two forms the beginning for all of the even numbered
jurus.

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