Silat Styles

British Silat Association (BSA)

THE BSA was founded in the Mid 1980’s by the students of Jak Othman, who was then the only person teaching Silat in the UK. Initially registered with the AMA, as the British Pencak Silat Association, the BSA has been the mainstay of Malaysian Silat in the UK and Europe.
We aim to be an inclusive umbrella organisation for the support and enhancement of Malaysian Silat in the UK.
There are several other organisations in Britain teaching and promoting Silat. We cannot attest to their authenticity. Many people mix styles, arts and rename and relabel it as Silat when in fact it is not. What you WILL know, is that the BSA and the Chief instructor Glenn Lobo, is registered and accredited by the Malaysian Silat Federation (PESAKA) and has been recognised by them since about 1990. He is also the highest graded non- Malaysian Silat practitioner in the world. You can therefore be assured of the quality of the information taught through the BSA.
If you want to know GENUINE AUTHENTIC Silat, trained at source, by some of the top Silat practitioners, the BSA is the place to come!

Silat Lincah

This is the largest Malaysian style. Created by Maha Guru Hj. Omar Din, it is a mixed locking and striking art, focused on fighting rather than sport. Paduka Glenn learned this in Malaysia, bringing it to Europe with his assistant T. Paduka Chris Bogaerts.

Lincah is a Malaysian style that can be traced back to the 15th Century Warrior Hanh Jebat. Haji Omardin bin Mauju was born in 1941 in Puchong and was raised in Kampung Puah, Gombak. He suffered greatly in his youth because of polio induced paralysis. However, the pain did not stop him from searching for someone who could cure him, until he met Silat master, Syed Abdul Rahman at Pulau Besar in Melaka. He advised Omardin to study Silat Tarah in his efforts to cure his disease. Thus, began Omardin’s internal journey in Silat.

His interest in Silat developed and deepened when he realised his condition showed signs of improvement. However, he was also forced to accept the fact that the damage to his legs would be permanent. Throughout his treatment and Silat studies, Omardin was buried to waist level fifteen times on the beach during the full moon.

Omardin faced each test with courage, even though he was still 18 years of age. He studied every Silat technique including attacks, blocks and takedowns using his whole body, including his damaged legs. He was fortunate enough to be trained not only by Syed Abdul Rahman but the master was also assisted by seven of his students, Omardin’s colleagues in the style.

After four years of numerous tests of Omardin’s patience, perseverance and effort in studying Silat Tarah, he was appointed as a Guru Muda (Junior Master) at the age of 22. A few months later, after several evaluations and intensive testing by his master, Omardin was appointed as Mahaguru and permitted to teach Silat Lincah by Syed Abdul Rahman. The ceremony to install Omardin as the Mahaguru took place at the tomb (maqam) of Sheikh Ismail Sultan Ariffin in Pulau Besar, Melaka.

In the ceremony, he also received his master’s instruments as a symbol of inheriting all of Syed Abdul Rahman’s knowledge. Once the ceremony was completed, Omardin was bathed at a well named Perigi Nenek Kebayan and underwent a lime bath at the Makam Tujuh Beradik as a conclusion to the installation.

After concluding his studies with Syed Abdul Rahman, Omardin was entrusted by his master to study from four other masters. To fulfil his wishes, Omardin delved into Silat and spiritual studies with Kiyai Haji Nong Lias at Rantau, Negeri Sembilan. Following this, he turned to Wan Alang from Bukit Selambau, Kedah while the third master was Syed Mohammed Al-Qadri and the fourth Tuan Haji Salleh Patani.

He then left for Mekah together with 37 of his instructors to ‘confirm’ his studies. Upon his return, Silat Lincah began making strides in the local Silat scene. With only five of his original students, Omardin established several gelanggang within Selangor and Wilayah Persekutuan. From then on, Silat Lincah spread far and wide throughout the country until it became a legally registered association, the Pertubuhan Seni Silat Lincah Malaysia (PSSLM). Omardin has also organised several series of overseas Silat Lincah demonstrations.

The success of Silat Lincah in spreading its wings internationally began after 4th December 1976, when a World Silat demonstration was organised by PSSLM in Kuala Lumpur. It was after this historic date that two young men, one from England and one from Belgium, Glenn Lobo and Christopher Bogaerts came to Kuala Lumpur to study Silat Lincah. This was the first step for Silat Lincah’s overseas.

In the midst of these achievements, Omardin’s efforts began to attract several Silat bodies to confederate at a regional ASEAN level. It was even due to his ideas and efforts that the Malaysian National Silat Federation (PESAKA) was established, which has now become the backbone to all Silat activities in Malaysia.

Silat Lincah once again made a name for itself when Omardin and hundreds of his students were involved in producing a film documentary titled One Step Into The Beyond or Selangkah Ke Alam Batin which was not only publicly screened but also opened a new page in the history of Silat Melayu, and was Silat Lincah’s ultimate achievement that cemented Omardin as a vanguard of Silat Melayu.
Maha Guru sadly passed away in 2015 from cancer. At the final ceremony or Ijazah, he appointed Guru Glenn as Paduka, and the representative of Silat Lincah Malaysia for Europe, having already appointed him as his Wakil and Ketua Jurulatih Kanan for Europe (Chief Instructor), in 1993.

Pancasila Gayong Harimau

The first Silat style taught publicly in the UK by Cikgu Jak Othman. Glenn was one of the first people to learn this art, becoming an instructor in 1986. The syllabus is taught as a “Malaysian Kickboxing” art, comprising techniques for locking and striking. It is a streetfighting, rather than sport or competition fighting art.

Gayong Harimau: The Philosophy

Gayong Harimau is one of the many styles of Silat which combines the soft and hard forms in combat. The word ‘Gayong’ means ‘Pure body and soul’ (i.e. a Silat practitioner must be physically and mentally clean) and ‘Harimau’ meaning ‘Tiger’ which actually refers to the famous Muslim warrior, Saidina Ali Allaihissalam (Allah’s Tiger). He is famous for his fighting skills, strength and his obedience to Islam. His skills, strength and obedience to his religion and prophet must be the main motive of a Gayong Harimau practitioner. A Gayong Harimau Silat practitioner must be totally obedient to his/her religion (any religion), Guru (instructor) and rules of the club.

Even someone who is as strong, skilful and brilliant as Saidina Ali Allaihissalam, died in battle. This reminds us that however good and strong we are, there is someone out there who is much better than us. The only thing we can do is to train harder and harder all the time. Never say you are the best and unbeatable, because in reality your enemy is not a feeble opponent. If he can’t beat you alone, he will come in a gang! If he can’t fight you physically today, he’ll poison you tomorrow. So be careful with whatever you say or do.

On a Gayong Harimau Silat suit there are five bands of colours, running diagonally from the right shoulder to the left waist. Each colour corresponds to a certain meaning. They are:

White: Physically and mentally clean (i.e. hygienic, not drunk or mad)
Black: The colour of a Malay Pendekar (warrior)
Yellow: Loyalty to the ‘King’ or country
Green: Obedience (obedient to his/her religion)
Red: Bravery (brave to face the truth, ready to fight for his/her religion, country or loved ones)

In Gayong Harimau students are not just taught the Martial Art, philosophy is also part of the learning. A good Martial Artist without religion or philosophy is a ‘killer on the loose’.

Gayong Harimau: The Martial Art

When a new student first steps into the ‘gelanggang’ (class), they are taught the rules and traditions of the gelanggang – to help create self-discipline. The training starts with warm-up exercises and power training to develop strength and power before they are ready for the fighting technique, speed and accuracy training. The fighting techniques & basic movements are taught and largely practised in Gerak Asas (Kata in Japanese), blended with the art of Buang Badan (gymnastics and falling).

Once this is complete the student is ready to learn the one step sparring technique (one attack, a block and one counterattack). This teaches you to understand and how apply all the blocking and striking techniques as well as helping to develop control on counterattack techniques. When a student’s reflexes are fast enough, the one step sparring techniques are now taken over by more advanced techniques called the Buah.

A Buah is a method in handling an attacker and finishing him off. It is a combination of defensive and counterattack techniques. Usually starting with a block or side-step before striking to vital areas of the attacker and finally followed up with either a lock, throw or sweep. On the other hand, the attacker will learn to apply the art of falling and be taught how to shake off the particular lock technique applied by his opponent. On the other hand, instead of doing Buah, the ladies are taught self-defence techniques, (these are techniques to handle attacks like front choke, hair grabs, as well as learning how to use their handbags, umbrellas, high heels and lipstick to defend themselves). They are also taught where and how to hit a man effectively.

After the Buah and self-defence techniques, students go through to the next training stage called the Buah Pukulan (unarmed street fighting techniques). This training is mainly survival in street fighting. Students are taught what to do, where to run and how to handle more than one attacker. Later they are also taught how to change a useful instrument like a pen into a self-defence tool. When the students are able to react and counterattack comfortably, the next training is ‘free fighting’. After this stage the student will continue to train in unarmed combat techniques intensively for at least two years before he/she is ready for weapons training.

Pukulan Madura

Glenn travelled to train Pukulan in Breda, under Pa Flohr, and his student Rudi Luiken. Pukulan is a close range striking art, with Pa Flohr being one of the most notable, respected and reputable instructors in Europe. Glenn was authorised to teach Pukulan after several years of training with Pa, and incorporate it into his own style.

‘Pukulan’ means ‘to strike’ and ‘Madura’ is an Indonesian Island off the North-Eastern coast of Java. Pukulan is a striking art and is regarded as a rougher less aristocratic, more down to earth style with less “cultural” refinements. It is more of a “street-fighting art”, compared to its more illustrious and in favour sister art of Silat and is said to be the toughest of the Indonesian Arts.

Its training uses hard hand drills, muscle and nerve point strikes and devastating leg kicks. The style therefore requires remarkable conditioning. The training of Pukulan is not for everyone, which is why there is a saying “You don’t choose Pukulan, Pukulan chooses you.” Pukulan is not a sport, it is a way of life. It is not for competition so there are no rules for fighting. It is an art for survival.

Pukulan is a term used by many to imply their art has these qualities. They may well do, but that doesn’t make it Pukulan. In Silat there are styles that are regarded as more striking, some that are more locking orientated, some mixed locking or striking, and some that are more focused on the artistic side or the spiritual aspects of the art. They are Pukulan Silat or Silat Kunchian, Silat Tari but are styles of Silat with an emphasis on an aspect of fighting. They should not be confused with Pukulan.

The manner of Pukulan is regarded as old-fashioned. Old world values, in Malay called Adat. It is a code of conduct, of humility and respect. Its rhythm is like a drum roll, relentless, driving, unstopping and unstoppable. It is an art that is not usually taught publicly. Old style training is done in private, in the home or garden. It was trained for self-defence or for the family, not for public displays or to impress others- training was done in the attics of Holland and the back yards of Indonesia- away from the public. Training groups were small- unlike Silat- and the people chosen were select, close, private people, seeking no glory or fame in Martial Arts. Often the knowledge of Pukulan was only passed on to family and friends, never to be shown to the outside world.

The leading light of the art during the last century was Pak Flohr. He was a remarkable man who looked for the best in everyone and found it. He was the elder statesman of The Dutch Silat Association and one of the most respected men in Europe. Pak Flohr was born in Indonesia in 1924 and started his Silat training at the age of 9 under Guru Unjun of the Sumatran style of Minangkabau. This style contains many kicking techniques. At the age of 17 he had the opportunity to meet Guru Mohammed Hoesin, from whom he learnt Pukulan.

As Pak Flohr explained ‘to do Pukulan Madura no fighting position is needed, immediate reaction – from the natural position where you counter attack. After passing an exam he became a teacher of Pukulan Madura under the close supervision of Guru Hoesin. At the end of 1959 Pak Flohr moved to The Netherlands where he continued to teach and also continued to learn. The concept of best does not exist, things are temporary and not eternal. You cannot be the best your whole life. Now you loose, tomorrow you will win, the day after you will loose again. At ‘Koninginnedag’ (Queens Day) in 1995, Pak Flohr was rewarded for his merits concerning Pencak Silat. He had taught for 30 years without ever accepting any money for his teaching. Pak Flohr passed away on the 19th February 1998.

Guru Glenn trained in Pukulan with Pak W. Flohr. Glenn was first introduced to Pak Flohr by David Jennings, The Coach of the Australian Silat team. Because of his vast skills and ability, martial artists from across the board sought him out, and wanted to train with one of the greatest masters of the age. I would travel to Breda and stay with his family and train with him in his attic and in his small school. Over the years of training with Pa Flohr and staying with Rudi and talking with them I learned and experienced many things. Because of them I developed a great understanding of the power of the man, and his ability to influence people. Never did he force his opinions on anyone. He commanded great love from all who knew him because of his ability to see the good in all men. He epitomised generosity, kindness, humour, humility and integrity. I was privileged to train with him.

What I learned from him it to be honest and straight. I never heard anything saying he was ever anything to the contrary. I believe his honesty and integrity shone through and was the guiding principle of his life. His dedication to his art and students was what had me returning to train under him time and time again. The BEST (without doubt) Silat man I have ever met, and one of the best men I believe I have ever had the privilege to know, was at the same time so humble. The essence of a true Guru Silat is to bring out the best in others. Pa Flohr is one of very few men I know who could do that by living it himself.

After training with him for some time he authorised me to include the name Pukulan into the art that I teach, to show that I had developed an understanding and skills and competency in the arts he taught, and from this point developed the art I now teach as Pukulan Langkah Mati.

I have achieved many things in Silat, but one of the greatest honours and privileges of my life is to have Pa Flohr recognise my training, and having judged me or evaluated me, to have accepted me in to his closed inner circle of students, and to top all that for him to authorise me to use the term Pukulan in my style as recognition of my work and understanding of Pukulan. 

Pukulan Langkah Mati

Seni Silat Pukulan Langkah Mati is the culmination of Paduka Glenn’s training. It is the blending of principles and techniques from the 3 main styles he has learned, into one cohesive system. Lincah covers more distance fighting, GH is closer in and Pukulan the closer range. PLM also covers the weapons for which Silat is known, combining Keris, Kerambit, Golok/ Parang, and Tongkat.

Pukulan Langkah Mati (PLM) draws its knowledge from 3 main fighting arts. Silat Lincah, Gayong Harimau, and Pukulan Madura, all known for their effectiveness in fighting or battle.

Silat is said to have 4 aspects:
– Self defence
– Sport
– Spiritual
– Art

Our combination of arts are better known for their fighting prowess, and so emphasise the self defence aspects of the art. We teach it initially as a “kickboxing” type art, with pad work drills and combinations, but focusing on the street self defence aspects of the arts. As you develop your skills and understanding we develop and delve further into the more traditional and sometimes esoteric aspects of Silat.

I was taught silat should be applicable from the first lesson, so we aim to teach skills that build each lesson, so a student of PLM will develop fighting skills from day 1. We also work on developing the softer side of the art, with personality traits and development, while also helping you understand from a structural perspective what will harm your body and how to train safely. As you develop into an instructor we teach you how to bring students through the art, and develop them. Our Mission is to improve our community, and support people through teaching Silat. We have worked with Charities to help them build community spirit and cohesion.
With a limited number of set techniques, you will develop a knowledge of these techniques which then develops, as your understanding increases, into an infinite variety of possibilities. Its like learning a language!

Several of my teachers were still teaching and training into their 80’s. I have trained with people who’s style created more injuries than an opponent would, and I left these to train with people who looked after themselves and their students better.
We aim to help you get fitter and stronger both mentally and physically, so you can support and nurture your family and community, and create the lifestyle you truly envision for yourself.

PLM is a true Warrior fighting art. But warriors also need to know balance and create harmony in their environment.
We have developed our system covering
a long range art,
mid to close range,
and then very close range
a floor based system, coming from Pukulan, Harimau, and Gayong,
We teach duelling arts as well as defence against multiple attackers
Seni is what holds the techniques together, and the Bunga (flower) of the art is taught at a later stage.
As Paduka Glenn has been an Osteopath for over 30 years, our Warmup routine comes from Olympic athletes and coaches, and is tried and tested.
the stretching we use is also exceptionally good for all people, and with his skills, we are able to adapt to any injuries you may experience.
Silat is also known for its use of weapons, and we teach specifically the Keris, Kerambit, knife (Pisau of Badek) , and machete (parang or Golok).

Lightning Scientific Arnis

Learning this from Master Shaun Porter, Glenn was awarded a full instructor grade under the founder Mang Ben- Benjamin Luna Lema in 1985. The weapons aspects of Lightning embody the power of a Lightning strike. It is incorporated into our system for completeness.

Arnis is an indigenous Filipino Martial Art (FMA) that traces its roots to pre-Hispanic Philippines. It is also known as Kali or Escrma. It is a no-nonsense practical and efficient martial art/combat system and lethal self-defence discipline designed to neutralize the natural advantages of an adversary, through the effective use of speed, skill and power that develops strength and endurance.
The ultimate objective of Arnis is to transform the exponent (Arnisador) into a complete fighter, familiar with the use of weapons (Arnis), and of the more difficult skills of open-hand fighting also known as unarmed combat. Unarmed combat features Philippine-style boxing (panununtukan), kicking (sikaran) and wrestling and grappling (dumog).
Arnis is unique since it begins training immediately with the use of  weapons. Among the variety of weapons employed in Arnis, two are most prominent: the sword (espada) and the dagger (daga) –represented during training purposes by wooden sticks.
One of the more famous styles of Philippine Arnis was created by Grandmaster Benjamin Luna Lema or more fondly called as ‘Mang Ben”. The fighting style of Mang Ben is known as Lightning Scientific Arnis International or LSAI which he established in 1937 at the age of 19 together withw 20 other arnisadores in Roxas City, Capiz.It was the habit of these young men to go from place to place, seeking to learn from the best arnisa-dores they could find, and in some cases, challenging them to a test of skills. Lema was born in Mambusao, Capiz on the island of Panay in the Philippines on March 19th, 1919 and died on January 5th, 2003. He learned his Arnis skills from his father as well as from other masters.
Since its inception in 1937, the association and style had grown in terms of membership. Currently, there are member clubs and practitioners all over the Philippines and in different parts of the world.
LSAI utilizes different types of distances and various angles of attack. It also stresses speed, power and the full use of body movements in executing various weapons methodologies complemented with hand and foot techniques, limb and head locks and grappling.
Lightning Scientific Arnis is a system that revolves around the concept of Tercia Serrada Cadenilla y Espada y Daga which is a method of intercepting and redirecting attacks and blind-siding the opponent by going to the off-side and blanketing him with a barrage of continuous strikes while the checking hand constantly pushes, presses and controls his opponent putting him in a constant state of imbalance.
In advanced practice the empty had will be replace by a dagger to escalate the technology eventually as the practitioner progresses through the discipline.
Lightning Scientific Arnis has a wide repertoire of techniques ranging from Solo Baston, Doble Baston, Baston Daga, Espada Y Daga, up to unarmed combat. It covers a wide range of skills for all fighting distances. All-in-all, it is a complete fighting system.
Manner of Striking– A set of 13 strikes that teach the various targets and the corresponding appropriate attacks for each.
12 METHODS– 12 prescribed attack patterns that combine the 13 basic strikes taught in the “Manner of Striking.”
Bigay-Tama– Semi-Free and Freestyle attack and defense patterns that combine the aspects of Defense and Counter-Attack through simulated combat that puts the practitioner through sets of randomized attacks that he will have to identify, defend against and counter at full impact and high speed.
Club Assault A set of 42 Defenses that include Stick versus Stick Disarming, Emtpy-hand disarming versus stick, locks, holds and reverses.
Serrada– A fighting concept of intercepting the opponents attack and redirecting it off of the centerline while moving to the back of the opponent by jamming the attack with one’s own combination and blanketing the opponent with strikes.
Serrada may be done in various weapon combinations:
Baston Serrada – One Stick
Doble Baston Serrada – Two Sticks
Baston Daga Serrada – Stick and Knife
Espada Y Daga Serrada – Sword and Dagger
Empty-Hand Serrada – Unarmed

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