Saturday, September 26, 2009


PADA 24 HB O1 2009 Mohd jazwan kahar dengan kerjasama majlis gurulatih negeri selangor dan sokongan penuh pihak pertubuhan silat seni gayong malaysia telah mengadakan satu bengkel khas seni kerambit dan pukulan maut wanita di gelanggang pusat latihan tertinggi selangor di taman nirwana. Seramai 80 persilat dari seluruh selangor dan termasuk beberapa negeri dari perak,pahang dan johor turut menhantar persilat untuk sertai bengkel tersebut. PERserta turut pelajari teknik2 seni kerambit ini yang di turunkan oleh CIKGU SITI KALSOM BIN MEOR RAHMAN pada saya di taiping dan di selangor ketika itu dengan ini saya salurkan pada pada mereka yang ingin kan ilmu gayong ini yang menjadi pelajaran tambahan dalam silat gayong.
Turut hadir dalam majlis penyampaian sijil Dato hj zainal sakom,cikgu hj anuar hamid,cikgu mustapa kamal,cikgu kaharredza dan berapa2 lagi guru2 lama yg hadir beri sokangan.
BENGKEL kerambit ini akan berlangsung 3 sessi.

24 01 2009 kerambit/pukulan maut wanita (cikgu jazwan kahar)
08 08 2009kerambit/bunga teratai (cikgu jazwan kahar dan cikgu azman upsi)
2010 coming soon kerambit /............... (cikgu jazwan kahar dan cikgu sazali meor rahman)

Showcasing Silat to the world

Unlike other martial arts documentaries, Fight Masters: Silat is a cut above the rest. It tells the story of Joel Champ, an American Navy serviceman who has become an exponent of Silat during his free time.

Khairun Lamb and Justin Ong (Photo courtesy of the National Geographic Channel)

Khairun Lamb and Justin Ong (Photo courtesy of the National Geographic Channel)

The documentary chronicles Joel’s journey to Malaysia, as he fights his way to gain recognition in the art that he has devoted 14 years of his life to. Using computer-generated imagery (CGI) to study Silat's arsenal of techniques, this documentary also explores what makes the martial art so deadly.

MSN Entertainment caught up with the guys behind the documentary, director Justin Ong and producer/cameraman Khairun Lamb.

Can you briefly tell us what Fight Masters – Silat is about?

Justin: It’s actually a story about Silat but in this story, we feature a character, an American Silat student who is a Navy officer. He has been learning Silat for 15 years under his guru, Cikgu Sam. He has always had this desire to take the next step but his guru said no, until now. His guru finally allows Joel to travel to Malaysia, the birth place of the art (to get) tested. Joel’s always trained in the US but had never received recognition from the real guys, the true warriors. That’s what he wanted to do: come to Malaysia, go through the tests and be tested like never before. The documentary also talks a lot about the history and cultural aspects of Silat.

Khairun: Also, to take Joel out of his comfort zone, bring him over here, go through all the training and for him to experience it. Also, for foreigners to tell the story backed by the locals, so there is a good balance there.

Justin: We believe that with a character like Joel, he brings a different perspective of things, you know. We have the local gurus explaining why they do certain things, for them it's all very normal, but for foreigners, it’s like "Whoa, this is like nothing I have done before!"

Khairun: This documentary, to us, is going to be an eye-opener as it’s going to educate people on what Silat is actually about. It’s not just a flowery dance. If it gets to (that) point, it (can) become really, really deadly.

Joel Champ (Photo courtesy of National Geographic Channel)

How did you guys find Joel? Did you hold auditions for a non-Malaysian interested in the martial art?

Justin: No. We started out with the idea of doing a documentary on Silat and we decided on what kind of story we wanted to tell, and we figured it would be interesting to get a foreign perspective on it. So we started doing research and we found Cikgu Sam first, because he teaches Silat in the US. From there, we spoke to him about this documentary and what we expected to achieve. And it was great because he said, “I have the perfect candidate for you” and he introduced us to Joel. It’s interesting how we found Joel because not only is he from the Navy, he works in the law enforcement side of the Navy. So he actively uses Silat in his daily life.

Khairun: He has actually used it a few times.

Justin: Yeah, so it was kinda interesting to see how our culture travelled all the way to the US, to this guy in the Navy who was using Silat. So from there, we spoke to him and found out that he is truly into Silat. He’s not just some random white guy we found; he really lives and breathes Silat.

Did you guys have a tough time convincing Joel to do some of the stunts on the show?

Justin: Yeah, some of it. (laughs) I wouldn’t say it’s a tough time.

Khairun: He needed a little bit of convincing.

Justin: He wanted to be tested, he wanted (his skills) to be put to the test but at times he found it really challenging. That is when his guru, Cikgu Sam, came in and gave him a little bit of confidence. Even during the final fight, you could see that his face turned white, and Cikgu Sam was there (cheering) “Come on, you can do this!” I think it took him a lot of courage to just step onto the mat. But once he was on the mat, (his) instincts took over.

Khairun: For him the problem was holding back because he was used to the deadly art. But in Silat Olahraga (Silat sparring), you can only do certain stuff. Holding back was his only problem. He just wanted to let go but he couldn’t because of the rules and regulations.

Did Joel reach a breaking point during filming? Did he ever feel like throwing in the towel?

Justin: He thought about it. He considered it, actually. I think (that was) a part of his journey, a part of his test, you know. He knew he was going to get tested, but he didn’t know he was going to be tested like this. (Laughs)

Fight Masters - Silat (Photo courtesy of National Geographic Channel)

What inspired this documentary?

Khairun: I am a cameraman and I have been filming for 15 years. I always travelled overseas to do stories about other countries, and it came to a point where I want to do a story about my own country at an international level. I have always had a fascination with Silat but I’m always put off by the dances and all that. But then again, being Malaysian, I think it’s a strong culture that has never been (explored) to this extent, so I saw the opportunity and we managed to do it.

There have been countless documentaries on Silat. What makes yours different?

Justin: I think one of the new things we have explored through this documentary, which has never been done before, is the scientific side of Silat. Gurus have claimed “If I do this, this will happen to your body. You’ll die or you’ll faint.” But no one has ever proven it until today. So, we used motion capture technology. We suited the guys up, gathered the data and we actually consulted medical experts. We have this doctor from Universiti Malaya who has done research on this and has verified that if this happens to the body, this will break, this organ will be damaged.

How did the idea to use CGI to paint a clearer picture of what Silat can actually do to one’s body come about?

Justin: Well, these guys claim everything. "Yeah, I can do this and that." But we were like, "Are you sure?"

Khairun: If you want to (talk about Silat) like that, you can't relate it to your viewers? The only way you can do it is to break it down and go through the various steps.

Justin: One of the aims of this documentary is to give a really comprehensive exploration of Silat. That’s why we wanted to take it a step further and break some boundaries there. That’s where the idea came about. Also, the CGI was done by Malaysians. We have a team of graphic artists working on the animation side of the documentary. When people look at it, they (might) think it was made in the US, but it’s all Malaysian made.

What was the most exciting part of filming this documentary?

Khairun: The fights!

Justin: The fights, I guess. We all wanted to see the fights and when they showed us the weapons, it’s kind of like an interesting journey for us too. In a sense, we knew he was going to be tested, but not this way. They didn’t tell us the full story.

And what was the most challenging part?

Khairun: I think there are different challenges at different stages of the filming.

Justin: Before filming started, even just convincing the Silat gurus to give us access. The Silat community is known to be very, very secretive. They don’t publish books about it. Look at kung-fu and taekwondo, they have so much information out there, but for Silat there’s none.

Khairun: Even the research part, just to find the research material, it’s so difficult because there is nothing on it.

Justin: And once we got the access from Cikgu Sam, we still have to do a lot of convincing with the local gurus. But yeah, that kinda made it exciting also.

Fight Masters - Silat (Photo courtesy of National Geographic Channel)

What do you think makes Silat so appealing?

Khairun: It’s deadly. (laughs) To me, its deadliness.

Justin: For me, the most appealing thing about Silat is the mystery behind it. Everyone talks about Silat and what it does, but nobody really knows. It’s never really been documented like this before.

Do you think this documentary will be able to promote Silat at an international level?

Justin: Definitely! The good thing about having Joel is that he is literally 'The Chosen One' by Cikgu Sam to continue this tradition and the credit goes to the Silat community for recognizing the need to open the doors for the art to survive. For the art to survive, to blossom, you need to share.

Khairun: When we talked to Cikgu Sam, he told us he wanted this art to spread to the world. So this (documentary) is an opportunity for him to relate that and spread Silat so that the masses can see what it's all about.

How do you think Silat would stand against the more popular martial arts like Kung-Fu and taekwondo?

Justin: This is a tricky one. I think every martial artist would claim that their art is the best. But when you talk to these Silat gurus, they won’t claim that we are the best. They would say, "we are different." It really depends on how the Silat gurus take it. It's really up to them to see if they would want to share it. I hope this documentary is the first step, the encouraging step, for them to open their doors a little bit.

Khairun: I’m sure after watching this documentary, people will start asking about Silat. It will open the doors and people will question and maybe come here wanting to learn. So it will be interesting to see if Silat (wll become) as popular as other martial arts.

Tell us one thing no one knows about Silat.

Justin: There’s always a reason for something in Silat. (Like) the ‘bunga’, there’s a reason for the ‘bunga’ as well. It was developed during the Colonial times. At that time Silat was banned because they didn't want anyone to practice the martial art. It was used as a (symbol of) nationalistic pride, so they banned it. So (the pesilats) had to invent these dances to camouflage the moves. They (the gurus) were explaining this to me that it is the soft side that camouflages the hard side.

Last question: Why should people watch Fight Masters: Silat?

Khairun: For me, I think it shows what Silat is all about. It’s not a song-and-dance type martial art. It (can be) a deadly form of martial arts.

Justin: It’s Malaysian. It’s an art form (tied to) history, culture and tradition. It’s something that we were naturally curious about but could not find any information on, so we have decided to do something about it. I think that is why people should watch it. See Silat like it has never been seen before.

Fight Masters: Silat premieres on the National Geographic Channel (Astro Channel 553) this Merdeka Day, August 31st, 2009 at 9pm.

'It was really hot and scary'

THEY were neither silat practitioners nor were they prepared for the task of dipping their hands into boiling oil, but there they were, inches away from the �mandi minyak� wok, writes KOH LAY CHIN

FOR Justin Ong and Khairun Lamb, their dedication to their documentary, Fight Masters: Silat, meant they were prepared to go the distance, work wise.

But this was quite something else.

The two were commissioned by the National Geographic Channel to produce a documentary about the traditional martial art, and had just filmed the scenes where a group of silat practitioners had finished going through the ritual.

The silat master then asked Ong, the director, and Khairun, the director of photography, whether they had filmed what they needed.

"When we said yes, he then announced that it was our turn to mandi minyak! He looked pretty cheeky about it and everyone was smiling and laughing in anticipation," Khairun said.

Both, as well as their film crew, stepped up to perform ritual, and it was a hot affair.

Ong said: "I thought perhaps the oil had cooled down, but as I got closer I felt the heat. And then I thought, 'Maybe I shouldn't do this'."

All, however, completed the ritual, and said it was as scary as it looked, and felt "just like boiling oil".

It was to cement the camaraderie and goodwill for the filming team and the silat exponents, as the latter believe that the ritual cannot be completed successfully if there are bad intentions around.

The documentary follows American navy serviceman and silat's highest-ranked westerner, Joel Champ, who has practised silat seni gayong for 15 years in the US, on his quest to obtain his final third stripe on the martial art's home ground.

Champ's journey to Malaysia was a subject of curiosity and contention as there were silat practitioners who were doubtful about allowing a foreigner access to the martial art's secrets.

Silat after all, was also a martial art that had not been really documented as it had only been passed down from master to student, Ong said, making this a unique and educational experience.

Held earlier during the intense two-weeks of filming, the mandi minyak ritual also allowed Ong and Khairun to see how their lead character would face the tough challenges he had to go through.

"If it was so scary for us, imagine what it was like for him," Ong said.

The American also had to contend with the heat, as well as the misgivings of other Malaysian silat exponents around him, added Ong.

Champ didn't flinch during the ini tial tests, and was determined to go through the tests to prove his mettle.

In the course of telling his story, the film team would also learn more about the martial art themselves, and were fascinated by the moves, weapons and traditions of silat.

"It had never been done justice, and even when we told people we wanted to tell the silat story, people would roll their eyes. 'The dancing-dancing one?', they would ask us."

The deadly moves in the documentary would convince disbelievers otherwise, added Ong.

Both wanted to tell the silat story respectfully, and are proud that the documentary, which will premiere on Merdeka Day tomorrow, is 100 per cent Malaysian-made.

There was a National Geographic adviser who turned up during filming to check on the quality, but barring a few suggestions, he was keen to let the two tell their own story.

Khairun and Ong were also thrilled that they found local talents, Young Jump Animation, to create the high-tech motion capture scenes in their documentary, affectionally calling them the 'Cheras CGI guys'.

"Here we had a bunch of young, fresh graduates, who were so passionate, and they were doing work for these Japanese gaming companies.

"Their work was of international standard. We were blown away."

Ong had also made a documentary about the Thaipusam festival at Batu Caves.

The filming of the silat documentary was also a touching experience for the two as they saw Malaysians opening up their hearts to Champ first hand.

Ong said: "They were going, 'Who is this guy?', at first but then they ended up treating him like one of their own. I was touched by this welcoming and acceptance into their family, and the sharing of their knowledge."

Khairun said he was moved when shooting the final and vital match scene where Champ had to fence with top Malaysian martial arts fighters.

The local audience were shouting at the fighters to attack or get Champ at first, he said, but as the rounds went on and the American took a heavy beating, the Malaysian sense of empathy and warmheartedness kicked in.

"They felt for him and rooted for him, and as I was filming I could hear the shouts of 'Come on, Joel!' or 'Go Joel!' all around me."

For Khairun, who has worked as a videographer on international documentaries, the hard work and pressure to finish the production in time for Merdeka Day was worth it.

That their work is also being shown on Aug 31 is a source of pride, and inspirational fuel to make more documentaries about their country.

"This is it. I need to focus on our own people.

"I want to make my own country look good."

Copyright © The New Straits Times Press (Malaysia) Berhad
NATIONAL GEOGRAPHIC CHANNEL and the Yellow Border Design are trademarks of National Geographic Society; used with permission.


Name : Kahar Bin Haji Redza
DOB : 20th October 1949
POB : Seremban, Negeri Sembilan
Education :
• Primary school
Sekolah Rendah Ampangan, Seremban
• Secondary school
Sekolah Menengah Kebangsaan Maxwell, KL

History of Silat involvement

Started learning Silat Gayong with Cikgu Said Ghafar by joining the Kelab Melayu Ampangan in 1965. Migrate to Kuala Lumpur with his family, as his father working as a Warden in Penjara Pudu, 2 years after (1967). Then in the quarters, he continued learning Silat Gayong when he met Cikgu Norsai. During his period of living in the quarters, Guru Kahar joined the Kumpulan Belia Kuala Lumpur where he started playing music with the group’s band. As the artistic passion grew within him, Guru Kahar learned much of the arts with the group. He learns traditional dances, theater plays, & others self defense such as Aikido & Boxing.

His life changed, when the 13th May tragedy occurred. At the time of chaos, all the pesilat around Kuala Lumpur, gathered at Dato’ Harun’s house (Menteri Besar of Selangor), for the fight back. After the passing of 13th May, Dato’ Meor Abdul Rahman came with his group, Majid Mat Isa, Siti Kalsom, Faridah Abu Johan & Safiah, to Kuala Lumpur for visit. Guru Kahar was so excited wanted to learn Silat Gayong from Dato’ Meor himself. 28th May 1969 he decided to get close with the Mahaguru then humbly offer himself to be the driver of Dato’ Meor. Not long, Guru Kahar asks permission to his parents & persuades them. His mother, Maheran Bt. Abdul Ghani, & father, Haji Redza B. Haji Omar, gave the blessings to Guru Kahar for following Dato’ Meor to learn Silat Gayong. 31st May 1969, he starts his never ending journey of Silat Gayong.

With the blessings of his parents, Guru Kahar followed Dato’ Meor to Kota Sarang Semut, Alor Setar, Kedah. Since then, he endured every teachings of Dato’ Meor. Not long, the Mahaguru formed a group & journeyed from state to state to spread the art of Silat Gayong. Guru Kahar was in the group accompanying Dato’ Meor & the same peoples when they met in Kuala Lumpur. For 2 years, the group went to (in order) Perlis, Perak, Selangor, Negeri Sembilan, Melaka, Singapura, Pahang, Terengganu, Kelantan, & returned to Taiping, Perak. His 1st grading was in Gurun, Kedah, where he was offered Bengkong Pelangi Hijau (green belt). At Taiping, Guru Kahar studied & live with Dato’ Meor & the group mentioned.

Around 1976, the Mahaguru himself pronounced Guru Kahar to have the rights of Mandi Tapak & Mandi Seni. In 1985, he was offered Bengkong Pelangi Kuning Cula 5 from Dato’ Meor & in 1987 Guru Kahar was pronounced Sandang Waris Beradat at the hall of Menteri Besar Selangor, Tan Sri Muhammad Taib. He was then awarded Bengkong Panglima Hitam Cula 5 at Pengkalan Balak, Melaka by Chairman of Lembaga Adat Kebangsaan, Dato’ Samad Idris in 1988. After the passing of the Mahaguru (Dato’ Meor), around 1989, he was then awarded Bengkong Panglima Hitam Cula 6 by Pemegang Amanah PSSGM, Guru Razali Salleh. In 2003, Guru Kahar was pronounced by Raja Kecil Di Hilir of Perak, Tengku Ashman Fitri as Sandang Panglima Hitam.

Guru Kahar is now one of the seven Wakil Amanah PSSGM (Malaysia & International) who holds the Bengkong Panglima Hitam Cula 6, after the passings of the 2 Pemegang Amanah, Siti Kalsom Meor Rahman & Razali Salleh.
The list of Wakil Amanah:
1. Guru Kahar Redza (Selangor)
2. Guru Sazali DatoMeor Rahman (Perak)
3. Guru Tuan Haji Anuar Abd Hamid (Selangor)
4. Guru Nordin Ahmad (Perlis)
5. Guru Datuk Adi Vijaya (Kedah)
6. Guru Mustafa Kamal (Selangor)
7. Guru Tok Ismail Jantan (Melaka)

There were many training places (gelanggang) that Guru Kahar opened:
1. Gelanggang Sek. Men. Agama Persekutuan Labu, Negeri Sembilan
2. Gelanggang Sek. Men. Agama Persekutuan Kajang, Selangor
3. Gelanggang Sek. Men. Teknik Cheras
4. Gelanggang Quarters Penjara Pudu
5. Gelanggang Sek. Ren. Jalan Pasar
6. Gelanggang International Islamic University (UIAM), PJ, Selangor
7. Gelanggang Awam Kompleks Sukan Kg. Pandan

Note that Gelanggang Wajadiri Taman Nirwana were for formerly from Kompleks Sukan Kg. Pandan that moved to Taman Nirwana, Ampang Selangor.

Dato' Meor Abdul Rahman dari kaca mata Cikgu Kahar
Redza, pemandu peribadinya

Selepas 13 Mei 1969, iaitu pada bulan Jun 1969, Dato’ Meor Abdul Rahman turun ke Kuala Lumpur untuk menurunkan ilmu kebatinan kepada gurulatih Selangor. Kahar Redza bersekolah sehingga darjah enam sahaja, jadi beliau meminta izin untuk mengikut Dato’ Meor Abdul Rahman mengembangkan Gayong. Kahar Redza berkata bahawa dia boleh memandu kereta Mahaguru. Kahar Redza telah menjadi pemandu kepada Dato' Meor Abdul Rahman selama lima tahun.

Menurut Kahar Redza, Dato' Meor Abdul Rahman ini luar biasa sedikit orangnya; beliau berwatak bengis kerana berketurunan Bugis(lekas marah dan gemar memukul orang), tetapi hatinya baik. Beliau memang nampak garang – jika tidak tahu rentaknya mesti orang akan takut kepadanya. Beliau selalu memaki hamun dengan kata-kata "paria" semasa mengajar silat dan bersikap amat tegas(jika tergerak hendak maki, beliau akan terus memaki).

Pada Julai 1969, Kahar Redza telah mengikut Dato’ Meor Abdul Rahman tinggal di Kota Sarang Semut, Kedah. Rumah Dato’ Meor Abdul Rahman terletak bersebelahan balai polis. Dalam masa tiga bulan Dato’ Meor Abdul Rahman telah mengenalkan silatnya ke seluruh negeri Kedah, iaitu secara mengadakan pertunjukan ilmu kebatinan yang dijalankan dengan bantuan anggota rombongannya. Kahar Redza kerap disuruh menjadi model untuk diuji ilmu kebatinan. Menurut Dato’ Meor Abdul Rahman, ilmu kebatinan tersebut hanya digunakan ketika kecemasan sahaja dan bukannya untuk diriak-riakkan. Seluruh pelosok negeri Kedah telah dijelajahi oleh Dato’ Meor Abdul Rahman.

Dato’ Meor Abdul Rahman tidak seperti guru-guru silat yang lain. Beliau sentiasa berkot dan memakai tali leher. Dengan kata lain, beliau sentiasa segak dan bergaya. Sukar untuk melihat beliau berpakaian silat ketika di gelanggang silat. Beliau bergerak dari satu gelanggang ke satu gelanggang sambil menunjukkan buah-buah silat.

Dari Kota Sarang Semut, beliau kemudian pergi ke Gurun untuk menemui Abdul Majid Md.Isa. Di Gurun, beliau telah bertanyakan tentang perkembangan Silat Seni Gayong di situ.

Satu sikap Dato’ Meor Abdul Rahman yang agak pelik ialah cara beliau menurunkan pelajaran. Beliau tidak mengira tempat untuk menurunkan pelajaran Gayong. Jika dalam perjalanan beliau mendapat ilham, beliau akan mengarahkan kereta diberhentikan dan beliau lalu menurunkan buah silat. Kemudian murid-muridnya akan menyusun pelajaran tersebut. Setiap kumpulan yang mengikuti rombongan Dato’ Meor Abdul Rahman akan mendapat buah silat yang berbeza. Setiap murid yang mendapat banyak buah silat akan diminta untuk menuliskannya.

Dato’ Meor Abdul Rahman memang seorang yang pembengis. Kahar Redza kerap dihukum ketuk ketampi sebanyak 33 kali. Bagaimanapun, selepas melakukan denda tersebut, Dato’ Meor Abdul Rahman akan mentertawakan beliau.

Di Taiping, cara penurunan pelajarannya juga sama. Dato’ Meor Abdul Rahman tidak pernah memakai uniform silat. Murid-murid Gayong diminta menunggu kedatangan Dato' Meor Abdul Rahman di gelanggang. Lepas makan malam, iaitu antara pukul 10.00 hingga 12.00 malam, Dato’ Meor Abdul Rahman akan memanggil semua murid-murid yang berada di dalam rumahnya turun ke gelanggang. Jika hari hujan, latihan akan diadakan di dalam rumah(Ahamad Ayazi, suami Siti Kalsom pernah bengkak-bengkak seluruh lengannya akibat kerap terhempas di lantai rumah). Melalui cara beginilah bermacam-macam buah diperoleh, baik buah tangan kosong ataupun buah kipas nandung dan seligi. Pendek kata, jika ilham datang, pelajaran akan terus diturunkan. Kahar Redza sentiasa menjadi sasaran untuk menyusun pelajaran-pelajaran yang telah diperturunkan.

Pada keesokan harinya, tanpa diduga ada lagi pelajaran yang akan diperturunkan. Jika ternampak kelibat Dato’ Meor Abdul Rahman sedang memegang pisau, tentu ada buah tertentu akan diperturunkan. Buah pisau yang diperoleh oleh Kahar Redza berbeza dengan buah pisau yang terdapat dalam silibus pisau negeri Selangor.

Dato’ Meor Abdul Rahman kerap berulang-alik dari Kedah ke Taiping untuk bertanyakan khabar anak-anak muridnya ataupun kerana memandikan(memperlimausintukkan) murid baru. Biasanya dua kereta digunakan dalam satu-satu perjalanan. Kereta-kereta tersebut dipenuhi dengan perempuan-perempuan belaka seperti Datin Paridah(isteri), Nor Aisyah, Sofiah, dan Siti Kalsom(anakanda) di samping Dato’ Meor Abdul Rahman, Ahmad Lazim, Ahmad Ismail dan Kahar Redza sendiri. Dua buah kereta yang digunakan ialah dari jenis Austin dan Toyota. Penumpang terpaksa duduk berhimpit-himpit seperti sardin disebabkan kenderaan yang dinaiki adalah jenis kenderaan bersaiz kecil.Dato’ Meor Abdul Rahman memandu sebuah kereta dan Kahar Redza memandu kereta yang sebuah lagi. Biasanya mereka memulakan perjalanan dari Kedah. Dari Kedah mereka akan terus ke Taiping, kemudian ke Kuala Lumpur/Selangor sebelum meneruskan perjalanan ke Singapura.

Di Singapura Dato’ Meor Abdul Rahman telah berjumpa dengan Hussain Kaslan, wakilnya di Singapura. Dato’ Meor Abdul Rahman meminta Hussain Kaslan menganjurkan suatu pertandingan silat di Singapura yang melibatkan semua jenis silat yang ada. Terdapat bermacam-macam silat yang ada. Akan tetapi semua guru silat di sana sangat-sangat menghormati Dato’ Meor Abdul Rahman. Mereka segan dengan kelebihan yang ada pada Dato’ Meor Abdul Rahman.

Satu lagi sikap Dato’Meor Abdul Rahman yang agak pelik ialah beliau gemar mencabar guru-guru silat yang suka berlagak seolah-olah seperti mempunyai ilmu persilatan yang tinggi. Dato’ Meor Abdul Rahman pernah mencabar seorang lelaki benggali yang berbadan besar. Dato’ Meor Abdul Rahman telah mengangkat lelaki benggali tersebut lalu dihumban sehingga melayang ke udara sebelum jatuh terhempas. Seorang master Taekwondo bertalipinggang Hitam Tujuh Dan pernah mencabar Dato’ Meor Abdul Rahman. Ketika itu di sebuah kelab malam diadakan demonstrasi seni mempertahankan diri(self-defence). Hanya dengan sekali pukul Dato’ Meor Abdul Rahman telah berjaya menumbangkan master Taekwondo tersebut. Pendek kata, banyak sekali cabaran yang dihadapi ketika beliau berada di Singapura.

Sebenarnya bukan mudah untuk Dato’ Meor Abdul Rahman mengembangkan Silat Seni Gayong ini. Kadang-kadang, ketika dikehendaki ke Singapura, beliau langsung kehabisan wang. Walaupun begitu, Dato’ Meor Abdul Rahman memiliki suatu kelebihan tersendiri. Beliau pernah menyuruh Kahar Redza mengambil sehelai daun lalu daun tersebut disuruh ramas sehingga menjadi wang kertas. Bagaimanapun, hal ini hanya boleh digunakan ketika keadaan terdesak sahaja. Biasanya not RM50 akan diperoleh. Dato’ Meor Abdul Rahman akan meminta agar kereta tersebut diisi dengan minyak sehingga penuh tangki. Pantang larang yang perlu dipatuhi – tidak boleh mengambil wang baki.

Dari segi peribadi Mahaguru, beliau gemar membaca suratkhabar jawi. Beliau juga selalu berzikir sehingga boleh dilihat seolah-olah berjalan di atas dinding rumah. Hal ini disaksikan sendiri oleh Kahar Redza di Taiping. Beliau juga memiliki sebentuk cincin bermatakan batu akik hijau. Cincin ini dipercayai boleh menjauhkan binatang buas.

Dari Singapura, mereka terus ke Kedah. Di Kedah, iaitu di Gurun(Batu 18) Dato’ Meor Abdul Rahman telah mengarahkan Kahar Redza agar memanggil seorang guru silat tempatan yang bernama Hussain. Hussain menggeletar ketakutan apabila diminta berjumpa Dato’Meor Abdul Rahman. Beliau telah memohon maaf sambil bertanya apakah kesalahannya sehingga dipanggil menghadap. Dato’ Meor Abdul Rahman telah memberi kata dua kepada Hussain supaya tidak mengaitkan Silat Seni Gayong ketika beliau mengajar silatnya. Dari Kedah mereka meneruskan perjalanan ke Padang Besar yang terletak di sempadan negara Thailand. Di Padang Besar, beliau telah bertarung dengan ahli-ahli tomoi Siam. Dato’ Meor Abdul Rahman telah mengalahkan kesemua jaguh-jaguh tomoi yang menentangnya. Ketika hendak pulang dari sempadan Siam, kereta yang mereka naiki telah bertembung dengan seekor harimau di tengah jalan. Dato’ Meor Abdul Rahman lalu berkata,"Hang berhenti Kahar, ambil rimau tu…" Kahar Redza amat terkejut dengan arahan tersebut. Semua anggota rombongan ketakutan, sehingga hampir terkencing. Mereka segera menaikkan semua cermin tingkap kereta. Dato’ Meor Abdul Rahman hanya memandang sahaja harimau tersebut. Anehnya harimau tersebut tiba-tiba menundukkan kepalanya. Dato’ Meor Abdul Rahman lalu mengarahkan Kahar Redza keluar dari kereta dan menyuruh beliau mengusap-usap kepala harimau tersebut. Dalam keadaan ketakutan, Kahar Redza telah membuat segala suruhan Dato’ Meor Abdul Rahman. Inilah satu lagi kelebihan Dato’ Meor Abdul Rahman, iaitu menundukkan binatang buas.

Pernah suatu ketika, Dato’ Meor Abdul Rahman telah rebah ketika sedang memperlimautapakkan murid baru di Kampung Jawa, Kelang.Dato’ Meor Abdul Rahman menjadi tidak sedarkan diri. Tiba-tiba beliau seperti diresapi suatu semangat telah berkata, " Suatu hari nanti, bandar ini akan menjadi Bandar Anggerik Shah Alam dan menjadi terkenal. "

Ketika dalam perjalanan balik, mereka telah singgah di Wisma Belia. Sewaktu hendak meneruskan perjalanan pulang, tiba-tiba keadaan menjadi gempar apabila terdapat seekor ular sawa di dalam salah sebuah kereta tersebut. Apa lagi, bertempiaranlah anggota rombongan keluar dari kereta yang baru dinaiki. Dato’ Meor Abdul Rahman telah menangkap ular sawa tersebut lalu dimasukkan ke dalam sebuah guni. Ular tersebut kemudian dibawa ke dalam Dewan Belia Kampung Pandan iaitu di mana terletaknya pejabat PSSGM. Dato’ Meor Abdul Rahman kemudian membawa ular sawa tersebut pulang ke Taiping. Di Taiping ular tersebut dipelihara di dalam sangkar. Kahar Redza telah diarahkan menjaga makan minum ular berkenaan. Ular tersebut diberi makan dua ekor ayam sehari serta dimandikan.

Dato’ Meor Abdul Rahman tidak menurunkan pelajaran yang sama kepada semua orang, kerana kebiasaannya Dato’ Meor Abdul Rahman akan menurunkan pelajaran ketika ilhamnya tiba, tanpa mengira waktu. Jika tengah malam ilhamnya datang, maka pada tengah malamlah pelajaran silat akan diturunkan. Sesiapa yang ada pada masa itulah yang kena mengajar semula kepada murid-murid lain. Dato’ Meor Abdul Rahman tidak pernah menurunkan kesemua pelajaran pada seseorang sahaja. Mata pelajaran yang diperturunkan adalah sama tetapi berlainan bentuk. Misalnya, Abd.Majid Md.Isa mendapat pelajaran Pukulan tetapi Kahar Redza mendapat pelajaran Kombat. Kahar Redza banyak mempelajari Seni Selayang Pandang dan Seni Seligi. Apabila balik ke Kuala Lumpur, Kahar Redza akan menurunkan pelajaran tersebut kepada guru-guru lain. Dato’ Meor Abdul Rahman tidak pernah memakai uniform silat ketika mengajar. Beliau hanya berkain pelikat sahaja ketika menurunkan pelajaran silat di Taiping.

Masa penurunan pelajaran adalah tidak berketentuan. Jika tengah malam Dato’Meor Abdul Rahman berhajat ingin menurunkan pelajaran, maka semua murid yang berada di dalam rumahnya akan diminta bangun mempersiapkan diri.

Satu kepantangan Dato’ Meor Abdul Rahman ialah beliau tidak sukakan muridnya melawan cakap beliau. Ahmad Lazim pernah luka dan berdarah dahinya apabila terkena kaca gelas daripada gelas yang dibaling oleh Dato' Meor Abdul Rahman.

Dato’ Meor Abdul Rahman juga tidak suka jika murid-muridnya menipu beliau. Misalnya, pernah suatu ketika Kahar Redza bersama-sama gurulatih-gurulatih lain terasa ingin menonton wayang gambar. Mereka berbohong dengan mengatakan cerita tersebut adalah cerita kung fu walhal apa yang mereka ingin tonton ialah cerita percintaan. Dato’ Meor Abdul Rahman menyuruh Kahar Redza memberi setiap orang RM10 sebagai wang saku. Antara yang pergi ke pawagam ialah Ahmad Lazim dan Ahmad Ismail. Mereka ingatkan Dato’Meor Abdul Rahman senang diperdayakan. Rupa-rupanya Dato’ Meor Abdul Rahman telah menghidu niat mereka terlebih dahulu. Secara senyap, Dato’ Meor Abdul Rahman telah mengekori mereka dari jauh. Apabila wayang tamat dan mereka pun pulanglah semula ke rumah Dato’ Meor Abdul Rahman. Sebaik sahaja sampai di rumah, didapati Dato’ Meor Abdul Rahman telah menanti di muka pintu. Dato’ Meor Abdul Rahman telah menyerang kesemua murid-muridnya itu dengan buah penangannya. Kepala Ahmad Lazim telah terkena serpihan kaca sehingga berdarah. Walaupun begitu, mereka tetap bersyukur dengan kejadian tersebut kerana pada masa inilah banyak buah telah diperturunkan. Setiap serangan berupa buah. Banyak buah seligi dan selayang pandang diperturunkan ketika ini. Dato’ Meor Abdul Rahman telah memaki hamun mereka dengan kata-kata yang kesat seperti "paria" dan sebagainya. Walaupun diperlakukan sedemikian rupa, namun mereka hanya mendiamkan diri. Inilah satu contoh murid mentaati guru pada ketika itu.

Dalam melakukan latihan fizikal, Dato’ Meor Abdul Rahman gemar mengangkat besi angkat berat. Terdapat 3-4 besi angkat berat di rumahnya. Dato’ Meor Abdul Rahman akan melakukan angkat berat sebanyak 100 kali di samping tekan tubi sebanyak 100 kali juga pada setiap pagi(walau bagaimanapun, beliau dilihat melakukan senaman angkat berat ini ketika berada di Taiping dan di Kedah sahaja). Selain daripada senaman angkat berat, Dato’ Meor Abdul Rahman juga sering melakukan senaman untuk kekuatan otot perut dan senaman pernafasan. Walau bagaimanapun, senaman-senaman ini adalah untuk kegunaan beliau sendiri dan tidak dianjurkan kepada murid-murid beliau. Kahar Redza hanya dapat mencuri-curi pandang setiap kali Dato’ Meor Abdul Rahman membuat senaman pernafasan. Minat Kahar Redza dengan senaman ini berputik bila beliau terpandang Dato’Meor Abdul Rahman berjaya memecahkan dinding batu dengan tumbukannya. Menurut Mohd.Razali Salleh, Pemegang Amanah II, di Singapura, Dato’ Meor Abdul Rahman menggunakan baldi yang berisi air sebagai alat angkat beratnya. Beliau akan mengangkat baldi tersebut turun-naik dan tidak akan berhenti selagi air di dalam baldi tersebut masih ada. Di Taiping, Kahar Redza pernah melihat tong getah yang diisi dengan air tetapi beliau tidak pasti apa kegunaan tong tersebut.

Untuk menguatkan otot kaki, Dato’ Meor Abdul Rahman akan membuat senaman tapak itik, iaitu berdiri sebelah kaki dan membuat gerakan turun-naik sehingga 100 bilangan. Kadang-kadang kerusi digunakan sebagai sokongan(untuk dipegang bagi mengimbangi badan). Menurut Dato’ Meor Abdul Rahman, senaman ini amat penting untuk memperbaiki teknik tendangan. Dalam hal senaman, Dato’ Meor Abdul Rahman lebih menumpukan kepada kekuatan otot tangan.

Antara kelebihan Dato’ Meor Abdul Rahman yang pernah disaksikan sendiri oleh Kahar Redza ialah kebolehan beliau menukarkan kemenyan menjadi batu akik. Norsaii pernah disuruh memamah kemenyan dan apabila diluahkan, ia telah menjadi seketul batu akik. Dato’ Meor Abdul Rahman juga pernah dilihat menukarkan pelepah pisang menjadi batu akik. Zainal pernah disuruh memamah pelepah pisang, dan apabila diluahkan ia telah bertukar menjadi batu akik. Batu-batu akik ini mempunyai kelebihan masing-masing, dan biasanya digunakan untuk tujuan perubatan. Dato’ Meor Abdul Rahman juga berkebolehan memasukkan susuk. Dato’ Meor Abdul Rahman pernah memasukkan susuk ke dalam badan murid-muridnya dari Selangor. Susuk-susuk tersebut mempunyai pelbagai fungsi dan bergantung kepada kehendak si pemakainya ketika diminta daripada Mahaguru. Pemakaian susuk hendaklah dirahsiakan daripada pengetahuan orang lain.

Pada tahun 1970, satu rombongan ahli Silat Seni Gayong yang diketuai oleh Dato' Meor Abdul Rahman telah melawat ke Pulau Tawar, Kuantan, Pahang, iaitu ke rumah Pahlawan Mat Kilau. Dato' Meor Abdul Rahman telah bertemu dengan Pahlawan Mat Kilau dan membisikkan sesuatu ke telinga Pahlawan Mat Kilau tersebut.

"Aki...Aki ingat tak dengan ayat ini..(Dato' Meor Abdul Rahman kemudian membisikkan sepotong ayat Al-Quran yang menjadi amalan ahli Silat Seni Gayong)," bisik Dato' Meor Abdul Rahman ke telinga Pahlawan Mat Kilau.

"Dari siapa kamu dapat ayat ni?..." tanya Pahlawan Mat Kilau yang sedikit terkejut.

"Dari datuk saya, Syed Zainal Syed Idris Al-Attas..." balas Dato' Meor Abdul Rahman.

"Ooooo...Syed Zainal..." kata Pahlawan Mat Kilau sambil menitiskan air mata. Dato' Meor Abdul Rahman dan Pahlawan Mat Kilau telah berpeluk-pelukan seolah-olah lagak dua orang sahabat yang telah lama terpisah dan baru dipertemukan semula. Menurut ceritanya, Mat Kilau adalah rakan seperguruan Syed Zainal Al-Attas.

Mahaguru Dato' Meor Abdul Rahman bergambar bersama anak-anak muridnya pada hari pertama setelah mendapat anugerah DPCM pada 1971.

Dari kiri, Cikgu Abd. Razak, Cikgu Ahmad Ismail dan Cikgu Syed Ghafar.

Dari kiri - Cikgu Zaharah, Dato' Meor Abdul Rahman dan Cikgu Siti Kalsom.

Dari kiri, Cikgu Nordin Abdul Rahman, Cikgu Kahar Redza dan Cikgu Omar Syariff.


Cikgu Jazwan Kahar in August of 2005 was appointed the instructor in Malaysia for all international students by the late Cikgu Siti Kalsom. I was there, I witnessed it and have it on film. Why did she give Cikgu Jazwan this task? In my opinion Cikgu Jazwan was the right candidate. He traveled to the United Kingdom to teach Gayong Students there brought by Cikgu Ariffin, he taught U.K. students in Malaysia, and he taught Gayong Students from the USA in 2005, 2007, and 2009. He personally taught me on several occasions. Cikgu Jazwan has a broad view of Gayong and understands the differences in teaching Malay students and international students. He will adjust he instruction for student keeping true to Gayong but helping the students understand the techniques. I am not Malaysian, I am American. There are things in Gayong that as an American, I don't culturally understand. Cikgu Jazwan will explain not just how to do the technique, but the "why" of the technique. For an international student whose inane culture is not Malaysia, his ability to be patient with our training and our questions is essential to our understanding of Gayong as a whole. Cikgu Jazwan's broad world view and experience with foreign students makes him the ideal candidate for Cikgu for international students coming to Malaysia to train in Gayong. He is faithful to Silat Seni Gayong and it's traditions and incorporates those into his training of foreign students.