| Decoys are not unique to Silat. Many conventional | | | | enough to allow you to give them a devastating |
| fighting methods will use a feint, a fake punch | | | | blow. |
| that distracts an opponent from the real punch | | | | Another, simpler decoy is to simply stick out your |
| about to hit them. While Silat may occasionally use | | | | hands. If your opponent takes the bait and |
| this kind of technique, Silat fighting is much more | | | | attempts to strike your hands to disable you, you |
| likely to use body position as a decoy rather than | | | | can hit your opponents hand with your elbow. If |
| a punch. A Silat fighter will attempt to throw an | | | | you use this technique well, it can break your |
| opponent off by making them think an attack is | | | | opponent's hand and end a fight very quickly. |
| coming from a different direction or appendage | | | | Silat even uses the practice of stomping or |
| than the real attack. Consequently, a Silat will | | | | personal body slapping to distract an opponent. |
| often use striking angles that would seem unusual | | | | This is where you stomp the ground or slap your |
| for conventional fighting techniques. | | | | body in order to attract the attention of an |
| If you use decoys well, your attacker will not | | | | attacker to where the sound is coming from in |
| know that they are about to be hit until it is to | | | | order to allow you to attack them from a |
| late, or ideally, until they have actually been hit. If | | | | completely different direction. A good stomp or |
| your hit does not render your attacker | | | | personal body slap can disorient even a skilled |
| unconscious, it should focus all of their attention | | | | fighter for the time you need to attack. |
| on the spot where they have been hit until you | | | | Here's a more advanced technique. You might try |
| strike them from another spot where they as | | | | moving from one defensive position to another. |
| little anticipated being hit as your first strike. | | | | However, as you moved, you could offer what |
| Silat uses upper/lower body art in the art of | | | | looked like a weakness in your position. When |
| decoy. There is a lot that can be done with the | | | | your opponent went for the weakness, you |
| body below the waist. You can use foot, leg, and | | | | would have him where you want him. In addition |
| knee techniques to kick, trip, trap, and otherwise | | | | to knowing how to decoy properly, this skill |
| attack your opponent. In one form of decoy, you | | | | requires an in depth knowledge of position, timing |
| can defend against a hand strike strike or strike | | | | & movement so that you are ready for anything |
| your attacker yourself while you are stepping on | | | | your opponent might do. |
| and crushing your opponent's foot. You can also | | | | All of these kinds of decoy techniques require |
| use the lower body as the decoy and the upper | | | | training to perform well, but once you understand |
| body as the attack. If an opponent is advancing | | | | them, in a street situation they can be very |
| and you kick them, they can pitch forward | | | | powerful. |