Surabaya kota pahlawan

Surabaya memiliki peranan penting dalam sejarah dan perkembangan silat di Nusantara, terutama di Jawa Timur. Kota ini dikenal bukan hanya sebagai pusat perdagangan dan perjuangan kemerdekaan, tetapi juga sebagai tempat bertemunya berbagai budaya dan aliran bela diri. Dari Jawa, Madura, Bugis, Tionghoa hingga Arab, semua memiliki pengaruh yang membentuk corak silat Surabaya yang khas. Letaknya yang strategis di pelabuhan besar menjadikan Surabaya sebagai tempat percampuran teknik, filosofi, dan karakter dalam dunia silat.

Banyak pendekar besar lahir atau pernah berkiprah di Surabaya. Di kawasan Ampel dan Kembang Jepun, silat tumbuh beriringan dengan dakwah Islam yang dibawa oleh para kiai dan santri pejuang. Gerak silat dianggap bukan sekadar seni bertarung, tetapi juga jalan spiritual untuk membentuk akhlak dan ketahanan diri. Sementara di pesisir seperti Kenjeran, Peneleh, dan Tambak, berkembang gaya silat yang keras dan cepat, dipengaruhi oleh kehidupan para pelaut dan suasana pelabuhan yang keras dan dinamis.

Bagi masyarakat Surabaya, silat bukan hanya alat pertahanan diri. Ia adalah simbol harga diri, keberanian, dan ketegasan. Watak arek Suroboyo yang keras kepala namun jujur dan setia tampak dalam gaya bertarung mereka. Pada masa penjajahan, para pesilat turut menjadi tulang punggung perjuangan rakyat, mengajarkan bela diri untuk mempertahankan tanah air. Semangat pantang mundur dan keberanian menghadapi siapa pun telah menjadi napas silat Surabaya hingga kini.

Selain itu, Surabaya memiliki sejarah panjang sebagai pusat dakwah Islam di Jawa Timur. Kawasan Ampel menjadi tempat tinggal para ulama dan santri yang menyebarkan pendidikan agama serta nilai-nilai sosial kepada masyarakat kota. Tradisi pesantren, pengajian, dan zikir kolektif sudah berkembang sejak ratusan tahun lalu, menjadikan Surabaya sebagai salah satu kota yang tidak hanya kuat secara ekonomi dan politik, tetapi juga kaya secara spiritual. Peran ini sering terlupakan karena publik lebih fokus pada sejarah perang dan perlawanan, padahal kontribusi budaya dan agama inilah yang membentuk karakter kota hingga hari ini.

Hari ini, Surabaya tetap diakui sebagai salah satu pusat silat terbesar di Indonesia. Berbagai perguruan besar seperti PSHT, Pagar Nusa, Perisai Diri, dan Tapak Suci tumbuh subur di kota ini. Dari Surabaya, silat terus berkembang bukan hanya sebagai seni bertarung, tetapi juga sebagai jalan pembentukan watak, kedisiplinan, dan kehormatan diri.

Tradisi Madura di Surabaya

Budaya Madura memiliki pengaruh yang kuat di Surabaya. Kedekatan geografis dan sejarah panjang hubungan antara Pulau Madura dan pesisir timur Jawa menjadikan masyarakat Madura bagian penting dari wajah sosial Surabaya. Sejak berabad-abad lalu, banyak orang Madura datang ke Surabaya untuk berdagang, bekerja, dan menetap. Dari pertemuan itu lahirlah perpaduan yang menarik antara ketegasan dan keberanian orang Madura dengan semangat terbuka dan keras kepala khas arek Suroboyo.

Banyak pendekar Madura menetap di Surabaya dan membuka perguruan silat. Mereka memperkenalkan gaya silat Madura yang cepat, keras, dan penuh keberanian. Dalam kehidupan sehari-hari, nilai-nilai kehormatan, solidaritas, dan kejujuran orang Madura juga ikut mewarnai karakter masyarakat Surabaya.

Selain silat, masyarakat Madura membawa tradisi keagamaan dan kesenian yang kuat. Peringatan Maulid Nabi, pembacaan sholawat diba’, hadrah, dan ratib kini menjadi bagian dari kehidupan spiritual kota ini. Kawasan seperti Ampel, Tambak Wedi, dan Kenjeran masih mempertahankan suasana religius yang mengingatkan pada kampung halaman di Madura.

Dalam hal kuliner, pengaruh Madura tampak jelas. Sate Madura, soto Madura, dan lontong kupang bukan lagi sekadar makanan khas, melainkan identitas kuliner Surabaya. Bahkan gaya bicara masyarakatnya, dengan logat yang tegas namun bersahabat, banyak dipengaruhi oleh bahasa Madura.

Tradisi Madura telah menjadi bagian dari jiwa Surabaya. Ia membentuk karakter masyarakatnya yang keras tapi setia, berani namun jujur, tegas tapi hangat. Nilai-nilai inilah yang membuat Surabaya bukan hanya dikenal sebagai Kota Pahlawan, tetapi juga sebagai kota dengan semangat Madura yang hidup dan menyatu dalam denyut kehidupannya.

Saya merasa amat bersyukur diberi peluang untuk berlatih di tanah leluhur, tempat di mana setiap langkah, setiap gerak, dan setiap napas terasa mengalir bersama sejarah dan energi para pendahulu. Di sini, bukan sekadar teknik yang saya pelajari, tetapi juga nilai, filosofi, dan semangat yang diwariskan secara turun-temurun. Setiap sudut tanah ini seolah menyimpan kisah para pendekar dan guru yang membimbing generasi demi generasi, dan saya diberi kesempatan untuk menyerapnya, memahami jejak mereka, serta menumbuhkan keberanian dan ketenangan di dalam diri.

Sebagai anak diaspora berketurunan Indonesia - meskipun bukan orang Madura -, berlatih di tanah leluhur setelah sekian lamanya membuat saya menyadari bahwa ilmu bukan hanya untuk diri sendiri, tetapi juga sebagai jembatan antara masa lalu dan masa depan, antara saya dan leluhur yang telah berjuang, berdoa, dan membentuk identitas budaya ini. Kesempatan ini adalah hadiah yang tidak ternilai, yang mengajarkan saya rasa hormat, kesabaran, dan rasa syukur yang mendalam setiap kali melangkah, mempraktikkan, dan meresapi setiap ajaran yang telah diwariskan ke saya sebagai penerus.

 

Tokoh Majapahit : Patih Gajah Mada

Gajah Mada was a powerful and famous leader from the Majapahit Empire in now Indonesia during the 14th century. He started his career as a soldier and was known for his bravery, discipline, and loyalty to the king. Because of his skills and leadership, he quickly gained respect and was promoted to higher positions in the royal court. His rise showed that talent and loyalty could take someone from humble beginnings to the highest offices in the empire.

He first became well known during the Kuti Rebellion in 1319. At that time, the Majapahit king was in danger, but Gajah Mada helped protect him and restore order. This event made the king trust him even more, and it became a turning point in his career. From then on, Gajah Mada was seen as a man who could be depended on in times of crisis. His bravery and clever thinking earned him higher titles and more responsibilities.

Eventually, Gajah Mada was appointed as the prime minister, or Mahapatih, of the Majapahit Empire. This was the most powerful position after the king. As prime minister, he was in charge of running the government, advising the king, and leading the army. His leadership brought stability and strength to Majapahit, making it one of the greatest empires in Southeast Asia. His famous "Sumpah Palapa" oath showed his determination to unite the entire archipelago under Majapahit rule.

Gajah Mada played a key role in expanding the empire’s influence. Through both diplomacy and military campaigns, he helped Majapahit gain control over many islands in the Indonesian archipelago. Under his leadership, Majapahit became rich, powerful, and respected by other kingdoms. He believed in unity and worked hard to bring different regions together under one rule.

In history, Gajah Mada is remembered as one of Indonesia’s greatest national heroes. His rise to power, his loyalty to the king, and his service as prime minister made him a symbol of unity and strength. Today, he is often celebrated as a figure who dreamed of a united archipelago, which later inspired the idea of Indonesia as one nation.

Silat and FMA

Filipino Martial Arts (FMA) and Silat both come from the maritime world of the Malay Archipelago and can be seen as related traditions. Some even describe them as sister arts. Influenced by trade, migration, and warfare, these martial arts developed in ways that are different but complementary. FMA focuses on smooth weapon movements, tactical flow, and precise blade control. Silat, on the other hand, emphasizes grounded body movement, deceptive footwork, and cultural philosophy. When studied together, they strengthen each other, helping practitioners improve their skills and gain a deeper understanding of Southeast Asia’s shared martial heritage.

Both Silat and FMA share roots in the culture of the Austronesian seafaring peoples. Long before modern nations existed, the ancestors of the Malay Archipelago carried blades, boats, and belief systems across islands and coasts. Their martial arts developed through this shared experience. Silat grew with ritualized movements, grounded stances, and clever entries, while FMA focused on weapon flow, angle awareness, and tactical techniques. These arts are not separate inventions but different expressions of the same ancient maritime warrior tradition.

At their core, Silat and FMA are both weapon-based systems. They were created from the use of knives, sticks, and swords. Empty-hand techniques are built on the principles of weapon movement, not the other way around. This makes the connection between Silat and FMA undeniable, and it shows why understanding weapons is essential to fully grasping either art.

The Srivijaya Empire, which flourished from the 7th to 13th centuries, was an important center of trade and culture in Southeast Asia. Evidence shows that Silat was practiced during this time, particularly in the Srivijaya kingdom in Sumatra and the Malay Peninsula. This early form of Silat laid the foundation for martial traditions that would develop later.

After the decline of Srivijaya, the Majapahit Empire rose in the 13th century, bringing much of the Indonesian archipelago under its rule. Silat reached its peak during this period. It was used not only for fighting but also to teach loyalty, discipline, and spiritual strength. Silat was part of military strategy and governance, showing its importance in shaping Southeast Asia’s culture and martial arts.

At the same time, the Philippine islands, connected through these same maritime networks, developed their own martial traditions that evolved into FMA. The movement of people and ideas across the seas allowed martial knowledge to spread, creating arts that, while different, share common principles rooted in the region’s maritime culture.

Silat and FMA are not separate traditions. They are deeply connected and reflect the shared heritage of Southeast Asia. Their common roots allow practitioners to improve their skills and understanding, linking culture, history, and martial arts in a meaningful way.

As for the question whether at that point of time their (the Filipinos) fighting art is already called silat or they go by another name?

My answer is that from what I’ve seen and know, the southern Philippines especially Mindanao silat exponent and masters (excluding eskrimadors), still use the term silat. They’re really part of the same cultural family as us if you look at the artifacts, history, and movement styles. In the northern and central Philippines, they use terms like kali, eskrima, and arnis for similar arts, likely because of Spanish influence and the knowledge that came with it. The Spanish added fencing elements to their weapons training, and later the Americans added boxing into the empty-hand techniques, which developed into panantukan basically boxing, kuntau, and silat without the flowery parts. 

In mainstream eskrima circles, silat is officially not seen as part of FMA (Filipino Martial Arts). This is clear in the views of many pro-colonial historians and practitioners. However, some Muslim practitioners in Mindanao were aware of this exclusion but still remained loyal to the Philippines, creating their own systems that combined FMA, kuntau, and silat.

Still, you can’t deny what Guro Dan Inosanto said: “We are all the same people; it’s just tribal ego that keeps us divided.” Senior silat practitioners who disagree with this can argue about it endlessly, but maybe they just haven’t seen the evidence yet.

Personally, I lean toward a unified Nusantara narrative and as a pesilat. (answers have been streamlined to observe grammar - slightly different from what I had typed in forum posting ) 

 

Nuances to consider:

  Silat as practiced in Mindanao is part of the “Malay world” martial system, sharing DNA with Malaysian Silat and Indonesian Pencak Silat, while adapting to local context.

  FMA’s claim of “ancient warrior arts” often does not acknowledge pre-colonial or Islamic influences in detail, partly due to nationalism and colonial narrative simplification.

 

In practice, FMA and Silat overlap significantly:

Stances, footwork (triangular), and weapon angles often align.

Kuntaw itself is a bridge art (Chinese Kuntao + Silat) that predates some organized FMA systems.

Personally in practice, It is not wise to say you can't put it together.    As long as its not a baseless knowledge.