Pukulan Cimande Pusaka - Fon Jerng

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The Art and Society of Leklai

One thing that separates the true art we do, from others, is that we always hit from the flow and not after it stops. The moves look soft but hit like a steel hammer, and then vanish back into the mysterious flow.

The actual term for this is Leklai, which literally means “flowing metal”. Leklai is also an incredibly special substance from Thailand and Leklai is created in special forms by holy people. This photo is of such a piece created in the shape of a Naga handled Keris. We are the art and society of Leklai the mysterious art of flowing steel.

From this day forward all certificates issued by me will include the phrase, “The Art and Society of Leklai.”

No longer will anyone pass just because they can do the mechanics 1, 2, 3 of a juru or a movement without the proper flowing steel moves of the art and proper use of the entire body as taught by me and demonstrated by me.

It is the heart of the art. You do not have to be perfect at it, but you must possess it and be using and working hard to develop it ever more, so its visible in your moves, and I feel it as well as see it; and yes, you can feel it from seeing it if it is part of you.

In the past I promoted students who showed they could perform the moves but usually, I was bombarded by all the reasons they could not move correctly, yet I had hoped over time that those who had the ABC parts down only would get the heart of the art and add it. But I can tell you, it never happened.

They either never tried or could not. This aspect was not cherished as it should have been. Even those who were starting to get it, to some degree, did not value what they had and soon lost it when they went away, or perhaps it was taken from them by the art itself. This is the real meaning and what happens in the art of the chosen few.

You see it, want it, cherish it, and keep it for life in every move. Then you are part of the Society of Leklai and one of the chosen few of the art.

The ancient teachers believed that to understand something, one needed to see it in its totality.

In order to understand something, it must be placed correctly within its complete pattern. For the old teachers, no movement could be simply explained separately or there would be no full understanding of its function to the whole body. They could, through deeper intuition and inspection sense the energy of each move, each element without separating it. This was accomplished by watching how one move influenced the next one along the path of power in action.

If you separate as an example cell and try and analyze them, you will find no complete picture of the life from whence it came, because in the process of separating them, you have begun the process of ending their life.

Cutting off members, one by one, the arms, legs, and head to look at separately you will find only the start or end of the energetic life flow, but not the completion of the desired process through the entire body.

In the old philosophies, the only way to find truth was by putting things together as a whole. Every separation is a destruction of unity of motion and every separation of this chain of motion begins a foundation of error.