▁is ▁officially ▁called ▁P enc ak ▁Sil at ▁in ▁Indones ia . ▁The ▁word ▁sil at ▁has ▁been ▁adopted ▁world wide ▁in ▁reference ▁to ▁professional ▁compet itive ▁sil at ▁for ▁sport , ▁similar ▁to ▁the ▁Chinese ▁word ▁w ush u . ▁Regional ▁dialect ▁names ▁include ▁pen ca ▁( West ▁Java ), ▁d ika ▁or ▁pad ik ▁( Th ailand ), ▁s ile k ▁( the ▁Min ang k ab au ▁pron unci ation ▁of ▁sil at ), ▁main - po ▁or ▁ma en ▁po ▁( in ▁the ▁lower ▁speech ▁of ▁Sund an ese ), ▁and ▁gay ong ▁or ▁gay ung ▁( used ▁in ▁parts ▁of ▁Malays ia ▁and ▁Sum atra ). ▁The ▁clear ▁distinction ▁between ▁Indones ian ▁and ▁Pen ins ular ▁sil at ▁is ▁a ▁relatively ▁recent ▁one ▁based ▁mainly ▁on ▁post - in dep end ence ▁patri otic ▁sent iments . ▁The ▁term ▁sil at ▁Mel ay u ▁(" Mal ay ▁sil at ") ▁was ▁originally ▁used ▁in ▁reference ▁to ▁R ia u , ▁Indones ia ▁but ▁is ▁today ▁commonly ▁used ▁for ▁referring ▁to ▁systems ▁created ▁on ▁the ▁S out heast ▁Asian ▁main land . ▁Gener ally ▁speaking , ▁sil at ▁Mel ay u ▁is ▁often ▁associated ▁with ▁fixed ▁hand ▁positions , ▁low ▁st ances , ▁and ▁slow ▁dance - like ▁movements . ▁While ▁this ▁general isation ▁does ▁not ▁necessarily ▁reflect ▁the ▁reality ▁of ▁sil at ▁techniques , ▁it ▁has ▁had ▁a ▁notable ▁influence ▁on ▁the ▁s tere ot yp ical ▁way ▁the ▁art ▁is ▁port rayed ▁in ▁Malays ia , ▁Singapore