Kalarippayattu
From Wikipedia, the free encyclopedia
| Kalaripayattu | |
|---|---|
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| Indian Name | |
| Malayalam | കളരിപയററ് |
| Devanagari | कळरिप्पयट् |
| Details | |
| Origin | Kerala, South India |
| Styles | Northern, Southern and Central |
Kalarippayattu (Malayalam:കളരിപയററ്) is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu. It incorporates strikes, kicks, grappling, martial dance, and weaponry, as well as healing techniques.[1]
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[edit] Etymology
The term "Kalarippayattu" is a tatpurusha compound formed from the words kalari (Malayalam: കളരി) meaning "school, gymnasium" and payattu (Malayalam: പയററ്) derived from "payattuka" meaning "to fight" or "to exercise" or "to put hard work into".
Together these two words in Malayalam or Tamil mean "Practice of arts of the battlefield". Most words related to Kalari are originally from Tamil, including words like "suvadi" (palm leaf manuscript), "vadivu" (stance/pose), "verum kai" (empty hand), "mei payattu" (mei=body).[2]
[edit] History
[edit] Origins
The word "kalari", and ancient martial arts that may have been precursors to kalarippayattu, are mentioned in Sangam literature from the 2nd century BCE. The word "kalari" appears in the Puram [3] and Akam [4] to describe to both a battlefield and combat arena. The martial tradition of Kalarippayattu is also dated to ancient Dravidian traditions.[5] Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that kalarippayattu dates back to at least the 12th century CE.[6] The historian Elamkulam Kunjan Pillai attributes the birth of Kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.[7] What eventually crystallised into this style is thought to have been a product of existing South Indian styles of combat, combined with techniquies brought by migration from the north along the western coast.[8] Discovery channel in Asia notes that Kalarippayattu may be one of the oldest martial arts in existence.[9] The oldest Western reference to Kalarippayattu is a 16th century travelogue of Duarte Barbosa, a Portuguese explorer. The Southern style, which asserts on open hand combat has mainly been practiced by the Tamil speaking regions, at least for the last few centuries.[10]
- See Foreign influence on Chinese martial arts and Bodhidharma, the martial arts, and the disputed India connection
[edit] Revival
Kalarippayattu underwent a period of decline after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century.[11] The resurgence of public interest in kalarippayattu began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout South India[12] and continued through the 1970s surge of general worldwide interest in martial arts.[13] In recent years, efforts have been made to further popularise the art, with it featuring in international films. Some dance schools incorporate kalaripayattu as part of their exercise regimen.
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| Part of a series on Indian martial arts |
|---|
| Various Indian martial arts |
| Pehlwani - Kalarippayattu - Malla-yuddha - Vajra Mushti / Vajra Mukti - Chakram - Kabaddi - Silambam Nillaikalakki - Gatka and other arts |
| Notable Practitioners |
| The Great Gama - Phillip Zarrilli - Jasmine Simhalan - Jyesthimallas - Gobar Goho - Imam Baksh Pahalwan - Paul Whitrod - Gulam - Guru Har Gobind - John Will |
| Related articles |
| Kshatriya - Yoga - Indian mêlée weapons - Dravidian martial arts - Ayurveda - Sri Lankan martial arts - Indian martial arts in popular culture - Foreign influence on Chinese martial arts |
[edit] Styles of Kalaripayattu
There are many different styles of Kalarippayattu. If one looks at the way attacks and defences are performed, one can distinguish three main schools of thought: the northern styles, the central styles, and the southern styles. The best introduction to the differences between these styles is the book of Luijendijk. Luijendijk uses photographs to show several Kalarippayattu exercises and their applications. Each chapter in his book references a representative of each of the three main traditions.[14]
[edit] Northern Kalaripayattu
Northern kalarippayattu (practiced mainly in the northern Malabar region of Kozhikode and Kannur)[15] places comparatively more emphasis on weapons than on empty hands.[16] Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.[17] By oral and written traditions, Parasurama, the sixth Avatar of Vishnu, is believed to be the founder of the art.[18]
Northern kalarippayattu is distinguished by its meippayattu - physical training and use of full-body oil massage.[19] The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda.[20] The purpose of medicinal oil massage is to increase the practitioners' flexibility, to treat muscle injuries incurred during practice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for such massages is thirumal and the massage specifically for physical flexibility chavutti thirumal. There are several lineages (sampradayam), of which the arappukai is the most common nowadays. There are schools which teach more than one of these traditions. Some traditional kalaris around Cannanore, for example, teach a blend of arappukai, pillatanni, and katadanath styles.[21]
[edit] Southern Kalaripayattu
In southern styles of kalarippayattu (practiced mainly in old Travancore and the Kanyakumari district of Tamil Nadu),[22] practice and fighting techniques emphasize empty hands and application from the first lesson.[23] In the southern styles the stages of training are Chuvatu (solo forms), Jodi (partner training/sparring), Kurunthadi (short stick), Neduvadi, Katthi, Katara, valum parichayum, Chuttuval, double sword and Marmma and kalari grappling. The southern styles of kalarippayattu are Tamil[24] and for at least several hundred years have been practised primarily by Nadars, Kallars, Thevars,[25] and some Sambavar.[26]
Zarrilli refers to southern kalarippayattu as ati murai (the 'law of hitting') or varma ati (hitting the vital spots).[27] The preliminary empty-hand techniques of ati murai are known as Adithada (hit/defend).[28] Varma ati refers specifically to the application of these techniques to vital spots.[29] Weapons may include long staffs, short sticks, and the double deer horns.[30] Southern styles of kalarippayattu are not usually practiced in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches.[31] Masters are known as asaan rather than gurukkal.[32] The founder and patron saint is believed to be the rishi Agasthya.[33]
Medical treatment in southern styles of kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine[34] which is as sophisticated as—though distinct from—Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam and, like ati murai, is attributed to the rishi Agasthya. Active suppression of Nairs in southern Kerala led to the virtual extinction of their southern dronamballi sampradayam by the mid 1950s.[35]
[edit] Central Kalaripayattu
The central style (practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts[36] is 'a composite' from both the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-hand techniques, and its own distinctive techniques, which are performed within floor drawings known as kalam.[37]
[edit] Training
Several componenents make up the basic equipment and training ground of Kalaripayattu. A student begins training in northern Kalarippayatt at approximately 7 years old with a formal initiation ritual performed by the Gurukkal.
[edit] Initiation ceremony
At the age of seven, on the opening day of the new session, a novice is admitted to the Kalari in the presence of the Gurukkal or a senior student, and directed to place his right foot first across the threshold. The student touches the ground with the right hand and then his forehead, as a sign of respect. He is then led to the Guruthara, the place where a lamp is kept burning in reverence to all the masters of the Kalari, to repeat his act of worship. He then offers some money in folded betel leaves as dakshina (tuition) for the master and bow and prostrate himself before the latter, and touch his legs, as a sign of submission. The guru then places his hands on the pupil’s head, blesses him and prays for him. This worship—touching the ground, Poothara, Guruthara and the guru’s feet—is repeated everyday. It symbolizes a complete submission to and acceptance of the Kalari deities, Kalari master, and the rules and discipline of the art.
[edit] The Kalari
The Kalari is a specially constructed practicing area that comprises a Puttara (seven tiered platform) in the south-west corner. The guardian deity is located here, and is worshipped with flowers, incense and water before each practising session, which is preceded by a prayer.
[edit] Stages
The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.
[edit] Meithari (മെയ്ത്താരി)
Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattu exercises for neuromuscular coordination, balance and flexibility follow the basic postures of the body.
[edit] Kolthari (കോല്തരി)
Once the student has become physically competent, he/she is introduced to fighting with long wooden weapons. The first weapon taught is the Kettukari staff, which is usually five feet (1.5 m) in length, or up to the forehead of the student from ground level. The second weapon taught is the Cheruvadi or Muchan, a wooden stick three palm spans long, about two and a half feet long or 75 cm. The third weapon taught is the Otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots in the opponent's body. This weapon is considered the master weapon, and is the fundamental tool of practice to develop stamina, agility, power, and skill. The training in 'Otta' consists of 18 sequences.
[edit] Ankathari (അങ്കത്തരി)
Once the practitioner has become proficient with all the wooden weapons, he/she proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the Kadhara, a metal dagger with a curved blade. Taught next are sword (Val) and shield (Paricha). Subsequent weapons include the spear (kuntham), the flexible sword (Urumi or Chuttuval), an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of 'Ankathari' training, the student would specialize in a weapon of his choice, to become an expert swordsman or stick fighter.
[edit] Verumkai (വെറുംകൈ)
Only after achieving mastery with all weapons forms is the practitioner taught to defend his/her person with bare-handed techniques. These include arm locks, grappling, and strikes to the Pressure Points (Marmam), the vital points of the body. The Gurukkal teaches knowledge of Marmam only to those students whom he trusts, restricting knowledge to the very few.
[edit] Marmas and Massage
Marmams (vulnerable parts of the human body): It is claimed that learned persons can disable or kill their opponents by a mere touch in a Marmam. Marmam is taught only to the promising and level-headed persons, to forbid misuse of the technique.
Kalarippayyattu teachers often provide massages (Malayalam:uzhichil) with traditional medicinal oils to their students in order to increase their physical flexibility or to treat muscle injuries encountered during practice. Such massages are generally termed Thirumal and the unique massage given to increase physical flexibility is known as Katcha thirumal.
Kalari marma treatment is as sophisticated as the uzhichil treatment of Ayurveda. This system of marma treatment comes under Sidha Vaidhyam, whose origin is attributed to Sage Agasthya and his disciples.
[edit] Kalarippayattu and performing arts
Influence of Kalaripayattu can be seen in major classical art forms of Kerala, mainly Kathakali. Many of the traditional performing art and dance forms of Kerala, like Kathakali, Kolkali, Velakali, etc., have drawn elements from Kalarippayattu during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body massage for the trainee. Many of the body postures, choreography and foot work of the Kathakali characters are taken directly from Kalarippayattu. Some dance schools incorporate kalaripayattu as part of their exercise regimen. Some of its choreographed sparring can be applied to dance.[38]
[edit] Components
[edit] Techniques, Steps and Postures
Techniques (Atavu) in a Kalarippayattu is a combination of Steps (Chuvatu) and Postures (Vadivu).
There are five steps or Chuvatus and Northern styles of Kalarippayattu have Ashta Vadivukal, or eight postures (vadivu). Each posture has its own style, power combination, usefulness and effectiveness.
Like the Wǔxíngquán of Chinese martial arts, the eight postures of Kalarippayattu are based on animals.
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[edit] Weapons
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[edit] References
- ^ Zarrilli 1998
- ^ Zarrilli, P. (1992). "To heal and/or harm: The vital spots (marmmam/varmam) in two south Indian martial traditions--Part I: Focus on Kerala's kalarippayattu". Journal of Asian Martial Arts 1 (1). 'In Malayalam, Kalari means "place, open space, threshing floor, battlefield." It derives from the Tamil kalam meaning "arena, area for dramatic, gladitorial, or gymnastic exhibitions, assembly, place of work or business." In Malayalam kalari also idiomatically refers to that special place where martial exercises are taught. The root of the Malayalam payattu is Tamil payil, "to become trained, accustomed, practice," while its nominative form means "practice, habit, word." In Malayalam payil becomes payiluka, "to learn, speak;" payttuka, "to exercise in arms, practice," and finally payattu having the idiomatic meaning, "fencing exercise, a trick." Although the Tamil roots of both kalari and payattu are antique and can be traced to as early as the first century A.D., their specific idiomatic Malayalam meanings may be no older than the 11th or 12th centuries C.E. when it is probable that the systems of martial practice assumed a structure and style akin those extant today. Belying the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, Kalarippayattu is in Ulloor Parameswaram's early twentieth century drama, Amba. Although M.D. Raghavan suggested that Kalari was derived from the Sanskrit khalūrikā, Burrow has conclusively demonstrated that khalūrikā ("parade ground, arena") and its Sanskrit root, khala- ("threshing floor") are Dravidian loan words. According to the St. Petersburg Lexicon, the first occurrence of khalūrikā is in Hemacandra's Abhidanacintamani, dated about the 12th century.'
- ^ verses 225, 237, 245, 356
- ^ verses 34, 231, 293
- ^ Subaltern Sports: Politics and Sports in South Asia By James H. Mills. Published 2005, Anthem Press. Subject: Archaeology /Anthropology. ISBN 1843311674
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998. what eventually crystallized as kalarippayattu combined indigenous Dravidian techniques with the martial practices and ethos brought by brahman migrations from Saurastra and Konkan down the west Indian coast into Karnataka and eventually Kerala
- ^ [1] Kalaripayatta- Discovery Channel
- ^ Phillip B. Zarrilli, When the Body Becomes All Eyes. These southern arts are decidedly Tamil, and at least for several hundred years have been practised primarily by Nadars who claim an ancient heritage as warriors.
- ^ Zarrilli 1992
- ^ Zarrilli 1998
- ^ Zarrilli 1992
- ^ Luijendijk 2005
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Luijendijk 2005
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1992
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1992
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1992
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
[edit] Recommended reading
- Balakrsnan, Pi (1995) Kalarippayattu: The ancient martial art of Kerala, C.V. Govindankutty Nair Gurukka 1995, ASIN B0006F9ONS
- Denaud, Patrick (1996) Kalaripayat, Budostore, ISBN 2-908580-62-4
- Elgood, Robert (2005) Hindu Arms and Ritual: Arms and Armour from India 1400-1865, Eburon Publishers, ISBN 90-5972-020-2
- Luijendijk, D.H. (2005) Kalarippayat: India's Ancient Martial Art, Paladin Press, ISBN 1-58160-480-7
- Zarrilli, Phillip B. (1992) "To Heal and/or To Harm: The Vital Spots in Two South Indian Martial Traditions"
- Zarrilli, Phillip B. (1993) "Actualizing Power and Crafting a Self in Kalarippayattu", Journal of Asian Martial Arts
- Zarrilli, Phillip B. (1998) When the Body Becomes All Eyes, Oxford University Press 1998, ISBN 0-19-565538-9
- Zarrilli, Phillip B. (1999) Kathakali Dance-drama: When Gods and Demons Come to Play, Routledge 1999, ISBN 0-415-19282-X
[edit] External links
[edit] See also
| History | Origin, Revival, |
|---|---|
| Styles | Northern style, Central style, Southern style |
| Techniques | Adavu, Chuvadu, Vadivu |
| Weapons | Weapons of Kalarippayattu |
| Kalarippayattu and performing arts | Arts of Kerala, Indian martial arts, Dravidian martial arts, Kathakali, Kolkali, Velakali |
| Films | Films on Kalarippayattu |
| Other topics | Marmam, Gurukkal, Guruttara, Kalari, Mamankam festival, Ankathattu, Ankam, AnkaKalari, Ankachekavar, Yoga, Ayurveda, Kerala |
