Kalarippayattu

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 - Thang-Ta - 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 - Khanda - Marmam - Ayurveda - Sri Lankan martial arts - Foreign influence on Chinese martial arts

Kalarippayattu or kalaripayattu (Malayalam കളരിപയറ്റ്, Tamil: களரிபயத்து, pronounced [kaɭəɾipːajətːɨ̆]) is a martial art with origins in Kerala and practised in that south Indian state and contiguous parts of neighbouring Tamil Nadu. It incorporates strikes, kicks, grappling, choreographed martial art sequences, and weaponry, as well as healing techniques.^[1] Regional variants of the art are classified into Northern-, Southern- and Central-Kerala styles.

Kalaripayattu is portrayed in several regional and international movies like The Myth and Asoka.

Etymology

The term Kalarippayattu is a tatpurusha compound formed from the words kalari (Malayalam: കളരി) meaning school or gymnasium and payattu (Malayalam: പയററ്) derived from payattuka meaning to fight or to exercise or to put hard work into.

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the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, Kalarippayattu is in Ulloor S. Parameswara Iyer's early twentieth century drama, Amba.

M.D. Raghavan has suggested that Kalari was derived from the Sanskrit khalūrikā, Burrow is of the opinion that khalūrikā ("parade ground, arena") and its Sanskrit root, khala- ("threshing floor") are Dravidian loan words.

History

South Indian state of Kerala, where Kalarippayattu is thought to have originated

Origins

Main article: Origins of Kalarippayattu

The word "kalari" can be traced to ancient Sangam literature.^[2] However, according to Dick Luijendijk, a researcher at the university of Nijmegen, in this literature the word "kalari" does not refer to any martial act.^[3] But because the Sangam literature is mainly about love-making and fighting among the South Indian nobility, it is possible to see Kalarippayattu as a continuation of earlier traditions.^[3] Thus the martial tradition of Kalarippayattu is also dated to ancient Dravidian traditions.^[4] The earliest mention of the concept marmam also dates back to the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with his vajra.^[5] References to marman also found in the Atharva Veda.^[6] Kalarippayattu became more developed during the 9th century and was practiced by the a section of the Nair community,warrior clan of Kerala, to defend the state and the king. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Kerala known as the Mamanka Chekavars and the Lohars, the Buddhist warriors of north Kerala^[7].

Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalarippayattu, estimates that Kalarippayattu dates back to at least the 12th century CE.^[1] 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.^[1] Kalarippayattu may be one of the oldest martial arts in existence.^[8] The oldest western reference to Kalarippayattu is a 16th century travelogue of Duarte Barbosa, a Portuguese explorer.

Revival

Main article: Revival of Kalarippayattu

Kalarippayattu underwent a period of decline when Nairs lost to the British after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century.^[1] 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^[1] and continued through the 1970s surge of general worldwide interest in martial arts.^[9] In recent years, efforts have been made to further popularise the art, with it featuring in international films. Some dance schools incorporate kalarippayattu as part of their exercise regimen.^[3]

Styles of Kalarippayattu

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.^[10]

Northern Kalarippayattu

Main article: Northern Kalaripayattu

Northern Kalarippayattu (practiced mainly in the northern Malabar region of Kozhikode and Kannur)^[1] places comparatively more emphasis on weapons than on empty hands.^[1] Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.^[1] By oral and written traditions, Parasurama, the sixth Avatar of Vishnu, is believed to be the founder of the art.^[1] The northern style of Kalarippayattu have been practiced primarily by Nairs and Thiyyas(Chekavar).

Northern Kalarippayattu is distinguished by its meippayattu - physical training and use of full-body oil massage.^[1] The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda.^[1] 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 Kannur, for example, teach a blend of arappukai, pillatanni, and katadanath styles.^[10]

Southern Kalarippayattu

Main article: Southern Kalaripayattu

In southern styles of Kalarippayattu (practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu)^[1], practice and fighting techniques emphasize empty hands and application from the first lesson.^[1] In the southern styles the stages of training are Chuvatu (solo forms), Jodi (partner training/sparring), Kurunthadi (short stick), Neduvadi (long stick), Katthi (knife), Katar (dagger), valum parichayum (sword and shield), Chuttuval (flexible long sword), double sword and Marmma and kalari grappling. The southern styles of Kalarippayattu have been practiced primarily by a section of Nairs and Ezhavas in Kerala.

Zarrilli refers to southern Kalarippayattu as Varma ati (the 'law of hitting') or marma ati (hitting the vital spots) or Varma kalai (art of Varma).^[1] The preliminary empty-hand techniques of Varma ati and Adithada (hit/defend).^[1] Marma ati refers specifically to the application of these techniques to vital spots.^[1] Weapons may include long staffs, short sticks, and the double deer horns.^[1] 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.^[1] Masters are known as 'asaan rather than gurukkal (in Northern style).^[1] The founder and patron saint is believed to be the rishi Agasthya.^[1]

Medical treatment in southern styles of Kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine^[9] which is as sophisticated as—though distinct from—Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam is attributed to the rishi Agasthya.

Silambam

Main article: Silambam

Jasmine Simhalan performing Kalarippayatt and Silambam.

Silambam is a stick fighting, part of southern style of Kalarippayattu. This style supposedly originates from the Kurinji hills, present day Kerala, 5000 years ago, where natives were using bamboo staves to defend themselves against wild animals. "Salambal" is a common word used to denote the sound of fast flowing rivers/springs, the chirping noises of birds, the murmur of leaves, the noise created by blah blah ing of a crowd, the whooshing, whirring and clanging sound of weapons etc. When long sticks, swords and chain flails are used they produce the "sala sala" sound which is called "salambal". Thus Silambam became the name of the martial art that uses long sticks, swords etc.

Central Kalarippayattu

Main article: Central Kalaripayattu

The central style (practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts^[1] 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.^[1]

Training

Gurukkal praying before puttara CVN Kalari, Ettumanoor

Several componenents make up the basic equipment and training ground of Kalarippayattu. A student begins training in northern Kalarippayattu at approximately 7 years old with a formal initiation ritual performed by the Gurukkal.

Initiation ceremony

At the age of seven, on the opening day of the new session, a novice (olden days mostly Nairs) 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, puttara, 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.

The Kalari

Main article: Kalari

The Kalari is a specially constructed practicing area that comprises a puttara (seven tiered platform) in the south-west corner. The guardian deity (usually an avatar of Bhagavathi or Shiva) is located here, and is worshipped with flowers, incense and water before each practising session, which is preceded by a prayer.

Stages

Ankathari in which both opponents are armed with Chuttuval and Paricha

The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.

Meithari (മെയ്ത്താരി)

Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattu exercises for neuro-muscular coordination, balance and flexibility follow the basic postures of the body. Kalarippayattu originates not in aggression but is in the disciplining of the self. Therefore the training begins with disciplining the physical body and attaining a mental balance. This is crucial for any person and not necessarily a martial aspirant. This first stage of training consists of physical exercises to develop strength, flexibility, balance and stamina. It includes jumps, low stances on the floor, circular sequences, kicks etc. An attempt is made to understand and master each separate organ of the body. These exercises bring an alertness to the mind, and this alertness helps one understand some of the movements and processes of the self defense sequences that are taught at later stages.

Kolthari (കോല്തരി)

Kolthari

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.

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.

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. Critics of Kalarippayattu have pointed out that the application of Marmam techniques against neutral outsiders has not always produced verifiable results.

Marmas and massage

Kalarippayattu practitioners usually meditate to invoke inner energy.

Main article: Marmam

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.

Kalarippayattu 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.

Kalarippayattu and performing arts

Influence of Kalarippayattu can be seen in major classical art forms of Kerala, mainly Kathakali.

Influence of Kalarippayattu 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 Kalarippayattu as part of their exercise regimen. Some of its choreographed sparring can be applied to dance.^[1]

Marmashastram

Marmashastram stresses on ability of Marmam. Marmam are pressure points of the human body. It is claimed that experienced practitioners can disable or kill their opponents by a mere touch in a Marmam. Practitioners of Kalarippayattu, learn about Marmashastram, which are also used for marma treatment (marmachikitsa). It is said to be as sophisticated as the uzhichil treatment of Ayurveda. This system of marma treatment is part of Sidha Vaidhyam, whose origin is attributed to Sage Agasthya and his disciples. The earliest mention of the concept marmam also dates back to the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with his vajra.^[11] References to marman also found in the Atharva Veda.^[12] With numerous other scattered references to vital points in Vedic and epic sources, it is certain that India's early martial practitioners knew and practised attacking or defending vital points.^[13] Sushruta (c. 6th century BC) identified and defined 107 vital points of the human body in his Sushruta Samhita.^[14] Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick.^[15] Sushruta's work formed the basis of the medical discipline Ayurveda, which was taught alongside various Indian martial arts that had an emphasis on vital points, such as Varma Kalai and Marma Adi.^[15]

Kalaripayattu is taught for both men and women.

Components

Techniques

Main article: Kalaripayattu Techniques

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.

Weapons

main articles: Weapons of Kalarippayattu

Weapons currently used for Kalarippayattu Pirambu/Neduvati/Kettukari/Shareeravadi Long Staff Kurunthadi/Cheruvadi/Muchhan Medium Stick [[Lathi| Long Stick Urumi/Chuttuval Flexible Sword Kuruvadi Short Stick Otta Curved Stick Gadha Club/Mace Kattari Knife/Dagger Vettukathi Machete/Kukri Churika/ Short Sword Val Long Sword Paricha Round Shield Kuntham Spear

References

• Kalaripattu

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
• Luijendijk, D.H. (2008) Kalarippayat: The Essence and Structure of an Indian Martial Art, Oprat, ISBN-13: 978-1409-2262-60
• 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

External links

• Kalarippayattu at the Open Directory Project
• kalarippayattu - one of the oldest martial arts, Government of Kerala website
• Kalaripayattu For more Kalaripayattu details.
• Kalari in Chennai for details on Kalari and Classes