Techniques, Steps and Postures
Postures
Gajavadivu : Elephant pose
Simhavadivu : Lion pose
Asvavadivu : Horse pose
Varahavadivu : Wild boar pose
Sarpavadivu : Serpent pose
Marjaravadivu : Cat pose
Kukkuvadivu : Cock pose
Matsyavadivu : Fish pose (Gurukkal Govindankutty Nayar and the C.V.N. Style)
Mayuravadivu : Peacock pose (Gurukkal P. K. Balan Style)
Steps
Vatta Chuvatu : Circular steps
Aakka Chuvatu : Inside steps
Neekka Chuvatu : Moving steps
Kon Chuvatu : Corner steps
Ottakkal Chuvatu: One leg steps
Gajavadivu : Elephant pose
Simhavadivu : Lion pose
Asvavadivu : Horse pose
Varahavadivu : Wild boar pose
Sarpavadivu : Serpent pose
Marjaravadivu : Cat pose
Kukkuvadivu : Cock pose
Matsyavadivu : Fish pose (Gurukkal Govindankutty Nayar and the C.V.N. Style)
Mayuravadivu : Peacock pose (Gurukkal P. K. Balan Style)
Steps
Vatta Chuvatu : Circular steps
Aakka Chuvatu : Inside steps
Neekka Chuvatu : Moving steps
Kon Chuvatu : Corner steps
Ottakkal Chuvatu: One leg steps
Marmas,Massage and Treatments
Kalarichikilsa
"Ayam me hasto bhagavan{ My hand is the lord }
Ayam me bhagavattarah{ Boundlessly blissful is my hand }
Ayam me visvabheshajah{ This hand holds all healing secrets }
Ayam shivabhimarshanah"{ Which make whole with its gentle touch }
---Rig Veda
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.
KALARI TREATMENT
The training of a student to become a master includes the training in Ayurveda and in locating the vital points of the body. A Kalari Guru is not only a trained movement artist but also a professional in Ayurveda, a doctor who treats people of diseases and general ailments. Kalari has developed a traditional orthopedic system which is widely popular all over the states, especially for the setting of displaced bones. There are different types of Oils, pastes, herbs etc are used only by kalari masters to treat muscle and bone injuries.
Kalari Massage
The first stage of the preparation of a warrior and the artiste is based on oil massage known as Udvarthaizam or Uzhichal. The Ayurvedic tradition of Susrutha says that diseases are afraid of approaching a body which has been foot-massaged, just like animals in the sight of a lion.
Kalari massage is a traditional massage, performed by the therapist using his hand and feet, applying appropriate pressure to specific vital parts of the body. It involves a full body massage with medicated oil and stimulating or massaging the Marma points on the body.
Usually an uzhichil course lasts for fourteen days. At the time of this massage the student has to follow strict restrictions in his or her daily routines. He should not expose to the sun for a long time should take only the prescribed food and drinks and should follow strict celibacy.
Massage helps the body to attain a healthy constitution as well as flexibility, nimbleness and suppleness. Moreover, massage enables proper blood circulation and easy maneuverability of the body for turning and twisting. Kalari massage not only relieves back pain, stiffness and sports injuries but also stimulates various bodily organs and systems.
Marma points
Marmas are certain vital points of the body. A marma point is a juncture on the body where two or more types of tissue meet, such as muscles, veins, ligaments, bones or joints and 'where the Prana is present'. There are total 108 Marma points in the body in which 64 are considered as kulamarma (deadly points). These points could be used to heel or to harm. If these points are pierced hard, it could result in trauma or even death. A kalari masseur uses the Marma points to heal.
The mind is considered as the 108th marma. The other marma points are classified for better understanding according to the physical components:
Mamsa Marma - muscle
Sira Marma - vessel
Sanyu Marma- Ligament
Asthi Marma- bones
Kalaripayattu and the ancient medical texts in the Dravidian and Sanskrit traditions share the concept of the 'vital spots' in the human body, which is made up of the Pancha Bhootas (five basic elements), air, water, earth, fire and ether. Prana (life energy) flows through the body channeled through marmas or vital points.
Attacking the vital spots caused the opponent to be stunned, disarmed or even killed and is essential to the highest stage of training given by Gurukals to their most accomplished students in the Kalari.
The earliest reference to vital points in combat is in the Rig Veda (1200 BC) where the Lord Indra slays a demon by attacking his marma with his divine weapon.
"Human is an immortal spirit encased in a perishable body so there should be points where spirit hinges matter which are called marmas or vital point"
Kalarichikilsa has its roots in the traditional Ayurveda and sidhaveda systems practiced in south India. Life is an expression of cosmic consciousness and the purpose of life is to realize and express the divinity in one's daily life.
Kalarichikilsa, the body of knowledge with which Gurukals treat and heal combat injuries by manipulating these vital points, is based on marma chikilsa with its roots in the oldest medical practice in the world known as Siddha medicine, which is embodied in ancient Dravidian texts attributed to the sage Agastya who occupies the same position as Hippocrates in modern western medicine.
Agastya identifies 108 vital points in the body and this knowledge is gained by the most exceptional students by dedicated study under their Masters for anywhere between 10 to 12 years by demonstrating great yogic ability and control of mind to avoid the remotest possibility of any misuse of such great powers.
Marma chikilsa, considered by many to be more effective than Ayurveda, employs medicinal oils and herbal preparations to treat a wide range of diseases through manipulation and massage techniques so sophisticated that they are unmatched even in this modern age.
This form of therapy is used to give the flexibility, agility and suppleness to Kalari students, to correct and cure orthopedic deformities and injuries and rheumatoid disorders.
Marma chikilsa is also a complete naturalistic healing system to rejuvenate the body by eliminating toxic imbalances to restore resistance and good health in the highly stressful environment of modern times.
Sandhi Marma - joints
"Ayam me hasto bhagavan{ My hand is the lord }
Ayam me bhagavattarah{ Boundlessly blissful is my hand }
Ayam me visvabheshajah{ This hand holds all healing secrets }
Ayam shivabhimarshanah"{ Which make whole with its gentle touch }
---Rig Veda
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.
KALARI TREATMENT
The training of a student to become a master includes the training in Ayurveda and in locating the vital points of the body. A Kalari Guru is not only a trained movement artist but also a professional in Ayurveda, a doctor who treats people of diseases and general ailments. Kalari has developed a traditional orthopedic system which is widely popular all over the states, especially for the setting of displaced bones. There are different types of Oils, pastes, herbs etc are used only by kalari masters to treat muscle and bone injuries.
Kalari Massage
The first stage of the preparation of a warrior and the artiste is based on oil massage known as Udvarthaizam or Uzhichal. The Ayurvedic tradition of Susrutha says that diseases are afraid of approaching a body which has been foot-massaged, just like animals in the sight of a lion.
Kalari massage is a traditional massage, performed by the therapist using his hand and feet, applying appropriate pressure to specific vital parts of the body. It involves a full body massage with medicated oil and stimulating or massaging the Marma points on the body.
Usually an uzhichil course lasts for fourteen days. At the time of this massage the student has to follow strict restrictions in his or her daily routines. He should not expose to the sun for a long time should take only the prescribed food and drinks and should follow strict celibacy.
Massage helps the body to attain a healthy constitution as well as flexibility, nimbleness and suppleness. Moreover, massage enables proper blood circulation and easy maneuverability of the body for turning and twisting. Kalari massage not only relieves back pain, stiffness and sports injuries but also stimulates various bodily organs and systems.
Marma points
Marmas are certain vital points of the body. A marma point is a juncture on the body where two or more types of tissue meet, such as muscles, veins, ligaments, bones or joints and 'where the Prana is present'. There are total 108 Marma points in the body in which 64 are considered as kulamarma (deadly points). These points could be used to heel or to harm. If these points are pierced hard, it could result in trauma or even death. A kalari masseur uses the Marma points to heal.
The mind is considered as the 108th marma. The other marma points are classified for better understanding according to the physical components:
Mamsa Marma - muscle
Sira Marma - vessel
Sanyu Marma- Ligament
Asthi Marma- bones
Kalaripayattu and the ancient medical texts in the Dravidian and Sanskrit traditions share the concept of the 'vital spots' in the human body, which is made up of the Pancha Bhootas (five basic elements), air, water, earth, fire and ether. Prana (life energy) flows through the body channeled through marmas or vital points.
Attacking the vital spots caused the opponent to be stunned, disarmed or even killed and is essential to the highest stage of training given by Gurukals to their most accomplished students in the Kalari.
The earliest reference to vital points in combat is in the Rig Veda (1200 BC) where the Lord Indra slays a demon by attacking his marma with his divine weapon.
"Human is an immortal spirit encased in a perishable body so there should be points where spirit hinges matter which are called marmas or vital point"
Kalarichikilsa has its roots in the traditional Ayurveda and sidhaveda systems practiced in south India. Life is an expression of cosmic consciousness and the purpose of life is to realize and express the divinity in one's daily life.
Kalarichikilsa, the body of knowledge with which Gurukals treat and heal combat injuries by manipulating these vital points, is based on marma chikilsa with its roots in the oldest medical practice in the world known as Siddha medicine, which is embodied in ancient Dravidian texts attributed to the sage Agastya who occupies the same position as Hippocrates in modern western medicine.
Agastya identifies 108 vital points in the body and this knowledge is gained by the most exceptional students by dedicated study under their Masters for anywhere between 10 to 12 years by demonstrating great yogic ability and control of mind to avoid the remotest possibility of any misuse of such great powers.
Marma chikilsa, considered by many to be more effective than Ayurveda, employs medicinal oils and herbal preparations to treat a wide range of diseases through manipulation and massage techniques so sophisticated that they are unmatched even in this modern age.
This form of therapy is used to give the flexibility, agility and suppleness to Kalari students, to correct and cure orthopedic deformities and injuries and rheumatoid disorders.
Marma chikilsa is also a complete naturalistic healing system to rejuvenate the body by eliminating toxic imbalances to restore resistance and good health in the highly stressful environment of modern times.
Sandhi Marma - joints
Stages of Kalarippayattu
Meithari
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.
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
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
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.
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.
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
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
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.
Southern Kalaripayattu
In southern styles of kalarippayattu (practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu) , practice and fighting techniques emphasize empty hands and application from the first lesson. 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 have been practised primarily by a section of Nairs and Ezhavas of Kerala and a small section of Nadars, Kallars and Maravars, of erstwhile Travancore areas.
Zarrilli refers to southern kalarippayattu as ati mura (the 'law of hitting') or marma ati (hitting the vital spots) or Varma ati or Varma Kalari . The preliminary empty-hand techniques of ati mura are known as Adithada (hit/defend). Varma ati refers specifically to the application of these techniques to vital spots. Weapons may include Chilambam(long staffs), short sticks, and double deer horns. Southern styles of kalarippayattu are not practised in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches. Masters are known as asan rather than gurukkal. The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama.
Medical treatment in southern styles of kalarippayattu — which does include massage — is identified with Dravidian Siddha medicine, which is regarded as being as sophisticated as — though distinct from — Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam and, like ati mura, is attributed to the rishi Agasthya. The active suppression of Nairs in southern Kerala led to the virtual extinction of their southern dronamballi sampradayam by the mid-1950s.
Zarrilli refers to southern kalarippayattu as ati mura (the 'law of hitting') or marma ati (hitting the vital spots) or Varma ati or Varma Kalari . The preliminary empty-hand techniques of ati mura are known as Adithada (hit/defend). Varma ati refers specifically to the application of these techniques to vital spots. Weapons may include Chilambam(long staffs), short sticks, and double deer horns. Southern styles of kalarippayattu are not practised in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches. Masters are known as asan rather than gurukkal. The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama.
Medical treatment in southern styles of kalarippayattu — which does include massage — is identified with Dravidian Siddha medicine, which is regarded as being as sophisticated as — though distinct from — Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam and, like ati mura, is attributed to the rishi Agasthya. The active suppression of Nairs in southern Kerala led to the virtual extinction of their southern dronamballi sampradayam by the mid-1950s.
Northern Kalaripayattu
Northern kalarippayattu places comparatively more emphasis on weapons than on empty hands.
Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.
By oral and written tradition, Parasurama is believed to be the founder of the art.
Northern kalarippayattu is distinguished by its meippayattu physical training and use of full-body oil massage. The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda. The purpose of medicinal oil massage is to increase practitioners' flexibility or to treat muscle injuries incurred during practice. The term for such massages is thirumal and the massage specifically for physical flexibility katcha thirumal.
Sampradayam, or lineages, or northern kalarippayattu include the arappukai, pillatanni and vattantirippu styles
Phillip B. Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that northern kalarippayattu dates back to at least the 12th century CE. The historian Elamkulam Kunjan Pillai attributes the birth of northern kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.
From the eleventh or twelfth century the right and duty to practice the martial art in the service of a ruler was most associated with specific subgroups of Nairs and Ezhava/Thiyyas (called chekavars). However, at least one sub caste of Brahmins as well as some Christians and Muslims were engaged in practicing this martial art.
In addition to this, chekavars were engaged to fight in ankam, public duels to the death to solve disputes between his opposing rules called Vazhunnor. Among some families of the above communities, some young girls also received preliminary training up until the onset of menses. In vadakkan pattukal ballads its a known fact that at least a few women warriors also continued to practice and achieved a high degree of expertise. Ankam were fought on an ankathattu, a temporary platform, four to six feet high, purpose-built for ankam.
The earliest and most detailed account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518).
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.
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 and continued through the 1970s surge of general worldwide interest in martial arts.
Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.
By oral and written tradition, Parasurama is believed to be the founder of the art.
Northern kalarippayattu is distinguished by its meippayattu physical training and use of full-body oil massage. The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda. The purpose of medicinal oil massage is to increase practitioners' flexibility or to treat muscle injuries incurred during practice. The term for such massages is thirumal and the massage specifically for physical flexibility katcha thirumal.
Sampradayam, or lineages, or northern kalarippayattu include the arappukai, pillatanni and vattantirippu styles
Phillip B. Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that northern kalarippayattu dates back to at least the 12th century CE. The historian Elamkulam Kunjan Pillai attributes the birth of northern kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.
From the eleventh or twelfth century the right and duty to practice the martial art in the service of a ruler was most associated with specific subgroups of Nairs and Ezhava/Thiyyas (called chekavars). However, at least one sub caste of Brahmins as well as some Christians and Muslims were engaged in practicing this martial art.
In addition to this, chekavars were engaged to fight in ankam, public duels to the death to solve disputes between his opposing rules called Vazhunnor. Among some families of the above communities, some young girls also received preliminary training up until the onset of menses. In vadakkan pattukal ballads its a known fact that at least a few women warriors also continued to practice and achieved a high degree of expertise. Ankam were fought on an ankathattu, a temporary platform, four to six feet high, purpose-built for ankam.
The earliest and most detailed account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518).
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.
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 and continued through the 1970s surge of general worldwide interest in martial arts.
Construction of a Kalari
Traditionally the Kalari is constructed by digging a hollow in the ground forming a sunken area four feet in depth, forty-two feet in length and twenty-one feet in breadth. This is usually called KuzhiKalari. Kuzhi means "portions formed by caving in the earth" in the Malayalam language.
The entrance to the Kalari is in the east, to let in the morning sunlight, and leads into the forty-two foot leg running East-West while the twenty-one foot leg runs North-South. Another consideration taken when constructing the kalari is that it is built in the south-west side of the main plot, just like the puttara which is kept in the South-West corner of the Kalari itself. The floor of the Kalari is leveled using mud.
AnkaKalari and Ankathattu
Ankathattu is a four to six feet high platform constructed temporarily for the purpose of fighting duels. Ankam means war in the Malayalam language. This platform is constructed as per tradition and is in the center of the ground from where people can watch the fight. This place altogether is called AnkaKalari.
A few centuries back in Kerala, south India, quarrels between local rulers were resolved by fixing an Ankam, a duel to the death, between two Ankachekavars, each ruler being represented by one Ankachekavar. The ruler represented by the surviving Ankachekavar was considered the winner.
Famous Kalaripayattu warriors: Aromal Chekavar, Thacholi Othenan, Thacholi Marumakan Chanthu, and Unniyarcha.
The entrance to the Kalari is in the east, to let in the morning sunlight, and leads into the forty-two foot leg running East-West while the twenty-one foot leg runs North-South. Another consideration taken when constructing the kalari is that it is built in the south-west side of the main plot, just like the puttara which is kept in the South-West corner of the Kalari itself. The floor of the Kalari is leveled using mud.
AnkaKalari and Ankathattu
Ankathattu is a four to six feet high platform constructed temporarily for the purpose of fighting duels. Ankam means war in the Malayalam language. This platform is constructed as per tradition and is in the center of the ground from where people can watch the fight. This place altogether is called AnkaKalari.
A few centuries back in Kerala, south India, quarrels between local rulers were resolved by fixing an Ankam, a duel to the death, between two Ankachekavars, each ruler being represented by one Ankachekavar. The ruler represented by the surviving Ankachekavar was considered the winner.
Famous Kalaripayattu warriors: Aromal Chekavar, Thacholi Othenan, Thacholi Marumakan Chanthu, and Unniyarcha.
Origin of Kalarippayattu
Kalaripayattu is perhaps the most ancient martial art in the world. Religions have incorporated Kalaripayattu into their realm. The origin of Kalaripayattu is still in the midst of obscurity. Traditional Kalari masters attribute mythological stories and legends to the origin of the art. Legend traces the 3000-year-old art form to Sage Parasurama- the master of all martial art forms and credited to be the re-claimer of Kerala from the Arabian Sea.
At the turn of the 6th century A.D., martial arts spread from Southern India to China by Daruma Bodhidarma - an Indian Buddhist monk and Kalaripayattu master. From China, martial arts have spread to Korea & Japan. Kalaripayattu is derived from the words Kalari - which means "place, threshing floor, or battlefield", and payattu - which means to "exercise in arms or practice".
Martial arts have been in existence on the Indian sub-continent for thousands of years. Long ago, animal fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron Ages. Even in Vedas they have mentioned about martial arts. Kalaripayattu is one such martial art, Crafted in ancient South India and draws inspiration from the raw power, majestic strength and instinctive fighting techniques of animals like lion, tiger, elephant, wild boar, crocodile etc.
It is significant that some Kalaripayattu masters trace their lineages of practice to "Dhanur Veda" and claim that the texts in which their martial techniques are recorded derive from Dhanur Vedic texts. Although the Dhanur Veda means the "science of archery," it encompassed all the traditional fighting arts. The explicit concern in Dhanur Veda texts is not with battlefield strategies, but rather with training in martial techniques.
The Dhanur Veda opens by cataloging the subject, stating that there are five training divisions (for warriors on chariots, elephants, horseback, infantry, or wrestling), and five types of weapons to be learned (those projected by machine [arrows or missiles], those thrown by the hands [spears], those cast by hands yet retained [noose], those permanently held in the hands [sword], and the hands themselves [249:1-5]).
Most of the final Chapters are brief descriptions of postures and techniques for wrestling and the use of a variety of weapons including noose, sword, armors, iron dart, club, battle axe, discus, and the trident. A short passage near the end of the text returns to the larger concerns of warfare and explains the various uses of war elephants and men. The text concludes with a description of how to appropriately send the well-trained fighter off to war.
Kalaripayattu reached its pinnacle of glory during the 100-years-war between the Cholas, Cheras, and Pandyas in the early part of the first millennium. The warring states refined the fighting skills and techniques prevalent in the area into a martial art form. The art flourished between the 13 and 16 centuries, becoming a part of the education of youngsters. It was a social custom in Kerala to send all youngsters above the age of seven to learn Kalari.
At the turn of the 6th century A.D., martial arts spread from Southern India to China by Daruma Bodhidarma - an Indian Buddhist monk and Kalaripayattu master. From China, martial arts have spread to Korea & Japan. Kalaripayattu is derived from the words Kalari - which means "place, threshing floor, or battlefield", and payattu - which means to "exercise in arms or practice".
Martial arts have been in existence on the Indian sub-continent for thousands of years. Long ago, animal fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron Ages. Even in Vedas they have mentioned about martial arts. Kalaripayattu is one such martial art, Crafted in ancient South India and draws inspiration from the raw power, majestic strength and instinctive fighting techniques of animals like lion, tiger, elephant, wild boar, crocodile etc.
It is significant that some Kalaripayattu masters trace their lineages of practice to "Dhanur Veda" and claim that the texts in which their martial techniques are recorded derive from Dhanur Vedic texts. Although the Dhanur Veda means the "science of archery," it encompassed all the traditional fighting arts. The explicit concern in Dhanur Veda texts is not with battlefield strategies, but rather with training in martial techniques.
The Dhanur Veda opens by cataloging the subject, stating that there are five training divisions (for warriors on chariots, elephants, horseback, infantry, or wrestling), and five types of weapons to be learned (those projected by machine [arrows or missiles], those thrown by the hands [spears], those cast by hands yet retained [noose], those permanently held in the hands [sword], and the hands themselves [249:1-5]).
Most of the final Chapters are brief descriptions of postures and techniques for wrestling and the use of a variety of weapons including noose, sword, armors, iron dart, club, battle axe, discus, and the trident. A short passage near the end of the text returns to the larger concerns of warfare and explains the various uses of war elephants and men. The text concludes with a description of how to appropriately send the well-trained fighter off to war.
Kalaripayattu reached its pinnacle of glory during the 100-years-war between the Cholas, Cheras, and Pandyas in the early part of the first millennium. The warring states refined the fighting skills and techniques prevalent in the area into a martial art form. The art flourished between the 13 and 16 centuries, becoming a part of the education of youngsters. It was a social custom in Kerala to send all youngsters above the age of seven to learn Kalari.
About Kalaripayattu
Kalaripayattu - The Orient's treasure trove, a gift to the modern world and the mother of all martial arts. Legend traces the 3000-year-old art form to Sage Parasurama- the master of all martial art forms and credited to be the re-claimer of Kerala from the Arabian Sea. Kalaripayattu originated in ancient South India. Kung- fu, popularized by the monks of the Shoaling Temple traces its ancestry to Bodhi Dharma - an Indian Buddhist monk and Kalaripayattu master.
Kalari is the Malayalam word, for a special kind of Gymnasium, where the martial art known as Kalarippayattu , a martial art of Kerala, is practiced. Kalari, literally means threshing floor or battlefield, is a specially constructed practice area.
Every Kalari has a Poothara (meaning "platform where flowers are kept" in the Malayalam language). It's a seven tiered platform placed in the south-west corner of every Kalari, housing the guardian deity of the Kalari. The seven tiers symbolise the seven abilities that each person must possess: Vignesva (strength), Channiga (patience), Vishnu (power to command), Vadugashcha (the posture), Tadaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners. Flowers, incense and water are offered to the deity every day. Before starting the day's practice, it is the norm for practitioners to pray to the deity. Not only is the Kalari a temple of learning, but it is also a temple of religious worship with a cult and ritual of its own.
Kalari is the Malayalam word, for a special kind of Gymnasium, where the martial art known as Kalarippayattu , a martial art of Kerala, is practiced. Kalari, literally means threshing floor or battlefield, is a specially constructed practice area.
Every Kalari has a Poothara (meaning "platform where flowers are kept" in the Malayalam language). It's a seven tiered platform placed in the south-west corner of every Kalari, housing the guardian deity of the Kalari. The seven tiers symbolise the seven abilities that each person must possess: Vignesva (strength), Channiga (patience), Vishnu (power to command), Vadugashcha (the posture), Tadaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners. Flowers, incense and water are offered to the deity every day. Before starting the day's practice, it is the norm for practitioners to pray to the deity. Not only is the Kalari a temple of learning, but it is also a temple of religious worship with a cult and ritual of its own.
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