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| Origin: | Kerala, South India | |
| Practised in: | Kerala, Tamil Nadu and Karnataka | |
| Styles: | Northern, Southern and Central | |
Kalarippayattu (Malayalam: കളരിപ്പയറ്റ്) is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka.[1] It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques.[2]
Etymology
Kalaripayattu (Malayalam: കളരിപ്പയറ്റ്), literally meaning "place of exercise" or "battlefield training", comes from the Mayalalam words kalari (meaning 'place', 'open space', or 'battlefield') and payattu (meaning 'to be trained', or 'to practice').[3]
History
Origins
Kalaripayattu is thought to date from at least the 12th century CE, but may be older or more recent in origin, and likely developed around the region of Kerala where it is currently most widely practiced. 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.[4] 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.[5] What eventually crystalised 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.[6] The earliest and most detailed account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518). The Southern style, which places more emphesis on open hand combat has mainly been practiced by the Tamil speaking regions, at least for the last few centuries.[7]
Disputed history
There are disputed claims that some Chinese and Japanese martial arts originated from kalarippayattu via Bodhidharma. The topic is controversial amongst the martial arts community, with proponents and detractors. While proponents suggest that the Buddhist monk Bodhidharma may have brough a physical discipline of some sort to the Shaolin temple, detractors argue that Bodhidharma was only assotiated with the Shaolin temple after his death.
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.[8] 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[9] and continued through the 1970s surge of general worldwide interest in martial arts.[10] In recent years, efforts have been made to further popularise the art, with it featuring in international films.
Styles of Kalaripayattu
Northern Kalaripayattu
Northern kalarippayattu (praciced mainly in the northern Malabar region of Kozhikode and Kannur)[11] places comparatively more emphasis on weapons than on empty hands.[12] Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.[13] By oral and written tradition, Parasurama is believed to be the founder of the art.[14]
Northern kalarippayattu is distinguished by its meippayattu physical training and use of full-body oil massage.[15] The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda.[16] 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.[17]
Southern Kalaripayattu
In southern styles of kalarippayattu (practiced mainly in old Travancore and the Kanyakumari district of Tamil Nadu)[18], practice and fighting techniques emphasize empty hands and application from the first lesson.[19] 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 decidedly Tamil[20] and for at least several hundred years have been practised primarily by Nadars, Kallars, Thevars,[21] and some Sambavar.[22]
Zarrilli refers to southern kalarippayattu as ati murai (the 'law of hitting') or varma ati (hitting the vital spots).[23] The preliminary empty-hand techniques of ati murai are known as Adithada (hit/defend).[24] Varma ati refers specifically to the application of these techniques to vital spots.[25] Weapons may include long staffs, short sticks, and the double deer horns.[26]. Southern styles of kalarippayattu are not practiced in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches.[27] Masters are known as asan rather than gurukkal.[28] The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama.[29]
Medical treatment in southern styles of kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine which is as sophisticated as—though distinct from—Ayurveda.[30] 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.[31]
Central Kalaripayattu
The central style (practiced mainly in Trissur, Malappuram, Palghat and certain parts of Ernakulam districts[32] 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.[33]
Components
Several componenents make up the basic epipment and training ground of Kalaripayattu. A student begins training in northern Kalarippayatt at the age of 7 or 8 with a formal initiation ritual performed by the Gurukkal. The training is mainly divided into 3 parts consisting of Meithari, Kolthari and Ankathari. Apart from these, one more stage exists called Verumkai.
The Gurukkal
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.
Weapons
Weapons currently used:
- Pirambu/Neduvati/Kettukari/Shareeravadi (long staff)
- Kurunthadi/Cheruvadi/Muchhan (medium stick)
- Kottukampu/Thavikkana (long stick)
- Urumi/Chuttuval (flexible sword)
- Kuruvadi (short stick)
- Otta (curved stick)
- Gadha (club/mace)
- Kattari (knife/dagger)
- Vettukathi (machete/kukri)
- Churika/Kadhara (short sword)
- Val (long sword)
- Paricha (round shield)
- Kuntham (spear)
Medieval literature also refers to these other weapons:
- Ponti ()
- Bow and arrow ()
- Venmazhu(axe)
- Kathuthala ()
- Trisool (trident)
Marma points
(marma points)
Prana
(energy, i.e. prana, kundalini, theory, etc)
Ayurveda
i.e. healing techniques used
Postures
Northern styles of Kalarippayattu have Ashta Vadivukal, or eight postures. Each posture has its own style, power combination, usefulness and effectiveness.
| Gurukkal Govindankutty Nayar and the C.V.N. Style | Gurukkal P.K. Balan |
|---|---|
| gajavadivu—elephant pose | asvavadivu—horse pose |
| simhavadivu—lion pose | mayuravadivu—peacock pose |
| asvavadivu—horse pose | sarpavadivu—serpent pose |
| varahavadivu—wild boar pose | kukkuvadivu—cock pose |
| sarpavadivu—serpent pose | gajavadivu—elephant pose |
| marjaravadivu—cat pose | marjaravadivu—cat pose |
| kukkuvadivu—cock pose | simhavadivu—lion pose |
| matsyavadivu—fish pose | varahavadivu—wild boar pose |
Stages
Initiation ceremony
At the age of seven, on an auspicious day or 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 Guruttara, 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 has to offer 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, Poottara, Guruttara 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.
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) and the 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 Marmam, the vital points of the body. The Gurukkal teaches knowledge of marmam only to those students whom he trusts, restricting the knowledge to very few.
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 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.
Cinema
Kathakali
Kathakali is a form of Indian dance-drama. It originated in the Indian state of Kerala during the 7th century C.E. The Raja of Kottarakara is the earliest exponent of this art. It is considered to be one of the oldest dance forms in India. It is a spectacular combination of drama, dance, music, martial arts and ritual. Characters with vividly painted faces and elaborate costumes re-enact stories from the Hindu epics, Mahabharatha and Ramayana.
Contemporary dance
Other applications
Self defence
Sport
See also
External links
Reccomended reading
- When the Body Becomes All Eyes, Phillip B. Zarrilli, Oxford University Press 1998, ISBN: 0195655389
- To Heal and/or To Harm: The Vital Spots in Two South Indian Martial Traditions, Phillip B. Zarrilli, Online
- Actualizing Power and Crafting a Self in Kalarippayattu, Phillip B. Zarrilli, Journal of Asian Martial arts 1993, Online
- Kathakali Dance-drama: When Gods and Demons Come to Play, Phillip B. Zarrilli, Routledge 1999, ISBN: 041519282X
- Kalarippayattu: The ancient martial art of Kerala, Pi Balakrsnan, C.V. Govindankutty Nair Gurukka 1995, ASIN: B0006F9ONS
- Hindu Arms and Ritual: Arms and Armour from India 1400-1865, Robert Elgood, Eburon Publishers 2005, ISBN: 9059720202
- Kalarippayat: India's Ancient Martial Art, D.H. Luijendijk, Paladin Press 2005, ISBN: 1581604807
- Kalaripayat, Patrick Denaud, Budostore 1996, ISBN: 2908580624
References
- ^ Zarrilli, Phillip B. (1998). When the Body Becomes All Eyes: Paradigms, Discourses and Practices of Power in Kalarippayattu, a South Indian Martial Art. Oxford: Oxford University Press.
- ^ 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 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 occurance of khalūrikā is in Hemacandra's Abhidanacintamani, dated about the 12th century.'
- ^ 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
- ^ 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
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ Zarrilli 1998
- ^ 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