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Template:Indian martial arts sidebar Kalarippayattu or kalaripayattu (Malayalam കളരിപയറ്റ്, IPA: [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, martial dance, and weaponry, as well as healing techniques.^[1] Regional variances 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.Kalaripayattu has also similarities with the fighting styles of Kung-Fu(Chinese martial arts) as well.

Etymology

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the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, Kalarippayattu is in Ulloor S. Parameswara Iyer's early twentieth century drama, Amba.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

Origins

The word "kalari" can be traced to ancient Sangam literature.^[2] The martial tradition of Kalarippayattu is also dated to ancient Dravidian traditions.^[3] 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.^[4] References to marman also found in the Atharva Veda.^[5] Kalarippayattu became more developed during the 9th century and was practiced by the warrior clan of Kerala, the Nair community, 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 (Ezhava) and the Lohars, the Buddhist warriors of north Kerala^[6].

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.^[7] The oldest western reference to Kalarippayattu is a 16th century travelogue of Duarte Barbosa, a Portuguese explorer.

Revival

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.^[8] 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.

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.^[9]

Northern Kalarippayattu

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 Kuruppu(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 Cannanore, for example, teach a blend of arappukai, pillatanni, and katadanath styles.^[9]

Southern Kalarippayattu

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), Katara (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 Nairs, Nadars, and a section of Ezhavas, also by a smaller section of Kallars and Thevars^[1] of erstwhile Travancore areas.

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^[8] 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

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

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

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

File:Urmi-Payattu.jpg

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 neuromuscular coordination, balance and flexibility follow the basic postures of the body.

Kolthari (കോല്തരി)

File:DSC01605.JPG

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.

Marmas and massage

File:Sabdha chakras.jpg

Kalarippayattu practitioners usually meditate to invoke inner energy.

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. 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]Hindu culture has influenced Kalarippayattu for a long time.

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.^[10] References to marman also found in the Atharva Veda.^[11] 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.^[12] Sushruta (c. 6th century BC) identified and defined 107 vital points of the human body in his Sushruta Samhita.^[13] Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick.^[14] 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.^[14]

Kalaripayattu is taught for both men and women.

Components

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.

Postures (Vadivu)

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 (Chuvatu)

Vatta Chuvatu	Circular steps
Aakka Chuvatu	Inside steps
Neekka Chuvatu	Moving steps
Kon Chuvatu	Corner steps
Ottakkal Chuvatu	One leg steps

Weapons

main articles: Weapons of Kalarippayattu

Weapons currently used for Kalarippayattu

File:Kalari-weapons.jpg
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

Weapons referred in medieval literatures

Pirambu/Neduvati/Kettukari/Shareeravadi	Long Staff
Ponti
Ambum Villum	Bow and Arrow
Venmazhu	Axe
Kathuthala
Trisool	Trident

References

^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w ^x Zarrilli 1998
^ Suresh, P. R. (2005). Kalari Payatte - The martial art of Kerala.
^ Subaltern Sports: Politics and Sports in South Asia By James H. Mills. Published 2005, Anthem Press. Subject: Archaeology /Anthropology. ISBN 1843311674
^ Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin.
^ Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Passage Press. Utah USA.
^ KALARI
^ Kalaripayatta- Discovery Channel
^ ^a ^b Zarrilli 1992
^ ^a ^b Luijendijk 2005
^ Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin.
^ Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Passage Press. Utah USA.
^ Zarrilli, Phillip B. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. University of Wisconsin-Madison.
^ G. D. Singhal, L. V. Guru (1973). Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta Samhita.
^ ^a ^b J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. Electronic Journals of Martial Arts and Sciences.

External links

Kalaripayattu at Curlie
kalarippayattu - one of the oldest martial arts, Government of Kerala website
Kalaripayattu For more Kalaripayattu details.

Template:Manav by country

[Zarilli_98-1] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w ^x Zarrilli 1998

[2] Suresh, P. R. (2005). Kalari Payatte - The martial art of Kerala.

[3] Subaltern Sports: Politics and Sports in South Asia By James H. Mills. Published 2005, Anthem Press. Subject: Archaeology /Anthropology. ISBN 1843311674

[4] Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin.

[5] Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Passage Press. Utah USA.

[6] KALARI

[7] Kalaripayatta- Discovery Channel

[Zarilli_92-8] Zarrilli 1992

[Luijendijk_05-9] Luijendijk 2005

[10] Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin.

[11] Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Passage Press. Utah USA.

[Zarrilli1-12] Zarrilli, Phillip B. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. University of Wisconsin-Madison.

[13] G. D. Singhal, L. V. Guru (1973). Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta Samhita.

[Svinth-14] J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. Electronic Journals of Martial Arts and Sciences.

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v t e Kalaripayattu
Overviews	Kalaripayattu in popular culture List of Kalaripayattu practitioners
Styles	Madhya Kalari
Terms	Ankam Kalari Kalari Panicker
Influenced arts	Chavittu Nadakam Kathakali Kolkali Margamkali Padayani Parichamuttukali Poorakkali Thacholikali Theyyam Velakali
Related topics	Adimurai Ayurveda Chekavar Mamankam festival Nair Siddha medicine Vadakkan Pattukal Varma kalai Yoga
Indian martial arts

v t e Indian martial arts
Martial arts and combat sports	Adimurai Aki Kiti Gatka Gatta gusthi Huyen langlon Inbuan wrestling Kabaddi Kalaripayattu Lathi khela Malakhra Malla-yuddha Mallakhamba Mardani khel Mukna Musti-yuddha Pehlwani Shastar Vidya Silambam Sqay Vajra-mushti
Weapons	Aruval Ayudha katti Bagh nakh Bichuwa Bhuj Chakram Chentu Elephant goad Firangi Gada Katar Kayamkulam vaal Khanda Khaṭvāṅga Kirpan Kukri Maduvu Malappuram Kathi Moplah Mudgar Otta Pata Pesh-kabz Pichangatti Saintie Savuku Shareeravadi Shuckra Talwar Urumi
Related terms	Akhara Ankam Ankathattu Chekavar Kalari Paika akhada
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