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Kalaripayattu
Wiki Loves Monuments: Historic sites, photos, and prizes!
Kalaripayattu
Focus Striking, kicking, grappling,
w eaponry, hybrid
Hardnes s Full-contact, Semi-contact
Country of
origin
India
From Wikipedia, the free encyclopedia
This article needs additional citations for verification. Please help
improve this articleby adding citations to reliable sources. Unsourcedmaterial may be challenged and removed. (September 2011)
Kalaripayattu (pronunciation: [kripjt:]) or "Payattu" is an
Indian martial art from the southern state of ancientKerala.[1]
One of the oldest fighting systems in existence,[2] it is now
practiced in Kerala and contiguous parts of Tamil Nadu and
Karnataka[citation needed] as well as northeastern Sri Lanka and
among the Malayali community of Malaysia. It was originallypracticed in northern and central parts of Kerala and the
Tulunadu region of Karnataka.[3]
Kalaripayattu includes strikes, kicks, grappling, preset forms,
weaponry and healing methods.[3] Regional variants are
classified according to geographical position in Kerala; these
are the Northern style from Malabar region in north Kerala, the
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Creator Parashurama; Agastya
Famous
practitioners
Bodhidharma
Simhalan Madhava Panicker
Jasmine Simhalan
Kezidath Padmanabha Menon
Olympic
sport
No
Official
website
http://w w w .kalaripayattu.org/
Meaning "Practice in the arts of the
battlefield."
Part of a series on
Indian martial arts
Styles
Gatka:
Kalaripayattu:
Musti-yuddha:
Silambam:
Thang-Ta:
Wrestling:Malla-yuddha
Pehlwani
Legendary Figures
Central style from inner Kerala and the southern style from
Travancore region of south Kerala. The southern Payattu
system is now extinct and the Tamil style of "Adi Murai" is
classified as the southern kalarippayattu by Kerala
Kalarippayattu association.
The northern style was practiced primarily by the Nairs and the
Ezhava (Thiyya), the two communities primarily associatedwith the martial arts practice in Kerala.[4][5] as well as some
Mappilas and Saint Thomas Christians. The southern style,
calledAdi Murai, was practiced largely by the Nadars and has
features dist inguishing it from its other regional
counterparts.[6][7][8] Northern kalaripayattu is based on elegant
and flexible movements, evasions, jumps and weapons training, while the
southern "Adi Murai" style primarily follows the hard impact based
techniques with priority in empty hand fighting and pressure point strikes.Both systems make use of internal and external concepts.
Some of the flexibility training methods in northern Kalaripayattu are
applied in Kerala dance forms[3] and kathakali dancers who knew martial
arts were believed to be markedly better than the other performers. Some
traditional Indian dance schools still incorporate kalaripayattu as part of
their exercise regimen.[9][page needed]
Dansk
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Parashurama Agastya Drona
Hanuman Bhima Arjuna
Unniyarcha
Notable Practitioners
Siddhartha Gautama
Guru Hargobind Shivaji
The Great Gama Gobar Guha
Simhalan Madhava Panicker Jasmine Simhalan Dara Singh
Vidyut Jamw al Phillip Zarrilli
V T E
Contents [hide]
1 History
1.1 Origins
1.2 Decline and revival
2 Variations
2.1 Northern kalaripayattu
2.2 Southern kalaripayattu2.3 Central kalaripayattu
2.4 Styles
3 The kalari
4 Marmashastram and massage
5 Weapons
6 See also
7 References
8 Further reading
9 External links
History [ edit source ]
Origins [ edit source ]
Oral folklore ascribes the creation of kalaripayattu toHindu
gods.[citation needed] It was first documented around the 11th or12th century AD by the historian Elamkulam Kunjan Pillai, who
attributed its creation to an extended period of warfare that took
place between the Chera and the Chola dynasties in the 11th
century.[3]
The art was disseminated through schools known as kalari,
which served as centres of learning before the modern
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educational system was introduced. Still in existence, kalaris
served as meeting places for the acquisition of knowledge on
various subjects ranging from mathematics, language,
astronomy and various theatrical arts.[citation needed] More specifically, martial arts were taught in the
payattu kalari, meaning fight school.[citation needed]
Kalaripayattu became more developed during the 9th century[clarification needed] and was practiced by warrior
clans of Kerala to defend the state and the king. In the 11th and 12th century, Kerala was divided into smallprincipalities that fought wars among themselves. As part of these there one-on-oneduels or ankam were
fought by Chekavar on an ankathattu, a temporary platform, four to six feet high.[10][page needed] The
traditional astrologer caste Kaniyar were also involved in the training of Kalaripayatuu.[11] Hence they were
known as Panickar and Asans.[citation needed]
The Mappila Muslims adopted and practiced Kalaripayattu as their own.[12] The ballads of North Kerala refer
to Muslims trained in Kalaripayattu.[12] For instance, the hero of the northern ballads Thacholi Othenan
bowed before Kunjali Marakkar, the Muslim commander of the Zamorin, and offered him presents before
opening his kalari.[12] Some Mappilas were trained in Hindu institutions known as Chekor Kalaris.[12] The
Paricha Kaliis an adaptation of Kalaripayattu, and the Mappila tradition of this art is called
Parichamuttu.[12] The participants typically wear white shirts, green skullcaps, and sing Mappila songs after
praying to Allah, Prophet Muhammad and thepirs.[12]
The Saint Thomas Christians also practiced Kalaripayattu and most Christian settlements had akalari, that
was usually run by a Christianpanikkar(officer).[13] In theJornada, it is mentioned that some Christian
panikkars had between 8,000 to 9,000 disciples, who were trained as fighting forces for the localrajahs.[13]
One of the most prominent Christianpanikkars was Vallikkada Panikkar, whose kalariwas located atPeringuzha on the banks of the Muvattupuzha river.[13] He is an ancestor of Bishop Geevarghese Mar
Ivanios, one of the founders of the Syro-Malankara Catholic Church.[13]
The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalaripayattu was
widely popular and well established with almost all people in Kerala transcending gender, caste and
communal lines. It is said to have eventually become as prevalent as reading and writing. Among some
noble families, young girls also received preliminary training up until the onset of menses.[3] It is also known
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from the vadakkan pattukalballads that at least a few women of noted Chekavar continued to practise and
achieved a high degree of expertise.[3] The most famous of them was Unniyarcha of Keralan folklore, a
master with the urumi or flexible sword.
The earliest western account of kalaripayattu is that of the Portuguese explorerDuarte Barbosa (c. 1518).[3]
The more part of these warriors when they are seven years of age are sent to schools where
they are taught many tricks of nimbleness and dexterity; there they teach them to dance and
turn about and to twist on the ground, to take royal leaps, and other leaps, and this they learn
twice a day as long as they are children, and they become so loose-jointed and supple that
they make them turn their bodies contrary to nature; and when they are fully accomplished in
this, they teach them to play with the weapon to which they are most inclined, some with
bows and arrows, some with poles to become spearmen, but most with swords and bucklers,
which is most used among them, and in this fencing they are ever practis ing. The masters
who teach them are called Panikars.
Decline and revival [ edit source ]
Kalaripayattu underwent a period of decline when the Nair warriors lost to the British after the introduction of
firearms and especially after the full establishment of British colonial rule in the 19th century.[3] The British
eventually banned kalaripayattu and the Nair custom of holding swords so as to prevent rebellion and anti-
colonial sentiments. During this time, many Indian martial arts had to be practiced in secret and were often
confined to rural areas.[citation needed]
The resurgence of public interest in kalaripayattu began in the 1920s in Tellicherry as part of a wave of
rediscovery of the traditional arts throughout south India[3] and continued through the 1970s surge of general
worldwide interest in martial arts.[14] In recent years, efforts have been made to further popularise the art,
with it featuring in international andIndian films such as Ondanondu kaladalli(Kannada), Indian (1996),
Asoka (2001), The Myth (2005), The Last Legion (2007), and also in the Japanese mangaKenichi: The
Mightiest Disciple.
Variations [ edit source ]
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Kalaripayattu has three regional variants that are distinguished by their attacking and defensive patterns.
Northern kalaripayattu [ edit source ]
Main article: Northern kalaripayattu
Northern kalaripayattu (vadakkan kalari) is practiced mainly in North Malabar.[3] It places more emphasis
on weapons than on empty hands.[3]Parashurama, sixth avatar of Vishnu, is believed to be the style's
founder according to both oral and written tradition.[3] Masters in this system are usually known as gurukkalor occasionally as asan, and were often given honorific titles, especially Panikkar.[3] The Parashurama
myth in Kerala is associated with the Brahmin migration and Aryanisation of Kerala. The northern Brahmin
immigrants contributed their skills through the "Salai"s which were educational institut ions imparting various
branches of knowledge including military arts.
The northern style is distinguished by its meippayattu - physical training and use of full-body oil massage.[3]
The system of treatment and massage, and the assumptions about practice are closely associated with
ayurveda.[3] 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 thirumaland the massage specifically for physical flexibility
chavutti thirumalwhich literally means "stamping massage" or "foot massage". The masseuse may use
their feet and body weight to massage the person.
There are several lineages/styles (sampradayam), of which 'thulunadan' is considered as the best. In olden
times, students went to tulunadu kalari's to overcome their defects (kuttam theerkkal). There are schools
which teach more than one of these traditions. Some t raditional kalari aroundKannur for example teach a
blend of arappukai,pillatanni, and katadanath styles.[10]
Southern kalaripayattu [ edit source ]
The original style of southern kalarippayattu was known as "Dronambilli" is now extinct. Masters are known
as 'asaan.[3] It is practiced largely by the Nadars and has features distinguishing it from its other regional
counterparts.[6][7][8] 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
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shield), chuttuval (flexible sword), double sword, kalari grappling and marma (pressure points).[10]
Zarrilli refers to southern kalaripayattu as varma ati (the law of hitting), marma ati(hitting the vital spots) or
varma kalai(art of varma).[3] The preliminary empty handed techniques of varma ati are known as adithada
(hit/defend).[3] Marma ati refers specifically to the application of these techniques to vital spots.[3] Weapons
include bamboo staves, short sticks, and the double deer horns.[3]
Medical treatment in the southern styles is identified withsiddha,[14] the t raditional Dravidian system of
medicine distinct from north Indianayurveda. The Siddha medical system, otherwise known as siddhavaidyam, is also attributed to Agastya.
Central kalaripayattu [ edit source ]
Main article: Central kalaripayattu
The Madhya Kalari (central style) of kalaripayat is practiced mainly in Northern parts of Kerala. Contrary to
popular belief, it is not a composite of the northern and southern forms, but has its own distinctive
techniques, which are performed within floor paths known as kalam.[1] The Madhya(central) Kalari hasmany different styles which place heavy emphasis on lower body strength and speed through thorough
practice of various chuvadu, only after which participants advance into weaponry and advanced studies.[3]
Styles [ edit source ]
Various kalari styles as specified in Vadakkan Pattukal,
Kadathanatan Kalari
Karuvancheri Kalari
Kodumala Kalari
Kolastri Nadu Kalari
Kurungot Kalari
Mathilur Kalari
Mayyazhi Kalari
Melur Kalari
Nadapuram Kalari
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Gurukkal praying before puttara CVN
Kalari, Ettumanoor
Panoor Madham Kalari
Payyampalli Kalari
Ponniyam Kalari
Puthusseri Kalari
Puthuram Kalari
Thacholi Kalari
Thotuvor KalariTulunadan Kalari
The kalari [ edit source ]
Main article: Kalari
A kalari is the school or training hall where martial arts are
taught. They were originally constructed according to vastu
sastra with the entrance facing east and the main door situatedon the centre-right. Sciences like mantra saastra[citation needed],
tantra saastra[citation needed]and marma saastra are utilized to
balance the space's energy level. The training area comprises a
puttara (seven tiered platform) in the south-west corner. The
guardian deity (usually an avatar of Bhagavathi, Kali or Shiva) is
located here, and is worshipped with flowers, incense and water
before each training session which is preceded by a prayer.
Northern sty les are practiced in special roofed pits where thefloor is 3.5 feet below the ground level and made of wet red clay
meant to give a cushioning effect and prevent injury. The depth of
the floor protects the practitioner from winds that could hamper body temperature. Southern styles are
usually practiced in the open air or in an unroofed enclosure of palm branches.[3] Traditionally, when a kalari
was closed down it would be made into a small shrine dedicated to the guardian deity.
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Marmashastram and massage [ edit source ]
Main article: Marmam
It is claimed that learned warriors can disable or kill their opponents by
merely touching the correct marmam (vital point). This is taught only to
the most promising and level-headed persons, to discourage misuse of
the technique. Marmashastram stresses on the knowledge of marmam
and is also used for marma treatment (marmachikitsa). This system of
marma treatment comes undersiddha vaidhyam, attributed to the sage
Agastya and his disciples. Critics of kalaripayattu have pointed out that the application of marmam
techniques against neutral outsiders has not always produced verifiable results. The earliest mention of
marmam is found in the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with
a vajra.[15] References to marman also found in theAtharva Veda.[16] With numerous other scattered
references to vital points in Vedic and epic sources, it is certain that India's early martial artists knew about
and practised attacking or defending vital points.[17]
Sushruta (c. 6th century BC) identified and defined 107vital points of the human body in his Sushruta Samhita.[18] Of these 107 points, 64 were classified as being
lethal if properly struck with a fist or stick.[19] 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.[19]
As a result of learning about the human body, Indian martial artists became knowledgeable in the field of
traditional medicine and massage. Kalaripayattu teachers often provide massages (uzhichil) with 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 thirumaland the unique massage given to increase
flexibility is known as katcha thirumal. It is said to be as sophisticated as theuzhichiltreatment of
ayurveda. Kalaripayattu has borrowed extensively from ayurveda and equally lends to it.[citation needed]
Weapons [ edit source ]
Although no longer used in sparring sessions, weapons are an important part of kalaripayattu. This is
especially true for the northern styles which are mostly weapon-based. Some of the weapons mentioned in
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Weapons currently used in kalaripayat
Val Sword
Paricha Shield
Kettukari/Neduvadi/Shareeravadi Staff
Kuruvadi/Kurunthadi/Cheruvadi/Muchan Short Stick
Chotta chan/Marma(Varma)Kol 1 span stick
Thundu/Thuvala/Thala Towel/Sash/Long strip of cloth
Weapons historically used in kalaripayat
Venmazhu Axe
Ambu & Villu (Ambum Vi llum) Arrow & Bow
Ponti Small Club
Thotti Hook Spear/Elephant goad
Kaduthala
Forward Curved Sword
Trisool Trident
medieval Sangam literature have fallen into disuse over time and are rarely taught in kalaripayattu today.
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Kuntham Spear
Vettukathi Machete
Gada Mace/Club
Churika
Double edged short sword
Maduvu
Deer-horn dagger
Fist Dagger
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Kattari/Kataram/Mara pidicha Kataram/Katar (dagger)
Otta Curved stick (Reverse hand Grip)
Urumi/Churuttuval/Surul Val Flexible sword
See also [ edit source ]
AnkamKalarippayattu films
Kalarippayattu stick fighting
Marma adi
Silambam
Kuttu Varisai
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References [ edit source ]
1. ^http://en.wikipedia.org/wiki/Varma_Kalai
2. ^Kalaripayatta- Discovery Channel
3. ^ abcdefghijklmnopqrstuvZarrilli, Phill ip 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.
4. ^Kalarippayat - Dick Luijendijk - Google Books . Books.google.co.in. 2008-09-25. Retrieved 2012-10-25.5. ^ Heniger, J. (1986). Hortus Malabaricus: A Contribution to the History of Dutch Colonia l Botany . CRC
Press. p. 50. ISBN978-90-6191-681-9. Retrieved 2008-11-25.
6. ^ ab[1] Martial arts of the world: an encyclopedia, Volume 1 By Thomas A. Green
7. ^ ab The Encyclopedia of religion, Volume 9 By Mircea Eliade, Charles J. Adams . p.225
8. ^ abA brief sketch of Travancore, the model state of India : the country, its ... - S. Ramanath Aiyar - Google
Books . Books.google.co.in. Retrieved 2012-10-25.
9. ^ Luijendijk, D.H. (2008). Kalarippayat: The Essence and Structure of an Indian Martial Art . Lulu.
10. ^ abc Luijendijk, D.H. (2005). Kalarippayat: India's Ancient Martial Art. Paladin Press . ISBN1-58160-480-7.
11. ^ L.Krishna Anantha Krishna Iyer (Diwan Bahadur) ;The Cochin tribes and castes; 1909
12. ^ abcdefMappila Muslims: a study on society and anti colonial struggles (2007), Hussain Randathani,
Other Books, p. 70
13. ^ abcdMaritime India: trade, religion and pol ity in the Indian Ocean (2010), Pius Malekandathil, Primus
Books, p. 46
14. ^ ab Zarrilli 1992
15. ^ Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin .
16. ^ Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Pass age Press . Utah USA.
17. ^ Zarrilli, Phillip B. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. University of
WisconsinMadison.
18. ^ G. D. Singhal, L. V. Guru (1973).Anatomical and Obstetrical Considerations in Ancient Indian Surgery
Based on Sarira-Sthana of Susruta Samhita.
19. ^ ab J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. Electronic
Journa ls of Martial Arts and Sciences.
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Further reading [ edit source ]
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
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 [ edit source ]
Kalaripayattu at the Open Directory Project
kalarippayattu - one of the oldest martial arts , Governmentof Kerala website
Kalaripayattu
Indian martial arts
Martial arts byregional origin
North Malabar
Categories: Kalarippayattu Indian martial arts Dravidian martial arts Culture of Kerala
Arts of Kerala Kathakali
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