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Kalarippayattu
Kalaripayattu is a Dravidian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring can be applied to dance.
Orgin:-
The word "kalari", and ancient martial arts that may have been precursors to kalarippayattu, are mentioned in Sangam literature from the 2nd century BC. The word "kalari" appears in the Puram and Akam to describe to both a battlefield and combat arena. The word "kalari tatt" denoted a martial feat, while "kalari kozhai" meant a coward in war. The earliest evidence of marmam pressure points dates back to the Rig Veda where Indra is recorded to have defeated Vritra by attacking his vital pressure points (marmam) with his vajra.
In addition, a special subcaste of Ezhavas/Thiyyas called chekors were engaged to fight in ankam, public duels to the death to solve disputes between higher caste opposing parties. Among at least some Nair and Tiyya families, young girls also received preliminary training up until the onset of menses. We also know from the vadakkan pattukal ballads that at least a few women of noted Nair and Tiyya masters continued to practise 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.
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.
Styles of kalarippayatt:-
There are many different styles of Kalarippayatt. 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.
Northern Kalarippayatt
Northern Kalarippayatt (practiced mainly in the northern Malabar region of Kozhikode and Kannur) 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 traditions, Parasurama, the sixth Avatar of Vishnu, is believed to be the founder of the art.
Southern kalarippayatt
In southern styles of Kalarippayatt (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 (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 Kalarippayatt have been practiced primarily by Nairs and a section of Ezhavas, also by a smaller section of Nadars, Kallars and Thevars of erstwhile Travancore areas.
Varma Kalari
A great warfare, part of southern style of Kalarippayatt, practised by the Royal Thiruppad Nadans to defeat/kill the enemy without any external injuries are called Varmam or Marmam. Varma Kalari is the master of all arts, royal to its name, practised by special Asaans(super masters). An Asaan of special rank is a super master over 108 Kalaries, which were the real kingmakers like the ancient Gramavadins or Gramanis, a term applied to communities like Nadars and Ezhavas. They were the very ancient ruling tribes of India.
Chilambam
Chilambam is a stick fighting, part of southern style of Kalarippayatt. This style supposedly originates from the Kurinji hills, present day kerala Kerala, 5000 years ago, where natives were using bamboo staves to defend themselves against wild animals. The natives called Narikuravar were using a staff called Chilambamboo as a weapon to defend themselves against wild animals, and also to display their skill during their religious festivals. The Hindu scholars and yogies who went to the Kurinji mountains to meditate got attracted by the display of this highly skilled spinning Chilambamboo. It is also known as Silambam.
Central kalarippayatt
The central style (practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts 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.
Training:-
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, Poothara, 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.
Stages
Ankathari in which both opponents are armed with Chuttuval and Paricha
The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.
Meithari
Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayatt 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.
Marmas and Massage
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
Techniques, Steps and Postures
Techniques (Atavu) in a kalarippayatt is a combination of Steps (Chuvatu) and Postures (Vadivu).
There are five steps or Chuvatus and Northern styles of kalarippayatt have Ashta Vadivukal, or eight postures (vadivu). Each posture has its own style, power combination, usefulness and effectiveness.
The eight postures in kalarippayatt is somewhat same as Five Animals styles in Chinese martial arts, such as Tiger, Crane, Leopard, Snake, and Dragon.
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