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Kalarippayattu (Malayalam: കളരിപയററ്) is a martial art practiced in the Indian state of Kerala and the Kodagu district of neighboring Karnataka. Kalarippayattu has two main divisions : Vadakkan Kalarippayattu (Northern style), which is associated with Malayalam-speaking Nairs, and Thekken Kalarippayattu (Southern style), which is associated with Tamils. Northern style involves more elaborate graceful body movements and southern style involves very rapid economical and yet powerful movements. Tradition attributes kalarippayattu and indeed Kerala itself to Parasurama, sixth avatar of Vishnu. This was originally practised by the fighters or warriors of Kerala. In ancient times, arguments between nobles were often decided on the basis of a Kalarippayyattu tournament's outcome.

Related to the point of indistinguishability to the Southern style are the Tamil martial arts practiced in the Travancore district of Kerala and the Kanyakumari district of neighboring Tamil Nadu that variously go by the names ati tata (hit/defend), ati murai (law of hitting), varma ati (Tamil)/marma ati (Malayalam) (hitting the vital spots), or chinna ati (Chinese hitting) (Zarrilli, 1992). These arts claim descent from the rishi Agastya and, compared to kalarippayattu, place more emphasis on empty-hand techniques and less on weapons.

Etymology

The term "Kalarippayattu" is a bahuvrihi (compound word) formed from the words kalari (Malayalam: കളരി) meaning "place, open space, threshing floor, battlefield" and payattu (Malayalam: പയററ്) derived from "payttuka" meaning "to exercise in arms, practice". Kalari is derived from the Tamil root "kalam" meaning "arena, area for dramatic, gladiatorial, or gymnastic exhibitions, assembly, place of work or business." Payattu is derived from the Tamil root "payil" meaning "to become trained, accustomed, practice" (Zarrilli, 1992). Together these two words in Tamil mean "Practice of arts of the battlefield". Most words related to Kalari are originally from Tamil, including words like "suvadi" (footprint), "vadivu" (stance/pose), "verum kai" (weaponless hand), "mei payattu" (mei=body).

Disputed history of kalarippayattu

How far back can kalarippayattu be dated? Did Bodhidharma create the Chinese and Japanese martial arts from kalarippayattu?

Please read the the article Disputed history of kalarippayattu for more details about these topics.

Cultural influence

Kalaripayattu also shows a strong influence of Ayurveda and major classical dance forms of Kerala, namely Kathakali. Kalarippayyattu teachers often provide massages 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".

Stages

Kalarippayattu training differs from most other martial arts training. Bare hand fighting skills are taught in the end. Since it was originally the martial training given to warriors, the martial art teaches the practitioner to become adept in several different forms of weapons. The stages in which this training is imparted is:

Meythari

This is the beginner stage where rigorous body sequences comprising of twists, stances and complex jumps and turns are to be mastered. These exercises are termed as Meyppayattu and they impart excellent neuro muscular co-ordination in the practitioner.

Kolthari

Once the student is physically competent enough, he/she is introduced to fighting with a long wooden weapons. The first weapon taught is usually 5 feet in length or up to the forehead of the student from the ground level. The second weapon taught is a short wooden stick of about two and a half feet or three palm spans. This is called the "Cheruvadi" or "Muchan". The third weapon taught is "Otta" which is a wooden staff 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.

Ankathari

Once the practitioner has gained confidence with all the wooden weapons, he/she is introduced to metal weapons, which require superior concentration due to the lethal nature of such weapons. The first weapon taught is the metal dagger called "Kadhara" which has a curved blade. Once the dagger is mastered, the master weapon of Kalarippayattu ; the sword and shield is taught to deserving students. The sword is called "Val" and the shield is called "Paricha" This is probably the most beautiful sequence to be seen in the demonstration of this martial art.

There are more weapons taught including a wooden spear and the famous flexible sword called "Urumi" which is an extremely dangerous weapon taught to the rarest of students.

Verumkai

After all the weapons have been mastered, the practitioner is taught how to defend his/her person with bare hand techniques. These include strikes to vital points of the body, grapples and arm locks.

A complete Kalarippayattu training is incomplete without learning the medical aspects. The practitioner who has completed martial training is taught how to treat physical injuries with traditional medicines. A person who is well versed with all these aspects and becomes a complete master is called Gurukkal.

Weapons

Kalari uses a number of unique weapons.

1. Long staff or pirambu or neduvati ( means rattan stick)
2. Kurunthadi
3. Knife / dagger
4. Vettukathi ( a form of machete or Kukri)
5. Valum parichayum ( sword and round shield)
6. Churika
7. Chuttuval (flexible sword)
8. Kottukampu or Thavikkana

References

. ISBN 0520219724. {{cite book}}: Missing or empty |title= (help); Unknown parameter |Author= ignored (|author= suggested) (help); Unknown parameter |Publisher= ignored (|publisher= suggested) (help); Unknown parameter |Title= ignored (|title= suggested) (help); Unknown parameter |Year= ignored (|year= suggested) (help)

Cephas, Shawn. "The Root of Warrior Priests in the Martial Arts", Kungfu Magazine (Winter 1994)

Chou Hsiang-kuang. (1955) A History of Chinese Buddhism. Allahabad: Indo-Chinese Literature Publications.

. ISBN 0877287856. {{cite book}}: Missing or empty |title= (help); Unknown parameter |Author= ignored (|author= suggested) (help); Unknown parameter |Publisher= ignored (|publisher= suggested) (help); Unknown parameter |Title= ignored (|title= suggested) (help); Unknown parameter |Year= ignored (|year= suggested) (help)

Lin Boyuan. (1986) Zhongguo wushu shi. Taibei: Wuzhou chubanshe.

Suzuki, Daisetz Teitaro. (1949) Essays in Zen Buddhism. London: Rider & Company.

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)

Additional readings

• Aspects of Kalarippayattu - Phillip B. Zarrilli
• What Kalari Payyattu Means To Me, Spiritually! - V.R.Manoj

Movies on Kalarippayyattu

• Oru Vadakkan Veera Katha - a movie of an ancient tale of a kalarippayyattu warrior called Chandu. Traces his exploits and has some well choreographed fighting scenes.

External links

• http://www.kalariworld.com
• http://www.kalaripayattu.org/
• http://narthaki.com/shaji_kalari/
• http://kalari-koeln.de/
• http://www.ernakulam.com/kalari.htm
• http://www.altaghat.com/kalari/
• http://www.artkerala.com/art_forms/kalaripayattu.asp
• http://www.ayurjeeva.com/Kalari/kalari_payattu.htm

• Indian martial arts