Introduction
Kalarippayattu (Malayalam കളരിപയറ്റ്), pronounced is an Indian martial art from Kerala, South India. Possibly one of the oldest fighting systems in existence, it is practiced in Kerala and contiguous parts of Tamil Nadu and Karnataka as well as northeastern Sri Lanka and among the Malayalee community of Malaysia. This martial art was practiced primarily by the martial castes like Nairs of Kerala. The word is spelled variously as kalari payat, kalarippayatta, kalaripayatt and many others depending on the dialect and romanisation system used.
It includes strikes, kicks, grappling, preset forms, weaponry and healing methods. Regional variants are classified according to geographical position in Kerala; these are the northern style, the southern style and the central style. Northern kalari payat is based on the principle of hard technique, while the southern style primarily follows the soft techniques, even though both systems make use of internal and external concepts.
Some of the choreographed sparring in kalari payat can be applied to dance and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen.
Etymology
The term kalari payittru is a tatpurusha compound from the words kalari (Malayalam:കളരി) meaning school or gymnasium and payattu (Malayalam:പയററ്) derived from payattuka meaning to "fight/ exercise" or "to put hard work into".
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the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, kalarippayattu is in Ulloor S. Parameswara Iyer's early twentieth century drama Amba when it is probable that the systems of martial practice assumed a structure and style akin those extant today. M.D. Raghavan has suggested that kalari was derived from the Sanskrit khalūrikā while Burrow is of the opinion that khalūrikā (parade ground, arena) and its Sanskrit root, khala- (threshing floor) are Dravidian loan words.
History
Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that kalaripayattu dates back to at least the 12th century CE. 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. From the 11th or 12th century the right and duty to practice the martial art in the service of a ruler was most associated with Nairs, Ezhavas and some Christians and Muslims were given this right and duty.
In addition, Among at least some noble families, young girls (unniarcha) 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 Chekavars 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.
The earliest western account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518).
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 practising. The masters who teach them are called Panikars.
The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalari payat 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. Kalari payat became more developed during the 9th century and was practiced by a section of the Nair community, warrior clan of Kerala, 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 Chekavar. The iconic Thacholi Othenan Kurup was elevated to heroic status in all of Kerala. The Lohar of north Kerala were Buddhist warriors who practiced kalaripayat.
Kalari payat 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. The British eventually banned kalari payat and the nair custom of holding swords, altogether 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. The resurgence of public interest in kalari payat 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. In recent years, efforts have been made to further popularise the art, with it featuring in international and Indian films such as Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007), and also in Japanese Anime/Manga Series Kenichi: The Mightiest Disciple.
Regional variations
There are several styles of kalari payat. The three main schools of thought can be distinguished by their attacking and defensive patterns. The best introduction to the differences between these styles is the book of Luijendijk which uses photographs to show several kalari payat exercises and their applications. Each chapter in his book references a representative of each of the three main traditions.
Northern style
Northern kalari payat was practiced mainly in the northern Malabar region of Kozhikode and Kannur. It places more emphasis on weapons than on empty hands. Parashurama, sixth avatar of Vishnu, is believed to be the style's founder according to both oral and written tradition. Masters in this system are usually known as gurukkal or occasionally as asan, and were often given honorific titles, especially Panikkar.
The northern style is distinguished by its meippayattu - physical training and use of full-body oil massage. The system of treatment and massage, and the assumptions about practice are closely associated with ayurveda. 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 which 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 thulunadu kalari's to overcome their defects (kuttam theerkkal). There are schools which teach more than one of these traditions. Some traditional kalari around Kannur for example teach a blend of arappukai, pillatanni, and katadanath styles.
Southern style
Southern kalari payat was practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu primarily by the Nairs and Nadars. It emphasises empty hand techniques. The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama. Masters are known as 'asaan. The stages of training are chuvatu (solo forms), jodi (partner training/sparring), kurunthadi (short stick), neduvadi (long stick), katthi (knife), Katara a (dagger), valum parichayum (sword and shield), chuttuval (flexible sword), double sword, kalari grappling and marma (pressure points).
Zarrilli refers to southern kalari payat as varma ati (the law of hitting), marma ati (hitting the vital spots) or Varma Kalai (art of varma). The preliminary empty handed techniques of varma ati are known as adithada (hit/defend).[2] Marma ati refers specifically to the application of these techniques to vital spots. Weapons include bamboo staves, short sticks, and the double deer horns.
Medical treatment in the southern styles is identified with siddha, the traditional Dravidian system of medicine distinct from north Indian ayurveda. The siddha medical system, otherwise known as siddha vaidyam, is also attributed to Agasthya.
Closely related to southern kalari payat is silambam, the art of stick fighting. It supposedly originated in the Kurinji hills of Kerala some 5000 years ago where natives were using bamboo staves to defend themselves against bandits and 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 a talking 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 style
Central kalari payat is practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts. It is a composite of the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-handed moves and its own distinctive techniques which are performed within floor drawings known as kalam.
Hope This Info Cleared Your Doubts on Kalari, Till Then. It's Me Ben Signing off Here!!!!!!!!!
