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Kalarippayatt (Mother of all Martial Arts)
Indian Name
Malayalam	കളരിപയററ്
Devanagari	कळरिप्पयट्
Details
Origin	Kerala, South India
Styles	Northern, Southern and Central

Kalarippayatt (IPA: [kaɭaɾipːajatːɨ̆], Malayalam: കളരിപയറ്റ്) is a Dravidian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu of Southern India. It incorporates strikes, kicks, grappling, martial dance, and weaponry, as well as healing techniques.^[1]

Contents 1 Etymology 2 History 2.1 Origins 2.2 Revival 2.3 Mother of all Martial Arts 3 Styles of kalarippayatt 3.1 Northern kalarippayatt 3.2 Southern kalarippayatt 3.2.1 Varma Kalari - Neuro Martial Art 3.2.2 Chilambam 3.3 Central kalarippayatt 4 Training 4.1 Initiation ceremony 4.2 The Kalari 5 Stages 5.1 Meithari (മെയ്ത്താരി) 5.2 Kolthari (കോല്തരി) 5.3 Ankathari (അങ്കത്തരി) 5.4 Verumkai (വെറുംകൈ) 6 Marmas and Massage 7 Kalarippayatt and performing arts 8 Components 8.1 Techniques, Steps and Postures 8.2 Weapons 9 References 10 Recommended reading 11 External links 12 See also

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the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, Kalarippayatt is in Ulloor Parameswaram's early twentieth century drama, Amba.

Although M.D. Raghavan suggested that Kalari was derived from the Sanskrit khalūrikā, Burrow has alternatively suggested that khalūrikā ("parade ground, arena") and its Sanskrit root, khala- ("threshing floor") are Dravidian loan words.

main articles: Origins of Kalarippayatt

The word "kalari" can be traced to ancient Sangam literature.^[2] The martial tradition of Kalarippayatt 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]

Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalarippayatt, estimates that Kalarippayatt dates back to at least the 12th century CE.^[1] The historian Elamkulam Kunjan Pillai attributes the birth of Kalarippayatt to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.^[1] .Kalarippayatt may be one of the oldest martial arts in existence.^[6] The oldest western reference to Kalarippayatt is a 16th century travelogue of Duarte Barbosa, a Portuguese explorer.

main articles: Revival of Kalarippayatt

Kalarippayatt 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 Kalarippayatt 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.^[7] In recent years, efforts have been made to further popularise the art, with it featuring in international films. Some dance schools incorporate kalarippayatt as part of their exercise regimen.

Part of a series on Indian martial arts
Various Indian martial arts
Pehlwani - Kalarippayattu - Malla-yuddha - Vajra Mushti / Vajra Mukti - Chakram - Kabaddi - Silambam Nillaikalakki - Gatka - Thang-Ta - Other arts
Notable Practitioners
The Great Gama - Phillip Zarrilli - Jasmine Simhalan - Jyesthimallas - Gobar Goho - Imam Baksh Pahalwan - Paul Whitrod - Gulam - Guru Har Gobind - John Will
Related articles
Kshatriya - Yoga - Indian mêlée weapons - Dravidian martial arts - Khanda - Marmam - Ayurveda - Sri Lankan martial arts - Foreign influence on Chinese martial arts

Kalari or Kalaripayattu of ancient India is the world’s oldest martial art. In fact, it is the mother of all martial arts in the world. Ancient buddhist monks who travelled from India to China to spread buddhism are said to have taught these martial arts to the Chinese.

For instance, one of the buddhist monks Bodhi Dharma who founded the Zen buddhism and is called C’han in China was a Kalarippayattu master himself. From his native Kancheepuram in South Indian state of Tamilnadu, he went to China in 522 AD to the court of Chinese emperor Liang Nuti. He taught Kalarippayattu at the Shaolin monastery to the buddhist monks to defend themselves from the frequent attacks by local bandits and dacoits. It has to be noted that all far eastern martial arts are taught by Buddhist monks. In China it is Kung Fu, Karate. In Japan the Samurai warriors are Zen Buddhists.

The Shaolin temple itself was founded by an Indian Dhyana master Buddhabhadra. On one of the walls of the Shaolin temple a fresco can be seen, showing south Indian dark-skinned monks, teaching the light-skinned Chinese the art of bare-handed fighting. On this painting (see image below) are inscribed: “Tenjiku Naranokaku” which means: “the fighting techniques to train the body (which come) from India…”. Buddhism was born in India and then spread to rest of the world including China, Japan, Thailand, Srilanka, Burma, Cambodia, Indonesia etc. As a Chinese Ambassador to USA, Hu Shih once said “India conquered and dominated China culturally for 20 centuries without ever having to send a single soldier across her border.”. He was referring to the spread of Buddhism into China.

Kalaripayattu means “Practicing the arts of the battlefield”. Kalari means battlefield. Kalaripayattu is sometimes in short called Kalari . Today it is more prevalent in the south Indian state of Kerala. This art is said to have had its origin in the Rishi Agastya and in Parashurama. Agastya is a great name in Ayurveda - the main Indian medical system. Parashurama is also said to have reclaimed the submerged Kerala from the Arabian Sea (Will write on this aspect of Kerala someday)

The oldest reference to this martial art is found in the Rigveda and Atharvaveda. In Rigveda it is mentioned that lord Indra defeated the daemon Vritasura using one of the marmam techniques of Kalari. Marmam are pressure points in the human body and experienced practitioners can disable or kill their opponents by a mere touch of the opponent’s Marmam. This technique is taught only to the promising and level headed persons, to prevent its misuse. For Indian movie fans, this technique is used in the famous Indian movie ‘Indian‘ of Kamal Hassan by the aged but still energetic hero who fights against corruption.

Sushruta, one of the famous Indian ayurvedic medical practitioner and researcher who lived in 6th century BC identified and defined 107 vital points of the human body in his book Sushruta Samhita. Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick.

Students start with unarmed kicks and punches, then would graduate to sticks, swords, spears and daggers and finally study the marmas.

The Discovery Channel says “Possibly the oldest martial art in the world, Kalarippayattu is still being practiced widely today in the Indian state of Kerala. Shaolin chuan is said to have evolved from Kalarippayattu.”

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. The best introduction to the differences between these styles is the book of Luijendijk. Luijendijk uses photographs to show several Kalarippayatt exercises and their applications. Each chapter in his book references a representative of each of the three main traditions.^[8]

main articles: Northern Kalarippayatt

Northern Kalarippayatt (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]

Northern Kalarippayatt 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.^[8]

main articles: Southern Kalarippayatt

In southern styles of Kalarippayatt (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 Kalarippayatt have been practised primarily by a section Nairs and Ezhavas of kerala and a small section of Nadars, Kallars, Thevars,^[1] of estwhile Travancore areas.

Zarrilli refers to southern Kalarippayatt as Varma ati (the 'law of hitting') or marma ati (hitting the vital spots).^[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 Kalarippayatt 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 Kalarippayatt—which does include massage—is identified with Dravidian Siddha medicine^[9] 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.

Main article: 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.Link [1]

Main article: 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.Link[2]. 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.

main articles: Central Kalarippayatt

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]

This style is usually called as kadathanadan style. The famous legend of kalari Othena kurupu believed to be from the kadathanadan kalari style. The meypayattu called kaikuthi payattu usually practiced across is also from the kadathanadan style.

Several componenents make up the basic equipment and training ground of kalarippayatt. A student begins training in northern Kalarippayatt at approximately 7 years old with a formal initiation ritual performed by the Gurukkal.

At the age of seven, on the opening day of the new session, a novice 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.

The Kalari is a specially constructed practicing area that comprises a Poothara (seven tiered platform) in the south-west corner. The guardian deity is located here, and is worshipped with flowers, incense and water before each practising session, which is preceded by a prayer.

The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.

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.

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.

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.

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.

Main article: Marmam

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.

Influence of kalarippayatt 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 Kalarippayatt during their stages of evolution. Kathakali has borrowed much from Kalarippayatt 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 Kalarippayatt. Some dance schools incorporate kalarippayatt as part of their exercise regimen. Some of its choreographed sparring can be applied to dance.^[1]

main articles: Kalarippayatt techniques

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.

Like the Wǔxíngquán of Chinese martial arts, the eight postures of Kalarippayatt 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

main articles: Weapons of Kalarippayatt

Weapons currently used for Kalarippayattu Pirambu/Neduvati/Kettukari/Shareeravadi Long Staff Kurunthadi/Cheruvadi/Muchhan Medium Stick Kottukampu/Thavikkana Long Stick Urumi/Chuttuval Flexible Sword Kuruvadi Short Stick Otta Curved Stick Gadha Club/Mace Kattari Knife/Dagger Vettukathi Machete/Kukri Churika/Kadhara 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

• 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
• Luijendijk, D.H. (2005) Kalarippayat: India's Ancient Martial Art, Paladin Press, ISBN 1-58160-480-7
• 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

• kalarippayatt - one of the oldest martial arts, Government of Kerala website

• [ http://www.kalaripayattu.org/index.htm Kalaripayattu ] For more Kalaripayattu details.

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