Kalarippayattu

Kalarippayattu

Kalarippayattu is the oldest form of oriental martial art encapsulating Kerala's unique cultural mytho-historical heritage. Here the term Kalarippayattu is derived from the combination of two words as 'Kalari' which means the training place and 'Payattu' means the training. Kalari is considered as the arena where a traditional psycho-physiological disciplines practices of which cultivate mental, physical and spiritual benefits. The Kalari legacy is also considered as a scientific system of physical-culture training beneficial to the modern sportsman and physical culturist. If the 'lived body' in its concreteness is the site of experience and source of knowledge for the practitioner, contemporary discourses and representations of the body and martial practice play a crucial role in shaping the fundamental assumptions of Kalarippayattu practitioner has about his body and the experience of practice. So this particular scientific heritage inherits the technology of the body through which self, agency, power, selves and behaviors develops in a right manner.

The arena of practicing this spiritual art is called as Kalari which literally means a place where the knowledge is being taught. The oriental architechtonic science "VASTU SASTRA" determines the architecture of the Kalari space in a scientific manner.
The Kalari space is a hand made pit dug out the ground about five feet deep with a pounded earth floor with a thatched roof. To the south-west corner of the pit, is the Poothara, a seven tiered platform where the guardian deity of the Kalari resides. The Kalari arena posses a spiritual height of a temple where there is many sacred rituals are carried out in a daily basis and as in a special day's order. So the Kalari arena is a center for training and healing and also served as a temple.
It is widely accepted as Kalarippayattu is the martial art form of Kerala. after a long set back during the colonial rule, the Kalari system in Kerala are being revived and revitalized with new enthusiasm, thanks to the efforts of some traditional families of Kalari masters a well as the encouragement offered by the cultural organizations and the government of Kerala.
The kalarippayattu tradition
Kalarippayattu is usually described as an indigenous martial art of Kerala but the similar cultural traits and institutions are found in other regions of South India and Sri Lanka. The 'Garadi' of the tulu speaking South canara is an example. But the system of Malabar traits is considered as the highest mode of training and setback. Studies in the Sri Lankan martial traditions have shown that a good deal of reciprocity of relations are traceable in the cultures of Kerala and Sri Lanka. A number of words such as angam, paniker, caia, sevakam, palisha etc. occurring in the Sri Lankan language in the context of medieval 'angam' fight suggest their relationship with the system which prevailed in Kerala in the middle ages.
Historical backgrounds
The institutions of Kalari is generally traced to the period immediately after the disintegration of the Perumals of Kodungallur in the first quarter of the twelfth century A. D. It was an integral part of the socio-political system of medieval Kerala. Politically the land of Kerala was divided into a number of principalities and minor chieftaincies. The alignment and enmities of these power centers resulted in constant warfare. Small scale skirmishes and large scale fighting were not uncommon among these local and regional authorities. In such a set up each power center was forced to maintain a body of fighters at the beck and call of it. Systematic training and strict rules of discipline for fighters were indispensable for an effective working of that system. It was in such circumstances that the Kalaris which provided the institutional base for the body building and training in combat became not only necessary but essential too.
But it should be born in mind that the martial training in the middle ages was not invented by the medieval principalities. During the Cera Period ( C.800-1125 A.D.) there were in Kerala several Salais- which were institutions for imparting training in letters, weaponry and many other branches of medieval learning including traditional sciences, black magic, etc. The Salais were attached mostly to temples. These institutions enjoyed liberal patronages from the ruling houses. The members of the Salais were Brahman students who played an important role in upholding the rights of their royal patrons. These Salais can be equated with the Ghatikas which were in no significant way different from the Salais. Thus, the tradition of south Indian Martial training with its institutional support can be traced back to the early medieval period.
At the same time we cannot follow a unilinear and evolutionist method without taking into consideration the changes which were taking place at the basic strata of society. It was these changes occurring at the base that influenced the super-structural elements of ideological and cultural life. This observation is applicable to Kalari system also.
The shift of importance from the early medieval Salais to the medieval Kalaris implies a transference of emphasis from the temple oriented brhman settlements to the newly developed agrarian settlements which gave importance to cash crops production and trade. One of the characteristic features of these medieval agrarian settlements is their relative isolation of goods and services. Local dialects, cults, cultural expressions and such other traits of different sub-regions in Kerala sprang up from he above mentioned socio-economic formation.
Medieval principalities and chiefly families maintained military groups of their own. This practice maintaining local militia can be tracked back to the period of Naadu formation in Kerala during the Perumal rule. The Perumal had a capital force of thousand groups of soldiers under thousand Nayakas of Nair captains. Each of these groups consisted of ten soldiers similarly the Naadu chieftains had the hundred organization under them. Medieval inscriptional records speak of such military organization like the Munnuravar, the three hundred, Anjuttuvar, the five hundred, Arunuttuvar, the six hundred, Elunuttuvar, the seven hundred, of different Naadu divisions. This local militia with some of their old features continued to exists in the subsequent period of the principalities in the name of Changatham, Chaver, Lokar, and Akampati janam. It is believed that these bands of soldiers longing to different communities 'in the middle ages must have risen out of such companions of honor, originally conceived as bodyguards of the rulers and local authorities and developed into a landed aristocracy supporting the established order with military power.

Social Function
The fighters ' function was not in the rivalry among political authorities alone. Often there were invited for settling disputes between the ordinary people. This practice of using fighters for judicial purposes resulted in the emergency of a peculiar institution of Ankam, single combat. Interestingly this institution of Ankam with the same name was prevalent in Sri Lanka, which developed there round about the Kandyan country in the middle ages. The subject matter of a moving folk narrative in Malayalam is the tragic story of a Ankam fighter who lost his life while fighting for settling a dispute over management of the property between two member of family. The Ankam was a source of income for the fighters as well as the local and regional political authorities. Regular income to the treasury during the rule of princely state in Kerala included the fees levied on Ankam combats which was to be collected from the disputing parties. Thus the martial spirit of Kerala was actively participating in the social and political life of Kerala in the middle ages. It is in this socio-political context that the constitution of Kalari become important as centre of imparting military training to the local militia.
Social Base.

Medieval travelers left behind their observation on the Kalari system in Malabar. These writings by the foreigners generally contain an idea that Nairs alone formed part of the soldiers of the Rajas. It is true, majority of them came of Nair families. It is equally important to note that cast restrictions were not observed in Kalarippayattu. The social groups of Kerala who practiced and mastered the techniques of kalarippayattu included, besides Nayars, the Izhavas, Pulayas, Paravas, Christians and Muslims. The Tottam invocations songs of the Teyyam performance of North Malabar refer to some Pulaya heros who conducted eighty Kalaries in different parts of the region. Heroic lays of the Central Travacore mention a Paraya hero 'Chengannoore Ali' who was a master of the technique of Kalarippayattu. Some of the celebrated heros of Malayalam folk songs belongs to the Ezhava community. They are usually called Chekavar. There were Muslim Gurukkals who were masters in the Tulu techniques. The Chritians of Kerala too had their own military men. The native records of principalities mentioned some Christian local chieftains and their soldiers who where well versed in traditional warfare.
Each Desam, which was a unit of administration in traditional Kerala, had its Kalari and each Kalari was under the supervision of its guru, who was differently known in different areas as Panickar, Kuruppu, etc. Originally these were only names of profession but later it tender to became the names of sub cast. That these were once upon a time names of the profession is further supported by the fact that both these names are found as suffixes not only among Nairs but among other cast group of Ezhavas and Kaniyans and even among non Hindu communities. The Kalaris imparted training literacy, body building, and warfare-weaponry. Both men and women were admitted to the course. Medieval Malayalam folklore bear testimony to the high level of expertise achieved by women in Kerala in the fighting techniques. Members of royal families were trained in Kalarippayattu under their family gurus who were endowed with property and special status. Thamme Panikkar or Dharmothu Panikar was the training master of the royal family of the Zamorins of Calicut.
Subversion of a tradition
This system continued uninterruptedly until the occupation of Malabar by the English East-India company in 1792. The company was particular in destroy traditional military character of the community of Malabar. Thus wrote major Dow, one of the commissioners:
'It would be stipulated by the term of agreement with different rajas and chiefs that they on no account retain above a certain number of armed followers and those merely to support their ideas of dignity. By these means that the civil and military fabric, the feudal system injurious to the prosperity of a country would be gradually subverted and in the end annihilated'.
Kalari- Structural features
Indigenous folk narratives and technical literature furnish long lists of different types of Kalaris. The popular Pattukatha, ballads of Malabar, speak of Anka-kalari, Cheru-kalai, Totuvar Kalari, Tottu-Kalari etc. without giving any details of the structure and function. Technical writings are more specific about the structure and function of Kalari. Nedumkalari, Kurum-Kalari, Totu-Kalari, Cheru Kalari are mentioned by them. A more scientific and specific categorization of Kalaries is in terms of the measurements of the round plan of Kalari structure. Thus, we identified the following types:
Aimpatheerati (52 feet)
Nalpatheerati (42 feet)
Muppatheerati (32 feet)
Pathinatterati (18 feet)
pantheerati (12 feet)

The nomenclature, which is on the basis of the measurement of the ground informs us that the size of the structure ranges between 12 feet and 52 feet. The most common among these is the Nalpatheerati, 42 ft. in length. All Kalaries expect the Pantheerati bear a which a half of the length. Pantheerati is square with the same length and breadth. The Kalaris of the northern parts of Kerala are called Kuzhikkalari. Kuzhi means a pit. Because the soil is digged out from the ground of the structure. Generally a Kalari is 42 feet long and 21 feet wide, the enclosing space dug out to a depth of about 6 feet. It is protected from the heavy rain and the sun by a gabled roof which is thatched by weaved coconut leaves or palm leaves and with earthen tiles. Its sides are also covered with the same material. The surface of the ground is kept evenly rammed and smooth, Kannimoola, the south-western corner of the Kalari ground is considered to be sacred to the Kalari Paradevaha, the guardian deity of the Kalari . This is demarcated by a Poothara, platform of flowers with varying number of steps in semi circular shape, narrowing towards the top. A place for the guru, preceptor, also is demarcated and this is called Guruthara.
There is a whole metaphysical belief system, according to which the structure of Kalari symbolized the universe. This, along with several other features betrays a layer of sanskritisation or adopting the paradigms of the great tradition of India but the martial art form with all its techniques and expertise is at home in the far south, as a part of ' little tradition' or regional culture.
The systemThe Kalari training is based on an elaborate system of physical exercise. The practical experience of the body movements strengthens the knowledge of a disciples. The constant practice makes the body an eye and adds to agility and strength. At the age of seven, student is recruited for his training under a Gurukkal. Oil massage or Uzhichil is an essential part of the training. The verbal commands of the Gurukkal known as Vayttari are obeyed and repeated to grasp the body movement. Each combination of step and gesture is known as Adavu. Each of them helps to recollect memory and leads to correct movements

The training or the system has a metaphysical dimension as it was practiced every where in Kerala. The student arrive at dawn with empty stomach. They are wrapped in a six feet long and one feet wide cotton cloth tightly wound around their waist. This cloth is named Kacha. The combatants generally used to wear red -Kacha made out of silk over which a belt is also tied to strengthen the waist. Although the Kalari is an empty space, for a student that space has all meanings of life and super-nature. It is an abode of deities and the several generations of gurus who had initiated the disciples into training from generation to generation.

The student makes the ritual touch of earth with right hand propitiates the goddesses of earth. The touch of his forehead with right hand shows his reverence to the deities of knowledge.
The Hanuman an Garuda are also propitiated with the proper gestures and touches. The deities like seen mothers at Poothara gods like Siva are also propitiated. Both peace and destruction are symbolized in the Kalari space.
After the salutation in favor of the superior elements described above, the student is given the first system of practices called Anga-Sadhana for placing the soles of the feet. The firm step on the ground is called Aakkachuvatu; movements of the sole in jumps known as Chatta chuvatu. The circular movements is known as Vatta chuvatu. The student with his feet exercise moves from eastern side to western side. The feet and hands are raised and moved according to the sequence and in strict accordance of Vaithari of Gurukkal. These practices including Mei-ppayattu for several months make the student fit for the training in the use of weapons.
After imparting the body training, a student is initiated to the use of weapons. The Muchan, also called Cheruvati is a smaller stick about 22 inches in length and used to give powerful blows and also to resist the blows from others. Then he is initiated to the use of metallic weapons like Katti (Dagger), Sword, Kuntham (spear) and Urumi (flexible sword). The Gada (mace) is also practiced in some Kalaries. The training in the use of metallic weapons requires more dexterity and agility of the body. The combatants trained in the use of these weapons are recruited as the soldiers in the medieval and and late medieval period in Kerala. Self defense and offence were the aims of these trainings in the use of several weapons which were locally made by village carpenters and village blacksmiths. These artisans were the inevitable service groups in a village community system. In the whole training process of Kalari system, the teachers played an important role as the custodians of this traditional skill and knowledge. They remained a source of inspiration to the student.
Development of the physical culture as an inevitable part of the socio-politico-economic life of the region had much influenced the cumulative growth of culture aspects. Many of the Keral's classical and folk art forms had come under the direct or indirect influence of kalarippayattu.
The Impact
Kerala, as a distinct socio-political region from the rest of South India has witnessed a large number of classical and folk art forms. Many of these art forms have an uninterrupted continuity over centuries as an integral part of socio-religious life of people in this territorial division. Their origin is shrouded in mystery and not possible to trace in the absence of authentic sources. However, most of this art form had developed during the medieval period when Malayalam language and literature had found their natural growth on account of new historical forces and the interaction made by different ethnic and social groups.
In all art forms, where the human body plays an important role, one can see the common element of physical culture of body system. The art forms of Kerala visualized this fact in the form and content. The physical culture of body system is a matter of rigorous training that has to be materialized through conscious and constant practices.
For classical arts like Kathakali or Koodiyattom, the body is the sole means of expression. Therefore body is to be repaired for this high function through a rigorous course of physical exercise. It can be done only by daily massage with medicated oils which are intended to develop suppleness and grace of articulating the expressive capacity of the various parts of the human body. In reality the artist or the dancer is trained in the Kalari system and taught the body exercise with severe discipline. In foot-work, movements of the body, and the Thandava, dance (masculine and vigorous). The artist requires the dynamic skill imparted through the Kalarippayattu, therefore even the training center of Kathakali is known as Kalari, being devoted for the development of physical culture. The medieval period of Kerala had witnessed frequent wars and invasion among the ruling chieftains and these aspects had already promoted the Kalari system and had brought into training a large number of combatants. The impact of this new developments could be see on performing arts like Kathakali that many of these ruling houses and patronized art forms also as they had patronized the medieval soldiers or retainers. The growing awareness for developing a proper physical culture through kalarippayattu had really contributed to the expression and growth of the classical art forms.
In the same way the body training became an essential requirement for performing many of the folk dances of the region. These platforms had been patronized by the peasants, partitions and laborers. The common mans aesthetic imagination had greatly subscribed to the growth of these art forms in Kerala. Many of them have a religious and ritual background and are performed in sacred centers or in the local villages shrines of gods and goddesses. One of such art form widely prevalent in Kasargod and Kannur district is Pooram kali. As an art form it demands the rigorous training of the artist to develop a strong physical culture of the body with quick movements. Massage and physical exercise as found in Kalarippayattu are essential requirement to perform this art as the dancer has to make acrobatics while the entire group move on in circle. The performance is closely related to the peasant culture of the region. This performance has also originated in the medieval period after the development and growth of kalarippayattu. Most probably this art form must have come into prominence to maintain the physical culture and the religious rituals associated with the local shrines. Another ritual art form which has indebted to the Kalari system is the performance of Theyyam. Many heros are deified and worshiped by the village folk. The heros like Kathivannur veeran, (Mandappan), Pumarutan, Thacholi othenan and Oorpazhassi are some of the famous Theyyam deities in north Malabar. The performance of South, Theyyam are closely connected to the Kalari system as the dancer or the artist has to present the martial dance also. He imitates the transformation of a hero with divine power and as such performs all actions of a combatant, fighting with sword and shield in the hands. His foot work and body action demand excellent training as imparted in the Kalari system.
Apart from these ritual performance, there are secular art forms like Thacholikkali and Kolkkali. They also demand excellent body training to make the artist quick in movements and body bending. Like Poorakkali these art forms have developed as an integral part of peasants culture during the medieval period. In brief the Kalari system and its growth in the medieval feudal order had greatly influenced the development of classical and folk art forms. Oil massage, physical exercise, acute body bending, use of shield and sword are the common features of many of these art forms and Kalarippayattu. In reality the Kalari system has not only influenced the growth of these art forms but it has shaped the trends of the medieval culture of Kerala society.
An anthology of heroic songs, popularly known as northern ballads are now available to the student of Malayalam literature. These songs had been composed mostly between the sixteenth and nineteenth century, particularly in Kadathanadu region. They depict the chivalry and heroism of several heros and heroines of medieval or late medieval periods. These heros and heroines had been trained in kalarippayattu. Elaborate description of their training, action in the battlefield, heroism and bravery are available these songs composed mostly by the unknown poets of the term. The feudal order, Kalari system, individual heroism etc. Serve as the main themes for these songs. The strategies of a combatant like Othiram, Katakam, Chatuam, Mandlam, Vrutha Chakram, Sukalkalam, Vijayam, Viswamohanam, Tirvyangamandalam, Ghadayakheta-ghahvram, Satruniayam, Soubhatram, Patalm, Puranjayam, Kavya vrudhi, Silakhandam, Gandhasastram and Anuthama are described in some of this songs. The kalarippayattu had contributed to the development of this literacy branch in Kerala.
During the modern period, although Kalarippayattu had lost its significance under the British rule, the devoted Gurukkals with all their efforts transmitted the tradition from one generation to the other. They kept alive the Kalari tradition and the know-how in the rural areas as a matter of charity and cured many body ailments through physiotherapy. In the last quarter of the nineteenth century, when European circus companies came to Malabar in places like Tellicherry some of the native gurus well trained in the Kalari system found it easy to imitate some of the body practices adopted by the circus artists. This new attempt was given leadership by late Keeleri Kunhikannan Gurukkal in Tellicherry who initiated several circus groups in Kerala and became the father of Indian circus. In a land, where centuries the Kalari gymnastic tradition had its deep root, there the new experiments in circus training became a great success. In reality the Indian tradition of circus has something to do with Kalari Gymnastic training and body culture. After independence, some attention had been given by the government and other agencies to promote Kalarippayattu and its training. These activities had been responsible to create considerable interest in this physical art form.
Stages of Training
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 meippayattu 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.

By
Dr.Lal Krishnan
drlalkrishnan@gmail.com
www.hindustankalari.com
www.dhanvanthari.in