Kalaripayattu is an Indian martial art, one of the oldest martial arts disciplines in existence and is practiced in Kerala and contiguous regions in Tamil Nadu and Karnataka, in northeastern Sri Lanka and among the Malayali community in Malaysia. Drawing inspiration from the raw power and sinuous strength of animal forms - Lion, Tiger, Elephant, Wild Boar, Snake, and Crocodile, Kalaripayattu laid down the combat code of the Chola, Chera and Pandya militaries. For centuries this martial art form was shrouded in secrecy with Kalaripayattu being taught by the masters to a combat elite comprising primarily of the martial classes such as the Nairs and Ezhavas, in total isolation.
Kalaripayat jousts typically include strikes, kicks, grappling and the use of weaponry. Regional variants of the system are classified according to the styles of practice that have evolved in different geographical areas in Kerala; the style of northern Kerala, the southern style and the central style from inner Kerala.
These three main schools of thought can be distinguished by their attacking and defensive patterns. The northern style of Kalaripayat is based on the principle of hard technique and places more emphasis on the use of traditional weapons than on simply bare hand techniques. The southern style called ‘Adi Murai’ primarily utilizes softer techniques using combinations of bare hand techniques, the manipulation of pressure points, the use short and long staffs, knives and daggers, flexible and double edged swords and shields and grappling. Some of the choreographed sparring in Kalaripayat can be applied to dance.
Historically, Kalaripayat can be traced to the Middle Ages, between the 11th and 12th centuries, being disseminated through ‘Kalaris ’, that served as active centres of learning. Still in existence today, these institutions were schools where students could study subjects ranging from mathematics, language, astronomy and various theatrical arts besides martial arts taught in the ‘Payattu Kalari’, meaning fight school.
Kalaripayat developed further during the 9th century and was practiced by a section of the Hindu community, warrior clans of Kerala. In the 11th and 12th century, Kerala was then divided into small principalities that fought one-to-one wars among themselves. These duels or ‘ankams’ between warriors were fought on a temporary platform, four to six feet high.
At one point in history other communities in Kerala adopted and practiced Kalaripayattu. The ballads of North Kerala refer to Muslims trained in Kalaripayattu. The Syrian Malabar Nasrani Christians also practiced Kalaripayattu and most Christian settlements had a Kalari.
A day at a Kalari
Traditionally the Kalari is constructed by digging a hollow in the ground forming a sunken area four feet in depth, forty-two feet in length and twenty-one feet in breadth. The entrance to the Kalari faces the east, to let in the morning light, and leads into the forty-two feet length oriented in an east-west axis while the twenty-one feet length is oriented north-south and the floor leveled using mud. Another consideration is that the Kalari is situated on the south-western portion of a plot of land.
Every Kalari contains a ‘Puttara’ (meaning a platform where flowers are kept), a seven tiered platform placed in the south-west corner that houses the guardian deity of the Kalari. Flowers, incense and water are offered to the deity every day. The seven tiers symbolize the seven abilities that each person must possess: strength, patience, leadership, posture, training, expression and sound. Other deities are installed in the corners. Before starting the day's practice, it is the norm for practitioners to pray to the presiding deity. There is also an area called the ‘Guruthara’ inside all Kalaris where a lamp is lit in reverence to all the gurus (masters) of the kalari.
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Students begin training with a formal initiation ritual performed by the guru and by steeping across the threshold of the Kalari placing their right foot forward. The student touches the ground with the right hand and then the forehead, as a sign of respect. He is then led to the guruthara, to repeat this act. He then makes an offering with gratitude wrapped in folded betel leaves and prostrates himself, touching the master's feet as a sign of submission. The guru then blesses the novice and prays for his success. This ritual is repeated daily and symbolizes a complete submission to and acceptance of the master, the deity, the Kalari and the art.
Kalaripayattu is today emerging in a new avatar - an ancient art form - a source of inspiration for self-expression in dance forms - both traditional and contemporary, in theatre, and in fitness regimens.
Kalaripayat jousts typically include strikes, kicks, grappling and the use of weaponry. Regional variants of the system are classified according to the styles of practice that have evolved in different geographical areas in Kerala; the style of northern Kerala, the southern style and the central style from inner Kerala.
These three main schools of thought can be distinguished by their attacking and defensive patterns. The northern style of Kalaripayat is based on the principle of hard technique and places more emphasis on the use of traditional weapons than on simply bare hand techniques. The southern style called ‘Adi Murai’ primarily utilizes softer techniques using combinations of bare hand techniques, the manipulation of pressure points, the use short and long staffs, knives and daggers, flexible and double edged swords and shields and grappling. Some of the choreographed sparring in Kalaripayat can be applied to dance.
Historically, Kalaripayat can be traced to the Middle Ages, between the 11th and 12th centuries, being disseminated through ‘Kalaris ’, that served as active centres of learning. Still in existence today, these institutions were schools where students could study subjects ranging from mathematics, language, astronomy and various theatrical arts besides martial arts taught in the ‘Payattu Kalari’, meaning fight school.
Kalaripayat developed further during the 9th century and was practiced by a section of the Hindu community, warrior clans of Kerala. In the 11th and 12th century, Kerala was then divided into small principalities that fought one-to-one wars among themselves. These duels or ‘ankams’ between warriors were fought on a temporary platform, four to six feet high.
At one point in history other communities in Kerala adopted and practiced Kalaripayattu. The ballads of North Kerala refer to Muslims trained in Kalaripayattu. The Syrian Malabar Nasrani Christians also practiced Kalaripayattu and most Christian settlements had a Kalari.
A day at a Kalari
Traditionally the Kalari is constructed by digging a hollow in the ground forming a sunken area four feet in depth, forty-two feet in length and twenty-one feet in breadth. The entrance to the Kalari faces the east, to let in the morning light, and leads into the forty-two feet length oriented in an east-west axis while the twenty-one feet length is oriented north-south and the floor leveled using mud. Another consideration is that the Kalari is situated on the south-western portion of a plot of land.
Every Kalari contains a ‘Puttara’ (meaning a platform where flowers are kept), a seven tiered platform placed in the south-west corner that houses the guardian deity of the Kalari. Flowers, incense and water are offered to the deity every day. The seven tiers symbolize the seven abilities that each person must possess: strength, patience, leadership, posture, training, expression and sound. Other deities are installed in the corners. Before starting the day's practice, it is the norm for practitioners to pray to the presiding deity. There is also an area called the ‘Guruthara’ inside all Kalaris where a lamp is lit in reverence to all the gurus (masters) of the kalari.
.JPG)
Students begin training with a formal initiation ritual performed by the guru and by steeping across the threshold of the Kalari placing their right foot forward. The student touches the ground with the right hand and then the forehead, as a sign of respect. He is then led to the guruthara, to repeat this act. He then makes an offering with gratitude wrapped in folded betel leaves and prostrates himself, touching the master's feet as a sign of submission. The guru then blesses the novice and prays for his success. This ritual is repeated daily and symbolizes a complete submission to and acceptance of the master, the deity, the Kalari and the art.
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