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  • 7/29/2019 En Wikipedia Org Wiki Kalaripayattu

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    Kalaripayattu

    Wiki Loves Monuments: Historic sites, photos, and prizes!

    Kalaripayattu

    Focus Striking, kicking, grappling,

    w eaponry, hybrid

    Hardnes s Full-contact, Semi-contact

    Country of

    origin

    India

    From Wikipedia, the free encyclopedia

    This article needs additional citations for verification. Please help

    improve this articleby adding citations to reliable sources. Unsourcedmaterial may be challenged and removed. (September 2011)

    Kalaripayattu (pronunciation: [kripjt:]) or "Payattu" is an

    Indian martial art from the southern state of ancientKerala.[1]

    One of the oldest fighting systems in existence,[2] it is now

    practiced in Kerala and contiguous parts of Tamil Nadu and

    Karnataka[citation needed] as well as northeastern Sri Lanka and

    among the Malayali community of Malaysia. It was originallypracticed in northern and central parts of Kerala and the

    Tulunadu region of Karnataka.[3]

    Kalaripayattu includes strikes, kicks, grappling, preset forms,

    weaponry and healing methods.[3] Regional variants are

    classified according to geographical position in Kerala; these

    are the Northern style from Malabar region in north Kerala, the

    Article Talk Read Edit source View history Search

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    Creator Parashurama; Agastya

    Famous

    practitioners

    Bodhidharma

    Simhalan Madhava Panicker

    Jasmine Simhalan

    Kezidath Padmanabha Menon

    Olympic

    sport

    No

    Official

    website

    http://w w w .kalaripayattu.org/

    Meaning "Practice in the arts of the

    battlefield."

    Part of a series on

    Indian martial arts

    Styles

    Gatka:

    Kalaripayattu:

    Musti-yuddha:

    Silambam:

    Thang-Ta:

    Wrestling:Malla-yuddha

    Pehlwani

    Legendary Figures

    Central style from inner Kerala and the southern style from

    Travancore region of south Kerala. The southern Payattu

    system is now extinct and the Tamil style of "Adi Murai" is

    classified as the southern kalarippayattu by Kerala

    Kalarippayattu association.

    The northern style was practiced primarily by the Nairs and the

    Ezhava (Thiyya), the two communities primarily associatedwith the martial arts practice in Kerala.[4][5] as well as some

    Mappilas and Saint Thomas Christians. The southern style,

    calledAdi Murai, was practiced largely by the Nadars and has

    features dist inguishing it from its other regional

    counterparts.[6][7][8] Northern kalaripayattu is based on elegant

    and flexible movements, evasions, jumps and weapons training, while the

    southern "Adi Murai" style primarily follows the hard impact based

    techniques with priority in empty hand fighting and pressure point strikes.Both systems make use of internal and external concepts.

    Some of the flexibility training methods in northern Kalaripayattu are

    applied in Kerala dance forms[3] and kathakali dancers who knew martial

    arts were believed to be markedly better than the other performers. Some

    traditional Indian dance schools still incorporate kalaripayattu as part of

    their exercise regimen.[9][page needed]

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    Parashurama Agastya Drona

    Hanuman Bhima Arjuna

    Unniyarcha

    Notable Practitioners

    Siddhartha Gautama

    Guru Hargobind Shivaji

    The Great Gama Gobar Guha

    Simhalan Madhava Panicker Jasmine Simhalan Dara Singh

    Vidyut Jamw al Phillip Zarrilli

    V T E

    Contents [hide]

    1 History

    1.1 Origins

    1.2 Decline and revival

    2 Variations

    2.1 Northern kalaripayattu

    2.2 Southern kalaripayattu2.3 Central kalaripayattu

    2.4 Styles

    3 The kalari

    4 Marmashastram and massage

    5 Weapons

    6 See also

    7 References

    8 Further reading

    9 External links

    History [ edit source ]

    Origins [ edit source ]

    Oral folklore ascribes the creation of kalaripayattu toHindu

    gods.[citation needed] It was first documented around the 11th or12th century AD by the historian Elamkulam Kunjan Pillai, who

    attributed its creation to an extended period of warfare that took

    place between the Chera and the Chola dynasties in the 11th

    century.[3]

    The art was disseminated through schools known as kalari,

    which served as centres of learning before the modern

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    educational system was introduced. Still in existence, kalaris

    served as meeting places for the acquisition of knowledge on

    various subjects ranging from mathematics, language,

    astronomy and various theatrical arts.[citation needed] More specifically, martial arts were taught in the

    payattu kalari, meaning fight school.[citation needed]

    Kalaripayattu became more developed during the 9th century[clarification needed] and was practiced by warrior

    clans of Kerala to defend the state and the king. In the 11th and 12th century, Kerala was divided into smallprincipalities that fought wars among themselves. As part of these there one-on-oneduels or ankam were

    fought by Chekavar on an ankathattu, a temporary platform, four to six feet high.[10][page needed] The

    traditional astrologer caste Kaniyar were also involved in the training of Kalaripayatuu.[11] Hence they were

    known as Panickar and Asans.[citation needed]

    The Mappila Muslims adopted and practiced Kalaripayattu as their own.[12] The ballads of North Kerala refer

    to Muslims trained in Kalaripayattu.[12] For instance, the hero of the northern ballads Thacholi Othenan

    bowed before Kunjali Marakkar, the Muslim commander of the Zamorin, and offered him presents before

    opening his kalari.[12] Some Mappilas were trained in Hindu institutions known as Chekor Kalaris.[12] The

    Paricha Kaliis an adaptation of Kalaripayattu, and the Mappila tradition of this art is called

    Parichamuttu.[12] The participants typically wear white shirts, green skullcaps, and sing Mappila songs after

    praying to Allah, Prophet Muhammad and thepirs.[12]

    The Saint Thomas Christians also practiced Kalaripayattu and most Christian settlements had akalari, that

    was usually run by a Christianpanikkar(officer).[13] In theJornada, it is mentioned that some Christian

    panikkars had between 8,000 to 9,000 disciples, who were trained as fighting forces for the localrajahs.[13]

    One of the most prominent Christianpanikkars was Vallikkada Panikkar, whose kalariwas located atPeringuzha on the banks of the Muvattupuzha river.[13] He is an ancestor of Bishop Geevarghese Mar

    Ivanios, one of the founders of the Syro-Malankara Catholic Church.[13]

    The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalaripayattu 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. Among some

    noble families, young girls also received preliminary training up until the onset of menses.[3] It is also known

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    from the vadakkan pattukalballads that at least a few women of noted Chekavar continued to practise and

    achieved a high degree of expertise.[3] The most famous of them was Unniyarcha of Keralan folklore, a

    master with the urumi or flexible sword.

    The earliest western account of kalaripayattu is that of the Portuguese explorerDuarte Barbosa (c. 1518).[3]

    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 practis ing. The masters

    who teach them are called Panikars.

    Decline and revival [ edit source ]

    Kalaripayattu 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.[3] The British

    eventually banned kalaripayattu and the Nair custom of holding swords 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.[citation needed]

    The resurgence of public interest in kalaripayattu began in the 1920s in Tellicherry as part of a wave of

    rediscovery of the traditional arts throughout south India[3] and continued through the 1970s surge of general

    worldwide interest in martial arts.[14] In recent years, efforts have been made to further popularise the art,

    with it featuring in international andIndian films such as Ondanondu kaladalli(Kannada), Indian (1996),

    Asoka (2001), The Myth (2005), The Last Legion (2007), and also in the Japanese mangaKenichi: The

    Mightiest Disciple.

    Variations [ edit source ]

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    Kalaripayattu has three regional variants that are distinguished by their attacking and defensive patterns.

    Northern kalaripayattu [ edit source ]

    Main article: Northern kalaripayattu

    Northern kalaripayattu (vadakkan kalari) is practiced mainly in North Malabar.[3] It places more emphasis

    on weapons than on empty hands.[3]Parashurama, sixth avatar of Vishnu, is believed to be the style's

    founder according to both oral and written tradition.[3] Masters in this system are usually known as gurukkalor occasionally as asan, and were often given honorific titles, especially Panikkar.[3] The Parashurama

    myth in Kerala is associated with the Brahmin migration and Aryanisation of Kerala. The northern Brahmin

    immigrants contributed their skills through the "Salai"s which were educational institut ions imparting various

    branches of knowledge including military arts.

    The northern style is distinguished by its meippayattu - physical training and use of full-body oil massage.[3]

    The system of treatment and massage, and the assumptions about practice are closely associated with

    ayurveda.[3] 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 thirumaland the massage specifically for physical flexibility

    chavutti thirumalwhich 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 tulunadu kalari's to overcome their defects (kuttam theerkkal). There are schools

    which teach more than one of these traditions. Some t raditional kalari aroundKannur for example teach a

    blend of arappukai,pillatanni, and katadanath styles.[10]

    Southern kalaripayattu [ edit source ]

    The original style of southern kalarippayattu was known as "Dronambilli" is now extinct. Masters are known

    as 'asaan.[3] It is practiced largely by the Nadars and has features distinguishing it from its other regional

    counterparts.[6][7][8] The stages of training are chuvatu (solo forms),jodi (partner training/sparring),

    kurunthadi (short stick), neduvadi(long stick), katthi(knife), katar (dagger), valum parichayum (sword and

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    shield), chuttuval (flexible sword), double sword, kalari grappling and marma (pressure points).[10]

    Zarrilli refers to southern kalaripayattu as varma ati (the law of hitting), marma ati(hitting the vital spots) or

    varma kalai(art of varma).[3] The preliminary empty handed techniques of varma ati are known as adithada

    (hit/defend).[3] Marma ati refers specifically to the application of these techniques to vital spots.[3] Weapons

    include bamboo staves, short sticks, and the double deer horns.[3]

    Medical treatment in the southern styles is identified withsiddha,[14] the t raditional Dravidian system of

    medicine distinct from north Indianayurveda. The Siddha medical system, otherwise known as siddhavaidyam, is also attributed to Agastya.

    Central kalaripayattu [ edit source ]

    Main article: Central kalaripayattu

    The Madhya Kalari (central style) of kalaripayat is practiced mainly in Northern parts of Kerala. Contrary to

    popular belief, it is not a composite of the northern and southern forms, but has its own distinctive

    techniques, which are performed within floor paths known as kalam.[1] The Madhya(central) Kalari hasmany different styles which place heavy emphasis on lower body strength and speed through thorough

    practice of various chuvadu, only after which participants advance into weaponry and advanced studies.[3]

    Styles [ edit source ]

    Various kalari styles as specified in Vadakkan Pattukal,

    Kadathanatan Kalari

    Karuvancheri Kalari

    Kodumala Kalari

    Kolastri Nadu Kalari

    Kurungot Kalari

    Mathilur Kalari

    Mayyazhi Kalari

    Melur Kalari

    Nadapuram Kalari

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    Gurukkal praying before puttara CVN

    Kalari, Ettumanoor

    Panoor Madham Kalari

    Payyampalli Kalari

    Ponniyam Kalari

    Puthusseri Kalari

    Puthuram Kalari

    Thacholi Kalari

    Thotuvor KalariTulunadan Kalari

    The kalari [ edit source ]

    Main article: Kalari

    A kalari is the school or training hall where martial arts are

    taught. They were originally constructed according to vastu

    sastra with the entrance facing east and the main door situatedon the centre-right. Sciences like mantra saastra[citation needed],

    tantra saastra[citation needed]and marma saastra are utilized to

    balance the space's energy level. The training area comprises a

    puttara (seven tiered platform) in the south-west corner. The

    guardian deity (usually an avatar of Bhagavathi, Kali or Shiva) is

    located here, and is worshipped with flowers, incense and water

    before each training session which is preceded by a prayer.

    Northern sty les are practiced in special roofed pits where thefloor is 3.5 feet below the ground level and made of wet red clay

    meant to give a cushioning effect and prevent injury. The depth of

    the floor protects the practitioner from winds that could hamper body temperature. Southern styles are

    usually practiced in the open air or in an unroofed enclosure of palm branches.[3] Traditionally, when a kalari

    was closed down it would be made into a small shrine dedicated to the guardian deity.

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    Marmashastram and massage [ edit source ]

    Main article: Marmam

    It is claimed that learned warriors can disable or kill their opponents by

    merely touching the correct marmam (vital point). This is taught only to

    the most promising and level-headed persons, to discourage misuse of

    the technique. Marmashastram stresses on the knowledge of marmam

    and is also used for marma treatment (marmachikitsa). This system of

    marma treatment comes undersiddha vaidhyam, attributed to the sage

    Agastya and his disciples. Critics of kalaripayattu have pointed out that the application of marmam

    techniques against neutral outsiders has not always produced verifiable results. The earliest mention of

    marmam is found in the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with

    a vajra.[15] References to marman also found in theAtharva Veda.[16] With numerous other scattered

    references to vital points in Vedic and epic sources, it is certain that India's early martial artists knew about

    and practised attacking or defending vital points.[17]

    Sushruta (c. 6th century BC) identified and defined 107vital points of the human body in his Sushruta Samhita.[18] Of these 107 points, 64 were classified as being

    lethal if properly struck with a fist or stick.[19] Sushruta's work formed the basis of the medical discipline

    ayurveda, which was taught alongside various Indian martial arts that had an emphasis on vital points, such

    as varma kalai and marma adi.[19]

    As a result of learning about the human body, Indian martial artists became knowledgeable in the field of

    traditional medicine and massage. Kalaripayattu teachers often provide massages (uzhichil) with 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 thirumaland the unique massage given to increase

    flexibility is known as katcha thirumal. It is said to be as sophisticated as theuzhichiltreatment of

    ayurveda. Kalaripayattu has borrowed extensively from ayurveda and equally lends to it.[citation needed]

    Weapons [ edit source ]

    Although no longer used in sparring sessions, weapons are an important part of kalaripayattu. This is

    especially true for the northern styles which are mostly weapon-based. Some of the weapons mentioned in

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    Weapons currently used in kalaripayat

    Val Sword

    Paricha Shield

    Kettukari/Neduvadi/Shareeravadi Staff

    Kuruvadi/Kurunthadi/Cheruvadi/Muchan Short Stick

    Chotta chan/Marma(Varma)Kol 1 span stick

    Thundu/Thuvala/Thala Towel/Sash/Long strip of cloth

    Weapons historically used in kalaripayat

    Venmazhu Axe

    Ambu & Villu (Ambum Vi llum) Arrow & Bow

    Ponti Small Club

    Thotti Hook Spear/Elephant goad

    Kaduthala

    Forward Curved Sword

    Trisool Trident

    medieval Sangam literature have fallen into disuse over time and are rarely taught in kalaripayattu today.

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    Kuntham Spear

    Vettukathi Machete

    Gada Mace/Club

    Churika

    Double edged short sword

    Maduvu

    Deer-horn dagger

    Fist Dagger

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    Kattari/Kataram/Mara pidicha Kataram/Katar (dagger)

    Otta Curved stick (Reverse hand Grip)

    Urumi/Churuttuval/Surul Val Flexible sword

    See also [ edit source ]

    AnkamKalarippayattu films

    Kalarippayattu stick fighting

    Marma adi

    Silambam

    Kuttu Varisai

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    References [ edit source ]

    1. ^http://en.wikipedia.org/wiki/Varma_Kalai

    2. ^Kalaripayatta- Discovery Channel

    3. ^ abcdefghijklmnopqrstuvZarrilli, Phill ip B. (1998). When the Body Becomes All Eyes: Paradigms,

    Discourses and Practices of Power in Kalarippayattu, a South Indian Martial Art. Oxford: Oxford University

    Press.

    4. ^Kalarippayat - Dick Luijendijk - Google Books . Books.google.co.in. 2008-09-25. Retrieved 2012-10-25.5. ^ Heniger, J. (1986). Hortus Malabaricus: A Contribution to the History of Dutch Colonia l Botany . CRC

    Press. p. 50. ISBN978-90-6191-681-9. Retrieved 2008-11-25.

    6. ^ ab[1] Martial arts of the world: an encyclopedia, Volume 1 By Thomas A. Green

    7. ^ ab The Encyclopedia of religion, Volume 9 By Mircea Eliade, Charles J. Adams . p.225

    8. ^ abA brief sketch of Travancore, the model state of India : the country, its ... - S. Ramanath Aiyar - Google

    Books . Books.google.co.in. Retrieved 2012-10-25.

    9. ^ Luijendijk, D.H. (2008). Kalarippayat: The Essence and Structure of an Indian Martial Art . Lulu.

    10. ^ abc Luijendijk, D.H. (2005). Kalarippayat: India's Ancient Martial Art. Paladin Press . ISBN1-58160-480-7.

    11. ^ L.Krishna Anantha Krishna Iyer (Diwan Bahadur) ;The Cochin tribes and castes; 1909

    12. ^ abcdefMappila Muslims: a study on society and anti colonial struggles (2007), Hussain Randathani,

    Other Books, p. 70

    13. ^ abcdMaritime India: trade, religion and pol ity in the Indian Ocean (2010), Pius Malekandathil, Primus

    Books, p. 46

    14. ^ ab Zarrilli 1992

    15. ^ Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin .

    16. ^ Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Pass age Press . Utah USA.

    17. ^ Zarrilli, Phillip B. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. University of

    WisconsinMadison.

    18. ^ G. D. Singhal, L. V. Guru (1973).Anatomical and Obstetrical Considerations in Ancient Indian Surgery

    Based on Sarira-Sthana of Susruta Samhita.

    19. ^ ab J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. Electronic

    Journa ls of Martial Arts and Sciences.

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    Further reading [ edit source ]

    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

    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

    External links [ edit source ]

    Kalaripayattu at the Open Directory Project

    kalarippayattu - one of the oldest martial arts , Governmentof Kerala website

    Kalaripayattu

    Indian martial arts

    Martial arts byregional origin

    North Malabar

    Categories: Kalarippayattu Indian martial arts Dravidian martial arts Culture of Kerala

    Arts of Kerala Kathakali

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