Kalaripayattu (pronunciation: [kɐɭɐripɐjɐtːɨ̆]) is an Indian martial art. One of the oldest fighting systems in existence,[1] it is now practiced in Kerala, in contiguous parts of Tamil Nadu and among the Malayali community of Malaysia. It was originally practiced in northern and central parts of Kerala and the Tulunadu region of Karnataka.[2]
Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[2] Regional variants are classified according to geographical position in Kerala; these are the Northern style from Malabar region in north Kerala, the 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.
The northern style was practiced in Kerala primarily by the Nairs and Yatra Brahmins, as well as the small Chekavar subcaste of the Ezhavas, some Muslims and Christians. The southern style, called Adi Murai, was practiced largely by the Nadars and similar castes; it has features distinguishing it from its other regional counterparts.[3] 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[2] 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.
The art was disseminated through schools known as kalari, which served as centres of learning before the modern 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 small principalities that fought wars among themselves. As part of these there one-on-one duels or ankam were fought by Chekavar on an ankathattu, a temporary platform, four to six feet high.[4][page needed] The traditional astrologer caste Kaniyar were also involved in the training of Kalaripayatuu.[5] Hence they were known as Panickar and Asans.[citation needed]
The Mappila Muslims adopted and practiced Kalaripayattu as their own. The ballads of North Kerala refer to Muslims trained in Kalaripayattu. 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. Some Mappilas were trained in Hindu institutions known as Chekor Kalaris. The Paricha Kali is an adaptation of Kalaripayattu, and the Mappila tradition of this art is called Parichamuttu.[6]
The Saint Thomas Christians also practiced Kalaripayattu and most Christian settlements had a kalari, that was usually run by a Christian panikkar (officer).[7] In the Jornada, it is mentioned that some Christian panikkars had between 8,000 to 9,000 disciples, who were trained as fighting forces for the local rajahs.[7] One of the most prominent Christian panikkars was Vallikkada Panikkar, whose kalari was located at Peringuzha on the banks of the Muvattupuzha river.[7] He is an ancestor of Bishop Geevarghese Mar Ivanios, one of the founders of the Syro-Malankara Catholic Church.[7]
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.[2] It is also known from the vadakkan pattukal ballads that at least a few women of noted Chekavar continued to practise and achieved a high degree of expertise.[2] 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 explorer Duarte Barbosa (c. 1518).[2]
A colonial-era kalari (1905)
1. Chuvadu (footwork): which is sub-divided into
Kalarippayattu practitioner performing Side way leap
2. Vadivu (posture): a sequence of chuvdu to take a particular
stand or postures like the animals in nature that adopts to get the
momentum before combat.
There are eight vadivu stands:
Ashtavadivu a particular stand or postures like the animals in nature that adopts to get the momentum before combat.
3. Prayogams: extension of chuvadus, the emphasis on the use
of legs, to acquire the flexibility of legs to use in all directions and
heights in combination with jumps and kicks, various stretching and
bending exercise done to get the flexibility of waist also.
4. Meythari or Meyppayat: the process of learning adavu-combat techniques. One payat is the sequence of 12 adavus. Adavu is a sequence of arapu. Arapu is a combination of a few thozhils. Thozhil is a combination of chuvadus. Kalaripayat can be called the permutation and combination of adavus and chuvadu performed as per the vaythari-the oral command flow of gurukkal. Hence a rhythmic display happens like a dance following a particular music and that is the performing beauty of this martial art. The ultimate aim of mayppayat is to achieve the "Mey kannakkuka" effect means body as the eyes; body action and reflex at tandem with the eyes.
5. Kolthari or Kolpayat: successful students of Meypayat are given kolthari as a preparatory training for ayudhapayat.
Kalarippayattu stick fighting
6. Ankathari or Ayudha payat: in weapon combat first training is given with rattan and wooden type swords and daggers to avoid casualties and after achieving the required skill original metal weapons are tried.
Urumi
7. Verumkaithari: Barehand fight training in hand blows and
punches,leg kicks and blows vast set lock techniques (piduthangal),
throws, flyings, aimed at marmas or vulnerable points also called marma
prayogams. Different techniques of holds,locks to freeze an
attacker,blocks and grips as self defence skills and ozivukal slip and
skip steps to topple the balance of an armed attacker. Verumkai prayogam
excelled as adimurai in south around Balaramapuram-Nagercovil belt and
they developed up to 84 steps in this style.
Historians say that this basic system developed by Buddhist monks
later they carried to china grown as karate there and spread to the
whole world as a modern martial art. Rigorous training in the above
described sequence from 1 to 7 is required to become a full fledged
warrior of a Naduvazhi or king in the medieval period.
Choondumarmam is high degree of power achieved by Kalari sidhans or masters .The finger is pointed to certain marma points of the enemy like tantra mudras and oral codes or manthras are voiced to produce a hypnotic like effect to freeze the opponent. Tulunadan Kalaris are reputed for tantra-manthra prayogams.
Marmachikilsa is another expertise achieved by masters who heal the marma damages –impacts,internal injuries, dislocation, fracture, or paralysis type cases in fight or fall.Course of uzhichil or particular massage with special herbal oil, like ayurvedic model treatment is a routine affair for all Kalari trainees to enhance the flexibility of joints and toning of muscles. Chavitiuzhichil or foot massage is given at the stage of ankathari. Kalarippayattu is one of rare martial arts which Treat Human musculoskeletal system(locomotor system) and deep injuries
Katchaketal: Katcha is the traditional attire for a kalari fighter. It is a 64 muzham length[1Muzham=46 c.m] dhothi tied in the navel region which is considered as the centre of prana with a special techniques and imparts a moral boost to the fighter
Kuntham or spear
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.[2]
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[2] and continued through the 1970s surge of general worldwide interest in martial arts.[8] In recent years, efforts have been made to further popularise the art, with it featuring in international and Indian films such as Ondanondu kaladalli (Kannada), Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007) and Commando (2013).
Northern kalaripayattu (vadakkan kalari) is practised mainly in North Malabar.[2] It places more emphasis on weapons than on empty hands.[2] Parashurama, sixth avatar of Vishnu, is believed to be the style's founder according to both oral and written tradition.[2] Masters in this system are usually known as gurukkal or occasionally as asan, and were often given honorific titles, especially Panikkar.[2] The northern Brahmin immigrants contributed their skills through the "Salai"s which were educational institutions 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.[2] The system of treatment and massage, and the assumptions about practice are closely associated with ayurveda.[2] 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 Tulunadu 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.[4]
Zarrilli refers to southern kalaripayattu as varma ati (the law of hitting), marma ati (hitting the vital spots) or varma kalai (art of varma).[2] 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.[2] Weapons include bamboo staves, short sticks, and the double deer horns.[2]
Medical treatment in the southern styles is identified with siddha,[8] the traditional Dravidian system of medicine distinct from north Indian ayurveda. The Siddha medical system, otherwise known as siddha vaidyam, is also attributed to Agastya.
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 thirumal and the unique massage given to increase flexibility is known as katcha thirumal. It is said to be as sophisticated as the uzhichil treatment of ayurveda. Kalaripayattu has borrowed extensively from ayurveda and equally lends to it.[citation needed]
Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[2] Regional variants are classified according to geographical position in Kerala; these are the Northern style from Malabar region in north Kerala, the 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.
The northern style was practiced in Kerala primarily by the Nairs and Yatra Brahmins, as well as the small Chekavar subcaste of the Ezhavas, some Muslims and Christians. The southern style, called Adi Murai, was practiced largely by the Nadars and similar castes; it has features distinguishing it from its other regional counterparts.[3] 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[2] 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.
History
Origins
Oral folklore ascribes the creation of kalaripayattu to Hindu gods.[citation needed] It was first documented around the 11th or 12th 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.[2]The art was disseminated through schools known as kalari, which served as centres of learning before the modern 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 small principalities that fought wars among themselves. As part of these there one-on-one duels or ankam were fought by Chekavar on an ankathattu, a temporary platform, four to six feet high.[4][page needed] The traditional astrologer caste Kaniyar were also involved in the training of Kalaripayatuu.[5] Hence they were known as Panickar and Asans.[citation needed]
The Mappila Muslims adopted and practiced Kalaripayattu as their own. The ballads of North Kerala refer to Muslims trained in Kalaripayattu. 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. Some Mappilas were trained in Hindu institutions known as Chekor Kalaris. The Paricha Kali is an adaptation of Kalaripayattu, and the Mappila tradition of this art is called Parichamuttu.[6]
The Saint Thomas Christians also practiced Kalaripayattu and most Christian settlements had a kalari, that was usually run by a Christian panikkar (officer).[7] In the Jornada, it is mentioned that some Christian panikkars had between 8,000 to 9,000 disciples, who were trained as fighting forces for the local rajahs.[7] One of the most prominent Christian panikkars was Vallikkada Panikkar, whose kalari was located at Peringuzha on the banks of the Muvattupuzha river.[7] He is an ancestor of Bishop Geevarghese Mar Ivanios, one of the founders of the Syro-Malankara Catholic Church.[7]
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.[2] It is also known from the vadakkan pattukal ballads that at least a few women of noted Chekavar continued to practise and achieved a high degree of expertise.[2] 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 explorer Duarte Barbosa (c. 1518).[2]
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.
Structure and layout
In Kalaripayat, training sequences are called:1. Chuvadu (footwork): which is sub-divided into
- i) Vatta kaal chuvadu,
- ii) Neetta kaal chuvadu,
- iii) Kone kaal chuvadu, and
- iv) Otta kaal chuvadu
There are eight vadivu stands:
- Simhavadivu-Lion posture
- Gaja vadivu-Elephant posture
- Aswa vadivu-Horse posture
- Sarpa vadivu-Serpent posture
- Marjara vadivu-cat posture
- Mastya vadivu- fish posture
- Varaha vadivu-tortoise posture
- Kukkuda vadivu- cock posture,
4. Meythari or Meyppayat: the process of learning adavu-combat techniques. One payat is the sequence of 12 adavus. Adavu is a sequence of arapu. Arapu is a combination of a few thozhils. Thozhil is a combination of chuvadus. Kalaripayat can be called the permutation and combination of adavus and chuvadu performed as per the vaythari-the oral command flow of gurukkal. Hence a rhythmic display happens like a dance following a particular music and that is the performing beauty of this martial art. The ultimate aim of mayppayat is to achieve the "Mey kannakkuka" effect means body as the eyes; body action and reflex at tandem with the eyes.
5. Kolthari or Kolpayat: successful students of Meypayat are given kolthari as a preparatory training for ayudhapayat.
- i) ketukari or sarreravadi - a solid rattan pole of length appro: the Ht. of a man Trining in ketukari is given 12 adavus, was a main item in southstyle adimurai.
- ii) cheruvadi or muchan- a round shortstick about 21/4 ft and 1.5 inch dia, also 12 adavu training is given.
- iii) Ottakol- considered as a prime training item in kolthari, it looks like a solid wood dagger type weapon with a flat ‘s’ shape and a handle .Otta is having a length from 16-18 inches and round wooden of dia 21/2 inch at base to 1 inch at the tip a bud shape is formed. Full training in Ottakol is 18 adavus an exceptional case from others.Ottakol is aimed to use at marma points.
- iv) Gadha: wooden club – the brand weapon of Bhima in the legends. 12 adavu course followed good for Bhima size trainees.
6. Ankathari or Ayudha payat: in weapon combat first training is given with rattan and wooden type swords and daggers to avoid casualties and after achieving the required skill original metal weapons are tried.
- i) Sword and Shield: skills in sword and shield decided grade of a chekavar in medieval day ankakalaris. 12 adavu training is given in the use of sword and shield was a major item in malanadu or northstyle kalari training.
- ii) Kadhara or Dagger: daggers of about ¾ ft with special handle and hold is used,also followed a 12 adavu course.
- iii) Kuntham or spear: usually seven adavu in spear fight is followed.There is also combination fight to face sword attack with spear is also practiced.
- iv) Urumi: Urumipayat is a unique feature of Kerala Kalaris. Urumi is a flexible sword about 5-6 feet which can be tied down at waist like a belt without the notice of public and can be used in emergency. Urumi veeshal can be effectively used to disarm and kill even a group of attackers.
- v) Bow and Arrow: before the British period bow and arrow training was important for ribal people as these were their main weapons against enemies or wild animals in jungles.
Marmas and prayogams
There are 107 marmas or vital spots in human body, where main nerves and tendons meet called prana sensitive points in Ayurveda;any pressure, hit or blow at these spots could cause unconscious condition to paralysis to even sudden death .There are anti marma prayogams to reverse the impacts at marmams. In traditional kalari only a trusted few is given this special training.Choondumarmam is high degree of power achieved by Kalari sidhans or masters .The finger is pointed to certain marma points of the enemy like tantra mudras and oral codes or manthras are voiced to produce a hypnotic like effect to freeze the opponent. Tulunadan Kalaris are reputed for tantra-manthra prayogams.
Marmachikilsa is another expertise achieved by masters who heal the marma damages –impacts,internal injuries, dislocation, fracture, or paralysis type cases in fight or fall.Course of uzhichil or particular massage with special herbal oil, like ayurvedic model treatment is a routine affair for all Kalari trainees to enhance the flexibility of joints and toning of muscles. Chavitiuzhichil or foot massage is given at the stage of ankathari. Kalarippayattu is one of rare martial arts which Treat Human musculoskeletal system(locomotor system) and deep injuries
Katchaketal: Katcha is the traditional attire for a kalari fighter. It is a 64 muzham length[1Muzham=46 c.m] dhothi tied in the navel region which is considered as the centre of prana with a special techniques and imparts a moral boost to the fighter
Decline and revival
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[2] and continued through the 1970s surge of general worldwide interest in martial arts.[8] In recent years, efforts have been made to further popularise the art, with it featuring in international and Indian films such as Ondanondu kaladalli (Kannada), Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007) and Commando (2013).
Variations
Kalaripayattu has three regional variants that are distinguished by their attacking and defensive patterns.Northern kalaripayattu
Main article: Northern kalaripayattu
Northern kalaripayattu (vadakkan kalari) is practised mainly in North Malabar.[2] It places more emphasis on weapons than on empty hands.[2] Parashurama, sixth avatar of Vishnu, is believed to be the style's founder according to both oral and written tradition.[2] Masters in this system are usually known as gurukkal or occasionally as asan, and were often given honorific titles, especially Panikkar.[2] The northern Brahmin immigrants contributed their skills through the "Salai"s which were educational institutions 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.[2] The system of treatment and massage, and the assumptions about practice are closely associated with ayurveda.[2] 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 Tulunadu 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.[4]
Southern kalaripayattu
The original style of southern kalarippayattu was known as "Dronambilli" is now extinct. Masters are known as asaan.[2] It is practised largely by the Nadar, Kallar and Thevar castes and has features distinguishing it from its other regional counterparts.[3] 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 shield), chuttuval (flexible sword), double sword, kalari grappling and marma (pressure points).[4]Zarrilli refers to southern kalaripayattu as varma ati (the law of hitting), marma ati (hitting the vital spots) or varma kalai (art of varma).[2] 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.[2] Weapons include bamboo staves, short sticks, and the double deer horns.[2]
Medical treatment in the southern styles is identified with siddha,[8] the traditional Dravidian system of medicine distinct from north Indian ayurveda. The Siddha medical system, otherwise known as siddha vaidyam, is also attributed to Agastya.
Central kalaripayattu
Main article: Central kalaripayattu
The Madhya Kalari (central style) of kalaripayat is practised mainly
in Northern parts of Kerala. It diverse distinctive techniques with
heavy emphasis on application, which are performed within floor paths
known as kalam.[1] The Madhya(central) Kalari has many 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.[2]Styles
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
- Panoor Madham Kalari
- Payyampalli Kalari
- Ponniyam Kalari
- Puthusseri Kalari
- Puthuram Kalari
- Thacholi Kalari
- Thotuvor Kalari
- Tulunadan Kalari
The kalari payatu festival and origin
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 situated on 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 styles are practiced in special roofed pits where the floor 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.[2] Traditionally, when a kalari was closed down it would be made into a small shrine dedicated to the guardian deity.
Marmashastram and massage
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 under siddha 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.[9] References to marman also found in the Atharva Veda.[10]
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.[11] Sushruta (c. 6th century BC) identified and defined 107 vital points of the human body in his Sushruta Samhita.[12] Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick.[13] 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.[13]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 thirumal and the unique massage given to increase flexibility is known as katcha thirumal. It is said to be as sophisticated as the uzhichil treatment of ayurveda. Kalaripayattu has borrowed extensively from ayurveda and equally lends to it.[citation needed]
Benefits of kalari treatment
- Helps to free emotions and psychological blocks.
- Allows sports people, dancers and performers to keep their body flexible and in superb state.
- Stimulate the three circulatory systems of the body covering the back and front of the body, every muscle and ligament. The lymph system is the most directly affected creating a detoxifying effect and leaves you rejuvenated.
- Helps to relieve body aches.
- Deepens the breathing pattern.
- Links mental and physical aspects of the body and increases mental concentration and energy.
Weapons
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 medieval Sangam literature have fallen into disuse over time and are rarely taught in kalaripayattu today.
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Excellent blog! Please note it is 108 Marmas / Vital pressure points.
BalasHapus