Kalaripayattu (pronunciation: [kɐɭɐripɐjɐtːɨ̆]) is a Martial art which originated as a style in Kerala and Tamil Nadu during 2nd century BC to the 2nd century AD. The word kalari first appears in Sangam literature to describe both a battlefield and combat arena. The word kalari tatt denoted a martial feat, while kalari kozhai meant a coward in war. Each warrior in the Sangam era received regular military training. It is considered to be one of the oldest fighting system in existence. It is now practiced in Kerala, in contiguous parts of Tamil Nadu. It was originally practiced in northern and central parts of Kerala and the Tulunadu region of Karnataka.
Kalarippayattu is a Dravidian martial art from Kerala in south India. Possibly one of the oldest fighting systems in existence,it is still practiced extensively in Kerala. The word is spelled variously as kalari payat, kalarippayatta, kalaripayatt and many others depending on the dialect and romanisation system used.
It includes strikes, kicks, grappling, preset forms, weaponry and healing methods.Regional variants are classified according to geographical position in Kerala; these are the northern style, the southern style and the central style. Northern kalari payat is based on the principle of hard technique, while the southern style primarily follows the soft techniques, even though both systems make use of internal and external concepts.
Some of the choreographed sparring in kalari payat can be applied to dance and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen.
Early written evidence of martial arts in Southern India dates back to the Sangam literature of about the 2nd century BC to the 2nd century AD. The Akananuru and Purananuru describe the use of spears, swords, shields, bows and silambam in the Sangam era. The word kalari appears in the Puram (verses 225, 237, 245, 356) and Akam (verses 34, 231, 293) to describe both a battlefield and combat arena. The word kalari tatt denoted a martial feat, while kalari kozhai meant a coward in war. Each warrior in the Sangam era received regular military training[2] in target practice, horse and elephant riding. They specialized in one or more of the important weapons of the period including the spear (vel), sword (val), shield (kedaham), and bow and arrow (vil ambu). The combat techniques of the Sangam period were the earliest precursors to kalaripayat. References to "Silappadikkaram" in Sangam literature date back to the 2nd century. This referred to the silambam staff which was in great demand with foreign visitors.
In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the nata dances, were incorporated into the fighting arts. A number of South Asian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalaripayat can be applied to dance and kathakali dancers who knew kalaripayat were believed to be markedly better than other performers. Until recent decades, the chhau dance was performed only by martial artists. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen.
Kalaripayat had developed into its present form by the 11th century, during an extended period of warfare between the Chera and Chola dynasties. Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods. 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 Thiruvitankoor. The northern style was practiced in Kerala primarily by the Pada Nairs, a sub group of Nairs and by 'Chekavas' a sub group of Ezhavas. The famous vadakkan pattukal or the northern ballads contains the stories of these medieval Kalari warriors. These ballads are divided into two groups-the 'Thacholi pattukal', which tells the story of the Nair Thacholi family and the 'Puthooram Pattukal', which tells the story of Ezhava Puthooram family. The southern style, was practiced largely by the Nadars and has features distinguishing it from its other regional counterparts. 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 on 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 Keralan dance forms 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.
Tamil sage Agastya is regarded as the founder and patron saint of southern kalaripayat, silambam and varmam -an ancient science of healing using varmam points for varied diseases. along with Lord Parasurama, especially in Kerala.
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. More specifically, martial arts were taught in the payattu kalari, meaning fight school.
In the 11th and 12th century, Kerala was divided into small principalities ruled by chieftains that fought wars among themselves. In such wars, one-on-one duels or ankam were fought by Chekavar on an ankathattu, a temporary platform, four to six feet high. Ever since the pre-medieval era, Kaniyar, the traditional astrologer caste men of Kerala, particularly from northern region, were assigned as the preceptors of Kalaripayattu, hence, till the last century, they were known as Panickar and Asans in northern and southern regions of the state, respectively. Many of their families still maintain what remains of their old Kalaris , as heritage.
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 (Manikoth Thacholi Udayanakurup) bowed before Kunjali Marakkar, the Muslim commander of the Zamorin, and offered him presents before opening his kalari. The traitor who killed Thacholi Othenan was also a Mappila discipline of Mathilur Gurukkal. 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.
It is mentioned that some panikkars had between 8,000 to 9,000 disciples, who were trained as fighting forces for the local rajahs. One of the most prominent Ezhava panikkars was Arattupuzha Velayudha Panikkar, whose kalari was located at Alappuzha.
Kalaripayattu training and uzhichil(massage) centers :
Ens Kalari Kumbalam
Ens Kalari
CVN Kalari
Agasthya Bharatha Kalari
Nava Bharatha Kalari Sangam, Kochi
Decline and revival
Kalaripayattu underwent a period of decline when Velu Thampi Dalawa reduced the allowances of Nair warriors in the Thiruvitankoor army in the 1800s. These soldiers indeed joined British army and went on and killed Velu Thampi Dalawa. The British eventually banned Nairs from practicing kalaripayattu and the Nair custom of holding swords, so as to prevent rebellion and anti-colonial sentiments.
The resurgence of public interest in kalaripayattu began in the 1920s in Thalassery, as part of a wave of rediscovery of the traditional arts throughout south India[9] and continued through the 1970s surge of general worldwide interest in martial arts.[18] 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).
No comments:
Post a Comment