Kalari

The whole world has long looked towards India for ancient wisdom and guidance on how to live a harmonious, spiritual life and find peace within oneself.

But what is less known, is that the same ancient wisdom has been fuelling the ultimate warrior for centuries. A martial artist who can strike you dead, with the touch of a finger.

Kalarippayattu, often called Kalari – which similarly refers to the wider vocational, physical and spiritual structure of the practice – is one of the world’s oldest martial arts still in existence.

Believed to date as far as 3 000 years ago and hailing from the southern Indian state of Kerala, Kalari practitioners deem it the source of all Asian martial arts. According to legend, a Bodhisattva, a Buddhist monk who lived in southern India, brought the techniques of Kalari that he had learned, to Tibet and China where he trained his disciples in the art. As the monks used to spend most of their time in meditation, physical or martial art activities did not have any role in their lives. In order to ward off possible attacks – from animals, thugs and religious persecutors – the Bodhisattva taught them various Kalari techniques. From there, Kalari is believed to have spread, taking on different forms and names within the world’s martial arts communities.

The complete martial art of Kalarippayattu involves physical exercise, the use of weapons, bare-handed attack and defence moves, treatments for physical ailments and marma vidya, the science of identifying the key points of the body that, pressed, could either heal or kill a person, depending on the strength applied. Minute nuances of physical exercise and the execution of fine techniques are incorporated perfectly in Kalarippayattu, that not only teaches the coordination between body parts, the food to be eaten, the clothes to be worn and the oils to be used for physical agility, but also advises in higher human values that a practitioner should uphold in his or her personal life.

The techniques of Kalarippayattu are derived from the observation of the innate attack and defence mechanisms of birds, mammals, reptiles and insects. The chuvadu (steps) are based on the idea of keeping the body in balance, with a highly structured combination of vadivu (crouching) and prayoga (springing) moves. Kalari practice insists upon jumping, somersaulting and crawling with and without weapons in hand. The rigorous physical exercise regime turns the very human body into a potential weapon called meyyu kannakuka, meaning, “turning body into eyes,” which enables the martial artist to attack from literally every part of the body.

What makes Kalarippayattu a distinct martial art form, are the vaaythari, verbal commands, which are used for teaching and learning the intricate techniques. The Guru or master commands his disciples with words from the local language, making full use of its musical intonations. The vaaythari is a philosophical chanting; it is incessant, musical and rhythmic, and helps the disciples keep their body and mind calm even while they undergo rigorous training. As the discipline is so physically and mentally demanding, practitioners of Kalari develop a strong camaraderie. The training tradition and noble lifestyle that is centred around the Guru, raise Kalari into a different dimension whereby the martial artists begin to think of Kalari as life itself.

The valorous skills of the Kalari warriors are also praised and des-cribed at length in the verses of the Vadakkan Pattukal, which are ancient sagas or ballads from Kerala.

Thacholi Othenan, one of the heroes of the sagas, is said to have had the unique ability of marking the necks of a thousand men standing around him with a single twirl and twist of an urumi (belt sword) without hurting any of them.

In the verses of the sagas, women as well as young girls, irrespective of the physical and social restrictions, practice Kalarippayattu. Unni Aarcha for instance, a celebrated heroine, annihilated her attackers with her martial arts skills and is one of the most regarded figures of Kalari.

Until the 16th century AD, in Kadathanadu, northern Kerala, the whole judicial system was based on the ingrained values of Kalarippayattu. For instance, when the local lords and chieftains locked horns in a dispute that they deemed irresolvable, they would have an angam, a form of duel in which each party in the dispute introduced its own anga chekavar (duel warrior) as chaaver (suicide warrior), since the duel would leave one of the warriors dead. The angam was considered a noble human sacrifice as two brave men decided to put their lives on the line for their respective masters in order to prevent riots or formal wars that could result in a massive loss of human lives.

Between the 10th and 17th century AD, Kalarippayattu held a decisive role in the social organisation and regulation in and around Kerala, but the oppressive administrative tactics of the British during the colonial period considerably weakened the art of Kalari. After India’s 1947 independence, Kalari appeared to have forever lost its importance.

But in recent times, the practice of Kalari has experienced a revival, although in most cases, this has been through Kerala government initiatives to boost tourism. Today, Kalari mostly exists as a form of dance performed for tourists or as after school martial arts classes for children; all of this has replaced the mortal combat code that was once in place. However, Kalari practitioners hope that the die-hard attitude of this martial art will prevail and the renewed, if not superficial curiosity surrounding Kalari, could perhaps grow into a deeper movement of preservation.

In Kalari, words are important. And since Kalari is historically embedded in the social fabric of Kerala, many of the sayings and instructions that express the fundamental principles of the martial art have become commonplace within local communities. Today, Kalari expressions are akin to local slang, and anyone from grandmas to teenagers will drop the sayings into everyday conversations. Here are some of the most common sayings:

“One cut, two pieces.”
“Even when you are ill, you should go to see a war.”
“For an expert even a blade of grass is a potential weapon.”
“Say and strike, never strike stealthily.”
“Fight only with the practiced steps.”
“Cut for cut, stab for stab.”

Suresh Gurukkal is a Kalari master and he is one of the foremost exponents of the art of Marmam (vital points of the human body) in Kalaripayattu. He is also a physics teacher and headmaster of Kottackal Kunjali Marackar High School, in the Vadakara district of Kerala.

Kalarippayattu, often called Kalari is one of the world’s oldest martial arts still in existence.

The whole world has long looked towards India for ancient wisdom and guidance on how to live a harmonious, spiritual life and find peace within oneself.

But what is less known, is that the same ancient wisdom has been fuelling the ultimate warrior for centuries. A martial artist who can strike you dead, with the touch of a finger.

Kalarippayattu, often called Kalari – which similarly refers to the wider vocational, physical and spiritual structure of the practice – is one of the world’s oldest martial arts still in existence.

Believed to date as far as 3 000 years ago and hailing from the southern Indian state of Kerala, Kalari practitioners deem it the source of all Asian martial arts. According to legend, a Bodhisattva, a Buddhist monk who lived in southern India, brought the techniques of Kalari that he had learned, to Tibet and China where he trained his disciples in the art. As the monks used to spend most of their time in meditation, physical or martial art activities did not have any role in their lives. In order to ward off possible attacks – from animals, thugs and religious persecutors – the Bodhisattva taught them various Kalari techniques. From there, Kalari is believed to have spread, taking on different forms and names within the world’s martial arts communities.

The complete martial art of Kalarippayattu involves physical exercise, the use of weapons, bare-handed attack and defence moves, treatments for physical ailments and marma vidya, the science of identifying the key points of the body that, pressed, could either heal or kill a person, depending on the strength applied. Minute nuances of physical exercise and the execution of fine techniques are incorporated perfectly in Kalarippayattu, that not only teaches the coordination between body parts, the food to be eaten, the clothes to be worn and the oils to be used for physical agility, but also advises in higher human values that a practitioner should uphold in his or her personal life.

The techniques of Kalarippayattu are derived from the observation of the innate attack and defence mechanisms of birds, mammals, reptiles and insects. The chuvadu (steps) are based on the idea of keeping the body in balance, with a highly structured combination of vadivu (crouching) and prayoga (springing) moves. Kalari practice insists upon jumping, somersaulting and crawling with and without weapons in hand. The rigorous physical exercise regime turns the very human body into a potential weapon called meyyu kannakuka, meaning, “turning body into eyes,” which enables the martial artist to attack from literally every part of the body.

What makes Kalarippayattu a distinct martial art form, are the vaaythari, verbal commands, which are used for teaching and learning the intricate techniques. The Guru or master commands his disciples with words from the local language, making full use of its musical intonations. The vaaythari is a philosophical chanting; it is incessant, musical and rhythmic, and helps the disciples keep their body and mind calm even while they undergo rigorous training. As the discipline is so physically and mentally demanding, practitioners of Kalari develop a strong camaraderie. The training tradition and noble lifestyle that is centred around the Guru, raise Kalari into a different dimension whereby the martial artists begin to think of Kalari as life itself.

The valorous skills of the Kalari warriors are also praised and des-cribed at length in the verses of the Vadakkan Pattukal, which are ancient sagas or ballads from Kerala.

Thacholi Othenan, one of the heroes of the sagas, is said to have had the unique ability of marking the necks of a thousand men standing around him with a single twirl and twist of an urumi (belt sword) without hurting any of them.

In the verses of the sagas, women as well as young girls, irrespective of the physical and social restrictions, practice Kalarippayattu. Unni Aarcha for instance, a celebrated heroine, annihilated her attackers with her martial arts skills and is one of the most regarded figures of Kalari.

Until the 16th century AD, in Kadathanadu, northern Kerala, the whole judicial system was based on the ingrained values of Kalarippayattu. For instance, when the local lords and chieftains locked horns in a dispute that they deemed irresolvable, they would have an angam, a form of duel in which each party in the dispute introduced its own anga chekavar (duel warrior) as chaaver (suicide warrior), since the duel would leave one of the warriors dead. The angam was considered a noble human sacrifice as two brave men decided to put their lives on the line for their respective masters in order to prevent riots or formal wars that could result in a massive loss of human lives.

Between the 10th and 17th century AD, Kalarippayattu held a decisive role in the social organisation and regulation in and around Kerala, but the oppressive administrative tactics of the British during the colonial period considerably weakened the art of Kalari. After India’s 1947 independence, Kalari appeared to have forever lost its importance.

But in recent times, the practice of Kalari has experienced a revival, although in most cases, this has been through Kerala government initiatives to boost tourism. Today, Kalari mostly exists as a form of dance performed for tourists or as after school martial arts classes for children; all of this has replaced the mortal combat code that was once in place. However, Kalari practitioners hope that the die-hard attitude of this martial art will prevail and the renewed, if not superficial curiosity surrounding Kalari, could perhaps grow into a deeper movement of preservation.

In Kalari, words are important. And since Kalari is historically embedded in the social fabric of Kerala, many of the sayings and instructions that express the fundamental principles of the martial art have become commonplace within local communities. Today, Kalari expressions are akin to local slang, and anyone from grandmas to teenagers will drop the sayings into everyday conversations. Here are some of the most common sayings:

“One cut, two pieces.”
“Even when you are ill, you should go to see a war.”
“For an expert even a blade of grass is a potential weapon.”
“Say and strike, never strike stealthily.”
“Fight only with the practiced steps.”
“Cut for cut, stab for stab.”

Suresh Gurukkal is a Kalari master and he is one of the foremost exponents of the art of Marmam (vital points of the human body) in Kalaripayattu. He is also a physics teacher and headmaster of Kottackal Kunjali Marackar High School, in the Vadakara district of Kerala.