The first historical interpretation of the origin
of the Kalari system was given by Elamkulam Kunjan Pillai. He points out
that this fighting art emerged during the 12th century from the military
exigency of the "Hundred Years War" between the Cheras and the Cholas. This theory was reiterated by later writers without
question. Today, as the concept of Hundred Years War has been
questioned and rejected, the theory of the origin of Kalari during this
War, has lost its ground. Moreover, it is unlikely that a martial system
will emerge suddenly from a war.
It is to be assumed that Kalarippayattu emerged
through a long process, as the result of a synthesis of an indigenous
physical culture with the martial system, imparted through the Brahminical
institution called Salais. The argument that Kalari was derived
from Sanskrit is questionable, as the word 'Kalari' is seen repeatedly in
early Tamil anthologies.
The Sangam Tradition
The early period of the history of Kerala, known
as the Sangam age (circa B.C. 200 to A.D.600) was heroic in nature.
Scholars like Kailaspathy has brought out the nature of the heroic age and
the peculiarities of the Tamil anthologies. The anthologies like Akananuru and
Purananuru, speak of the martial spirit of the people
and their war exploits. When a person is challenged to a one-to-one
combat, it was considered degrading to one's dignity and honour, to refuse
to take up the challenge. There were a number of warlike tribes like Maravar, Mallar, Einar, Malavar
and the Paratavar in the
Sangam days. The Maravas were ferocious in war. Tamil anthologies also
give picturesque description of chivalrous women who could even hail the
glorious death of their kith and kin in the battle field.
To such a heroic society, to which war was a
recreation, some methodical martial training must have been necessary. The
soldiers were trained in the use of Vel or Spear, Val and Khedam sword and shield and
Vil or bow. Apart from the general
training, the heroes of the period mastered the skills in the use of these
weapons.
.The people from the period of the early Tamil
anthologies who had to fight battles frequently, would have developed a
system of warfare and an institution for weapon training. Here it is to be
noted that in the Sangam works, the word Kalari is used for a battle
ground and in some instances, for the practising arena for weaponry. A
battle ground prepared by removing the cactus plant kalli-'Kalli Pokina
Kalari' (the Kalari ground prepared by removing the thorny cactus) is
repeatedly mentioned in Puram and Akam songs. (Puram. 225, 237,
245, 356. Akam: 231,293, 34).
A description in Pattina Palai holds
reference to different types of kalaries - Muthumaranta Muram Kalari, where they held
Makkal Vilayat or People's training (Pattina
Palai: 55-70). These references obviously prove that kalari was a word
used in the Sangam works in connection with battle and battlefield. The
dictionary meaning of Kalari in Tamil language is Ankam or duel and Porkkalam
or battlefield. The words like Kalari Tatt in
Tamil denote a martial feat and Kalari Kozhai means a coward in
war. There were ancient
Tamil manuscripts on Kalarippayattu which are now
lost. There is a traditional belief that the Kalarippayattu originated
from Sage Agastya. All these aspects taken together, support the
view that the Kalari system was very much in existence during the Sangam
period in Kerala and Tamilakam. Some tribes like the Kurichyas of Wayanad
and the Uralies of Idukki had their own Kalaries in the early periods.
The consolidation of Brahmanical influence in
Kerala, took place between the 7th and 9th centuries. They established
temples and Salais. The chattars or students of the Salais were
trained in Vedas and military war fare. This martial training must have
been on the lines of Dhanur Veda. It can be seen that by this
period, there came into existence, the two parallel martial training
systems of Salais and Kalaries; for all sections of people. In
course of time, adjustments might have occurred in the martial techniques
and a strange hand might have played a crucial role in their perfect
assimilation. Some Brahmanical groups had their own specialized techniques
in the use of certain weapons. In the Ballads of North Malabar, there are
references to well trained Kalari artistes going to Tulunad, which was
famous for sword fights and Black Magic. These factors lead us to conclude
that Kalarippayattu originated during the Sangam period; days of the early
centuries of the Christian era and was later strengthened by the
influences of Salais, Dhanurveda, Ayurveda andyoga. Kalari became a
typical example of the synthesis which is evident in many other facets of
the Kerala society. All communities, castes and classes, inherited and
benefited from this physical-cum -martial art of Kerala.
Regional Militia
From about 800 A.D. to 1124 A.D, Kerala was under
the Chera rulers or Perumals of Mahodayapuram. It is
believed that the several Nadu units which existed in different
regions of Kerala at this time, accepted the suzerainty of the Perumal.
The Perumal had a capital force or Maula Sainya consisting of 1000 Nayar
captains under the command of Patamel Nayar. Each of these captains
had 10 ordinary soldiers or chekons under his control. This force
used to have regular training in the use of arms, in Salais and Kalari's.
The Nadus had their own Nattu Koottams and militia like Aayiravar, Munnoottuvar, Anjoottuvar, Arunoottuvar
and the like.
During this period, there are references to different Salais functioning
as training centers for Brahmin students. The political anarchy of the
period necessitated the expansion of military institution and the
establishment of Kalaries for other castes and groups. Some of the
techniques preserved and practised in Salais were to be handed over to the
Kalaries due to military exigency. Perhaps it was this atmosphere which
gave birth to the amalgamation of these two martial systems. In course of
time, the Brahmins who became landed authority and custodians of
provincial and local temples, discarded the rigorous martial and physical
training. The Salais, the centers of learning and martial training,
degenerated, eliminating the physical training part of the curriculum.
This gave way to the complete domination of the martial field by the
Kalari system. This is clear from the fact that after the Perumals, we
hear references to Kalaries only, with the Salais going into
oblivion.
Patronage
The early decades of the 12th century witnessed
the end of Perumals rule and the emergence of a number of Swarupams or principalities from the
Nadus of the period. Venad,
Perumpatappu, Aaramgode, Kurumbiyathiri, Porlathiri and Kolam are some of
the leading Swarupams. They had a collateral system of administration
which further allocated the territories among the four senior members of
the family.
Each Swarupam had its own fighting force and
Kalari. The Venad force was known as Janam or A risippiti Janam. The
Sammotiri or zamorin, the ruler of Kozhikode, had constituted the
fighting forces under different categories- Grama Janam, Lokar, Chaver,
Akampati and Changatham. The Grama Janam could have been the militia
of Desavazhies and there are references to a number of 'Grama
Janams' in the list of invitees to the investiture ceremony of the
Samootiri. The Lokar seems to be the military or paramilitary force in and
around the capital, available to the ruler at short notice. The regulars
of the Samootiri were constituted into Chaver and Changatham. The
'Changatham' served as the 'Akampati Janam' or retinue of Samootiri. The
special force of Chaver served as the suicide squad or 'companions
of honour'. These soldiers were always ready to lay their lives for the
sake of the king. The Chaver find their first reference in the writings of
Abu Zayd (915 A.D.) who gives the mode of recruitment of the chaver
soldiers as follows:
'Among the kings of Hind and some who observe a
special right upon their accession to the throne, rice is cooked for the
new monarch and is served in a plantain leaf He invites from his
companions, three or four hundred men and those who are willing,
presents themselves to the king without any compulsion on his part.
After the king hath eaten some of the cooked rice, he gives the
remainder to those men who approach him one after another and receive
from him a small quantity of rice which they eat. It is incumbent upon
all those who partake this to burn themselves to the last man when the
king dies or is slain."
The Chavers did not hesitate to avenge any
disgrace to their ruler and his territory. Maintenance of such body guards
had been in practice all over the world. The present day 'Black Cats' are
a modernized form of that tradition. There are blood-chilling stories of
heroes who sacrificed their lives, in the Mamankam festival at Tirunavaya,
to protect the self esteem of the Valluvanad ruler. The entire system had
some connections with the tradition of Arthsasthra. In Canara, the
tradition was followed as the Garuda system.
The Kalari system had grown into a popular
physical culture, for defense and offence. Regular Kalaries were run in
each and every village under the supervision of an Aasan or Guru. Different titles like
Kurup or Panicker were bestowed upon the
master and people considered him a highly respected person in the village.
A youth, after acquiring mastery over body and weapons from the village
Kalari under the Guru, can opt to become a soldier of the land, if he
likes. Durate Barbosa gives a detailed description of the ceremonies
connected with the function of investiture. He had recorded that.
"The youth who wishes to become a knight, calls
together those o) his kinsmen who are already knights that they may come
to do him honour, and thus may join with him, and take him honourably to
the palace, having had a time appointed for this by the king.. Then the king commands him to gird on his right side, a sword with a
red sheath, and causes him to approach near to himself and lays his
right hand on his head... Then the scribe enters it thus in the
pay-book that he may draw thence, respect to the house of the Panicker
who taught him, before whom, on perceiving him, he prostrates himself,
and they go together for many ceremonies."
(In the Kaolathiri territory of Chirakkal, the
ceremony was performed by the king himself.)
These soldiers mostly had to stay in the capital
or suburban areas and had to continue their regular practice in weaponry.
The positioning and placement of a number of Kalaries in and around
Kozhikode city, shows the importance attached to this institution by the
rulers. The Kalaries were built around the fort, around the mint and on
the borders of European settlements and they were carefully maintained and
managed by the rulers.
It was during the reign of the Swarupams in
Kerala, that the land witnessed innumerable skirmishes and battles. The
situation naturally enhanced the importance and popularity of Kalari
system in the nook and corner of the State. A Kalari trained person always
carried a sword with him, "which has the brilliance of a drop of water";
to use the words of Abd-Er-Razak, a 15th century visitor to Calicut. In
course of time, the Kalari and its culture came up to impart courage and
spirit of independence among the people. Their regional assemblies or Nattu Koottams
worked as a check against the tyranny of the rulers.
During later medieval days, these heroes played significant roles in the
administration of justice and in bringing about law and order. They even
fought as Anka Chekavar to settle disputes of individuals and to
maintain the honour of a locality or desam. On the eve of the
advent of the Europeans, the Kalari institution stood prominent as an
indigenous military system.
System in
Operation
Structural
Features
There are different types of Kalaries which had
their origin in the distant historical past. Indigenous folk lores and
technical literature furnish a long list. The Ballads of North Malabar, a collection of heroic songs, have references to different types of
kalaries like Ankakkalari, Patanilam, Totuvorkalari, Totukalari and
Cherukalari. Technical writings named the Kalaries on the basis of
functional structures, viz., Netumkalari, Kurumkalari, Totukalari and
Cherukalari. Apart from referring to. local kalaries like Matayikalari, Melurkalari, Chovvakalari and
Mayyazikalari, the
ritualistic songs of Teyyam known as Tottam Pattukal refer to caste
kalaries like Tiyyar kalari, Pulayar kalari, Choyyikalari, Kanisan
Kalari, Namboori kalari and the like. The table given below highlights
the different types of kalaries and their locations.
The Patanilam is a plain ground for war or
duel. The Totu Kalari is the place where instructions are given in
the Marma System or the knowledge of vital parts of the body,
including Choondumarma or Totumarmas. The nomenclature, based on
the measurement of the ground, informs us that the size of the structure,
ranges from twelve to sixty two feet. The most common among the above
groups and the only type that exists at present in Kerala is the
Nalpatheerati. All Kalaries except Patinetteerati and
Pantheerati bear a width of half the length. The Patinetteerati and
Pantheerati Kalaries are square with the same length and
breadth.
Construction of
Kalaries
There were two distinct types of Kalaries; Kuzhikalari in the North
and Nilakkalari in the south of Kerala. A
Kuzhikalari is constructed by digging out soil from the ground and forming
a pit for an appropriate structure. The depth of the pit varied from
region to region. In the Kadathanad area, roughly the present
Vadakara taluk in Kozhikode district, the depth of the Kalari pit is seven
feet whereas in the north of Kadathanad it comes to the chest-height. The
arena is protected by a thatched roof of plaited coconut leaves. The
skeletal structure of the roof rests on wooden or stone pillars, erected
in the centre of the eastern and western borders of the pit and connected
with long beams. The height of the centre of the structure ranges from 32
feet to 42 feet. This construction style is known as the elephant mouthed
or Anavayan. The structure not only gave enough aeration but also
controled the temperature within the pit. Pouring gingely oil in the
ground, plaiting the ground by seashells and the like, gave a healthy
atmosphere for hard physical exercise. The Nilakkalaries of
Southern Kerala are made by constructing mud or stone walls around the
appropriate area to a height of 5 feet, and roofing it with coconut
leaves. These variations could have been on account of the environmental
differences of the regions and the differences between the systems and
practices of the masters or gurukkals.
Kalari Deities and
Rituals
There is a whole lot of metaphysical beliefs according to
which, the structure of a Kalari symbolised the universe. Starting from
the touch of the ground when entering into the Kalari with the right hand
to evoke the goddess of the Earth, to the Kalari mayikka by
throwing Cheruvati to the south-west corner of the Kalari or
blowing a conch-shell at the end of the day's training, have ritualistic
and metaphysical implications.
The life of a combatant is precarious and will have to
face the challenge of death, any time. This naturally persuaded him to
seek the blessings of the supernatural powers. Hindu beliefs have deeply
influenced the Kalari concept. Muslims and Christians follow their own
religious traditions, in their Kalaries.
It is believed that a Kalari has forty five patron
deities. Each deity is allotted a particular place or position. A
combatant has to worship these deities physically and mentally by proper
prostration and gestures. The Tumba and Ocium flowers, tulsi
(Ocium sanctum) leaves, oil lamps, hand-mirror, conch, etc. are used
daily in the propitiative rituals in favour of the gods and goddesses of
kalaries. Although the kalari is an empty space, for a student, this space
has all the meanings of life super nature.
Plan of a Nalpatheerati and Location
of Deities
East-West length: 42 feet., North-South Width: 21
feet
1. Poothara: Presided by the Seven Mothers who look after
the world. (Bhrahmi, Maheswari, Kaumari, Vaishnavi, Varahi, Indrani and
Chamundi (AlsoChandrika). 2. Guruttara, 3. Siva or Nataraja, 4. Sri
Parvati (Sakti) 5. Veerabhadra, 6. Subrahmanya and Saraswati, 7.
Bhadrakali., 8. Kshetrapala, 9. Mahavishnu, Vaisravana and Goddess Ganga.
10. God Saturn, 11. 21 Teachers like Sanaka, 12. Vana Durga., 13.
Mahaganapati, 14. Durga, 15. Hanuman, 16. Garuda.
The south-west corner of the Kalari, adorned with
the Poothara, is the sacred seat of Kalariparadevata. The
Poothara or platform of flowers, usually made of seven semi-circular steps
narrowing towards the top, looks like a crown and is always decorated with
flowers. It represents the Saptamdthrukkal, (the seven mothers) who
look after the world and the Adhishtana Chakra of the Yoga system,
leading to sivatva or absolute knowledge. In early periods,
cock-sacrifices and blood-offerings were made to propitiate the war
goddess. The guruttara represents the seat of the Great guru, the
preceptor of the art of Kalarippayatt. The position and prominence of the
deities in the kalari, also have regional differences.
The Initiation
Ceremony
A student is initiated into the Kalari usually at
the age, of seven, on an auspicious day or on the opening day of the new
session. The guru or a senior student will direct him to enter the kalari
properly by placing his right foot first, touching the ground with right
hand and placing the same on the forehead. Then he is led to the guruttara
to perform the same worship. He has to put some money in
folded betel leaves as offering dakshina for the master and bow and
prostrate before him, touching his legs. The guru places his hands on the
pupil's head, blesses him and prays for his boon. This worship; touching
the ground, Poottara, Guruttara and the gurus feet, is to be repeated
every day. The bowing represents complete submission to the kalari
deities, Kalari master, its rules and discipline.
Kachakettal and
Uzhichal
The traditional dress used in Kalari is known as Kachha
and its wearing method is Kachha Kettal. Even though
Kachha means only dress, it has a special connotation. The Kachha is
referred to in the Northern ballads as a long cloth with 64 Muzhams (one Muzham is equal to 16 inches.) The present day Kachha used in
Kalari is of 5 to 6 feet length and one feet width. It is to be wrapped in
a particular method which gives maximum tightness to the hip and support
cover to the naval region. The belief that power is generated from the
naval, is the basis of the art of Kachhakettal. The Kachha is also
believed to be the protector of one's prana, the life force. All
the heroes of the ballads who succumbed to fatal wounds, have lived till
they instruct their fellowmen to untie their Kachha.
It is a practice to apply gingely oil or
medicated oil before kalarippayatt. This renders coolness and flexibility
to the body and invigorates the veins and muscles. Application of this oil
reduces body temperature, while performing exercises.
The students of Kalarippayatt have to undergo a
course of Uzhichal or massage with special medicinal oil like
Mukkootor Arakuzhambu. Usuallyan Uzhichal course lasts for 14 days. At the
time of uzhichal, the student has to follow strict restrictions in his
daily routines. He should not expose himself to the sun for a long time,
should take only the prescribed food and drink and should follow strict
celibacy. Some restrictions are to be followed for 14 days more after the
uzhichal is over.
The massage is done with hands for the young and
with legs the for elders. This is technically called Kai Uzhichal and
Chavitti Uzhichal respectively. Massage is considered to be one of the
integral parts of kalari training, which helps the body to attain a
healthy constitution as well as flexibility, nimbleness and suppleness.
Moreover, massage enables proper blood circulation and removal of excess
of fat. It helps in the easy maneuverability of the body for turning and
twisting.
Kalari has also developed a traditional
orthopedic system which is widely popular all over the state, especially
for the setting of displaced bones.
Training
Kalarippayattu is designed in four successive
stages of training Meippayattu, Koltari, Ankatari and Verum Kaiprayogam. The Meippayattu is a series of body control exercises,
systematically designed and practised according to Vaytari or
verbal instructions. It is also known as Meiotukkappayatt; that
which gives proper orientation to the body, suppleness and flexibility.
This also gives a natural mastery to the body for swift movements in
attack and defense. After mastering Meippayatt, the student is initiated
into the next stage of fighting with wooden weapons called Koltari. Mastering Koltari leads to
the Ankatari or technique of
fighting with metal weapons. Lastly the student will be imparted training
in empty hand fighting techniques called verumkai prayogam. Selected, well-disciplined and dedicated students will be given
training in Marma prayogam or attack on the vulnerable points of
the body. In earlier periods, training was given in the use of many other
weapons like axe, three-proned spear, and ponti. Archery was also
included in the scheme of training. All exercises in Kalari are performed
in strict accordance with Vaytari or systematically developed
verbal instruction given by the Guru. The Vaytari is designed specially to
give strength, flexibility, endurance, reflex, nimbleness and precision.
The Kalarippayatt course extended throughout the year. Today, most of the
Kalaries except C.V.N. Kalari, Thiruvananthapuram and Kozhikode and a few
others, impart training through short term courses of three months
duration.
Vativu, Chuvatu and
Atavu
In Kalarippayattu, different poses or vativus are designed and developed to get concentration for perfect power and
force in carrying out a particular action or for being in readiness for
action. There are eight such vativus namely- Gaja Vativu (elephant
pose), Aswa Vativu (horse pose), Simha Vativu (Lion pose), Varaha Vativu (boar pose),
Matsya Vativu (Fish pose), Marjara Vativu (Cat pose), Kukkuta Vativu (Cock pose) and
Sarpa Vativu (Serpent pose). One more Vativu-Mayura Vativu (Peacock pose) is also practised in some Kalaries. Each Vativu has its
own style, power combination, usefulness and effectiveness.
Apart from these Vativus, there are basic foot
positions and movements, which are technically called Chuvatus. These are designed to give more power, precision and concentration to
the action against the opponent. In Chuvatu, the attention is centred on
the role of the feet. There are five such basic Chuvatus - Vatta
Chuvatu, Aakka Chuvatu, Neekka Chuvatu, Kon Chuvatu and Ottakkal Chuvatu. These
Vativus and Chuvatus are scientifically combined to form
what is called Atavus.
Meippayatt
Meippayatt is the body control exercise
designed in a special sequence. It gives perfect control and flexibility
to the body and is a combination of vativu and Chuvatu with body
movements, holds, kicks, jumps and cuts. There is a traditional saying
that a kalari master is one, who has converted his body into an eye.
Before training in Meippayatt, students are
taught various leg exercises. The basic leg exercises are Nerkal,
Veetukal, Konkal, Thirichukal, Iruthikkal and Pakarchakkal. The Nerkal
is lifting the leg straight in the air till the knee touches the chest.
This process with right foot is called Valatukal and with left, Etatukal -
right up forward kick and left up forward kick. The Veetukal is the application of leg in the high swinging arc or
circling kick. The Konkal is kick high to right or left ankles. In Iruthikkal
or kick and sit, one will lift his leg like the Nerkal
and bring back that leg and sit on the ground. The Pakarchakkal is
a combination of Nerkal on either side in continuation. At first, the leg
is pushed up in the air and without placing it on the ground the body will
be turned into the opposite direction while the leg will be swinging in
the air.
Some basic differences can be noticed in style,
movements and even in the application of Meippayatt in different areas of
Kerala. There are different styles like - Vattakkan, Madhya Kerala and
Tekkan; (Northern, Central Kerala and Southern). The regional
differences in styles, might be due to the innovative differences of
regional masters of ancient days. Such regional variations gave rise to
differences in vaythari. The dialectical variations of language and
character of each region also contribute to this change of vaythari.
Kettukari or
Shareeravadi
After achieving perfect body control through
Meippayatt, the Kalari student will be initiated into the training of Koltari
or fight with wooden weapons. There are three types of
wooden weapons used in the present day Kalaries - Kettukari, Muchhan
and Otta.
The Kettukari is a long rod made of solid cane
with either the height of the practitioner from foot to the eyebrow or 12
span in length. In Koltari ankam, though there are 18 graded sequences or
stages, at present only 7 or 8 of them are retained and practised in the
Kalaries. This fight with a twelve spanner rod, combines blows, blocks and
locks allied with jumps and, leaps for attack and defence. Fawcett in his
'Nayars of Malabar' (1895) gives the following description of the fight
with Shareeravati.
"The opponents who faced each other with the
Shareeravadi, stood 30 feet apart, and as if under the same stimulus, each
kicked one leg high in the air, gave several lively bounces, held their
staff horizontally in front, came down slowly on the haunches, placed the
staff on the ground, bent over and touched it with their forehead. With a
sudden bounce they get again to their feet and after some preliminary
pirouetting, went for each other tooth and nail".
The Koltari practice is considered as a
preparatory stage for the use of spear, sword and other deadly weapons.
Most of the attacks with Panteeran combines attack on head, temple,
ribs, knee and groin. These attacks and its warding off are done according
to the accompaniment of Vaytari. Regular and systematic practices installs
natural reflexes in the body which wards off any attack on any part of the
body. There are also special techniques of twisting and circling the staff
called Vativeesal. Several folk tales elaborate the perfection of
this technique. As one of them goes, many a local hero could walk in the
rain by brandishing the staff over the head, without being drenched. In
the more advanced stages of Kettukari, there are locking and unarming
techniques with the staff itself.
Cheruvadi or
Muchhan
A Muchhan (Three Spanner rod) or Cheruvadi, is a strong wooden staff, usually 22 inches in length
and about 2 inches in diameter. The Amaram or holding end, will be
thicker than Muna or the using end. The Cheruvadi training requires
more precision and speed than the 12 spanner. The use of Cheruvadi
consists of attack, counter-attack, defence, use of locks, and unarming
techniques. Various Vativus and Chuvatus are combined in this graded
attack and defence combinations. An expert can execute not less than 150
blows per minute with this seemingly simple weapon. Close range fight with
the Muchhan is a basic training for the use of close range metal weapons
like knife and dagger.
Otta (Curved
Staff)
There is a folk saying in North Malabar that Otta
'payattiyal Urakkattum payattum' (one who is proficient in Otta can even
fight while sleeping). This shows the importance attached to this curved
wooden staff, which is considered as the perfect weapon in Kalarippayatt.
An Otta is a short staff of about 18 to 20 inches
in length, shaped like a sickle, curved at the middle and terminating in a
squared butt end. The holding end will have 4" diameter and the using end,
1" diameter. Usually, the end will have a butt like projection. It was
believed that this weapon is inherited from the Lord Ganapati. The special
feature of Otta is that it comprises of thrusts directed at the vital
points of the human body called Marmas. The main features of
Ottapayatt are combat at close quarters and locks. The nimbleness of the
wrist, readiness of the legs for instant advance and retreat and quick
mental reflexes are essential for this fight.
The Otta is also practised in accordance with
Vaytari. It is the perfect combination of all the strong and forceful
aspects of Meippayatt and Koltarl. This also includes the techniques of
'Verumkai Prayogam' or unarmed fighting system. There are 18 atavus in
Otta fight but at present only 12 are known to exist in Kalaries. This is
popular only in the northern style of Kalarippayatt.
Gadha
The club or gadha is another wooden weapon
used for training in the kalaries. The use of this weapon requires
strength, agility and perfect body control. It is heavy, and the strenuous
weilding of which has to follow strict rules and regulations.
The holding end of a gadha is only 3" in diameter
but the diameter of the using end varies from 12" to 8". This is usually
carved out of Tamarind core, with length of 3 to 4 feet.
Ankatari
The third main stage in Kalari course, is the
Ankatari or practice of deadly weapons like dagger, spear, sword and
shield. In Northern style, the last phase of Ankatari is the training in
Urumi.
The preliminary exercises with sword and shield,
comes under Valvali, which form the basis of swordsmanship. In
this, the sword is made to wind around the body in successive strokes
along with speedy body movements.
The duel practised with sword and shield is
called Val ankam or Puli ankam. Various types of strokes and
thrusts are there in this style, followed by methods for receiving and
parrying them with the shield. There are 18 atavus or sequences in sword
fight which are practised as per Vaytari. Apart from sword versus sword
there is another system of sword versus spear known as Mara Pitichu Kuntam.
In this combat, one will be armed with sword and shield and
the other, with spear only.
There are ancient treatises, on making swords,
which give details of rituals. The Northern Ballads refer to
blacksmiths who were specialists in this craft. The length of sword used
in Kalaries ranges from 18" to 24" and the blade will have a width of 1½"
to 2". The sword should be light, sharp, tough and flexible. The shield is
round in shape and 12" to 18" in diameter. It is used by passing the hand
through the metallic or choir-chain and holding the wooden or metallic
handle.
During the medieval days, the sword was the
symbol of Kalari trained persons and they always carried one sword with
them. Almost all the medieval travellers who came to Kerala, gave a good
description of these Kalari trained men who were bold straight forward,
ready to challenge and die for any cause and were utmost true to their
words.
Kattari
Kattari is double edged dagger of 12" length
and 2½" width. It is curved in the middle and narrowing towards the end to
form a sharp point. This is particularly used in close range combat. The
hilt of this weapon forms a long protective cover to the forearm and this
part can also be used for blocking and parrying the cuts and hits.
Kuntham
Kuntham or spear is another popular weapon
used in the Kalaries. It is made of strong cane, 1" in diameter and 5" to
5½" in length and one end is fixed with an iron blade in the shape of a
leaf or bud. There are traditional instructions for the choice and
treatment of cane to make it strong and smooth, for making Kunthams.
The Kuntham is held and used in almost the same
way as the Kettukari. The tactics of blows, hits and stretching are used
in attacks and speedy wielding of the spear, for keeping the enemy at bay.
There is a technique of throwing the spear with flawless accuracy and also
blocking the same, with a quick twisting manipulation, which will return
it to the thrower and hit him back, with force.
Urumi
Urumi is the most popular weapon described in the
Ballads of north Malabar. It is some what an exclusive weapon,
popular in the northern parts. It 32 has a long blade with spring like
action, 4½" to 5½" in length and ¾" to 1" in width. It has a
small handle with cover. As an urumi can be wrapped round the waist, it is
the best weapon to be carried with ease. A woman can keep an urumi around
her waist and use it, if requried. Unniarcha, one of the heroines of the ballads of north Malabar, is
said to be an expert in the use of
this weapon.
While practising urumi, shield is used for self
defence. It is a dangerous weapon as it will coil round the user, if he
fails to keep its correct speed, wrist-work and pose.
There were a number of other weapons on which
practises were held in Kalaries and referred to in medieval literature
(like ponti, bow and arrow, Venmazhu (axe), Kathuthala, and trisool), but have almost vanished from the Kalaries of today.
Verum Kai
Prayogam
The Verum Kai Prayogam or unarmed fighting
technique, is the fourth stage of Kalari training. This is a unique method
of offence and defence. In this technique, various holds, grips and locks
are combined with knuckle and elbow hits directed at Marmas or
vital points of the opponent's body. By this method, one can disable an
enemy completely. Usually, knowledge of this kind is not passed on
indiscriminately to any one but only to those with a disciplined life who
guarantees that the knowledge will not be misused. There are a number of
scholars who believe that the unarmed fighting techniques of Kalarippayatt
is the base for the world famous Karate.
The system of Kalarippayatt had undergone changes
and had taken up a number of regional variations. These variations gave
birth to different styles and schools. There were Arappa Kai, Vatteen
Tiruppu and Pilla Tangi in the Northern style, Kalam Chavittu,
Otimurisseri and Dronanpullil Sampradayam in the Central Kerala, and Adi-Tada
in Southern Kerala. The popular system which spread to all
parts of Kerala, today, is the Arappa Kai. It is a well graded
combination of Meippayatt, training in wooden-weapons, metallic weapons
and Verum Kai Prayogam.
The Southern
System
The style of Kalarippayatt prevalent in
Travancore and its border areas is popularly known as Thekkan
Sampradayam or Southern style. It is believed that sage Agasthya was
its exponent. The code of command or Vaytari for its practise is more or
less in Tamil. This particular system gives more importance to physical
exercise and to the knowledge of Marma or vital points of the body
than that of skill in weaponry. It has incorporated an elaborate system of
physical therapy also. There are a number of Tamil manuscripts on this
aspect which demand scientific study and analysis.
Communities like the Nadars, Maravar and Kuravar
had been the patrons of this style, through the centuries. They had been
the popular militia of the ruling chieftains of the Southern region. The
system maintained by these communities had not been exposed to later Dhanurvedic
tradition and influence, as in the northern region.
The folk tradition and ballads of this region,
depict the exploits of several heroes who had mastered the southern style
of Kalarippayatt. Such aspects had not been properly analysed by experts.
This would help in bringing out a comparative study of different styles as
existed in the remote past. However, it is perceived that there is not
much difference among these styles in their basic concepts and practices.
For instance the shareeravadi of the northern style is popular as
Neduvatippayatt or Maravanati in the South. The same system with slight
difference is practised as Silambam in Tamil Nadu.
The Verurnkai prayogam of the northern style is
popular as Kaipporu in the South. This is more developed in tactics
than in the former It is believed that this empty hand fighting system of
Kerala had developed into the modern practice of Karate and allied
Far-Eastern techniques.
Kalari training is an elaborate system which
demands exhaustive practice and study for a period of eight to ten years
under the proper supervision of a gurukkal. Even after the mastery
of all tactics and weaponry, constant practice is essential to make a
combatant suitable for exigencies.
Chapter
Four
Decline and Resurgence
Kalarippayatt which has served as the backbone of the militia
of traditional Kerala, was duly appreciated by most of the European
travellers and writers. The colonial powers, whose aim was trade monopoly
and establishment of political power, had either to destroy the power of
the militia or utilise it for their own advantage. As such Kalarippayatt,
began to face challenges with the establishment of political power of the
Europeans, in this part of the country.
The history of Kerala from 16th to 19th centuries
show that the militia of the land confronted four stages of challenges.
The culmination of these challenges resulted in the ruin of, not only the
martial institution but also the vigour of the people. It seems that the
Europeans understood the power and status of the militia and their control
over the administrative and political systems. The fear of political
control, independence and vigour of the local militia, compelled them to
take drastic actions. The English East India Company was also particular
in destroying the traditional military character of the community of
Malabar and Major Dow, one of the Commissioners of Malabar, took steps for
the same. He wrote:
" ....... It would be stipulated by the
terms of agreement with different rajas and chiefs that they on no
account, retain above a certain number of armed followers than those
necessary to merely support theirideas of dignity... By these
means, the civil and military fabric, of the feudal system, which is
injurious to the prosperity of a country, would be gradually subverted
and in the end annihilated."
This policy, which was carried on vigorously in
course of time, marked the virtual end of the traditional martial
institution of Kalari.
The Portuguese, the first European colonists who
set foot on the land, brought with them not only new weapons but also a
new war culture. When the natives depended on lances, swords, bows and
arrows and individual calibre of the combatants, the Portuguese regiments
mainly depended on fire arms. Their techniques of power politics and war
ethics brought considerable changes in the existing sociopolitical systems
of Kerala. They assisted smaller chieftains with men and material against
their political rivals. The people of Kerala had always restricted their
warfare to the level of a tournament for the assessment of strength and
expertise of the soldiers in the art of Kalarippayatt. All the local
rulers depended completely on such trained militia and as such their war
against the Portuguese with fire-power, proved to be disastrous. Moreover,
the Portuguese even attacked the common man, women and children and
destroyed their houses and properties. They had even carried away women
from coastal villages and the people had to organise and struggle for
their release. Introduction of fire-arms, cavalry and sophisticated
weapons, undermined the importance of physical power, training and the
mastery of traditional weapons, imparted by the Kalari institution.
The second challenge Kalari faced, was from the
Mysorean invaders. These invasions invariably destroyed the feudal set up,
traditional institutions, landholding patterns and the supremacy of the
local rulers, along with the power and prestige of the militia of Malabar.
The disruption and disappearance of the Naduvazhi's and the Nayar gentry
from the reign, enabled the Mysore rulers to set up a centralised system
of administration in the territories, under their authority. The
disappearance of the feudal set up, disrupted the social and political
pattern, leading to the decline of the Kalari institution.
As in the case of the North, the feudal set-up,
militia and the Kalari institution of southern Kerala also suffered sharp
set backs in the 18th century. Marthanda Varma's vigorous and aggressive
policies brought about the political unification of Travancore and struck
at the very roots of the feudal political structure. In this process, the
Raja even depended on the standing armies of the Nayaks of Madurai and the
Mughal Governor of the Carnatic. Marthanda Varma modernised the army and
formed a standing army. This resulted in the decline of the Kalari system,
there.
The political initiative of travancore was well
copied by Cochin under Paliyat Achan, who secured the help of
Travancore in putting down the power of the nobles. This action marked the
decline in the system of livery and maintenance in Cochin, too. But, the
martial training and the local militia, continued to exist for a little
more time, till the political domination of the British.
The Rajas of Travancore and Cochin entered into
subsidiary alliance with the British and were naturally compelled to
retain the British regiments in their headquarters. The administration of
law and order and defence had been partially entrusted with the colonial
powers. These developments led to the disbandment of the traditional
soldiery in these native states. The Nair revolt of Travancore had taken
place in this political context. In fact, the traditional militia were
compelled to go back to agriculture. Many of them become petty tenants,
tenant-cultivators and tenants-at-will. The Commanding Officers of the
militia like the Panickers and Kurups also became agriculturists.
The death blow to the Kerala military system and
Kalarippayatt was dealt by the British. When the Malabar Province was
ceded in favour of the British by the treaty of Seringapatam in 1792,
there were a series of revolts in Malabar. The revolt led by Pazhassi Raja
was well supported by the Nayar soldiers and Kurichya tribals of Wayanad.
The British resorted to attach all available weapons, using all methods
and tactics, in suppressing it. They dreaded the widespread Kalari
training and the traditional system of carrying arms by the Nayars. Thus
the Malabar commissioners found it essential to unarm the entire region to
establish tranquillity. Major Dow's direction in this regard, is note
worthy. On 20th February 1804, Robert Richards, the Principal Collector of
Malabar, wrote to Lord William Bentinck, President and General-in Council,
Fort. St. George, asking permission to take action against persons
carrying arms, either imposing death penalty or deportation for life. Lord
Bentinck issued an order on 22nd April 1804, that those who concealed
weapons or disobeyed the orders of the British against carrying arms,
would be condemned to deportation for life. At the time of the Pazhassi
rebellion, British soldiers raided each and every house of the rebels to
confiscate their arms. The same situation repeated in Travancore at the
time of the revolt of Veluthampi, the Dalawa of Travancore. These
developments finally eliminated the Kalari institution from the military
and political history of Kerala.
This not only ended the military training system
but also marked the end of a system of physical culture that emerged
through centuries. Even the display of armed sports were to be conducted
by securing permission from the Commissioner of Police in the Presidency
Town and by the magistrate of the district, outside these towns. In short,
the British policies sounded the death knell of an indigenous martial
system which had been transmitted from one generation to the other, for
centuries. The thatched Kalaries began to crumble in course of time, for
lack of regular maintenance. Some traditional families or high spirited
individuals, carried on the Kalari practice in secret, and preserved the
art for posterity at least in the form of a physical training system. Some
great teachers felt the need for compiling the traditional knowledge
inherited by them from their predecessors. The available knowledge of
Kalarippayat and the allied treatment system were recorded for
preservation during this period. Most of the manuscripts available on the
subject like Rangabhashyam, Ayudhabhyasam, Kalari Vidya, Marma
Chikitsa, and Kalariyil Kuruthi Tarpanam were compiled during the dawn
of the 19th century. The seeds of the system had thus been preserved to be
germinated by posterity. The rural population had been immensely benefited
by the practise of physical therapy, borrowed from the Kalari
institution.
It is seen that a number of family-Kalaries or
village Kalaries were converted into Kalari temples. This is clear from
the structural peculiarities of the Kalari temples and its rituals of
worship. Every feature of a Kalari including Poothara and Guruthara are
preserved in these temples. There are a number such Kalari temples
scattered all over North and Central Kerala. Some such Kalari temples had
been converted into Bhagavati or Siva temples too.
Redemption of the Kalari
System
Emergence of the national movement in Kerala in
early 20th century, had emphasised the role of national education and
national culture. Equal importance was bestowed on social reforms and
redemption of traditional institutions of merit. The nationalists had
initiated a crusade against the process of subjectification under
colonialism. Nationalists like Vaswani had organised an All India
Association for mental and physical culture. Lathi clubs and gymnasia were
widely established in Maharashtra and elsewhere. These trends had highly
influenced the revival of the native institution of Kalari in Kerala. The
militancy and heroism reflected in the ballads, had given a
psychological framework of resistance against colonialism in Kerala.
K. Kelappan, one of the leading nationalists of
Kerala, who came from Kadattanad, wrote in 1929:
"It was the custom in Kerala to fight until
death, if someone proclaimed war to establish his right or to redeem the
dignity of a family. The people of Kerala still have self-esteem and
love for the country. No one can criticise the people of Kerala for not
having self-respect and courage. The foremost cause (for the decline of
the spirit) is the careless attitude towards the traditional physical
culture. We must try to be physically fit like our fore-fathers and be
courageous."
The Congress Committees in their notices and
pamphlets used phrases and words traditionally related to Kalarippayatt,
aiming at the revival of the martial character of the people.
It is in this background that the Kalari system
was revived by dedicated masters. The first organised attempt for the
re-establishment of Kalari was made in 1933 under the initiative of C.V
Narayanan Nair, the famous disciple of Kanaran Gurukkal from Chombala.
This new Kalari unit started at Tiruvangad in Thalassery, was run by
Kerala Kalari Sangham, with Mattannur Madhusoodanan Thangal as President
and H. Manjunatha Rao and Muttumgal Kumaran as Secretaries. Rao was a
dedicated nationalist and physician. The Kerala Kalari Sangham organised a
number of exhibitions for popularising Kalarippayatt. Starting from South
Karnataka, the Sangham conducted exhibitions at Pazhani, Madurai,
Tanjavoor and Madras. In 1937 they arranged successful performances in
Srilanka, the then Ceylon. The leader of the troup C.V. Narayanan Nair,
was awarded the title "Veera Sree" by H.H. the Maharaja of Cochin. He
carried his mission until his death in 1944.
The spirit imparted by Nair was carried on by his
brother, sons and disciples. They formed the C.VN. Kalari Sangham, under
the presidentship of C.V Balan Nair. The Sangham, within a short
span, had established 120 units in different parts of Kerala. Members of
the Sanghom conducted exhibitions in almost, all important centres
of India. They also conducted exhibition tours in Germany, U.S.A., Russia
and other European countries. These exhibitions brought fourth an
international interest in the field of Kalarippayatt and attracted
enthusiasts and researchers to Kerala. The inspiration given by the C.V.N.
Kalari Sangham was taken up by a number of other masters of northern and
southern styles of Kalarippayatt. At present, there are a number of Kalari
Sanghams of different styles, spread all over the state.
In 1958, the State Kalarippayatt Association was
formed under the Kerala State Sports Council. Under the auspices of the
association, yearly competitions at district and state levels are
conducted. The State Government also extends some basic financial
assistance for the development of this traditional martial art of Kerala.
In fact, colonialism and changes in the military
system had been responsible for the ruin of Kalaries in Kerala. The
emergence of nationalism had taken up the cause of this indigenous
institution and brought it back to prosperity. Although it has no
relevance as a military institution today, it has considerable
significance as a system for physical conditioning and health care.
Chapter
Five
Kalari and the Performing Arts
Kerala is
one of the richest regions for classical and performing folk arts, in
India. The growth and development of such art forms had been highly
influenced by the Kalari system, through centuries. These art forms have
remained as an inseparable part of the social and cultural life of the
agrarian classes. Kalari system was closely related to the social life in
rural areas, during the medieval period. The decadent political
institutions and internal warfare had been responsible for promoting a
Kalari culture in Kerala. Many performing arts had been taking shape in
the same social background and naturally they had been influenced by the
institution of Kalari. A study of this influence on folk theatre in Kerala
is an interesting area of academic pursuit.
Physical
Culture
The term Kalari is commonly used for the centres
of training of both a combatant and an artiste. Literally it is a learning
centre of letters and physical culture. A Kathakali artiste is trained in
a Kalari. The first stage of the preparation of a warrior and the artiste
is based on oil massage known as Udvarthaizam or Uzhichal. The
Ayurvedic tradition of Susrutha says that diseases are afraid of
approaching a body which has been foot-massaged, like animals in the sight
of a lion. By using such a figure of speech, it emphasises the
significance of oil massage for building up of a proper physical culture.
Exercising in sama suchi (needle points) or stretching legs to both
sides is an essential training for a combatant and a Kathakali artist. The
theatre of Kathakali has developed only in the sixteenth century, when it
was the hey-day of Kalari system.
The folk performances, lasts for a long duration;
sometimes for a whole day and a night. The physic of the artiste has to be
strengthened and articulated for this. The methods adopted in a Kalari for
training a combatant are thus adopted in the training of an artiste also.
Performances like the Poorakkali, Teyyam, Patayani, Mutiyettu,
Parichamuttu, Kolkkali, Velakali, Parichamuttukali etc. borrowed the
physical training programme from Kalari practices. Body movements are
essential for an artist as well as for a combatant.
The art forms of Poorakkali and Teyyam, are so
closely related to the Kalari system, that it is difficult to
differentiate their salient features from those of the Kalari system.
Teyyam has a major tradition of heroes and heroines. Therefore, a Teyyam
performance incorporates the heroic tradition of a warrior including the
mock-fight. The Teyyam dancer has to acquire skill in the use of sword and
-shield. The dances of popular teyyam deities like Kativanur Veeran,
Tacholi Othenan, Kari gurukkal, Vayanattu Kulavan etc., require a
great amount of gymnastic skills. That is why Teyyam artistes are given
proper kalari training in their boyhood and taught acrobatics. When the
cult of heroes became so popular on account of the decadent sociopolitical
institutions, lives of some of the prominent warriors like Kativanur
Veeran and Tacholi Othenan were incorporated in the Teyyam performances.
The ritualistic songs or tottams of Teyyam, elaborately
incorporates descriptions of a warrior, trained in a Kalari. Such
narrations make them poetic and attractive. Therefore, traditional
literature has also been influenced by the Kalari system. In fact the
institution of Kalari, with all its traditions, is responsible for
strengthening the folk performing arts of Kerala.
The art form of Poorakkali is a sacred
one, performed mostly by the rural classes of the agrarian community, as a
ritual. This performance requires good physical control which can be
acquired only through Kalari training. Further, the artistes observe
malakkam or jumping and keep his position in a moving group dance.
Such a performance requires skill in acrobatics and body bending so as to
make the performance attractive. Further, Ankam (duel) and Pata
(battle) are part of the performance.
Circus
Many of the Indian circus companies had their
artistes and proprietors from Thalassery. The Indian circus itself is
indebted to the late Keeleri Kunhikannan teacher, a well-known Kalari
Gurukkal and celebrated trainer of circus artistes from Thalassery. Kannan
Bombayo, the famous circus artiste from Thallagsery, whose performance was
very much appreciated by Adolf Hitler while Bombayo was in Germany, was
trained by Keeleri. The body movements and skill of the Kalari system, had
been incorporated by him in the training programme of students for circus
and acrobatics. The circus artistes are imparted training from their
childhood as in a Kalari.
A brief analytical study on the impact of Kalari
on the performing arts in Kerala, would reveal that the institution of
Kalari had been responsible in nurturing, the most popular classical and
folk art forms in this region. The growth of these art forms and the
growth of Kalari were interrelated. Even after the decline of Kalari, the
folk art forms and the classical theatre like Kathakali perpetuated
its influence in their artistic and aesthetic forms. In reality, the
institution of Kalari has become an inseparable part of the cultural
heritage of Kerala.
Chapter
Six
In Retrospect
A study of the
Kalari Institution reveals that its culture has a relevance to our
contemporary society which is exposed to radical changes. The relevance is
not of its martial aptitude or heroic talent, but one closely related to
the physical culture. Its motto in a historical past had been "a sound
mind in a sound body". Such an absolute aim is attained through constant
practice, preservation of vital energy, body movements, massage and simple
but calorious food habits. Physical exercises concentrated on each part of
the body, facilitating easy movement, totally making its structure perfect
and, well-built. Exercise training like 'sama suchi' or stretching legs to
both sides is a asana in Yoga. Such asanas facilitates quick body
movements and preserves sound health throughout life.
Modern education in India, which is a
carbon-copied model from the West, had totally negated the values of our
indigenous traditions. This has happened on account of a historical
accident. At an age of body-building, developing its agility and habit
forming, our young children are kept in closed class rooms and away from
nature. The climate and seasonal changes adversely affect them and they
are exposed to fever, cold and a number of other seasonal health problems.
A farmer from Kamataka had given a statement that before' the Royal
Commission for Indian Agriculture thus; "by making our children sit
continuously for long hours in the class rooms, they have become unfit for
any physical work". .
This criticism has its relevance even now, when
at an age of two or three, the nouveau riche send their children to
English nursery schools and make the entire process of education, an
escape from life and mother nature. The culture of Kalari was based on
training the mind and body together without separating their conditions.
Therefore the physical part of the tradition like the Meipayattu and
physical exercise, could be incorporated into the curriculum for boys and
girls. There is no need for imparting judo and karate for our students as
they are the synthesis of our traditions, once transmitted to the Far
East, through the Buddhist monks.
The massages with medicated oil is a well
experimented physical therapy for several body complaints and ailments due
to rheumatism, old age and other biological disorders. Kalari has borrowed
from the ayurvedic medical traditions with certain innovations for
improving the physical calibre of the combatants. These traditions can
still be followed for improving the health of a whole society. In the long
run, it will help the government to curtail its exorbitant expenditure on
public health. This ultimately benefits the individuals also.
Most of the techniques used in Kalari system for
shaping a combatant, can be applied for improving the quality of sportsmen
and athletes. The training procedure in athletics like long jump, high
jump, hundred metres dash etc. can be based on the practices adopted in
Kalaries. The peculiar practice of Kaccha tying in the waist,
helped a Kalari combatant to preserve his energy and release it for hours
on end to the respiratory system, without any fatigue. Some of these
Kalari techniques can be used to develop the skill of volley and basket
ball players. A good example in the case of volley ball, is Iringal Pappan
from Katattanad who had beautifully exploited this technique of jumping,
smashing and finally sitting on the floor with crossed legs as in an Atavu
(strategy) of Otiramchati and Patinhirikkal. Between such actions,
Katakam was also adopted by players like Bhaskara Kurup. This is an
area for further experiments under the supervision of eminent Kalari
gurukkals. Kalari training naturally improves the ability for vertical
jumping. This has also to be further explored through scientific
studies.
The efforts of C.V Narayanan Nair, had saved the
moribund traditions of Kalari, with his dedication and organisational work
of the C.VN. Kalari Sangham. He took up its cause as a mission of his life
and propagated its message in India and abroad. On his footsteps, many
others organised small groups of Kalari combatants and trained the youths
in rural areas. Some of the Tamil movies like Malai Kallan
introduced the kalari tactics through eminent gurukkals like P. Choyi
and Maniyankandi Bhaskaran (Udaya Kalari Sangam, Chombala) and created a
new enthusiasm and atmosphere for its propagation in South India. Now some
interest is shown in the promotion of Kalari by the Ministry of Youth
Affairs, Sports Council, etc. An all Kerala Kalari Sangam, incorporating
eminent gurukkals, trainees and local associations has been formed to
promote the culture and to protect the heritage of Kalari. The Sangham
used to host annual festivals and distribute prizes to the winners.
However these activities had not taken deep roots
in Kerala society for want of proper and co-ordinated efforts with public
sup .port. Many of the Kalari gurukkals have now to depend on other
occupations for their livelihood. This situation has to be changed and
their talents have to be utilised for the promotion of public health, in
an organised way. Their role as instructors in the educational system, has
to be encouraged. Along with literacy and other movements, a movement for
promoting this physical culture is a desideratum. The core of any such
programme should be based on the Kalari heritage.
Story of Unniyarcha of
Katattand
The ballads of north Malabar
narrate the stories of heroes and heroines. The popular story of Unniyarcha has
become a symbol of heroism and liberation of womanhood. Archa was a member
of the Puthuram family of Katattanad. She was the daughter of the great
fighter Kannappa Chekavar, reputed for having participated in forty one
duels. Unniyarcha was the younger sister of Aaromal Chekavar, the greatest
hero of Puthooram songs.
Born in a well-to-do family of Puthooram
Chekons, she had undergone all the ceremonies like ear-boring, at an
early age. She also went through traditional ceremonies like hair tying
and talikettu kalyanam. She was married to Kunhiraman of Attum Manammel, a
teacher of Putusseri Kalari.
One night, inspired by a dream of the temple
festival at Allimalar Kavu, (or Lokanar Kavu) she determined herself to
attend the function alone. Her father-in-law, mother-in-law and even her
husband tried to dissuade her from the decision, as the way to the place
was through Nadapuram which was notorious for some Jonakar hooliganism.
They feared that the hooligans would do some mischief as Unniyarcha was
young and beautiful. The mother-in-law even told her that she would get
her son killed. But she remained firm in her decision and said:
"... Born in the famous Puthooram house, As
the darling child of Kannappa, Born with valour and courage, I can't
stay back like a coward."
After finishing all domestic duties and taking
her bath, she wore her beautiful dress and glittering ornaments. She also
wore the Urumi (long flexible sword that can be tied round the waist) for
self-defence and proceeded to the festival. Reluctantly her husband also
followed her and both of them reached the notorious bazaar at Nadapuram.
As Unniyarcha had already decided to bring an end to Jonakars indecent
behaviour towards women, she thought of taking rest for a while on the
platform constructed around the banyan tree, there. Now the Jonakars who
found the lady on the platform began to whisper to each other about her
dazzling beauty. They decided that she must be captured and presented to
Mooppan, their headman. By taking strong sticks and wooden weapons
they surrounded the platform. Seeing the scene, Kunhiaman accused her of
disobeying the words of his parents. She bravely retorted:
"... I being a woman don It
shiver, While, you a man doth shudder To see these hooligans. I
don't care even if they're thousands As I belong to Puthooram family.
" For, Puthooram women have never sent their men to be
killed.
At first the Jonakars showed respect to her by
placing some presents, but suddenly they changed their attitude and
proceeded to tie down Kunhiraman and capture Unniyarcha. She confidently
told them that if they wanted her ornaments she was ready to hand them
over to them. She also warned that they should not step further or touch
her. Inspite of her warning, the Jonakars moved forward with the evil
intention of capturing her. Then she took a long, wet towel and challenged
them to face her. By brandishing the wet cloth, she intercepted the enemy
pool and moved to and fro in lightning speed using Kalari techniques. Most
of the Jonakar fell down by the power packed action and she somersaulted
to stand up on the platform, again. If she had used the deadly weapon
Urumi the situation would have been fatal. It seems that she wanted only
to teach them a lesson. Then she challenged them to face her again and
revealed her identity as the sister of Aaromal Chekavar. She warned that
she would destroy them completely.
When they heard the name of the great and famous
exponent of Kalari, Aaromal Chekavar, they fled to their Mooppan and told
him everything. On hearing the incident he fainted out of fear. On
regaining consciousness he arranged to send his wife, and the wife of the
Naduvazhi one after another with rich presents to pacify Unniyarcha
and to apologise for the incident. But none of them succeeded in pacifying
her. Then they sent for Aaromal Chekavar requesting him to intervene. On
hearing that Unniyarcha is furious at the disrespectful behavior toward
her by the Jonakars he personally went there. He sent for the Mooppan who
came and aplogised by falling at Unniyarcha's feet. Aaromal Chekavar
pacified her to accept the innumerable gold coins, ornaments and gifts
placed by the Mooppan and other Jonakars. She accepted her brother's
advice and accepted the presents. Then she went to see the festival and
returned home happily. She gave away the ornaments and presents to her
mother-in-law and told her that she had brought her son back, alive.
Although this is a story of social conflict
between localities and groups, it highlights the heroism of a woman and
her independent character. It also reveals the importance of Kalari
training for men and women in the medieval society.
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