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Kalarippayattu

As a heritage handed down the centuries, the institution of Kalarippayattu has become popular among the lovers of martial art. Although its origin and growth are shrouded in mystery, the ancient ballads and foreign accounts have left detailed notes on its practices and the physical culture it promoted. As an institution, the Kalari had greatly influenced the cultural life of Kerala society. Kalarippayattu is Kerala's own martial art form. 

The villages of medieval Kerala had a kalari, a temple, and a public tank for bathing, - a rare combination of religion, hygiene, public health and defense. Although the Kalari system was an offshoot of the Hindu way of life, it was shared by all people, irrespective of caste and religion, as a common legacy.

 

 Social Background

Kalaripayattu has a long tradition and is based on the ideal of a sound mind in a healthy body. Here, a child  was initiated into physical conditioning along with instructions on  reading and writing, as in the early civilization of Sparta. Such stringent mental and physical training, starting from childhood, equip the child to face any untoward situation arising in his later life.

Kerala, though separated from the rest of the country on account of her geographical features, is linked to the rest of the sub-continent on the southern and northern tips and a few gaps in the Western Ghats. The land is also segmented by deep and wide rivers, forests and valleys. These territorial divisions formed Nadus (land), which were administered by a traditional ruling chieftain or Naduvazhi. The Naduvazhies ruled under their respective kings. Each Nadu under its respective chieftain, maintained its peculiar customs, manners and local traditions. Each of them acted as a cultural unit having a common heritage.  It is believed that the legendary Parasurama, who was responsible in effecting the 32 Brahmin settlements in Kerala, had also taught the Brahmins the art of fighting, archery, etc. Tradition holds that he had established 108 Kalaries in this region.

 

The Brahmin authority over martial training, gradually waded off and other caste groups came in to the foray. However some of the different Brahmin sects like the Nambisans, engaged themselves in learning and teaching Kalari. Pazhassi Raja, a king who fought against the British, had his training under one Pindali Nambisan in the last quarter of the 18th Century. Some of such teachers belong to the Brahmin community, taught in the palaces, imparting training to the members of royal families.

Kalari teachers or Gururs of the past enjoyed arespectable stature in the society. He was given the title "Panikkar"; derived from the term 'Parinayaka'. According to Buddhist literature, he is a teacher of weaponry or Ayudha Vidya Guru. Later the title holders identified themselves as a separate sub-caste of the Nairs.

The Kalari  was a major socio-political institution in medieval Kerala. The decadent political and administrative set up forced everyone to learn martial arts for self-defense. So the different caste groups and the religious communities like the Mappilas and the Christians also underwent Kalari training. Gradually Kalari ceased to be the monopoly of any caste or religious group and it became a pervasive institution in Kerala society.

The number of Kalaries increased and each community with the permission of the respective chieftain and naduvazhi, established their own Kalaries. The ballads of the north called the Vadakkan Pattu sing about Tacholi Othenan obtaining permission from Kunjhali Marakkar of Kottakkal, sometime around the 1590's to start a Kalari in the latter's jurisdiction.

 

'Ankam' and the administration of Justice

In medieval Kerala, internal conflicts in the aristocracy, and divisions among the feudal elites, had made lawlessness the order of the day. There were disputes among landlords and tenants and even for the settlement of a simple dispute, an ankam was fought.

 

Ankam, in fact served as a method of administering justice. The  parties involved in a dispute, after getting permission from  the respective naduvazhi ,engage two combatants to settle the issue through a duel. These mercenary fighters fought to the end of their lives and justice was determined in favour of the winner. The family of the slain fighter was compensated with cash payment and the naduvazhi also was given a payment for his presence. If a combatant, rejected an invitation extended by an aggrieved party to settle his case through a duel, it would be a disgrace and dishonour not only for him, but also for his family. Social obligations, thus compelled the mercenary fighter to accept any invitation to fight. As the saying goes, "one became a Chekavar only after the fighting an ankam" and that "A Chekavar's food was on the tip of the sword".

The date and place of such an ankam had to be announced in advance and thousands of rural folk thronged around to witness the fight as if it were a festival. The tragic story of Aromal Chekavar of Kadattanad is recollected in a medieval ballad. The pathetic condition of the hero's wife and his family, is reflected in this song as paradoxes. The anonymous poet both projects a social criticism against the institution of ankam, as well as lauds the heroic fight of Aromal Chekavar.

Several heroes were killed or defeated by their enemies. The defeated had to re-establish his honour by the fulfillment of the vendetta. Foul play too, like instances of unauthorised use of fire arms, arranging with the village blacksmith to make the sword or shield of the opponent defective, and bad construction of the ankam platform by the carpenter, on an understanding with the enemy, are described in the ballads.

In reality the medieval political and social institutions popularised the Kalari system and the hero cult. The institution of Poithu is a peculiar system referred to in the Vadakkan Pattu . According to this, a dispute between two villages was settled through a fight between two representative groups of fighters who were invited for this purpose from both sides. Such practices reveal that development of the social system of Kerala is closely related to Kalari and its practices.

Blood-feuds or vendettas, continued for centuries among families, till they were stopped by the British, after 1792.

 

Hero Worship and cult

The society and the state apparatus in Kerala during the medieval period patronised hero worship. The practice culminated in the cult of hero worship and heroism becoming a way of life. The rural bards composed songs of chivalrous deeds and enshrined them in their narrative ballads. The life of a hero or heroine was eulogized. He was enshrined in the minds of the rural folk for generations after generations.

 

When the hero departed for a fight, his mother or sister usually reminded him:

If you are killed in the duel or in the battle
field like a hero, then your dead body shall be
brought covered with veerali silk and in a palanquin.
The funeral ceremonies shall be conducted with pomp
and splendor. If you are killed by deceit the
enemy or in afoul encounter by his sword, then
your dead body shall be carried covered in green
palm leaves.

A society which cherished such a social philosophy of warfare, naturally promoted martial training and compelled each individual to master perfection in its art and craft. This spirit of heroism emerging from feudalistic anarchy and political chaos, compelled the individual to master all tactics of a duel or fight. In fact every one was moulded to be a fighter. The entire educational system was shaped to fulfill this social obligation. Heroism as a cult was promoted and propagated through established social practices.

During festivals like Onam, tournaments were organised, related to archery and duel. Places like Idungal (near Kizhur in Kasargod) were venues for such games. An Idu is a training center of archery, which is an offshoot of the Kalari system. The offerings to the local deity of Kizhur, Sastavu, are swords, bows and arrows. The word Billaran in the local dialect, means an archer. Kizhur had an established Kalari during the pre-colonial period. The remnants of such training centers and Kalaries can be seen in different parts of the State. Material objects, place names, worship centers, shrines, and ruined tharawad structures, help understand how the Kalari institution had promoted heroism and vice versa. The story of Unniyarcha, her bold ness within her beautiful womanhood, is a legendary one. Composition of ballads and their frequent recitals on all occasions, fostered the cult of heroes and heroines. The heroes were nurtured through the Kalaries and the Kalaries were nurtured by the heroes. It was not only an age of chivalry, but also an age of woes, because of internal warfare, lawlessness, social disorder and disharmony.

Contacts with Tulunad

The Ballads of North Malabar and several Teyyam Tottam songs make frequent references to the migration of combatants from Malabar for short periods to Tuluva, (present South Kanara district) for advanced training in the use of weaponry and physical flexibility. It is described in these primary sources that the eighteenth atavu or tactics based on throwing sand on the rival's eyes by the quick action of shield and feet known as poozhikkatakan was a major specialization of Tulunad. Some of the Malabar heroes who had mastered this skill were Tacholi Othenan, Chandu and Matiloor Gurukkal.

 

Heroes like Koti and Chennayya, vividly described in the Tulupaddanas or heroic songs, who probably belonged to the first half of the seventeenth century, are still propitiated in the Bhuta cult of the region. These worship centers were known by the term garadi which denoted a gymnastic centre as derived from Khaloorika, a Sanskrit term for such an institution. There are hundreds of such garadies in Udupi, Karkala and Belthangadi. An association has been recently organised by name, Tulunadu Garadi SamskritikaAdyayana. During the medieval period, the garadies were advanced centers of training in physical culture and weaponry. However after the British occupation of Kanara in 1799, the garadi as an institution, lost its significance. The garadi tradition and its cultural heritage were completely destroyed under the colonial system. Ajudgement in a civil litigation before the District Munsiff of Uduppi in 1892, states:

 

"This family has got in addition to the family house, a building calledgardi. ItcontainsanimageofChandrikaParameshuariAmmaa goddess, in one room and that of Veerabhadra in the other room. These two rooms are said to be situated within a spacious hall which contains a small roundpillar It is said that the ancestors of this family exhibited their athletic performances here, and that the above mentioned pillar was used informer timesfor their gymnastic exercises." (Dyamu Shettithi and others Devappa Naneya, 0. S. 35811892, dt. 8.7.1893;from the collections of S.A. Krishniah, R.R. C.M G.M College, Uduppi).

The presence of idols made it into a shrine. Even the revival of the garadies did not restore them as centers of training in physical conditioning. Most of them are now owned by the Bunts, the Billavas, the Pujaries and the Vaidyas. When the region of Kerala had revived the Kalari system, its Tulu counterpart; the garadi, had lost its heritage as a center of gymnastics. The cult of Koti and Chennayya is being popularised now, through the garadies. However, in the pre-colonial period, the Tuluva region had established its name and fame as an advanced center of martial training. The northern parts of Kerala had established frequent contacts with the Tuluva region and the Malayala Chekons or fighters, created fear in the minds of opponents there.

 Origin and Growth

The origin of Kalarippayattu is still in the midst of obscurity. Traditional Kalari masters attribute mythological stories and legends to the origin of the art. According to them, Parasurama the mythical creator of Kerala, instituted 108 Kalaries all over the land. This legend on the origin of the institution propagated by Keralolpathi, still lingers in the minds of the Keralites. Some masters believe that the Kalari system originated out of the wrath of Lord Siva while in his fury, to destroy Dakshayaga. Parasurama, Lord Siva's disciple, is supposed to have studied this art from him and have handed it over to his 21 disciples in Kerala. All such legends, propagate the theory that this martial art was brought to Kerala by the Brahmins.

 

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. 

 

Kalaries described in the northern ballads

  • 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

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