Regarded as the oldest and most scientific in the world, kalaripayattu, the martial art form of Kerala, is an integral of the Malayali culture. Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Malabar is considered to be the home of kalaripayattu. The folklore of malabar is full of ballads depicting the heroic deeds of men and women, who were exponents of this marital art form.

The term "Kalarippayattu" is a tatpurusha compound formed from the words kalari meaning "school, gymnasium" and payattu derived from "payttuka" meaning "to fight". Together these two words in Tamil mean "Practice of arts of the battlefield". Most words related to Kalari are originally from Tamil, including words like "suvadi" ( palm leaf manuscript), "vadivu" (stance/pose), "verum kai" empty hand), "mei payattu" (mei=body).

Kalaripayattu had different styles, which is generally classified into three. Thekkan or the southern style, central style and vadakkan or the northern versions of which thulunadan style is better in all respects. It was written in the history and in ballads, legendary warriors like Thacholi Othenan and Chandu after obtaining general training in Kalaripayattu, had gone to Thulunadan schools and undergone further studies and rectified the defects in the training they had already obtained.

Kalaripayattu is basically a philosophical system aiming to nurture a precise way of 'non-violent life' far from any form of aggression and structural more towards introspective self-analysis and self-control. The final goal of a kalari practitioner is not just to know exactly all the techniques of defense and offence or the proper use of the various weapons, but also to overcome and rationally tame the anger and any kind of impulsive and violent behavior, which can have extremely dangerous effects on oneself and others.

A number of Kalari exercises can be found in the craft and training of many south indian performing arts. Elements of kalaripayattu can also be seen reflected in the repertoire of modern dance and theatre. Basic training in Kalari perpares performing artists for the stage at a very fundamental level, in terms of their awareness of body and mind, concentration and flexibility.

The philosophy of this martial art stretches the limits of the human body to degree where non-ballistic weapons from wooden staff to spear sword and shield become extensions of the body

Origins of Kalarippayattu

Phillip B. Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that northern kalarippayattu dates back to at least the 12th century CE. The historian Elamkulam Kunjan Pillai attributes the birth of northern kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.

From the eleventh or twelfth century the right and duty to practice the martial art in the service of a ruler was most associated with specific subgroups of Nairs; however, at least one subcaste of Brahmins, as well as some Christians and Muslims were given this right and duty.

In addition, a special subcaste of Tiyyas called chekors were engaged to fight in ankam, public duels to the death to solve disputes between higher caste opposing parties. Among at least some Nair and Tiyya families, young girls also received preliminary training up until the onset of menses. We also know from the vadakkan pattukal ballads that at least a few women of noted Nair and Tiyya masters continued to practise and achieved a high degree of expertise. Ankam were fought on an ankathattu, a temporary platform, four to six feet high, purpose-built for ankam.

The earliest and most detailed account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518). The more part of these Nayres when they are seven years of age are sent to schools where they are taught many tricks of nimbleness and dexterity; there they teach them to dance and turn about and to twist on the ground, to take royal leaps, and other leaps, and this they learn twice a day as long as they are children, and they become so loose-jointed and supple that they make them turn their bodies contrary to nature; and when they are fully accomplished in this, they teach them to play with the weapon to which they are most inclined, some with bows and arrows, some with poles to become spearmen, but most with swords and bucklers, which is most used among them, and in this fencing they are ever practising. The masters who teach them are called Panicals.

Kalarippayattu underwent a period of decline after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century.

The resurgence of public interest in kalarippayattu began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout South India and continued through the 1970s surge of general worldwide interest in martial arts.

Disputed Indian origins of East Asian martial arts

Claims that Chinese and Japanese martial arts come from Indian martial arts via Bodhidharma are complicated by disputes over Bodhidharma's origins and history as well as the documented existence of martial arts in China—and specifically at the Shaolin Monastery—prior to the purported arrival of Bodhidharma.
Historical texts speak of Bodhidharma, the legendary founder of Chan Buddhism, a Brahmin born in Kacheepuram in Tamil Nadu, in 522 A.D. arriving at the courts of the Chinese Emperor Liang Nuti, of the 6th dynasty, as the person responsible for bringing Kalaripayattu from India to China. He taught meditative and physical exercises to the chinese monks so that they could defend themselves against the frequent attacks of bandits.
It is not until centuries after Bodhidharma's death that the "Jingde Chuandenglu" (1004) makes the first explicit association between Bodhidharma and the Shaolin temple. Even then, it contains no record of Bodhidharma teaching martial arts to the Shaolin monks or reference to any fighting skill or martial prowess on his part.
The association of Bodhidharma with martial arts is made in a text whose provenance Matsuda Takamoto could trace back no further than 1827 and which Lin Boyuan dates to 1624. Moreover, in the course of his research Matsuda found that, in the thirteen hundred years between Bodhidharma's time and 1827, the earliest date to which he could attest the existence of this text, none of the many contemporary texts written about the Shaolin martial arts even mentions Bodhidharma, let alone gives him credit for Shaolin martial arts. Even then, the association of Bodhidharma with martial arts only becomes widespread with the 1904–1907 serialization of the novel The Travels of Lao Ts'an in Illustrated Fiction Magazine.
Shaolin monastery records state that two of its very first monks, Huiguang and Sengchou, were expert in the martial arts years before the arrival of Bodhidharma. None of the canonical Buddhist sources associates Bodhidharma with martial arts whereas they do note Sengchou's skill with the tin staff.
In addition, the Spring and Autumn Annals of Wu and Yue, the Bibliographies in the Book of the Han Dynasty and the Records of the Grand Historian all document the existence of martial arts in China before Bodhidharma.
The Shaolin Temple in China contains fresco murals with dark-skinned, not black, but similar in skin tone to Indians, monks teaching ostensibly Chinese monks fighting forms. On the mural that survived three fires between 1644 to 1927, it says in Chinese script "Tenjiku Naranokaku" translating as "the fighting techniques to train the body which come from India ...
Cited in support of the Indian progeniture of Shaolin kung fu is a fresco painted during the Qing Dynasty (1644–1912) depicting light-skinned and dark-skinned monks sparring, supposedly inscribed and translated in Japanese as "Tenjiku Naranokaku," which translates as "the fighting techniques to train the body which come from India..." Elsewhere, however, the title is given in Chinese as "Quanpu Bihua," which translates as "Boxing Drills Mural."

Revival of Kalarippayattu
Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring can be applied to dance.
Kalarippayattu underwent a period of decline after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century. The resurgence of public interest in kalarippayattu began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout South India and continued through the 1970s surge of general worldwide interest in martial arts.
Northern Kalaripayattu
Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring can be applied to dance.
Northern kalarippayattu places comparatively more emphasis on weapons than on empty hands.
Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.
By oral and written tradition, Parasurama is believed to be the founder of the art.
Northern kalarippayattu is distinguished by its meippayattu physical training and use of full-body oil massage. The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda. The purpose of medicinal oil massage is to increase practitioners' flexibility or to treat muscle injuries incurred during practice. The term for such massages is thirumal and the massage specifically for physical flexibility katcha thirumal.
Sampradayam, or lineages, or northern kalarippayattu include the arappukai, pillatanni and vattantirippu styles.
History of Northern Kalaripayattu
What eventually crystallized as northern kalarippayattu combined indigenous Dravidian techniques with the martial practices and ethos brought by Brahmin migrations from Saurastra and Konkan down the west Indian coast into Karnataka and eventually Kerala.
Phillip B. Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that northern kalarippayattu dates back to at least the 12th century CE. The historian Elamkulam Kunjan Pillai attributes the birth of northern kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.
From the eleventh or twelfth century the right and duty to practice the martial art in the service of a ruler was most associated with specific subgroups of Nairs; however, at least one subcaste of Brahmins, as well as some Christians and Muslims were given this right and duty.
In addition, a special subcaste of Tiyyas called chekors were engaged to fight in ankam, public duels to the death to solve disputes between higher caste opposing parties. Among at least some Nair and Tiyya families, young girls also received preliminary training up until the onset of menses. We also know from the vadakkan pattukal ballads that at least a few women of noted Nair and Tiyya masters continued to practise and achieved a high degree of expertise. Ankam were fought on an ankathattu, a temporary platform, four to six feet high, purpose-built for ankam.
The earliest and most detailed account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518).
Kalarippayattu underwent a period of decline after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century.
The resurgence of public interest in kalarippayattu began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout South India and continued through the 1970s surge of general worldwide interest in martial arts.
Southern Kalaripayattu
Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring can be applied to dance.
In southern styles of kalarippayattu (practiced mainly in old Travancore and the Kanyakumari district of Tamil Nadu), practice and fighting techniques emphasize empty hands and application from the first lesson. In the southern styles the stages of training are Chuvatu (solo forms), Jodi (partner training/sparring), Kurunthadi (short stick), Neduvadi, Katthi, Katara, valum parichayum, Chuttuval, double sword and Marmma and kalari grappling. The southern styles of kalarippayattu are decidedly Tamil and for at least several hundred years have been practised primarily by Nadars, Kallars, Thevars, and some Sambavar.
Zarrilli refers to southern kalarippayattu as adi murai (the 'law of hitting') or marma adi (hitting the vital spots). The preliminary empty-hand techniques of ati murai are known as Adithada (hit/defend). Marma adi refers specifically to the application of these techniques to vital spots. Weapons may include long staffs, short sticks, and the double deer horns. Southern styles of kalarippayattu are not practiced in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches. Masters are known as asan rather than gurukkal. The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama.
Medical treatment in southern styles of kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine which is as sophisticated as—though distinct from—Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam and, like ati murai, is attributed to the rishi Agasthya. Active suppression of Nairs in southern Kerala led to the virtual extinction of their southern dronamballi sampradayam by the mid 1950s.
Central Kalaripayattu
Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring can be applied to dance.
The central style (practiced mainly in Trissur, Malappuram, Palghat and certain parts of Ernakulam districts is 'a composite' from both the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-hand techniques, and its own distinctive techniques, which are performed within floor drawings known as kalam.

Kalari Training
Several componenents make up the basic equipment and training ground of Kalaripayattu. A student begins training in northern Kalarippayatt at approximately 7 years old with a formal initiation ritual performed by the Gurukkal.
Gurukkal (The last consonant is pronounced as a Retroflex lateral approximant), is a term used in the Malayalam language which means "Master" or "Teacher". Yoga teachers and Kalarippayattu masters are usually referred as Gurukkal. In Kalarippayattu (a martial art form in the Kerala state of south India) the master is also called a "Kalari Gurukkal". The word is derived from Sanskrit Guru and the -kkal ending is due to the practice in Malayalam of adding plural endings to words to indicate respect, even when only one person is being addressed or referred to (eg a-ca-ryar, Bhi-s.mar etc.). This word is also technically the plural of Guru, although it is rarely used in that sense.
At the age of seven, on the opening day of the new session, a novice is admitted to the Kalari in the presence of the Gurukkal or a senior student, and directed to place his right foot first across the threshold. The student touches the ground with the right hand and then his forehead, as a sign of respect. He is then led to the Guruttara, the place where a lamp is kept burning in reverence to all the masters of the Kalari, to repeat his act of worship. He then offers some money in folded betel leaves as dakshina (tuition) for the master and bow and prostrate himself before the latter, and touch his legs, as a sign of submission. The guru then places his hands on the pupil’s head, blesses him and prays for him. This worship—touching the ground, Poottara, Guruttara and the guru’s feet—is repeated everyday. It symbolizes a complete submission to and acceptance of the Kalari deities, Kalari master, and the rules and discipline of the art.
The Kalari
The traditional training of Kalarippayattu, a martial art of Kerala a small state in south India, is always done inside the Kalari (literally, threshing floor or battlefield), which is a specially constructed practice area. Payattu means 'exercise in arms or practice'.
Every Kalari has a Puttara (meaning "platform where flowers are kept" in the Malayalam language). It's a seven tiered platform placed in the south-west corner of every Kalari, housing the the guardian deity of the Kalari. The seven tiers symbolise the seven abilities that each person must possess: Vignesva (strength), Channiga (patience), Vishnu (power to command), Vadugashcha (the posture), Tadaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners. Flowers, incense and water are offered to the deity every day. Before starting the day's practice, it is the norm for practitioners to pray to the deity. Not only is the Kalari a temple of learning, but it is also a temple of religious worship with a cult and ritual of its own.
There is also a Guruthara inside all kalaris. Guruttara means "the place where a lamp is kept burning in reverence to all the gurus (masters) of the kalari".

Construction of a Kalari
Traditionally the Kalari is constructed by digging a hollow in the ground forming a sunken area four feet in depth, forty-two feet in length and twenty-one feet in breadth. This is usually called KuzhiKalari. Kuzhi means "portions formed by caving in the earth" in the Malayalam language.
The entrance to the Kalari is in the east, to let in the morning sunlight, and leads into the forty-two foot leg running East-West while the twenty-one foot leg runs North-South. Another consideration taken when constructing the kalari is that it is built in the south-west side of the main plot, just like the puttara which is kept in the South-West corner of the Kalari itself. The
floor of the Kalari is leveled using mud.
AnkaKalari and Ankathattu
Ankathattu is a four to six feet high platform constructed temporarily for the purpose of fighting duels. Ankam means war in the Malayalam language. This platform is constructed as per tradition and is in the center of the ground from where people can watch the fight. This place altogether is called AnkaKalari.
A few centuries back in Kerala, south India, quarrels between local rulers were resolved by fixing an Ankam, a duel to the death, between two Ankachekavars, each ruler being represented by one Ankachekavar. The ruler represented by the surviving Ankachekavar was considered the winner.
The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.
Meithari
Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattu exercises for neuromuscular coordination, balance and flexibility follow the basic postures of the body.

Kolthari
Once the student has become physically competent, he/she is introduced to fighting with long wooden weapons. The first weapon taught is the Kettukari staff, which is usually five feet (1.5 m) in length, or up to the forehead of the student from ground level. The second weapon taught is the Cheruvadi or Muchan, a wooden stick three palm spans long, about two and a half feet long or 75 cm. The third
weapon taught is the Otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots in the opponent's body. This weapon is considered the master weapon, and is the fundamental tool of practice to develop stamina, agility, power, and skill. The training in 'Otta' consists of 18 sequences.
Ankathari
Once the practitioner has become proficient with all the wooden weapons, he/she proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the Kadhara, a metal dagger with a curved blade. Taught next are sword (Val) and shield (Paricha). Subsequent weapons include
the spear (kuntham), the flexible sword (Urumi) and the Chuttuval, an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of 'Ankathari' training, the student would specialize in a weapon of his choice, to become an expert swordsman or stick fighter.
Verumkai
Only after achieving mastery with all weapons forms is the practitioner taught to defend his/her person with bare-handed techniques. These include arm locks, grappling, and strikes to the Pressure Points (Marmam), the vital points of the body. The Gurukkal teaches knowledge of Marmam only to those students whom he trusts, restricting the knowledge to very few.
Marmas and Massage
Marmams (vulnerable parts of the human body) learned persons can disable or kill their opponents by a mere touch in a Marmam. Marmam is taught only to the promising and level-headed persons, to forbid misuse of the technique. Marmam learned persons can disable or kill their opponents by a mere touch in a Marmam. Knowledge of Marmam is used for healing or for self defence. The Kalaripayattu Gurukkal (Ancient martial art even practiced today) teaches knowledge of Marmam only to those students whom he trusts, restricting the knowledge to very few.
Marmam is tought only to the promising and levell-headed persons, to forebid misuse of the technique. There are three Marmam usage, they are Thodu Marmam (Touching the Marmam), Chundu Marmam (Fighter points his finger to the opponents Marmam to disable him), Noku Marmam (Fighter disable his opponent by just consentrating (looking) on his Marmam).
Kalarippayyattu teachers often provide massages ( uzhichil ) with traditional medicinal oils to their students in order to increase their physical flexibility or to treat muscle injuries encountered during practice. Such massages are generally termed Thirumal and the unique massage given to increase physical flexibility is known as Katcha thirumal.
Kalari marma treatment is as sophisticated as the uzhichil treatment of Ayurveda. This system of marma treatment comes under Sidha Vaidhyam, whose origin is attributed to Sage Agasthya and his disciples.

Kalaripayattu Techniques
Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring can be applied to dance.
Techniques (Adavu) in a Kalarippayattu is a combination of Steps (Chuvadu) and Postures (Vadivu).
There are five steps or Chuvatus and Northern styles of Kalarippayattu have Ashta Vadivukal, or eight postures (vadivu). Each posture has its own style, power combination, usefulness and effectiveness.
The eight postures in kalarippayattu is somewhat same as Five Animals styles in Chinese martial arts, such as Tiger, Crane, Leopard, Snake, and Dragon.
Postures (Vadivu)
Gajavadivu Elephant pose

Simhavadivu Lion pose

Asvavadivu Horse pose

Varahavadivu Wild boar pose

Sarpavadivu Serpent pose

Marjaravadivu Cat pose

Kukkuvadivu Cock pose

Matsyavadivu Fish pose (Gurukkal Govindankutty Nayar and the C.V.N. Style)

Mayuravadivu Peacock pose (Gurukkal P. K. Balan Style)
Steps (Chuvadu)
Vatta Chuvadu

Circular steps

Aakka Chuvadu

Inside steps

Neekka Chuvadu

Moving steps

Kon Chuvadu

Corner steps

Ottakkal Chuvadu

One leg steps

Weapons of Kalarippayattu Kalarippayattu is an Indian martial art practised in Kerala and contiguous parts of neighboring Tamil Nadu and Karnataka. It incorporates strikes, kicks, grappling, and weaponry, as well as healing techniques. Some of its choreographed sparring
can be applied to dance.
Pirambu/Neduvati/Kettukari/Shareeravadi (Long Staff)

Kurunthadi/Cheruvadi/Muchhan (Medium Stick)

Kottukampu/Thavikkana (Long Stick)

Urumi/Chuttuval (Flexible Sword)

Kuruvadi (Short Stick)

Otta (Curved Stick)

Gadha (club/mace)

Kattari

Knife/Dagger

Vettukathi

Machete/Kukri

Churika/Kadhara

Short Sword

Val

Long Sword

Paricha

Round Shield

Kuntham

Spear
Shareeravadi - Shareeravadi is a bamboo staff having a length extending from the practicer's neck to his feet. It is practiced as the first part of kolthari stage of northern style of kalari payat. It is practiced as the basics of using spear. The commands used while using Shareeravadi are same as that of using spear.
Cheruvadi or Muchan or Kuruvadi is a term in kalarippayattu, a martial art practiced in Kerala, India
It is practiced as the second part of kolthari stage of kalari payat. It derieved its name as its length is 3 chans(which is a measuring unit). Its length is equal to 2 and half feet. It is usually made from wood of tamarind tree. It is practiced as the basics of dagger fight.

Kalarippayattu and performing arts
Influence of Kalaripayattu can be seen in major classical art forms of Kerala, mainly Kathakali. Many of the traditional performing art and dance forms of Kerala, like Kathakali, Kolkali, Velakali, etc., have drawn elements from Kalarippayattu during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body massage for the trainee. Many of the body postures, choreography and foot work of the Kathakali characters are taken directly from Kalarippayattu. Some dance schools incorporate kalaripayattu as part of their exercise regimen. Some of its choreographed sparring can be applied to dance.</br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/></br/>