Kalaripayattu is the vibrant, traditional martial art form of Kerala and is richly blended with its cultural heritage.

Kalaripayattu the Traditional Martial Art

The term 'Kalari' denotes a gymnasium where proper training is imparted for mind as well as muscle.

'Payattu' literally means training or exercise but in the present context it connotes training in the traditional style of combat. After a long set back during the colonial rule, the 'Kalari' systems in Kerala are being revitalised with new enthusiasm.

The revival of this martial art has been made possible largely due to the efforts of some families of 'Kalari' masters as well as the encouragement offered by the cultural organisations and the Government of Kerala.

The Objectives Of The Art

The techniques of Kalaripayattu were used at one time in the battlefields. In the modern times, Kalaripayattu has no role in battlefields and its importance is confined to three aspects:

• It is a good exercise to alert the body and mind.
• It is a very good visual art.
• It is useful for self-defence.

In Kalaripayattu, starting from simple breathing exercises, a person can awaken the total dynamism of his body and can tune it in a way he wishes.

Moreover the study of Kalaripayattu will enable a person to develop four powers ('karuthu') which are:

• Meikaruthu: power of the body.
• Manakaruthu: power of the mind.
• Ankakaruthu: power to combat.
• Ayudhakaruthu: power to wield weapons.

A more scientific and specific categorisation of 'Kalaris' is in terms of the measurement of the ground plan of the 'Kalari' Structure. Thus, the following types can be identified:

• Aimpatteerati 52 ft.
• Nalpatteerati 42 ft.
• Muppatteerati 32 ft.
• Patinetteerati 18 ft.
• Panteerati 12 ft.

The nomenclature, which is on the basis of the measurement of the ground speaks about the size of the structure that ranges between twelve feet and fifty two feet. The most common among these is the 'nalpatteerati', (forty-two feet in length). All 'Kalaris' except the 'Panteerati' bear a width that is half of the length. 'Panteerati' is square with the same length and breadth.

The 'Kalaris' of the northern parts of Kerala are called 'Kuzhikkalari'. 'Kuzhi', meaning a pit because the soil is dug out from the ground of the structure. Generally a ''Kalari'' is 42 feet long and 21 feet wide, the enclosing space dug out to a depth of about 6 feet.

It is protected from the heavy rain and the sun by a gabled roof, which is thatched by plaited coconut leaves or palm leaves. Its sides are also covered with the same material. The surface of the ground is kept evenly rammed and smooth. 'Kannimoola', the southern-western corner of the ''Kalari'' ground is considered to be sacred to the 'Kalariparadevata'.

This is demarcated by a 'Poothara', platform of flowers, with varying number of steps in semi-circular shape narrowing towards the top. A place for the guru, preceptor, also is demarcated and this is called 'Guruthara'. There is a whole metaphysical belief system according to which the structure of 'Kalari' symbolized the universe.

Major Components

Meythari:

This pre-set sequence of movements is the rudiment of Kalarippayattu. Actually, it is a body controlling exercise to master balancing in air and ground. There is a hidden secret element in these movements, every imaginable combination of offensive and defensive attacks and movements are included.

Kolthari:

This section involves training in wooden weapons.

Ankathari:

This is the combat training section of metal weapons.

Verumkaie:

Self-defence with empty hands. Here a student learns how to face an armed man, using only his limbs, and also learns vital points and locks.

Kalarichikitsa:

Kalarippayattu masters of yesterday and today are ayurvedic doctors. Marma therapy, massage therapy, Bone setting, Yoga therapy, Pizhichil, Dhara, Kizhi are the important branches of 'Kalari' treatments.

Kalari Massage:

As food is a necessity for an organism from birth to death, so is massage to the human organism. Massage excites the internal resources and provides nourishment in the form of proteins, glucose and other vitalising chemicals, which are within the system. It also works as a cleanser and helps the organism in discharging toxins out of the body through sweat, urine and mucuous, thus rejuvenating the body.

The Rituals
Kalari Paradevata Foremost Ritual: Obeisance To The Deities
Although the 'Kalari' is an empty space, for a student, that space has all meaning of life and the supernatural. It is an abode of deities and the several generations of gurus who had initiated the disciples into training from generation to generation.

The student makes a ritual touch of earth with right hand and propitiates the goddess of earth. The touching of the forehead with right hand shows his reverence to the deities of knowledge.

The Movements

After the salutations in favour of the superior elements, the student is given the first system of exercise called 'Angasadhana' for placing the soles of the feet. The firm step on the ground is called 'Akkachuvadu'; and movements of the sole in jumps are known as'chattachuvadu'.

The circular movement is known 'Vattachuvadu'. The student, during his feet exercise moves from eastern side to the western side. The feet and hands are raised and moved according to the sequences and in strict accordance with 'Vaythari' of 'gurukkal'.

These practices including 'Meippayattu' for several months make the student fit for the training in the use of weapons. After imparting the body training, a student is initiated to the use of weapons. The 'Muchan', also called 'Cheruvati' is a smaller stick about 22 inches in length and used to give powerful blows and also to resist the blows from others.

Then, he is initiated to the use of metallic weapons like 'Kathi' (dagger), Sword, 'Kuntham' (spear) and 'Urumi'. The Gada is also practised in some ''Kalaris'. The training in the use of metallic weapons requires more dexterity and agility of the body.

The combatants trained in the use of these weapons were recruited as the soldiers in the medieval and late medieval period in Kerala.

The Genesis Of A Great Art

There is no recorded history of Kalaripayattu and the chronology of its development is still in the midst of obscurity.

But the available historical evidence says that the form as practised today, evolved between the 9th and 12th centuries AD.

Various mythological stories and legends are attributed to the origin of the art, by the traditional 'Kalari' masters. According to them, Parasurama, the mythical creator of Kerala, instituted 108 'Kalaris' 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 Daksha yagna. Parasurama, Lord Siva's disciple, is supposed to have studied this art from him and 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.

Infuence On Dance Forms

For classical arts like Kathakali, or Koottiyattam, the body is the sole means of expression. Therefore, body is to be prepared for this high function through a rigorous course of physical exercise. It can be done only by daily massage with medicated oils, which is intended to develop suppleness and grace for articulating the expressive capacity of the various parts of the human body.

In reality, the artist or the dancer is trained in the 'Kalari' system and taught the body exercises with severe discipline. In foot movements of the body, and the 'Tandava' dance, which is both masculine and vigorous, the artist requires the dynamic skill imparted through the 'Kalarippayattu'. Therefore, even a training centre of Kathakali is known as 'Kalari', being devoted to the development of physical culture.

The medieval period in Kerala had witnessed frequent wars and invasions among the ruling chieftains and these aspects had already promoted the 'Kalari' system and had brought into training, a large number of combatants. The impact of this new development could be seen on performing arts like Kathakali that many of these ruling houses had patronised just as they had patronised the medieval soldiers or retrainers.

The growing awareness for developing a proper physical culture through 'Kalarippayattu' had really contributed to the expression and growth of the classical art forms. In the same way, the body training became an essential requirement for performing many of the folk dances of the region.

These art forms had been patronised by the peasants, artisans and labourers. The common man's aesthetic imagination had greatly subscribed to the growth of these art forms in Kerala. Many of them have a religious and ritual background and are performed in sacred centres or in the local village shrines of gods and goddesses.

One of such art forms widely prevalent in Kasaragod and Cannanore districts is 'Poorakkali'. As an art form, it demands the rigorous training of the artist to develop a strong physical culture of the body with quick movements. Massage and physical exercise as found in Kalarippayattu are essential requirements for performing this art, as the dancer has to do acrobatics while the entire group moves on in circle.

The performance is closely related to the peasant culture of the region. This performance had also originated in the medieval period after the development and growth of Kalarippayattu. Most probably, this art form must have come into prominence to maintain the physical culture and the religious rituals associated with the local shrines.

The Revival Of A Great Art

During the modern period, although Kalaripayattu had lost its significance under the British rule, the devoted gurukkals with all their efforts transmitted the tradition from one generation to the other. They kept alive the 'Kalari' tradition and the know-how in the rural areas as a matter of charity and cured many body ailments through physiotherapy.

In the last quarter of the nineteenth century, when European circus companies came to Malabar in places like Tellicherry, some of the native gurus, well trained in the 'Kalari' system found it easy to imitate some of the body practices adopted by circus artists.

In reality, the Indian tradition of circus has something to do with 'Kalari' gymnastic training and body culture. After independence, some attention had been given by the Government and other agencies to promote Kalaripayattu and its training. These activities have been responsible to create considerable interest in this physical art form.

The Rigorous Training

The 'Kalari' training is based on an elaborate system of physical exercises. The practical experience of the body movements strengthens the knowledge of a disciple. Constant practice adds to agility and strength. At the age of seven, the student is recruited for his training under a 'Gurukkal'.

Oil massage or 'Uzhichal' is an essential part of the training. The verbal commands of the 'Gurukkal' known as 'Vayttari' are obeyed and repeated to grasp the body movements. Each combination of step and gesture is known as 'Adavu'. Each of them helps to recollect memory and leads to correct movements.

The training or the system has a metaphysical dimension as it was practised everywhere in Kerala. The students arrive at dawn with empty stomach. They are wrapped in a six feet long and one feet wide cotton cloth tightly wound around their waist. This cloth is named 'Kachha'. The combatants generally used to wear red-kacha made out of silk over which a belt is also tied to strengthen the waist.