Kalaripayattu

Kalaripayattu, also known simply as Kalari, is an Indian martial art and fighting style that originated in modern-day Kerala, a state on the southwestern coast of India. Kalaripayattu is held in high regard by martial artists due to its long-standing history within Indian martial arts. It is believed to be the oldest surviving martial art in India. It is also considered to be among the oldest martial arts still in existence, with its origin in the martial arts timeline dating back to at least the 3rd century BCE.

Kalaripayattu is also mentioned in the Vadakkan Pattukal ballads written about the Chekavar from the Malabar region of Kerala. The author Arnaud Van Der Veere confers the origin of martial arts to India (the roots of which are thought to be in Kalaripayattu), to which he refers to Kalaripayattu as "The Mother of All Martial Arts". Kalaripayattu is a martial art designed for the ancient battlefield (the word "Kalari" meaning "battlefield"), with weapons and combative techniques that are unique to India.

Like most other Indian martial arts, Kalaripayattu draws heavily from Hinduism, and is based on Hindu medicinal concepts found in Ayurveda. Practitioners of Kalaripayattu possess intricate knowledge of pressure points on the human body and healing techniques that incorporate the knowledge of Ayurveda and Yoga. Students are taught the martial art as a way of life, with a sense of compassion, discipline, and respect toward the master, fellow-students, parents and the community. Particular emphasis is placed on avoiding confrontational situations and using the martial art only as a means of protection, when no other alternative is available.

Unlike other parts of India, warriors in Kerala belonged to all castes. Women in Keralite society also underwent training in Kalaripayattu, and still do so to this day. Keralite women such as Unniyarcha are mentioned in a collection of ballads from Kerala called the Vadakkan Pattukal, and are praised for their martial prowess.

The word Kalaripayattu is a combination of two Malayalam words—kalari (gym) and payattu (exercises practiced), which is roughly translated as “as exercises practiced in a gym.” The name “Kalaripayattu,” is also said to be derived from the name of Hindu deity Khaloorika Bhagavathy. The word Kalari is also found in Sangam literature. The Akananuru and Purananuru describe the use of spears, swords, shields, bows and silambam in the Sangam era. The word kalari also appears in the Puram (verses 225, 237, 245, 356) and Akam (verses 34, 231, 293) to describe both a battlefield and combat arena. The word kalari tatt denoted a martial feat, while kalari kozhai meant a coward in war. Each warrior in the Sangam era received regular military training in target practice, horse and elephant riding. In that period and during later periods, the word used for military and military service was chevam. The warriors or soldiers in military service were called Chekavar. They specialized in one or more of the important weapons of the period including the spear (vel), sword (val), shield (kedaham), and bow and arrow (vil ambu). The combat techniques of the Sangam period were the earliest precursors to Kalaripayattu. References to "Silappadikkaram" in Sangam literature date back to the 2nd century. This referred to the silambam staff which was in great demand with foreign visitors. Other sources state that the word Kalari is derived from first three letters of Sri Vidhya Mantra.

Elements from the yoga tradition as well as finger movements in the nata dances, were incorporated into the fighting arts. A number of South Asian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in Kalaripayattu can be applied to dance[16] and Kathakali dancers who knew Kalaripayattu were believed to be markedly better than other performers. Until recently, only martial artists performed the Chhau dance. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen. Dancers in Kerala who had experience with Kalaripayattu were noted to be markedly better than the other performers. Some traditional Indian dance schools still incorporate Kalaripayattu as part of their training regimen.

According to legend, Parashurama is believed to have created the art shortly after bringing Kerala up from the ocean floor. Other theories postulate that certain tribal groups inhabiting ancient Kerala founded Kalaripayattu in order to defend themselves against threats from similar groups. During the medieval period, modern-day Kerala was divided into a number of principalities. Feuds and duels were common at the time, and Kalaripayattu was widely used for warfare and settling disputes. The accounts of that period are described in the Vadakkan Pattukal, a collection of ballads from Kerala. Kalaripayattu is said to have peaked during the days of the Vaddakan Pattukal, with a great deal of respect being attributed to experts in the martial art. Kalaripayattu began losing prominence beginning with the European invasions of Kerala. Once European colonization began, the usage of firearms began to surpass the usage of traditional weaponry such as swords, and spears. The resurgence of public interest in Kalaripayattu began in the 1920s in Thalassery, as part of a wave of rediscovery of the traditional arts throughout southern India[16] and continued through the 1970s surge of general worldwide interest in martial arts.

Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[16] Regional variants are classified according to geographical location in Kerala; these are the Northern style from the Malabar region in northern Kerala, and the Southern style from southern Kerala. Northern Kalaripayattu, or "Vadakkan Kalari" is based on elegant and flexible movements, evasions, jumps and weapons training, while the southern "Thekkan Kalari" style specializes in hard, impact based techniques with priority on hand-to-hand combat and pressure point strikes. Both systems make use of internal and external concepts. Warriors trained in Kalaripayattu would use very light, and basic body armor, as it was difficult to maintain flexibility and mobility while in heavy armor. Some of the methods used to enhance flexibility in Kalaripayattu are also utilized in Keralite dance forms such as Kathakali.

Traditions and methods of teaching of Kalaripayattu varied between different regions of Kerala. Kalaripayattu is taught in a specialized training ground known as a Kalari. Each kalari is built in accordance to Hindu architectural treatises such as the Vastu Shastras and Shilpa Shastras, along with various religious traditions and customs native to Kerala. The presiding deity of Kalaripayattu is said to be Shiva as well as Bhadrakali. Before every training session in the Kalari, salutations are provides to the presiding deities in the form of a mantra, or prayer.

Historically, all Keralites of the Hindu community, men and women alike, would undergo mandatory training in Kalaripayattu beginning at the age of 7 or 9 and lasting until the end of their education. Warriors, soldiers and others who wanted to pursue a martial career would continue their training for the rest of their lives. Generally, two styles of Kalaripayattu are acknowledged among Kalari practitioners: the Northern Style and the Southern Style. These two systems are quite similar, but their training methods begin to diverge to specialize in either weapons or hand-to-hand combat. The styles are variations that various masters have adapted and modified according to their understanding of the art. Development and mastery of Kalaripayattu comes from the tradition of constantly learning, adapting and improving the techniques by observing what techniques are practical and effective. There is a great amount of respect and observation of tradition which allows the preservation of the art. The knowledge and experience gained by the practitioners is improved upon by subsequent masters who utilize keen observation, research of various techniques and variations to update the knowledge. The adaptability of Kalaripayattu is largely due to Kalaripayattu being designed for use in warfare and combat. A Kalari practitioner might encounter new fighting techniques from an enemy combatant. The Kalari practitioner would need to learn how to anticipate, adapt to and neutralize these new techniques. This is especially seen in the Southern style of Kalaripayattu, which is believed to have been adapted and modified during wars with Tamil kingdoms to counter martial arts like Silambam, which was one of the main martial art forms practiced by Tamil soldiers at the time.Kalaripayattu is ultimately taught not just as a martial art, but as a way of life that epitomizes respect, compassion and duty over all else.

Styles

There are two major styles that are generally acknowledged within traditional Kalaripayattu. They are the Northern style, or Vadakkan Kalari, and the Southern style, or Thekkan Kalari.

A smaller, regional style of Kalaripayattu called Tulunadan Kalari, is referenced in texts such as the Vadakkan Pattukal, but it is largely restricted to the Tulu Nadu region in northern Kerala and southern Karnataka. Other smaller, regional styles are also said to exist in isolated regions of Kerala, but these styles are becoming increasingly rare, and difficult to find. Examples include Dronamballi, Odimurassery, Tulu Nadan Shaiva Mura, and Kayyangali.

Northern style

The Northern style is also known as, Vadakkan Kalari, and is generally regarded as the "original," form of Kalaripayattu. This system places more emphasis on physical flexibility exercises and strength training rooted on the slogan Meyy kanavanam, meaning, "make the body an eye." These exercises are done individually, as well as in combinations. After that meypayattu (a concept similar to kata in Karate) is taught. These are a combination of flexibility exercises with offensive and defensive techniques, however, the actual techniques are taught very much later. Traditionally, the number of meypayattu may differ as per the teaching methods of the Guru. After the student learns meypayattu, stick fighting is taught. Generally, the majority of the Kalaris (schools that teach Kalaripayattu) start training with weapons within 3 to 6 months. Some Kalaris only allow one weapon to be learned per year. After long stick and small stick fighting, iron weapons are introduced. Training begins with the dagger, sword and then the spear. Not all modern schools use specialized weapons. Traditionally, bows and arrows were commonly used in Kerala and students were trained in these techniques, but is rarely taught today.

Kalaripayattu has three forms, which are distinguished by their attacking and defensive patterns. They are Arappa Kayy, Pilla Thangi, and Vatten Thiripp.

Southern style

The Southern style is also known as Thekkan Kalari. The origin of Thekkan Kalari is a subject of much debate and controversy. It is a style of Kalaripayattu that is said to have been altered and influenced by Sage Agastya. It may have been altered from the Northern style of Kalaripayattu to fight combatants trained in Adi Murai and Silambam from Tamil Nadu during various wars and skirmishes with Tamil kingdoms. It is essentially a style which combines Kalaripayattu with certain elements of Adi Murai and Silambam. Other sources suggest that martial arts such as Varma Kalai and Adi Thadi may also have influenced the Southern style. While the Southern style is less commonly practiced in Kerala compared to the Northern style, it is revered in Kerala as a combination of the teachings of both Parashurama and Agastya. It is predominantly practiced in some regions of the southern parts of Kerala, particularly in areas near Kanyakumari. While many of the exercises of the Southern style are identical to the Northern Style, it places heavy emphasis on hand-to-hand combat and hard impact techniques, and places less emphasis on weapons and combinations. It starts with the training in Chuvadu, a system of various combinations of fighting techniques similar to Muay Thai and shadow boxing. Immediately after that, sparring with a partner is introduced as part of the training. These pre-determined techniques are repeatedly trained. After a basic proficiency in unarmed combat is established, weapons training begins with a small stick. Small stick training is usually done with two combatants, armed with a stick or dagger. These are primarily defensive techniques. Fighting techniques with two combatants having the same weapons include sparring with long stick, sword, etc. During the duration of this training, the refining of un-armed combat also progresses. As the student gains more experience, a small amount of knowledge pertaining to the Marma points (pressure points) is also taught to the student if deemed appropriate by the Gurukkal. 

Kalaripayattu techniques are a combination of steps (Chuvadu) and postures (Vadivu). Chuvadu literally means 'steps', the basic steps of the martial arts. Vadivu literally means 'postures' or stances which are the foundations of Kalaripayattu training. They are named after animals, and are usually presented in eight forms. Styles differ considerably from one tradition to another. Not only do the names of poses differ, but their utilization and interpretation vary depending on the Gurukkal's preference, and the traditions of the Kalari. Each stance has its own style, combination, and function. These techniques vary from one style to another.

the founder of kalaripayattu was lord parushurama.

According to Hindu legends, Parashurama was born to the Brahmin sage Jamadagni and his Kshatriya wife, Renuka, living in a hut. His birthplace is believed to be on top of the Janapav hills in Indore, Madhya Pradesh. On top of the hills is a Shiva temple where Parshurama is believed to have worshipped Lord Shiva, the ashram (abbey) is known as Jamadagni Ashram, named after his father. The place also has a kund (pond) that is being developed by the state government. They had a celestial cow called Surabhi which gives all they desire ( cow kamadhenu's daughter). A king named Kartavirya Arjuna (not to be confused with Arjuna the Pandava)[9][note 1] – learns about it and wants it. He asks Jamadagni to give it to him, but the sage refuses. While Parashurama is away from the hut, the king takes it by force. Parashurama learns about this crime, and is upset. With his axe in his hand, he challenges the king to battle. They fight, and Parushama kills the king, according to the Hindu history. The warrior class challenges him, and he kills all his challengers. The legend likely has roots in the ancient conflict between the Brahmin varna, with knowledge duties, and the Kshatriya varna, with warrior and enforcement roles.

In some versions of the legend, after his martial exploits, Parashurama returns to his sage father with the Surabhi cow and tells him about the battles he had to fight. The sage does not congratulate Parashurama, but reprimands him stating that a Brahmin should never kill a king. He asks him to expiate his sin by going on pilgrimage. After Parashurama returns from pilgrimage, he is told that while he was away, his father was killed by warriors seeking revenge. Parashurama again picks up his axe and kills many warriors in retaliation. In the end, he relinquishes his weapons and takes up Yoga.

In Kannada folklore, especially in devotional songs sung by the Devdasis he is often referred to as son of Yellamma.

Parasurama legends are notable for their discussion of violence, the cycles of retaliations, the impulse of krodha (anger), the inappropriateness of krodha, and repentance.

One Day India Governament discovered a Mountain in which there is something that may prolong life so people who go there need a more powers as there are dragon for protection. So Karate Failed. Lets see How. They used there naughty things near the strange dragon. And the people shapes strange.

All fights Fail and the governament finds about the Kalaripayattu. Then Calls Aashutosh and his team. Then they reach the strange Mountain. and then Aashutosh is at the edge of the strange mountain. Then suddenly Aashutosh faces with the dragons. First the dragon produce fire. With the power he made wind blow strong. Then the fire VS water war goes strong with the dragons. Then the drangons can not fight more and they stop and falls down. Then Aashutosh Taked It And and save humanaty and and first Animals as They die was because of haunted Hunters. And spread in Cities and Forests.