Misplaced Pages

Latest revision as of 00:13, 26 December 2024

Kalaripayattu

Also known as	Kalari, Kalari Payat
Focus	Hybrid
Hardness	Full-contact, semi-contact
Country of origin	India
Creator	Parashurama (as per legend)
Famous practitioners	Notable Kalaripayattu practitioners
Olympic sport	No
Meaning	"Practice in the arts of the battlefield"

Part of a series on
Hinduism
Hindus Mythology
OriginsHistorical History Indus Valley Civilisation Vedic Hinduism Dravidian folk religion Śramaṇa Tribal religions in India Traditional Itihasa-Purana Epic-Puranic royal genealogies Epic-Puranic chronology
Sampradaya (Traditions) Major Sampradaya (Traditions) Vaishnavism Pancharatra Shaivism Kapalika Pashupata Pratyabhijña Shaktism Smartism Other Sampradaya (Traditions)
Deities Absolute Reality / Unifying Force Brahman Trimurti Brahma Vishnu Shiva Tridevi Saraswati Lakshmi Parvati Other major Devas / Devis Vedic Deities: Tridasha Adityas Rudras Vasus Ashvins Mahadevi Other Vedic Deities Post-Vedic: Avatar Dashavatara Durga Navadurga Mahavidya Kartikeya Ganesha Hanuman Radha Shakti Sita Devatas Vishvakarma Kubera
Concepts Worldview Cosmology Mythology Ontology Tattvas Subtle elements Panchikarana Gross elements Guṇas Purusha Prakṛti Supreme reality Brahman Nirguna Saguna Om Saccidānanda God Ishvara Devas / Devi Devatas God in Hinduism God and gender Puruṣārtha (Meaning of life) Dharma Artha Kama Moksha Āśrama (Stages of life) Brahmacharya Gṛhastha Vānaprastha Sannyasa Three paths to liberation Bhakti yoga Jnana yoga Karma yoga Liberation Mokṣa-related topics: Paramātman Maya Karma Saṃsāra Mind Ātman (self) Anātman (non-self) Sūkṣma śarīra (subtle body) Antaḥkaraṇa (mental organs) Prajña (wisdom) Ānanda (happiness) Viveka (discernment) Vairagya (dispassion) Sama (equanimity) Dama (temperance) Uparati (self-settledness) Titiksha (forbearance) Shraddha (faith) Samadhana (concentration) Arishadvargas (six enemies) Ahamkara (attachment) Ethics Niti śastra Yamas Niyama Ahimsa Achourya Aparigraha Brahmacharya Satya Damah Dayā Akrodha Arjava Santosha Tapas Svādhyāya Shaucha Mitahara Dāna Sources of dharma Epistemology Pratyakṣa (perception) Anumāṇa (inference) Upamāṇa (comparison, analogy) Arthāpatti (postulation, presumption) Anupalabdi (non-perception, negation) Śabda (word, testimony)
Practices Worship, sacrifice, and charity Puja Ārtī Prarthana Śrauta Temple Murti Bhakti Japa Bhajana Kīrtana Yajna Homa Tarpana Vrata Prāyaścitta Tirtha Yatra Tirthadana Matha Nritta-Nritya Dāna Sevā Yoga Meditation Tapas Dhyana Samādhāna Nididhyāsana Yoga Sadhu Yogi Yogini Asana Sādhanā Hatha yoga Jnana yoga Bhakti yoga Karma yoga Rāja yoga Kundalini yoga Arts Bharatanatyam Kathak Kathakali Kuchipudi Manipuri Mohiniyattam Odissi Sattriya Bhagavata Mela Yakshagana Dandiya Raas Carnatic music Pandav Lila Kalaripayattu Silambam Adimurai Rites of passage Garbhadhana Pumsavana Pumsavana Simantonayana Simantonnayana Jatakarma Nāmakaraṇa Nishkramana Annaprashana Chudakarana Karnavedha Vidyāraṃbhaṃ Upanayana Keshanta Ritushuddhi Samavartanam Vivaha Antyesti Festivals Diwali Holi Maha Shivaratri Navaratri Durga Puja Ramlila Vijayadashami-Dussehra Raksha Bandhan Ganesh Chaturthi Vasant Panchami Rama Navami Janmashtami Onam Makar Sankranti Kumbh Mela Pongal Ugadi Vaisakhi Bihu Puthandu Vishu Ratha Yatra
Philosophical schools Six Astika schools Samkhya Yoga Nyaya Vaisheshika Mīmāṃsā Vedanta Advaita Dvaita Vishishtadvaita Achintya Bheda Abheda Shuddhadvaita Svabhavika Bhedabheda Akshar Purushottam Darshan Other schools Ājīvika Buddhism Jainism Charvaka
Gurus, Rishi, Philosophers Ancient Saptarshi Vashistha Kashyapa Atri Jamadagni Gotama Vishvamitra Bharadwaja Agastya Angiras Aruni Ashtavakra Jaimini Kanada Kapila Patanjali Pāṇini Prashastapada Raikva Satyakama Jabala Valmiki Vyasa Yajnavalkya Medieval Abhinavagupta Adi Shankara Akka Mahadevi Allama Prabhu Alvars Basava Chaitanya Ramdas Kathiababa Chakradhara Chāngadeva Dadu Dayal Eknath Gangesha Upadhyaya Gaudapada Gorakshanatha Haridasa Thakur Harivansh Jagannatha Dasa Jayanta Bhatta Jayatīrtha Jiva Goswami Jñāneśvar Kabir Kanaka Dasa Kumārila Bhaṭṭa Madhusūdana Madhva Matsyendranatha Morya Gosavi Mukundarāja Namadeva Narahari Tirtha Narasimha Saraswati Nayanars Nimbarkacharya Srinivasacharya Prabhākara Purandara Dasa Raghavendra Swami Raghunatha Siromani Raghuttama Tirtha Ram Charan Ramananda Ramanuja Ramprasad Sen Ravidas Rupa Goswami Samarth Ramdas Sankardev Satyanatha Tirtha Siddheshwar Sripada Srivallabha Sripadaraja Surdas Swaminarayan Śyāma Śastri Tukaram Tulsidas Tyagaraja Vācaspati Miśra Vadiraja Tirtha Vallabha Valluvar Vedanta Desika Vidyaranya Vyasaraja Modern Aurobindo Bhaktisiddhanta Sarasvati Bhaktivinoda Thakur Chandrashekarendra Saraswati Chinmayananda Dayananda Saraswati Jaggi Vasudev Krishnananda Saraswati Mahavatar Babaji Mahesh Yogi Narayana Guru Nigamananda Nisargadatta Maharaj Prabhupada Radhakrishnan R. D. Ranade Ramakrishna Rama Tirtha Ramana Maharshi Ravi Shankar Ramdas Samarth Sathya Sai Baba Shirdi Sai Baba Shraddhanand Satyadhyana Tirtha Siddharameshwar Maharaj Sivananda Trailanga U. G. Krishnamurti Upasni Maharaj Vethathiri Maharishi Vivekananda Yogananda
Texts Sources and classification of scripture Śruti Smṛti Ācāra Ātmatuṣṭi Scriptures Timeline of Hindu texts Vedas Rigveda Yajurveda Samaveda Atharvaveda Divisions Samhita Brahmana Aranyaka Upanishads Upanishads Rigveda: Aitareya Kaushitaki Yajurveda: Brihadaranyaka Isha Taittiriya Katha Shvetashvatara Maitri Samaveda: Chandogya Kena Atharvaveda: Mundaka Mandukya Prashna Vedangas Shiksha Chandas Vyākaraṇa Nirukta Kalpa Jyotisha Other scriptures Bhagavad Gita Agamas (Hinduism) Itihasas Ramayana Mahabharata Puranas Vishnu Purana Bhagavata Purana Devi Bhagavata Purana Naradiya Purana Vāmana Purana Matsya Purana Garuda Purana Brahma Purana Brahmanda Purana Brahma Vaivarta Purana Bhavishya Purana Padma Purana Agni Purana Shiva Purana Linga Purana Kūrma Purana Skanda Purana Varaha Purana Markandeya Purana Upavedas Ayurveda Dhanurveda Gandharvaveda Sthapatyaveda Shastras, sutras, and samhitas Dharma Shastra Artha Śastra Shilpa Shastras Kama Sutra Brahma Sutras Samkhya Sutras Mimamsa Sutras Nyāya Sūtras Vaiśeṣika Sūtra Yoga Sutras Pramana Sutras Charaka Samhita Sushruta Samhita Natya Shastra Panchatantra Naalayira Divya Prabandham Tirumurai Ramcharitmanas Yoga Vasistha Swara yoga Panchadasi Stotras, stutis and Bhashya Kanakadhara Stotra Shiva Stuti Vayu Stuti Tamil literature Tirumurai Naalayira Divya Prabandham Tirumurukāṟṟuppaṭai Tiruppukal Kural Kamba Ramayanam/Ramavataram Five Great Epics Eighteen Greater Texts Eighteen Lesser Texts Athichudi Iraiyanar Akapporul Abirami Antati Thiruvilaiyadal Puranam Vinayagar Agaval Other texts
Hindu Culture & Society Society Varna Brahmin Kshatriya Vaishya Shudra Dalit Jāti Gotra Hindu Art Hindu art Hindu iconography Shilpa Shastras Rasa (aesthetics) Indian aesthetics Yantra Hindu Architecture Hindu architecture Hindu temple architecture Vastu shastra Talamana Hindu Music Hindu music Shruti (music) Svara Alankāra Tala (music) Raga Rasa (aesthetics) Sangita Vadya Natya Shastra Food & Diet Customs Ahimsa Diet in Hinduism Sattvic diet Mitahara Jhatka Vrata Time Keeping Practices Hindu units of time Hindu calendar Panchangam Vikram Samvat Shaka era Hindu Pilgrimage Pilgrimage sites Other society-related topics: Discrimination Persecution Nationalism Hindutva Organisations Reform movements
Other topics Hinduism by country Greater India Balinese Hinduism Caribbean Shaktism Template:Hindu scriptures and texts Hinduism & Other Religions Hinduism and Jainism / and Buddhism / and Sikhism / and Judaism / and Christianity / and Islam Other Related Links (Templates) Hindu Scriptures & Texts Hindu Philosphy Sampradayas (Traditions) Shaivism Vaishnavism Shaktism
Glossary Outline Hinduism portal
v t e

Kalaripayattu (IPA: [kɐɭɐɾipːɐjɐtːɨ̆]; also known simply as Kalari) is an Indian martial art that originated in Kerala, a state on the southwestern coast of India, during the 11th–12th century CE.

Etymology

Kalaripayattu is a martial art which developed out of combat-techniques of the 11th-12th century battlefield, with weapons and combative techniques that are unique to Kerala. The word Kalaripayattu is a combination of two Malayalam words - kalari (training ground or battleground) and payattu (training of martial arts), which is roughly translated as "practice in the arts of the battlefield". The name 'Kalari' may also be derived from the Malayalam or Sanskrit term 'Khaloorika,' which is the name of a goddess associated with Shaktism who is worshipped in Kalaripayattu. The 5th century CE South Indian ancient text on Shaiva Siddhanta, known as the 'Kamika Agama,' discusses the construction of the 'Khaloorika', as place for military exercise.

History

Associations with Indian folklore and legends

According to legend, Parashurama, the sixth avatar of Vishnu, learned the art from Shiva, and taught it to the original settlers of Kerala shortly after bringing Kerala up from the ocean floor. A song in Malayalam refers to Parashurama's creation of Kerala, and credits him with the establishment of the first 108 kalaris throughout Kerala, along with the instruction of the first 21 Kalaripayattu gurus in Kerala on the destruction of enemies.

According to another legend, Ayyappa, a war deity from Kerala, learned Kalaripayattu in the Cheerappanchira Kalari in Muhamma.

Early history

According to Philip Zarrilli, the Tamil combat techniques of the Sangam period (600 BCE–300 CE) and Sanskritic Dhanur Vedic traditions, which arrived with northern Brahmins from the 7th CE onwards, were the earliest precursors to Kalaripayattu. Each warrior in the Sangam era received regular military training in target practice, horse and elephant riding. 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).

Late medieval period (c.1100 CE–c.1500 CE)

According to Zarrilli, Kalaripayattu has been practiced "since at least the twelfth century" CE. During the 11th century, the second Chera kingdom fought a century-long war with the Chola kingdom, which ended with disintegration of the Chera kingdom. During this period, military combat training was compulsory, and according to Elamkulam Kunjan Pillai, Kalaripayattu took shape in this period. According to historian A. Sreedharan Menon, Kalaripayattu was among the most important aspects of feudal Keralite society, as it helped impart military training and Spartan-like discipline amongst the youth of Kerala, irrespective of caste, community or sex.

Each village in late medieval Kerala had its own kalari, which contained a presiding deity known as Bhagavathy or Paradevata. Children in Kerala who finished their education in local schools would join their local kalari to receive further military training. This was especially common amongst martial sects of various communities in Kerala, such as the Nairs and Thiyyars. The local legendary poems of Kerala, popularly known as Vadakkan Pattu, have been passed down through oral tradition and describe the deeds of warriors, indicating the practice of Kalarippayattu. These ballads, dating back as early as the 12th century, depict a social system in which every youth was required to undergo martial training.

In the late medieval period Kalaripayattu extended into the Kerala practice of ankam ("combat" or "battle" in Malayalam) as a way to settle disputes that could not be settled by local governmental assemblies. A variant of ankam, called poithu was also practiced, and was a duel between two individuals. Combatants participating in ankam or poithu used Kalaripayattu, and the combatants were given up to 12 years to prepare and train prior to the ankam itself, so that all combatants could achieve the highest level of proficiency with Kalaripayattu traditional weaponry. In some cases, professional mercenaries trained in Kalaripayattu were paid to engage in ankam on the behalf of others.

Early modern and colonial period (c.1500–c.1900 CE)

Descriptions by Europeans

In 1498, a Portuguese fleet under Vasco da Gama discovered a new sea route from Europe to India, which paved the way for direct Indo-European commerce. The next to arrive were the Dutch, with their main base in Ceylon. They established ports in Malabar. Following the Dutch, the British—who set up in the west coast port of Surat in 1619—and the French both established trading outposts in India.

Duarte Barbosa, a Portuguese explorer who visited Kerala in the 16th century, noted that the physical exercise complexes of the Nairs and Thiyyars created a network of martial culture in Malabar, and wrote about Nair military training in Kalaripayattu:

The more part of Nayars (Nairs), 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 and 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 they are most inclined, some play with bows and arrows, some with poles to become spearmen, but most with swords and are ever practising. The Nayars (Nairs) are bound, however old they may be, to always go (for training) in the winter (the rainy season or monsoon season) to take their fencing lessons until they die.

Hendrik van Rheede, governor of Dutch Malabar between 1669 and 1676, wrote about Chekavar (Malabar Thiyyar) training in Kalaripayattu in Hortus Malabaricus:

Chekavas (Chekavar) are bound to war and arms. The Chekavars usually serve to teach Nayros (Nair) in the fencing in kalari school.

Jacob Canter Visscher (1692–1735), in his Letters from Malabar, wrote about the Chekavars:

They may be justly entitled soldiers, as by virtue of their descent they must always bear arms. In spite of the fact that Chekavar were also practitioners of payatt (Kalaripayattu) and had a unavoidable presence in the militia of the ruler, they were allowed in the military services.

Decline of Kalaripayattu

The widespread practice and prevalence of Kalaripayattu in Kerala began to decline in the 17th century, when the usage of guns and cannons became widespread. This also coincided with the European invasions into Kerala, after which, firearms began to surpass the usage of traditional weaponry such as swords and spears.

The late medieval "golden age" of Kalaripayattu is preserved in the Vadakkan Pattukkal (17th–18th century), a collection of ballads about warrior heroes and heroines from earlier periods in Kerala, such as Aromal Chekavar (16th century), Unniyarcha (16th century), and Thacholi Othenan, who were celebrated for their martial prowess, chivalry and idealism. The heroes and heroines belong mainly to two matrilinear families, one of Tiyya origin and another Nair. In the Vadakkan Pattukal, it is stated that the cardinal principle of Kalaripayattu was that knowledge of the art be used to further worthy causes, and not for the advancement of one's own selfish interests.

In 1804, the British banned Kalaripayattu in Kerala in response to the Kottayathu War, a rebellion against British rule in Kerala led by the Keralite king Pazhassi Raja. The ban came into effect shortly after Pazhassi Raja's death on November 30, 1805, resulting in the closure of most of the major kalari training grounds in Kerala. Following the ban, many Keralite gurukkals of Kalaripayattu resisted the ban and continued to teach Kalaripayattu to their students in secret. Gurukkals such as Kottackkal Kanaran Gurukkal, Kelu Kurup Gurukkal and Maroli Ramunni Gurukkal, learned and preserved the martial art for posterity and were responsible for preserving Kalaripayattu into the beginning of the twentieth century, as well as sparking the revival of Kalaripayattu in Kerala in the 1920s.

Resurgence in modern times (20th–21st century)

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 and continued through the 1970s surge of general worldwide interest in martial arts.

During this period of renewed public interest in Kerala's native martial art, Kalaripayattu gurukkals such as Chambadan Veetil Narayanan Nair, and Chirakkal T. Sreedharan Nair rose to prominence as the primary gurukkals who preserved and transmitted the martial during the twentieth century and into the modern era. Chambadan Veetil Narayanan Nair, a student of Kottackkal Kanaran Gurukkal, and in whose memory the CVN Kalaris are named, opened several kalaris, and began to spread Kalaripayattu across its native state of Kerala, revitalizing the art across the state in the twentieth century.

Chirakkal T. Sreedharan Nair is also widely credited for reviving and preserving Kalaripayattu by writing the first books ever written on Kalaripayattu, as well as writing the first authoritative text on the martial art. Sreedharan Nair is credited with writing Kalaripayattu, the first book ever written on Kalaripayattu, in 1937. This book was written in Malayalam, and listed the vaithari or oral commands, of all the exercises relating to meypayattu, or conditioning techniques. He is also credited with writing the first authoritative text and primer on Kalaripayattu, called Kalarippayattu – A Complete Guide to Kerala’s Ancient Martial Art. The text, alongside a compilation of Sreedharan Nair's teaching notes, were translated into English by his sons S. R. A. Das and S. R. D. Prasad and then published by Westland Books. The book contains over 1,700 action photographs as well as explanations behind all of the exercises. It continues to be the most authentic reference material on Kalaripayattu to this day.

In the modern era, Kalaripayattu is also used by practitioners of Keralite dance styles, such as Kathakali and Mohiniyattam, as part of their training regimens. Recently, dancers from other, non-Keralite dance forms have also begun to incorporate Kalaripayattu into their training regimes, such as Vasundhara Doraswamy, a notable Bharatanatyam dancer.

In 2017, a 73-year-old gurukkal from Vadakara, Sri Meenakshi Amma, was awarded the Padma Sri by the Government of India for her contributions to the preservation of Kalaripayattu.

In January 2021, the Government of Kerala announced the opening of The Kalaripayattu Academy in Kerala's capital, Thiruvananthapuram, under the management of the Kerala Department of Tourism. The Kalaripayattu Academy will comprise an area of 3,500 feet, and will be part of the Vellar Crafts Village. The Kalaripayattu classes will be taught by a group of gurukkals from Kerala, led by Sri Meenakshi Amma, a Kalaripayattu gurukkal and Padma Sri recipient. The Kalaripayattu Academy will initially teach 100 students, both adults and children, in both morning and evening classes. Chief Minister Pinarayi Vijayan is set to announce the syllabus of the academy in 2021.

Practice

Guru–shishya tradition

Kalaripayattu is taught in accordance with the Indian guru-shishya system. 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. While importance is placed on observation of tradition, Kalaripayattu gurukkuls have contributed to the evolution of Kalaripayattu by way of their experience and reasoning.

Weaponry and armor

Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry, and healing methods. 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. Kalaripayattu differs from many other martial arts systems in the world in that weapon-based techniques are taught first, and barehanded techniques are taught last. The weapons used include gadas, spears, daggers, and urumis.

Training ground

Kalaripayattu is taught in a specialized training ground known as a kalari. The location and construction of each kalari is built in accordance to Hindu architectural treatises such as the Vastu Shastras along with various religious traditions and customs native to Kerala. Specifications are made regarding the physical dimensions of the kalari, how deep the ground in a kalari must be, along with the material that the floor of the kalari must consist of.

The floor of each kalari consists of red sand which is mixed with specific herbs that are said to aid in the treatment of small wounds suffered during training. The directional aspects of kalari construction are also specified, such as the entrance of the kalari facing east, and the location of ritualistic structures such as the Poothara, Ganapatithara, and Guruthara, are to face the west. The Poothara ("Flower ground" or "Flower floor" in Malayalam) in a kalari is a seven-step raised platform with a lotus-shaped kumbha or figure, at its apex. The art uses concepts similar to the ancient Indian medical text, the Ayurveda, and the seven steps represent the seven dhatu and the kosha of the human body as per Ayurvedic traditions. The kumbha at the apex of the poothara is said to represent Bhagavathy or the heart of the individual. The Ganapatithara ("Ground of Ganapati" in Malayalam) is the area of the kalari that is reserved for the worship of Ganapati, a Hindu deity that is said to be the remover of obstacles. The Guruthara ("Ground of the Guru" in Malayalam) is the area of the kalari that is reserved for worship of the Guru of the kalari, who represents the tradition of gurukkals in Kerala who protected and taught Kalaripayattu to the next generation. In the Ganapatithara, Ganapati is symbolically invoked by the placing of an otta, or tusk-shaped wooden stick. The paduka, or footwear, is placed at the Guruthara to symbolize the life of a gurukkal. The presiding deity of Kalaripayattu is said to be Bhadrakali or Bhagavathy.

Before every training session in the kalari, salutations are provided to the presiding deities and obedience is paid to the kalari temple. Students apply tilak or tikka on their foreheads and upon the forehead of the idol of the presiding deity using soil from the ground of the kalari.

Training uniform

The traditional training uniform used in Kalaripayattu is the kachakettal, a loincloth that is either red and white or red and black in colour. Along with traditional attire, oral commands, or vaithari, are given by the guru during training sessions, and are given in Sanskrit or Malayalam.

Chuvadu and Vadivu

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 and Kathakali dancers who knew Kalaripayattu were believed to be markedly better than other performers. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen.

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, and the traditions of the kalari. Each stance has its own style, combination, and function. These techniques vary from one style to another.

Adaption of new techniques

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.

Massage

As a result of learning about the human body, Indian martial artists became knowledgeable in the fields of traditional medicine and massage. Kalaripayattu teachers often provide massages (uzhichil) with medicinal oils to their students in order to increase their physical flexibility or to treat muscular injuries. Such massages are generally termed thirumal and the unique massage given to increase flexibility is known as katcha thirumal.

Styles

Each style, or vazhi, in Kalaripayattu has a different purpose. The styles are variations that various masters have adapted and modified according to their understanding of the art.

There are two major styles that are generally acknowledged within traditional Kalaripayattu, and are based on the regions in which they are practiced, the Northern style, or Vadakkan Kalari, and the Southern style, or Thekkan Kalari. These two systems have marked similarities in their styles or vazhi ("way" or "method" in Malayalam), such as Hanuman Vazhi, Bhiman Vazhi, and Bali Vazhi among others. The northern style of Kalaripayattu, or Vadakkan Kalari, is primarily practiced in the Malabar region of Kerala, and is based on elegant and flexible movements, evasions, jumps and weapons training. The southern style of Kalaripayattu, or Thekkan Kalari, is primarily practiced in the southern regions of Kerala, and specializes in hard, impact based techniques with emphasis on hand-to-hand combat and pressure point strikes. Both systems make use of internal and external concepts.

A third style, the Central style, or Madhya Kalari, is also practiced, but it is less commonly practiced than its northern and southern counterparts. 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 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. Training is usually done in four stages, the first stage being Meipayattu (training stances), followed by Kolthari (practice with wooden weapons), Angathari (practice with metal weapons) and finally Verum kai (barehanded combat). 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. Weapons training begins with the dagger and sword, followed by 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.

Southern style

The Southern style is also known as Thekkan Kalari. Traditionally, it is believed to be a style of Kalaripayattu that is said to have been altered and influenced by Agastya. It is an essentially the northern style of Kalaripayattu that has been influenced by martial arts from neighboring regions, such as Varma Adi or Adi Murai. While the Southern form of Kalaripayattu has notable similarities to Varma Adi, it is considered to be a distinct and separate martial art from Varma Adi due to its similarities to Northern Kalaripayattu. The similarities between the southern form of Kalaripayattu and Varma Adi are likely due to geographic proximity to each other, with the Southern style of Kalaripayattu being considered a mixture of Kalaripayattu and Varma Adi. 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 is more combative and martial in nature, and places heavy emphasis on hand-to-hand combat, hard impact techniques, and footwork, rather than emphasizing flexibility like the Northern style. It starts with the training in Chuvadu, a system of various combinations of fighting techniques similar to Muay Thai and Judo. 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.

Marmashastram - striking of vital points

It is claimed that experienced Kalari warriors could disable or kill their opponents by merely striking the correct marmam (vital point) on their opponent's body. This technique is taught only to the most promising and level-headed students so as to discourage misuse of the technique. Marmashastram stresses on the knowledge of marmam and is also used for marma treatment (marmachikitsa). This system of marma treatment originated from Ayurveda, as well as Siddha medicine. Critics of Kalaripayattu have pointed out that the application of marmam techniques against neutral outsiders has not always produced verifiable results.

The earliest mention of marmam is found in the Rig Veda, where Indra is said to have defeated Vritra by attacking his marmam with a vajra. References to marmam are also found in the Atharva Veda. With numerous other scattered references to vital points in Vedic and epic sources, it is certain that India's early martial artists knew about and practiced attacking or defending vital points. Sushruta (c. 6th century BCE) identified and defined 107 vital points of the human body in his Sushruta Samhita. Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick. Sushruta's work formed the basis of the medical discipline Ayurveda, which was taught alongside various Indian martial arts that had an emphasis on vital points, such as Varma kalai and Marma adi.

Governing bodies

In India, the Indian Kalaripayattu Federation (IKF) in Thiruvananthapuram is one of the primary governing bodies of Kalaripayattu. It is recognized by the Ministry of Youth Affairs and Sports of the Government of India. It received affiliation as a regional sports federation in 2015.

The Kalaripayattu Federation of India (KFI), based in Kozhikode, is another governing body of Kalaripayattu, as has been recognized by the Indian Olympic Association.

The Kerala Kalaripayattu Association (KKA) in Thiruvananthapuram is also a governing body of the martial art which is recognised by the Kerala State Sports Council.

Notable practitioners

Kottakkal Kanaran Gurukkal (1850-1935), also known as the “Dronacharya of Kalaripayattu,” was a gurukkal of Chambadan Veetil Narayanan Nair. Korrakkal Kanaran Gurukkal is recognized as one of the gurukkals who preserved Kalaripayattu in Kerala and allowed it to survive into the twentieth century after studying it from several gurukkals in the Malabar region of the state. During the British ban of Kalaripayattu, he is said to have sold his lands and property to finance the study of Kalaripayattu.

Chambadan Veetil Narayanan Nair (1905-1944), a Kalaripayattu gurukkal and student of Kottakal Kanaran Gurukkal, who was popularly known as "CVN" and in whose memory the CVN Kalaris sprang up across Kerala, enabling the revival of Kalaripayattu across its native state.

Chirakkal T. Sreedharan Nair (1909-1984), a Kalaripayattu gurukkal, and founder of Sree Bharat Kalari (formerly known as Rajkumar Kalari). He is known for writing the first books on Kalaripayattu. His first work, Kalaripayattu, written in Malayalam and published in 1937, was the first book written on Kalaripayattu. He also authored first authoritative text and primer on Kalaripayattu, called Kalarippayattu – A Complete Guide to Kerala’s Ancient Martial Art. The text is considered to be the most authentic reference material on Kalaripayattu to this day.

For their contributions to the preservation of Kalaripayattu, Meenakshi Amma, a 73 year old gurukkal from Vadakara and Sankara Narayana Menon Chundayil, a gurukkal from Chavakkad, were awarded the Padma Sri by the Government of India.

In popular culture

In the Indian graphic novels Odayan and Odayan II – Yuddham, the title character is a vigilante who is highly skilled in Kalaripayattu, with the story itself being set in 16th century feudal Kerala.

Little Kalari Warriors, a cartoon made by Toonz Animation India for Cartoon Network, features Kalaripayattu practitioners as the principal characters. Kalaripayattu is also seen in the Indian animated film Arjun: The Warrior Prince (2012). In the Indian role-playing game Ashwathama — The Immortal, which is based on Indian mythology, the fight scenes were choreographed using Kalaripayattu, with the movements of the characters being motion captured from real Kalaripayattu masters.

Kalaripayattu is used as a fighting style for the character Connie Maheswaran in the American animated television series Steven Universe. Outside of Indian video games, characters in international games also use Kalaripayattu, such as Voldo in the Soulcalibur series, Asura in Death Battle, and Zafina in the Tekken series among others. The style is also used by Cyril Rahman, Ethan Stanley and Shō Kanō in the Japanese manga TV series Kenichi: The Mightiest Disciple. In 2019, a character of Indian origin was introduced for the first time in the Japanese manga, Agari. It features a character named Ravi, a Kalaripayattu master, as the protagonist.

While numerous documentaries have been made about or referencing Kalaripayattu, one of the earliest known documentaries on the subject is a BBC documentary titled The Way of the Warrior. Kalaripayattu was also documented in Season 2 of Fight Quest.

In film

Kalaripayattu has also featured in international and Indian films such as:

• Thacholi Othenan (1964)
• Aromalunni (1972)
• Ondanondu Kaladalli (Kannada) (1978)
• Chilambu (1986)
• Oru Vadakkan Veeragatha (1989)
• Kallan Kappalil Thanne (1991)
• Thacholi Varghese Chekavar (1995)
• Asoka (2001) (Hindi)
• The Myth (2005) (English)
• The Last Legion (2007) (English)
• Kerala Varma Pazhassi Raja (2009)
• Manasara (2010) (Telugu)
• Urumi (2011)
• Commando (2013) (Hindi)
• Bajirao Mastani (2015) (Hindi)
• Baaghi (2016) (Hindi)
• Veeram (2016)
• Padmaavat (2018) (Hindi)
• Kayamkulam Kochunni (2018)
• Junglee (2019) (Hindi)
• Athiran (2019)
• Sanak (2021) (Hindi)
• Spider-Man: Across the Spider-Verse (2023) (English)
• Ajayante Randam Moshanam (2024)

See also

• Meenakshi Amma
• Angampora
• Banshay
• Bataireacht
• Bōjutsu
• Gatka
• Adimurai
• Indian martial arts
• Kendo
• Krabi–krabong
• Kuttu Varisai
• Mardani khel
• Silambam
• Tahtib
• Thang-ta
• Varma kalai
• Ankam
• Kalarippayattu films
• Malayali

Notes

1. ^ Parashurama:
   • Green (2001, p. 225): "According to oral and written tradition, the warrior-sage Parasurama, who was the founder of Kerala, is also credited with founding of the first kalari and subsequent lineages of teaching families."
   • Zarrilli (1998, p. 31): "By oral and written tradition, sage Parasurama is believed to be the founder of the art and the first kalari."
2. Hanuman Vazhi ("The Way of Hanuman" in Malayalam) is a style that places emphasis on speed and technical application, along with several techniques to trick or outwit an enemy. Bali Vazhi, ("The Way of Bali" in Malayalam) focuses on using the opponent's technical applications against them in such a way that it becomes dangerous to the opponent themselves. In Bhiman Vazhi ("The Way of Bhiman" in Malayalam), the usage of physical strength is predominant.

References

1. ^ Doctor, Fali E. (July 1973). "Kalari Payat – Ancient Art of India". Black Belt. pp. 23–25. Retrieved 6 November 2020.
2. ^ Gopalakrishnan, K. K. (10 February 2011). "King of Kalarippayattu". The Hindu. ISSN 0971-751X. Retrieved 23 May 2021.
3. P.C, Anaswara (16 June 2018). "Meet Gangadharan, First Indian With A PhD On Kalaripayattu Who Later Became A Practitioner Too". Outlook India. Retrieved 10 October 2021.
4. ^ S, Sreenath (2017). "Effect of Kalaripayattu on physical fitness variables among college students" (PDF). International Journal of Physical Education, Sports and Health. 4: 1–7.
5. T Sreedharan Nair, Chirakkal (Author). Kalarippayattu: The Complete Guide to Kerala's Ancient Martial Art. ISBN 9789384030513. {{cite book}}: |first= has generic name (help)
6. https://ia600303.us.archive.org/33/items/Kalarippayattu/Kalarippayattuebook.pdf
7. https://www.jetir.org/papers/JETIR2011253.pdf
8. "An encyclopaedia of Hindu architecture". 1946.
9. "Kamika Agama - Purva Pada (Shaivite Hindu Text)".
10. Shaji (2011), p. 4.
11. "In Memory of a Warrior Deity". 24 January 2015.
12. ^ Zarrilli (1994).
13. Subramanian, N. (1966). Sangam polity. Bombay: Asian Publishing House. (Wayback Machine PDF)
14. ^ Menon (2011), p. 82.
15. ^ Wollok (2011), p. 250.
16. ^ Arafath (2016).
17. T Sreedharan Nair, Chirakkal (Author). Kalarippayattu: The Complete Guide to Kerala's Ancient Martial Art. ISBN 9789384030513. {{cite book}}: |first= has generic name (help)
18. https://ia600303.us.archive.org/33/items/Kalarippayattu/Kalarippayattuebook.pdf
19. Menon (2011), p. 83-84.
20. Menon (2011), p. 83.
21. Glenn Ames (2012). Ivana Elbl (ed.). Portugal and its Empire, 1250–1800 (Collected Essays in Memory of Glenn J. Ames).: Portuguese Studies Review, Vol. 17, No. 1. Trent University Press. pp. 12–15 with footnotes, context: 11–32.
22. Koshy, M.O. (1989). The Dutch Power in Kerala, 1729–1758. Mittal Publications. p. 61. ISBN 978-81-7099-136-6.
23. Zarrilli (1979).
24. Heniger, J. (2017). Hendrik Adriaan van Reed Tot Drakestein 1636-1691 and Hortus, Malabaricus. Routledge. ISBN 9781351441070.
25. Nisha, P. R. (12 June 2020). Jumbos and Jumping Devils: A Social History of Indian Circus. Oxford University Press. ISBN 9780190992071.
26. Menon, A. Sreedhara (12 July 2010). Legacy of Kerala. D C Books. p. 38. ISBN 978-81-264-3798-6. Retrieved 10 October 2021.
27. ^ Menon (2011), p. 81.
28. Soman, Deepa (31 March 2019). "Kalaripayattu is alive and kicking". Times of India. Retrieved 21 December 2020.
29. Menon (2011), p. 82–83.
30. ^ Gopalakrishnan, K. k (4 October 2018). "Meet the Malabar warrior, S.R.D. Prasad Gurukkal". The Hindu. ISSN 0971-751X. Retrieved 23 May 2021.
31. ^ Zarrilli (1998).
32. ^ Soman, Deepa (31 March 2019). "Kalaripayattu is alive and kicking". Times of India. Retrieved 21 December 2020.
33. Sobers, S.N. Venkatnag (31 October 2019). "World Is A Stage For Vasundhara". Star of Mysore. Retrieved 10 October 2021.
34. ^ "The sword-fighting granny". BBC News.
35. ^ Sathyendran, Nita (25 October 2018). "Meet Meenakshi Amma, the grand old dame of Kalaripayattu". The Hindu.
36. ^ Radhakrishnan, S. Anil (10 January 2021). "Kalaripayattu academy braces for action". The Hindu. ISSN 0971-751X. Retrieved 7 April 2021.
37. ^ "Kerala govt to set up Kalaripayattu Academy to boost traditional martial art form". Yahoo! News. 10 January 2021. Retrieved 18 June 2021.
38. ^ "Kerala govt to set up Kalaripayattu Academy to boost traditional martial art form". Asian News International. 10 January 2021. Retrieved 18 June 2021.
39. ^ Khullar, Gagan (25 June 2019). "The ancient martial art of Kalaripayattu in Delhi". The Hindu. Retrieved 21 December 2020.
40. John, Shaji K (2011). Kalaripayattu: The Martial and Healing Art of Kerala. Kottayam, Kerala: Academia.edu. p. 19.
41. Francis, Jibin; Christadoss, B. Beneson Thilager (April 2020). "An Appraisal of Kalarippayattu and Its Association with the Culture of Kerala" (PDF). Bodhi International Journal of Research in Humanities, Arts and Science. 4 (3): 1–2.
42. Zarrilli, Phillip B. “Kalarippayatt, Martial Art of Kerala.” The Drama Review 23, no. 2 (1979): 113–24. https://doi.org/10.2307/1145220.
43. "Kalari Poothara - the seven-tiered platform | Kalari Training | Kalaripayattu and Kerala".
44. ^ John, Shaji K (2011). Kalaripayattu: The Martial and Healing Arts of Kerala. Kottayam, Kerala: Academia.edu. p. 21.
45. Sebastian, Shevlin (9 March 2014). "Warrior On The Stage". The New Indian Express. Retrieved 1 January 2021.
46. "Kalarivathukkal Thirumudi Utsavam & Pooram Mahotsavam". Kerala Culture. 8 June 2019. Retrieved 1 January 2021.
47. Khullar, Gagan (25 June 2019). "The ancient martial art of Kalaripayattu in Delhi". The Hindu. Retrieved 21 December 2020.
48. Manoj, E. M (3 October 2015). "When Kalaripayattu dons new attire". The Hindu. Retrieved 21 December 2020.
49. Luijendijk, D.H. (2008) Kalarippayat: The Essence and Structure of an Indian Martial Art, Oprat, ISBN 978-1-4092-2626-0
50. "Kalaripayattu". www.topendsports.com. Retrieved 22 December 2020.
51. https://ia600303.us.archive.org/33/items/Kalarippayattu/Kalarippayattuebook.pdf
52. ^ John, Shaji K (2011). Kalaripayattu: The Martial and Healing Arts of Kerala. Kottayam, Kerala: Academia.edu. pp. 19–20.
53. "About Kalaripayattu". Kalaripayattu Class. Retrieved 10 December 2019.
54. Vinodan, A.; Meera, S. (2018). "Exploring the Relevance of Cultural Resource Management: A Case Study of Kalaripayattu". Journal of Heritage Management. 3 (1): 71–86. doi:10.1177/2455929618773388. S2CID 158232813.
55. "Kalaripayattu to have a mixed syllabus soon". 9 April 2012.
56. Youseph, Ramon (30 May 2018). "Martial Art of the Month: Kalaripayattu". Kung-fu Kingdom. Retrieved 7 April 2021.
57. Green (2001).
58. Cruz, Edmund (2018). Health, Longevity and the Martial Arts. Authorhouse. ISBN 9781546239796.
59. Luijendijk, Dick (July 2005). Kalarippayat. Lulu.com. ISBN 9781409226260.
60. "Manoeuvre tryst with Kalaripayattu Veteran Sri SRD Prasad Gurukkal of Bharat Kalari". 26 March 2019.
61. "Onathallu, Kayyankali, Martial art, Entertainment, Kerala, India, Video".
62. Akundi, Sweta (30 July 2018). "The 'kalari' burner". The Hindu. Retrieved 21 December 2020.
63. Anima, P (30 May 2014). "I am... Radhika M, Kalaripayattu Instructor". The Hindu. Retrieved 21 December 2020.
64. "Kalaripayattu | Art & Culture of Kerala | Kerala | Kerala". Retrieved 10 December 2019.
65. DeMarco, Michael; Zarrilli; Nongmaithem; Dipl (2020). "1". Martial and Healing Traditions of India. Independently Published. p. 6. ISBN 9798694263177. The linguistic, social, religious, historical, technical and geographical differences briefly recounted above suggest that kalarippayattu and varma ati are closely related but distinct systems of martial practice. Historically, it is probable that the similarity between the two arts depended entirely on proximity, with the kalarippayattu styles and traditions of Malabar quite distinct from those of Tamil practitioners, while those in southern Kerala were not only similar to one another, but were probably mixed styles of practice.
66. "Kalari makes its first move Down Under". The Indian Sun. 21 December 2020. Retrieved 21 December 2020.
67. "Agasthya Kalari - for Siddha Treatments, Kalari Marma Treatments and offers training in Kalari strictly based on ancient scripts - located in Cochin, Kerala, India". agasthyakalari.org. Archived from the original on 25 November 2019. Retrieved 10 December 2019.
68. "Marma Therapy | National Health Portal of India". www.nhp.gov.in. Archived from the original on 27 October 2020. Retrieved 22 December 2020.
69. Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Passage Press. Utah USA.
70. G. D. Singhal, L. V. Guru (1973). Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta Samhita.
71. J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. Archived 28 December 2010 at the Wayback Machine Electronic Journals of Martial Arts and Sciences.
72. Special correspondent (23 May 2016). "Kalaripayattu eyes Olympics berth". The Hindu. Retrieved 19 November 2020. {{cite news}}: |author= has generic name (help)
73. Express Features (15 July 2013). "Kacha Grading System to be introduced for Kalaripayattu". The New Indian Express. Retrieved 19 November 2020.
74. Express News Service (30 June 2014). "Kalari Training by Fake Bodies Alleged". The New Indian Express. Retrieved 19 November 2020.
75. "An ambassador for Kalaripayattu worldwide". The Hindu. 26 January 2022. ISSN 0971-751X. Retrieved 28 January 2022.
76. Chhibber, Mini Anthikad (24 August 2014). "An equal music". The Hindu. Retrieved 20 November 2020.
77. Nair, Shreejaya (12 September 2015). "Comics go the Kalari way". Deccan Chronicle. Retrieved 20 November 2020.
78. TNN (25 May 2019). "Kalaripayattu warrior Ravi to be the first Indian character in Manga comic". The Times of India. Retrieved 19 November 2020.
79. Archived at Ghostarchive and the Wayback Machine: ""The Way of the Warrior: Kalari, The Indian Way" (Entire Video)". YouTube. 17 September 2011.
80. "Fight Quest" India (Kalarippayattu) (TV Episode 2008) - IMDb, 26 September 2008, retrieved 22 December 2020

Sources

• Arafath, P. K. Yasser (2016). "The Nadapuram Enigma a History of Violence and Communalism in North Malabar (1957–2015)". Economic and Political Weekly, Special Article, Vol-51, Issue.No.15, 09 April, 2016.
• Green, Thomas A. (2001). Martial Arts of the World: A-Q. ABC-CLIO. ISBN 9781576071502.
• Menon, A. Sreedhara (4 March 2011). Kerala History and its Makers. D C Books. ISBN 978-81-264-3782-5. Retrieved 10 October 2021.
• Shaji, John K. (2011). Kalaripayattu: The Martial and Healing Arts of Kerala. Published by the author.
• Wollok, Jenniffer G. (2011). Rethinking Chivalry and Courtly Love. ABC publishing. p. 250. ISBN 9780275984885. Retrieved 18 January 2022.
• Zarrilli, Phillip B. (1979). "Kalarippayatt, Martial Art of Kerala". The Drama Review. 23 (2): 113–124. doi:10.2307/1145220. JSTOR 1145220.
• Zarrilli, Phillip B. (1992). "To Heal and/or To Harm: The Vital Spots (Marmmam/Varmam) in Two South Indian Martial Traditions Part I: Focus on Kerala's Kalarippayattu". Journal of Asian Martial Arts. 1 (1).
• Zarrilli, Phillip B. (1994), "A South Indian Martial art and the Yoga and Ayurvedic Paradigms", Journal of Asian Martial Arts
• Zarrilli, Phillip B. (1998). When the Body Becomes All Eyes: Paradigms, Discourses, and Practices of Power in Kalarippayattu, a South Indian Martial Art. Oxford University Press. ISBN 9780195639407.

Further reading

• Balakrsnan, Pi (1995) Kalarippayattu: The ancient martial art of Kerala, C.V. Govindankutty Nair Gurukka 1995, ASIN B0006F9ONS
• Denaud, Patrick (1996) Kalaripayat, Budostore, ISBN 2-908580-62-4
• Elgood, Robert (2005) Hindu Arms and Ritual: Arms and Armour from India 1400-1865, Eburon Publishers, ISBN 90-5972-020-2
• Zarrilli, Phillip B. (1992) "To Heal and/or To Harm: The Vital Spots in Two South Indian Martial Traditions"
• Zarrilli, Phillip B. (1993) "Actualizing Power and Crafting a Self in Kalarippayattu", Journal of Asian Martial Arts

External links

• Kalarippayattu - one of the oldest martial arts, Government of Kerala website (Wayback Machine copy)
• Fundamentals of Kalaripayattu Video Series

v t e Indian martial arts
Martial arts and combat sports	Adimurai Aki Kiti Gatka Gatta gusthi Huyen langlon Inbuan wrestling Kabaddi Kalaripayattu Lathi khela Malakhra Malla-yuddha Mallakhamba Mardani khel Mukna Musti-yuddha Pehlwani Shastar Vidya Silambam Sqay Vajra-mushti
Weapons	Aruval Ayudha katti Bagh nakh Bichuwa Bhuj Chakram Chentu Elephant goad Firangi Gada Katar Kayamkulam vaal Khanda Khaṭvāṅga Kirpan Kukri Maduvu Malappuram Kathi Moplah Mudgar Otta Pata Pesh-kabz Pichangatti Saintie Savuku Shareeravadi Shuckra Talwar Urumi
Related terms	Akhara Ankam Ankathattu Chekavar Kalari Paika akhada
Martial arts portal

• Kalarippayattu
• Indian martial arts
• Dravidian martial arts
• Culture of Kerala