Indian Martial ArtsPDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 12 Jul 2010 19:54:48 UTC Contents Articles Indian martial arts Vajra Mushti Gatka Lathi Musti yuddha Thang-ta Kalaripayat Silambam Malla-yuddha Malyutham 1 7 8 13 15 16 18 30 33 36 References Article Sources and Contributors Image Sources, Licenses and Contributors 39 40 Article Licenses License 41 Indian martial arts 1 Indian martial arts Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will The Indian subcontinent is home to a variety of fighting styles. In Sanskrit they may be collectively referred to as •astravidy‚ or dhanurveda. The former is a compound of the words €astra (sword, weapon) and vidy• (learning), meaning "knowledge of the sword" or "knowledge of weaponry".[1] The latter term derives from the words for bow (dhanusha) and knowledge (veda), literally the "science of archery" in Puranic literature, later applied to martial arts in general[2] The Vishnu Purana text describes dhanurveda as one of the traditional eighteen branches of "applied knowledge" or upaveda.[3] History Antiquity (pre-Gupta) Indian epics contain accounts of combat, both armed and bare-handed. The Mahabharata describes a prolonged battle between Arjuna and Karna using bows, swords, trees, rocks and fists.[3] Another unarmed battle in the Mahabharata describes two combatants boxing with clenched fists and fighting with kicks, finger strikes, knee strikes and headbutts.[4] Krishna Maharaja, whose battlefield exploits are alluded to in the Mahabharata, is credited with developing the sixteen principles of •astravidy‚. Many of the popular sports mentioned in the Vedas and the epics have their origins in military training, such as wrestling (maladvandva), chariot-racing (rathachalan), horse-riding (ashvarohana) boxing (musti yuddha) and archery (dhanurvidya).[5] Competitions were held not just as a contest of the players' prowess but also as a means of finding a bridegroom. Arjuna, hero of the Mahabharata, and Siddhartha Gautama both won their consorts in such tournaments. In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the nata dances, were incorporated into martial arts.[6] A number of Indian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalari payat can be applied to dance[7] and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Until recent decades, chhau was practiced only by martial artists. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen.[8] Written evidence of martial arts in Southern India dates back to the Tamil Sangam literature of about the 2nd century BC to the 2nd century AD. The Akananuru and Purananuru describe the use of spears, swords, shields, bows and silambam in the Sangam era. The word kalari 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.[9] Each warrior in the Sangam era received regular military training[10] in target practice and horse riding. They specialized in one or more of the important weapons of the period including the spear Indian martial arts (vel), sword (val), shield (kedaham), and bow and arrow (vil ambu). The combat techniques of the Sangam period were the earliest precursors to kalaripayat.[3] 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.[11] [12] References to fighting arts are found in early Buddhist texts, such as the Lotus Sutra (ca. 1st century AD) which refers to a boxing art while speaking to Manjusri.[13] It also categorized combat techniques as joint locks, fist strikes, grapples and throws.[14] The Lotus Sutra makes further mention of a martial art with dance-like movements called Nara.[15] Another early Buddhist sutra called Hongyo-kyo describes a "strength contest" between Gautama Buddha's half-brother Prince Nanda and his cousin Devadatta.[13] Siddhartha Gautama himself was a champion of swordplay, wrestling and archery before becoming the Buddha.[6] Some authors conjecture that the 4th century invasion of the borders of India by Alexander the Great laid the foundation of Indian martial arts by dispersing pankration techniques throughout the subcontinent,[16] [17] [18] but no evidence exists to support this claim. Macedonians were not very appreciative of combat sports and Alexander himself felt pankration to be unsuitable for war, rejecting it in favour of military strategy.[19] As it is based entirely on assumptions, this theory is popular primarily among martial artists of Greek descent but is not taken seriously by any historians.[19] Furthermore, accounts of combat in Indian epic poetry, pre-date Alexander the Great. 2 Classical period (3rd to 10th centuries) Like other branches of Sanskrit literature, treatises on martial arts become more systematic in the course of the 1st millennium AD. Vajra musti, a grappling style, is mentioned in sources of the early centuries CE.[13] The Kama Sutra written by V‚tsy‚yana enjoined women to regularly "practice with sword, single-stick, quarterstaff, and bow and arrow". Around this time, tantric philosophers developed important metaphysical concepts such as kundalini, chakra, and mantra.[6] The Sushruta Samhita (c. 4th century) identifies 107 vital points on the human body[20] of which 64 were classified as being lethal if properly struck with a fist or stick.[6] Sushruta's work formed the basis of the medical discipline ayurveda which was taught alongside various Indian martial arts, especially those that had an emphasis on vital points such as varma kalai.[6] With numerous other scattered references to vital points in Vedic and epic sources, it is certain that India's early fighters knew and practiced attacking or defending vital points.[21] Around 630, King Narasimhavarman of the Pallava dynasty commissioned dozens of granite sculptures showing unarmed fighters disarming armed opponents. These may have shown an early form of varma adi, a Dravidian martial art that allowed kicking, kneeing, elbowing and punching to the head and chest, but prohibited blows below the waist. This is similar to the style described in the Agni Purana.[6] 17th century mural of Balarama in a south Indian temple. Martial arts are often associated with avatara in the Puranas. Martial arts were not exclusive to the kshatriya caste, though the warrior class used them more extensively. The 8th century text Kuvalaymala by Udyotanasuri recorded fighting techniques being taught at ghatika and salad educational institutions, where non-ksatria students from throughout the subcontinent (particularly from South India, Rajasthan and Bengal) "were learning and practicing archery, fighting with sword and shield, with daggers, sticks, lances, and with fists, and in duels (niuddham)".[3] Hindu priests of the Gurukullam institutions also taught armed and unarmed fighting techniques to their students as a way of increasing stamina and training the physical body. viz. arranged in the shape of a flock of geese (248. including 32 positions to be taken with sword and shield (khaƒgacarmavidhau). Only a Brahmin could be an acharya (teacher) of dhanurveda.[6] . Other old styles like varma kalai. 4.17) 9. the hammer.14) 7.16) 8. 6. Svinth (2002) traces press ups and squats used by Indian wrestlers to the pre-classical era. ie.Indian martial arts 3 Agni Purana The earliest extant manual of dhanurveda is in the Agni Purana (dated to between the 8th and the 11th century). numbering 98 varieties ƒ b•hu-yuddha: nine weapons of the body (hands.[23] 11 names of techniques of using a rope in fighting. svastika ("well-being"): keeping the feet 16 fingers apart and lifting the feet a little (248.[24] Middle Ages (11th to 15th centuries) The earliest treatise discussing the techniques of malla-yuddha is the Malla Purana (ca. feet. while fighting with the sword is considered unrefined. da‚ƒ•yata ("extended staff"): keeping the right knee bent with the left leg straight. the bhindip•la or laguda. such as the rope-spear mantra-mukta: mythical weapons that are thrown by magic incantations (mantra). the dagger. ƒ hasta-€astra or amukta: melee weapons that do not leave the hand. It divides the art into weapons that are thrown or unthrown.[6] and kalaripayat had developed into their present forms by the 11th century. and finally deeds with a bludgeon or cudgel. sampu…a ("hemisphere") (248.[26] Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest. 2. fighting with the spear ranks next. knees. The thrown (mukta) class includes twelve weapons altogether which come under four categories.[25] Organised martial arts in ancient India included malla-yuddha. 13th century). the vajra.19) Then there follows a more detailed discussion of archery technique. 3.11) •l„ƒha ("licked. the mace (gaƒa).10) ma‚ƒala ("disk"): standing with the knees apart. or combat-wrestling.[6] Based on such accounts. ƒ ƒ ƒ ƒ yantra-mukta: projectile weapons such as the sling or the bow p•‚i-mukta: weapons thrown by hand such as the javelin mukta-sandharita: weapons that are thrown and drawn back. Kshatriyas and Vaishyas should learn from the Brahmin. left to "fight of his own in danger".[21] [22] The dhanurveda section in the Agni Purana spans chapters 248-251. unarmed fighting The duel with bow and arrows is considered the most noble. codified into four forms. the iron club (tomara). punches to the head. 5. while a Shudra could not take a teacher. elbows and head). polished"): bending the right knee with the left foot pulled back (248. the slingshot.13) j•ta ("origin"): placing the right foot straight with the left foot perpendicular. numbering twenty types ƒ mukt•mukta: weapons that can be thrown or used in-close. and strangleholds. the axe. the ankles being five fingers apart (248. called vika…a ("dreadful") if the two legs are two palm-lengths apart (248. along with 5 names of "acts in the rope operation" along with lists of "deeds" pertaining to the chakra.12) praty•l„ƒha: bending the left knee with the right foot pulled back (248. during an extended period of warfare between the Chera and Chola dynasties. the spear. There follow nine asana or positions of standing in a fight 1. hair pulling. and wrestling is classed as the meanest or worst form of fighting.9) vai€•kha: standing erect with the feet apart (248. or vice versa. The section concludes with listing the names of actions or "deeds" possible with a number of weapons. numbering 6 types These were opposed to the much larger unthrown class of three categories. samapada ("holding the feet even"): standing in closed ranks with the feet put together (248. such as the Kamandakiya Nitisara (ca. Modern period (1857 to present) Indian martial arts underwent a period of decline after the full establishment of British colonial rule in the 19th century. The Mughals. Although curved blades had been used in India since ancient times. his brother Ekoji.[21] More European modes of organizing police.Indian martial arts There are scattered references to dhanurveda in other medieval texts. practiced martial techniques such as wrestling and mounted archery. particularly among Muslims.[27] including the sword.[25] The British colonial government banned kalaripayat in 1804 in response to a series of revolts. the conqueror Babur established Mughal rule in North India during the 16th century. Its movements are rapid and makes use of low stances suited to the hill ranges where it is originated. Maratha era (1650 to 1857) The Marathas came to prominence during the 1600s due mostly to the efforts of Shivaji Rao Bhonsla and later. and bichawa (scorpion knife). The khanda. The resurgence of public interest in kalaripayat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India which characterized the growing reaction against British colonial rule. 1896).[29] .[28] Silambam was also banned and became more common in the Malay Peninsula than its native Tamil Nadu. and thang-ta in Manipur. Favoured by the Mughal rulers as loyal commanders of the army.). One of the Mughals' most enduring legacies on Indian martial arts was their introduction of the Persian-influenced talwar (scimitar). they were made official protectors of the throne between 1720 and 1740. There is also a 17th-century Dhanurveda-samhita attributed to Vasistha. the Nitivakyamrta by Somadeva Suri (10th c. the straight khanda (double-edge sword) had enjoyed greater popularity until then. many martial arts were confined to rural areas. 4 Mughal era (1526 to 1857) After a series of victories. ed. a native straight sword created by the Rajputs The Ausanasa Dhanurveda Sankalanam dates to the late 16th century. the Marathas excelled in guerilla warfare.) and the Manasollasa of Somesvara III (12th c. The Marathas created a fighting system called mardani khel which focuses on weaponry.. other regional styles were subsequently revived such as silambam in Tamil Nadu. By combining indigenous malla-yuddha with Turkic and Mongolian wrestling they created the grappling style pehlwani which has remained popular until today. by Brhat Sarngadhara Paddhati (ed. armies and governmental institutions. particularly swords. Dutt. 8th c. Shivaji himself was trained in armed combat from an early age and was an expert in the use of various arms. the Yuktikalpataru of Bhoja (11th c.[25] During the following three decades. and the increasing use of firearms.) There is an extant dhanurveda-samhita dating to the mid 14th century. During this time. 1888). compiled under the patronage of Akbar. gradually eroded the need for traditional combat training associated with caste-specific duties. His weapon of choice was a 4-foot sword with a small handle and a spike upon the hilt for thrusting. bagh nakh. By 1751 they had control of western Deccan and became the most important power in India. Persians of Mongol descent. Owing to the hilly geography of Maharashtra. categorised into thrown and unthrown classes and further divided into several sub-classes. The katara (€•‚ƒ). more or less corresponding to the major ethno-linguistic grouping of Indo-Aryan vs. Chakravati in The Art of War in Ancient India. were closed off from most martial arts. armies used standard weapons such as wooden or metal tipped spears. while Southern India is more conservative in preserving ancient and The urumi. short and long bows in warfare as early as the 4th century BC. 240-480) and the later Agni Purana identify over 130 different weapons. Pari-khanda is a style of sword and shield fighting from Bihar. Dravidian speaking populations. The main difference is. According to P. The exception to this rule are the northeastern states like a whip. . martial systems in South Asia tend to be associated with certain states. popular in the Middle Ages but now confined to Varanasi. axes. a flexible blade that behaves medieval traditions. weaponry evolved and India became famed for its flexible wootz steel.Indian martial arts 5 Weapons A wide array of weapons are used in South Asia. Thang-ta or huyen lalong is an armed system created by the Meitei of Manipur. In addition to the major division between north and south India. due to their geographic location. cities. Military accounts of the Gupta Empire (c. Styles As in other respects of Indian culture. has gained some fame for its unusual design. a weapon found only in South Asia.C. is unique to Dravidian which. again as in Indian culture in general. Indian martial arts can be roughly divided into northern and southern styles. that northern India was more exposed to Persianate influence during the Mughal period. wooden or metal shields. Over time. some of which are not found anywhere else. thatched bamboo. Mardani khel is an armed method created by the Marathas of Maharashtra. villages or ethnic groups. Musti yuddha is a style of kickboxing. Armed forces were largely standardised and it is unclear if regular infantry were trained in any recognisable martial system other than standard military drills. North India ƒ ƒ ƒ ƒ ƒ ƒ Gatka is a weapon-based style of •astravidy‚ created by the Sikhs of the Pan Jaab region. Lathi is a style of cane-fighting originally practiced by village herdsmen. Northeast Indian culture and fighting methods are also closely related to that of Southeast Asia. pre-European foreign invaders. More sophisticated techniques and weapons were employed by fighters trained in the warrior jati. swords. Tuttle Publishing. ISBN€1581604807. Chakravarti (1972). com/ poiuyt/ history. still exists in south India.) vikar•la-nip•tau ca (21. such as mukna from Manipur and Inbuan wrestling from Mizoram. [18] History and background of Pankration (http:/ / pic1. rr. palmlandtours. Military Combative Masters of the 20th Century. Vajra musti was another old grappling art in which the competitors wrestled while wearing a cestus-like claw called a bagh nakh. Univ. [22] P. The art of warfare in ancient India. while the term malakhra refers to wrestling for sport. Malla-yuddha was codified into four forms which progressed from purely sportive contests of strength to actual full-contact fights known as yuddha. & 83. Tank. N. 50. net/ kerala/ tours/ kalari/ kalaripayatte/ kalari. P. html) [16] Arvanitis. When the Body Becomes All Eyes: Paradigms.. specifically in the Anarghar‚ghava. uk/ drama/ staff/ kalari/ power. htm).-10. Phillip B. ex. Oregon: College of Health. ISBN 0-8048-1947-5.History of Karate. Indigenous Games and Martial Arts of India. [5] The Timechart History Of India. C. spa. see Luijendijk. J. [2] attested from Epic Sanskrit. (1998). [23] (1. David Manuel (1977).) samp•ta† (8.) an•lakŠita-vispho…au (17. Kalari Payatte . this final form is generally no longer practiced. True combat-wrestling is called malla-yuddha in the north and malyutham in the south.-28. Haines (1995). ISBN€0-7554-5162-7.) •viddham (4. wherein the wrestlers attempt to lift each other off the ground for three seconds.4ab) . ex. [14] University Martial Arts Association. [8] Luijendijk 2008 [9] Suresh.) vibh„Ša‚a-bhay•nakau (23-24. Numerous styles of folk wrestling are also found in India's countryside.€44. (http:/ / home. com/ hin/ m04/ m04013. Guru (1973). [12] Sports Authority of India (1987). com/ extremepankration/ ?g=13802396& cr=1) [19] Kostas Dervenis and Nektarios Lykiardopoulos (2007). Webb. Oprat (LuLu. D. Sangam polity. (http:/ / www. The Martial Arts Of Ancient Greece.2) (19. R. D. Tim. [21] Zarrilli. ac.) vipluta† (6. pp. Karate's History and Traditions (p. uk/ drama/ staff/ kalari/ healharm. Robert Frederick Ltd.) s‡ta† (7.-16. Discourses and Practices of Power in Kalarippayattu. (http:/ / www. (http:/ / www. [17] Todd.Indian martial arts 6 South India ƒ Kalaripayat has its roots in the combat training halls (payattu kalari) of Kerala's traditional educational system. spa.-18.) ath•l„ƒha† (31. Destiny Books.) avadh‰taˆca (13. Bombay: Asian Publishing House. of Oregon.) praty•l„ƒham (30. html) Part I: Focus on Kerala's Kalarippayattu". The second form. (1992).The martial art of Kerala.[30] Due to the extreme violence. Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta Samhita. James (2005). com/ kronos) Electronic Journals of Martial Arts and Sciences. ac.3) (29. (2005).) t‡t„y•†€ap•da (26. sacred-texts. a South Indian Martial Art.) samagr•rdha (25.) bhr•ntam (2. [4] Section XIII: Samayapalana Parva (http:/ / www. htm) [10] Subramanian. (1966). Physical Education and Recreation. New Delhi: Sports Authority of India. [6] J. The Origin and the Historical Development of Silambam Fencing: An Ancient Self-Defence Sport of India. html) [15] Steinwachs. Delhi. [7] Zarrilli. (2008).) kar•lendramah•sakhau (251. R.) €yenap•tamath•kula† (251. piczo.1) (11. Malla-yuddha is virtually extinct in the north where it has been supplanted by Mughal pehlwani. [13] Bruce A. (http:/ / ejmas.-22. Journal of Asian Martial Arts 1 (1).) dakŠi‚am eva ca (15.) p•dardhav•rij•‹ (251. Phillip B.) uddh‰tam (12. pp.) lulitan tath• (251. Svinth (2002). 23-25). Singhal. A Chronological History of the Martial Arts and Combative Sports. Jim (2003).€91 & 94.com).) udbhr•ntam (3.) •pluta† (5. Mahabharata. 2005. ƒ Kathi samu (sword fighting) and karra samu (stick fighting) are weapon-based systems from Andhra Pradesh. Pankration. Oxford: Oxford University Press. [11] Raj. ISBN€1594771928. " To Heal and/or To Harm: The Vital Spots (Marmmam/Varmam) in Two South Indian Martial Traditions (http:/ / www. V. maine.H. Book 4: Virata Parva. ƒ Silambam is a weapon-based style from Tamil Nadu which focuses on the bamboo staff. [20] G. L. edu/ student_orgs/ umaa/ htmlDocs/ history. Wrestling Grappling sports are found throughout India and were generically referred to in Sanskrit as maladvandva. History of Taekwondo. [3] Zarrilli. Kalarippayat: The Essence and Structure of an Indian Martial Art. html) University of Wisconsin€Madison. Phillip B.) var•ha† (32.) samud„€aˆca (9. uta. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. References [1] attested in Classical Sanskrit only.) savya† (14.-20. org/ thang_ta. [26] R. whence Japanese kenpŒ. ƒ Terence Dukes. ƒ Andy James. The Bodhisattva Warriors: The Origin. ISBN 9788120817234. Sarup & Sons. ISBN€81-85778-15-9. In the Malla Purana. Comprehensive Asian Fighting Arts. 2001. Draeger. "archery". indiapress. Phillip B. Robert W. and the energetic arts Wisdom Publications. "dhanurveda" (http:/ / books. Khurana (1993). ISBN 978-81-7625-226-3. html) [27] K.H. References [1] Monier-Williams (1899) [2] Donn F. Draeger and Robert W. (http:/ / www. Inner Philosophy. as €• chuan fa. When the Body Becomes All Eyes: Paradigms. ISBN€1581604807. It is a name of Indra mentinoed in the Ramayana epic. kathinayoga. 7 Vajra Mushti Vajra-mushti (Sanskrit vajramuŠ…i „…†ƒ‡ˆ‰†•Š) is a Sanskrit bahuvrihi compound translating to "one who is grasping a thunderbolt" or "one whose clenched fist is like a diamond". Encyclopaedic Dictionary of Pur•‚as. Smith (1969). contributing to the origins of Chinese martial arts. Kondansha International Limited.v. Boulder: Paladin Press. Oxford: Oxford University Press. Encyclopaedia of the Hindu World. com/ KalariWorld/ Articles/ other_article3. ISBN 9780861713523. Comprehensive Asian fighting arts. .[2] Terence Dukes in The Boddhisattva Warriors (2000) claims that vajramuŠ…i was also a term for an ancient Indian martial art of the kshatriya caste that was transferred to China along with the silk road transmission of Buddhism during the early centuries CE. [28] Luijendijk. it is also the name of a specific Bodhisattva mentioned in the Vajrasekhara Sutra. 78ff. Discourses and Practices of Power in Kalarippayattu.v. He claims that "Bodhisattva Vajramukti" was passed on within early Chinese Buddhist temples. Smith. php [30] Donn F. In Shingon Buddhism. google. (1998). 2000. Dukes speculates that there was a martial art specific to early Buddhism which he terms "Bodhisattva Vajramukti" (sic). Concept Publishing Company. Agra: Lakshmi Narain Agarwal. a cestus or knuckleduster-like weapon used by a class of wrestlers known as JyeŠ…„mallas. a South Indian Martial Art. D. Ga„g‚ R‚m Garg. 141ff. s. L. [29] http:/ / sports. it is synonym of Bhukhandi.[1] In Tantric Buddhism Vajramusti is the name of a specific mudra (hand gesture). History and Symbolism of the Buddhist Martial Art Within India and China.Indian martial arts [24] Parmeshwaranand Swami. Motilal Banarsidass.Venkatachalam (September 1999). 1992 ISBN 9788170223764. 1980. [25] Zarrilli. which he translates as "Thunder Fist". Kodansha International. Medieval India. 2004. Daoism. (2005). The spiritual legacy of Shaolin temple: Buddhism. Mallayuddha. com/ books?id=nmmkM0fVS-cC& pg=PA467). Dukes builds his theory on he term vajramuŠ…i itself. ISBN 9780870114366. s. Kalarippayat: India's Ancient Martial Art. Gatka 8 Gatka Gatka demonstration at the head of a procession to celebrate the 538th birthday of Nanak Dev in Bedford. England Focus Country of origin Parenthood Olympic sport Weapons (sticks simulating swords) Pan Jaab. India Shastar vidiy‚ No Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Part of a series on Sikhism Sikh Gurus Nanak Devƒ€ Angad Devƒ€ Amar Dasƒ€ Ram Dasƒ€ Arjan Devƒ€ Har Gobindƒ€ Har Raiƒ€ Har Krishanƒ€ Tegh Bahadurƒ€ Gobind Singhƒ€ Granth Sahibƒ€ Philosophy Beliefs and principlesƒ€ Underlying valuesƒ€ Prohibitionsƒ€ Technique and methods Practices Ard‚sƒ€ Amrit Sanskarƒ€ Cha…d† Kal‚ƒ€ Dasvandƒ€ Five Ksƒ€ Kirat Kar‡ƒ€ Kirtanƒ€ Langarƒ€ N‚m Jap‡ƒ€ Simranƒ€ Three Pillarsƒ€ Vaˆ‰ Chakk‡ Scripture Guru Granth Sahibƒ€ Adi Granthƒ€ Dasam Granthƒ€ Sarbloh Granthƒ€ Baniƒ€ Chaupaiƒ€ Jaap Sahibƒ€ Japji Sahibƒ€ Mool Mantarƒ€ Rehrasƒ€ Sukhmani Sahibƒ€ Tav-Prasad Savaiye . The sticks may be paired with a shield. was born into a kshatriya family. the Panjabi spelling for •astravidy‚ or "knowledge of the sword" in Sanskrit. assist the poor. The modern sport originated in the later 19th century. These are demonstrated in preset routines or performed as a sword dance during Sikh festivals. . was a wrestling enthusiast and encouraged followers to train the body physically as well as developing mentally and spiritually. Both the Rajputs and Panjabis favoured the sword as their main weapon. the Mughals also fought their way through the region on their way from the Khyber Pass to Delhi. gatka also incorporates wrestling as part of its empty-handed training component. In 1699 he founded the Khalsa brotherhood by baptising five disciples with a sword dipped in the nectar of immortality (amrita). His successor. The term might have originated as a diminutive of the Sanskrit word gadha or mace. its followers constantly had to fight to protect their communities and religion from the Mughal rulers. and defend the faith. exemplified his principles of combining spirituality with combat training. as were many of his first disciples. ultimately rooted in the fighting methods employed by the militaristic Rajputs and the kesatria caste in general. Guru Teg refused to renounce his faith and was beheaded in 1675. His son and successor was Guru Gobind Singh. As such.Gatka 9 General topics Historyƒ€ Ik Onkarƒ€ Gurdwaraƒ€ Harmandir Sahibƒ€ Khalsaƒ€ Khandaƒ€ Literatureƒ€ Musicƒ€ Namesƒ€ Placesƒ€ Satguruƒ€ Sikhsƒ€ Waheguruƒ€ Dastar Sikhism Portal Gatka (Punjabi: €•‚ƒ gatk•) is a weapon-based Indian martial art created by the Sikhs of the Panjab. First invaded by Indo-Aryans in 1700 BC. The older techniques and various other weapons are taught in the ritual aspect of the art. This is symbolised by the kirpan or dagger. out of sword practice in the British Indian Army during the 1880s. one of the five Ks which every baptised Sikh is required to carry. This led to further exchanges in the martial cultures of the Sikhs and Rajputs. Guru Nanak. This collective society galvanized the martial energies of the Sikh community and would later go on to form the Khalsa Army of the Sikh Empire during the first half of the 19th century. and conquered by the Mauryans in the 3rd century BC. It is played by two opponents who spar with wooden staves intended to simulate swords. The Akali Nihang.[4] The Khalsa's aims were to fight oppression. Guru Hargobind propagated the theory of the warrior saint and emphasized the need for his followers to practice fighting for self-defence. The Panjabi word gatka refers to the wooden stick used in sparring matches. the 10th guru of Sikhism and a master of shastar vidiya. During the 1600s Emperor Aurangazeb attempted to eradicate the Sikh faith by forcibly converting Guru Teg Bahadur to Islam. worship the one God. In regards to training the brotherhood. Guru Angada Deva. The fighting systems of this period are more properly called shastar vidiy• („…„•† ‡ˆ‰ˆŠ).[1] [2] Gatka can be practiced either as a sport (khel) or ritual (rasmi).[2] Though primarily an armed fighting style. History Origins The Panjab has a long history of war and armed conflict. the founder of the Sikh religion. Sikhs developed as a warrior people with a heavily martial culture. abandon superstition. Guru Gobind Singh pledged that he would "teach the sparrow to fight the hawk". a stricter order of Sikh warriors. some of which was set down in the Mahabharata epic.[3] When fifty-two Rajput princes were captured by the Muslim conquerors. which mention the practice of shastar vidiya. Although Sikhism was found to be popular among both Hindus and Muslims. he assembled an army to free them. Gobind Singh was also responsible for adding to the Sikh canon the holy books Sri Dasam Granth and Sri Sarab Loh Granth. Ranjit Singh. Ever wary of the Panjabis. During the Indian Rebellion of 1857. the Sikhs prepared themselves for war with the Europeans. The European colonists brought Sikhs from India to other British colonies to work as soldiers and security guards.[5] The new style applied the sword-fighting techniques to the wooden training-stick. after two wars with the British. Hong Kong and Thailand. More than 1. The Akali Nihang. the Sikhs were responsible for defending India's north from foreign conquerors. He personally assisted in training his army in shastar vidiya. Ranjit's passing was followed by widespread corruption and anarchy within the royal family. European rules of fencing were applied to create what is now called khel or sport gatka. The other techniques and weapons of traditional shaster vidiya were taught to experienced students as rasmi or ritual. after its primary weapon. the British ordered effective disarmament of the entire Sikh community. some fled and spent the rest of their lives in the northern mountains. but the Panjabi martial arts which re-emerged after 1857 had changed significantly. As Sikh colleges opened during the 1880s. was an experienced warrior despite his comparatively small build. were regarded as disloyal to the colonists. Having repelled a number of Afghan invasions. considered the keepers of all Sikh traditions.Gatka During the later 17th century. Following the Second Anglo-Sikh War of 1848 to 1849 and the establishment of the British Raj. they eventually went on to fill the power void left after the collapse of the Mughals. Pan Jaab's ruling monarch. It was referred to as gatka. Only in the 1840s. and gave up any plans of taking over the region until after the ruler's death. even tools and farming equipment were banned.500 Nihang were killed by the British for plotting rebellion. restrictions on fighting practices were relaxed. the Sikhs assisted the British in crushing the mutiny. 10 Colonisation As British colonial rule spread across India. According to folklore. The British avoided direct confrontation with Ranjit Singh's forces. the Sikh martial traditions and practitioners suffered greatly. As a consequence of this assistance. . was the Khalsa army finally defeated. Gatka was used mainly by the British Indian Army in the 1860s as practice for hand-to-hand combat. Gatka is still practiced by the Sikh communities of former British colonies and neighbouring countries such as Malaysia. along with various other sports.[8] It was also performed on the 2005. jujutsu. contributing to the establishment of the International Gatka Organisation (IGO). It is based in Berlin and has chapters in Hamburg and Bordeaux. either traditional Indian steel recurve bows or true composite bows made of wood.[10] Weapons The correct use of melee weapons is central to gatka with techniques depending on the nature of the weapon. ƒ ƒ ƒ ƒ Barcha: spear Bothati: lance used from horseback Nagni barcha: javelin Khanda: double-edge sword Gatka at Yuba City ƒ Bagh nakh: "leopard claw". Gatka demonstrations are sometimes held during Vaisakhi in Malaysia. ƒ Talwar: curved one-sided sword ƒ Kirpan: dagger worn by baptised Sikhs at all times ƒ Dong: stick of bamboo from one to three meters in length. Baba Fateh Singh Gatka Akhara was established in East London in 1992. Fletched reed arrows with tanged steel points are typically used. In the United Kingdom. ƒ Kukri: bent sword which broadens towards the point ƒ Bow and arrow. such as whips and chains.[9] A young boy practising gatka Gatka is performed as a stick-fighting dance by the Sikh community of Trinidad. July 4 Independence Day parade on Constitution Avenue in Washington DC. horn and sinew. Chinese martial arts and "gutter fighting". United States. This method was used to train soldiers in close-combat techniques at the Commando Basic Training Centre in Achnacarry. spelled katara in Sanskrit . There was a gatka tournament held in Oldbury in March 2006. Scotland. The following lists a few examples of the weapons used in gatka. used for training ƒ Flexible weapons. often paired with a shield or another sword. are held annually during a festival in the rural Indian city of Kila Raipur. The system devised by Captain William Ewart Fairbairn and Captain Eric Anthony Sykes borrowed methodologies from gatka. a spiked weapon worn on the hand ƒ Chakram: circular edged weapon that can be thrown or used in-close ƒ Kataar: dagger able to pierce armour.[7] Gatka was displayed during the celebrations of Hola Mohalla in Gurdwara Sri Guru Singh Sabha in Hounslow. The sword is gatka's main weapon.[6] Gatka competitions.Gatka 11 Gatka today The International Gatka Federation (IGF) was founded in 1982 and formalized in 1987. The shield itself can be used offensively. feet and weapon(s) during the dexterity regimen. Phoenix. The Hindu [3] Williams. doubt or anxiety. uk/ news/ uknews/ 1512953/ Surely-that-man-with-the-sword-isnt.gatka.co.Gatka 12 Training With its strong link to the Sikh faith. Gothia Arms Historical Society [7] Gatka in Oldbury. -.Gurdwara Amrit Parchar Dharmik Diwan (http://www. The three-beat-per-cycle played by a drummer adds to the coordination during practice. co. shtml) [8] Surely that man with the sword isn't. given as part of the Sikh Arts and Heritage Lecture Series at the V&A. eg two sticks.internationalgatka. (http:/ / www. Akharas.gatka. 129.Dance of the Sword (2nd Edition).punjabgatkaassociation. GT International. Janson. Rosetta (2007).[11] The foundation of the art is a movement methodology for the use of the feet. combination of weapons. uk/ blackcountry/ content/ articles/ 2006/ 03/ 20/ gatkaoldbury_2006_feature. British Broadcasting Corporation.uk/ blackcountry/content/articles/2006/03/20/gatkaoldbury_2006_feature.India Abroad. Arjun (2006).com/) . and movement patterns leads to the development of individual fighting methods.[11] Chanting holy verses may accompany these exercises. The individual's preference for weapons.shtml) ƒ Gatka Akhara (groups) in the UK (http://www. such as in a gurdwara (Sikh temple). Fairbairn-Sykes Fighting knife: The famous fightingknife used by British commandos and SOE during WW2. Har-Anand Publications [4] Merriam Webster's Collegiate Encyclopedia (2000) pg 662. body. hindu.gatka. oh yes he is by Jonathan Petre (The Telegraph Online Edition) (http:/ / www.] 'An introduction to Shastar Vidiya . 2005).the education of a Sikh warrior' was a lecture by Nidar Singh. without hesitation.de/) ƒ International Gatka Organisation (IGO) (http://www. atlantamartialarts. a stick and a sword. Arizona. Sikhs participate in July 4 parade. arms and weapons in unison. have also been founded with the exclusive purpose of teaching gatka. Oxford University Press (2004). Gatka favors rhythmic movement.co. htm) ƒ Nanak Dev Singh Khalsa & Sat Katar Kaur Ocasio-Khalsa (1991) Gatka as taught by Nanak Dev Singh. html) [9] Haniffa. a concept also found in Filipino kali.[11] Gatka emphasizes having something in both hands. Aziz (July 22. Book One .Gatka in Britain (Oldbury) . -oh-yes-he-is. [6] O. -. Victoria and Albert Museum. ISBN 0-89509-087-2 See also ƒ Indian martial arts ƒ Akali ƒ Nihang External links ƒ International Gatka Federation (IGF) (http://www. p. . Atlanta Martial Arts Directory. co. bbc. . Routledge [11] Singh. Merriam-Webster [5] [v MILITARY SIKHS: The Education of a Sikh Warrior. a sword and a shield or any other combination. com/ styles/ gatka.[11] Training with "both hands full" is believed to be an excellent exercise for coordinating the two halves of the body. Sikh Gurus Page 68.[11] Notes [1] Ananda Lal. gatka groups may train in a religious or semi-religious situation. 10 October 2001. The Oxford companion to Indian theatre.us) ƒ Punjab Gatka Association (PGA) (http://www.org/) ƒ BBC Website .uk) ƒ California Gatka Dal (http://www. ISBN 9780195644463. telegraph. htm) (Press Trust of India).bbc. Carnival: Culture in Action--the Trinidad Experience pg 289. com/ 2006/ 07/ 27/ stories/ 2006072712720300. [2] Sikh martial art `Gatka' takes the West by storm. [10] Milla Cozart Riggio (2004). (http:/ / www. (http:/ / www. Gatka. The attacking and defense methods are based upon the positions of the hands. usually associated with pehlwani. It is basically a 6 to 8-foot (2. It is the Indian Police's most used crowd control device. Village landlords would raise armies of lathial for security purposes and to settle conflicts.4€m) long cane tipped with an optional metal blunt. The men of villages used to carry a lathi with them at all times. shootouts. while resting the lathi over the shoulder. . A common Hindi saying goes "Jiski lathi. Lathial groups were sent to forcefully collect taxes from villagers. defending themselves and to carry a small parcel (called potli) with lunch etc. A good lathial must be able to fight using sticks of different lengths and thicknesses. Local warlords would also use lathial armies to oppress and punish common people. at one end of the lathi. urbanisation has led to a decline of this rural martial art. "He who wields the lathi gets to keep the buffalo". lathi duels became especially popular in east and south Indian villages which eventually began holding regular tournaments. The word lathi means stick or cane in Hindi. Lathi wielders (called a lathial or lethel) need to be quick and precise. still involve lathi battles but this is no longer a common practice and it has largely been replaced by legal methods or. Martial artists favoured the stick for its easy accessibility and the fact that it is not necessarily lethal made it a popular self-defence implement among Hindu priests and Buddhist monks in South Asia. which refers to intermediary landed elements with various levels of inheritable land rights. rarely. when settled illegally. As the art evolved. Rural villagers would use the lathi to protect their flocks from thieves and in fights between herdsmen. uski bhains" meaning. Bengali and some other Indian languages. Blows can be powerful and sometimes even fatal. Following their conquest of India the Mughals introduced zamindar. It used to help them in walking/climbing. Lathi or cane-fighting has a long history in India where the weapon was often used to control domestic animals.Lathi 13 Lathi Lathi Type Placeƒofƒorigin Stick India Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Lathi (Devanagari: ‹‚Œ•) means stick and is the name of an Indian cane-fighting martial art . This led to a decline in lathi as a martial art. The zamindari system continued during British rule and wasn't abolished until after India's independence in 1947. Disputes in villages. Rich farmers and other eminent people in today's Indian villages still hire lathials for security and as a symbol of their power. Although lathi remains a famous sport in Indian villages. controlling their herd. The size of the army was an indication of the power of a warlord or landlord. History The stick is one of the world's oldest weapons. tear gas and other methods. See also ƒ Indian martial arts ƒ Law enforcement in India External links ƒ Lathi [1] References [1] http:/ / indianlathi. shields. Security guards and police officers often carry a lathi along with or in place of firearms. Lathi are now often used to control riots and also as a secondary weapon. This drill has been quite controversial among human rights activists so in many places the police do not follow the drill but hit in such a way to disperse the crowds. They prefer lathi for their ease of use and comparative safety and only resort to firearms in situations when lathi cannot be used efficiently. This gave birth to the lathicharge. com/ . Policemen are trained in highly co-ordinated drill movements which can leave many of the rioters crippled. In modern times.Lathi 14 Lathi in law enforcement The British colonists introduced lathi as a weapon for the Indian Police. lathi is the primary weapon of the Indian riot police along with helmets. a military-style rush that uses lathi to disperse crowds. Boxers toughen their hands and feet by punching or kicking hard objects such as brick or stone and they break coconuts as a test of strength. See also ƒ ƒ ƒ ƒ ƒ ƒ Indian martial arts Lethwei Muay Lao Muay Thai Pradal Serey Tomoi References ƒ Donn F. Smith (1980). knees and elbow strikes although punches tend to dominate. ISBN€9780870114366. Illegal bouts continued but became rare by the 1960s.Musti yuddha 15 Musti yuddha Also known as Focus Hardness Country of origin Olympic sport Muki Boxing Striking Full-contact Varanasi. Draeger and Robert W. Some internal energy training is also incorporated. Similar to Southeast Asian kickboxing styles it makes use of punches. mental and spiritual development. Kodansha International. Matches were once held regularly in Varanasi but were eventually banned because of the fights which often broke out among the boxers' supporters. Practitioners claim this style to be a complete art for physical. . Comprehensive Asian fighting arts. India No Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Musti-yuddha is a martial art from Varanasi (Benares) in north India. kicks. thang means sword and ta means spear. geographic proximity and ethnic ties with Myanmar. but on many occasions there is a combined approach to the training of these two systems. The earliest record of thang-ta and its sibling Sarit Sarak dates back from the early 1600s. Other weapons used include the shield and axe. These dances can be converted into actual fighting practices. Both can be practiced in three different ways: ritual. India Historic No Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Thang-Ta or huyen lallong is a weapon-based Indian martial art created by the Meitei of Manipur. Warriors would arrange to fight one-on-one as a way of settling feuds or disputes. Because of Manipur's cultural similarity. The spear can be used in its non-missile form while in close or thrown from afar. practiced by both men and . While thang-ta involves using weapons against one or more opponents. thang-ta is closely related to banshay. Today thang-ta is the most popular of Meetei martial arts[1] . The second way consists of a spectacular performance involving sword and spear dances. the sword and spear are the primary weapons in thang-ta. In the Manipuri language. Sarit Sarak is the art of fighting empty-handed against armed or unarmed opponents. but the 1950s saw a resurgence of the traditional fighting forms. The first way is related to the tantric practices and is entirely ritualistic in nature.Thang-ta 16 Thang-ta Thang-ta practitioner with spear and shield. They were used with great success by the Manipuri kings to fight against the European colonists. The third way is the true combat application. fighters might eat dinner together. The day before a duel. Also known as Focus Country of origin Parenthood Olympic sport Huyen Lalong Weapons Manipur. Martial arts were banned during the British occupation of the region. demonstration and combat. As its name implies. com/ ?src=Features. org/ thang_ta. Guru G. 2009-04-24.. Gurumayum Gourakishore Sharma. Thang-Ta& uTool=yes [5] http:/ / themanipurpage. the master of Manipuri martial art form". asp?id=jan2809/ ne1). com/ scripts/ details. has been conferred the prestigious Padmashri award . com/ culture/ thangta. html [6] http:/ / sports.. a leading exponent and teacher of Thang-Ta. 2009-01-28. tripod. . ". received the high Padma Shri honor award from the Indian Government for his contributions to the preservation and advancement of Thang-Ta. Gourakishor.. who is well-known for his invaluable contribution in the field of thang-ta. the traditional martial art.com [4] ƒ THE MARTIAL ARTS TRADITION OF MANIPUR [5] ƒ Martial Arts in India [6] References [1] (http:/ / themanipurpage. assamtribune. ".[2] [3] 17 See also ƒ ƒ ƒ ƒ Indian martial arts Mukna Sarit Sarak Banshay External links ƒ Thang-Ta from ManipurPage. indiapress.[1] In 2009. com/ culture/ thangta.net. Thang-Ta .. Gurumayum Gourakishor Sharma.. retrieved 2009-07-24. Assam Tribune.. tripod. manipurpage." [4] http:/ / www.Thang-ta women.. AndhraNews." [3] "Guru G.. php . html) Manipur Page [2] "Manipur martial art guru gets Padmashri" (http:/ / www. It is most often seen through demonstrations in cultural programs. Gourakishor Sharma was recently conferred the coveted Padamshree award for 2008-2009 to honour his lifetime contribution to Manipuri Martial Art. [5] . preset forms.Kalaripayat 18 Kalaripayat Also known as Kalaripayat. weaponry and healing methods. kalarippayatta. while the southern style primarily follows the soft techniques.[1] it is practiced in Kerala and contiguous parts of Tamil Nadu and Karnataka[2] as well as northeastern Sri Lanka and among the Malayalee community of Malaysia. kalaripayatt and many others depending on the dialect and romanisation system used. It includes strikes. Northern kalari payat is based on the principle of hard technique. Kalari Payatt Country of origin Kerala. grappling. This martial art was practiced primarily by the martial castes like Nairs of Kerala. South India. India Creator Parenthood Olympic sport unknown Historic No Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Kalarippayattu (Malayalam €•‚ƒ„…†‡†‡. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen. Kalari Payatta. kicks. even though both systems make use of internal and external concepts.[3] [4] The word is spelled variously as kalari payat.[2] Regional variants are classified according to geographical position in Kerala. Some of the choreographed sparring in kalari payat can be applied to dance[2] and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. these are the northern style. the southern style and the central style. pronounced [ka•‚ƒip„aj‚t„…†]) is an Indian martial art from Kerala. Possibly one of the oldest fighting systems in existence. [2] The more part of these warriors when they are seven years of age are sent to schools where they are taught many tricks of nimbleness and dexterity. and this they learn twice a day as long as they are children. The masters who teach them are called Panikars. The iconic Thacholi Othenan Kurup was elevated to heroic status in all of Kerala. they teach them to play with the weapon to which they are most inclined. four to six feet high. but most with swords and bucklers. khala(threshing floor) are Dravidian loan words. The writings of early colonial historians like Varthema. M. Kalari payat became more developed during the 9th century and was practiced by a section of the Nair community. purpose-built for ankam. Among at least some noble families. some with poles to become spearmen. and they become so loose-jointed and supple that they make them turn their bodies contrary to nature.[2] We also know from the vadakkan pattukal ballads that at least a few women of noted Chekavars continued to practise and achieved a high degree of expertise. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Kerala known as the Mamanka Chekavar. . Belying the assumption that the compound itself might have an equally antique use as the singular kalari and payattu. It is said to have eventually become as prevalent as reading and writing. Ezhavas and some Christians and Muslims were given this right and duty. 1518).D. and in this fencing they are ever practising.[2] Ankam were fought on an ankathattu.[6] The earliest western account of this art is that of the Portuguese explorer Duarte Barbosa (c.[2] The historian Elamkulam Kunjan Pillai attributes the birth of kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE. where kalari payat originated In addition. Logan and Whiteway shows that kalari payat was widely popular and well established with almost all people in Kerala transcending gender. a temporary platform. caste and communal lines.[2] From the 11th or 12th century the right and duty to practice the martial art in the service of a ruler was most associated with Nairs. The Lohar of north Kerala were Buddhist warriors[7] who practiced kalaripayat. Raghavan has suggested that kalari was derived from the Sanskrit khal‰rik• while Burrow is of the opinion that khal‰rik• (parade ground. to take royal leaps.Kalaripayat 19 Etymology The term kalari payittru is a tatpurusha compound from the words kalari (Malayalam:€•‚ƒ) meaning school or gymnasium and payattu (Malayalam:„…††‡) derived from payattuka meaning to "fight/ exercise" or "to put hard work into". and when they are fully accomplished in this. some with bows and arrows. the unpublished Malayalam Lexicon notes that the earliest use of the compound. young girls (unniarcha) also received preliminary training up until the onset of menses. to defend the state and the king. and other leaps. there they teach them to dance and turn about and to twist on the ground. Parameswara Iyer's early twentieth century drama Amba when it is probable that the systems of martial practice assumed a structure and style akin those extant today. which is most used among them. kalarippayattu is in Ulloor S. estimates that kalaripayattu dates back to at least the 12th century CE. arena) and its Sanskrit root. a professor at the University of Exeter and one of the few Western authorities on kalaripayattu.[2] South Indian state of Kerala. History Origins Phillip Zarrilli. warrior clan of Kerala. The best introduction to the differences between these styles is the book of Luijendijk which uses photographs to show several kalari payat exercises and their applications. altogether so as to prevent rebellion and anti-colonial sentiments. and also in Japanese Anime/Manga Series Kenichi: The Mightiest Disciple. Asoka (2001).[2] The northern style is distinguished by its meippayattu . The term for such massages is thirumal and the massage specifically for physical flexibility chavutti thirumal which literally means "stamping massage" or "foot massage". students went to thulunadu kalari's to overcome their defects (kuttam theerkkal). or when a patient has problems related to the bone tissue.[2] It places more emphasis on weapons than on empty hands.[2] Parashurama. The masseuse may use their feet and body weight to massage the person. sixth avatar of Vishnu.[2] The British eventually banned kalari payat and the nair custom of holding swords. pillatanni. efforts have been made to further popularise the art. There are several lineages/styles (sampradayam).[6] . and katadanath styles.[2] Masters in this system are usually known as gurukkal or occasionally as asan. In olden times. to treat muscle injuries incurred during practice. Some traditional kalari around Kannur for example teach a blend of arappukai. The Last Legion (2007). During this time. Northern style Northern kalari payat was practiced mainly in the northern Malabar region of Kozhikode and Kannur. Regional variations There are several styles of kalari payat. and the assumptions about practice are closely associated with ayurveda.[2] The purpose of medicinal oil massage is to increase the practitioners' flexibility. especially Panikkar. Each chapter in his book references a representative of each of the three main traditions. the muscles.[2] The system of treatment and massage.[8] In recent years. The Myth (2005). with it featuring in international and Indian films such as Indian (1996). There are schools which teach more than one of these traditions. and were often given honorific titles. The three main schools of thought can be distinguished by their attacking and defensive patterns. The resurgence of public interest in kalari payat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India[2] and continued through the 1970s surge of general worldwide interest in martial arts. or nerve system. many Indian martial arts had to be practiced in secret and were often confined to rural areas.Kalaripayat 20 Decline and revival Kalari payat underwent a period of decline when the Nair warriors lost to the British after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century. of which 'thulunadan' is considered as the best. is believed to be the style's founder according to both oral and written tradition.physical training and use of full-body oil massage. Palakkad and certain parts of Ernakulam districts. marma ati (hitting the vital spots) or Varma Kalai (art of varma). short sticks. katthi (knife). Thus silambam became the name of the martial art that uses long sticks.[6] Jasmine Simhalan demonstrating kalari payat and silambam in Borobudur. Malappuram. the chirping noises of birds. the whooshing. Katara a (dagger). Closely related to southern kalari payat is silambam.[2] The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama. whirring and clanging sound of weapons etc. otherwise known as siddha vaidyam.[2] It is a composite of the northern and southern styles that includes northern meippayattu preliminary exercises. When long sticks.[2] The stages of training are chuvatu (solo forms).[2] Various kalari styles Various kalari styles as specified in Vadakkan Pattukal. swords etc. is also attributed to Agasthya.[2] Weapons include bamboo staves. "Salambal" is a common word used to denote the sound of fast flowing rivers/springs.[2] Marma ati refers specifically to the application of these techniques to vital spots. the murmur of leaves. chuttuval (flexible sword).[2] Medical treatment in the southern styles is identified with siddha.[8] the traditional Dravidian system of medicine distinct from north Indian ayurveda. kalari grappling and marma (pressure points).[2] It emphasises empty hand techniques. swords and chain flails are used they produce the "sala sala" sound which is called salambal. the noise created by a talking crowd. Karuvancheri Kalari Kodumala Kalari Kolastri Nadu Kalari Kurungot Kalari Mathilur Kalari Mayyazhi Kalari Melur Kalari Nadapuram Kalari Panoor Madham Kalari Payyampalli Kalari Ponniyam Kalari .Kalaripayat 21 Southern style Southern kalari payat was practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu[2] primarily by the Nairs and Nadars. Central style Central kalari payat is practiced mainly in Thrissur. It supposedly originated in the Kurinji hills of Kerala some 5000 years ago where natives were using bamboo staves to defend themselves against bandits and wild animals. kurunthadi (short stick).[2] Masters are known as 'asaan. double sword.[2] The preliminary empty handed techniques of varma ati are known as adithada (hit/defend). the art of stick fighting. neduvadi (long stick). The siddha medical system. Zarrilli refers to southern kalari payat as varma ati (the law of hitting). valum parichayum (sword and shield). jodi (partner training/sparring). and the double deer horns. southern emphasis on empty-handed moves and its own distinctive techniques which are performed within floor drawings known as kalam. touching the ground. It symbolizes a complete submission to and acceptance of the master. Ezhavas in the olden days) is admitted to the kalari in the presence of the gurukkal or a senior student and directed to place their right foot first across the threshold. The guru then places his hands on the pupil‡s head. when a kalari was closed down it would be made into a small shrine dedicated to the guardian deity. The depth of the floor protects the practitioner from winds that could hamper body temperature. Southern styles are usually practiced in the open air or in an unroofed enclosure of palm branches. . blesses him and prays for him. and is worshipped with flowers.Kalaripayat Puthusseri Kalari Puthuram Kalari Thacholi Kalari Thotuvor Kalari Tulunadan Kalari 22 Training Initiation ceremony Students begin training at approximately seven years old with a formal initiation ritual performed by the gurukkal.is repeated everyday. They were originally constructed according to Vastu Shastra with the entrance facing east and the main door situated on the centre-right. On the opening day of the new session. Ettumanoor kalari. He is then led to the guruthara. puttara. the kalari and the art itself. touching the master's feet as a sign of submission. a novice (mostly Nairs . guruthara and the guru‡s feet . The training area comprises a puttara (seven tiered platform) in the south-west corner.5 feet below the ground level and made of wet red clay meant to give a cushioning effect and prevent injury. Northern styles are practiced in special roofed pits where the floor is 3. He then offers the master some money as dakshina in folded betel leaves and prostrates himself. tantra saastra and marma saastra are utilized to balance the space's energy level. Sciences like mantra saastra. This ritual . Kali Mata or Shiva) is located here.[2] Traditionally. The student touches the ground with the right hand and then the forehead. The kalari A kalari is the school or training hall where martial arts are taught. to repeat this act of worship. The guardian deity (usually an avatar of Bhagavathi. the deva. as a sign of respect. incense and water before each training session which is preceded by a prayer. the place where a lamp is kept burning in reverence to all the masters of the Gurukkal praying before puttara CVN Kalari. Meipayattu will be practiced by a single person. cuts. Having developed a sufficient level of prana.hand. Ner kaal (straight kick) Kona kaal (right to left. Like most of Kalaripayattu exercises this one is also divided into 18 stages. 8. 4. intellectual and spiritual development. A fully trained practitioner should be conscious of any movements in the surrounding area and be prepared to defend themselves at all times. blocks. Leg exercises referred as "Kaalkal" in Kalaripayattu. Chumattadi Chumattadi is one of Kalari exercises.kick straight turn around and kick) aga-kaal (round kick .hit. one could stabilise their opponent through choondu marma for example. It consists of punches. stretches. Practitioner will repeat steps in all 4 directions. Chumattadi.hit. but for this involves need two students. thadu . without any opponent. 1.outside in) iruththi-kaal (kick and sit) iruththi-kaal-2 (kick and sit . Here is the list of all Kaalkal exercises. It consists of punches. When one student hits / punches / kicks another one blocks. 3. Like most of Kalaripayattu exercises this one is also divided into 18 stages. 2. Exercises Specific commands associated with each exercise are called vaytari.Leg). This Kalaripayattu exercise is from Tulunadan Kalari adopted to most of other styles. so martial arts served as a vehicle to attain higher levels of spirituality and thereby attain self realisation.block) is one of kalari exercise. All of the Kalaripayattu exercises mentioned above. This exercise also called Kall Eduppu (leg raising). 5. Adithada Adithada (adi . emotional. 7.inside out) Ner-kona-veethi kaal (combined kick) Thirichi-kaal (both side kick . payattu .practice) is one of kalari exercises.Kalaripayat 23 Internal training Aside from being an art of self-defence. Practitioners meditate to develop inner energy. Kaalkal Kaalkal literally means Legs (Kaal . They realised that the greatest accomplishment is not martial skill but moksha or enlightenment. This mainly concentrates on body flexibility. like Kaikuththippayattu. Folklore even tells of masters who acquired supernatural powers through meditation. Like most of Kalaripayattu exercises this one is also divided into 18 stages. twists.turn and sit) Kaikuththippayattu Kaikuththippayattu (Kai . left to right kick) Veethi kaal (round kick . This will teach the practitioner how to attack and defend multiple opponents from all over sides. kuththi . Complexity increases as one progresses to higher levels. This exercise should be practiced with intense speed and power. the ancient Indian saints and ascetics formulated kalari payat as a form of physical. This exercise should be practiced with speed and at most flexibility. and then these students will . jumps together in a particular sequence. All of these starts with Mukakattu. leg moves. warm up. etc. Meipayattu Meipayattu is one of Kalari exercise. throws. 6. Some books say that this will also make a person aggressive and increase battle awareness. It is from "Attack is the best way to defend" school of thought. This exercise needs two students to start with. This exercise will teach practitioner how to use attack against attack as a method of defense / attack.5€m) in length. and this alertness helps one understand some of the movements and processes of the self defense sequences that are taught at later stages. low stances on the floor. This first stage of training consists of physical exercises to develop strength. Ankathari and Verumkai. balance and stamina. These exercises bring an alertness to the mind. Otta training consists of 18 sequences. and skill. power. stances and complex jumps and turns. which is usually five feet (1. This can also be practiced by more than two students. Kolthari Ankathari (Ž•‡€Š‡Š‚ƒ) . The second weapon taught is the cheruvadi or muchan. This is considered the master weapon. This is crucial for any person and not necessarily a martial aspirant. a wooden stick three palm spans long. etc. circular sequences. The tip is rounded and is used to strike the vital spots in the opponent's body. It includes jumps. Therefore the training begins with disciplining the physical body and attaining a mental balance. 24 Stages Training is mainly divided into four parts consisting of Meithari. kicks. Ottotharam Ottotharam is one of Kalari exercise. Kalari payat originates not in aggression but in the disciplining of the self. or up to the forehead of the student from ground level. agility. Meithari (ˆ‰…‡Š‡Š‹‚ƒ) Meithari is the beginning stage with rigorous body sequences involving twists. Twelve meippayattu exercises for neuro-muscular coordination. and is the fundamental tool of practice to develop stamina. about two and a half feet long or 75€cm. An attempt is made to understand and master each separate organ of the body. The first weapon taught is the staff (kettukari).Kalaripayat change their roles. Kolthari (€Œ•‡Š‚ƒ) Once the student has become physically competent. a wooden stick curved to resemble the trunk of an elephant. balance and flexibility follow the basic postures of the body. they are introduced to fighting with long wooden weapons. flexibility. and can also be practiced by more than two students. The third weapon taught is the otta. Kolthari. it is certain that India's early martial artists knew about and practised attacking or defending vital points. grappling. attributed to the sage Agasthya and his disciples. Marmashastram and massage It is claimed that learned warriors can disable or kill their opponents by merely touching the correct marmam (vital point). The first metal weapon taught is the kadhara. for example to become an expert swordsman or stick fighter.[13] As a result of learning about the human body. This is considered the most advanced martial skill so the gurukkal restricts knowledge of marmam only to very few trusted students. Taught next are the sword (val) and shield (paricha). Kalari payat teachers often provide massages (Malayalam: uzhichil) with medicinal oils to their students in order to increase their physical flexibility or to treat muscle injuries encountered during practice. It is said to be as sophisticated as the uzhichil treatment of ayurveda.[13] Sushruta's work formed the basis of the medical discipline ayurveda. 6th century BC) identified and defined 107 vital points of the human body in his Sushruta Samhita.[9] References to marman also found in the Atharva Veda.[10] With numerous other scattered references to vital points in Vedic and epic sources. These include arm locks. to discourage misuse of the technique. such as Varma Kalai and marma adi. Marmashastram stresses on the knowledge of marmam and is also used for marma treatment (marmachikitsa).Kalaripayat 25 Once the practitioner has become proficient with all the wooden weapons. after the completion of 'Ankathari'. Usually the last weapon taught is the flexible sword (urumi or chuttuval). This system of marma treatment comes under sidha vaidhyam. Indian martial artists became knowledgeable in the field of traditional medicine and massage. the student would specialize in a weapon of his choice. he/she proceeds to Ankathari (literally "war training") starting with metal weapons. which was taught alongside various Indian martial arts that had an emphasis on vital points.[11] Sushruta (c. trident (trisool) and axe (venmazhu). an extremely dangerous weapon taught to only the most skillful students. Subsequent weapons include the spear (kuntham).[12] Of these 107 points. Historically. and strikes to the pressure points (marmam). This is taught only to the most promising and level-headed persons. which require superior concentration due to their lethal nature. Kalari payat has borrowed extensively from ayurveda and equally lends to it. 64 were classified as being lethal if properly struck with a fist or stick. Such massages are generally termed thirumal and the unique massage given to increase flexibility is known as katcha thirumal. . a metal dagger with a curved blade. Critics of kalari payat 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 marman with a vajra. Ankathari in which both opponents are armed with chuttuval and paricha Verumkai (•‰†‘’€“) Only after achieving mastery with all the weapon forms is the practitioner taught to defend themselves with bare-handed techniques. All the eight postures are based on animals.N. function and set of techniques. weapons are an important part of kalari payat.Kalaripayat 26 Techniques Techniques (atavu) in kalari payat are a combination of steps (chuvatu) and stances (vadivu). Each stance has its own power combination. Weapons currently used in kalaripayat . Some of the weapons mentioned in medieval Sangam literature have fallen into disuse over time and are rarely taught in kalari payat today. Stances (Vadivu) Gajavadivu Simhavadivu Asvavadivu Varahavadivu Sarpavadivu Elephant stance Lion stance Horse stance Boar stance Snake stance Marjaravadivu Cat stance Kukkuvadivu Matsyavadivu Mayuravadivu Rooster stance Fish stance (Gurukkal Govindankutty Nayar and the C.V. K. There are five steps and northern styles have ten postures (Ashta Vadivukal). This is especially true for the northern styles which are mostly weapon-based. Style) Peacock stance (Gurukkal P. Balan Style) Steps (Chuvatu) Vatta Chuvatu Aakka Chuvatu Neekka Chuvatu Kon Chuvatu Ottakkal Chuvatu Circular steps Inside steps Moving steps Corner steps Single-leg steps Weapons Although no longer used in sparring sessions. jpg|cente Important Kalari Institution in Kerala == Important Kalari Institution in Kerala == r150px Kettukari/Neduvati/Pirambu/Shareeravadi Kurunthadi/Cheruvadi/Muchan Lathi Urumi/Chuttuval Kuruvadi Otta Gadha Katara Vettukathi Churika Val Paricha Kuntham Longstaff Stick Long stick Flexible sword Short stick Curved stick Mace/Club Dagger/Knife Kukri/Machete Short sword Longsword Buckler Spear Weapons historically used in kalaripayat Ponti Ambum Villum Bow and arrow Venmazhu Kathuthala Trisool Trident Axe .Kalaripayat 27 [[File:Kalaripayattu weapons. Pi (1995) Kalarippayattu: The ancient martial art of Kerala. discoverychannel.V. ASIN B0006F9ONS ƒ Denaud. (2008) Kalarippayat: The Essence and Structure of an Indian Martial Art (http://www. Kalarippayat: India's Ancient Martial Art. uk/ martialarts/ southasia/ kalaripayatta/ index. (2005) Kalarippayat: India's Ancient Martial Art (http://www. Die Marmantheorie in der klassischen indischen Medizin. ac. Charles J.ac. [7] KALARI (http:/ / www. usadojo. com/ styles/ about-kalari. co.kathinayoga.H. Boulder. Volume 9 By Mircea Eliade. Patrick (1996) Kalaripayat.Sudarsana Kalari Sanghom (http://www. Oxford: Oxford University Press.com/) ƒ Kalaripayat and the art of healing (http://www. co. Natural Healing Through Ayurveda (p.Kalaripayat 28 See also ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ Nair North Malabar Vadakkan Pattukal Chekavar Kalaripayattu Techniques Weapons of Kalarippayattu Kalarippayattu films Marma Kalai Indian martial arts Dravidian martial arts Silambam Angampora Bando References [1] Kalaripayatta. Phillip B. [13] J.H. L. [10] Subhash Ranade (1993). Passage Press.spa.amazon. in/ books?id=DuwUAAAAYAAJ& pg=PA71 [5] Luijendijk 2008 [6] Luijendijk. Discourses and Practices of Power in Kalarippayattu. com/ kronos) Electronic Journals of Martial Arts and Sciences.ex. Utah USA. amazon.com . ex.com/) Further reading ƒ Balakrsnan. Phillip B.com/dp/1581604807).Discovery Channel (http:/ / www. C. (http:/ / ejmas.uk/drama/staff/kalari/healharm.shajikalari.com/dp/1409226263). ISBN 2-908580-62-4 ƒ Elgood. [3] The Encyclopedia of religion. D. Svinth (2002). A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. Phillip B. Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta Samhita. [12] G. (1998).H. (http:/ / www. html) University of Wisconsin€Madison. Singhal. Adams. (1992) " To Heal and/or To Harm: The Vital Spots in Two South Indian Martial Traditions (http://www. htm) [8] Zarrilli 1992 [9] Mariana Fedorova (1990). When the Body Becomes All Eyes: Paradigms.html)" . A Chronological History of the Martial Arts and Combative Sports. Eburon Publishers. [11] Zarrilli.keralacvnkalari. a South Indian Martial Art. V. Guru (1973). Budostore. Paladin Press. ƒ Kalarippayattu (http://www. R. US ƒ Luijendijk. spa. p. Paladin Press. (2005).com/) ƒ www. Govindankutty Nair Gurukka 1995. uk/ drama/ staff/ kalari/ power. Robert (2005) Hindu Arms and Ritual: Arms and Armour from India 1400-1865. 161). D. ISBN 90-5972-020-2 ƒ Luijendijk. google. ISBN€1-58160-480-7. D. Oprat ƒ Zarrilli. shtml) [2] Zarrilli.225 [4] http:/ / books. D.kathinayoga. phillipzarrilli. com/downloads/actualizing_power.com).kerala. Government of Kerala website ƒ kalarippayattu .one of the oldest martial arts (http://prd.kalariworld. Journal of Asian Martial Arts 29 External links ƒ Kalaripayat (http://www.gov.com).Tekkan (http://www. Sudarsana Kalari Sanghom.Kalaripayat ƒ Zarrilli.KathinaYoga (http://www.org//Sports/Martial_Arts/Indian/Kalaripayatt//) at the Open Directory Project ƒ kalarippayattu .kathinayoga.htm). Varkala . Sudarsana Kalari Sanghom. Phillip B. Varkala ƒ kalarippayattu . (1993) " Actualizing Power and Crafting a Self in Kalarippayattu (http://www.in/kalarippayatu.pdf)".dmoz. length of the stick. The art was patronized by the ancient Chola. The Maravar pada of Travancore kings used silambam in their warfare against enemies.Silambam 30 Silambam Also known as Focus Country of origin Olympic sport No Chilambam. movement of the stick etc. foot work. tiger and eagle forms. This position allows a wide array of stick and body movements. and so on. present day South Indian state Kerala almost 5000 years ago which was actually a Tamil region . Unarmed silambam. right hand close to the back. The Narikuravar of the area are said to have used staves called chilambamboo in battle and to defend themselves against wild animals. It should just touch the forehead about three fingers from the head. kallapathu (thieves ten). It usually measures roughly 1. thulukkanam. India Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Silambam (Tamil: €•‚ƒ„…ƒ„) or silambattam (Tamil: €•‚ƒ„…†‡„‡ƒ„) is a weapon-based Dravidian martial art from Tamil Nadu in south India but also practiced by the Tamil community of Malaysia. The usual stance includes holding the staff at one end. Silambattam Weapons (bamboo staff) Tamil Nadu. Chera and Pandya kings of South India during the Sangam period. kalyanavarisai (similar to quarterstaff). Each is unique and may differ from one another in grip. The 3 feet stick called sedikutchi can be easily concealed. kathi (knife) and vaal (sword). utilizes stances and routines based on animal movements such as the snake. . kuravanchi. Separate practice is needed for staffs of different lengths. although different lengths are used in different situations. called Kuttu Varisai. History Silambam supposedly originated in the Kurinji hills. In Tamil. the word silambam refers to the bamboo staff which is the main weapon used in this style. The length of the staff depends on the height of the practitioner. They would also perform solo stick-fighting demonstrations during Hindu religious festivals. including complex attacks and blocks. Ancient contact between Tamil Nadu and Southeast Asia brought silambam to the Malay Peninsula during which time the word silambam came to refer to the art as well as the weapon. Other weapons are also used such as the maduvu (deer horn). left hand about 40 centimeters (16 inches) away. method of attack. There are numerous sub sects in silambam like nagam-16 (cobra-16). Many Southeast Asian martial arts were influenced by silambam including silat and Krabi Krabong. kidamuttu (goat head butting). posture.68 meters (five and a half feet). They attack with sheer speed. During this time. Techniques called thirappu are used to counter the locks but these must be executed before being caught in a lock. Since the stick is held in front. Silambam stresses ambidexterity and besides the preferred hammer grip there are other ways of gripping the staff. Silambam prefers the hammer grip with main hand facing down behind the weak hand which faces up. silambam also has a variety of locks called poottu. The staff is held like a walking stick and just hand gets inverted using the wrist.ex. It teaches how to advance and retreat. Traditionally. silambam actually became more widespread in Southeast Asia than India. In addition to the strikes. The blow gets speed from the wrist and power from the body through kaaladi (footwork). sliambam uses the poker grip and ice pick grip as well. strikes are telegraphic. the masters first teach kaaladi for a long time then proceed to Kuttu Varisai. 31 Techniques Beginners are taught footwork (kaaladi) which they must master before learning spinning techniques and patterns. aids in hitting and blocking. fighters have a preliminary training with bare hands before going to the stick. Locks can be used to disable the enemy or simply capture their weapon. The bamboo staff. one blow leads to and aids another. The ice pick grip is used in single hand attacks. the fighter does not hide their intentions from the opponent. In real combat the tips may be poisoned. by Mahaguru Sri S. and methods to change the spins without stopping the motion of the stick. Training in Kuttu Varisai allows the practitioner to get a feel of silambam stick movements using their bare hands. . Arumugam. In fact. When the student reaches the final stage.Silambam The references to Silappadikkaram in Tamil Sangam literature dating back to the 2nd century refer to the sale of silamabam staves. that is. Footwork patterns are the key aspects of silambam and Kuttu Varisai (empty hands form). swords. Some blocks and hits are performed using the poker grip. In silambam. blows to the groin are very frequent and difficult to block. Bluffs may also be used by disguising one attack as another.[1] Indian martial arts suffered a decline after the British colonists banned silambam along with various other systems. founder of the Pensilam association in Penang. founder of the Malaysian Silambam Society in Selangor. most silambam moves are derived from wrist movement. The whole body is used to create power. The ultimate goal of the training is to defend against multiple armed opponents. making it a key component of the style. that is.[1] [2] The soldiers of King Veerapandiya Kattabomman (1760€1799) relied mainly on their silambam prowess in their warfare against the British Army. overwhelming the adversary with a continuous non-stop rain of blows. The stick lost much of its combat superiority and some of silambam's vast techniques and styles were lost. From there. fighters study footwork to move precisely in conjunction with the stick movements. pearls and armor to foreign traders. f. Besides the hammer grip. to get in range of the opponent without lowering one's defence. kaaladi is the key in deriving power for the blows. one of the first weapons used in Indian martial arts. and Egyptians among others who had regular sea trade with the Tamil kingdoms. The weak hand only touches the stick and to guide its movement. In battle. the staff gets sharpened at one end. The ultimate goal of the training is to defend against multiple armed opponents. was in great demand with the visitors. Greeks. a fighter holds the stick in front of their body stretching the arms three quarters full. The ancient trading centre at the city of Madurai was renowned globally and said to be thronged by Romans. or Master Anbananthan. Because of the way the stick is held and its relatively thin diameter. they can initiate all attacks with only a movement of the wrist. Silambam also has many different types of avoiding an attack like blocking. A fighter must always be careful while wielding the stick or they will be grappled and lose the fight. There are sixteen of them among which four are very important. It is still practiced in Malaysia today. In silambam as well as Kuttu Varisai. parrying. Gradually. They also introduced modern western military training which favoured fire-arms over traditional weaponry. The strong hand grips the stick about a distance hand's width and thumb's length from the end of the stick and the weak hand is a thumb's length away from the strong hand. and it strengthens the body immensely enabling the person to receive non-lethal blows and still continue the battle. htm . [2] Sports Authority of India (1987). making them abandon the fight. silambam. etc. sangam. & 83. php?uid=1510 [4] http:/ / www. rotary parrying. [3] http:/ / www. J. silambamindia. kolluvuthal (attacking and blocking simultaneously) and evasive moves such as sitting or kneeling. Univ. moving out. tamilnation. jumping high. The opponent may not notice this in the heat of battle until they feel a sudden pain in the wrist and throw the stick automatically without knowing what hit them. Indigenous Games and Martial Arts of India. Hitting the big toe can produce crippling effects on the fighter. In one-on-one combat an expert would just slide his stick to opponents wrist many times during combat.€44.com . The Origin and the Historical Developlment of Silambam Fencing: An Ancient Self-Defence Sport of India. com/ [5] http:/ / www. 50. Oregon: College of Health. Instead they assume one of the numerous animal stances which makes it difficult for opponents to predict the next attack. org/ taraki/ articles/ 2006/ 02-10_Thamizhar_Martial_Arts. pp. Physical Education and Recreation. New Delhi: Sports Authority of India. silambam exponents do not hold out their sticks as they do in single combat. Against multiple attackers. org/ military/ martial.Official Silambam Federation of India [4] ƒ Silambam.€91 & 94. An expert silambam stylist will be familiar with Varma Kalai (pressure-point fighting) and knows where to strike anywhere in the body to produce fatal or crippling effects by the least use of power. pp. When two experts match against each other one may challenge the other that he will hit his big toe.com [5] ƒ Thamizhar Martial Arts [6] References [1] Raj. David Manuel (1977). hammering (with the stick).Silambam enduring. of Oregon. This is called solli adithal which means "challenging and successfully hitting". 32 See also ƒ Dravidian martial arts ƒ Indian martial arts ƒ Kalaripayat ƒ ƒ ƒ ƒ ƒ Kuttu Varisai Varma Kalai Kbachkun boraan Krabi Krabong Silat External links ƒ [3] ƒ Silambamindia. com/ [6] http:/ / www. play. pastime. the term denotes a single pugilistic encounter or prize-fight rather than a style or school of wrestling. athlete) and yuddha (fight.22. each named after a particular Hindu god who excelled at wrestling: Hanumanti concentrates on technical superiority. Jambuvanti uses locks and holds to force the opponent into submission. conflict). amusement) implies a more limited-contact style of folk wrestling rather than true grappling combat. kr•ƒa (sport. . Another word for a sportive wrestling match or athletic sports more generally is mallakrŠ‰a.[3] Terminology In Sanskrit. known as mallŽsura and the name of a tribe mentioned in the Mahabharata.[1] Tamil:ƒ‚„ˆ‰Š„Šƒ„ malyutham) is the traditional South Asian form of combat-wrestling[2] created in what is now India.Malla-yuddha 33 Malla-yuddha Also known as Focus Hardness Malyutham. Bangladesh and Sri Lanka. The compound is first attested in the Mahabharata referring to boxing matches such as those fought by Bhima. The Sanskrit term was loaned into Tamil as malyutham. Niyuddha-kride Grappling Full contact Country of origin South Asia Parenthood Olympic sport Historic No Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Malla-yuddha (Devanagari: ‡‹†‹Žˆ•†•. mallayuddha literally translates to "boxing match". 12. The second element. Pakistan. among other things of an asura. The term malla is in origin a proper name. It is closely related to various Southeast Asian wrestling styles such as naban. Malla-yuddha is divided into four types. Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength. In the Manusmriti (10. battle.45). boxer. Strictly speaking. It is a tatpurusha compound of malla (wrestler. it is the technical term for the offspring of an out-caste Kshatriya by a Kshatriya female who was previously the wife of another out-caste. [1] The Malla Purana is a Kula Purana associated with the Jyesthimalla. punches to the head.Malla-yuddha 34 History The first attestation of the term mallayuddha is found in the Mahabharata epic. shirshasana. Malla-yuddha is exceedingly rare in the northern states. milk. Exercise regimens may also employ the following weight training devices: ƒ The nal is a hollow stone cylinder with a handle inside. defines necessary physical characteristics. An exercise gada is a heavy round stone attached to the end of a meter-long bamboo stick. The chapter entitled "Malla Vinod" describes the classification of wrestlers into types by age. ƒ The gadha is a club or mace associated with Hanuman. .[5] Siddhartha Gautama himself was said to be an expert wrestler. archer and sword-fighter before becoming the Buddha. In particular the king was responsible for providing the wrestlers with pulses. The Manasollasa gives the names of moves and exercises but does not provide descriptions. and the Ramayana's account of the vanara king Vali€ defeating Ravana. The wrestlers were kept isolated from the women of the court and were expected to devote themselves to building their bodies. log pulling and running.[1] Traditional Indian wrestling began to decline from the 16th century under Mughal rule. Svinth (2002) traces press ups and squats used by Indian wrestlers to the pre-classical era. Training Physical training or vyayam is meant to build strength and develop muscle bulk and flexibility. which are also found in hatha yoga. a Brahmin jati of wrestlers from Gujarat. dating most likely to the 13th century. ƒ The gar nal (neck weight) is a circular stone ring worn around the neck to add resistance to squats and press ups. but indigenous wrestling traditions and training methods survived in south India. and strangleholds. in the context of the wrestling match between Bhima and Jarasandha. sugar as well as "high-class sweets". The Manasollasa of the Chalukya king Someswara III (1124-1138) is a royal treatise on fine arts and leisure. It also outlines how the wrestlers were to exercise and what they were to eat. Training may also include dhakuli which involve twisting rotations. and provides a fairly precise account of which foods wrestlers should eat in each season of the year. meat. hair pulling. in a wrestling contest. Exercises that employ the wrestler's own bodyweight include the Surya Namaskara. It categorizes and classifies types of wrestlers. Traditional massage is regarded an integral part of an Indian wrestler's exercise regimen. rope climbing. Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest. describes types of exercises and techniques of wrestling as well as the preparation of the wrestling pit. Hindu squat (bethak) and the Hindu press-up (danda).[4] Other early literary descriptions of wrestling matches include the story of Balarama. as courtly fashion favoured the Persianate pehlwani style.[5] Based on such accounts. size and strength. the king of Lanka. [2] Alter. ƒ Donn F.02a00070. com/ ?q=node/ 297). American Ethnologist 19 (2): 317€336. Venkatachalam (1999) . (May 1992a). Svinth (2002).kathinayoga. Berkeley: University of California Press. doi:10.2. Joseph S. American Ethnologist 19 (2): 317€336. [3] Tracing the journey of the martial art forms of India (http:/ / www.Malla-yuddha 35 Internal links ƒ ƒ ƒ ƒ ƒ Inbuan Wrestling Malakhra Mukna Pehlwani Vajra Mushti See also ƒ Khmer traditional wrestling ƒ Naban References [1] Alter. Kodansha International. [5] J. ISSN 0094-0496. Global Adjustments magazine. [4] Alter.1525/ae. doi:10.19. ISSN 00940496. Comprehensive Asian Fighting Arts. ƒ Martial arts of India (http://www.1992. A Chronological History of the Martial Arts and Combative Sports. R. "The "sannyasi" and the Indian Wrestler: The Anatomy of a Relationship". Joseph S. (August 1992b).html) by R. Draeger and Robert W. "the sannyasi and the Indian wrestler: the anatomy of a relationship".1992. September 2007. (May 1992a). Smith (1965). com/ kronos) Electronic Journals of Martial Arts and Sciences.1525/ae. (http:/ / ejmas.02a00070. globaladjustments.19. The Wrestler's Body: Identity and Ideology in North India.2. Joseph S.com/KalariWorld/Articles/other_article3. Another word for a sportive wrestling match or athletic sports more generally is mallakrŠ‰a. 12.Malyutham 36 Malyutham Also known as Focus Hardness Malyutham. Malla-yuddha is divided into four types. pastime. the term denotes a single pugilistic encounter or prize-fight rather than a style or school of wrestling. In the Manusmriti (10. Niyuddha-kride Grappling Full contact Country of origin South Asia Parenthood Olympic sport Historic No Part of a series on Indian martial arts styles wrestling: Malla-yuddha €€ Pehlwani €€ Mukti yuddha €€ Mukna €€ Inbuan Kalarippayattu: Silambam €€ Varma ati €€ Kuttu Varisai Gatka Thang-Ta €€ Sarit Sarak Notable Practitioners Phillip Zarrilli €€ Jasmine Simhalan €€ Gobar Goho €€ Gulam €€ Guru Har Gobind €€ John Will Malla-yuddha (Devanagari: ‡‹†‹Žˆ•†•. play. battle.22. known as mallŽsura and the name of a tribe mentioned in the Mahabharata. conflict). Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength. The term malla is in origin a proper name.45). kr•ƒa (sport. Jambuvanti uses locks and holds to force the opponent into submission. It is a tatpurusha compound of malla (wrestler. The second element. The Sanskrit term was loaned into Tamil as malyutham. amusement) implies a more limited-contact style of folk wrestling rather than true grappling combat. Bangladesh and Sri Lanka. The compound is first attested in the Mahabharata referring to boxing matches such as those fought by Bhima. Strictly speaking. each named after a particular Hindu god who excelled at wrestling: Hanumanti concentrates on technical superiority. mallayuddha literally translates to "boxing match". it is the technical term for the offspring of an out-caste Kshatriya by a Kshatriya female who was previously the wife of another out-caste. . Pakistan. among other things of an asura. athlete) and yuddha (fight. boxer.[3] Terminology In Sanskrit. It is closely related to various Southeast Asian wrestling styles such as naban.[1] Tamil:ƒ‚„ˆ‰Š„Šƒ„ malyutham) is the traditional South Asian form of combat-wrestling[2] created in what is now India. log pulling and running. size and strength. describes types of exercises and techniques of wrestling as well as the preparation of the wrestling pit. Training may also include dhakuli which involve twisting rotations. Malla-yuddha is exceedingly rare in the northern states. and strangleholds. archer and sword-fighter before becoming the Buddha.Malyutham 37 History The first attestation of the term mallayuddha is found in the Mahabharata epic. It also outlines how the wrestlers were to exercise and what they were to eat. milk. as courtly fashion favoured the Persianate pehlwani style. Training Physical training or vyayam is meant to build strength and develop muscle bulk and flexibility. dating most likely to the 13th century. The wrestlers were kept isolated from the women of the court and were expected to devote themselves to building their bodies. shirshasana.[5] Based on such accounts. An exercise gada is a heavy round stone attached to the end of a meter-long bamboo stick.[1] The Malla Purana is a Kula Purana associated with the Jyesthimalla. Traditional massage is regarded an integral part of an Indian wrestler's exercise regimen. The Manasollasa of the Chalukya king Someswara III (1124-1138) is a royal treatise on fine arts and leisure. but indigenous wrestling traditions and training methods survived in south India. rope climbing. The chapter entitled "Malla Vinod" describes the classification of wrestlers into types by age. It categorizes and classifies types of wrestlers.[4] Other early literary descriptions of wrestling matches include the story of Balarama.[1] Traditional Indian wrestling began to decline from the 16th century under Mughal rule. . ƒ The gar nal (neck weight) is a circular stone ring worn around the neck to add resistance to squats and press ups. In particular the king was responsible for providing the wrestlers with pulses. in the context of the wrestling match between Bhima and Jarasandha. meat. ƒ The gadha is a club or mace associated with Hanuman. in a wrestling contest. a Brahmin jati of wrestlers from Gujarat. Exercise regimens may also employ the following weight training devices: ƒ The nal is a hollow stone cylinder with a handle inside.[5] Siddhartha Gautama himself was said to be an expert wrestler. sugar as well as "high-class sweets". and the Ramayana's account of the vanara king Vali€ defeating Ravana. Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest. defines necessary physical characteristics. Svinth (2002) traces press ups and squats used by Indian wrestlers to the pre-classical era. Exercises that employ the wrestler's own bodyweight include the Surya Namaskara. which are also found in hatha yoga. and provides a fairly precise account of which foods wrestlers should eat in each season of the year. the king of Lanka. hair pulling. Hindu squat (bethak) and the Hindu press-up (danda). punches to the head. The Manasollasa gives the names of moves and exercises but does not provide descriptions. Joseph S. ƒ Martial arts of India (http://www.Malyutham 38 Internal links ƒ ƒ ƒ ƒ ƒ Inbuan Wrestling Malakhra Mukna Pehlwani Vajra Mushti See also ƒ Khmer traditional wrestling ƒ Naban References [1] Alter. A Chronological History of the Martial Arts and Combative Sports. ISSN 0094-0496. [2] Alter.1992.1525/ae. Berkeley: University of California Press. Draeger and Robert W. [5] J. Venkatachalam (1999) . globaladjustments. Comprehensive Asian Fighting Arts.2. (http:/ / ejmas.html) by R. Joseph S. Joseph S.com/KalariWorld/Articles/other_article3. [4] Alter. The Wrestler's Body: Identity and Ideology in North India. American Ethnologist 19 (2): 317€336. "the sannyasi and the Indian wrestler: the anatomy of a relationship". Smith (1965).1992.19. com/ kronos) Electronic Journals of Martial Arts and Sciences.02a00070. (August 1992b). American Ethnologist 19 (2): 317€336. ƒ Donn F. "The "sannyasi" and the Indian Wrestler: The Anatomy of a Relationship". (May 1992a). September 2007. R. doi:10.02a00070. ISSN 00940496. Kodansha International.19. [3] Tracing the journey of the martial art forms of India (http:/ / www.1525/ae. (May 1992a). doi:10. Svinth (2002). Global Adjustments magazine.2. com/ ?q=node/ 297).kathinayoga. Babajobu. Bakasuprman. Tapir Terrific. Gurkhaboy. Bradtcordeiro. Gaius Cornelius. Simon123.123. RG2. Morinae.. Blue Order. Dbroadwell. Magarusimham. Bharatveer. Dtremenak. Bijee. Kennethtennyson.org/w/index. Dmol. Arun1paladin. Ogress. Joel7687. Tedder. Woohookitty. Elmo1. Hu12. Ronz. Sikh historian. Marxr.Saxena. Youonlylivetwice. BernardM. JaGa. Llosoc.php?oldid=312100133 €Contributors: (aeropagitica). 436 anonymous edits Silambam €Source: http://en.org/w/index. Radu10.Nath. Intranetusa. Arundhati bakshi. Arundhati bakshi. Jonathan Drain. Rjwilmsi. Nikai. Sardanaphalus. Shazirah. Nairkkcaps. Leafyplant.php?oldid=370229043 €Contributors: (aeropagitica). Vivin. Das Baz. Cyril2net. ISPHANI. NuclearWarfare. Kennethtennyson. Victor D. Myanw. GobtaNIndia.Mannadiar. Master of the Or‹chalcos.C. Mmlabeeb. Mr pand. Sardanaphalus. Hu12. Bharatveer. Priyanath. Bradford44. Jasmeetsinghsekhon. Bunnyhop11. Thomas Chacko. Kalarimaster. Ahoerstemeier. LeaveSleaves. Sukh. Dominic. Dangerous-Boy. Sangam06. Oriondown. Dangerous-Boy. JBellis. Pearle. Stevertigo. 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