1

CHAPTER- 1

INTRODUCTION

Kalaripayattu is an Indian martial art whose origin can be traced to modern day

Kerala, a south western state of India. Also known as kalari, Kalaripayattu is known

for its long-standing history within Indian martial arts. It is one of the oldest art forms

surviving in India. Its origin in the martial arts timeline can be dated back to at least

the third century BC. Kalaripayattu is described in the Vadakkan Pattukal which is a

well known collection of ballads written about Chekavar who belong to the Malabar

region of Kerala, which preserves the story and the early details of Kalaripayattu.

Kalaripayattu is an art form designed for the ancient battlefield with weapons and

unique techniques. Like other martial art forms, Kalaripayattu also has rituals and

philosophies inspired from Hindu religion. Kalaripayattu practitioners should have the

precise knowledge of the pressure points in the human body and healing techniques

that are derived from ayurveda and yoga. Kalaripayattu teaching follows the guru -

shishya system and differs from other martial arts in the form of their techniques.

Weapon based techniques are taught first and barehanded techniques at the last. This

art form is unique to India in different aspects like style, techniques, rules and rituals.

The word Kalaripayattu is derived from two Malayalam words kalari, which

means training ground or battlefield and payattu, which means training of martial arts.

So Kalaripayattu together means the practice in the arts of battlefield. The word kalari

has been mentioned in many ancient literatures. In Sangam literature, the Akananuru

and Purananuru mention the use of spheres, shields, swords and silambam in the

Sangam era. Each warrior in the Sangam era has got training in horse riding, elephant

riding and target practice. They are also well familiar with 2 using spheres (vel),
 2

swords (val) and bow and arrow (vil ambu). Practitioners of Kalaripayattu were

trained for battle purposes and were intended to protect the country.

Elements of both yoga and nata dance like finger movement are incorporated into

this fighting art. So it remains closely related to yoga and dance. Some

choreographers even applied kalari to dance and created new forms of dance which

has been appreciated by many for its innovative style and uniqueness. Even Kathakali

dancers who know kalari are considered to be better than other performers. It is used

by many as a part of their exercise regimen.

Legend says that Parashurama is believed to have learnt this art form from lord

Shiva and then taught it to settlers of Kerala for their self defence. Some theories say

that kalari was found by a tribal group in ancient India in order to protect themselves

from enemies. During medieval periods it was even used as a means to settle disputes.

The accounts of that period are mentioned in Vadakkan Pattukal. Kalaripayattu began

losing importance after the European invasion. After European colonisation, the

firearms took over the use of weapons like swords and shields. Later it was revived as

a part of the wave of rediscovery of traditional arts throughout southern India.

Kalaripayattu uses techniques like strikes, kicks, grappling, preset forms,

weaponry and healing methods. According to geographical location in Kerala,

Kalaripayattu is divided into two styles: these are the Northern style from the Malabar

region in northern Kerala, and the Southern style from southern Kerala. Northern

Kalaripayattu or "Vadakkan Malaria" has elegant and flexible movements, evasions,

jumps and weapons training, while the southern "Thekkan Kalari" style specializes in

hard, impact based techniques with priority on hand-to-hand combat and pressure

point strikes. Practitioners of Kalaripayattu use very light and basic body armour, as it

is not convenient to maintain flexibility and mobility while in heavy armour. In the
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modern days, Kalaripayattu is used by practitioners of dance styles, such as Kathakali

and Mohiniyattam. Traditions and methods of teaching of Kalaripayattu are different

in different regions of Kerala.

There are two major styles of the traditional Kalaripayattu. They are the Northern

style, also known as Vadakkan Kalari, and the Southern style, which is also called

Thekkan Kalari. Tulunadan Kalari is the smaller and regional style of Kalaripayattu,

and is mentioned in texts like the Vadakkan Pattukal, but it is confined to northern

Kerala and southern Karnataka. Other smaller, regional styles also exist in certain

regions of Kerala, but these styles are rare, and difficult to find. Examples are

Dronamballi, Odimurassery, Tulu Nadan Shaiva Mura, and Kayyangali.

The Northern style is also known as Vadakkan Kalari, and is said to be the original

form of Kalaripayattu. This system gives more emphasis on physical flexibility

exercises based on the slogan Meyy kanavanam, meaning, "make the body an eye."

These exercises can be done individually, as well as in combinations. After that

meypayattu is taught. They are flexibility exercises with offensive and defensive

techniques. The actual techniques of Kalaripayattu are taught much later. The number

of meypayattu may differ based on the teaching methods of the guru. There are four

different stages of training, the first stage is Meipayattu (training stances), and is

followed by Kolthari (practice with wooden weapons), Angathari (practice with metal

weapons) and lastly Verum kai (barehanded combat). Generally, most of the schools

where Kalaripayattu is taught start training with weapons within six months. Some

Kalaris only teach about one weapon a year. After learning long stick and small stick

fighting, iron weapons are introduced. First the student would be trained with a

dagger and sword, followed by the spear. Bows and arrows were commonly used

weapons in Kerala for teaching and training students in the earlier times, but they are
 4

rarely taught today. Kalaripayattu has three forms, which are based on their attacking

and defensive patterns: Arappa Kayy, Pilla Thangi, and Vatten Thiripp.

Thekkan Kalari is the other name of southern style. It is a style of Kalaripayattu

that is believed to be influenced by Sage Agastya. It is a style which is a combination

of techniques of Kalaripayattu with certain elements of Adi Murai and Silambam. It is

said that martial arts such as Varma Kalai and Adi Thadi have also influenced the

Southern style. In comparison to Northern style, Southern style is less commonly

practiced in Kerala. It is known in Kerala as a combination of the teachings of both

Parashurama and Agastya. It is mostly practiced in some regions of the southern parts

of Kerala, particularly in areas near Kanyakumari. Even if many of the exercises of

the Southern style are similar to the Northern Style, it is more combative and martial

in nature, and gives heavy emphasis on hand-to-hand combat, foot works and hard

impact techniques, rather than emphasizing flexibility like the Northern style. Its

training starts in Chuvadu, a system of various combinations of fighting techniques.

After that a partner is introduced as a competitor as part of training. These techniques

are repeatedly trained. After getting familiar with the basics of unarmed combat,

weapons training begin with a small stick. Usually small stick training is done with

two combatants, armed with a stick or dagger. Fighting techniques with two

combatants include sparring with long stick, sword, etc. During the duration of this

training, expertise in unarmed combat also progresses. As the student becomes more

familiar with Kalaripayattu, the knowledge regarding the Marma points (pressure

points) is also taught to the student if it is considered appropriate by the

Gurukkal. Kalaripayattu techniques have various steps (Chuvadu) and postures

(Vadivu). Chuvadu means 'steps', and is the basic step of the martial arts. Vadivu

literally means 'postures' which are the basics of Kalaripayattu training. They are
 5

named after animals, and have eight forms. Styles differ from one tradition to another.

Not only the names of poses differ, but their utilization and interpretation vary

depending on the Gurukkal's preference, and the traditions of the Kalari. Each step or

posture has its own style, combination, and function. These techniques are different

for different styles.

This paper intends to reveal the reconstruction of the society under the influence

of Kalaripayattu. Kalaripayattu emerged as an art form which has inspired and

practiced by many youths in the contemporary world. It also has its influence in other

art forms and culture. It has been a part of women empowerment and the

reconstruction of gender roles in the society. It is an art form unique to India and

made the country proud with its varied style and techniques.
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CHAPTER - 2

Kalaripayattu is the indigenous martial art form of Kerala which continues to hold its

prominence even in this 21st century. Kalaripayattu lost its significance during the

European invasions. The implication of firearms began to challenge the traditional

forms of weaponry like swords, spears etc. The resurrection of public interest in

Kalaripayattu began in the 1920s in Thalassery, as part of a wave of rediscovery of

the traditional arts throughout southern India and persisted through the 1970s surge of

general worldwide interest in martial arts. It ardently follows guru-shishya parampara

and the generations of gurus are worshipped symbolised by the paduka placed at the

guruthara in every Kalari. Kalaripayattu is a holistic art form that not only gives the

ability to fight but also has the magic to heal internally and externally. Due to this

notion it is widely recognised as the ‘mother of all martial arts’. The entire

development of a person which includes physical strength, mental stability, and

spiritual elevation is aimed by the process of martial training. In Kalari, the whole

muscular structure is considered as sensible, responsive and alert like the human eye.

This is the most significant and fundamental principle on which the Kalari system is

based. Apart from medical implications this art form also made its presence felt in

visual arts which had garnered much fame. Currently it is also referred to as a

performing art. The tourism industry is incorporating Kalari, films also promote the

depiction of Kalari on screen as a result it surpasses the traditional role of self defence

assigned to it. A large number of women also are interested in learning it.

Before beginning the training session of Kalaripayattu the disciple touches the

floor of the training ground with reverence - with his right hand. Then he puts it on his

forehead in the form of salutation. After that he kneels himself at the feet of the guru.

The person intending to do the training will be wearing a loincloth, a long and narrow
 7

piece of cloth with a pair of ropes. This type of short clothes will aid them to be

flexible and moving. Warming up is done before the practise which consists of several

kinds of massage. The application of oil on the whole body helps the body to be cool,

and works as a stimulating agent in making the body more flexible. Even if the trainee

gets hurt during the practise will not be affected by infection due to the oil massage. It

acts like a protective bag shielding against all the adversities. In order to provide

flexibility to the body these treatments are specifically done. Physical ailments are

also cured with the effective adoption of massage. Kalaripayattu training can be

categorised into three different periods. The first stage is the period of steps, kicks and

blows. The most crucial thing is to have balance of body and soul. At the second

phase the trainee gets lessons regarding various movements using a stick. Here the

opportunity of performing a fight between two opponents is provided. The third phase

employs more weapons that are dangerous in nature. A student when garners mastery

over a particular weapon he is granted another weapon and the process continues until

he masters the assigned weapon. Weapons like sword, dagger, spear, curved dagger

etc are used in this event. The secrets of swordsmanship are rendered by the gurus to

the students whom he has confidence

According to Kadathanad Kalarippayattu there are six salutations. They are guru

vanakkam (salutation to the teacher), Ishvara vanakkam (salutation to god), Naga

vanakkam (salutation to the snake deity), Dik vanakkam (salutation to the directions),

Ayudha vanakkam (homage to the kalari weapons), Surya- Chandra vanakkam

(homage to the sun and moon). Mey abhyasam is the first element of actual training

and it usually means “body practice”. This abhyasam assists to make the body in

shape. Flexible movement is possible after this and generally it consists of two parts,

the preliminary leg exercises (kal etup) and the practice of ardent and long exercises.
 8

While doing kal etup, the hands are stretched upwards, thereby making the muscles of

shoulders also to work. Six basic kicks that contribute greatly to the physical

conditioning of the body are straight kick (nerkal) in which the kick is delivered

above the head, the knee is straight and the toes are extended at that moment, circling

kick (vitukal), from outside to inside, here the stretched leg is circled in front of the

body and the foot should reach a position above the head. Another circling kick

(akamkal) from inside to outside which is similar to the vitukal but the other way

around. Next kick is a straight cornered kick (konkal) similar to nerkal but the right

kick goes towards the left shoulder, left leg to the right shoulder. Swinging kick or

tiriccukal has three straight thrown by the same leg. Sitting leg or iruttika, after

throwing a straight kick the kicking leg sweeps back a bit behind the body. During the

period the practitioner changes his body weight to the hind leg and squats down on

that leg, the inactive leg is kept forward. Mey - abhyasam Shiva and Shakti forms, has

a series of adavu. Adavu is typically a compound body movement based on a martial

concept. It constitutes a combination of cuvadu (foot work), and vadivu (body

postures). A vadivu accompanies another vadivu or the same vadivu through a

specific cuvadu. The common mixture of vadivu and cuvadu within the Shiva forms is

ashva vadivu, step, ashva vadivu which commences and ends with the same vadivu.

Shaki forms deploy various types of vadivu like gaja vadivu (elephant pose), simha

vadivu (lion pose), ashva vadivu (horse stance), kukkuda vadivu (the cock stance),

sarpa vadivu (snake stance), and marjava vadivu (the cat pose).

In Kadathanad style the vanakkam are followed first by a set of six hand mudras, a

set of six leg mudras then by mei - adavu and meippayat. The hand mudras are to

teach how to keep the hand in an accurate position. After learning Shiva and Shakti

forms the second part of the training is learning how to use wooden weapons while
 9

combating. Weapons that are wooden, iron are valued with utmost respect. When a

weapon is taken up it is touched with the right hand, then the forehead and after that

the heart. This practice is also done when the weapon falls from the hand accidentally.

Several forms of weapons are utilised after getting mastery over meippayat. A student

is permitted to choose his or her first weapon, the long stick, according to the

Northern Style. The long stick is comparatively a bit taller than the body length. For

performing multiple attacks the rolling of the stick is done in circles. Each weapon

has its own unique nature; a student can use the weapon productively after analysing

this particular nature. Ceruvadi (short stick) is employed to teach the students how to

do a fight with fast - moving weapons. Length of the stick is approximately 40

centimetres. The students will tend to lose their fear when they are in the vicinity of

potential danger. It can be wielded in two ways like a whip or can be performed in the

same way a long stick does.

Ankamatrai (iron weapons) the initial training with wooden weapons is an

introduction to make them prepare to use iron weapons. Iron weapons are only

allotted to advanced students. A number of different styles of weapons like katara,

urumi, kuntham, venmezhu, gedda, val - vali are immensely used. Katara (dagger) is a

type of dagger that has a double - edged pointed blade. The construction of the dagger

is in such a way that it is able to cut through the armour. Urumi or flexible sword is a

hit with a flexible blade of one and half a meters. It is swinged in circular movements

around the body. The result is that it becomes a shield protecting the fighter. The

trainee uses a piece of cloth at the time of training with urumi as the weapon itself is

dangerous for the practitioner. Kuntham otherwise spear is taught in connection with

the use of sword and shield. The spear is the contrast form of sword and shield, used

mainly by stabbing with the spear head and slamming with the spear tail. The long
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stick fighting is done to make the practitioner efficient to occupy the spear. Venmezhu

(axe) is pretty useful in chopping through the armour. Breaks the bones easily and can

be deployed in combination with a shield. Gedda (Indian Club) is equipment that

possesses an aristocratic allure. It is forbidden to throw blows below the waist using a

gedda. Gedda is big and heavy which makes it much harder to use for fast and speedy

strikes. Val - vali (sword and shield) contains a curved blade, and the churika used in

the spear exercises. The first one is basically used for chopping and the other for

stabbing. Val is used in union with a shield in a series of exercises in which the sword

is circled very closely around the body. It also helps to know how to throw sand at the

opponent using a shield. This practice ice became popular as it is perceived as one of

the secret fighting techniques of the hero Otenan.

The fourth part deals with the attacking of the weak spots on the human body

(marmas).Of that Verumkai prayogam is teaching the student how, where and when to

hit a marma using bare hands. It also makes the students aware how to block a marma

attack. Katiyam taliyam is a self defence attack against someone who launches a knife

attack. Kettum pidutavum or locks and holds are similar to those in wrestling. The

difference is that in Kalaripayattu the knowledge of marmas is used to give holds and

locks more effect. Pitinettu prayogam is much alike the Kadathanad hand mudras and

students learn how to hit using distinct hand and arm positions.

Kalaripayattu teachers have a deep knowledge about the human body. It is a fact

that Indian martial arts were the major foundation of Ayurveda as the science of

healing started when the medical practitioners endeavoured to save warriors on the

battlefield. The physicians engaged in this attempt put forward a theory that the body

includes not only blood and flesh but also a life energy which they referred to as

prana. It runs through the vessels or nadis through the entire body. Martial art gives an
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account of messages that are done in order to encourage the flow of prana in a

positive way which causes the betterment of the person. Ayurveda details that our

body contains three elements: vada, pitta, kabha. Of it vada is composed of two

lightest elements that are ether and space. They help in movements and catabolism.

Psychological features related to vada are tendency to nervousness, difficulties with

concentration, anxiety but also flexibility of mind and understanding. Bodily aspects

the person will appear to be slim, a flexible body and tallness. Pita is a metabolic

humour associated system. A person having a lot of pitta can get easily agitated. It

provides energy to initiate something. Combustive process like digestion occurs as a

result of pitta. Kabha is basically rigidity; it showcases what is fully grown. People

who have a lot of kabha are naturally endowed with heavy muscles or large amounts

of fat. People that have kabha are not flexible and in terms of body they usually have

a strong body stance.

The master of Kalaripayattu played a vital role in Kerala society as a physician.

Today also people go to these practitioners to heal their physical problems. Many of

the gurukkals treat fractures, dislocations, bruises and swellings. He is also able in

curing or softening numbness, paralysis, general fatigue, and other nerve related

problems. Both internal and external treatments are applied at the same time. For

internal use the gurukkals prescribe the standard Ayurvedic medicine. The expertise

in marma and nadis distinguish the gurukkal from the common Ayurvedic doctor. He

uses the expertise to give a particular kind of massage or uliccil. Several, discrete

kalari massage systems are there and each of these has its own purpose. The gurukkal

decides which massage should be implied on the patient. There are five different

kinds of messages. In them full body massage consists of putting oil on the entire

body of the patient. They are based on strokes which work mainly on the nervous
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system. Other massages are dependent on the pranic flow of the energy system. A

soothing effect is created by the two massages. It is a good antidote to stress and also

assists in improving the health. Good health can be obtained only when the optimal

amount of each of the humours for his or her body is retained. The main objective of

full body massage is to restore the balance of the humours thereby healing the whole

body.

Massages that instil muscular flexibility and strength are traditionally used for

Kalaripayattu practitioners. When this massage is undergone the bones are aligned

precisely and the muscles are stretched. Any blocks present in the nadis are

cured. This massage takes fifteen days and the master performing it uses his feet to

stroke on the limbs of the student. To keep the balance he hangs on a rope with his

hands. During the time period of the massage and after fifteen days of it the students

are prohibited to do any heavy tasks. The duration of the massage session is about one

and a half hours and is concluded with some light practice. This massage is painful

but after it the students feel more energetic and flexible. In physiotherapeutic

massages all forms of problems pertaining to the nervous and pranic systems and the

bones and muscles are taken care of. Here the master resolves the patient's problem by

manipulating the energy system through his or her marmas. The patient on whom this

massage is applied lies down and the master manually analyses his or her marma he

needs to manage. With variable intensity of pressure, depending on the marma, the

body constitution, the age of the patient the strokes are carried out.

Sports injury massages are now being used when small accidents take place in

Kalari when she or he has a muscle problem or bruised joints. The patient is in a

standing position when this massage is accomplished. Massages to counteract the

effect of marma related injuries contain a treatment which will be administered by the
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master to cure or reduce the results of the marma injury. Each ailment that happens

due to a marma injury is treated accordingly by a counter - application related to that

marma. For example an injured marma on the chest will be cured through its opposite

on the back.

Apart from that, it is remarkable to state that there are different forms of massages

available under Kalarichikilsa. These massages are widely used for general people for

the soundness of the body. These are done by applying herbal oils of a special variety

decanted personally by the Gurukkal (Master) using a formula which is normally kept

as secret and transferred over to the descendants under Gurukul system of learning

(The learner is attached to the teachers’ residence or nearby and is taught orally).

These practices are widely used to improve the health of the people. Forms of

massages that are Sukha Thirummu: the system of massage that rids the body from

pangs and muscular pains and also provides physical relaxation and soothing. Raksha

Thirummu is for holistic healing and rejuvenation (normally found in northern style)

and Katcha Thirummu enhances body flexibility and endurance, for practitioners of

martial arts, dance and sports. Many kinds of massages are there and each one of

them has their own purposes. Outpatient (who underwent meticulous treatments in

their initial days and are now discharged and continuing their course) certifies that

these massages are fruitful means to cure the bodily disorder than the modern-day

cures of physiotherapy (most of them had done allopathy medicine in their early days

and later they proceed toward Kalari). Kalari massage is the segment which can

create good demand in the health and general tourism market of today because it

helps to reinvigorate the body by relaxing and opening up energy pathways,

encouraging and improving blood circulation in nerve endings and muscles and

awakening the self healing mechanism of the body for a healthy life.
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Medical tourism (also known as medical travel or health tourism) is a term

initially proposed by travel agencies and the mass media to interpret the rapidly

growing practice of travelling to another country to obtain health care. Nowadays, the

phrase ‘Global Healthcare’ has emanated and may take the place of the earlier terms.

Such services typically involve elective procedures as well as sophisticated

specialized surgeries such as joint replacement (knee/hip), cardiac surgery, dental

surgery and cosmetic surgeries. The provider and customer use informal channels of

communication-connection-contract, with less regulatory provider and customer uses

informal channels of communication-connection-contract, with less regulatory or

legal oversight to ensure quality and less formal recourse to redress, if needed (Joseph

& Manalel, 2008). Leisure aspects typically interlinked with travel and tourism may

be encompassed on such medical travel trips. A destination is recognised as a medical

tourism destination not just because of the healthcare facility available there but also

due to the additional provision of destination attractions, both natural and cultural,

accommodation and other facilities. In the absence of these additional provisions,

patients may still move to destinations for healthcare, but the phenomenon resulting

thus cannot be regarded as medical tourism. The chief product is definitely the

healthcare facilities available, but touristic comforts form an important hygiene factor

in medical tourism. Most of the tourists visiting India select for three forms of

treatment: wellness, rehabilitation, and surgeries. As medical tourism is progressing,

Kalarichikilsa can also be marketed as a substitute medicinal practice for medical

tourists. Byju Gurukkal says, ‘many tourists visit for medical treatment as it is

cheaper and effective.’ He further argued that, for certain specific disorders like

orthopaedic issues, treatment under Kalarichikilsa has proven to be most productive.

This argument is almost affirmed by George from Kerala. He says ‘me and my family
 15

often depend on treatments under Kalarichikilsa for bone dislocation, and neuro

issues’.

Cultural heritage is an expression of the ways of living, developed and transmitted

from one generation to another, including practices, rituals, traditions, artistic

expressions, places, objects and values. According to Feather (2006), it is a human

creation meant to inform. Cultural heritage is often contemplated as either intangible

or tangible (ICOMOS, 2002)). In this direction, heritage is not only shown through

forms like artefacts, buildings or landscapes but also through non- physical forms like

voices, values, traditions, oral history, and so on. Most of such heritage properties

interlinked with tangible presentation are identified in the form of traditional skills

and technologies, religious ceremonies, food, clothing, types of shelter, storytelling

and performing arts. Martial art is one of the major performing arts, having an intense

and lasting impact on the development of cultural performances in the history of

humankind. India is considered as a fortress of martial arts by presenting the mother

of martial art: Kalaripayattu, before the world. In a market-led economic system,

conservation and demonstration of such cultural heritage deserve special attention

where its practices are demanded in different sectors of the society. Tourism is one of

the major economic sectors which provides opportunities for commercialization and

conservation of martial arts like Kalaripayattu. At this phase, the demands emanating

from tourism and tourism-specific supply factors along in addition to the controls in

striking trade-off between propagation and preservation of Kalaripayattu an essential

condition for better management of this heritage of India. India is a land of varied

heritage and prosperous culture. The cultural and heritage resources, both in tangible

and intangible forms are languishing due to many reasons which have economic,

political, and social dimensions. Culture resources management focuses on effective

 16

means of safeguarding tradition despite commercialization through its holistic and

pragmatic method. Owing to the close association between Kalaripayattu martial art

and the dance forms of Kerala like Theyyam, Kathakali, and so on, Kalaripayattu is

an intrinsic part of the cultural heritage of the state. In this context, Kalaripayattu,

which is widely practised even today in Kerala, is considered to be a manifestation of

culture and history of Kerala. According to Kunhimoosa, noted Kalaripayattu

practitioner from Vatakara, ‘Kalaripayattu has got immense potential in the domain of

cultural tourism as Kalaripayattu is an intangible manifestation of Kerala culture and

heritage’. Considering the economic potential of Kalaripayattu and the threats that are

endured on Kalaripayattu and Kalarichikilsa; as the mother of martial arts,

Kalaripayattu deserves to be guarded and preserved for future generations.

Kerala’s societal notions about ideal womanhood with its and their assigned tasks

play an important role in discouraging women from performing Kalaripayattu.

Women performers of Kalaripayattu become conscious of these societal notions and

think that what they practice is an unusual act as they are seen as masculine women

and thus the “other” of ordinary women. Kalari Gurukkal and their different training

methods for girls and boys show the gender bias in how they train their students. The

Kalaripayattu Gurukkal justify this prejudice citing the fundamentally different

physiologies of men and women, declaring that the male body is physically stronger

and fit for doing more serious tasks, including using the weapons of Kalaripayattu

(Ankathari), while the female body is fragile and weak as compared to men especially

after having given birth to babies and is only suitable for some easier physical

techniques (Maipayattu).

Big gender gap in Kalaripayattu can be seen in terms of the absence of female

Kalari Gurukkal in the field. Traditionally, religions view women to be impure

 17

because she has a body that becomes periodically unclean due to menstruation and

childbirth. People in Kerala are also no exception to this notion of purity related to the

female body. Spiritual or ritual practices serve the function of regulating and

controlling the female body within a society. Menstruation is associated with various

taboos and restrictions as women are then seen as being in a state of impure and thus

are restricted from entering Hindu temples, and these notions are reflected in the

Kalaris too. While Hindu Kalari Gurukkanmar strictly believes and follows religious

principles that do not allow women to practice Kalaripayattu for seven days while

they are menstruating, practitioners from other religious communities such as

Muslims and Christians also recognise the Kalari as a sacred space. They also discern

menstruating women as unclean and prevent women from entering the Kalari for

seven days. The Kalaripayattu practitioner Geethi shares her experience in her book,

Kalaripayattum Njaanum (Kalaripayattu and Me), and says that a woman does not

encounter any problems in performing Kalaripayattu while she is menstruating; and

taking an enforced break for seven days will prevent the female practitioner from

performing the art perfectly.

Contemporary women practitioners of Kalaripayattu are from families who

possess a legacy in its practice and performance and used traditionally to own Kalaris.

These women have their own Kalaris and they practice and perform with male

members of their families both in Kalaris and on stage. Since Kalaripayattu is

performed with another person or in pairs, it is interesting to note that most women

performers choose girl partners or younger boys or male family members. A major

number of girls drop out of the Kalaris after attaining puberty. This can be related to

the deep-rooted fear of women’s sexuality in the Kalaris, which is closely linked to

the construction of women’s sexuality in the public spaces of Kerala villages. Kalari
 18

Gurukkal or the Kalari teachers point out that even if the girls are willing to continue

the practice after they have attained puberty, they are forced to stop it after marriage

due to the hostile mindset of husbands toward their wives practicing and performing

Kalaripayattu.

The discrimination does not end there. There is a huge disparity between the dress

codes for boys and girls at the Kalaris and this is something significant to analyse.

Various cultural, economic, social, political, and local factors influence the dress code

for women belonging to different social groups in Kerala. In the Kalari class,

generally boys wear a small loincloth tied around the waist, while the women students

and even small girls wear long churidars with shawl. Kalari teachers say the loincloth

is a suitable form of clothing for practicing Kalaripayattu, and it is very difficult for

women or girls to practice the art with the form of clothing assigned to them. Today

Kalaripayattu is promoted as a self-defence tool for girls and women to protect

themselves from violence. Several organizations organize seminars and workshops to

encourage their female colleagues and students to learn Kalaripayattu for self-

defence. Globalization has created a new relation between the female body and

Kalaripayattu.

Kalaripayattu has also been promoted in international and Indian films. One of

such films is Ananthabhadram. In the particular film, Kalaripayattu is a martial art

form that deals with the ambiguous space occupied by the subjugated people. Unlike

the caste-based nature of Theyyam and Kathakali, Kalaripayattu reveals both the

higher and the lower forms. In the film Ananthabhadram, there is an explicit portrayal

of Chemban as a practitioner of Kalaripayattu. The body movements and the gestures

of Digambaran also display features of Kalaripayattu. The title Gurukkal attributed to

the great magician of Madampi (the ancestral Nair family in the film),
 19

Madhavagurukkal, identifies him as the master of the Northern Kalaripayattu and the

title Siddhayogikkal conferred on warning Ramanjyothsyar gives Digambaran “What

happened to Subhadra must not happen to Bhama” is only the imitation of the

saviour Digambaran’s grandfather, identifies him with the Southern Kalaripayattu.

Siddha signifies the medical treatment that is associated with the southern style. From

the beginning, there is a clear and plain division of the martial art form of

Kalaripayattu based on the caste structure. The association of Madhava Gurukkal with

the Northern Kalaripayattu places this form in the group of the elite culture.

Hollywood also adopted Kalaripayattu, the classical fight of aerial fighting long

back and the result was a fascinating fight sequence in the films such as ‘Crouching

Tiger Hidden Dragon’ and ‘Kill Bill’. Then Jackie Chan brought a new point of view

to it when he invited G Sathyanaryanan, an expert of Kalaripayattu to be a part in the

shooting of ‘The Myth’. Chan understood that the skills required to practice

Kalaripayattu in its true form have their origin in ancient eastern traditions. It is also

strange to notice that Kalari, the place or school where the pupils are trained has a lot

of similarities with the Shaolin temples; a tradition which is well known to Jackie

Chan. Kalaripayattu was diminishing its importance at the time when the British

rulers made familiar the modern means of warfare. The advanced weapons used by

them restricted the essence of Kalaripayattu which was more helpful during the

guerrilla wars. At this stage, films brought back its prestige and it emerged to be one

of the most significant forms of martial art to be practised. Films such as 'Ondanondu

Kaladalli’, Indian, Asoka made it popular among the public while movies like ‘The

Myth’ got it international acclaim. Doug Lefler’s 2007 film ‘The Last Legion’ which

featured Colin Firth also displayed Kalaripayattu. When we consider the economic
 20

potential and cultural heritage Kalaripayattu needs to be protected and transferred to

the future generations.

 21

CHAPTER- 3

CONCLUSION

Kalaripayattu is the art of self defence which has been practiced since ancient times. It

is also a system by which awareness of body and mind for dangerous situations can be

developed. In earlier times it had the same importance as that of reading and writing.

It also occupies a special position in ritual dimension. Some people even consider it as

an important part of dharma. Today it is mostly practiced as an art form or as an

exercise regimen. In this modern era many do not have the knowledge about Indian

systems of self defence and only a few knew about the historical significance of

Kalaripayattu. Now this art form is mainly preserved in Kerala and Tamil Nadu as it

avoided the impact of islamisation. Even though the roots of Kalaripayattu are in the

ancient times, it still has a great influence in the modern era. It favours flexibility and

body movements which are seeked by many of the youths nowadays. It has close

connection with ayurvedic healing and yoga. Recently, this technique has even

applied for police purposes.

Kalaripayattu has been believed to be a means to attack and harm people. But if it

is used in the proper sense it could improve our lifestyles and quality of life.

Discipline is one of the most important principles of our life. Learning Kalaripayattu

will help in

leading a disciplined life. Kalaripayattu are dedicated to making a person strong of

mind and body. Two times a day they train their bodies and their minds

developing themselves up for a healthy adult mindset for the future. In contrast to

this, most of the adults in this generation of the twenty-first century living in the

western world find themselves without discipline not just of the body but of the

mind also. That is the reason why Kalaripayattu has survived for more than two
 22

thousand years. The implementation of this art form into western schools would

have a drastically positive effect. It will help in building up a healthy future of

children and instil moral values in them.

Kalaripayattu promotes the notion of Guru-shishya relationship. In the western

world it can be seen that the value of teacher- student relationship is fading away. The

respect for the relationship has been decreasing since the modern times. Kalaripayattu

can create a paradigm shift to this concept of society. Before Kalaripayattu was

outlawed by the British, the general attitude of people was always that of showing

respect for those above them. If that person was there to share his knowledge with

you then they are giving you their time and their experience. Because of this teachers

were given the respect they deserve. Through the mutual respect between the master

and the student, the student was able to attain mastery in training both mind and body.

Today still the same respect towards the masters of Kalaripayattu that was shown

eight hundred years ago can be seen. This has not changed because it is the healthy

and proper way to relate to others in our life. Implementation of this simple benefit of

Kalaripayattu in western culture will give an exceptionally positive result. Students of

the Kalaripayattu not only train themselves in combat and physical strength, but also

in the mind. In order to bring out the best version of oneself, the body and mind must

be at peace with one another, this way they can work in accordance with each other.

Students of Kalaripayattu along with being proficient fighters must also be able to

conquer the enemy within themselves. For this strength of the mind is required. The

ancient people who practiced Kalaripayattu had their ways of defeating fear and other

mental states that may inhibit their ability to walk strong and unified. The Mudra and

the Mantra are also among those ways. The Mudra, is the hand gestures made in

accordance with the Mantra, the voice command. Seated in a meditative state the
 23

practitioners of this art must practice these with regularity and discipline if he is to see

results and fear driven away from his mind. Mudra and Mantra practices used in the

Kalaripayattu is proved to be effective in combating this disease of the mind. To

attain this state of mind, continuous and constant practice is very much required.

Waiting, listening and being patient are the ways by which students of Kalaripayattu

make sure they stay strong and healthy. Patience can be seen as the basic to all good

things such as discipline, reward and success. It is not easy to live a life in according

to Kalaripayattu rules,

However with enough training and a sound mind one can become patient enough

to learn all that is needed to become a great master. It would take more than twelve

years of constant practice to become a master of the Kalaripayattu. All of these years

are to be spent in discipline and training. There is no question then as to why India

had the most patient warriors in the world. The simple answer to this is due to the

practice of this unique art form which made the country proud.

The Kalarichikilsa which includes maramachikitsa, thirumal and vyayamachikitsa

is very helpful in treating injuries like ligament tear, back, neck pain, and many bone-

related disorders and dislocation. Kalari chikitsha uses medicinal oils, herbal

compresses, massage techniques and marma vital energy point therapy to revive and

balance the mind and body and is known to have no side effects. So many sports

players go for Kalari chikitsa for muscle and bone related issues. Kalaripayattu is not

only a martial art but also a way of life. The various methods of treatment available in

Kalaripayattu are so amazing and relaxing that these need to be experienced.

Kalaripayattu training is also vital for creating youths physically strong, mentally fit

and intellectually sharp and alert. It is also important to activate the marma points for

giving an impetus for a sports person in all his activities. Many Kalari practices,
 24

especially Maipayattu, chuvadukal, holds and locks, jumps and throws contribute

more in developing skill and endurance. It also protects the body and strengthens the

mind. So Kalaripayattu could be practiced by sports persons as a basic training.

Kalaripayattu training is effective for both track and field events. In sprint, it requires

powerful start, powerful finish and power running in between. The high kick in

Kalaripayattu is the same that is done in high jump and pole vault. The horizontal

jumps are also practiced in Kalari. Chuvadu or movement of feet helps in discuss or a

hammer throwing. Kalaripayattu has been commercialized as there has been an

upsurge in demand for stage performance, spawning a mushrooming of Kalaris across

Kerala, especially in the northern districts since the beginning of the last decade of the

past century. This has led to an increased demand for women performers as well.

Another important reason for this spike in demand is the pressure to develop tourism

in the state by attracting high-paying foreign travellers. One of the key marketing

tools of the tourism department has been the huge focus on everything traditional,

such as the Kathakali, Bharatanatyam, Ayurveda, and Kalaripayattu, among others.

Though originally Kalaripayattu is a martial art, in contemporary Kerala the

performance element of it has come to be valued more for the physical stunts

demonstrated. This has brought immense fame to the art and performers across the

state and even outside. They are even receiving invitations to perform in various

places outside the state and also even overseas. This has encouraged and created an

interest among the youth to take up Kalaripayattu as a profession and they have

accordingly formed various Kalaripayattu troupes and received recognition on local,

national, and also international platforms. Moreover, this has helped to understand the

importance of women performers as they encourage large audiences and give

recognition to them. Globalization process has exponentially increased the popularity

 25

of martial arts across the globe. Mass media played a major role in attracting

recognition for Kalaripayattu at a global level. In the context of Kerala, the rise of the

mass media, especially the electronic media, is another tool for the commercialization

of this art. Television channels have given a big boost to the popularity of

Kalaripayattu by presenting it as a symbol of the state’s cultural heritage. The rising

media coverage has also inspired many young people to have a try at learning this art.

Today various government and non-government agencies, especially educational

institutions, promote Kalaripayattu as a self-defence tool for girls and women to

protect themselves from violence. Also, several organisations organise seminars and

other activities to encourage their female colleagues or students to learn Kalaripayattu

for self-defence. Many films also adopted the classical style of Kalaripayattu for fight

sequences. Those films gained much popularity and were admired by many. This

paper intends to study the role of Kalaripayattu in different aspects like medical field,

gender roles, films, self defence and culture. Today many are coming to this field for

building up a healthy lifestyle. As the martial art of Kerala, it represented the state at

many levels. It has a vast scope in many fields in the future.

 26

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