Of worship and weapons

As a festival, Vijayadashami is celebrated in varying forms not just across India but in Nepal too. Celebrated on the tenth day of the bright fortnight (Shukla Paksha) of the Hindu autumn month of Ashvin or Ashwayuja, it is the grand culmination of the 10-day annual Navaratri ('nine nights') festival.

In Kerala, Vijayadasami has the added significance of being the auspicious day for starting formal education for children. The old practice of Shastra Puja has now been extended to books and tools of work. Students keep their books and workers their tools for puja on the eighth day of Navarathra (Durgashtami); these are taken back and used after puja on the tenth day (Vijayadasami). The essence behind this practice is to give the initiation of any formal course of study an auspicious beginning so that the course takes on a successful and fruitful bend. In fact this is so old that in many parts of Kerala, even non-Hindus follow this tradition. In 2004, many churches in Kerala formally adopted the same tradition of introducing young children to education on Dussehra day.

Shastra Puja goes back to the days of Kalaripayattu too, the ancient martial art form of Kerala. It was observed with a lot of piety and aplomb in those times. To take an example, the famous Kalari of the legendary Pazhassi Raja in Iritty has had special pujas conducted on this day through all the years. Unfortunately, the Kalari has not been at the pink of health after the downfall of Pazhassi Raja’s kingdom and the retreat of the British monarch from the soils of India. The building is in a dilapidated state.

The descendants of the mighty warrior king still keep the sacred Kalari under watch but the only time that the whole place comes to life is during the Navarathri festival. During this time, the special pujas conducted at the Kalari and the temple associated to it, are reminiscent of the olden days.

The kalari where Pazhashi Raja mastered the art

For those who are interested in the history and origin of this art form, there is a popular legend which goes on to say that the renowned SageParasurama, the warrior sage and  an incarnation of Lord Vishnu, created 108 Kalaris (learning grounds)  all across Kerala to help the people ward off the arrogant Kshatriyas. Parasurama himself is believed to have learnt this martial art form from Lord Siva.

The element of Godliness that is thus attached to Kalaripayattu is still retained and Gurukulam only aims at carrying the tradition forward by retaining the wealth of the olden days to the extent possible.

It would indeed be an experience to witness the  Shastra Puja at the  Gurukulam premises this October. Apart from reliving the past it would also be an opportunity to get to know more about this noble venture of passing on the valuable knowledge of the ancient and revered art form of Kalaripayattu.

About The Writer"The image of women fighting with weapons and defending themselves inspired me to take up Kalaripayattu. It came across as difficult when I started it but with practice and focus I have really begun to enjoy it," says Asha, a language teacher who joined Ranjan's class a year back.Asha Francis, works as a training lead at Hewlett Packard in Bangalore. Writing and Kalaripayattu are her two major passions. She trains in Kalaripayattu at KAPA, Bangalore, under Ranjan Mullarat. Asha can be contacted at ashfrancis@yahoo.com

Sammilan

Sammilan 09  By Ranjan Kamath

Sammilan '09 celebrated with the tenth anniversary of the founding of the Kalari Academy of Performing Arts(KAPA). 

The primary objective of each Sammilan edition is to bring the ancient martial art of Kalaripayattu from the margins of the exotic and rehabilitate it within it the mainstream.

Sammilan ’09 was one more effort to entertain, educate and excite audiences by the potential of Kalaripayattu as a movement grammar and psycho-physiological training regimen that grooms mind and body for optimal use from the classroom to the board room and beyond.

The audience witnessed Kalaripayattu performed with grace, flexibility and ferocity for which the martial art form is well renowned. They were also treated to a variety of movement art performances inspired by the grammar of Kalaripayattu.

The young students of Kalari Academy aged between eight and ten commenced the evening’s programme with the Kalari Vanakkam or salutation, illustrating the process by which a practitioner attains oneness with the self, pushing the body beyond tolerance levels through sheer power of mind over body.

Maja Drobac from Croatia, transcended cultural boundaries through dance in her performance titled Vipasana. While her performance had no connection with Kalaripayattu, Maya’s performance depicted how cultures are united in the commonality of movement even though the inspiration may be diverse.

Veena Basavarajaiah, dancer and choreographer converged west and east in Musical Combat which was a study in contrast. The disciples of the PKB Kalari Sangam transformed the deadly ottakol from a weapon of war into an instrument of lyricism seduced by the accompaniment of western classical music

Thereafter, Srishti, a creation by Miss Roopa Ravindran, renewed our vows to Mother Earth, acknowledging the supremacy of her creations; the majestic animals whose grace, speed, power and beauty inspired the martial art form of Kalaripayattu

Veena Basavarajaiah’s "MAYA" attempted to portray the illusion of perception. Through MAYA Veena was able to adequately illustrate, how the ancient movement grammar of a martial art can be adapted to the abstract world of contemporary dance.

The much awaited grand finale was provided by an explosive exhibition of traditional Kalaripayattu which literally had sparks flying. To the rhythmic accompaniment of drums led by Agni Group, the celebrated practitioners of the kalaripayattu exhibited the unity of weaponry and the human body through dangerous duels brilliantly executed with grace and ferocity.

With every Sammilan, the Kalari Academy seeks to expand the versatility of Kalaripayattu in the hands of creative practitioners of the performing arts, to explore and portray the infinite ways in which the traditional can remains perpetually relevant in the inspiration of the contemporary.

About The Writer

Ranjan Kamath, writer, teacher and theatre practitioner, “Kalaripayattu is an essential way of life which is integral to the enhancement of mental and physical performance skills”

natakvalas@gmail.com

www.natakvalas.com

Kalaripayattu Art and Combat in Motion

Kalaripayattu

Graceful, sure footed, animal like movements ….. an unexpected somersault ….. bodies caught in a deadlock …… sparks flying dangerously from clashing swords, with drum beats rising to a crescendo. This is Kalaripayattu, an ancient form of martial arts …

Crafted in ancient South India and drawing inspiration from the raw power, majestic strength and instinctive fighting techniques of animals such as the lion, tiger, elephant, wild boar, crocodile etc… Kalaripayattu is derived from the words Kalari - which means "place, threshing floor, or battlefield", and payattu - which means to "exercise in arms or practice".

Kalaripayattu is perhaps the most ancient martial art in the world. Religions have incorporated Kalaripayattu into their realm. The origin of Kalaripayattu is still in the midst of obscurity. Traditional Kalari masters attribute mythological stories and legends to the origin of the art. Legend traces the 3000-year-old art form to Sage Parasurama - the master of all martial art forms and credited to be the re-claimer of Kerala from the Arabian Sea.

The inherent beauty of this art form lies in the harmonious synergy of art, science and medicine.

What you learn in Kalaripayattu

The animal postures:

This is a prerequisite session for beginners in Kalaripayattu. It introduces stances, and stepping. This exposure gives the new member a better foundation in order to enter the advanced levels in Kalaripayattu. This level focuses on achieving the skill to adopt certain stances which are broadly classified into two - 'Chuvadu’ and ‘Vadivu'. Chuvadu is a position of the feet, while ‘Vadivu’ is a posture of the body, keeping the chuvadu as its basis.

Body Toning Exercises:

A Kalaripayattu trainee who masters the chuvadus and vadivus goes on to Meipayattu (meaning the use of body). It is a series of exercises, in 18 different lessons designed to achieve peak physical fitness and flexibility of the body. They include specific exercise for legs, hips, hands and the torso. In the second level, the training includes acrobatics, different types of flips and kicks.

Weapon Combat: This is a supplementary program for members interested in the practical use of martial arts. Training in weapons begins at the intermediate level, when there is a better understanding of the mechanics of movement and improved coordination. A weapon becomes an extension of one's body and a further test of one's skill. Weapons are taught in form sequences to responsible individuals.

Empty handed fighting techniques:

Lastly the student will be imparted training in empty hand fighting techniques called Verum Kai Prayogam. Verum Kai Prayogam or unarmed fighting technique is the fourth stage of Kalari training. This is a unique method of offence and defense. In this technique, various holds, grips and locks are combined with knuckle and elbow hits directed at Marmas or vital points of the opponent's body. By this method, one can disarm and disable an enemy completely. Usually, knowledge of this kind is not passed on indiscriminately to any one but only to those with a disciplined life who guarantees that the knowledge will not be misused.

Kalari Chikilsa and Marma Vidya

The final training of a student includes in identifying the Marmas (deadly spots) in the human body. Marmas are energy points or the sacred points in the body, comparable to acupressure points. There are 108 Marmas which are associated to the nadis and charkas of yoga and can be used for balancing body and mind. Different ailments require specific massage techniques. The speed, the force, the number of strokes, the type of medicated oil used and the system of massage will vary depending on the patient's physical strength, age and ailment

Kalari Massage

Combat situation demands an extremely agile, strong and supple body, which would instantly reflex the focused mind. The ancient martial artists (warriors) used kalari massage to prime their body and sharpen reflexes. Massage helps the body to attain a healthy constitution as well as flexibility, nimbleness and suppleness. Moreover, massage can improve mental alertness and attention span by reducing tension and calming the mind. Kalari massage can keep one disease free and in a state of positive health.

There are three types of kalari massages, used for different purposes.

Sukha thirummu: This system of massage relieves the body from aches and muscular pains and also provides physical relaxation and rejuvenation.

katcha thirummu: This is given to increase a person's body flexibility and physical endurance and is particularly efficacious for those who practice martial arts and dance forms. It gives flexibility and suppleness to the body. This form of massage is combined with different yoga postures.

Raksha thirummu: This massage is for healing. Different ailments require specific massage techniques, which the masseur selects keeping the individual's condition in mind. The speed, force, number of stroke, the type of herbal oil used and the system of massage will vary depending on the patient's physical strength, age and ailment.

Kalari Today

Following the collapse of the princely states and the advent of free India - Kalaripayattu has almost lost its significance as a mortal combat code. In a Phoenix-like resurrection, Kalaripayattu is today emerging in a new avatar - an ancient art form - a source of inspiration for self-expression in dance forms - both traditional and contemporary, in theatre, in fitness and in movies too.