In order to adopt the fundamental principle of Kalalripayattu, which
states that an opponent should by no means manage to reach the practitioner;
like in any other martial art, the basis, must be firm. A strong foundation
requires a daily dose of exercise accompanied by perseverance, rigour, and
support from the Gurukkal; who guides his students through physical challenges.
This solid base is integrated with
three stages of training known as ‘meithari’ or a series of exercises to train
the body, ‘kolthari’ or training with wooden weapons, and the final stage
being ‘ankathari’ or training with rigid
metallic weapons. In ‘meithari’, the training comprises of bare-hand
techniques, various stretches, and stances, jumps to gain overall flexibility,
strength and stamina of the body. Flexibility is a vital part of Kalaripayattu,
without which one can’t prove their effectiveness in combat and therefore
defeating the fundamental principle altogether. Flexibility allows the student
to dodge an attack from his adversary and simultaneously throw in a fist or
kick of his own. It is also a prerequisite to perfect the eight stances derived
from wild animals; known as ‘Meipayattu’. These techniques are not only drawn
from the external nature of the animal but also the internal. For example, ‘kutichu chadi’ is a position
adopted by observing the tiger’s leap, as it draws its whole body back to
gather strength and finally thrusts its whole body fiercely, exposing its claws
and stretching the entire body. ‘Meipayattu’ forms an essential component of
the physical practices in ‘Kalaripayattu’ as these stances enable the fighter
to impart energy into their attack, the same way an animal accumulates power
either to catch its prey or resort to self-defence when faced with danger. In
this unique form of preparation, by achieving sheer mastery over one’s limbs
through training the legs, middle and upper body with a series of exercises
that gradually get intricate with progression; one can move with agility,
attain neuro-muscular synchronization and consequently be able to withstand any
onslaught from an attacker.
The other seven forms are as follows:
1. ‘Gaja Vadivu’ or the form of an elephant is a
position in which the practitioner keeps his feet in contact with each other,
keeping both the heels fixed on the ground. The front portion of the feet are
then moved in an arc like position, the right foot to the right side and the
left one to the left side to the maximum extent possible. The face is then
raised to look upwards, while the forearms keep touching each other and the
fingers are folded into a fist. The practitioner then bows down in order to
lower the upper segment of his body and keeps the sides of his ribs parallel to
his thighs. This particular form gives the practitioner great balance and
allows him to thrust hard with his fists. This position is seen extremely
effective when it comes to facing a tough, heavily built opponent.
2. ‘Aswa Vadivu’ is that stance which resembles the
positioning and movements of a horse. The objective of this stance is to
concentrate energy in the chest, similar to the way a horse gears up in order
to jump. This form enables the practitioner to strike his opponent especially
if he decided to make a sudden move, by delivering a backward blow to his ribs
with use of his elbow. The stance involves the upper body inclined in such a
manner that the chest touches the left knee, which faces forward while the
right leg is stretched behind with the right hand placed parallel to it. The
left hand is placed inwards under the practitioner’s jaw, which subsequently
allows the elbow to jut out. This form can be quite deadly and is most suitable
in a fight when a mob is involved.
3. ‘Varaaha Vadivu’ is when a practitioner assumes the
position of a wild boar. Initially, the practitioner stands keeping his feet
together. He then places his right foot slightly backwards, moves the front
portion of the foot towards the right to the maximum extent possible. The same
is done with the left foot, with the front portion of the foot facing towards
the left. The body is then turned to the right side with the face looking
straight ahead and the hands are locked into fists. The right hand is held high
in front of the forehead, while the left hand is placed next to the hip. This
position allows the body and hands to create wave like movements called
‘Theruthu’ in Kalaripayattu which can be only learnt by closely observing the
demonstration, either from the master or an experienced practitioner. After one
masters ‘Theruthu’, he can effectively subdue his opponent at close quarters.
Hence, this position can be resorted to against a mob, similar to the
application of ‘Aswa Vadivu’.
4. ‘Sarpa Vadivu’ is a stance adopted by observing
serpents. The first step is to stand upright and then move the left leg forward
in an arc. The next step involves the right leg moving backwards and
simultaneously lowering the upper body towards the left leg, giving the whole
body a slight inclination. Once, the body is inclined to an angle of
approximately 45 degrees, the face is lowered bringing the chin closer to the
chest and the left arm is circled around the chest without contacting it, while
the right hand is positioned next to the hip, free to move and strike the
opponent. The position is said to be performed at an extraordinary speed in
order to destabilise the enemy by pulling his feet off the ground.
5. ‘Maarjaara Vadivu’ is a movement imitating a cat
gearing up to pounce on its prey. The practitioner lies down on his chest,
positioning the body parallel and in contact with the ground. The left leg is
slightly bent whilst the right leg is stretched out. The palms are placed
beside the shoulders comparable to the way a cat digs its claws into the ground
before the final ambush. This stance gives the practitioner immense energy and
needs to be performed with agility to strike his opponent.
6. ‘Kukkudu Vadivu’ or the form of rooster, is a
position where the practitioner stands straight, balancing on only his right
foot with the left leg raised bending the knee, extending above his head or
vice-versa. The hands are then crossed in front of the chest. The position
allows the practitioner to leap against the opponent, at the same time punch
with his fists, moving the hands forward from the crossed position.
7. ‘Matsya Vadivu’ is when the practitioner mimics the
movements of a fish as he places his left leg firmly on the ground, bending the
right leg behind, but upwards. The body is now entirely in a horizontal
position, parallel to the ground. The left hand is then stretched out, exposing
the open palm while the right hand is positioned beside the head, the elbow of
which juts out backwards. This movement, like ‘Kukkudu Vadivu’ also enables the
practitioner to jump against his opponent along with synchronized turning and
winding of the body, striking effectively with the hands. It is also one of the
positions that need to be practiced under the supervision and direction of an
experienced Guru.
After one manages to accomplish the art of applying free hand techniques
in training, there comes the time to progress on to the second phase of
physical practice, known as ‘Kolthari’, where wooden weapons along with a long,
flexible, whip like sword are brought into play. ‘Kettukari’ is one such weapon
made out of bamboo, which is around six feet in span and is effectively used by
hurling blows at different parts of the foe’s body. Practicing with this weapon
makes handling the spear in ‘ankathari’, seem extremely straightforward.
Another weapon is the ‘viada’ or the mace which is a double handed, heavy club;
fatal enough to break skulls.
The next weapon introduced into this stage is the ‘cheruvati’. Also made
out of bamboo, used in both attack and defence, this weapon is fairly short in
span; however it’s solid, heavy and in the hands of a skilled practitioner, it
can strike at an astounding rate of 200 a minute.
The ‘urimi’ as mentioned earlier, is a long, flexible, double-bladed
sword which is worn around the warrior’s waist like a belt. Agility and
awareness are essential preconditions while handling this weapon as one’s own
blood could be at stake. The weapon is extremely effective when many assailants
are around. Most opponents would eventually turn back and leave combat in the
fear of being decapitated.
The final weapon taught to the practitioner in ‘kolthari’ is the
‘ottakkol’ which plays a critical role in his progress, since the application
of the weapon involves complex movements of the body. The wooden weapon is
unique in form seeing that it has a small club at one end and a handle, for
grip, at the other. Considered more than just a weapon, the ‘ottakkol’ is
retained for the highest level in kalaripayattu primarily for the reason that
the fighter must be extremely dextrous before he gets his hands on this
exclusive entity. The weapon can either be ineffective or lethal depending on
the level of the practitioner as here the knowledge of marmas comes into play.
The weapon is used to strike vital pressure points of the body that will kill
the opponent; anything short of that would be paralysis. While all other
weapons have twelve training sequences, it’s rather simple to understand as to
why the ‘ottakkol’ would have eighteen.
The third and final stage is known as ‘ankathari’, or combat exercises
with weapons made from unbending metal. The training commences with a dagger
called ‘kattaram’, used in combat duels fought at close quarters. Numerous
grips and several components of bare-hand techniques in ‘meithari’ are
practiced for efficient use of the dagger. Fighting with a dagger entails close
body contact; hence the slightest lapse in alertness can lead to serious
injury.
The sword and shield were the primary arms used in combat during the
medieval times in Kerala and have been carried on through since then in the
kalaripayattu system. The application of this attack and defence weapon
combination draws on the various movements learned in the preliminary physical
training exercises or ‘meithari’. This furthermore goes on to show that during
the transition from the first stage to the last, every phase of training is
given grave importance as one can’t do without the other in order to progress
in Kalaripayattu.
Looking at the intensity of the physical practices and discipline that
goes into Kalaripayattu, one can conclude that this martial art is not only
meant to transform the practitioner into a defendant, but also a skilful
combatant. Today, we see more people in Kerala take to this martial art largely
for the fact that one is able to attain the physical control and mental
concentration similar to that of a warrior, apart from only having self defence
or fitness on their agenda. The first stage of training or ‘meithari’ can alone
give the practitioner immense strength, stamina, flexibility and agility that
one can easily defend themselves, whether against a single opponent or few. The
movements and stances included in ‘meipayattu’ add finesse to the fighting
style. As far as weapons go, since Kalaripayattu is rehearsed in the present
day and age, using a weapon outside the kalari would be extremely redundant and
illegal, but narrowly escaping a slash or a hit almost every single time during
practice, must get the body’s adrenaline flowing. It could be possible that a
few people end up gaining thrill out of using deadly weapons in false combat.
By analysing these effects of the practices on the body as well as the mind, we
can establish that the benefits themselves stand testament to the ability of
Kalaripayattu to survive and continue through the ages.
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