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Indian Martial Arts

ContentsArticles

Indian martial arts 1Vajra Mushti 7Gatka 8Lathi 13Musti yuddha 15Thang-ta 16Kalaripayat 18Silambam 30Malla-yuddha 33Malyutham 36

ReferencesArticle Sources and Contributors 39Image Sources, Licenses and Contributors 40

Article LicensesLicense 41

Indian martial arts 1

Indian martial arts

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-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 asśastravidyā or dhanurveda. The former is a compound of the words śastra (sword, weapon) and vidyā (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 artsin general[2] The Vishnu Purana text describes dhanurveda as one of the traditional eighteen branches of "appliedknowledge" or upaveda.[3]

History

Antiquity (pre-Gupta)Indian epics contain accounts of combat, both armed and bare-handed. The Mahabharata describes a prolongedbattle between Arjuna and Karna using bows, swords, trees, rocks and fists.[3] Another unarmed battle in theMahabharata describes two combatants boxing with clenched fists and fighting with kicks, finger strikes, kneestrikes and headbutts.[4] Krishna Maharaja, whose battlefield exploits are alluded to in the Mahabharata, is creditedwith developing the sixteen principles of śastravidyā.Many of the popular sports mentioned in the Vedas and the epics have their origins in military training, such aswrestling (maladvandva), chariot-racing (rathachalan), horse-riding (ashvarohana) boxing (musti yuddha) andarchery (dhanurvidya).[5] Competitions were held not just as a contest of the players' prowess but also as a means offinding a bridegroom. Arjuna, hero of the Mahabharata, and Siddhartha Gautama both won their consorts in suchtournaments.In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the nata dances, wereincorporated into martial arts.[6] A number of Indian fighting styles remain closely connected to yoga, dance andperforming arts. Some of the choreographed sparring in kalari payat can be applied to dance[7] and kathakali dancerswho knew martial arts were believed to be markedly better than the other performers. Until recent decades, chhauwas practiced only by martial artists. Some traditional Indian dance schools still incorporate kalari payat as part oftheir 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 2

(vel), sword (val), shield (kedaham), and bow and arrow (vil ambu). The combat techniques of the Sangam periodwere the earliest precursors to kalaripayat.[3] References to "Silappadikkaram" in Sangam literature date back to the2nd 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) whichrefers 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 calledNara.[15] Another early Buddhist sutra called Hongyo-kyo describes a "strength contest" between Gautama Buddha'shalf-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 thefoundation of Indian martial arts by dispersing pankration techniques throughout the subcontinent,[16] [17] [18] but noevidence exists to support this claim. Macedonians were not very appreciative of combat sports and Alexanderhimself felt pankration to be unsuitable for war, rejecting it in favour of military strategy.[19] As it is based entirelyon assumptions, this theory is popular primarily among martial artists of Greek descent but is not taken seriously byany historians.[19] Furthermore, accounts of combat in Indian epic poetry, pre-date Alexander the Great.

Classical period (3rd to 10th centuries)

17th century mural of Balarama in asouth Indian temple. Martial arts areoften associated with avatara in the

Puranas.

Like other branches of Sanskrit literature, treatises on martial arts becomemore systematic in the course of the 1st millennium AD. Vajra musti, agrappling style, is mentioned in sources of the early centuries CE.[13] TheKama Sutra written by Vātsyāyana enjoined women to regularly "practicewith sword, single-stick, quarterstaff, and bow and arrow". Around this time,tantric philosophers developed important metaphysical concepts such askundalini, chakra, and mantra.[6]

The Sushruta Samhita (c. 4th century) identifies 107 vital points on thehuman body[20] of which 64 were classified as being lethal if properly struckwith a fist or stick.[6] Sushruta's work formed the basis of the medicaldiscipline 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 epicsources, it is certain that India's early fighters knew and practiced attacking ordefending vital points.[21]

Around 630, King Narasimhavarman of the Pallava dynasty commissioneddozens of granite sculptures showing unarmed fighters disarming armedopponents. These may have shown an early form of varma adi, a Dravidianmartial art that allowed kicking, kneeing, elbowing and punching to the headand chest, but prohibited blows below the waist. This is similar to the styledescribed in the Agni Purana.[6]

Martial arts were not exclusive to the kshatriya caste, though the warrior class used them more extensively. The 8thcentury text Kuvalaymala by Udyotanasuri recorded fighting techniques being taught at ghatika and saladeducational 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 armedand unarmed fighting techniques to their students as a way of increasing stamina and training the physical body.

Indian martial arts 3

Agni PuranaThe earliest extant manual of dhanurveda is in the Agni Purana (dated to between the 8th and the 11th century),[21]

[22] The dhanurveda section in the Agni Purana spans chapters 248-251. It divides the art into weapons that arethrown or unthrown. The thrown (mukta) class includes twelve weapons altogether which come under fourcategories, viz.• yantra-mukta: projectile weapons such as the sling or the bow• pāṇi-mukta: weapons thrown by hand such as the javelin• mukta-sandharita: weapons that are thrown and drawn back, such as the rope-spear• mantra-mukta: mythical weapons that are thrown by magic incantations (mantra), numbering 6 typesThese were opposed to the much larger unthrown class of three categories.• hasta-śastra or amukta: melee weapons that do not leave the hand, numbering twenty types• muktāmukta: weapons that can be thrown or used in-close, numbering 98 varieties• bāhu-yuddha: nine weapons of the body (hands, feet, knees, elbows and head), ie. unarmed fightingThe duel with bow and arrows is considered the most noble, fighting with the spear ranks next, while fighting withthe sword is considered unrefined, and wrestling is classed as the meanest or worst form of fighting. Only a Brahmincould be an acharya (teacher) of dhanurveda, Kshatriyas and Vaishyas should learn from the Brahmin, while aShudra could not take a teacher, left to "fight of his own in danger".There follow nine asana or positions of standing in a fight1. samapada ("holding the feet even"): standing in closed ranks with the feet put together (248.9)2. vaiśākha: standing erect with the feet apart (248.10)3. maṇḍala ("disk"): standing with the knees apart, arranged in the shape of a flock of geese (248.11)4. ālīḍha ("licked, polished"): bending the right knee with the left foot pulled back (248.12)5. pratyālīḍha: bending the left knee with the right foot pulled back (248.13)6. jāta ("origin"): placing the right foot straight with the left foot perpendicular, the ankles being five fingers apart

(248.14)7. daṇḍāyata ("extended staff"): keeping the right knee bent with the left leg straight, or vice versa; called vikaṭa

("dreadful") if the two legs are two palm-lengths apart (248.16)8. sampuṭa ("hemisphere") (248.17)9. svastika ("well-being"): keeping the feet 16 fingers apart and lifting the feet a little (248.19)Then there follows a more detailed discussion of archery technique.The section concludes with listing the names of actions or "deeds" possible with a number of weapons, including 32positions to be taken with sword and shield (khaḍgacarmavidhau),[23] 11 names of techniques of using a rope infighting, along with 5 names of "acts in the rope operation" along with lists of "deeds" pertaining to the chakra, thespear, the iron club (tomara), the mace (gaḍa), the axe, the hammer, the bhindipāla or laguda, the vajra, the dagger,the slingshot, and finally deeds with a bludgeon or cudgel.[24]

Middle Ages (11th to 15th centuries)The earliest treatise discussing the techniques of malla-yuddha is the Malla Purana (ca. 13th century). Other oldstyles like varma kalai,[6] and kalaripayat had developed into their present forms by the 11th century, during anextended period of warfare between the Chera and Chola dynasties.[25]

Organised martial arts in ancient India included malla-yuddha, or combat-wrestling, codified into four forms,[26]

Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to thechest, punches to the head, hair pulling, and strangleholds.[6] Based on such accounts, Svinth (2002) traces press upsand squats used by Indian wrestlers to the pre-classical era.[6]

Indian martial arts 4

There are scattered references to dhanurveda in other medieval texts, such as the Kamandakiya Nitisara (ca. 8th c.,ed. Dutt, 1896), the Nitivakyamrta by Somadeva Suri (10th c.), the Yuktikalpataru of Bhoja (11th c.) and theManasollasa of Somesvara III (12th c.) There is an extant dhanurveda-samhita dating to the mid 14th century, byBrhat Sarngadhara Paddhati (ed. 1888).

Mughal era (1526 to 1857)

The khanda, a native straight swordcreated by the Rajputs

After a series of victories, the conqueror Babur established Mughal rule inNorth India during the 16th century. The Mughals, Persians of Mongoldescent, practiced martial techniques such as wrestling and mounted archery.By combining indigenous malla-yuddha with Turkic and Mongolian wrestlingthey created the grappling style pehlwani which has remained popular untiltoday, particularly among Muslims. One of the Mughals' most enduringlegacies on Indian martial arts was their introduction of thePersian-influenced talwar (scimitar). Although curved blades had been usedin India since ancient times, the straight khanda (double-edge sword) hadenjoyed greater popularity until then.

The Ausanasa Dhanurveda Sankalanam dates to the late 16th century, compiled under the patronage of Akbar.There is also a 17th-century Dhanurveda-samhita attributed to Vasistha.

Maratha era (1650 to 1857)The Marathas came to prominence during the 1600s due mostly to the efforts of Shivaji Rao Bhonsla and later, hisbrother Ekoji. Owing to the hilly geography of Maharashtra, the Marathas excelled in guerilla warfare. Favoured bythe Mughal rulers as loyal commanders of the army, they were made official protectors of the throne between 1720and 1740. By 1751 they had control of western Deccan and became the most important power in India. The Marathascreated a fighting system called mardani khel which focuses on weaponry, particularly swords. Its movements arerapid and makes use of low stances suited to the hill ranges where it is originated. Shivaji himself was trained inarmed combat from an early age and was an expert in the use of various arms,[27] including the sword, bagh nakh,and bichawa (scorpion knife). His weapon of choice was a 4-foot sword with a small handle and a spike upon the hiltfor thrusting.

Modern period (1857 to present)Indian martial arts underwent a period of decline after the full establishment of British colonial rule in the 19thcentury.[21] More European modes of organizing police, armies and governmental institutions, and the increasing useof firearms, gradually eroded the need for traditional combat training associated with caste-specific duties.[25] TheBritish colonial government banned kalaripayat in 1804 in response to a series of revolts.[28] Silambam was alsobanned and became more common in the Malay Peninsula than its native Tamil Nadu. During this time, manymartial arts were confined to rural areas. The resurgence of public interest in kalaripayat began in the 1920s inTellicherry as part of a wave of rediscovery of the traditional arts throughout south India which characterized thegrowing reaction against British colonial rule.[25] During the following three decades, other regional styles weresubsequently revived such as silambam in Tamil Nadu, and thang-ta in Manipur.[29]

Indian martial arts 5

Weapons

The katara (कटार), a weapon found only inSouth Asia, has gained some fame for its

unusual design.

The urumi, a flexible blade that behaveslike a whip, is unique to Dravidian

martial arts.

A wide array of weapons are used in South Asia, some of which are not foundanywhere else. According to P.C. Chakravati in The Art of War in AncientIndia, armies used standard weapons such as wooden or metal tipped spears,swords, thatched bamboo, wooden or metal shields, axes, short and long bowsin warfare as early as the 4th century BC. Military accounts of the GuptaEmpire (c. 240-480) and the later Agni Purana identify over 130 differentweapons, categorised into thrown and unthrown classes and further dividedinto several sub-classes.

Over time, weaponry evolved and India became famed for its flexible wootzsteel. Armed forces were largely standardised and it is unclear if regularinfantry were trained in any recognisable martial system other than standardmilitary drills. More sophisticated techniques and weapons were employed byfighters trained in the warrior jati.

Styles

As in other respects of Indian culture, Indian martial arts can be roughlydivided into northern and southern styles, more or less corresponding to themajor ethno-linguistic grouping of Indo-Aryan vs. Dravidian speakingpopulations. The main difference is, again as in Indian culture in general, thatnorthern India was more exposed to Persianate influence during the Mughalperiod, while Southern India is more conservative in preserving ancient andmedieval traditions. The exception to this rule are the northeastern stateswhich, due to their geographic location, were closed off from mostpre-European foreign invaders. Northeast Indian culture and fighting methodsare also closely related to that of Southeast Asia. In addition to the majordivision between north and south India, martial systems in South Asia tend to be associated with certain states, cities,villages or ethnic groups.

North India• Gatka is a weapon-based style of śastravidyā created by the Sikhs of the Pan Jaab region.• Lathi is a style of cane-fighting originally practiced by village herdsmen.• Mardani khel is an armed method created by the Marathas of Maharashtra.• Musti yuddha is a style of kickboxing, popular in the Middle Ages but now confined to Varanasi.• Pari-khanda is a style of sword and shield fighting from Bihar.• Thang-ta or huyen lalong is an armed system created by the Meitei of Manipur.

Indian martial arts 6

South India• Kalaripayat has its roots in the combat training halls (payattu kalari) of Kerala's traditional educational system.• Kathi samu (sword fighting) and karra samu (stick fighting) are weapon-based systems from Andhra Pradesh.• Silambam is a weapon-based style from Tamil Nadu which focuses on the bamboo staff.

WrestlingGrappling sports are found throughout India and were generically referred to in Sanskrit as maladvandva. Truecombat-wrestling is called malla-yuddha in the north and malyutham in the south, while the term malakhra refers towrestling for sport. Malla-yuddha was codified into four forms which progressed from purely sportive contests ofstrength to actual full-contact fights known as yuddha.[30] Due to the extreme violence, this final form is generally nolonger practiced. The second form, wherein the wrestlers attempt to lift each other off the ground for three seconds,still exists in south India. Malla-yuddha is virtually extinct in the north where it has been supplanted by Mughalpehlwani. Vajra musti was another old grappling art in which the competitors wrestled while wearing a cestus-likeclaw called a bagh nakh.Numerous styles of folk wrestling are also found in India's countryside, such as mukna from Manipur and Inbuanwrestling from Mizoram.

References[1] attested in Classical Sanskrit only, specifically in the Anargharāghava.[2] attested from Epic Sanskrit; see Luijendijk, D.H. (2008). Kalarippayat: The Essence and Structure of an Indian Martial Art. Oprat

(LuLu.com). ISBN 1581604807.[3] Zarrilli, Phillip B. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. (http:/ / www. spa. ex. ac. uk/ drama/ staff/ kalari/

power. html) University of Wisconsin–Madison.[4] Section XIII: Samayapalana Parva (http:/ / www. sacred-texts. com/ hin/ m04/ m04013. htm), Book 4: Virata Parva, Mahabharata.[5] The Timechart History Of India. Robert Frederick Ltd.. 2005. ISBN 0-7554-5162-7.[6] J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. (http:/ / ejmas. com/ kronos) Electronic Journals of

Martial Arts and Sciences.[7] Zarrilli, Phillip B. (1998). When the Body Becomes All Eyes: Paradigms, Discourses and Practices of Power in Kalarippayattu, a South

Indian Martial Art. Oxford: Oxford University Press.[8] Luijendijk 2008[9] Suresh, P. R. (2005). Kalari Payatte - The martial art of Kerala. (http:/ / www. palmlandtours. net/ kerala/ tours/ kalari/ kalaripayatte/ kalari.

htm)[10] Subramanian, N. (1966). Sangam polity. Bombay: Asian Publishing House.[11] Raj, J. David Manuel (1977). The Origin and the Historical Development of Silambam Fencing: An Ancient Self-Defence Sport of India.

Oregon: College of Health, Physical Education and Recreation, Univ. of Oregon. pp. 44, 50, & 83.[12] Sports Authority of India (1987). Indigenous Games and Martial Arts of India. New Delhi: Sports Authority of India. pp. 91 & 94.[13] Bruce A. Haines (1995). Karate's History and Traditions (p. 23-25). Tuttle Publishing. ISBN 0-8048-1947-5.[14] University Martial Arts Association. History of Taekwondo. (http:/ / www. uta. edu/ student_orgs/ umaa/ htmlDocs/ history. html)[15] Steinwachs, Tim.History of Karate. (http:/ / home. maine. rr. com/ poiuyt/ history. html)[16] Arvanitis, Jim (2003). Pankration.[17] Todd, Tank; Webb, James (2005). Military Combative Masters of the 20th Century.[18] History and background of Pankration (http:/ / pic1. piczo. com/ extremepankration/ ?g=13802396& cr=1)[19] Kostas Dervenis and Nektarios Lykiardopoulos (2007). The Martial Arts Of Ancient Greece. Destiny Books. ISBN 1594771928.[20] G. D. Singhal, L. V. Guru (1973). Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta

Samhita.[21] Zarrilli, Phillip B. (1992). " To Heal and/or To Harm: The Vital Spots (Marmmam/Varmam) in Two South Indian Martial Traditions (http:/ /

www. spa. ex. ac. uk/ drama/ staff/ kalari/ healharm. html) Part I: Focus on Kerala's Kalarippayattu". Journal of Asian Martial Arts 1 (1).[22] P. C. Chakravarti (1972). The art of warfare in ancient India. Delhi.[23] (1.) bhrāntam (2.) udbhrāntam (3.) āviddham (4.) āplutaṃ (5.) viplutaṃ (6.) sṛtaṃ (7.) sampātaṃ (8.) samudīśañca (9.-10.)

śyenapātamathākulaṃ (251.1) (11.) uddhūtam (12.) avadhūtañca (13.) savyaṃ (14.) dakṣiṇam eva ca (15.-16.) anālakṣita-visphoṭau (17.-18.)karālendramahāsakhau (251.2) (19.-20.) vikarāla-nipātau ca (21.-22.) vibhīṣaṇa-bhayānakau (23-24.) samagrārdha (25.) tṛtīyāṃśapāda(26.-28.) pādardhavārijāḥ (251.3) (29.) pratyālīḍham (30.) athālīḍhaṃ (31.) varāhaṃ (32.) lulitan tathā (251.4ab)

Indian martial arts 7

[24] Parmeshwaranand Swami, Encyclopaedic Dictionary of Purāṇas, Sarup & Sons, 2001, ISBN 978-81-7625-226-3, s.v. "dhanurveda" (http:/ /books. google. com/ books?id=nmmkM0fVS-cC& pg=PA467); Gaṅgā Rām Garg, Encyclopaedia of the Hindu World, Concept PublishingCompany, 1992 ISBN 9788170223764, s.v. "archery".

[25] Zarrilli, Phillip B. (1998). When the Body Becomes All Eyes: Paradigms, Discourses and Practices of Power in Kalarippayattu, a SouthIndian Martial Art. Oxford: Oxford University Press.

[26] R.Venkatachalam (September 1999). Mallayuddha. (http:/ / www. kathinayoga. com/ KalariWorld/ Articles/ other_article3. html)[27] K. L. Khurana (1993). Medieval India. Agra: Lakshmi Narain Agarwal. ISBN 81-85778-15-9.[28] Luijendijk, D.H. (2005). Kalarippayat: India's Ancient Martial Art. Boulder: Paladin Press. ISBN 1581604807.[29] http:/ / sports. indiapress. org/ thang_ta. php[30] Donn F. Draeger and Robert W. Smith (1969). Comprehensive Asian Fighting Arts. Kondansha International Limited.

Vajra MushtiVajra-mushti (Sanskrit vajramuṣṭi वज्रमुश्टि) is a Sanskrit bahuvrihi compound translating to "one who is grasping athunderbolt" or "one whose clenched fist is like a diamond". It is a name of Indra mentinoed in the Ramayana epic.[1]

In Tantric Buddhism Vajramusti is the name of a specific mudra (hand gesture). In Shingon Buddhism, it is also thename of a specific Bodhisattva mentioned in the Vajrasekhara Sutra.In the Malla Purana, it is synonym of Bhukhandi, a cestus or knuckleduster-like weapon used by a class of wrestlersknown as Jyeṣṭīmallas.[2]

Terence Dukes in The Boddhisattva Warriors (2000) claims that vajramuṣṭi was also a term for an ancient Indianmartial art of the kshatriya caste that was transferred to China along with the silk road transmission of Buddhismduring the early centuries CE, contributing to the origins of Chinese martial arts. Dukes speculates that there was amartial art specific to early Buddhism which he terms "Bodhisattva Vajramukti" (sic). Dukes builds his theory on heterm vajramuṣṭi itself, which he translates as "Thunder Fist". He claims that "Bodhisattva Vajramukti" was passed onwithin early Chinese Buddhist temples, as 拳法 chuan fa, whence Japanese kenpō.

References[1] Monier-Williams (1899)[2] Donn F. Draeger, Robert W. Smith, Comprehensive Asian fighting arts, Kodansha International, 1980, ISBN 9780870114366, 141ff.

• Andy James, The spiritual legacy of Shaolin temple: Buddhism, Daoism, and the energetic arts WisdomPublications, 2004, ISBN 9780861713523, 78ff.

• Terence Dukes, The Bodhisattva Warriors: The Origin, Inner Philosophy, History and Symbolism of the BuddhistMartial Art Within India and China, Motilal Banarsidass, 2000, ISBN 9788120817234.

Gatka 8

Gatka

Gatka demonstration at the head of a procession to celebrate the 538th birthday of Nanak Dev in Bedford, EnglandFocus Weapons (sticks simulating swords)

Country of origin Pan Jaab, India

Parenthood Shastar vidiyā

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-Ta  · Sarit Sarak

Notable Practitioners

Phillip Zarrilli  · Jasmine Simhalan  · Gobar Goho  · Gulam  · Guru Har Gobind  ·John Will

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Sikhism

Sikh Gurus

Nanak Dev · Angad Dev · Amar Das · Ram Das · Arjan Dev · Har Gobind · Har Rai · Har Krishan · Tegh Bahadur · Gobind Singh ·Granth Sahib ·

Philosophy

Beliefs and principles · Underlying values · Prohibitions · Technique and methods

Practices

Ardās · Amrit Sanskar · Chaṛdī Kalā · Dasvand · Five Ks · Kirat Karō ·Kirtan · Langar · Nām Japō · Simran · Three Pillars · Vaṇḍ Chakkō

Scripture

Guru Granth Sahib · Adi Granth · Dasam Granth · Sarbloh Granth · Bani · Chaupai · Jaap Sahib · Japji Sahib · Mool Mantar ·Rehras · Sukhmani Sahib · Tav-Prasad Savaiye

Gatka 9

General topics

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Sikhism Portal

Gatka (Punjabi: ਗਤਕਾ gatkā) is a weapon-based Indian martial art created by the Sikhs of the Panjab. The Panjabiword gatka refers to the wooden stick used in sparring matches. The term might have originated as a diminutive ofthe Sanskrit word gadha or mace.[1] [2]

Gatka can be practiced either as a sport (khel) or ritual (rasmi). The modern sport originated in the later 19th century,out of sword practice in the British Indian Army during the 1880s. It is played by two opponents who spar withwooden staves intended to simulate swords. The sticks may be paired with a shield. The older techniques and variousother weapons are taught in the ritual aspect of the art. These are demonstrated in preset routines or performed as asword dance during Sikh festivals.[2] Though primarily an armed fighting style, gatka also incorporates wrestling aspart of its empty-handed training component.

History

OriginsThe Panjab has a long history of war and armed conflict, some of which was set down in the Mahabharata epic. Firstinvaded by Indo-Aryans in 1700 BC, and conquered by the Mauryans in the 3rd century BC, the Mughals alsofought their way through the region on their way from the Khyber Pass to Delhi. As such, Sikhs developed as awarrior people with a heavily martial culture, ultimately rooted in the fighting methods employed by the militaristicRajputs and the kesatria caste in general. The fighting systems of this period are more properly called shastar vidiyā(ਸ਼ਸਤਰ ਵਿਦਿਆ), the Panjabi spelling for śastravidyā or "knowledge of the sword" in Sanskrit. Guru Nanak, thefounder of the Sikh religion, was born into a kshatriya family, as were many of his first disciples. His successor,Guru Angada Deva, was a wrestling enthusiast and encouraged followers to train the body physically as well asdeveloping mentally and spiritually.Guru Hargobind propagated the theory of the warrior saint and emphasized the need for his followers to practicefighting for self-defence.[3] When fifty-two Rajput princes were captured by the Muslim conquerors, he assembledan army to free them. This led to further exchanges in the martial cultures of the Sikhs and Rajputs. Both the Rajputsand Panjabis favoured the sword as their main weapon.Although Sikhism was found to be popular among both Hindus and Muslims, its followers constantly had to fight toprotect their communities and religion from the Mughal rulers. During the 1600s Emperor Aurangazeb attempted toeradicate the Sikh faith by forcibly converting Guru Teg Bahadur to Islam. Guru Teg refused to renounce his faithand was beheaded in 1675. His son and successor was Guru Gobind Singh, the 10th guru of Sikhism and a master ofshastar vidiya. In 1699 he founded the Khalsa brotherhood by baptising five disciples with a sword dipped in thenectar of immortality (amrita). This collective society galvanized the martial energies of the Sikh community andwould later go on to form the Khalsa Army of the Sikh Empire during the first half of the 19th century.[4]

The Khalsa's aims were to fight oppression, assist the poor, worship the one God, abandon superstition, and defendthe faith. This is symbolised by the kirpan or dagger, one of the five Ks which every baptised Sikh is required tocarry. In regards to training the brotherhood, Guru Gobind Singh pledged that he would "teach the sparrow to fightthe hawk". The Akali Nihang, a stricter order of Sikh warriors, exemplified his principles of combining spiritualitywith combat training. Gobind Singh was also responsible for adding to the Sikh canon the holy books Sri DasamGranth and Sri Sarab Loh Granth, which mention the practice of shastar vidiya.

Gatka 10

During the later 17th century, the Sikhs were responsible for defending India's north from foreign conquerors.Having repelled a number of Afghan invasions, they eventually went on to fill the power void left after the collapseof the Mughals.

ColonisationAs British colonial rule spread across India, the Sikhs prepared themselves for war with the Europeans. Pan Jaab'sruling monarch, Ranjit Singh, was an experienced warrior despite his comparatively small build. He personallyassisted in training his army in shastar vidiya. The British avoided direct confrontation with Ranjit Singh's forces,and gave up any plans of taking over the region until after the ruler's death. Ranjit's passing was followed bywidespread corruption and anarchy within the royal family. Only in the 1840s, after two wars with the British, wasthe Khalsa army finally defeated.Following the Second Anglo-Sikh War of 1848 to 1849 and the establishment of the British Raj, the Sikh martialtraditions and practitioners suffered greatly. Ever wary of the Panjabis, the British ordered effective disarmament ofthe entire Sikh community; even tools and farming equipment were banned. The Akali Nihang, considered thekeepers of all Sikh traditions, were regarded as disloyal to the colonists. More than 1,500 Nihang were killed by theBritish for plotting rebellion. According to folklore, some fled and spent the rest of their lives in the northernmountains.During the Indian Rebellion of 1857, the Sikhs assisted the British in crushing the mutiny. As a consequence of thisassistance, restrictions on fighting practices were relaxed, but the Panjabi martial arts which re-emerged after 1857had changed significantly.[5] The new style applied the sword-fighting techniques to the wooden training-stick. Itwas referred to as gatka, after its primary weapon. Gatka was used mainly by the British Indian Army in the 1860s aspractice for hand-to-hand combat. As Sikh colleges opened during the 1880s, European rules of fencing were appliedto create what is now called khel or sport gatka. The other techniques and weapons of traditional shaster vidiya weretaught to experienced students as rasmi or ritual.The European colonists brought Sikhs from India to other British colonies to work as soldiers and security guards.Gatka is still practiced by the Sikh communities of former British colonies and neighbouring countries such asMalaysia, Hong Kong and Thailand.

Gatka 11

Gatka today

A young boy practising gatka

The International Gatka Federation (IGF) was founded in 1982 andformalized in 1987. It is based in Berlin and has chapters in Hamburgand Bordeaux.

In the United Kingdom, Baba Fateh Singh Gatka Akhara wasestablished in East London in 1992, contributing to the establishmentof the International Gatka Organisation (IGO).

The system devised by Captain William Ewart Fairbairn and CaptainEric Anthony Sykes borrowed methodologies from gatka, jujutsu,Chinese martial arts and "gutter fighting". This method was used totrain soldiers in close-combat techniques at the Commando BasicTraining Centre in Achnacarry, Scotland.[6]

Gatka competitions, along with various other sports, are held annuallyduring a festival in the rural Indian city of Kila Raipur.Gatka demonstrations are sometimes held during Vaisakhi in Malaysia.There was a gatka tournament held in Oldbury in March 2006.[7]

Gatka was displayed during the celebrations of Hola Mohalla inGurdwara Sri Guru Singh Sabha in Hounslow.[8] It was also performed

on the 2005, July 4 Independence Day parade on Constitution Avenue in Washington DC, United States.[9]

Gatka is performed as a stick-fighting dance by the Sikh community of Trinidad.[10]

Weapons

Gatka at Yuba City

The correct use of melee weapons is central to gatkawith techniques depending on the nature of the weapon.The sword is gatka's main weapon, often paired with ashield or another sword. The shield itself can be usedoffensively. The following lists a few examples of theweapons used in gatka.• Talwar: curved one-sided sword• Kirpan: dagger worn by baptised Sikhs at all times• Dong: stick of bamboo from one to three meters in

length, used for training• Flexible weapons, such as whips and chains.• Kukri: bent sword which broadens towards the point• Bow and arrow, either traditional Indian steel

recurve bows or true composite bows made of wood, horn and sinew. Fletched reed arrows with tanged steelpoints are typically used.

• Barcha: spear• Bothati: lance used from horseback• Nagni barcha: javelin• Khanda: double-edge sword• Bagh nakh: "leopard claw", a spiked weapon worn on the hand• Chakram: circular edged weapon that can be thrown or used in-close• Kataar: dagger able to pierce armour, spelled katara in Sanskrit

Gatka 12

TrainingWith its strong link to the Sikh faith, gatka groups may train in a religious or semi-religious situation, such as in agurdwara (Sikh temple). Akharas, usually associated with pehlwani, have also been founded with the exclusivepurpose of teaching gatka.[11] Gatka emphasizes having something in both hands, eg two sticks, a stick and a sword,a sword and a shield or any other combination.[11] Training with "both hands full" is believed to be an excellentexercise for coordinating the two halves of the body, a concept also found in Filipino kali. The individual'spreference for weapons, combination of weapons, and movement patterns leads to the development of individualfighting methods.[11]

The foundation of the art is a movement methodology for the use of the feet, body, arms and weapons in unison.Gatka favors rhythmic movement, without hesitation, doubt or anxiety. The attacking and defense methods are basedupon the positions of the hands, feet and weapon(s) during the dexterity regimen.[11]

Chanting holy verses may accompany these exercises. The three-beat-per-cycle played by a drummer adds to thecoordination during practice.[11]

Notes[1] Ananda Lal, The Oxford companion to Indian theatre, Oxford University Press (2004), ISBN 9780195644463, p. 129.[2] Sikh martial art `Gatka' takes the West by storm. (http:/ / www. hindu. com/ 2006/ 07/ 27/ stories/ 2006072712720300. htm) (Press Trust of

India). The Hindu[3] Williams, Rosetta (2007). Sikh Gurus Page 68. Har-Anand Publications[4] Merriam Webster's Collegiate Encyclopedia (2000) pg 662. Merriam-Webster[5] [v MILITARY SIKHS: The Education of a Sikh Warrior. Victoria and Albert Museum.] 'An introduction to Shastar Vidiya - the education of

a Sikh warrior' was a lecture by Nidar Singh, given as part of the Sikh Arts and Heritage Lecture Series at the V&A, 10 October 2001.[6] O. Janson. Fairbairn-Sykes Fighting knife: The famous fightingknife used by British commandos and SOE during WW2. Gothia Arms

Historical Society[7] Gatka in Oldbury. British Broadcasting Corporation. (http:/ / www. bbc. co. uk/ blackcountry/ content/ articles/ 2006/ 03/ 20/

gatkaoldbury_2006_feature. shtml)[8] Surely that man with the sword isn't. . . oh yes he is by Jonathan Petre (The Telegraph Online Edition) (http:/ / www. telegraph. co. uk/ news/

uknews/ 1512953/ Surely-that-man-with-the-sword-isnt. -. -. -oh-yes-he-is. html)[9] Haniffa, Aziz (July 22, 2005). Sikhs participate in July 4 parade.India Abroad.[10] Milla Cozart Riggio (2004). Carnival: Culture in Action--the Trinidad Experience pg 289. Routledge[11] Singh, Arjun (2006). Gatka. Atlanta Martial Arts Directory. (http:/ / www. atlantamartialarts. com/ styles/ gatka. htm)

• Nanak Dev Singh Khalsa & Sat Katar Kaur Ocasio-Khalsa (1991) Gatka as taught by Nanak Dev Singh, BookOne - Dance of the Sword (2nd Edition). GT International, Phoenix, Arizona. ISBN 0-89509-087-2

See also• Indian martial arts• Akali• Nihang

External links• International Gatka Federation (IGF) (http:/ / www. gatka. de/ )• International Gatka Organisation (IGO) (http:/ / www. internationalgatka. org/ )• BBC Website - Gatka in Britain (Oldbury) - Gurdwara Amrit Parchar Dharmik Diwan (http:/ / www. bbc. co. uk/

blackcountry/ content/ articles/ 2006/ 03/ 20/ gatkaoldbury_2006_feature. shtml)• Gatka Akhara (groups) in the UK (http:/ / www. gatka. co. uk)• California Gatka Dal (http:/ / www. gatka. us)• Punjab Gatka Association (PGA) (http:/ / www. punjabgatkaassociation. com/ )

Lathi 13

Lathi

Lathi

Type Stick

Place of origin India

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-Ta  · Sarit Sarak

Notable Practitioners

Phillip Zarrilli  · Jasmine Simhalan  · Gobar Goho  · Gulam  · Guru Har Gobind  ·John Will

Lathi (Devanagari: लाठी) means stick and is the name of an Indian cane-fighting martial art . The word lathi meansstick or cane in Hindi, Bengali and some other Indian languages. It is basically a 6 to 8-foot (2.4 m) long cane tippedwith an optional metal blunt. It is the Indian Police's most used crowd control device.Lathi wielders (called a lathial or lethel) need to be quick and precise. Blows can be powerful and sometimes evenfatal. A good lathial must be able to fight using sticks of different lengths and thicknesses.

HistoryThe stick is one of the world's oldest weapons. Martial artists favoured the stick for its easy accessibility and the factthat it is not necessarily lethal made it a popular self-defence implement among Hindu priests and Buddhist monks inSouth Asia. Lathi or cane-fighting has a long history in India where the weapon was often used to control domesticanimals. Rural villagers would use the lathi to protect their flocks from thieves and in fights between herdsmen. Themen of villages used to carry a lathi with them at all times. It used to help them in walking/climbing, controlling theirherd, defending themselves and to carry a small parcel (called potli) with lunch etc, at one end of the lathi, whileresting the lathi over the shoulder. A common Hindi saying goes "Jiski lathi, uski bhains" meaning, "He who wieldsthe lathi gets to keep the buffalo". As the art evolved, lathi duels became especially popular in east and south Indianvillages which eventually began holding regular tournaments. Village landlords would raise armies of lathial forsecurity purposes and to settle conflicts. Local warlords would also use lathial armies to oppress and punish commonpeople. The size of the army was an indication of the power of a warlord or landlord.Following their conquest of India the Mughals introduced zamindar, which refers to intermediary landed elementswith various levels of inheritable land rights. Lathial groups were sent to forcefully collect taxes from villagers. Thezamindari system continued during British rule and wasn't abolished until after India's independence in 1947. Richfarmers and other eminent people in today's Indian villages still hire lathials for security and as a symbol of theirpower. Disputes in villages, when settled illegally, still involve lathi battles but this is no longer a common practiceand it has largely been replaced by legal methods or, rarely, shootouts. This led to a decline in lathi as a martial art.Although lathi remains a famous sport in Indian villages, urbanisation has led to a decline of this rural martial art.

Lathi 14

Lathi in law enforcementThe British colonists introduced lathi as a weapon for the Indian Police. This gave birth to the lathicharge, amilitary-style rush that uses lathi to disperse crowds. Lathi are now often used to control riots and also as asecondary weapon. In modern times, lathi is the primary weapon of the Indian riot police along with helmets,shields, tear gas and other methods. Policemen are trained in highly co-ordinated drill movements which can leavemany of the rioters crippled. This drill has been quite controversial among human rights activists so in many placesthe police do not follow the drill but hit in such a way to disperse the crowds. Security guards and police officersoften carry a lathi along with or in place of firearms. They prefer lathi for their ease of use and comparative safetyand only resort to firearms in situations when lathi cannot be used efficiently.

See also• Indian martial arts• Law enforcement in India

External links• Lathi [1]

References[1] http:/ / indianlathi. com/

Musti yuddha 15

Musti yuddha

Also known as Muki Boxing

Focus Striking

Hardness Full-contact

Country of origin Varanasi,India

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-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. Similar to Southeast Asian kickboxing styles itmakes use of punches, kicks, knees and elbow strikes although punches tend to dominate. Practitioners claim thisstyle to be a complete art for physical, mental and spiritual development. Boxers toughen their hands and feet bypunching or kicking hard objects such as brick or stone and they break coconuts as a test of strength. Some internalenergy training is also incorporated. Matches were once held regularly in Varanasi but were eventually bannedbecause of the fights which often broke out among the boxers' supporters. Illegal bouts continued but became rare bythe 1960s.

See also• Indian martial arts• Lethwei• Muay Lao• Muay Thai• Pradal Serey• Tomoi

References• Donn F. Draeger and Robert W. Smith (1980). Comprehensive Asian fighting arts. Kodansha International.

ISBN 9780870114366.

Thang-ta 16

Thang-ta

Thang-ta practitioner with spear and shield.Also known as Huyen Lalong

Focus Weapons

Country of origin Manipur, India

Parenthood Historic

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-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. In the Manipurilanguage, thang means sword and ta means spear. As its name implies, the sword and spear are the primary weaponsin thang-ta. The spear can be used in its non-missile form while in close or thrown from afar. Other weapons usedinclude the shield and axe.Because of Manipur's cultural similarity, geographic proximity and ethnic ties with Myanmar, thang-ta is closelyrelated to banshay. Both can be practiced in three different ways: ritual, demonstration and combat. The first way isrelated to the tantric practices and is entirely ritualistic in nature. The second way consists of a spectacularperformance involving sword and spear dances. These dances can be converted into actual fighting practices. Thethird way is the true combat application.The earliest record of thang-ta and its sibling Sarit Sarak dates back from the early 1600s. Warriors would arrange to fight one-on-one as a way of settling feuds or disputes. The day before a duel, fighters might eat dinner together. While thang-ta involves using weapons against one or more opponents, Sarit Sarak is the art of fighting empty-handed against armed or unarmed opponents, but on many occasions there is a combined approach to the training of these two systems. They were used with great success by the Manipuri kings to fight against the European colonists. Martial arts were banned during the British occupation of the region, but the 1950s saw a resurgence of the traditional fighting forms. Today thang-ta is the most popular of Meetei martial arts[1] , practiced by both men and

Thang-ta 17

women. It is most often seen through demonstrations in cultural programs.[1]

In 2009, Gurumayum Gourakishor Sharma, a leading exponent and teacher of Thang-Ta, received the high PadmaShri honor award from the Indian Government for his contributions to the preservation and advancement ofThang-Ta.[2] [3]

See also• Indian martial arts• Mukna• Sarit Sarak• Banshay

External links• Thang-Ta from ManipurPage.com [4]

• THE MARTIAL ARTS TRADITION OF MANIPUR [5]

• Martial Arts in India [6]

References[1] (http:/ / themanipurpage. tripod. com/ culture/ thangta. html) Manipur Page[2] "Manipur martial art guru gets Padmashri" (http:/ / www. assamtribune. com/ scripts/ details. asp?id=jan2809/ ne1), Assam Tribune,

2009-01-28, , retrieved 2009-07-24, "... Gurumayum Gourakishore Sharma, who is well-known for his invaluable contribution in the field ofthang-ta, the traditional martial art, has been conferred the prestigious Padmashri award ..."

[3] "Guru G. Gourakishor, the master of Manipuri martial art form", AndhraNews.net, 2009-04-24, "... Guru G. Gourakishor Sharma wasrecently conferred the coveted Padamshree award for 2008-2009 to honour his lifetime contribution to Manipuri Martial Art, Thang-Ta ..."

[4] http:/ / www. manipurpage. com/ ?src=Features. Thang-Ta& uTool=yes[5] http:/ / themanipurpage. tripod. com/ culture/ thangta. html[6] http:/ / sports. indiapress. org/ thang_ta. php

Kalaripayat 18

Kalaripayat

Also known as Kalaripayat, Kalari Payatta, Kalari Payatt

Country of origin Kerala, India

Creator unknown

Parenthood Historic

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-Ta  · Sarit Sarak

Notable Practitioners

Phillip Zarrilli  · Jasmine Simhalan  · Gobar Goho  · Gulam  · Guru Har Gobind  ·John Will

Kalarippayattu (Malayalam കളരിപയറ്റ്, pronounced [kaɭəɾipːajətːɨ̆]) is an Indian martial art from Kerala, SouthIndia. Possibly one of the oldest fighting systems in existence,[1] it is practiced in Kerala and contiguous parts ofTamil Nadu and Karnataka[2] as well as northeastern Sri Lanka and among the Malayalee community of Malaysia.This martial art was practiced primarily by the martial castes like Nairs of Kerala.[3] [4] The word is spelled variouslyas kalari payat, kalarippayatta, kalaripayatt and many others depending on the dialect and romanisation systemused.It includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[2] Regional variants are classifiedaccording to geographical position in Kerala; these are the northern style, the southern style and the central style.Northern kalari payat is based on the principle of hard technique, while the southern style primarily follows the softtechniques, even though both systems make use of internal and external concepts.Some of the choreographed sparring in kalari payat can be applied to dance[2] and kathakali dancers who knewmartial arts were believed to be markedly better than the other performers. Some traditional Indian dance schoolsstill incorporate kalari payat as part of their exercise regimen.[5]

Kalaripayat 19

EtymologyThe term kalari payittru is a tatpurusha compound from the words kalari (Malayalam:കളരി) meaning school orgymnasium and payattu (Malayalam:പയററ്) derived from payattuka meaning to "fight/ exercise" or "to put hardwork into".Belying the assumption that the compound itself might have an equally antique use as the singular kalari andpayattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, kalarippayattu is in UlloorS. Parameswara Iyer's early twentieth century drama Amba when it is probable that the systems of martial practiceassumed a structure and style akin those extant today. M.D. Raghavan has suggested that kalari was derived from theSanskrit khalūrikā while Burrow is of the opinion that khalūrikā (parade ground, arena) and its Sanskrit root, khala-(threshing floor) are Dravidian loan words.

History

South Indian state of Kerala, where kalari payatoriginated

Origins

Phillip Zarrilli, a professor at the University of Exeter and one ofthe few Western authorities on kalaripayattu, estimates thatkalaripayattu dates back to at least the 12th century CE.[2] Thehistorian Elamkulam Kunjan Pillai attributes the birth ofkalarippayattu to an extended period of warfare between theCheras and the Cholas in the 11th century CE.[2] From the 11th or12th century the right and duty to practice the martial art in theservice of a ruler was most associated with Nairs, Ezhavas andsome Christians and Muslims were given this right and duty.[2]

In addition, Among at least some noble families, young girls(unniarcha) also received preliminary training up until the onset of menses.[2] We also know from the vadakkanpattukal ballads that at least a few women of noted Chekavars continued to practise and achieved a high degree ofexpertise.[2] Ankam were fought on an ankathattu, a temporary platform, four to six feet high, purpose-built forankam.[6]

The earliest western account of this art is that of the Portuguese explorer Duarte Barbosa (c. 1518).[2]

The more part of these warriors when they are seven years of age are sent to schools where they aretaught many tricks of nimbleness and dexterity; there they teach them to dance and turn about and totwist on the ground, to take royal leaps, and other leaps, and this they learn twice a day as long as theyare children, and they become so loose-jointed and supple that they make them turn their bodies contraryto nature; and when they are fully accomplished in this, they teach them to play with the weapon towhich they are most inclined, some with bows and arrows, some with poles to become spearmen, butmost with swords and bucklers, which is most used among them, and in this fencing they are everpractising. The masters who teach them are called Panikars.

The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalari payat was widelypopular and well established with almost all people in Kerala transcending gender, caste and communal lines. It issaid to have eventually become as prevalent as reading and writing. Kalari payat became more developed during the9th century and was practiced by a section of the Nair community, warrior clan of Kerala, to defend the state and theking. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Keralaknown as the Mamanka Chekavar. The iconic Thacholi Othenan Kurup was elevated to heroic status in all of Kerala.The Lohar of north Kerala were Buddhist warriors[7] who practiced kalaripayat.

Kalaripayat 20

Decline and revivalKalari payat underwent a period of decline when the Nair warriors lost to the British after the introduction offirearms and especially after the full establishment of British colonial rule in the 19th century.[2] The Britisheventually banned kalari payat and the nair custom of holding swords, altogether so as to prevent rebellion andanti-colonial sentiments. During this time, many Indian martial arts had to be practiced in secret and were oftenconfined to rural areas.The resurgence of public interest in kalari payat began in the 1920s in Tellicherry as part of a wave of rediscovery ofthe traditional arts throughout south India[2] and continued through the 1970s surge of general worldwide interest inmartial arts.[8]

In recent years, efforts have been made to further popularise the art, with it featuring in international and Indian filmssuch as Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007), and also in Japanese Anime/MangaSeries Kenichi: The Mightiest Disciple.

Regional variationsThere are several styles of kalari payat. The three main schools of thought can be distinguished by their attackingand defensive patterns. The best introduction to the differences between these styles is the book of Luijendijk whichuses photographs to show several kalari payat exercises and their applications. Each chapter in his book references arepresentative of each of the three main traditions.

Northern styleNorthern kalari payat was practiced mainly in the northern Malabar region of Kozhikode and Kannur.[2] It placesmore emphasis on weapons than on empty hands.[2] Parashurama, sixth avatar of Vishnu, is believed to be the style'sfounder according to both oral and written tradition.[2] Masters in this system are usually known as gurukkal oroccasionally as asan, and were often given honorific titles, especially Panikkar.[2]

The northern style is distinguished by its meippayattu - physical training and use of full-body oil massage.[2] Thesystem of treatment and massage, and the assumptions about practice are closely associated with ayurveda.[2] Thepurpose of medicinal oil massage is to increase the practitioners' flexibility, to treat muscle injuries incurred duringpractice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for suchmassages is thirumal and the massage specifically for physical flexibility chavutti thirumal which literally means"stamping massage" or "foot massage". The masseuse may use their feet and body weight to massage the person.There are several lineages/styles (sampradayam), of which 'thulunadan' is considered as the best. In olden times,students went to thulunadu kalari's to overcome their defects (kuttam theerkkal). There are schools which teach morethan one of these traditions. Some traditional kalari around Kannur for example teach a blend of arappukai,pillatanni, and katadanath styles.[6]

Kalaripayat 21

Southern style

Jasmine Simhalan demonstrating kalaripayat and silambam in Borobudur.

Southern kalari payat was practised mainly in old Travancore including thepresent Kanyakumari district of Tamil Nadu[2] primarily by the Nairs andNadars.[2] It emphasises empty hand techniques.[2] The founder and patronsaint is believed to be the rishi Agasthya rather than Parasurama.[2] Mastersare known as 'asaan.[2] The stages of training are chuvatu (solo forms), jodi(partner training/sparring), kurunthadi (short stick), neduvadi (long stick),katthi (knife), Katara a (dagger), valum parichayum (sword and shield),chuttuval (flexible sword), double sword, kalari grappling and marma(pressure points).[6]

Zarrilli refers to southern kalari payat as varma ati (the law of hitting), marmaati (hitting the vital spots) or Varma Kalai (art of varma).[2] The preliminary empty handed techniques of varma atiare known as adithada (hit/defend).[2] Marma ati refers specifically to the application of these techniques to vitalspots.[2] Weapons include bamboo staves, short sticks, and the double deer horns.[2]

Medical treatment in the southern styles is identified with siddha,[8] the traditional Dravidian system of medicinedistinct from north Indian ayurveda. The siddha medical system, otherwise known as siddha vaidyam, is alsoattributed to Agasthya.Closely related to southern kalari payat is silambam, the art of stick fighting. It supposedly originated in the Kurinjihills of Kerala some 5000 years ago where natives were using bamboo staves to defend themselves against banditsand wild animals. "Salambal" is a common word used to denote the sound of fast flowing rivers/springs, the chirpingnoises of birds, the murmur of leaves, the noise created by a talking crowd, the whooshing, whirring and clangingsound of weapons etc. When long sticks, swords and chain flails are used they produce the "sala sala" sound which iscalled salambal. Thus silambam became the name of the martial art that uses long sticks, swords etc.

Central styleCentral kalari payat is practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulamdistricts.[2] It is a composite of the northern and southern styles that includes northern meippayattu preliminaryexercises, southern emphasis on empty-handed moves and its own distinctive techniques which are performed withinfloor drawings known as kalam.[2]

Various kalari stylesVarious kalari styles as specified in Vadakkan Pattukal,

Karuvancheri KalariKodumala KalariKolastri Nadu KalariKurungot KalariMathilur KalariMayyazhi KalariMelur KalariNadapuram KalariPanoor Madham KalariPayyampalli KalariPonniyam Kalari

Kalaripayat 22

Puthusseri KalariPuthuram KalariThacholi KalariThotuvor KalariTulunadan Kalari

Training

Gurukkal praying before puttara CVN Kalari,Ettumanoor

Initiation ceremony

Students begin training at approximately seven years old with a formalinitiation ritual performed by the gurukkal. On the opening day of thenew session, a novice (mostly Nairs , Ezhavas in the olden days) isadmitted to the kalari in the presence of the gurukkal or a seniorstudent and directed to place their right foot first across the threshold.The student touches the ground with the right hand and then theforehead, as a sign of respect. He is then led to the guruthara, the placewhere a lamp is kept burning in reverence to all the masters of thekalari, to repeat this act of worship. He then offers the master somemoney as dakshina in folded betel leaves and prostrates himself,touching the master's feet as a sign of submission. The guru then places his hands on the pupil’s head, blesses himand prays for him. This ritual - touching the ground, puttara, guruthara and the guru’s feet - is repeated everyday. Itsymbolizes a complete submission to and acceptance of the master, the deva, the kalari and the art itself.

The kalariA kalari is the school or training hall where martial arts are taught. They were originally constructed according toVastu Shastra with the entrance facing east and the main door situated on the centre-right. Sciences like mantrasaastra, tantra saastra and marma saastra are utilized to balance the space's energy level. The training area comprisesa puttara (seven tiered platform) in the south-west corner. The guardian deity (usually an avatar of Bhagavathi, KaliMata or Shiva) is located here, and is worshipped with flowers, incense and water before each training session whichis preceded by a prayer. Northern styles are practiced in special roofed pits where the floor is 3.5 feet below theground level and made of wet red clay meant to give a cushioning effect and prevent injury. The depth of the floorprotects the practitioner from winds that could hamper body temperature. Southern styles are usually practiced in theopen air or in an unroofed enclosure of palm branches.[2] Traditionally, when a kalari was closed down it would bemade into a small shrine dedicated to the guardian deity.

Kalaripayat 23

Internal training

Practitioners meditate to develop inner energy.

Aside from being an art of self-defence, the ancient Indian saints andascetics formulated kalari payat as a form of physical, emotional,intellectual and spiritual development. They realised that the greatestaccomplishment is not martial skill but moksha or enlightenment, somartial arts served as a vehicle to attain higher levels of spirituality andthereby attain self realisation. A fully trained practitioner should beconscious of any movements in the surrounding area and be preparedto defend themselves at all times. Having developed a sufficient levelof prana, one could stabilise their opponent through choondu marmafor example. Folklore even tells of masters who acquired supernaturalpowers through meditation.

Exercises

Specific commands associated with each exercise are called vaytari.

KaalkalKaalkal literally means Legs (Kaal - Leg). Leg exercises referred as "Kaalkal" in Kalaripayattu. Here is the list of allKaalkal exercises. This exercise also called Kall Eduppu (leg raising).1. Ner kaal (straight kick)2. Kona kaal (right to left, left to right kick)3. Veethi kaal (round kick - inside out)4. Ner-kona-veethi kaal (combined kick)5. Thirichi-kaal (both side kick - kick straight turn around and kick)6. aga-kaal (round kick - outside in)7. iruththi-kaal (kick and sit)8. iruththi-kaal-2 (kick and sit - turn and sit)KaikuththippayattuKaikuththippayattu (Kai - hand, kuththi - hit, payattu - practice) is one of kalari exercises. It consists of punches, legmoves, stretches, twists, jumps together in a particular sequence. Like most of Kalaripayattu exercises this one isalso divided into 18 stages. All of these starts with Mukakattu, warm up. Complexity increases as one progresses tohigher levels. This Kalaripayattu exercise is from Tulunadan Kalari adopted to most of other styles.ChumattadiChumattadi is one of Kalari exercises. This will teach the practitioner how to attack and defend multiple opponentsfrom all over sides. It consists of punches, cuts, throws, blocks, etc. Practitioner will repeat steps in all 4 directions.Like most of Kalaripayattu exercises this one is also divided into 18 stages. This exercise should be practiced withintense speed and power.MeipayattuMeipayattu is one of Kalari exercise. This mainly concentrates on body flexibility. Some books say that this will alsomake a person aggressive and increase battle awareness. Like most of Kalaripayattu exercises this one is also dividedinto 18 stages. This exercise should be practiced with speed and at most flexibility.AdithadaAdithada (adi - hit, thadu - block) is one of kalari exercise. All of the Kalaripayattu exercises mentioned above, like Kaikuththippayattu, Chumattadi, Meipayattu will be practiced by a single person, without any opponent; but for this involves need two students. When one student hits / punches / kicks another one blocks, and then these students will

Kalaripayat 24

change their roles. This can also be practiced by more than two students.OttotharamOttotharam is one of Kalari exercise. This exercise will teach practitioner how to use attack against attack as amethod of defense / attack. It is from "Attack is the best way to defend" school of thought. This exercise needs twostudents to start with, and can also be practiced by more than two students.

StagesTraining is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.

Meithari (മെയ്ത്താരി)Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns.Twelve meippayattu exercises for neuro-muscular coordination, balance and flexibility follow the basic postures ofthe body. Kalari payat originates not in aggression but in the disciplining of the self. Therefore the training beginswith disciplining the physical body and attaining a mental balance. This is crucial for any person and not necessarilya martial aspirant. This first stage of training consists of physical exercises to develop strength, flexibility, balanceand stamina. It includes jumps, low stances on the floor, circular sequences, kicks, etc. An attempt is made tounderstand and master each separate organ of the body. These exercises bring an alertness to the mind, and thisalertness helps one understand some of the movements and processes of the self defense sequences that are taught atlater stages.

Kolthari (കോല്തരി)

Kolthari

Once the student has become physically competent, they areintroduced to fighting with long wooden weapons. The first weapontaught is the staff (kettukari), which is usually five feet (1.5 m) inlength, or up to the forehead of the student from ground level. Thesecond weapon taught is the cheruvadi or muchan, a wooden stickthree palm spans long, about two and a half feet long or 75 cm. Thethird weapon taught is the otta, a wooden stick curved to resemble thetrunk of an elephant. The tip is rounded and is used to strike the vitalspots in the opponent's body. This is considered the master weapon,and is the fundamental tool of practice to develop stamina, agility,power, and skill. Otta training consists of 18 sequences.

Ankathari (അങ്കത്തരി)

Kalaripayat 25

Ankathari in which both opponents are armedwith chuttuval and paricha

Once the practitioner has become proficient with all the woodenweapons, he/she proceeds to Ankathari (literally "war training")starting with metal weapons, which require superior concentration dueto their lethal nature. The first metal weapon taught is the kadhara, ametal dagger with a curved blade. Taught next are the sword (val) andshield (paricha). Subsequent weapons include the spear (kuntham),trident (trisool) and axe (venmazhu). Usually the last weapon taught isthe flexible sword (urumi or chuttuval), an extremely dangerousweapon taught to only the most skillful students. Historically, after thecompletion of 'Ankathari', the student would specialize in a weapon ofhis choice, for example to become an expert swordsman or stick fighter.

Verumkai (വെറുംകൈ)

Only after achieving mastery with all the weapon forms is the practitioner taught to defend themselves withbare-handed techniques. These include arm locks, grappling, and strikes to the pressure points (marmam). This isconsidered the most advanced martial skill so the gurukkal restricts knowledge of marmam only to very few trustedstudents.

Marmashastram and massageIt is claimed that learned warriors can disable or kill their opponents by merely touching the correct marmam (vitalpoint). This is taught only to the most promising and level-headed persons, to discourage misuse of the technique.Marmashastram stresses on the knowledge of marmam and is also used for marma treatment (marmachikitsa). Thissystem of marma treatment comes under sidha vaidhyam, attributed to the sage Agasthya and his disciples. Critics ofkalari payat have pointed out that the application of marmam techniques against neutral outsiders has not alwaysproduced verifiable resultsThe earliest mention of marmam is found in the Rig Veda where Indra is said to have defeated Vritra by attackinghis marman with a vajra.[9] References to marman also found in the Atharva Veda.[10] With numerous otherscattered references to vital points in Vedic and epic sources, it is certain that India's early martial artists knew aboutand practised attacking or defending vital points.[11] Sushruta (c. 6th century BC) identified and defined 107 vitalpoints of the human body in his Sushruta Samhita.[12] Of these 107 points, 64 were classified as being lethal ifproperly struck with a fist or stick.[13] Sushruta's work formed the basis of the medical discipline ayurveda, whichwas taught alongside various Indian martial arts that had an emphasis on vital points, such as Varma Kalai andmarma adi.[13]

As a result of learning about the human body, Indian martial artists became knowledgeable in the field of traditionalmedicine and massage. Kalari payat teachers often provide massages (Malayalam: uzhichil) with medicinal oils totheir students in order to increase their physical flexibility or to treat muscle injuries encountered during practice.Such massages are generally termed thirumal and the unique massage given to increase flexibility is known askatcha thirumal. It is said to be as sophisticated as the uzhichil treatment of ayurveda. Kalari payat has borrowedextensively from ayurveda and equally lends to it.

Kalaripayat 26

TechniquesTechniques (atavu) in kalari payat are a combination of steps (chuvatu) and stances (vadivu). There are five steps andnorthern styles have ten postures (Ashta Vadivukal). Each stance has its own power combination, function and set oftechniques. All the eight postures are based on animals.

Stances (Vadivu)

Gajavadivu Elephant stance

Simhavadivu Lion stance

Asvavadivu Horse stance

Varahavadivu Boar stance

Sarpavadivu Snake stance

Marjaravadivu Cat stance

Kukkuvadivu Rooster stance

Matsyavadivu Fish stance (Gurukkal Govindankutty Nayar and the C.V.N. Style)

Mayuravadivu Peacock stance (Gurukkal P. K. Balan Style)

Steps (Chuvatu)

Vatta Chuvatu Circular steps

Aakka Chuvatu Inside steps

Neekka Chuvatu Moving steps

Kon Chuvatu Corner steps

Ottakkal Chuvatu Single-legsteps

WeaponsAlthough no longer used in sparring sessions, weapons are an important part of kalari payat. This is especially truefor the northern styles which are mostly weapon-based. Some of the weapons mentioned in medieval Sangamliterature have fallen into disuse over time and are rarely taught in kalari payat today.

Weapons currently used in kalaripayat

Kalaripayat 27

[[File:Kalaripayattu weapons.jpg|cente

Important Kalari Institution in Kerala

==

Important Kalari Institution in Kerala

==

r150px

Kettukari/Neduvati/Pirambu/Shareeravadi Longstaff

Kurunthadi/Cheruvadi/Muchan Stick

Lathi Long stick

Urumi/Chuttuval Flexible sword

Kuruvadi Short stick

Otta Curved stick

Gadha Mace/Club

Katara Dagger/Knife

Vettukathi Kukri/Machete

Churika Short sword

Val Longsword

Paricha Buckler

Kuntham Spear

Weapons historically used in

kalaripayat

Ponti

Ambum Villum Bow and

arrow

Venmazhu Axe

Kathuthala

Trisool Trident

Kalaripayat 28

See also• 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- Discovery Channel (http:/ / www. discoverychannel. co. uk/ martialarts/ southasia/ kalaripayatta/ index. shtml)[2] Zarrilli, Phillip B. (1998). When the Body Becomes All Eyes: Paradigms, Discourses and Practices of Power in Kalarippayattu, a South

Indian Martial Art. Oxford: Oxford University Press.[3] The Encyclopedia of religion, Volume 9 By Mircea Eliade, Charles J. Adams. p.225[4] http:/ / books. google. co. in/ books?id=DuwUAAAAYAAJ& pg=PA71[5] Luijendijk 2008[6] Luijendijk, D.H. (2005). Kalarippayat: India's Ancient Martial Art. Paladin Press. ISBN 1-58160-480-7.[7] KALARI (http:/ / www. usadojo. com/ styles/ about-kalari. htm)[8] Zarrilli 1992[9] Mariana Fedorova (1990). Die Marmantheorie in der klassischen indischen Medizin.[10] Subhash Ranade (1993). Natural Healing Through Ayurveda (p. 161). Passage Press. Utah USA.[11] Zarrilli, Phillip B. A South Indian Martial Art and the Yoga and Ayurvedic Paradigms. (http:/ / www. spa. ex. ac. uk/ drama/ staff/ kalari/

power. html) University of Wisconsin–Madison.[12] G. D. Singhal, L. V. Guru (1973). Anatomical and Obstetrical Considerations in Ancient Indian Surgery Based on Sarira-Sthana of Susruta

Samhita.[13] J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. (http:/ / ejmas. com/ kronos) Electronic Journals of

Martial Arts and Sciences.

• Kalarippayattu (http:/ / www. shajikalari. com/ )• Kalaripayat and the art of healing (http:/ / www. keralacvnkalari. com/ )• www.kathinayoga.com - Sudarsana Kalari Sanghom (http:/ / www. kathinayoga. com/ )

Further reading• Balakrsnan, Pi (1995) Kalarippayattu: The ancient martial art of Kerala, C.V. Govindankutty Nair Gurukka

1995, ASIN B0006F9ONS• Denaud, Patrick (1996) Kalaripayat, Budostore, ISBN 2-908580-62-4• Elgood, Robert (2005) Hindu Arms and Ritual: Arms and Armour from India 1400-1865, Eburon Publishers,

ISBN 90-5972-020-2• Luijendijk, D.H. (2005) Kalarippayat: India's Ancient Martial Art (http:/ / www. amazon. com/ dp/ 1581604807),

Paladin Press, Boulder, US• Luijendijk, D.H. (2008) Kalarippayat: The Essence and Structure of an Indian Martial Art (http:/ / www.

amazon. com/ dp/ 1409226263), Oprat• Zarrilli, Phillip B. (1992) " To Heal and/or To Harm: The Vital Spots in Two South Indian Martial Traditions

(http:/ / www. spa. ex. ac. uk/ drama/ staff/ kalari/ healharm. html)"

Kalaripayat 29

• Zarrilli, Phillip B. (1993) " Actualizing Power and Crafting a Self in Kalarippayattu (http:/ / www. phillipzarrilli.com/ downloads/ actualizing_power. pdf)", Journal of Asian Martial Arts

External links• Kalaripayat (http:/ / www. dmoz. org/ / Sports/ Martial_Arts/ Indian/ Kalaripayatt/ / ) at the Open Directory

Project• kalarippayattu - one of the oldest martial arts (http:/ / prd. kerala. gov. in/ kalarippayatu. htm), Government of

Kerala website• kalarippayattu - Tekkan (http:/ / www. kalariworld. com), Sudarsana Kalari Sanghom, Varkala• kalarippayattu - KathinaYoga (http:/ / www. kathinayoga. com), Sudarsana Kalari Sanghom, Varkala

Silambam 30

Silambam

Also known as Chilambam,Silambattam

Focus Weapons (bamboo staff)

Country of origin Tamil Nadu, India

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-Ta  · Sarit Sarak

Notable Practitioners

Phillip Zarrilli  · Jasmine Simhalan  · Gobar Goho  · Gulam  · Guru Har Gobind  ·John Will

Silambam (Tamil: சிலம்பம்) or silambattam (Tamil: சிலம்பாட்டம்) is a weapon-based Dravidian martial artfrom Tamil Nadu in south India but also practiced by the Tamil community of Malaysia. In Tamil, the wordsilambam refers to the bamboo staff which is the main weapon used in this style. Other weapons are also used suchas the maduvu (deer horn), kathi (knife) and vaal (sword). Unarmed silambam, called Kuttu Varisai, utilizes stancesand routines based on animal movements such as the snake, tiger and eagle forms.The length of the staff depends on the height of the practitioner. It should just touch the forehead about three fingersfrom the head, although different lengths are used in different situations. It usually measures roughly 1.68 meters(five and a half feet). The 3 feet stick called sedikutchi can be easily concealed. Separate practice is needed for staffsof different lengths. The usual stance includes holding the staff at one end, right hand close to the back, left handabout 40 centimeters (16 inches) away. This position allows a wide array of stick and body movements, includingcomplex attacks and blocks.There are numerous sub sects in silambam like nagam-16 (cobra-16), kallapathu (thieves ten), kidamuttu (goat headbutting), kuravanchi, kalyanavarisai (similar to quarterstaff), thulukkanam, and so on. Each is unique and may differfrom one another in grip, posture, foot work, method of attack, length of the stick, movement of the stick etc.

HistorySilambam supposedly originated in the Kurinji hills, present day South Indian state Kerala almost 5000 years agowhich was actually a Tamil region . The Narikuravar of the area are said to have used staves called chilambamboo inbattle and to defend themselves against wild animals. They would also perform solo stick-fighting demonstrationsduring Hindu religious festivals. The art was patronized by the ancient Chola, Chera and Pandya kings of SouthIndia during the Sangam period. The Maravar pada of Travancore kings used silambam in their warfare againstenemies.Ancient contact between Tamil Nadu and Southeast Asia brought silambam to the Malay Peninsula during whichtime the word silambam came to refer to the art as well as the weapon. Many Southeast Asian martial arts wereinfluenced by silambam including silat and Krabi Krabong.

Silambam 31

The references to Silappadikkaram in Tamil Sangam literature dating back to the 2nd century refer to the sale ofsilamabam staves, swords, pearls and armor to foreign traders. The ancient trading centre at the city of Madurai wasrenowned globally and said to be thronged by Romans, Greeks, and Egyptians among others who had regular seatrade with the Tamil kingdoms. The bamboo staff, one of the first weapons used in Indian martial arts, was in greatdemand with the visitors.[1] [2]

The soldiers of King Veerapandiya Kattabomman (1760–1799) relied mainly on their silambam prowess in theirwarfare against the British Army.[1] Indian martial arts suffered a decline after the British colonists banned silambamalong with various other systems. They also introduced modern western military training which favoured fire-armsover traditional weaponry. The stick lost much of its combat superiority and some of silambam's vast techniques andstyles were lost. During this time, silambam actually became more widespread in Southeast Asia than India. It is stillpracticed in Malaysia today, f.ex. by Mahaguru Sri S. Arumugam, founder of the Malaysian Silambam Society inSelangor; or Master Anbananthan, founder of the Pensilam association in Penang.

TechniquesBeginners are taught footwork (kaaladi) which they must master before learning spinning techniques and patterns,and methods to change the spins without stopping the motion of the stick. There are sixteen of them among whichfour are very important. Footwork patterns are the key aspects of silambam and Kuttu Varisai (empty hands form).Traditionally, the masters first teach kaaladi for a long time then proceed to Kuttu Varisai. Training in Kuttu Varisaiallows the practitioner to get a feel of silambam stick movements using their bare hands, that is, fighters have apreliminary training with bare hands before going to the stick.Gradually, fighters study footwork to move precisely in conjunction with the stick movements. The ultimate goal ofthe training is to defend against multiple armed opponents. In silambam as well as Kuttu Varisai, kaaladi is the keyin deriving power for the blows. It teaches how to advance and retreat, to get in range of the opponent withoutlowering one's defence, aids in hitting and blocking, and it strengthens the body immensely enabling the person toreceive non-lethal blows and still continue the battle. The whole body is used to create power.When the student reaches the final stage, the staff gets sharpened at one end. In real combat the tips may bepoisoned. The ultimate goal of the training is to defend against multiple armed opponents.Silambam prefers the hammer grip with main hand facing down behind the weak hand which faces up. The stronghand grips the stick about a distance hand's width and thumb's length from the end of the stick and the weak hand isa thumb's length away from the strong hand. The weak hand only touches the stick and to guide its movement.Silambam stresses ambidexterity and besides the preferred hammer grip there are other ways of gripping the staff.Because of the way the stick is held and its relatively thin diameter, blows to the groin are very frequent and difficultto block. Besides the hammer grip, sliambam uses the poker grip and ice pick grip as well. Some blocks and hits areperformed using the poker grip. The ice pick grip is used in single hand attacks. The staff is held like a walking stickand just hand gets inverted using the wrist.In battle, a fighter holds the stick in front of their body stretching the arms three quarters full. From there, they caninitiate all attacks with only a movement of the wrist. In fact, most silambam moves are derived from wristmovement, making it a key component of the style. The blow gets speed from the wrist and power from the bodythrough kaaladi (footwork). Since the stick is held in front, strikes are telegraphic, that is, the fighter does not hidetheir intentions from the opponent. They attack with sheer speed, overwhelming the adversary with a continuousnon-stop rain of blows. In silambam, one blow leads to and aids another. Bluffs may also be used by disguising oneattack as another.In addition to the strikes, silambam also has a variety of locks called poottu. A fighter must always be careful while wielding the stick or they will be grappled and lose the fight. Locks can be used to disable the enemy or simply capture their weapon. Techniques called thirappu are used to counter the locks but these must be executed before being caught in a lock. Silambam also has many different types of avoiding an attack like blocking, parrying,

Silambam 32

enduring, rotary parrying, hammering (with the stick), kolluvuthal (attacking and blocking simultaneously) andevasive moves such as sitting or kneeling, moving out, jumping high, etc.Against multiple attackers, silambam exponents do not hold out their sticks as they do in single combat. Instead theyassume one of the numerous animal stances which makes it difficult for opponents to predict the next attack.An expert silambam stylist will be familiar with Varma Kalai (pressure-point fighting) and knows where to strikeanywhere in the body to produce fatal or crippling effects by the least use of power. In one-on-one combat an expertwould just slide his stick to opponents wrist many times during combat. The opponent may not notice this in the heatof battle until they feel a sudden pain in the wrist and throw the stick automatically without knowing what hit them.When two experts match against each other one may challenge the other that he will hit his big toe. Hitting the bigtoe can produce crippling effects on the fighter, making them abandon the fight. This is called solli adithal whichmeans "challenging and successfully hitting".

See also• Dravidian martial arts• Indian martial arts• Kalaripayat• Kuttu Varisai• Varma Kalai• Kbachkun boraan• Krabi Krabong• Silat

External links• [3]• Silambamindia.com - Official Silambam Federation of India [4]

• Silambam.com [5]

• Thamizhar Martial Arts [6]

References[1] Raj, J. David Manuel (1977). The Origin and the Historical Developlment of Silambam Fencing: An Ancient Self-Defence Sport of India.

Oregon: College of Health, Physical Education and Recreation, Univ. of Oregon. pp. 44, 50, & 83.[2] Sports Authority of India (1987). Indigenous Games and Martial Arts of India. New Delhi: Sports Authority of India. pp. 91 & 94.[3] http:/ / www. sangam. org/ taraki/ articles/ 2006/ 02-10_Thamizhar_Martial_Arts. php?uid=1510[4] http:/ / www. silambamindia. com/[5] http:/ / www. silambam. com/[6] http:/ / www. tamilnation. org/ military/ martial. htm

Malla-yuddha 33

Malla-yuddha

Also known as Malyutham,Niyuddha-kride

Focus Grappling

Hardness Full contact

Country of origin South Asia

Parenthood Historic

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-Ta  · Sarit Sarak

Notable Practitioners

Phillip Zarrilli  · Jasmine Simhalan  · Gobar Goho  · Gulam  · Guru Har Gobind  ·John Will

Malla-yuddha (Devanagari: मल्लयुद्ध,[1] Tamil:மல்யுத்தம் malyutham) is the traditional South Asian form ofcombat-wrestling[2] created in what is now India, Pakistan, Bangladesh and Sri Lanka. It is closely related to variousSoutheast Asian wrestling styles such as naban.Malla-yuddha is divided into four types, 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 intosubmission, Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength.[3]

TerminologyIn Sanskrit, mallayuddha literally translates to "boxing match". Strictly speaking, the term denotes a single pugilisticencounter or prize-fight rather than a style or school of wrestling. It is a tatpurusha compound of malla (wrestler,boxer, athlete) and yuddha (fight, battle, conflict). The compound is first attested in the Mahabharata referring toboxing matches such as those fought by Bhima. The Sanskrit term was loaned into Tamil as malyutham. Anotherword for a sportive wrestling match or athletic sports more generally is mallakrמḍa. The second element, krמḍa(sport, play, pastime, amusement) implies a more limited-contact style of folk wrestling rather than true grapplingcombat.The term malla is in origin a proper name, among other things of an asura, known as mallגsura and the name of atribe mentioned in the Mahabharata. In the Manusmriti (10.22; 12.45), it is the technical term for the offspring of anout-caste Kshatriya by a Kshatriya female who was previously the wife of another out-caste.

Malla-yuddha 34

HistoryThe first attestation of the term mallayuddha is found in the Mahabharata epic, in the context of the wrestling matchbetween Bhima and Jarasandha.[4] Other early literary descriptions of wrestling matches include the story ofBalarama, and the Ramayana's account of the vanara king Vali  defeating Ravana, the king of Lanka, in a wrestlingcontest.Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to thechest, punches to the head, hair pulling, and strangleholds.[5] Based on such accounts, Svinth (2002) traces press upsand squats used by Indian wrestlers to the pre-classical era.[5] Siddhartha Gautama himself was said to be an expertwrestler, archer and sword-fighter before becoming the Buddha.The Manasollasa of the Chalukya king Someswara III (1124-1138) is a royal treatise on fine arts and leisure. Thechapter entitled "Malla Vinod" describes the classification of wrestlers into types by age, size and strength. It alsooutlines how the wrestlers were to exercise and what they were to eat. In particular the king was responsible forproviding the wrestlers with pulses, meat, milk, sugar as well as "high-class sweets". The wrestlers were keptisolated from the women of the court and were expected to devote themselves to building their bodies. TheManasollasa gives the names of moves and exercises but does not provide descriptions.[1]

The Malla Purana is a Kula Purana associated with the Jyesthimalla, a Brahmin jati of wrestlers from Gujarat, datingmost likely to the 13th century. It categorizes and classifies types of wrestlers, defines necessary physicalcharacteristics, describes types of exercises and techniques of wrestling as well as the preparation of the wrestlingpit, and provides a fairly precise account of which foods wrestlers should eat in each season of the year.[1]

Traditional Indian wrestling began to decline from the 16th century under Mughal rule, as courtly fashion favouredthe Persianate pehlwani style. Malla-yuddha is exceedingly rare in the northern states, but indigenous wrestlingtraditions and training methods survived in south India.

TrainingPhysical training or vyayam is meant to build strength and develop muscle bulk and flexibility. Exercises thatemploy the wrestler's own bodyweight include the Surya Namaskara, shirshasana, Hindu squat (bethak) and theHindu press-up (danda), which are also found in hatha yoga.Exercise regimens may also employ the following weight training devices:• The nal is a hollow stone cylinder with a handle inside.• The gar nal (neck weight) is a circular stone ring worn around the neck to add resistance to squats and press ups.• The gadha is a club or mace associated with Hanuman. An exercise gada is a heavy round stone attached to the

end of a meter-long bamboo stick.Training may also include dhakuli which involve twisting rotations, rope climbing, log pulling and running.Traditional massage is regarded an integral part of an Indian wrestler's exercise regimen.

Malla-yuddha 35

Internal links• Inbuan Wrestling• Malakhra• Mukna• Pehlwani• Vajra Mushti

See also• Khmer traditional wrestling• Naban

References[1] Alter, Joseph S. (August 1992b). The Wrestler's Body: Identity and Ideology in North India. Berkeley: University of California Press.[2] Alter, Joseph S. (May 1992a). "the sannyasi and the Indian wrestler: the anatomy of a relationship". American Ethnologist 19 (2): 317–336.

doi:10.1525/ae.1992.19.2.02a00070. ISSN 0094-0496.[3] Tracing the journey of the martial art forms of India (http:/ / www. globaladjustments. com/ ?q=node/ 297), Global Adjustments magazine,

September 2007.[4] Alter, Joseph S. (May 1992a). "The "sannyasi" and the Indian Wrestler: The Anatomy of a Relationship". American Ethnologist 19 (2):

317–336. doi:10.1525/ae.1992.19.2.02a00070. ISSN 00940496.[5] J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. (http:/ / ejmas. com/ kronos) Electronic Journals of

Martial Arts and Sciences.

• Donn F. Draeger and Robert W. Smith (1965). Comprehensive Asian Fighting Arts. Kodansha International.• Martial arts of India (http:/ / www. kathinayoga. com/ KalariWorld/ Articles/ other_article3. html) by R.

Venkatachalam (1999)

Malyutham 36

Malyutham

Also known as Malyutham,Niyuddha-kride

Focus Grappling

Hardness Full contact

Country of origin South Asia

Parenthood Historic

Olympic sport No

Part of a series onIndian martial arts

styles

wrestling: Malla-yuddha  · Pehlwani  · Mukti yuddha  · Mukna  · InbuanKalarippayattu: Silambam  · Varma ati  · Kuttu Varisai

GatkaThang-Ta  · Sarit Sarak

Notable Practitioners

Phillip Zarrilli  · Jasmine Simhalan  · Gobar Goho  · Gulam  · Guru Har Gobind  ·John Will

Malla-yuddha (Devanagari: मल्लयुद्ध,[1] Tamil:மல்யுத்தம் malyutham) is the traditional South Asian form ofcombat-wrestling[2] created in what is now India, Pakistan, Bangladesh and Sri Lanka. It is closely related to variousSoutheast Asian wrestling styles such as naban.Malla-yuddha is divided into four types, 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 intosubmission, Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength.[3]

TerminologyIn Sanskrit, mallayuddha literally translates to "boxing match". Strictly speaking, the term denotes a single pugilisticencounter or prize-fight rather than a style or school of wrestling. It is a tatpurusha compound of malla (wrestler,boxer, athlete) and yuddha (fight, battle, conflict). The compound is first attested in the Mahabharata referring toboxing matches such as those fought by Bhima. The Sanskrit term was loaned into Tamil as malyutham. Anotherword for a sportive wrestling match or athletic sports more generally is mallakrמḍa. The second element, krמḍa(sport, play, pastime, amusement) implies a more limited-contact style of folk wrestling rather than true grapplingcombat.The term malla is in origin a proper name, among other things of an asura, known as mallגsura and the name of atribe mentioned in the Mahabharata. In the Manusmriti (10.22; 12.45), it is the technical term for the offspring of anout-caste Kshatriya by a Kshatriya female who was previously the wife of another out-caste.

Malyutham 37

HistoryThe first attestation of the term mallayuddha is found in the Mahabharata epic, in the context of the wrestling matchbetween Bhima and Jarasandha.[4] Other early literary descriptions of wrestling matches include the story ofBalarama, and the Ramayana's account of the vanara king Vali  defeating Ravana, the king of Lanka, in a wrestlingcontest.Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to thechest, punches to the head, hair pulling, and strangleholds.[5] Based on such accounts, Svinth (2002) traces press upsand squats used by Indian wrestlers to the pre-classical era.[5] Siddhartha Gautama himself was said to be an expertwrestler, archer and sword-fighter before becoming the Buddha.The Manasollasa of the Chalukya king Someswara III (1124-1138) is a royal treatise on fine arts and leisure. Thechapter entitled "Malla Vinod" describes the classification of wrestlers into types by age, size and strength. It alsooutlines how the wrestlers were to exercise and what they were to eat. In particular the king was responsible forproviding the wrestlers with pulses, meat, milk, sugar as well as "high-class sweets". The wrestlers were keptisolated from the women of the court and were expected to devote themselves to building their bodies. TheManasollasa gives the names of moves and exercises but does not provide descriptions.[1]

The Malla Purana is a Kula Purana associated with the Jyesthimalla, a Brahmin jati of wrestlers from Gujarat, datingmost likely to the 13th century. It categorizes and classifies types of wrestlers, defines necessary physicalcharacteristics, describes types of exercises and techniques of wrestling as well as the preparation of the wrestlingpit, and provides a fairly precise account of which foods wrestlers should eat in each season of the year.[1]

Traditional Indian wrestling began to decline from the 16th century under Mughal rule, as courtly fashion favouredthe Persianate pehlwani style. Malla-yuddha is exceedingly rare in the northern states, but indigenous wrestlingtraditions and training methods survived in south India.

TrainingPhysical training or vyayam is meant to build strength and develop muscle bulk and flexibility. Exercises thatemploy the wrestler's own bodyweight include the Surya Namaskara, shirshasana, Hindu squat (bethak) and theHindu press-up (danda), which are also found in hatha yoga.Exercise regimens may also employ the following weight training devices:• The nal is a hollow stone cylinder with a handle inside.• The gar nal (neck weight) is a circular stone ring worn around the neck to add resistance to squats and press ups.• The gadha is a club or mace associated with Hanuman. An exercise gada is a heavy round stone attached to the

end of a meter-long bamboo stick.Training may also include dhakuli which involve twisting rotations, rope climbing, log pulling and running.Traditional massage is regarded an integral part of an Indian wrestler's exercise regimen.

Malyutham 38

Internal links• Inbuan Wrestling• Malakhra• Mukna• Pehlwani• Vajra Mushti

See also• Khmer traditional wrestling• Naban

References[1] Alter, Joseph S. (August 1992b). The Wrestler's Body: Identity and Ideology in North India. Berkeley: University of California Press.[2] Alter, Joseph S. (May 1992a). "the sannyasi and the Indian wrestler: the anatomy of a relationship". American Ethnologist 19 (2): 317–336.

doi:10.1525/ae.1992.19.2.02a00070. ISSN 0094-0496.[3] Tracing the journey of the martial art forms of India (http:/ / www. globaladjustments. com/ ?q=node/ 297), Global Adjustments magazine,

September 2007.[4] Alter, Joseph S. (May 1992a). "The "sannyasi" and the Indian Wrestler: The Anatomy of a Relationship". American Ethnologist 19 (2):

317–336. doi:10.1525/ae.1992.19.2.02a00070. ISSN 00940496.[5] J. R. Svinth (2002). A Chronological History of the Martial Arts and Combative Sports. (http:/ / ejmas. com/ kronos) Electronic Journals of

Martial Arts and Sciences.

• Donn F. Draeger and Robert W. Smith (1965). Comprehensive Asian Fighting Arts. Kodansha International.• Martial arts of India (http:/ / www. kathinayoga. com/ KalariWorld/ Articles/ other_article3. html) by R.

Venkatachalam (1999)

Article Sources and Contributors 39

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Musti yuddha  Source: http://en.wikipedia.org/w/index.php?oldid=364634601  Contributors: Dbachmann, Mmlabeeb, Morinae, 1 anonymous edits

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Kalaripayat  Source: http://en.wikipedia.org/w/index.php?oldid=56596602  Contributors: Aarchiba, Adam.J.W.C., Alansohn, Ambuj.Saxena, Anandks007, Anirvan, AnonMoos, Anuraj 2009,Arjunpn1, Arun athmanathan, Arundhati bakshi, Avinesh, Awiseman, B9 hummingbird hovering, BD2412, Bakasuprman, Barsoomian, Bharatveer, Bijee, Blue Order, Bokaap, Borvestmin,Borvestmino, Bradeos Graphon, Bradford44, Bradtcordeiro, Bryan Derksen, Bwithh, Caerwine, Chakravyuh, Chandrakantha.Mannadiar, Cibu, Clubover, Cometstyles, ComingPresident,CommonsDelinker, CrabTasterMan, Cyril2net, D6, Daketuevese, Dangerous-Boy, Das Baz, Dayaanjali, Dbachmann, Dominic, Dreadstar, Dtremenak, Ecureuil espagnol, Ekabhishek, Elmo1,Eohan, Ergative rlt, Freedom skies, Fyre2387, Gaius Cornelius, Ghostexorcist, GoonerDP, Grafen, GreatWhiteNortherner, Greensymphony, Gurukkal, HFret, Hadal, Honta, Hu12, ISPHANI, IanPitchford, Intranetusa, Iridescent, J04n, JFD, Jagged 85, JamesBWatson, Japanese Searobin, Jcw69, Jiju, Jimjoe, Jmaheendran, Jonathan Drain, Jovianeye, Kalarimaster, Kalaripayatt, Kannan91,Ken Gallager, Kennethtennyson, Kevin Forsyth, Kingrrk, Kjrajesh, Kwamikagami, Lawrencekhoo, LeCire, Legaleagle86, Lexicon, Ligulem, Ling.Nut, Linuxbeak, Lisae, Llosoc, Longhair,Magarusimham, Mano1, Martinmarginela, Marxr, Materialscientist, Mattisse, Mel Etitis, Mereda, MonstaPro, Morinae, Mwanner, Myanw, Mynameissudhir, Nairkkcaps, Nate1481, Natkeeran,Neelakandanpm, Nikai, Nikethagroup, Nirvana888, OlEnglish, Olivier, Oriondown, PC78, PFHLai, Pearle, Peasea, Polar, Praveenmk, Praveenp, Quadell, Raamah, Radon210, Radu10,Raghukishore, Rajamankkan, Ranjithet, Ranjran, Rasmus Faber, RedDrag0n, Redtigerxyz, Ricky81682, Rjwilmsi, Ronz, Ryan Roos, SJP, SMC89, Sadalmelik, Salih, Sam Hocevar, SamStephen,SandeepEVJ, Sangam japan, Saravask, Sardanaphalus, Scalebelow, Senseitaco, Serte, Shajikv, Shell Kinney, Shijaz, Shyamji, Shyamsunder, Sibi antony, SimonFr, Sinu s, Sjelfarra, Skumarla,Sniperz11, Snori, Squids and Chips, Srs, Stevertigo, Suresh.Varma.123, Tapir Terrific, Tedder, Ten bulls, That Guy, From That Show!, Thatopshotta, The Parting Glass, Thomas Chacko,Thryduulf, Thunderboltz, Tintin1107, Tinucherian, Trakesht, Travel&Heritage, Tripping Nambiar, Utcursch, V4vijayakumar, Valsan.thiyyadi, Vastu, Venu62, Vineethkuruvath, Vinodmp, VivioTestarossa, Vrmanoj, WLU, Wiki Raja, Wirbelwind, Woohookitty, Xtian59, Youonlylivetwice, Zatoichi26, 436 anonymous edits

Silambam  Source: http://en.wikipedia.org/w/index.php?oldid=366009310  Contributors: Ae020704, Ahoerstemeier, Alwaysvj, Angela, Arun1paladin, Arundhati bakshi, Auntof6, BryanDerksen, Bunnyhop11, Commander Nemet, Dangerous-Boy, Dayaanjali, Dbachmann, Dbroadwell, Edward Waverley, Eelamstylez77, Ekabhishek, Freedom skies, GaryColemanFan, Grafen,Hede2000, Helikophis, ISPHANI, JFD, Jagged 85, Kalaripayatt, Kylelovesyou, LeaveSleaves, Morinae, Nate1481, Nightstallion, Orang Hutan, PRehse, Pearle, Purushoth1992, Rich Farmbrough,Robth, S.dedalus, Sadalmelik, Salih, Sardanaphalus, Sarvagnya, Scottalter, Shashangan, Smalljim, Sundar, Tarotcards, WereSpielChequers, Wik, WikHead, Wiki Raja, YellowMonkey, Yosri, 60anonymous edits

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Image Sources, Licenses and Contributors 40

Image Sources, Licenses and ContributorsImage:Balarama Mural.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Balarama_Mural.jpg  License: Public Domain  Contributors: UnknownImage:Rajput Khanda.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Rajput_Khanda.jpg  License: Public Domain  Contributors: Original uploader was Archit Patel aten.wikipedia. Later version(s) were uploaded by Quibik at en.wikipedia.Image:Ornamental katar.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ornamental_katar.jpg  License: Creative Commons Attribution 2.0  Contributors: User:GrenavitarImage:Urmi-Payattu.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Urmi-Payattu.jpg  License: GNU Free Documentation License  Contributors: Abhishekjoshi, Dxar,Linguisticgeek, YappakoredeshoImage:GatkaSikhProcessionBedford.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:GatkaSikhProcessionBedford.JPG  License: Public Domain  Contributors: User:SimonxagFile:Flag of India.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_India.svg  License: Public Domain  Contributors: User:SKoppImage:Khanda1.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Khanda1.svg  License: unknown  Contributors: Self-madeFile:SikhismSymbol.PNG  Source: http://en.wikipedia.org/w/index.php?title=File:SikhismSymbol.PNG  License: GNU Free Documentation License  Contributors: Tinette.Image:A young boy practising, Gatka, SIkh martial art.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:A_young_boy_practising,_Gatka,_SIkh_martial_art.jpg  License: CreativeCommons Attribution-Sharealike 2.0  Contributors: J SinghFile:Gatka at Yuba City.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gatka_at_Yuba_City.jpg  License: Creative Commons Attribution-Sharealike 2.0  Contributors: JasleenKaurImage:Thang-Ta.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Thang-Ta.jpg  License: Public Domain  Contributors: User:DazliousImage:Kadhara.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kadhara.jpg  License: GNU Free Documentation License  Contributors: YappakoredeshoImage:India map kerala.png  Source: http://en.wikipedia.org/w/index.php?title=File:India_map_kerala.png  License: unknown  Contributors: Roland zh, SaravaskImage:JasmineSimhalan-kalaripayatt-silambam.gif  Source: http://en.wikipedia.org/w/index.php?title=File:JasmineSimhalan-kalaripayatt-silambam.gif  License: Public Domain  Contributors:Original uploader was Kalaripayatt at en.wikipedia Later version(s) were uploaded by Vadakkan at en.wikipedia.Image:poothara.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Poothara.JPG  License: Creative Commons Attribution-Sharealike 3.0  Contributors: User:GurukkalImage:Chakrasss.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Chakrasss.jpg  License: GNU Free Documentation License  Contributors: see more at http://www.sivasakthi.com/Image:Kolthari.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Kolthari.JPG  License: Creative Commons Attribution-Sharealike 3.0  Contributors: Rajesh Kakkanatt

License 41

LicenseCreative Commons Attribution-Share Alike 3.0 Unportedhttp:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/