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The system
The Kalari training is based on an elaborate
system of physical exercise. The practical experience of the body movements
strengthens the knowledge of a disciples. The constant practice makes the
body an eye and adds to agility and strength. At the age of seven, student
is recruited for his training under a Gurukkal. Oil massage or Uzhichil is
an essential part of the training. The verbal commands of the Gurukkal known
as Vayttari are obeyed and repeated to grasp the body movement. Each
combination of step and gesture is known as Adavu. Each of them helps to
recollect memory and leads to correct movements.
The training or the system has a metaphysical
dimension as it was practiced every where in Kerala. The student arrive at
dawn with empty stomach. They are wrapped in a six feet long and one feet
wide cotton cloth tightly wound around their waist. This cloth is named
Kacha. The combatants generally used to wear red -Kacha made out of silk over
which a belt is also tied to strengthen the waist. Although the Kalari is an
empty space, for a student that space has all meanings of life and
super-nature. It is an abode of deities and the several generations of gurus
who had initiated the disciples into training from generation to generation.
The student makes the ritual
touch of earth with right hand propitiates the goddesses of earth. The touch
of his forehead with right hand shows his reverence to the deities of
knowledge.
The Hanuman an Garuda are
also propitiated with the proper gestures and touches. The deities like seen
mothers at Poothara gods like Siva are also propitiated. Both peace and
destruction are symbolized in the Kalari space.
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After the salutation in favor of the superior
elements described above, the student is given the first system of practices
called Anga-Sadhana for placing the soles of the feet. The firm step on the
ground is called Aakkachuvatu; movements of the sole in jumps known as
Chatta chuvatu. The circular movements is known as Vatta chuvatu. The student
with his feet exercise moves from eastern side to western side. The feet and
hands are raised and moved according to the sequence and in strict
accordance of Vaithari of Gurukkal. These practices including Mei-ppayattu for
several months make the student fit for the training in the use of weapons.
After imparting the body training, a student
is initiated to the use of weapons. The Muchan, also called Cheruvati is a
smaller stick about 22 inches in length and used to give powerful blows and
also to resist the blows from others. Then he is initiated to the use of
metallic weapons like Katti (Dagger), Sword, Kuntham (spear) and Urumi
(flexible sword). The Gada (mace) is also practiced in some Kalaries. The training
in the use of metallic weapons requires more dexterity and agility of
the body. The combatants trained in the use of these weapons are recruited as
the soldiers in the medieval and and late medieval period in Kerala. Self
defense and offence were the aims of these trainings in the use of several
weapons which were locally made by village carpenters and village
blacksmiths. These artisans were the inevitable service groups in a village
community system. In the whole training process of Kalari system, the
teachers played an important role as the custodians of this traditional skill
and knowledge. They remained a source of inspiration to the student.
Development of the physical culture as an
inevitable part of the socio-politico-economic life of the region had much
influenced the cumulative growth of culture aspects. Many of the Keral's
classical and folk art forms had come under the direct or indirect influence
of kalarippayattu.
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The Impact
Kerala, as a distinct socio-political region
from the rest of South India has witnessed a large number of classical and
folk art forms. Many of these art forms have an uninterrupted continuity over
centuries as an integral part of socio-religious life of people in this
territorial division. Their origin is shrouded in mystery and not possible
to trace in the absence of authentic sources. However, most of this art form
had developed during the medieval period when Malayalam language and
literature had found their natural growth on account of new historical
forces and the interaction made by different ethnic and social groups.
In all art forms, where the human body
plays an important role, one can see the common element of physical culture
of body system. The art forms of Kerala visualized this fact in the form and
content. The physical culture of body system is a matter of rigorous training
that has to be materialized through conscious and constant practices.
For classical arts like Kathakali or
Koodiyattom, the body is the sole means of expression. Therefore body is to
be repaired for this high function through a rigorous course of physical
exercise. It can be done only by daily massage with medicated oils which are
intended to develop suppleness and grace of articulating the expressive
capacity of the various parts of the human body. In reality the artist or
the dancer is trained in the Kalari system and taught the body exercise with
severe discipline. In foot-work, movements of the body, and the Thandava,
dance (masculine and vigorous). The artist requires the dynamic skill
imparted through the Kalarippayattu, therefore even the training center of
Kathakali is known as Kalari, being devoted for the development of physical
culture. The medieval period of Kerala had witnessed frequent wars and
invasion among the ruling chieftains and these aspects had already promoted
the Kalari system and had brought into training a large number of
combatants. The impact of this new developments could be see on
performing arts like Kathakali that many of these ruling houses and
patronized art forms also as they had patronized the medieval soldiers or
retainers. The growing awareness for developing a proper physical culture
through kalarippayattu had really contributed to the expression and growth of
the classical art forms.
In the same way the body training became an
essential requirement for performing many of the folk dances of the region.
These platforms had been patronized by the peasants, partitions and
laborers. The common mans aesthetic imagination had greatly subscribed to
the growth of these art forms in Kerala. Many of them have a religious and
ritual background and are performed in sacred centers or in the local
villages shrines of gods and goddesses. One of such art form widely
prevalent in Kasargod and Kannur district is Pooram kali. As an art form it
demands the rigorous training of the artist to develop a strong physical
culture of the body with quick movements. Massage and physical
exercise as found in Kalarippayattu are essential requirement to perform
this art as the dancer has to make acrobatics while the entire group move on
in circle. The performance is closely related to the peasant culture of the
region. This performance has also originated in the medieval period after the
development and growth of kalarippayattu. Most probably this art form must
have come into prominence to maintain the physical culture and the religious
rituals associated with the local shrines. Another ritual art form which has
indebted to the Kalari system is the performance of Theyyam. Many heros are
deified and worshiped by the village folk. The heros like Kathivannur veeran,
(Mandappan), Pumarutan, Thacholi othenan and Oorpazhassi are some of the
famous Theyyam deities in north Malabar. The performance of South, Theyyam are
closely connected to the Kalari system as the dancer or the artist has to
present the martial dance also. He imitates the transformation of a hero
with divine power and as such performs all actions of a combatant,
fighting with sword and shield in the hands. His foot work and body action
demand excellent training as imparted in the Kalari system.
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Apart from these ritual performance, there
are secular art forms like Thacholikkali and Kolkkali. They also demand
excellent body training to make the artist quick in movements and body
bending. Like Poorakkali these art forms have developed as an integral part
of peasants culture during the medieval period. In brief the Kalari system and
its growth in the medieval feudal order had greatly influenced the
development of classical and folk art forms. Oil massage, physical exercise,
acute body bending, use of shield and sword are the common features of many
of these art forms and Kalarippayattu. In reality the Kalari system has not
only influenced the growth of these art forms but it has shaped the trends
of the medieval culture of Kerala society.
An anthology of heroic songs, popularly known
as northern ballads are now available to the student of Malayalam
literature. These songs had been composed mostly between the sixteenth and
nineteenth century, particularly in Kadathanadu region. They depict the
chivalry and heroism of several heros and heroines of medieval or late
medieval periods. These heros and heroines had been trained in
kalarippayattu. Elaborate description of their training, action in the
battlefield, heroism and bravery are available these songs composed mostly
by the unknown poets of the term. The feudal order, Kalari system,
individual heroism etc. Serve as the main themes for these songs. The
strategies of a combatant like Othiram, Katakam, Chatuam, Mandlam, Vrutha
Chakram, Sukalkalam, Vijayam, Viswamohanam, Tirvyangamandalam,
Ghadayakheta-ghahvram, Satruniayam, Soubhatram, Patalm, Puranjayam, Kavya
vrudhi, Silakhandam, Gandhasastram and Anuthama are described in some of
this songs. The kalarippayattu had contributed to the development of this
literacy branch in Kerala.
During the modern period, although
Kalarippayattu had lost its significance under the British rule, the devoted
Gurukkals with all their efforts transmitted the tradition from one
generation to the other. They kept alive the Kalari tradition and the
know-how in the rural areas as a matter of charity and cured many body
ailments through physiotherapy. In the last quarter of the nineteenth
century, when European circus companies came to Malabar in places like
Tellicherry some of the native gurus well trained in the Kalari system found
it easy to imitate some of the body practices adopted by the circus artists.
This new attempt was given leadership by late Keeleri Kunhikannan Gurukkal
in Tellicherry who initiated several circus groups in Kerala and became the
father of Indian circus. In a land, where centuries the Kalari gymnastic
tradition had its deep root, there the new experiments in circus training
became a great success. In reality the Indian tradition of circus has
something to do with Kalari Gymnastic training and body culture. After
independence, some attention had been given by the government and other
agencies to promote Kalarippayattu and its training. These activities had
been responsible to create considerable interest in this physical art form.
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Tasmei Sri
Gurave Namah
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