Indian Martial Arts PDF

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

Part of a series on Indian martial arts
styles wrestling: Malla-yuddha Pehlwani Mukti yuddha Mukna Inbuan Kalarippayattu: Silambam Varma ati Kuttu Varisai Gatka Thang-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 as astravidy or dhanurveda. The former is a compound of the words astra (sword, weapon) and vidy (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 arts in general[2] The Vishnu Purana text describes dhanurveda as one of the traditional eighteen branches of "applied knowledge" or upaveda.[3]
History
Antiquity (pre-Gupta)
Indian epics contain accounts of combat, both armed and bare-handed. The Mahabharata describes a prolonged battle between Arjuna and Karna using bows, swords, trees, rocks and fists.[3] Another unarmed battle in the Mahabharata describes two combatants boxing with clenched fists and fighting with kicks, finger strikes, knee strikes and headbutts.[4] Krishna Maharaja, whose battlefield exploits are alluded to in the Mahabharata, is credited with developing the sixteen principles of astravidy. Many of the popular sports mentioned in the Vedas and the epics have their origins in military training, such as wrestling (maladvandva), chariot-racing (rathachalan), horse-riding (ashvarohana) boxing (musti yuddha) and archery (dhanurvidya).[5] Competitions were held not just as a contest of the players' prowess but also as a means of finding a bridegroom. Arjuna, hero of the Mahabharata, and Siddhartha Gautama both won their consorts in such tournaments. In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the nata dances, were incorporated into martial arts.[6] A number of Indian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalari payat can be applied to dance[7] and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Until recent decades, chhau was practiced only by martial artists. Some traditional Indian dance schools still incorporate kalari payat as part of their 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 (vel), sword (val), shield (kedaham), and bow and arrow (vil ambu). The combat techniques of the Sangam period were the earliest precursors to kalaripayat.[3] References to "Silappadikkaram" in Sangam literature date back to the 2nd 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) which refers 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 called Nara.[15] Another early Buddhist sutra called Hongyo-kyo describes a "strength contest" between Gautama Buddha's half-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 the foundation of Indian martial arts by dispersing pankration techniques throughout the subcontinent,[16] [17] [18] but no evidence exists to support this claim. Macedonians were not very appreciative of combat sports and Alexander himself felt pankration to be unsuitable for war, rejecting it in favour of military strategy.[19] As it is based entirely on assumptions, this theory is popular primarily among martial artists of Greek descent but is not taken seriously by any historians.[19] Furthermore, accounts of combat in Indian epic poetry, pre-date Alexander the Great.
Classical period (3rd to 10th centuries)

Like other branches of Sanskrit literature, treatises on martial arts become more systematic in the course of the 1st millennium AD. Vajra musti, a grappling style, is mentioned in sources of the early centuries CE.[13] The Kama Sutra written by Vtsyyana enjoined women to regularly "practice with sword, single-stick, quarterstaff, and bow and arrow". Around this time, tantric philosophers developed important metaphysical concepts such as kundalini, chakra, and mantra.[6] The Sushruta Samhita (c. 4th century) identifies 107 vital points on the human body[20] of which 64 were classified as being lethal if properly struck with a fist or stick.[6] Sushruta's work formed the basis of the medical discipline 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 epic sources, it is certain that India's early fighters knew and practiced attacking or defending vital points.[21] Around 630, King Narasimhavarman of the Pallava dynasty commissioned dozens of granite sculptures showing unarmed fighters disarming armed opponents. These may have shown an early form of varma adi, a Dravidian martial art that allowed kicking, kneeing, elbowing and punching to the head and chest, but prohibited blows below the waist. This is similar to the style described in the Agni Purana.[6]
17th century mural of Balarama in a south Indian temple. Martial arts are often associated with avatara in the Puranas.
Martial arts were not exclusive to the kshatriya caste, though the warrior class used them more extensively. The 8th century text Kuvalaymala by Udyotanasuri recorded fighting techniques being taught at ghatika and salad educational 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 armed and unarmed fighting techniques to their students as a way of increasing stamina and training the physical body.
Indian martial arts
Agni Purana
The 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 are thrown or unthrown. The thrown (mukta) class includes twelve weapons altogether which come under four categories, viz. yantra-mukta: projectile weapons such as the sling or the bow pi-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 types
These were opposed to the much larger unthrown class of three categories. hasta-astra or amukta: melee weapons that do not leave the hand, numbering twenty types muktmukta: weapons that can be thrown or used in-close, numbering 98 varieties bhu-yuddha: nine weapons of the body (hands, feet, knees, elbows and head), ie. unarmed fighting The duel with bow and arrows is considered the most noble, fighting with the spear ranks next, while fighting with the sword is considered unrefined, and wrestling is classed as the meanest or worst form of fighting. Only a Brahmin could be an acharya (teacher) of dhanurveda, Kshatriyas and Vaishyas should learn from the Brahmin, while a Shudra could not take a teacher, left to "fight of his own in danger". There follow nine asana or positions of standing in a fight 1. 2. 3. 4. 5. 6. samapada ("holding the feet even"): standing in closed ranks with the feet put together (248.9) vaikha: standing erect with the feet apart (248.10) maala ("disk"): standing with the knees apart, arranged in the shape of a flock of geese (248.11) lha ("licked, polished"): bending the right knee with the left foot pulled back (248.12) pratylha: bending the left knee with the right foot pulled back (248.13) jta ("origin"): placing the right foot straight with the left foot perpendicular, the ankles being five fingers apart (248.14) 7. dayata ("extended staff"): keeping the right knee bent with the left leg straight, or vice versa; called vikaa ("dreadful") if the two legs are two palm-lengths apart (248.16) 8. sampua ("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 32 positions to be taken with sword and shield (khagacarmavidhau),[23] 11 names of techniques of using a rope in fighting, along with 5 names of "acts in the rope operation" along with lists of "deeds" pertaining to the chakra, the spear, the iron club (tomara), the mace (gaa), the axe, the hammer, the bhindipla 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 old styles like varma kalai,[6] and kalaripayat had developed into their present forms by the 11th century, during an extended 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 the chest, punches to the head, hair pulling, and strangleholds.[6] Based on such accounts, Svinth (2002) traces press ups and squats used by Indian wrestlers to the pre-classical era.[6]
Indian martial arts 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 the Manasollasa of Somesvara III (12th c.) There is an extant dhanurveda-samhita dating to the mid 14th century, by Brhat Sarngadhara Paddhati (ed. 1888).
Mughal era (1526 to 1857)

After a series of victories, the conqueror Babur established Mughal rule in North India during the 16th century. The Mughals, Persians of Mongol descent, practiced martial techniques such as wrestling and mounted archery. By combining indigenous malla-yuddha with Turkic and Mongolian wrestling they created the grappling style pehlwani which has remained popular until today, particularly among Muslims. One of the Mughals' most enduring legacies on Indian martial arts was their introduction of the Persian-influenced talwar (scimitar). Although curved blades had been used in India since ancient times, the straight khanda (double-edge sword) had enjoyed greater popularity until then.
The khanda, a native straight sword created by the Rajputs
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, his brother Ekoji. Owing to the hilly geography of Maharashtra, the Marathas excelled in guerilla warfare. Favoured by the Mughal rulers as loyal commanders of the army, they were made official protectors of the throne between 1720 and 1740. By 1751 they had control of western Deccan and became the most important power in India. The Marathas created a fighting system called mardani khel which focuses on weaponry, particularly swords. Its movements are rapid and makes use of low stances suited to the hill ranges where it is originated. Shivaji himself was trained in armed 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 hilt for thrusting.
Modern period (1857 to present)

Indian martial arts underwent a period of decline after the full establishment of British colonial rule in the 19th century.[21] More European modes of organizing police, armies and governmental institutions, and the increasing use of firearms, gradually eroded the need for traditional combat training associated with caste-specific duties.[25] The British colonial government banned kalaripayat in 1804 in response to a series of revolts.[28] Silambam was also banned and became more common in the Malay Peninsula than its native Tamil Nadu. During this time, many martial arts were confined to rural areas. The resurgence of public interest in kalaripayat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India which characterized the growing reaction against British colonial rule.[25] During the following three decades, other regional styles were subsequently revived such as silambam in Tamil Nadu, and thang-ta in Manipur.[29]
Indian martial arts
Weapons
A wide array of weapons are used in South Asia, some of which are not found anywhere else. According to P.C. Chakravati in The Art of War in Ancient India, armies used standard weapons such as wooden or metal tipped spears, swords, thatched bamboo, wooden or metal shields, axes, short and long bows in warfare as early as the 4th century BC. Military accounts of the Gupta Empire (c. 240-480) and the later Agni Purana identify over 130 different weapons, categorised into thrown and unthrown classes and further divided into several sub-classes. Over time, weaponry evolved and India became famed for its flexible wootz steel. Armed forces were largely standardised and it is unclear if regular infantry were trained in any recognisable martial system other than standard military drills. More sophisticated techniques and weapons were employed by fighters trained in the warrior jati.
The katara (), a weapon found only in South Asia, has gained some fame for its unusual design.
Styles
As in other respects of Indian culture, Indian martial arts can be roughly divided into northern and southern styles, more or less corresponding to the major ethno-linguistic grouping of Indo-Aryan vs. Dravidian speaking populations. The main difference is, again as in Indian culture in general, that northern India was more exposed to Persianate influence during the Mughal period, while Southern India is more conservative in preserving ancient and The urumi, a flexible blade that behaves medieval traditions. The exception to this rule are the northeastern states like a whip, is unique to Dravidian which, due to their geographic location, were closed off from most martial arts. pre-European foreign invaders. Northeast Indian culture and fighting methods are also closely related to that of Southeast Asia. In addition to the major division 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 astravidy 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
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.
Wrestling
Grappling sports are found throughout India and were generically referred to in Sanskrit as maladvandva. True combat-wrestling is called malla-yuddha in the north and malyutham in the south, while the term malakhra refers to wrestling for sport. Malla-yuddha was codified into four forms which progressed from purely sportive contests of strength to actual full-contact fights known as yuddha.[30] Due to the extreme violence, this final form is generally no longer 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 Mughal pehlwani. Vajra musti was another old grappling art in which the competitors wrestled while wearing a cestus-like claw called a bagh nakh. Numerous styles of folk wrestling are also found in India's countryside, such as mukna from Manipur and Inbuan wrestling from Mizoram.
References
[1] attested in Classical Sanskrit only, specifically in the Anargharghava. [2] attested from Epic Sanskrit; see Luijendijk, D.H. (2008). Kalarippayat: The Essence and Structure of an Indian Martial Art. Oprat (LuLu.com). ISBN1581604807. [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 WisconsinMadison. [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. ISBN0-7554-5162-7. [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. ISBN1594771928. [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.) bhrntam (2.) udbhrntam (3.) viddham (4.) pluta (5.) vipluta (6.) sta (7.) sampta (8.) samudaca (9.-10.) yenaptamathkula (251.1) (11.) uddhtam (12.) avadhtaca (13.) savya (14.) dakiam eva ca (15.-16.) anlakita-visphoau (17.-18.) karlendramahsakhau (251.2) (19.-20.) vikarla-niptau ca (21.-22.) vibhaa-bhaynakau (23-24.) samagrrdha (25.) ttyapda (26.-28.) pdardhavrij (251.3) (29.) pratylham (30.) athlha (31.) varha (32.) lulitan tath (251.4ab)
Indian martial arts

[24] Parmeshwaranand Swami, Encyclopaedic Dictionary of Puras, Sarup & Sons, 2001, ISBN 978-81-7625-226-3, s.v. "dhanurveda" (http:/ / books. google. com/ books?id=nmmkM0fVS-cC& pg=PA467); Gag Rm Garg, Encyclopaedia of the Hindu World, Concept Publishing Company, 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 South Indian 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. ISBN81-85778-15-9. [28] Luijendijk, D.H. (2005). Kalarippayat: India's Ancient Martial Art. Boulder: Paladin Press. ISBN1581604807. [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 Mushti
Vajra-mushti (Sanskrit vajramui ) is a Sanskrit bahuvrihi compound translating to "one who is grasping a thunderbolt" 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 the name 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 wrestlers known as Jyemallas.[2] Terence Dukes in The Boddhisattva Warriors (2000) claims that vajramui was also a term for an ancient Indian martial art of the kshatriya caste that was transferred to China along with the silk road transmission of Buddhism during the early centuries CE, contributing to the origins of Chinese martial arts. Dukes speculates that there was a martial art specific to early Buddhism which he terms "Bodhisattva Vajramukti" (sic). Dukes builds his theory on he term vajramui itself, which he translates as "Thunder Fist". He claims that "Bodhisattva Vajramukti" was passed on within early Chinese Buddhist temples, as chuan fa, whence Japanese kenp.
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 Wisdom Publications, 2004, ISBN 9780861713523, 78ff. Terence Dukes, The Bodhisattva Warriors: The Origin, Inner Philosophy, History and Symbolism of the Buddhist Martial Art Within India and China, Motilal Banarsidass, 2000, ISBN 9788120817234.
Gatka
Gatka
Gatka demonstration at the head of a procession to celebrate the 538th birthday of Nanak Dev in Bedford, England
Focus Country of origin Parenthood Olympic sport Weapons (sticks simulating swords) Pan Jaab, India Shastar vidiy No

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Gatka
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Gatka (Punjabi: gatk) is a weapon-based Indian martial art created by the Sikhs of the Panjab. The Panjabi word gatka refers to the wooden stick used in sparring matches. The term might have originated as a diminutive of the 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 with wooden staves intended to simulate swords. The sticks may be paired with a shield. The older techniques and various other weapons are taught in the ritual aspect of the art. These are demonstrated in preset routines or performed as a sword dance during Sikh festivals.[2] Though primarily an armed fighting style, gatka also incorporates wrestling as part of its empty-handed training component.
History
Origins
The Panjab has a long history of war and armed conflict, some of which was set down in the Mahabharata epic. First invaded by Indo-Aryans in 1700 BC, and conquered by the Mauryans in the 3rd century BC, the Mughals also fought their way through the region on their way from the Khyber Pass to Delhi. As such, Sikhs developed as a warrior people with a heavily martial culture, ultimately rooted in the fighting methods employed by the militaristic Rajputs and the kesatria caste in general. The fighting systems of this period are more properly called shastar vidiy ( ), the Panjabi spelling for astravidy or "knowledge of the sword" in Sanskrit. Guru Nanak, the founder 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 as developing mentally and spiritually. Guru Hargobind propagated the theory of the warrior saint and emphasized the need for his followers to practice fighting for self-defence.[3] When fifty-two Rajput princes were captured by the Muslim conquerors, he assembled an army to free them. This led to further exchanges in the martial cultures of the Sikhs and Rajputs. Both the Rajputs and 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 to protect their communities and religion from the Mughal rulers. During the 1600s Emperor Aurangazeb attempted to eradicate the Sikh faith by forcibly converting Guru Teg Bahadur to Islam. Guru Teg refused to renounce his faith and was beheaded in 1675. His son and successor was Guru Gobind Singh, the 10th guru of Sikhism and a master of shastar vidiya. In 1699 he founded the Khalsa brotherhood by baptising five disciples with a sword dipped in the nectar of immortality (amrita). This collective society galvanized the martial energies of the Sikh community and would 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 defend the faith. This is symbolised by the kirpan or dagger, one of the five Ks which every baptised Sikh is required to carry. In regards to training the brotherhood, Guru Gobind Singh pledged that he would "teach the sparrow to fight the hawk". The Akali Nihang, a stricter order of Sikh warriors, exemplified his principles of combining spirituality with combat training. Gobind Singh was also responsible for adding to the Sikh canon the holy books Sri Dasam Granth and Sri Sarab Loh Granth, which mention the practice of shastar vidiya.
Gatka 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 collapse of the Mughals.
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Colonisation
As British colonial rule spread across India, the Sikhs prepared themselves for war with the Europeans. Pan Jaab's ruling monarch, Ranjit Singh, was an experienced warrior despite his comparatively small build. He personally assisted 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 by widespread corruption and anarchy within the royal family. Only in the 1840s, after two wars with the British, was the Khalsa army finally defeated. Following the Second Anglo-Sikh War of 1848 to 1849 and the establishment of the British Raj, the Sikh martial traditions and practitioners suffered greatly. Ever wary of the Panjabis, the British ordered effective disarmament of the entire Sikh community; even tools and farming equipment were banned. The Akali Nihang, considered the keepers of all Sikh traditions, were regarded as disloyal to the colonists. More than 1,500 Nihang were killed by the British for plotting rebellion. According to folklore, some fled and spent the rest of their lives in the northern mountains. During the Indian Rebellion of 1857, the Sikhs assisted the British in crushing the mutiny. As a consequence of this assistance, restrictions on fighting practices were relaxed, but the Panjabi martial arts which re-emerged after 1857 had changed significantly.[5] The new style applied the sword-fighting techniques to the wooden training-stick. It was referred to as gatka, after its primary weapon. Gatka was used mainly by the British Indian Army in the 1860s as practice for hand-to-hand combat. As Sikh colleges opened during the 1880s, European rules of fencing were applied to create what is now called khel or sport gatka. The other techniques and weapons of traditional shaster vidiya were taught 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 as Malaysia, Hong Kong and Thailand.
Gatka
11
Gatka today
The International Gatka Federation (IGF) was founded in 1982 and formalized in 1987. It is based in Berlin and has chapters in Hamburg and Bordeaux. In the United Kingdom, Baba Fateh Singh Gatka Akhara was established in East London in 1992, contributing to the establishment of the International Gatka Organisation (IGO). The system devised by Captain William Ewart Fairbairn and Captain Eric Anthony Sykes borrowed methodologies from gatka, jujutsu, Chinese martial arts and "gutter fighting". This method was used to train soldiers in close-combat techniques at the Commando Basic Training Centre in Achnacarry, Scotland.[6] Gatka competitions, along with various other sports, are held annually during 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 in Gurdwara 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]
A young boy practising gatka
Gatka is performed as a stick-fighting dance by the Sikh community of Trinidad.[10]
Weapons
The correct use of melee weapons is central to gatka with techniques depending on the nature of the weapon. The sword is gatka's main weapon, often paired with a shield or another sword. The shield itself can be used offensively. The following lists a few examples of the weapons 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 steel points are typically used. Barcha: spear Bothati: lance used from horseback Nagni barcha: javelin Khanda: double-edge sword
Gatka at Yuba City
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
Training
With its strong link to the Sikh faith, gatka groups may train in a religious or semi-religious situation, such as in a gurdwara (Sikh temple). Akharas, usually associated with pehlwani, have also been founded with the exclusive purpose 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 excellent exercise for coordinating the two halves of the body, a concept also found in Filipino kali. The individual's preference for weapons, combination of weapons, and movement patterns leads to the development of individual fighting 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 based upon 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 the coordination 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, Book One - 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 Placeoforigin Stick India

Lathi (Devanagari: ) means stick and is the name of an Indian cane-fighting martial art . The word lathi means stick or cane in Hindi, Bengali and some other Indian languages. It is basically a 6 to 8-foot (2.4m) long cane tipped with 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 even fatal. A good lathial must be able to fight using sticks of different lengths and thicknesses.
History
The stick is one of the world's oldest weapons. Martial artists favoured the stick for its easy accessibility and the fact that it is not necessarily lethal made it a popular self-defence implement among Hindu priests and Buddhist monks in South Asia. Lathi or cane-fighting has a long history in India where the weapon was often used to control domestic animals. Rural villagers would use the lathi to protect their flocks from thieves and in fights between herdsmen. The men of villages used to carry a lathi with them at all times. It used to help them in walking/climbing, controlling their herd, defending themselves and to carry a small parcel (called potli) with lunch etc, at one end of the lathi, while resting the lathi over the shoulder. A common Hindi saying goes "Jiski lathi, uski bhains" meaning, "He who wields the lathi gets to keep the buffalo". As the art evolved, lathi duels became especially popular in east and south Indian villages which eventually began holding regular tournaments. Village landlords would raise armies of lathial for security purposes and to settle conflicts. Local warlords would also use lathial armies to oppress and punish common people. 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 elements with various levels of inheritable land rights. Lathial groups were sent to forcefully collect taxes from villagers. The zamindari system continued during British rule and wasn't abolished until after India's independence in 1947. Rich farmers and other eminent people in today's Indian villages still hire lathials for security and as a symbol of their power. Disputes in villages, when settled illegally, still involve lathi battles but this is no longer a common practice and 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
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Lathi in law enforcement

The British colonists introduced lathi as a weapon for the Indian Police. This gave birth to the lathicharge, a military-style rush that uses lathi to disperse crowds. Lathi are now often used to control riots and also as a secondary 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 leave many of the rioters crippled. This drill has been quite controversial among human rights activists so in many places the police do not follow the drill but hit in such a way to disperse the crowds. Security guards and police officers often carry a lathi along with or in place of firearms. They prefer lathi for their ease of use and comparative safety and 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 Focus Hardness Country of origin Olympic sport Muki Boxing Striking Full-contact Varanasi, India No

Musti-yuddha is a martial art from Varanasi (Benares) in north India. Similar to Southeast Asian kickboxing styles it makes use of punches, kicks, knees and elbow strikes although punches tend to dominate. Practitioners claim this style to be a complete art for physical, mental and spiritual development. Boxers toughen their hands and feet by punching or kicking hard objects such as brick or stone and they break coconuts as a test of strength. Some internal energy training is also incorporated. Matches were once held regularly in Varanasi but were eventually banned because of the fights which often broke out among the boxers' supporters. Illegal bouts continued but became rare by the 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. ISBN9780870114366.
Thang-ta
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Thang-ta
Thang-ta practitioner with spear and shield.

Also known as Focus Country of origin Parenthood Olympic sport Huyen Lalong Weapons Manipur, India Historic No

Thang-Ta or huyen lallong is a weapon-based Indian martial art created by the Meitei of Manipur. In the Manipuri language, thang means sword and ta means spear. As its name implies, the sword and spear are the primary weapons in thang-ta. The spear can be used in its non-missile form while in close or thrown from afar. Other weapons used include the shield and axe. Because of Manipur's cultural similarity, geographic proximity and ethnic ties with Myanmar, thang-ta is closely related to banshay. Both can be practiced in three different ways: ritual, demonstration and combat. The first way is related to the tantric practices and is entirely ritualistic in nature. The second way consists of a spectacular performance involving sword and spear dances. These dances can be converted into actual fighting practices. The third 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 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 Padma Shri honor award from the Indian Government for his contributions to the preservation and advancement of Thang-Ta.[2] [3]
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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 of thang-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 was recently 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
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Kalaripayat
Also known as
Kalaripayat, Kalari Payatta, Kalari Payatt
Country of origin Kerala, India Creator Parenthood Olympic sport unknown Historic No

Kalarippayattu (Malayalam , pronounced [kaipajt]) is an Indian martial art from Kerala, South India. Possibly one of the oldest fighting systems in existence,[1] it is practiced in Kerala and contiguous parts of Tamil 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 variously as kalari payat, kalarippayatta, kalaripayatt and many others depending on the dialect and romanisation system used. It includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[2] Regional variants are classified according 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 soft techniques, 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 knew martial arts were believed to be markedly better than the other performers. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen.[5]
Kalaripayat
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Etymology
The term kalari payittru is a tatpurusha compound from the words kalari (Malayalam:) meaning school or gymnasium and payattu (Malayalam:) derived from payattuka meaning to "fight/ exercise" or "to put hard work into". Belying the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, kalarippayattu is in Ulloor S. Parameswara Iyer's early twentieth century drama Amba when it is probable that the systems of martial practice assumed a structure and style akin those extant today. M.D. Raghavan has suggested that kalari was derived from the Sanskrit khalrik while Burrow is of the opinion that khalrik (parade ground, arena) and its Sanskrit root, khala(threshing floor) are Dravidian loan words.
History
Origins
Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalaripayattu, estimates that kalaripayattu dates back to at least the 12th century CE.[2] The historian Elamkulam Kunjan Pillai attributes the birth of kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.[2] From the 11th or 12th century the right and duty to practice the martial art in the service of a ruler was most associated with Nairs, Ezhavas and some Christians and Muslims were given this right and duty.[2]
South Indian state of Kerala, where kalari payat originated
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 vadakkan pattukal ballads that at least a few women of noted Chekavars continued to practise and achieved a high degree of expertise.[2] Ankam were fought on an ankathattu, a temporary platform, four to six feet high, purpose-built for ankam.[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 are taught many tricks of nimbleness and dexterity; there they teach them to dance and turn about and to twist on the ground, to take royal leaps, and other leaps, and this they learn twice a day as long as they are children, and they become so loose-jointed and supple that they make them turn their bodies contrary to nature; and when they are fully accomplished in this, they teach them to play with the weapon to which they are most inclined, some with bows and arrows, some with poles to become spearmen, but most with swords and bucklers, which is most used among them, and in this fencing they are ever practising. The masters who teach them are called Panikars. The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalari payat was widely popular and well established with almost all people in Kerala transcending gender, caste and communal lines. It is said to have eventually become as prevalent as reading and writing. Kalari payat became more developed during the 9th century and was practiced by a section of the Nair community, warrior clan of Kerala, to defend the state and the king. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Kerala known 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
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Decline and revival

Kalari payat underwent a period of decline when the Nair warriors lost to the British after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century.[2] The British eventually banned kalari payat and the nair custom of holding swords, altogether so as to prevent rebellion and anti-colonial sentiments. During this time, many Indian martial arts had to be practiced in secret and were often confined to rural areas. The resurgence of public interest in kalari payat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India[2] and continued through the 1970s surge of general worldwide interest in martial arts.[8] In recent years, efforts have been made to further popularise the art, with it featuring in international and Indian films such as Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007), and also in Japanese Anime/Manga Series Kenichi: The Mightiest Disciple.
Regional variations
There are several styles of kalari payat. The three main schools of thought can be distinguished by their attacking and defensive patterns. The best introduction to the differences between these styles is the book of Luijendijk which uses photographs to show several kalari payat exercises and their applications. Each chapter in his book references a representative of each of the three main traditions.
Northern style
Northern kalari payat was practiced mainly in the northern Malabar region of Kozhikode and Kannur.[2] It places more emphasis on weapons than on empty hands.[2] Parashurama, sixth avatar of Vishnu, is believed to be the style's founder according to both oral and written tradition.[2] Masters in this system are usually known as gurukkal or occasionally 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] The system of treatment and massage, and the assumptions about practice are closely associated with ayurveda.[2] The purpose of medicinal oil massage is to increase the practitioners' flexibility, to treat muscle injuries incurred during practice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for such massages 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 more than 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
Southern kalari payat was practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu[2] primarily by the Nairs and Nadars.[2] It emphasises empty hand techniques.[2] The founder and patron saint is believed to be the rishi Agasthya rather than Parasurama.[2] Masters are 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]
Jasmine Simhalan demonstrating kalari payat and silambam in Borobudur.
Zarrilli refers to southern kalari payat as varma ati (the law of hitting), marma ati (hitting the vital spots) or Varma Kalai (art of varma).[2] The preliminary empty handed techniques of varma ati are known as adithada (hit/defend).[2] Marma ati refers specifically to the application of these techniques to vital spots.[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 medicine distinct from north Indian ayurveda. The siddha medical system, otherwise known as siddha vaidyam, is also attributed to Agasthya. Closely related to southern kalari payat is silambam, the art of stick fighting. It supposedly originated in the Kurinji hills of Kerala some 5000 years ago where natives were using bamboo staves to defend themselves against bandits and wild animals. "Salambal" is a common word used to denote the sound of fast flowing rivers/springs, the chirping noises of birds, the murmur of leaves, the noise created by a talking crowd, the whooshing, whirring and clanging sound of weapons etc. When long sticks, swords and chain flails are used they produce the "sala sala" sound which is called salambal. Thus silambam became the name of the martial art that uses long sticks, swords etc.
Central style
Central kalari payat is practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts.[2] It is a composite of the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-handed moves and its own distinctive techniques which are performed within floor drawings known as kalam.[2]
Various kalari styles

Various kalari styles as specified in Vadakkan Pattukal, Karuvancheri Kalari Kodumala Kalari Kolastri Nadu Kalari Kurungot Kalari Mathilur Kalari Mayyazhi Kalari Melur Kalari Nadapuram Kalari Panoor Madham Kalari Payyampalli Kalari Ponniyam Kalari
Kalaripayat Puthusseri Kalari Puthuram Kalari Thacholi Kalari Thotuvor Kalari Tulunadan Kalari
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Training
Initiation ceremony
Students begin training at approximately seven years old with a formal initiation ritual performed by the gurukkal. On the opening day of the new session, a novice (mostly Nairs , Ezhavas in the olden days) is admitted to the kalari in the presence of the gurukkal or a senior student and directed to place their right foot first across the threshold. The student touches the ground with the right hand and then the forehead, as a sign of respect. He is then led to the guruthara, the place where a lamp is kept burning in reverence to all the masters of the Gurukkal praying before puttara CVN Kalari, Ettumanoor kalari, to repeat this act of worship. He then offers the master some money 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 pupils head, blesses him and prays for him. This ritual - touching the ground, puttara, guruthara and the gurus feet - is repeated everyday. It symbolizes a complete submission to and acceptance of the master, the deva, the kalari and the art itself.
The kalari
A kalari is the school or training hall where martial arts are taught. They were originally constructed according to Vastu Shastra with the entrance facing east and the main door situated on the centre-right. Sciences like mantra saastra, tantra saastra and marma saastra are utilized to balance the space's energy level. The training area comprises a puttara (seven tiered platform) in the south-west corner. The guardian deity (usually an avatar of Bhagavathi, Kali Mata or Shiva) is located here, and is worshipped with flowers, incense and water before each training session which is preceded by a prayer. Northern styles are practiced in special roofed pits where the floor is 3.5 feet below the ground level and made of wet red clay meant to give a cushioning effect and prevent injury. The depth of the floor protects the practitioner from winds that could hamper body temperature. Southern styles are usually practiced in the open air or in an unroofed enclosure of palm branches.[2] Traditionally, when a kalari was closed down it would be made into a small shrine dedicated to the guardian deity.
Kalaripayat
23
Internal training
Aside from being an art of self-defence, the ancient Indian saints and ascetics formulated kalari payat as a form of physical, emotional, intellectual and spiritual development. They realised that the greatest accomplishment is not martial skill but moksha or enlightenment, so martial arts served as a vehicle to attain higher levels of spirituality and thereby attain self realisation. A fully trained practitioner should be conscious of any movements in the surrounding area and be prepared to defend themselves at all times. Having developed a sufficient level of prana, one could stabilise their opponent through choondu marma for example. Folklore even tells of masters who acquired supernatural powers through meditation.
Practitioners meditate to develop inner energy.
Exercises
Specific commands associated with each exercise are called vaytari.
Kaalkal Kaalkal literally means Legs (Kaal - Leg). Leg exercises referred as "Kaalkal" in Kalaripayattu. Here is the list of all Kaalkal exercises. This exercise also called Kall Eduppu (leg raising). 1. 2. 3. 4. 5. 6. 7. 8. Ner kaal (straight kick) Kona kaal (right to left, left to right kick) Veethi kaal (round kick - inside out) Ner-kona-veethi kaal (combined kick) Thirichi-kaal (both side kick - kick straight turn around and kick) aga-kaal (round kick - outside in) iruththi-kaal (kick and sit) iruththi-kaal-2 (kick and sit - turn and sit)
Kaikuththippayattu Kaikuththippayattu (Kai - hand, kuththi - hit, payattu - practice) is one of kalari exercises. It consists of punches, leg moves, stretches, twists, jumps together in a particular sequence. Like most of Kalaripayattu exercises this one is also divided into 18 stages. All of these starts with Mukakattu, warm up. Complexity increases as one progresses to higher levels. This Kalaripayattu exercise is from Tulunadan Kalari adopted to most of other styles. Chumattadi Chumattadi is one of Kalari exercises. This will teach the practitioner how to attack and defend multiple opponents from 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 with intense speed and power. Meipayattu Meipayattu is one of Kalari exercise. This mainly concentrates on body flexibility. Some books say that this will also make a person aggressive and increase battle awareness. Like most of Kalaripayattu exercises this one is also divided into 18 stages. This exercise should be practiced with speed and at most flexibility. Adithada Adithada (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 change their roles. This can also be practiced by more than two students. Ottotharam Ottotharam is one of Kalari exercise. This exercise will teach practitioner how to use attack against attack as a method of defense / attack. It is from "Attack is the best way to defend" school of thought. This exercise needs two students to start with, and can also be practiced by more than two students.
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Stages
Training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.
Meithari ()
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 of the body. Kalari payat originates not in aggression but in the disciplining of the self. Therefore the training begins with disciplining the physical body and attaining a mental balance. This is crucial for any person and not necessarily a martial aspirant. This first stage of training consists of physical exercises to develop strength, flexibility, balance and stamina. It includes jumps, low stances on the floor, circular sequences, kicks, etc. An attempt is made to understand and master each separate organ of the body. These exercises bring an alertness to the mind, and this alertness helps one understand some of the movements and processes of the self defense sequences that are taught at later stages.
Kolthari ()
Once the student has become physically competent, they are introduced to fighting with long wooden weapons. The first weapon taught is the staff (kettukari), which is usually five feet (1.5m) in length, or up to the forehead of the student from ground level. The second weapon taught is the cheruvadi or muchan, a wooden stick three palm spans long, about two and a half feet long or 75cm. The third weapon taught is the otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots 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.
Kolthari
Ankathari ()
Kalaripayat
25
Once the practitioner has become proficient with all the wooden weapons, he/she proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the kadhara, a metal dagger with a curved blade. Taught next are the sword (val) and shield (paricha). Subsequent weapons include the spear (kuntham), trident (trisool) and axe (venmazhu). Usually the last weapon taught is the flexible sword (urumi or chuttuval), an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of 'Ankathari', the student would specialize in a weapon of his choice, for example to become an expert swordsman or stick fighter.
Ankathari in which both opponents are armed with chuttuval and paricha
Verumkai ()
Only after achieving mastery with all the weapon forms is the practitioner taught to defend themselves with bare-handed techniques. These include arm locks, grappling, and strikes to the pressure points (marmam). This is considered the most advanced martial skill so the gurukkal restricts knowledge of marmam only to very few trusted students.
Marmashastram and massage

It is claimed that learned warriors can disable or kill their opponents by merely touching the correct marmam (vital point). 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). This system of marma treatment comes under sidha vaidhyam, attributed to the sage Agasthya and his disciples. Critics of kalari payat have pointed out that the application of marmam techniques against neutral outsiders has not always produced verifiable results The earliest mention of marmam is found in the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with a vajra.[9] References to marman also found in the Atharva Veda.[10] With numerous other scattered references to vital points in Vedic and epic sources, it is certain that India's early martial artists knew about and practised attacking or defending vital points.[11] Sushruta (c. 6th century BC) identified and defined 107 vital points of the human body in his Sushruta Samhita.[12] Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick.[13] Sushruta's work formed the basis of the medical discipline ayurveda, which was taught alongside various Indian martial arts that had an emphasis on vital points, such as Varma Kalai and marma adi.[13] As a result of learning about the human body, Indian martial artists became knowledgeable in the field of traditional medicine and massage. Kalari payat teachers often provide massages (Malayalam: uzhichil) with medicinal oils to their 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 as katcha thirumal. It is said to be as sophisticated as the uzhichil treatment of ayurveda. Kalari payat has borrowed extensively from ayurveda and equally lends to it.
Kalaripayat
26
Techniques
Techniques (atavu) in kalari payat are a combination of steps (chuvatu) and stances (vadivu). There are five steps and northern styles have ten postures (Ashta Vadivukal). Each stance has its own power combination, function and set of techniques. All the eight postures are based on animals.
Stances (Vadivu)
Gajavadivu Simhavadivu Asvavadivu Varahavadivu Sarpavadivu
Elephant stance Lion stance Horse stance Boar stance Snake stance
Marjaravadivu Cat stance Kukkuvadivu Matsyavadivu Mayuravadivu Rooster stance Fish stance (Gurukkal Govindankutty Nayar and the C.V.N. Style) Peacock stance (Gurukkal P. K. Balan Style)
Steps (Chuvatu) Vatta Chuvatu Aakka Chuvatu Neekka Chuvatu Kon Chuvatu Ottakkal Chuvatu Circular steps Inside steps Moving steps Corner steps Single-leg steps
Weapons
Although no longer used in sparring sessions, weapons are an important part of kalari payat. This is especially true for the northern styles which are mostly weapon-based. Some of the weapons mentioned in medieval Sangam literature 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 Kurunthadi/Cheruvadi/Muchan Lathi Urumi/Chuttuval Kuruvadi Otta Gadha Katara Vettukathi Churika Val Paricha Kuntham Longstaff Stick Long stick Flexible sword Short stick Curved stick Mace/Club Dagger/Knife Kukri/Machete Short sword Longsword Buckler Spear
Weapons historically used in kalaripayat Ponti Ambum Villum Bow and arrow Venmazhu Kathuthala Trisool Trident Axe
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. ISBN1-58160-480-7. [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 WisconsinMadison. [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 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
29
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 Focus Country of origin Olympic sport No Chilambam, Silambattam Weapons (bamboo staff) Tamil Nadu, India

Silambam (Tamil: ) or silambattam (Tamil: ) is a weapon-based Dravidian martial art from Tamil Nadu in south India but also practiced by the Tamil community of Malaysia. In Tamil, the word silambam refers to the bamboo staff which is the main weapon used in this style. Other weapons are also used such as the maduvu (deer horn), kathi (knife) and vaal (sword). Unarmed silambam, called Kuttu Varisai, utilizes stances and 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 fingers from 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 staffs of different lengths. The usual stance includes holding the staff at one end, right hand close to the back, left hand about 40 centimeters (16 inches) away. This position allows a wide array of stick and body movements, including complex attacks and blocks. There are numerous sub sects in silambam like nagam-16 (cobra-16), kallapathu (thieves ten), kidamuttu (goat head butting), kuravanchi, kalyanavarisai (similar to quarterstaff), thulukkanam, and so on. Each is unique and may differ from one another in grip, posture, foot work, method of attack, length of the stick, movement of the stick etc.
History
Silambam supposedly originated in the Kurinji hills, present day South Indian state Kerala almost 5000 years ago which was actually a Tamil region . The Narikuravar of the area are said to have used staves called chilambamboo in battle and to defend themselves against wild animals. They would also perform solo stick-fighting demonstrations during Hindu religious festivals. The art was patronized by the ancient Chola, Chera and Pandya kings of South India during the Sangam period. The Maravar pada of Travancore kings used silambam in their warfare against enemies. Ancient contact between Tamil Nadu and Southeast Asia brought silambam to the Malay Peninsula during which time the word silambam came to refer to the art as well as the weapon. Many Southeast Asian martial arts were influenced by silambam including silat and Krabi Krabong.
Silambam The references to Silappadikkaram in Tamil Sangam literature dating back to the 2nd century refer to the sale of silamabam staves, swords, pearls and armor to foreign traders. The ancient trading centre at the city of Madurai was renowned globally and said to be thronged by Romans, Greeks, and Egyptians among others who had regular sea trade with the Tamil kingdoms. The bamboo staff, one of the first weapons used in Indian martial arts, was in great demand with the visitors.[1] [2] The soldiers of King Veerapandiya Kattabomman (17601799) relied mainly on their silambam prowess in their warfare against the British Army.[1] Indian martial arts suffered a decline after the British colonists banned silambam along with various other systems. They also introduced modern western military training which favoured fire-arms over traditional weaponry. The stick lost much of its combat superiority and some of silambam's vast techniques and styles were lost. During this time, silambam actually became more widespread in Southeast Asia than India. It is still practiced in Malaysia today, f.ex. by Mahaguru Sri S. Arumugam, founder of the Malaysian Silambam Society in Selangor; or Master Anbananthan, founder of the Pensilam association in Penang.
31
Techniques
Beginners 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 which four 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 Varisai allows the practitioner to get a feel of silambam stick movements using their bare hands, that is, fighters have a preliminary 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 of the training is to defend against multiple armed opponents. In silambam as well as Kuttu Varisai, kaaladi is the key in deriving power for the blows. It teaches how to advance and retreat, to get in range of the opponent without lowering one's defence, aids in hitting and blocking, and it strengthens the body immensely enabling the person to receive 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 be poisoned. 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 strong hand grips the stick about a distance hand's width and thumb's length from the end of the stick and the weak hand is a 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 difficult to block. Besides the hammer grip, sliambam uses the poker grip and ice pick grip as well. Some blocks and hits are performed using the poker grip. The ice pick grip is used in single hand attacks. The staff is held like a walking stick and 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 can initiate all attacks with only a movement of the wrist. In fact, most silambam moves are derived from wrist movement, making it a key component of the style. The blow gets speed from the wrist and power from the body through kaaladi (footwork). Since the stick is held in front, strikes are telegraphic, that is, the fighter does not hide their intentions from the opponent. They attack with sheer speed, overwhelming the adversary with a continuous non-stop rain of blows. In silambam, one blow leads to and aids another. Bluffs may also be used by disguising one attack 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 enduring, rotary parrying, hammering (with the stick), kolluvuthal (attacking and blocking simultaneously) and evasive 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 they assume 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 strike anywhere in the body to produce fatal or crippling effects by the least use of power. In one-on-one combat an expert would just slide his stick to opponents wrist many times during combat. The opponent may not notice this in the heat of 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 big toe can produce crippling effects on the fighter, making them abandon the fight. This is called solli adithal which means "challenging and successfully hitting".
32
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 Focus Hardness Malyutham, Niyuddha-kride Grappling Full contact
Country of origin South Asia Parenthood Olympic sport Historic No

Malla-yuddha (Devanagari: ,[1] Tamil: malyutham) is the traditional South Asian form of combat-wrestling[2] created in what is now India, Pakistan, Bangladesh and Sri Lanka. It is closely related to various Southeast 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 into submission, Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength.[3]
Terminology
In Sanskrit, mallayuddha literally translates to "boxing match". Strictly speaking, the term denotes a single pugilistic encounter 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 to boxing matches such as those fought by Bhima. The Sanskrit term was loaned into Tamil as malyutham. Another word for a sportive wrestling match or athletic sports more generally is mallakra. The second element, kra (sport, play, pastime, amusement) implies a more limited-contact style of folk wrestling rather than true grappling combat. The term malla is in origin a proper name, among other things of an asura, known as mallsura and the name of a tribe mentioned in the Mahabharata. In the Manusmriti (10.22; 12.45), it is the technical term for the offspring of an out-caste Kshatriya by a Kshatriya female who was previously the wife of another out-caste.
Malla-yuddha
34
History
The first attestation of the term mallayuddha is found in the Mahabharata epic, in the context of the wrestling match between Bhima and Jarasandha.[4] Other early literary descriptions of wrestling matches include the story of Balarama, and the Ramayana's account of the vanara king Vali defeating Ravana, the king of Lanka, in a wrestling contest. Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest, punches to the head, hair pulling, and strangleholds.[5] Based on such accounts, Svinth (2002) traces press ups and squats used by Indian wrestlers to the pre-classical era.[5] Siddhartha Gautama himself was said to be an expert wrestler, 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. The chapter entitled "Malla Vinod" describes the classification of wrestlers into types by age, size and strength. It also outlines how the wrestlers were to exercise and what they were to eat. In particular the king was responsible for providing the wrestlers with pulses, meat, milk, sugar as well as "high-class sweets". The wrestlers were kept isolated from the women of the court and were expected to devote themselves to building their bodies. The Manasollasa 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, dating most likely to the 13th century. It categorizes and classifies types of wrestlers, defines necessary physical characteristics, describes types of exercises and techniques of wrestling as well as the preparation of the wrestling pit, 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 favoured the Persianate pehlwani style. Malla-yuddha is exceedingly rare in the northern states, but indigenous wrestling traditions and training methods survived in south India.
Training
Physical training or vyayam is meant to build strength and develop muscle bulk and flexibility. Exercises that employ the wrestler's own bodyweight include the Surya Namaskara, shirshasana, Hindu squat (bethak) and the Hindu 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): 317336. 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): 317336. 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 Focus Hardness Malyutham, Niyuddha-kride Grappling Full contact
Country of origin South Asia Parenthood Olympic sport Historic No

Malla-yuddha (Devanagari: ,[1] Tamil: malyutham) is the traditional South Asian form of combat-wrestling[2] created in what is now India, Pakistan, Bangladesh and Sri Lanka. It is closely related to various Southeast 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 into submission, Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength.[3]
Terminology
In Sanskrit, mallayuddha literally translates to "boxing match". Strictly speaking, the term denotes a single pugilistic encounter 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 to boxing matches such as those fought by Bhima. The Sanskrit term was loaned into Tamil as malyutham. Another word for a sportive wrestling match or athletic sports more generally is mallakra. The second element, kra (sport, play, pastime, amusement) implies a more limited-contact style of folk wrestling rather than true grappling combat. The term malla is in origin a proper name, among other things of an asura, known as mallsura and the name of a tribe mentioned in the Mahabharata. In the Manusmriti (10.22; 12.45), it is the technical term for the offspring of an out-caste Kshatriya by a Kshatriya female who was previously the wife of another out-caste.
Malyutham
37
History
The first attestation of the term mallayuddha is found in the Mahabharata epic, in the context of the wrestling match between Bhima and Jarasandha.[4] Other early literary descriptions of wrestling matches include the story of Balarama, and the Ramayana's account of the vanara king Vali defeating Ravana, the king of Lanka, in a wrestling contest. Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest, punches to the head, hair pulling, and strangleholds.[5] Based on such accounts, Svinth (2002) traces press ups and squats used by Indian wrestlers to the pre-classical era.[5] Siddhartha Gautama himself was said to be an expert wrestler, 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. The chapter entitled "Malla Vinod" describes the classification of wrestlers into types by age, size and strength. It also outlines how the wrestlers were to exercise and what they were to eat. In particular the king was responsible for providing the wrestlers with pulses, meat, milk, sugar as well as "high-class sweets". The wrestlers were kept isolated from the women of the court and were expected to devote themselves to building their bodies. The Manasollasa 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, dating most likely to the 13th century. It categorizes and classifies types of wrestlers, defines necessary physical characteristics, describes types of exercises and techniques of wrestling as well as the preparation of the wrestling pit, 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 favoured the Persianate pehlwani style. Malla-yuddha is exceedingly rare in the northern states, but indigenous wrestling traditions and training methods survived in south India.
Training
Physical training or vyayam is meant to build strength and develop muscle bulk and flexibility. Exercises that employ the wrestler's own bodyweight include the Surya Namaskara, shirshasana, Hindu squat (bethak) and the Hindu 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): 317336. 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): 317336. 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
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Article Sources and Contributors

Indian martial arts Source: http://en.wikipedia.org/w/index.php?oldid=370950975 Contributors: Arundhati bakshi, Bakasuprman, Balthazarduju, Barticus88, Belasd, Bharatveer, Blackknight12, Bradtcordeiro, Centrx, Colombianstar, Cowman109, Dangerous-Boy, DavidFHoughton, Dbachmann, Dewan357, Dijxtra, Download, Emperor Genius, FrancisTyers, Freedom skies, Freethinker1, Gaius Cornelius, GobtaNIndia, Gurukkal, HFret, Howcheng, ISPHANI, Indrancroos, J.delanoy, JFD, JaGa, Jagged 85, Jer10 95, JohnWycliff, Justi521, Kalaripayatt, Kaobear, Kbthompson, Ken Gallager, Kennethtennyson, Kevin Forsyth, Kmlvs, Kwiki, Leafyplant, LeaveSleaves, Leolaursen, LilHelpa, Master of the Orchalcos, Maxim, Migelot, Milesaaway, MisterJayEm, Morinae, Mr pand, Mytildebang, Nate1481, Neelakandanpm, PRehse, Pigman, RG2, Raguks, Rcawsey, Redtigerxyz, Ronz, Sangam06, Sardanaphalus, Scottalter, Senseisingh, Shyamsunder, Signalhead, Special-T, Steelhead, Thatopshotta, The doctor23, Universe=atom, Wachholder0, WereSpielChequers, Wiki Raja, Woohookitty, Yanksox, 151 anonymous edits Vajra Mushti Source: http://en.wikipedia.org/w/index.php?oldid=322092021 Contributors: A.Nath, Arundhati bakshi, Bradford44, CALR, DaGizza, Dbachmann, Dhushyant, Freedom skies, Gaius Cornelius, Isolani, JFD, Jagged 85, Kennethtennyson, Kerowyn, Medipsych, Morinae, PRehse, Pearle, RJFJR, Rossen3, SAINATHGUPTA, Sajmeister, Sardanaphalus, Seiken, Shaolinrob, Silverxxx, Ske2, Srkris, Utcursch, 37 anonymous edits Gatka Source: http://en.wikipedia.org/w/index.php?oldid=372727937 Contributors: Acs4b, Aesopian, Amitprabhakar, Amrik, Amrit81, Arundhati bakshi, Barticus88, Bryan Derksen, Dancter, Dangerous-Boy, Dasamgranth, Dbachmann, Delirium, Eeekster, Ekabhishek, Eric Shalov, Falcon8765, Freedom skies, GDibyendu, Gaius Cornelius, Gavia immer, GeeJo, GiantSnowman, Guglani, Gurkhaboy, HFret, Harisingh, Hongooi, Hu12, InderR251400, Indiantrumpet, JBellis, JaGa, Jagged 85, James smith2, Jasjitsinghkhalsa, Jeff3000, Joe Beaudoin Jr., Kennethtennyson, Konyasha, Kotniski, Leolaursen, LilHelpa, Llosoc, MDCore, Mmlabeeb, Morinae, Mr pand, Myanw, Nate1481, Neil916, Ogress, PRehse, Pearle, Pol098, Pritraj, Puapsch, Pyrop, Quality check, Rjwilmsi, Roadahead, RockmanX, Ronabop, Sardanaphalus, Scottalter, Scottbeck, Shazirah, Sikh historian, Simon123, Simonxag, Skysmith, Steelhead, Street Scholar, Sukh, Thetruth, Unknown66, Utcursch, Variable, Vastu, Vivin, Welsh, Whispering, Yogirana, Zabieru, 135 anonymous edits Lathi Source: http://en.wikipedia.org/w/index.php?oldid=368817603 Contributors: Arundhati bakshi, Babajobu, Charles Matthews, DNicholls, Dahbzee, Dangerous-Boy, Fitzhugh, Freedom skies, Gaius Cornelius, Gogo Dodo, Hacky, JaGa, JamesAM, Jasmeetsinghsekhon, Joel7687, Kearny789, Kennethtennyson, Knotwork, LHOON, LRBurdak, Linuxerist, MacGyverMagic, ManasShaikh, Mysid, Ohnoitsjamie, PRehse, Priyanath, Sardanaphalus, Septegram, Teneriff, That Guy, From That Show!, Tombombadil, Vinay84, Wachholder0, Willardo, Xezlec, 42 anonymous edits Musti yuddha Source: http://en.wikipedia.org/w/index.php?oldid=364634601 Contributors: Dbachmann, Mmlabeeb, Morinae, 1 anonymous edits Thang-ta Source: http://en.wikipedia.org/w/index.php?oldid=297505699 Contributors: CSWarren, Dazlious, Hunnjazal, Law soma, Madan lmg, Mmlabeeb, Morinae, Nate1481, PRehse, Rjwilmsi, Sardanaphalus, 7 anonymous edits 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, Ian Pitchford, 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, Vivio Testarossa, 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, Bryan Derksen, 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, 60 anonymous edits Malla-yuddha Source: http://en.wikipedia.org/w/index.php?oldid=370229043 Contributors: (aeropagitica), Arundhati bakshi, Astracastor, BernardM, Dbachmann, Dmol, Freedom skies, JFD, Jagged 85, Jmcw37, Kaobear, Kendoway, Kennethtennyson, Morinae, Mr pand, Nate1481, Nishkid64, NuclearWarfare, PRehse, Pearle, Rich Farmbrough, Sardanaphalus, Scottalter, Shantanoobhide, Shiva's Trident, Steelhead, Umaabiz, Victor 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Image Sources, Licenses and Contributors
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Image Sources, Licenses and Contributors

Image:Balarama Mural.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Balarama_Mural.jpg License: Public Domain Contributors: Unknown Image: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 at en.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:Grenavitar Image: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, Yappakoredesho Image:GatkaSikhProcessionBedford.JPG Source: http://en.wikipedia.org/w/index.php?title=File:GatkaSikhProcessionBedford.JPG License: Public Domain Contributors: User:Simonxag File:Flag of India.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_India.svg License: Public Domain Contributors: User:SKopp Image:Khanda1.svg Source: http://en.wikipedia.org/w/index.php?title=File:Khanda1.svg License: unknown Contributors: Self-made File: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: Creative Commons Attribution-Sharealike 2.0 Contributors: J Singh File: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: Jasleen Kaur Image:Thang-Ta.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Thang-Ta.jpg License: Public Domain Contributors: User:Dazlious Image:Kadhara.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kadhara.jpg License: GNU Free Documentation License Contributors: Yappakoredesho Image:India map kerala.png Source: http://en.wikipedia.org/w/index.php?title=File:India_map_kerala.png License: unknown Contributors: Roland zh, Saravask Image: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:Gurukkal Image: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
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License
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Indian Martial Arts PDF

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Indian Martial Arts

Indian martial arts

Indian martial arts

Classical period (3rd to 10th centuries)

Indian martial arts

Middle Ages (11th to 15th centuries)

Mughal era (1526 to 1857)

The khanda, a native straight sword created by the Rajputs

Maratha era (1650 to 1857)

Modern period (1857 to present)

Indian martial arts

Indian martial arts

Indian martial arts

Part of a series on Indian martial arts

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

Gatka at Yuba City

Part of a series on Indian martial arts

Lathi in law enforcement

Part of a series on Indian martial arts

Thang-ta practitioner with spear and shield.

Part of a series on Indian martial arts

Kalaripayat, Kalari Payatta, Kalari Payatt

Part of a series on Indian martial arts

South Indian state of Kerala, where kalari payat originated

Decline and revival

Jasmine Simhalan demonstrating kalari payat and silambam in Borobudur.

Various kalari styles

Practitioners meditate to develop inner energy.

Marmashastram and massage

Gajavadivu Simhavadivu Asvavadivu Varahavadivu Sarpavadivu

Part of a series on Indian martial arts

Country of origin South Asia Parenthood Olympic sport Historic No

Part of a series on Indian martial arts

Country of origin South Asia Parenthood Olympic sport Historic No

Part of a series on Indian martial arts

Article Sources and Contributors

Article Sources and Contributors

Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors

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