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Martial Arts Of The World - Webs

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Kalarippayattu<br />

Kalarippayattu (Malayalam; kalari, place of training; payattu, exercise) is<br />

a compound term first used in the twentieth century to identify the traditional<br />

martial art of Kerala State, southwestern coastal India. Dating from<br />

at least the twelfth century in the forms still practiced today, but with roots<br />

in both the Tamil and Dhanur Vedic martial traditions, kalarippayattu was<br />

practiced throughout the Malayalam-speaking southwestern coastal region<br />

of India (Kerala State and contiguous parts of Coorg District, Karnataka),<br />

where every village had its own kalari for the training of local fighters under<br />

the guidance of the gurukkal (honorific, respectful plural of guru) or<br />

asan (teacher). <strong>Martial</strong> masters also administer a variety of traditional<br />

Ayurvedic physical/massage therapies for muscular problems and conditions<br />

affecting the “wind humor,” and set broken bones. According to oral<br />

and written tradition, the warrior-sage Parasurama, who was the founder<br />

of Kerala, is also credited with the founding of the first kalari and subsequent<br />

lineages of teaching families. Between the twelfth century and the beginning<br />

of British rule in 1792, the practice of kalarippayattu was especially<br />

associated with subgroups of Hindu Nayars whose duty it was to<br />

serve as soldiers and physical therapists at the behest of the village head,<br />

district ruler, or local raja, having vowed to serve him to death as part of<br />

his retinue. Along with Nayars, some Cattar (or Yatra) Brahmans, one subgroup<br />

of the Ilava caste given the special title of chekor, as well as some<br />

Christians and Sufi Muslims, learned, taught, and practiced the martial art.<br />

Among at least some Nayar and Ilava families, young girls also received<br />

preliminary training until the onset of menses. We know from the local<br />

“Northern Ballads” that at least a few women students of noted Nayar and<br />

Ilava masters continued to practice and achieved a high degree of expertise.<br />

Some Ilava practitioners served the special role of fighting duels<br />

(ankam) to the death to resolve disputes and schisms among higher-caste<br />

extended families.<br />

<strong>The</strong>re was an almost constant state of low-grade warfare among local<br />

rulers from the twelfth century onward. Warfare erupted for a variety of<br />

reasons, from caste differences to pure and simple aggression. One example<br />

of interstate warfare that exemplifies the ideal bond between Nayar martial<br />

artists and their rulers is the well-documented dispute between the Zamorin<br />

of Calicut and the raja of Valluvanadu over which was to serve as convener<br />

of the great Mamakam festival held every twelve years. This “great” festival<br />

celebrated the descent of the goddess Ganga into the Bharatappuzha<br />

River in Tirunavayi, in northern Malabar. Until the thirteenth century, when<br />

the dispute probably arose, the ruler of Valluvanadu possessed the right of<br />

inaugurating and conducting the festival. <strong>The</strong> Zamorin set out to usurp this<br />

Kalarippayattu 225

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