Kalaripayattu (pronunciation: [kɐɭɐripɐjɐt:ɨ̆� ]) or "Payattu" is an Indian martial art from the southern state of

ancient Kerala.[1] One of the oldest fighting systems in existence,[2] it is now practiced in Kerala and

contiguous parts of Tamil Nadu and Karnataka[citation needed] as well as northeastern Sri Lanka and among

the Malayali community of Malaysia. It was originally practiced in northern and central parts of Kerala and

the Tulunadu region of Karnataka.[3]

Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[3] Regional

variants are classified according to geographical position in Kerala; these are the Northern style

from Malabar region in north Kerala, the Central style from inner Kerala and the southern style

from Travancore region of south Kerala. The southern Payattu system is now extinct and the Tamil style

of "Adi Murai" is classified as the southern kalarippayattu by Kerala Kalarippayattu association.

The northern style was practiced primarily by the Nairs and the Ezhava (Thiyya) , the two communities

primarily associated with the martial arts practice in Kerala.[4] [5] as well as some Mappilas and Saint

Thomas Christians. The southern style, called Adi Murai, was practiced largely by theNadars and has

features distinguishing it from its other regional counterparts.[6][7][8] Northern kalaripayattu is based on

elegant and flexible movements, evasions, jumps and weapons training, while the southern "Adi Murai"

style primarily follows the hard impact based techniques with priority in empty hand fighting and pressure

point strikes. Both systems make use of internal and external concepts.

Some of the flexibility training methods in northern Kalaripayattu are applied in Kerala dance

forms[3] and kathakali dancers who knew martial artswere believed to be markedly better than the other

performers. Some traditional Indian dance schools still incorporate kalaripayattu as part of their exercise

regimen.[9][page needed]

Contents

  [hide] 

1 History

o 1.1 Origins

o 1.2 Decline and revival

2 Variations

o 2.1 Northern kalaripayattu

o 2.2 Southern kalaripayattu

o 2.3 Central kalaripayattu

o 2.4 Styles

3 The kalari

4 Marmashastram and massage

5 Weapons

6 See also

7 References

8 Further reading

9 External links

History[edit]

Origins[edit]

Oral folklore ascribes the creation of kalaripayattu to Hindu gods.[citation needed] It was first documented

around the 11th or 12th century AD by the historianElamkulam Kunjan Pillai, who attributed its creation to

an extended period of warfare that took place between the Chera and the Chola dynasties in the 11th

century.[3]

The art was disseminated through schools known as kalari, which served as centres of learning before

the modern educational system was introduced. Still in existence, kalaris served as meeting places for the

acquisition of knowledge on various subjects ranging from mathematics, language, astronomy and

various theatrical arts.[citation needed] More specifically, martial arts were taught in the payattu kalari, meaning

fight school.[citation needed]

Kalaripayattu became more developed during the 9th century[clarification needed] and was practiced by warrior

clans of Kerala to defend the state and the king. In the 11th and 12th century, Kerala was divided into

small principalities that fought wars among themselves. As part of these there one-on-

oneduels or ankam were fought by Chekavar on an ankathattu, a temporary platform, four to six feet high.[10][page needed] The traditional astrologer casteKaniyar were also involved in the training of Kalaripayatuu.[11] Hence they were known as Panickar and Asans.[citation needed]

The Mappila Muslims adopted and practiced Kalaripayattu as their own.[12] The ballads of North Kerala

refer to Muslims trained in Kalaripayattu.[12] For instance, the hero of the northern ballads Thacholi

Othenan bowed before Kunjali Marakkar , the Muslim commander of the Zamorin, and offered him

presents before opening his kalari.[12] Some Mappilas were trained in Hindu institutions known as Chekor

Kalaris.[12] The Paricha Kali is an adaptation of Kalaripayattu, and the Mappila tradition of this art is

called Parichamuttu.[12] The participants typically wear white shirts, green skullcaps, and sing Mappila

songs after praying to Allah, Prophet Muhammad and the pirs.[12]

The Saint Thomas Christians also practiced Kalaripayattu and most Christian settlements had a kalari,

that was usually run by a Christian panikkar(officer).[13] In the Jornada, it is mentioned that some

Christian panikkars had between 8,000 to 9,000 disciples, who were trained as fighting forces for the

local rajahs.[13] One of the most prominent Christian panikkars was Vallikkada Panikkar, whose kalari was

located at Peringuzha on the banks of the Muvattupuzha river .[13] He is an ancestor of

Bishop Geevarghese Mar Ivanios , one of the founders of the Syro-Malankara Catholic Church .[13]

The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalaripayattu 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. Among some

noble families, young girls also received preliminary training up until the onset of menses.[3] It is also

known from the vadakkan pattukal ballads that at least a few women of noted Chekavar continued to

practise and achieved a high degree of expertise.[3] The most famous of them was Unniyarcha of Keralan

folklore, a master with the urumi or flexible sword.

The earliest western account of kalaripayattu is that of the Portuguese explorer Duarte Barbosa (c. 1518).[3]

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.

Decline and revival[edit]

Kalaripayattu 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.[3] The

British eventually banned kalaripayattu and the Nair custom of holding swords 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.[citation needed]

The resurgence of public interest in kalaripayattu began in the 1920s in Tellicherry as part of a wave of

rediscovery of the traditional arts throughout south India [3]  and continued through the 1970s surge of

general worldwide interest in martial arts.[14] In recent years, efforts have been made to further popularise

the art, with it featuring in international and Indian films such as Ondanondu

kaladalli (Kannada), Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007), and also in

the Japanese manga Kenichi: The Mightiest Disciple.

Variations[edit]

Kalaripayattu has three regional variants that are distinguished by their attacking and defensive patterns.

Northern kalaripayattu[edit]

Main article: Northern kalaripayattu

Northern kalaripayattu (vadakkan kalari) is practiced mainly in North Malabar.[3] It places more emphasis

on weapons than on empty hands.[3] Parashurama, sixth avatar of Vishnu, is believed to be the style's

founder according to both oral and written tradition.[3] Masters in this system are usually known

as gurukkal or occasionally as asan, and were often given honorific titles, especiallyPanikkar.[3]. The

Parashurama myth in Kerala is associated with the Brahmin migration and Aryanisation of Kerala. The

northern Brahmin immigrants contributed their skills through the "Salai"s which were educational

institutions imparting various branches of knowledge including military arts.

The northern style is distinguished by its meippayattu - physical training and use of full-body oil massage.[3] The system of treatment and massage, and the assumptions about practice are closely associated with

ayurveda.[3] 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 tulunadu 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.[10]

Southern kalaripayattu[edit]

The original style of southern kalarippayattu was known as "Dronambilli" is now extinct. Masters are

known as 'asaan.[3] It is practiced largely by the Nadars and has features distinguishing it from its other

regional counterparts.[6][7][8] The stages of training are chuvatu (solo forms), jodi (partner

training/sparring), kurunthadi (short stick), neduvadi (long stick), katthi (knife), katar (dagger),valum

parichayum (sword and shield), chuttuval (flexible sword), double sword, kalari grappling

and marma (pressure points).[10]

Zarrilli refers to southern kalaripayattu as varma ati  (the law of hitting), marma ati (hitting the vital spots)

or varma kalai (art of varma).[3] The preliminary empty handed techniques of varma ati  are known

as adithada (hit/defend).[3] Marma ati refers specifically to the application of these techniques to vital

spots.[3] Weapons include bamboo staves, short sticks, and the double deer horns.[3]

Medical treatment in the southern styles is identified with siddha,[14] the traditional Dravidian system of

medicine distinct from north Indian ayurveda. The Siddha medical system, otherwise known as siddha

vaidyam, is also attributed to Agastya.

Central kalaripayattu[edit]

Main article: Central kalaripayattu

The Madhya Kalari (central style) of kalaripayat is practiced mainly in Northern parts of Kerala. Contrary

to popular belief, it is not a composite of the northern and southern forms, but has its own distinctive

techniques, which are performed within floor paths known as kalam.[1] The Madhya(central) Kalari has

many different styles which place heavy emphasis on lower body strength and speed through thorough

practice of various chuvadu, only after which participants advance into weaponry and advanced studies.[3]

Styles[edit]

Various kalari styles as specified in Vadakkan Pattukal ,

Kadathanatan Kalari

Karuvancheri Kalari

Kodumala Kalari

Kolastri Nadu Kalari

Kurungot Kalari

Mathilur Kalari

Mayyazhi Kalari

Melur Kalari

Nadapuram Kalari

Panoor Madham Kalari

Payyampalli Kalari

Ponniyam Kalari

Puthusseri Kalari

Puthuram Kalari

Thacholi Kalari

Thotuvor Kalari

Tulunadan Kalari

The kalari[edit]

Main article: Kalari

Gurukkal praying

before puttara CVN Kalari,

Ettumanoor

A kalari is the school or training

hall where martial arts are

taught. They were originally

constructed according to vastu

sastra with the entrance facing

east and the main door situated

on the centre-right. Sciences

like mantra saastra[citation

needed], tantra saastra[citation

needed]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 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.[3] Traditionally, when a kalari

was closed down it would be

made into a small shrine

dedicated to the guardian deity.

Marmashastram and massage[edit]

Main article: Marmam

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 siddha vaidhyam,

attributed to the

sage Agastyaand his disciples.

Critics of kalaripayattu 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.[15] References to

marman also found in

the Atharva Veda .[16] 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.[17] Sushruta (c. 6th century BC)

identified and defined 107 vital

points of the human body in

his Sushruta Samhita.[18]Of

these 107 points, 64 were

classified as being lethal if

properly struck with a fist or

stick.[19] 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.[19]

As a result of learning about the

human body, Indian martial

artists became knowledgeable

in the field of traditional

medicine and massage.

Kalaripayattu teachers often

provide massages (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. Kalaripayattu has

borrowed extensively from

ayurveda and equally lends to

it.[citation needed]

Weapons[edit]

Although no longer used in

sparring sessions, weapons are

an important part of

kalaripayattu. 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 kalaripayattu today.

Weapons historically used in kalaripayat

Venmazhu

Axe

Ambu & Villu (Ambum Villum)

Arrow & Bow

Ponti Small Club

ThottiHook

Spear/Elephant goad

Kaduthala

Forward Curved Sword

Trisool

Trident

Weapons currently used in kalaripayat

Val Sword

Paricha Shield

Kettukari/Neduvadi/Shareeravadi

Staff

[Kuruvadi]]/Kurunthadi/Cheruvadi/Muchan

Short Stick

Chotta chan/Marma(Varma)Kol

1 span stick

Thundu/Thuvala/Thala

Towel/Sash/Long

strip of cloth

Kuntham Spear

Vettukathi Machete

Gada Mace/Club

Churika

Double edged short sword

Maduvu

Deer-horn dagger

Kattari/Kataram/Mara pidicha Kataram/Katar _(dagger )

Fist Dagger

Otta

Curved stick

(Reverse hand Grip)

Urumi/ Flexible

Churuttuval/Surul Val

sword

Kalari / Kalaripayattu

"Also your own duty demands that you should not hesitate, for Kshatriyas there is nothing more fruitful than a battle fought in the path of duty.

O Arjuna, such Kshatriyas are very satisfied who get such a good opportunity to join a war coming to them like an open door to heaven.

If you do not join this lawful battle, you shall fail in your duty and renown will not be gained and you will commit sin."

--Bhagavad Gita 

Kalaripayattu is the oldest existing martial art form, dating back more than 2000 years and said to be the forerunner of popularly known Chinese martial arts, as the Buddhist monk Bodhidharma took this knowledge from India to China.

The practice of Kalaripayattu is said to originate from the Dhanur Vedic texts encompassing all fighting arts and described by the Vishnu Purana as one of the eighteen traditional branches of knowledge. Kalaris are the schools where training in this martial art form is imparted by Gurukals or masters.

This martial art form is indigenous to the Southern Indian state of Kerala which, legend has it, was created by the warrior saint Parasurama, an incarnation of Lord Vishnu, by throwing his axe into the sea which receded till the point where it fell. Parasurama then established forty-two kalaris and taught twenty-one masters of these kalaris to protect the land he created.

Kalaripayattu is a traditional psycho-physiological discipline emanating from Kerala's unique mytho-historical heritage as well as a scientific system of physical culture training. The historical antecedents of this martial art form combines indigenous Dravidian systems of martial practice such as 'varma ati' or 'marma adi' with an influence of Aryan brahman culture which migrated southwards down the west coast of India into Kerala. There are two distinct traditions in Kalaripayattu-the Northern and the Southern schools.

In the Northern tradition the emphasis is laid on progressing from body exercises to combat with weapons and last of all to unarmed combat. In the Southern tradition the patron saint of Kalaripayattu is the sage Agastya whose strength and and powers of meditation are legendary. It is said that when the Lord Shiva married the Goddess Parvati at Kailasa in the North, all gods and goddesses went to attend the wedding and with this shift in weight the world tilted, so much so, that Agastya was sent to the South to restore the balance.

Lord Rama, legend has it, was mentored by Agastya to acquire the weapons, which defeated the demon king Ravana. In the southern tradition the emphasis is primarily on footwork, movement and the ability to strike at vital points or 'marmas' in the opponents body of which 108 points are considered lethally vulnerable.

Kalaripayattu training is given free to every student. Those who are interested must first register, and then places will be issued according to availability. Spiritual Guidance can be received through Satsangs on Thursday evenings, or by personal appointment with our Guru. There is no charge, but appointments must be made in advance.

Kalarichikilsa"Ayam me hasto bhagavan{ My hand is the lord }

Ayam me bhagavattarah{ Boundlessly blissful is my hand }

Ayam me visvabheshajah{ This hand holds all healing secrets }

Ayam shivabhimarshanah"{ Which make whole with its gentle touch }

---Rig Veda 

Kalaripayattu and the ancient medical texts in the Dravidian and Sanskrit traditions share the concept of the 'vital spots' in the human body, which is made up of the Pancha Bhootas (five basic elements), air, water, earth, fire and ether. Prana (life energy) flows through the body channeled through marmas or vital points.

Attacking the vital spots caused the opponent to be stunned, disarmed or even killed and is essential to the highest stage of training given by Gurukals to their most accomplished students in the Kalari.

The earliest reference to vital points in combat is in the Rig Veda (1200 BC) where the Lord Indra slays a demon by attacking his marma with his divine weapon.

"Human is an immortal spirit encased in a perishable body so there should be points where spirit hinges matter which are called marmas or vital point"

Kalarichikilsa has its roots in the traditional Ayurveda and sidhaveda systems practiced in south India. Life is an expression of cosmic consciousness and the purpose of life is to realize and express the divinity in one's daily life.

Kalarichikilsa, the body of knowledge with which Gurukals treat and heal combat injuries by manipulating these vital points, is based on marma chikilsa with its roots in the oldest medical practice in the world known as Siddha medicine, which is embodied in ancient Dravidian texts attributed to the sage Agastya who occupies the same position as Hippocrates in modern western medicine.

Agastya identifies 108 vital points in the body and this knowledge is gained by the most exceptional students by dedicated study under their Masters for anywhere between 10 to 12 years by demonstrating great yogic ability and control of mind to avoid the remotest possibility of any misuse of such great powers.

Marma chikilsa, considered by many to be more effective than Ayurveda, employs medicinal oils and herbal preparations to treat a wide range of diseases through manipulation and massage techniques so sophisticated that they are unmatched even in this modern age.

This form of therapy is used to give the flexibility, agility and suppleness to Kalari students, to correct and cure orthopedic deformities and injuries and rheumatoid disorders.

Marma chikilsa is also a complete naturalistic healing system to rejuvenate the body by eliminating toxic imbalances to restore resistance and good health in the highly stressful environment of modern times.

People who are interested in Kalarichikilsa (Marma Therapy) should contact us via email or phone. They will have to bear the expense.

Please visit our new site www.dharmikam.com for more information on Kalarichikilsa.

 

ARCHITECTURAL DESIGHN OF TRADITIONAL KALARI

The art is trained in an enclosure called ‘Kalari’, which is 21 feet by 42 feet. The entrance faces the east. In

the south-west corner is a seven-tiered platform called the "poothara", which houses the guardian deity of the

kalari. These seven steps sy

mbolise seven abilities each person requires. They include Vigneswa (Strength), Channiga (patience), Vishnu

(commanding power), Vadugashcha (the posture), Tadaaguru (training), Kali (the expression) and Vakasta -

purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the

corners.

ORIGIN AND EVOLUTION

Kalaripayattu is perhaps the most ancient martial art in the world. Religions have incorporated Kalaripayattu

into their realm. The origin of Kalaripayattu is still in the midst of obscurity. Traditional Kalari masters

attribute mythological stories and legends to the origin of the art. Legend traces the 3000-year-old art form to

Sage Parasurama- the master of all martial art forms and credited to be the re-claimer of Kerala from the

Arabian Sea. 

At the turn of the 6th century A.D., martial arts spread from Southern India to China by Daruma Bodhidarma -

an Indian Buddhist monk and Kalaripayattu master. From China, martial arts have spread to Korea & Japan.

Kalaripayattu is derived from the words Kalari - which means "place, threshing floor, or battlefield", and

payattu - which means to "exercise in arms or practice". 

Martial arts have been in existence on the Indian sub-continent for thousands of years. Long ago, animal

fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was

the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron

Ages. Even in Vedas they have mentioned about martial arts. Kalaripayattu is one such martial art, Crafted in

ancient South India and draws inspiration from the raw power, majestic strength and instinctive fighting

techniques of animals like lion, tiger, elephant, wild boar, crocodile etc.

It is significant that some Kalaripayattu masters trace their lineages of practice to "Dhanur Veda" and claim

that the texts in which their martial techniques are recorded derive from Dhanur Vedic texts. Although the

Dhanur Veda means the "science of archery," it encompassed all the traditional fighting arts. The explicit

concern in Dhanur Veda texts is not with battlefield strategies, but rather with training in martial techniques.

The Dhanur Veda opens by cataloging the subject, stating that there are five training divisions (for warriors on

chariots, elephants, horseback, infantry, or wrestling), and five types of weapons to be learned (those

projected by machine [arrows or missiles], those thrown by the hands [spears], those cast by hands yet

retained [noose], those permanently held in the hands [sword], and the hands themselves [249:1-5]). 

Most of the final Chapters are brief descriptions of postures and techniques for wrestling and the use of a

variety of weapons including noose, sword, armors, iron dart, club, battle axe, discus, and the trident. A short

passage near the end of the text returns to the larger concerns of warfare and explains the various uses of

war elephants and men. The text concludes with a description of how to appropriately send the well-trained

fighter off to war.

Kalaripayattu reached its pinnacle of glory during the 100-years-war between the Cholas, Cheras, and

Pandyas in the early part of the first millennium. The warring states refined the fighting skills and techniques

prevalent in the area into a martial art form. The art flourished between the 13 and 16 centuries, becoming a

part of the education of youngsters. It was a social custom in Kerala to send all youngsters above the age of

seven to learn Kalari.

The inherent beauty of this art form lies in the harmonious synergy of art, science and medicine. The various

movements in Kalari are based on animal movements. Several poses are named after animals. Hence it is

generally believed to have developed in the jungles when hunters observed the fighting techniques of various

animals.

The death blow to the Kerala military system and Kalaripayattu was dealt by the British. When the Malabar

Province was ceded in favor of the British by the treaty of Seringapatam in 1792, there were a series of

revolts in Malabar. The revolt led by Pazhassi Raja was well supported by the Nair soldiers and Kurichya tribals

of Wayanad. The British dreaded the widespread Kalari training and objected to the traditional system of

carrying arms by the Nairs. Thus the Malabar commissioners found it essential to unarm the entire region to

establish tranquility. Major Dow's direction in this regard, is note worthy.

On 20th February 1804, Robert Richards, the Principal Collector of Malabar, wrote to Lord William Bentinck,

President and General-in Council, Fort. St. George, asking permission to take action against persons carrying

arms, either imposing death penalty or deportation for life. Lord Bentinck issued an order on 22nd April 1804,

that those who concealed weapons or disobeyed the orders of the British against carrying arms would be

condemned to deportation for life.

At the time of the Pazhassi rebellion, British soldiers raided each and every house of the rebels to confiscate

their arms. The same situation repeated in Travancore at the time of the revolt orchestrated by Veluthampi,

the Dalawa of Travancore. These developments led to the slow deterioration of Kalaripayattu. Yet, there were

a few Kalaripayattu gurus who worked selflessly to keep this tradition of martial art alive for the future

generations by training youngsters away from the prying eyes of the British rulers.

KALARI'S INFLUENCE ON OTHER ARTS

Kalaripayattu has strongly influenced the evolution of several of Kerala's theatre and dance forms, most

prominently Kathakali and Theyyam. Kathakali practitioners are required to train under Kalari masters to

develop various attributes such as fitness, stamina, and martial movements enacted in their performances.

Kalari practitioners claim that Bodhi Dharma, a Buddhist monk who was responsible for training the Shaolin

monks in kung-fu, was in fact a Kalari master.

RESUREGENCE OF KALARIPAYATTU

Following the collapse of the princely states and the advent

of free India - Kalaripayattu had lost its significance as a

mortal combat code. Fortunately, Kalaripayattu has

successfully survived the steady and sad decline in

popularity. Kalaripayattu now has a compelling global

audience and its fame and glory has won hearts all over.

 

In a Phoenix like resurrection, Kalaripayattu is today emerging in a new avatar - an ancient art form - a source

of inspiration for self-expression in dance forms - both traditional and contemporary, in theatre, in fitness and

in movies too.