Villages fostered chivalrous warriors during the medieval period, and they were indispensable for feudal lords. There were men and women who had weaponised their bodies through years of practising Kalaripayattu. Arms were an extension of their physique. The then justice system, too, revolved around Kalaripayattu. The warriors believed attaining martyrdom in a battle was a way to heaven, as they shed their blood for the cause of others. Honesty and courage were the hallmarks of an idealistic generation that believed in embracing death rather than going back on their word.

Kalaripayattu, which required an extensive demonstration of physical fitness and mental determination, also influenced several other folk arts of Kerala. A distant form of Kalaripayattu could be seen in 'Poorakkali' (traditional dance ritual performed during temple festival) and 'Kolkali' (a folk art from Malabar in which dancers move in a circle with the rhythmic striking of sticks). A basic sense of music and rhythm is necessary for practising the martial art form.

Until the British banned Kalaripayattu, it was a daily routine for many. Its efficacy in wars was tested and proven, and it even became the backbone of the then justice system and for ironing out disputes. Later, the British introduced new arms to Kerala, triggering the growth of other martial systems. Bogged down by the ban and the popularity of other martial systems led to the gradual decline of Kalaripayattu, often referred to as the Mother of all martial arts.

The Kalaris or the training space that once dotted Kerala's rural landscape went into oblivion. The British ban on Kalaripayattu and its subsequent decline reflected in the society — the once sturdy and confident generation turned into weaklings physically. Gradually, with the introduction of modern warfares, Kalaripayattu lost its relevance in combats as well. Still, its efficiency in moulding physically and mentally strong generations remains unaffected.

No original works detail the development of Kalaripayattu, which cements guru-disciple relations spanning generations through steps that follow the oral instructions (vaythaari). Perhaps, the orally instructed system, based on continued practice, explains the absence of written documents on its origin and growth. Incidentally, the available written works on vaythari-practice and treatment documents are considered to be done against the backdrop of the ban on Kalaripayattu. Hence, Kalari could be interpreted only by using the available materials and indications.

Many studies point that Dharmadathan, Bodhidharma (the founder of Kung Fu) and Daruma (the founder of Zen Buddhism) are the different names of the same person. Dharmadathan had left behind two manuals, Yijin Jing and Xi Sui Jing, which focused on flexibility and control over the body. Yijin Jing dealt with practical strategies, which gave birth to the Shaolin Sui style with the addition of ancient Chinese fist-fight techniques. Several modern bare-hand fighting techniques, including Karate, have their roots in Shaolin Sui.

Considering Karate's close relation to the Kenpo style and that Yijin Jing was an Indian manuscript, it can be asserted that Karate also originated in India. To put it short, Bodhidharma took the Indian techniques described in Yijin Jing to Shaolin. The methods reached Korean islands, where it developed as Koguryo, which was further modernised in Japan and Mongolia.

Karate combines two Chinese characters: 'kara', meaning empty, and 'te', meaning hand. Karate means a bare hand, and it teaches unarmed combat, similar to the fourth phase in Kalaripayattu. Besides, the Kalari philosophy of self-denial, greatness of simplicity, and reverence towards the guru, too, form the foundation of Karate.

Kalari can be classified into five according to the measurements - Arupatheeradi (62’x31’), Ambatheeradi (52’x26), Nalpatheeradi (42’x21’), Mupatheeradi (32’x16’), Pantheeradi (12’x12’). In this, except for 12’x12’, the measurement is exactly half of the width. Kuzhikalarikal is traditionally a popular Kalari building custom in North Kalari style. Thekkan style were usually taught in Nila Kalaris (ground level).

Melpayattu, Kolpayattu, Ayudhapayattu and Verum Kaiprayogam are the categories. They are technically known as 'Meythaari', dealing with the control over and flexibility of the body; 'Kolthaari', or training using staff; 'Angathaari', which uses weapons; and 'Verumkai' or the one with bare hands. That apart, the last part of the curriculum will have Marmavidyapadangal (technique of attacking pressure points in the body), Uzhichil (massage) and treatment methods.

The Kalari training can only be done under the able supervision of a Kalari guru. The training can only be conducted through the oral commands (Vaythari) of the guru, and one needs to be extremely dedicated and disciplined to eventually perfect the moves. The Kalari asan controls the movements of the performers through Vaythari. Vaythari has a rhythm of its own. Sometimes older students and others may deliver Vaythari.

Kalaripayattu is not just about body sculpting; it also helps control mind and concentration and helps in personality development. It is believed that only highly focused and dedicated people can reach a spiritual level through Kalari training.

Kalaripayattu, which required an extensive demonstration of physical fitness and mental determination, also influenced several other folk arts of Kerala. A distant form of Kalaripayattu could be seen in 'Poorakkali' (traditional dance ritual performed during temple festival) and 'Kolkali' (a folk art from Malabar in which dancers move in a circle with the rhythmic striking of sticks). A basic sense of music and rhythm is necessary for practising the martial art form.

• Make sure the place you are practising is sufficiently airy.
• It's ideal for training before sunrise or early morning.
• Train on an empty stomach. Even if you had solid food, wait till it gets digested before you begin your training.
• Before training, make sure you oil your body thoroughly.
• Along with a loincloth, also tie an outer cloth over it.
• Before or immediately after Kalari training, avoid consuming any form of beverage. It is ideal to consume water only after the body cooled down and breathing normalised. Avoid cold and aerated drinks at all costs.

The southern style of Kalaripayattu, or Thekkan Kalari, specialises in hard, impact-based techniques, emphasising hand-to-hand combat and pressure point strikes. Both systems make use of internal and external concepts. Some of the methods commonly found in central Kerala are Kalam chavittu, and Verum kai. For the convenience of including Kalaripayattu as part of a competition, this has been dubbed as Madhya Kerala (central Kerala) technique. Kaikuthi payattu is a custom that is still rampant in Kadathanadan custom. Touching the hands on the ground and moving forward and then taking a step back and then slapping hands is a technique that helps in gaining flexibility, strength, and stamina to the body.

There is a payattu mura called Payyanadan style in Kozhikode. The most popular is the Arappakai technique seen in North Kerala. Those who are trained from the North will be more familiar with Mei vazhakkam and amarcha. At Vadakara’s Mepaiyyur there is a Kalari tradition that includes different foot works and hand movement tricks. It is called Thulunadan. In the Thekkan style, there is ottachuvadu, koottachuvadu and the central Kerala custom contains kalam chavittu that stretches from 6 to 16 squares. In the South and Central Kerala, there is more stress on attack and defence modes in Kalari.

I am Nihal Mammen Mathew, a 16-year-old who lives in Kottayam in the state of Kerala. I have been learning Karate since when I was 9, in my school. I have progressed from a white to brown belt. Unfortunately, I could not continue learning due to the COVID-19 pandemic and the untimely passing of my karate teacher Mitti Sir. Even before starting Karate, I had always been fascinated with martial arts as I grew up watching old Bruce Lee and Jackie Chan movies. In my quest to find a martial art with a closer connect to my state, I discovered Kalari. I was surprised to find how alienated the people of my home state were about this ancient artform. This website is my humble effort to raise awareness about Kalaripayattu.