The birthplace of martial arts.

India—specifically a tiny state on the southern tip of the subcontinent called Kerala, a land filled with rivers, coconut trees, elephants, and spice cultivation. Kerala is an incredibly diverse land, geographically ranging from coastal beaches and misty hills to expansive paddy fields and tropical rainforests, all flowing with nearly 300 lakes, lagoons, rivers, and canals. It’s also ethnoreligiously complex, being a historic trading port of significance to the Romans, Arabs, Jews, Persians, and Chinese, with long-lasting cultural diffusion. This unique confluence of geography and history gave rise to kalaripayat, the most ancient martial system in the world, with a history spanning over three millennia.

Growing up in America, our education is heavily Eurocentric, and subsequently, most of our ‘heroes’ rarely mirrored my identity. That’s why I’m incredibly fortunate that my father studied kalaripayat in his youth at the Ernakulam Gymnasium in Kerala, and thus impressed upon me a love of Indian military history, martial arts, and legendary heroes from our country. My whole childhood was spent idolizing Indian warriors, kings, and freedom fighters. So a huge thanks to my first Guru, my Dad, for inspiring my love of chivalry, Indian warriors, and fitness, and sponsoring my entire education in kalaripayat.

Part of the larger tradition of shastra vidya (Indian martial science) and dhanurveda (Indian art of war), kalaripayat (or kalari for short), literally means “practice in the arts of the battlefield” in Malayalam, the mother tongue of Kerala. It was designed for warfare, using weapons unique to South India, and is intricately tied closely to the yogic, dance, Ayurvedic (medicinal), and performing arts of South Asia.

Mythology & Epic Origins

The mythological creator of kalari is Shiva ‘the auspicious One’, one of the major gods of the Trimurti (Hindu trinity), and patron creator of yoga, dance, and meditation. Known as the Adiyogi or “first yogi”, Shiva is an incredibly complex deity with many, often contradictory elements. A pre-Vedic (before modern Hinduism) deity with primitive symbolism dating to prehistory, Shiva has no origin because he is the primal Atman (soul of the universe); he might be the oldest continuously worshipped deva (deity) in the world. While often depicted in peaceful transcendental meditation at his abode in Mount Kailash in the Himalayas with a rosary and peaceful cattle around him, Shiva is simultaneously feared as the supreme warrior in Hinduism, a terrifying slayer of demons with his mighty trident (Trishula), wearing tiger skin, garlanded with a king cobra (Vasuki the Naga), and ultimately the destroyer of the universe so that it can be reborn. He is vital to the cycle of life and rebirth in Hinduism. Several movements in kalari are inspired by his Tandava (or divine dance of cosmic destruction at the end of time before the universe is created again). Shiva’s dichotomy represents the essence of a warrior in kalaripayat, both with the capacity for extreme destruction and benevolence.

A homebody, loyal husband to Parvati (who herself has a fierce warrior avatar, Bhadrakali, the mother goddess of kalari, and embodiment of the feminine energy, Shakti, the most powerful energy in the universe), and father to the god of war (Murugan/Kartikeya) and the remover of obstacles (Ganesh), Shiva posses the most powerful weapons in existence:

• Chandrahas: the indestructible sword

• Ekasha: the mace with the force of a million elephants

• Jayantha: a spear which contains the power of the destructive third eye of Shiva

• Khaṭvāṅga: the celestial staff

• Maheshwara: the chakra of Shiva

• Parashu: the axe of Shiva given to his disciple, Parashuram

• Parham: a long noose from which even the gods can't escape

• Pinaka: the celestial bow

• Teen Baan: three arrows that are enough to destroy all opponents in any war

• Vijaya: a bow given by Shiva to Parasuram

The other major god of the Trimurti, Vishnu, manifests across time in different forms known as avatars to preserve cosmic order. His sixth form, the immortal Parashuram, came down to earth in the form of an angry warrior sage, to slay the Kshatriyas (warrior and king caste) who had become unjust on earth and killed his father for a divine cow. He razes the world 21 times, filling pools with their blood, and is the foremost angry warrior of his time, representing the cycle of violence and retaliation, as well as krodha (uncontrollable rage and fury).

After defeating all these kings, he is filled with sorrow after the dreadful violence and journeys south to do penance and find absolution. Parashuram throws away his axe out into the ocean from the southern tip of India, and from where it lands, the waters recede to give birth to the land of Kerala, which was previously the underwater kingdom of the Nagas (serpents and dragons).

Parashuram was the first disciple of lord Shiva to learn the martial art kalaripayat, and proceeds to construct the first kalari (dojo), and teach the first gurus of kalaripayat in Kerala to battle the Nagas. Retiring into meditation, he becomes the guru of some of the most impressive warriors in Hindu epics like the Ramayana & Mahabharat (such as Bhishma, Guru Drona, and Karna) and it’s from this lineage that all kalari gurus claim descent. Kalaripayat draws strongly from this itihasa (history of Hinduism), the animals of India, and the region’s intricate warrior culture.

These heroes strongly influence the culture of India today.

This rich culture, which tied in philosophy, martial prowess, and ethics, was reflected in the battles of ancient Indian kingdoms, which considered themselves descendants of these mythical warriors. These were codified in detailed treatises that made it the dharma (duty) of warriors to master archery, wrestling, and swordmanship, and to conduct themselves in a chivalrous manner. Military units in epic India were based on the ancient Indian game, chaturanga, ‘four arms of the army’, the precursor of modern chess. The four major components were elephants (bishop), chariots (rook), cavalry (knight), and infantry (pawns), in the ratio 1 chariot : 1 elephant : 3 cavalry : 5 infantry soldiers. Charioteers were considered non-combatants.

1. Patti (company)  : 1 Elephant (Gaja) + 1 Chariot (Ratha) + 3 Horse (Ashwa) + 5 Foot Soldiers (Padati)=10 Warriors

2. Senamukha = (3 x Patti)  : 3 Elephant + 3 Chariot + 9 Horse + 15 Foot Soldiers = 30 Warriors

3. Gulma = (3 x Senamukha)  : 9 Elephant + 9 Chariot + 27 Horse + 45 Foot Soldiers = 90 Warriors

4. Gana = (3 x Gulma)  : 27 Elephant + 27 Chariot + 81 Horse + 135 Foot Soldiers = 270 Warriors

5. Wahini = (3 x Gana)  : 81 Elephant + 81 Chariot + 243 Horse + 405 Foot Soldiers = 810 Warriors

6. Prutana = (3 x Wahini) : 243 Elephant + 243 Chariot + 729 Horse + 1215 Foot Soldiers = 2,430 Warriors

7. Chamu = (3 x Prutana)  : 729 Elephant + 729 Chariot + 2187 Horse + 3645 Foot Soldiers = 7,290 Warriors

8. Anikini = (3 x Chamu)  : 2187 Elephant + 2187 Chariot + 6561 Horse + 10935 Foot Soldiers = 21,870 Warriors

9. Akshauhini = (10 x Anikini)  : 21870 Elephant + 21870 Chariot + 65610 Horse + 109350 Foot Soldiers = 218,700 Warriors

All units’ final number has digits that total 18, a sacred number in battle. These akshauhini were organized into a vyuha, or battle formation:

1. Ardha-chandra-vyūha (crescent moon formation)

2. Chakra-vyūha (circular formation)

3. Garbha-vyūha (womb-shaped formation)

4. Makara-vyuha (crocodile or sea-dragon formation)

5. Mandala vyuha (galaxy formation)

6. Oormi vyuha (ocean formation)

7. Shakata-vyūha (cart-shaped formation)

8. Sarvatobhadra-vyūha (grand formation)

9. Suchi-vyūha (needle-shaped formation)

10. Garuda Vyuh (eagle formation).

11. Vajra-vyūha was a large three-fold formation of warriors.

Warriors in ancient India were ranked holistically—that is not just according to their physical prowess, but their mastery of weapons, military strategies, experience, leadership, martial science, and battle formations (vyuhas). They were holistically categorized hierarchically as follows:

• Padati - Infantryman

• Ashva  – Horseman = 12 Infantrymen

• Gaja  – Elephant = 12 Ashva

• ArdhaRathi – Chariot warrior = 1 Gaja

• Rathi- A warrior who is considered equal to 12 Ardharathis

• AtiRathi – A warrior who is considered equal to 12 Rathis

• MahaRathi – A warrior who is considered equal to 12 Atirathis

  • Examples: Supreme Commander Bhishma (= 4 maharathis), Guru Drona (= 3 maharathis)

• AtiMaharathi – A consummate warrior who is considered equal to 12 Maharathis.

  • Examples: Hanuman (the monkey god), Parashuram (founder of kalari)

• Mahamaharathis – A warrior who is considered equal to 24 Ati-Maharathis. Invincible.

  • Example: Lord Shiva (Supreme god)

Again, these are classifications for calculating honorable matchups in a battle, but not absolute, and within each rank, there are ranges. For example, it fails to include archers like Eklavya, who was not ranked and had his thumb severed for practicing archery because he was from a low caste. Several warriors from lower classifications defeated stronger opponents through their strategy.

Hindu warriors and kings considered consummate would perform the following sacrifices to consolidate their reign over North India:

Ashvamedha: The famous horse-sacrifice was conducted by allowing a horse to roam freely for a slated period of time, with the king releasing the horse laying claim to all the lands it touched. The king, if successful in obtaining dominance over other kings who’s land was covered by the horse, is crowned Chakravarti (Emperor of the World). The Ashwamedha allows the opportunity to maintain peace if the other kings do not choose to contest the sacrificial horse.

Rajasuya: Considered the ultimate sacrifice, the king performing the sacrifice must openly challenge every king in the world to accept his supremacy or defeat him in battle.

History & Warrior Code

Historically, kalaripayat finds its roots in the ancient Sangam period of the Tamil-speaking lands of South India, which were ruled by three warring empires: the Cheras, the Cholas, and the Pandyas. Warriors occupied an honorable position in society and received extensive training in wrestling, elephant & horse riding, target practice, spear, and sword & shield.

During the early 5th century, Bodhidharma, a Buddhist monk and South Indian prince of the lineage of Siddharta Gautama (the Buddha), was credited with bringing both Buddhism and kalaripayat to China, where it's said to have formed the basis of Kung Fu at the Shaolin monastery. Bodhidharma, after deep meditation in the wilderness, was alarmed at the physical condition of the monks at Shaolin due to their own intense fasting and meditation, and created manuscripts for their exercise in the form of martial art.

Kalaripayat entered a Golden Age during the medieval period, employed to develop military training and Spartan-like discipline in youth, irrespective of caste, community, religion, or gender. In fact, in medieval Kerala, warrior clans were matriarchal and many great masters were women. This is an incredible phenomenon given how divided and sectarian modern India is. Every village in feudal Kerala had its own kalari (training dojo), and children trained alongside their school studies as young as seven. It was a fairly common part of Kerala culture for all peoples.

During this time the practice of ankam (duels) were widespread. Given the small size of the different city-states in medieval Kerala, all-out war would be destructive and Pyrrhic for both sides. Disputes were thus settled by hiring champions from different kalaris (often from martial castes like the Hindu Nairs or Chekavers) to fight on a chieftain's behalf to settle the dispute in public. The rise of ankam culture is celebrated in the Vadakkan Pattukal, or Northern Ballads, which sing tales of semi-legendary warriors (both male and female), such as Thacholi Othenan and Unniarcha, praising their virtues of valor, chivalry, and idealism.

I asked my guru why there is no belt system in kalaripayat. He laughed and told me that in the past, since kalari was made for war, you wouldn’t look for a guru with a belt: you’d look for one who was alive after several ankams.

Despite the bloody history of kalari, its practice is rooted deeply in the concept of dharma, or righteousness, and proper code of conduct. There are rules to be followed for every weapon, dying in battle is considered honorable, and a guru would look deeply into a potential disciple’s character before acceptance. Ethics, duty, and self-control of emotion and body are core principles. Even enemies respected each other—in many ways this warrior culture parallels bushido, the code of the Japanese samurai.

Niyamas of Yogic tradition

(positive habits to cultivate)

1. Tapas: persistence, perseverance in one's purpose, austerity

2. Santoṣa: contentment, acceptance of others and of one's circumstances as they are, optimism for self

3. Āstikya: faith in Real Self, belief in God (bhakti yoga), a conviction in the Vedas/Upanishads (religious texts)

4. Dāna: generosity, charity, sharing with others

5. Īśvarapūjana: worship of God/Supreme Being, Brahman, True Self, Unchanging Reality

6. Siddhānta vakya śrāvaṇa: Listening to the ancient scriptures

7. Hrī: remorse and acceptance of one's past, modesty, humility

8. Mati: think and reflect to understand, reconcile conflicting ideas

9. Japa: mantra repetition, reciting prayers or knowledge

10. Vrata: Fulfilling religious vows, rules, and observances faithfully

Yamas of Yogic philosophy (restraints for proper conduct)

1. Ahiṃsā: Nonviolence

2. Satya: Truthfulness

3. Asteya: Not stealing

4. Brahmacharya: Chastity, marital fidelity, sexual restraint

5. Aparigraha: Non-avarice, non-possessiveness

6. Kṣamā: Patience, forgiveness

7. Dhrti: Fortitude, perseverance with the aim to reach the goal

8. Dayā: Compassion

9. Ārjava: Non-hypocrisy, sincerity

10. Mitāhāra: Measured diet

    
    
    

Examples of Dharmayuddha (the rules of warfare)

• Multiple warriors must not attack a single warrior

• Fighting must begin no earlier than sunrise and, should end by sunset

• Two warriors may duel, or engage in prolonged personal combat, only if they carry the same weapons and they are on the same mount (no mount, a horse, an elephant, or a chariot)

• No warrior may kill or injure a warrior who has surrendered

• One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war

• No warrior may kill or injure an unarmed warrior

• No warrior may kill or injure an unconscious warrior

• No warrior may kill or injure a person or animal not taking part in the war (no pillaging, looting, or raping)

• No warrior may kill or injure a warrior whose back is turned away

• No warrior may strike an animal not considered a direct threat

The Golden Era of kalari came to an end with the European invasions and colonization agendas. The last major resistance in Kerala came from Pazhassi Raja, the warrior prince of the kingdom of Kottayam in Malabar, Northern Kerala. He led a several decade-long guerrilla campaign in the jungles and hills of Wayanad against the British East India Company, which had started imposing exploitative taxes and practices on locals. From British accounts, Pazhassi Raja was admired widely for his novel exploits: he led all major military action, recruiting not just from the warrior Nair caste, but from all groups including peasants, shopkeepers, merchants, artisans, and forest tribes, and led the longest insurgency against the British in Indian history. Again, this shows how widespread kalari was—breaking all barriers of caste and custom. However, in 1805, the British finally killed him in battle, and outlawed kalaripayat in Kerala, closing all the major schools.

My guru then told me that the British either shot gurus or cut off their hands, and several gurus burned their books on kalaripayat rather than let it fall into the hands of the enemy. As such, we have sadly lost a significant amount of the martial aspects of this art, and are lucky that it survives today at all. Once close to extinction, I want to give this art a fighting chance.

Modern Practice - A Dying Art

I was fortunate enough to train at the ENS Kalari in Meikad and study under Guru Shan, who started learning at age five from his father, Guru Kunjimon, who studied under my father’s Guru, E.N. Sripathy, the namesake of this kalari. Shan Gurukkal is an immensely wise teacher who consistently flabbergasted me with his incredible physical feats. Studying kalari full-time under his tutelage was the most difficult physical endeavor of my life—and learning kalari in Kerala was the most spiritually enriching experience I’ve ever had.

Kalaripayat is taught in a specialized training ground known as a kalari, which has an opening facing the solar deity (Surya). The location and construction of each kalari is built in accordance to Hindu architectural treatises such as the Vastu Shastra. The ground is dug deep and filled with red sand, mixed with Ayurvedic oils, and great respect is given to Mother Earth (Bhumi) before training on her and Agni (fire deity) is lit in lamps across the kalari. The Poothara (or "Flower ground") is a seven-step raised platform with a warrior Mother Goddess at the top (usually Bhadrakali, the fierce consort of Shiva). The seven steps represent the seven sacred elements of the human body as per Yogic traditions. Next to it is an area reserved for the worship of Ganesh (also known as Ganapati), the Hindu god who removes obstacles (and son of Shiva), and an area to revere the guru of the kalari, who represents the tradition of gurukkals (plural of guru), who preserved Kalaripayat. Before every training session, salutations are given to all of these to seek their blessings.

There are two major styles, Northern, which focuses on elegant and flexible movements, evasions, jumps, and weapons training & Southern (traced to Sage Agastya), which specializes in hard, impact-based techniques with an emphasis on hand-to-hand combat and pressure point strikes. Training is usually done in four stages, the first stage being meipayat (highly rigorous full-body conditioning where you learn jumps, animal poses, footwork, body movement and flexibility), followed by kolthari (practice with wooden weapons), angathari (practice with metal weapons), and finally verum kai (barehanded combat). There are all kinds of weapons here: the otta, a curved stick shaped like an elephant’s tusk, the gadha (Indian mace), and the urumi (flexible sword). Then to the most level-headed of students, marma (pressure points), are taught. These vital points are intricately tied to traditional Indian medicine and massage, which are incorporated side by side with kalari. This order represents the importance of armed combat for ancient warriors.

While following tradition is important, gurukkuls have contributed to the progress of kalaripayat via their experience and reasoning. Development and mastery comes from the tradition of constantly learning, adapting and improving the techniques—and as such kalaripayat is truly hybrid and always evolving, because each enemy is always different. Given that there is no overarching syllabus for kalari, each guru usually has their own interpretations and criteria for progression, which makes learning this art incredibly difficult; a deterrent to many who might want to learn.

Each time I step into the kalari, I am overcome with the knowledge that I’m part of a rich tradition that is thousands of years old, yet still has a heavy chance of dying out. I can only pray that we can continue to preserve this unique art for millennia to come.