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Kalarippayattu
Like most Asian martial art forms, Kalarippayattu practitioners also believe in the notion of a centre (Naabhi Moola – region below the navel) where the vital energy (Prana or Vayu) is stored. It is believed that in each action this energy travels through the nervous system to the limbs and peripheries of the body with the active participation of the spine. Movement sequences are conceived of as a series of circular trajectories originating from and returning to the spine, particularly the Naabhi Moola, where the energy gets revitalized before the next action commences. The notion of circularity is prevalent in many Keralan rituals, folk and classical performance traditions as well as body-care systems, including martial arts. Seemingly straight line movements of the body are conceived as part of a larger circularity in Kalarippayattu and even movements with weapons seem to follow this idea. Therefore, strikes, thrusts or kicks are not a direct application of force or counterforce, but rather seen as part of a continuous circularity which helps to redirect force in chosen directions. The entire training practice, including the massage, has elements which help to construct this notion of body and circularity of movement.
This section of the archive is divided into four chapters – Mura or movement sequence, Adavu or movement unit, Explanation of the Muras and Adavus as well as Contextual Information. Adavu in this instance is an artificial construct employed to dissect Mura sequences to enable an easy understanding of the structure of the form. Mura covers the basics of Kalarippayattu training (Adisthanam) which includes postures, stances, jumps and leg exercises. Mura also includes Meithari or body sequences, weapons training – Kolthari (wooden weapons) and Angathari (metal weapons) – and Verumkai or bare-hand combat. In the chapter on Adavu we have attempted to break the movement sequences in Mura into smaller units. In the chapter Explanation, the Muras and Adavus are explained by Gurus from different Kalaris. The chapter Contextual Information contains short documentaries, articles by scholars and diagrammatic representations. The focus of this section has been the Northern Style of Kalarippayattu, particularly the practice of three schools namely: Hindustan Kalari, Choorakodi Kalari and CVN Kalari.
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