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Foremost
Ritual: Obeisance To The Deities
Although the 'Kalari' is an empty space, for a student, that space has
all meaning of life and the supernatural. It is an abode of deities and
the several generations of gurus who had initiated the disciples into
training from generation to generation.
The student makes a ritual touch of earth with right hand and propitiates
the goddess of earth. The touching of the forehead with right hand shows
his reverence to the deities of knowledge.
Then ' Lord Hanuman' and 'Garuda' are also propitiated with proper
gestures and touches. The deities like seven mothers at 'Poothara' and
gods like 'Shiva' are also propitiated. Both peace and destruction are
symbolised in the '''Kalari''' space.
The Movements
After the salutations in favour of the superior elements, the student is
given the first system of exercise called 'Angasadhana' for placing the
soles of the feet. The firm step on the ground is called 'Akkachuvadu';
and movements of the sole in jumps are known as'chattachuvadu'.
The circular movement is known 'Vattachuvadu'. The student, during his
feet exercise moves from eastern side to the western side. The feet and
hands are raised and moved according to the sequences and in strict
accordance with 'Vaythari' of 'gurukkal'.
These practices including 'Meippayattu' for several months make the
student fit for the training in the use of weapons. After imparting the
body training, a student is initiated to the use of weapons. The 'Muchan',
also called 'Cheruvati' is a smaller stick about 22 inches in length and
used to give powerful blows and also to resist the blows from others.
Then, he is initiated to the use of metallic weapons like 'Kathi'
(dagger), Sword, 'Kuntham' (spear) and 'Urumi'. The Gada is also practised
in some ''Kalaris'. The training in the use of metallic weapons requires
more dexterity and agility of the body.
The combatants trained in the use of these weapons were recruited as the
soldiers in the medieval and late medieval period in Kerala.
Major Components Of Kalaripayyattu
Meythari:
This pre-set sequence of movements is the rudiment of Kalarippayattu.
Actually, it is a body controlling exercise to master balancing in air and
ground. There is a hidden secret element in these movements, every
imaginable combination of offensive and defensive attacks and movements
are included.
Kolthari:
This section involves training in wooden weapons.
Ankathari:
This is the combat training section of metal weapons.
Verumkaie:
Self-defence with empty hands. Here a student learns how to face an armed
man, using only his limbs, and also learns vital points and locks.
Kalarichikitsa: 
Kalarippayattu
masters of yesterday and today are ayurvedic doctors. Marma therapy,
massage therapy, Bone setting, Yoga therapy, Pizhichil, Dhara, Kizhi are
the important branches of 'Kalari' treatments.
Kalari Massage:
As food is a necessity for an organism from birth to death, so is massage
to the human organism. Massage excites the internal resources and provides
nourishment in the form of proteins, glucose and other vitalising
chemicals, which are within the system.
It also works as a cleanser and helps the organism in discharging toxins
out of the body through sweat, urine and mucuous, thus rejuvenating the
body.
The Impact
Kerala, as a distinct socio-political region from the rest of south
India, has witnessed a large number of classical and folk art forms. Many
of these art forms have an uninterrupted continuity over centuries, as an
integral part of socio-religious life of people in this territorial
division.
Their origin is shrouded in mystery and it's not possible to trace in the
absence of authentic sources. However, most of these art forms had
developed during the medieval period when Malayalam language and
literature had found their natural growth on account of new historical
forces and the interactions made by different ethnic and social groups.
In all forms where the human body plays an important role, one can see
the common element of physical culture or body-system. The art forms of
Kerala visualise this fact in form and content. The physical culture or
body system is a matter of rigorous training that has to be materialised
through conscious and constant practices.
Infuence On Dance Forms
For classical arts like Kathakali,
or Koottiyattam, the body
is the sole means of expression. Therefore, body is to be prepared for
this high function through a rigorous course of physical exercise. It can
be done only by daily massage with medicated oils, which is intended to
develop suppleness and grace for articulating the expressive capacity of
the various parts of the human body.
In reality, the artist or the dancer is trained in the 'Kalari' system
and taught the body exercises with severe discipline. In foot movements of
the body, and the 'Tandava' dance, which is both masculine and vigorous,
the artist requires the dynamic skill imparted through the
'Kalarippayattu'. Therefore, even a training centre of
Kathakali is known as
'Kalari', being devoted to the development of physical culture.
The medieval period in Kerala had witnessed frequent wars and invasions
among the ruling chieftains and these aspects had already promoted the
'Kalari' system and had brought into training, a large number of
combatants. The impact of this new development could be seen on performing
arts like Kathakali that many
of these ruling houses had patronised just as they had patronised the
medieval soldiers or retrainers. 
The growing awareness for developing a proper physical culture through
'Kalarippayattu' had really contributed to the expression and growth of
the classical art forms. In the same way, the body training became an
essential requirement for performing many of the folk dances of the
region.
These art forms had been patronised by the peasants, artisans and
labourers. The common man's aesthetic imagination had greatly subscribed
to the growth of these art forms in Kerala. Many of them have a religious
and ritual background and are performed in sacred centres or in the local
village shrines of gods and goddesses.
One of such art forms widely prevalent in Kasaragod and Cannanore
districts is 'Poorakkali'. As an art form, it demands the rigorous
training of the artist to develop a strong physical culture of the body
with quick movements. Massage and physical exercise as found in
Kalarippayattu are essential requirements for performing this art, as the
dancer has to do acrobatics while the entire group moves on in circle.
The performance is closely related to the peasant culture of the region.
This performance had also originated in the medieval period after the
development and growth of Kalarippayattu. Most probably, this art form
must have come into prominence to maintain the physical culture and the
religious rituals associated with the local shrines.
Effect On Ritual Art Form
Another ritual art form, which is indebted to the 'Kalari' system is the
performance of 'Teyyam'. Many heroes are deified and worshipped by the
village folk. The heroes like Kativanur Veeran, Mandappan, Pumarutan,
Tacholi Othenan and Oor Pazhassi are some of the famous Teyyam deities in
North Malabar.
The performance of such teyyams is closely connected to the 'Kalari'
system as the dancer or the artist has to present the martial dance also.
He imitates the transformation of a hero with divine power and as such
performs all actions of a combatant, fighting with sword and shield in the
hands.
His footwork and body action demand excellent training as imparted in the
'Kalari' system. Apart from these ritual performances, there are secular
art forms like Tacholikkali and 'Kolkkali'.
They also demand excellent body training to make the artist quick in body
movements. Like Poorakkali, these arts forms had developed as an integral
part of peasant culture during the medieval period. In brief the 'Kalari'
system and its growth in the medieval feudal order had greatly influenced
the development of classical and folk art forms.
Oil massage, physical exercise, acute body-bending, use of shield and
sword are the common features of many of these art forms and
Kalarippayattu. In reality the 'Kalari' system has not only influenced the
growth of these art forms but it has shaped the trends of medieval culture
of Kerala society.
The Revival Of A Great Art
During the modern period, although Kalaripayattu had lost its
significance under the British rule, the devoted gurukkals with all their
efforts transmitted the tradition from one generation to the other. They
kept alive the 'Kalari' tradition and the know-how in the rural areas as a
matter of charity and cured many body ailments through physiotherapy.
In the last quarter of the nineteenth century, when European circus
companies came to Malabar in places like Tellicherry, some of the native
gurus, well trained in the 'Kalari' system found it easy to imitate some
of the body practices adopted by circus artists.
This new attempt was made under the leadership of late Keeleri
Kunhikannan Gurukkal in Tellicherry who initiated several circus groups in
Kerala and became the father of Indian circus. In a land, where the
'Kalari' gymnastic tradition was deeply rooted, the new experiments in
circus training became a great success.
In reality, the Indian tradition of circus has something to do with
'Kalari' gymnastic training and body culture. After independence, some
attention had been given by the Government and other agencies to promote
Kalaripayattu and its training. These activities have been responsible to
create considerable interest in this physical art form.