kalari classes in chennai

    

      Vadivus - Postures in Kalaripayattu

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GajaVadivu - Elephant

.Simhavadivu - Lion

Ashvavadivu - Horse

Sarpavadivu -Snake

Marjaravadivu-Cat

Varahavadivu - Boar

.Mayuravadivu - Peacock

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Matsyavadivu - Fish

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Kalari calass in chennai

        

              Kalari Training in chennai

                   9840758511 ,9840540076

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About Kalaripayattu Training

Kalari training is traditionally carried out in an enclosure which is 21’ width and 42’ length. Such training grounds are constructed according to Vastu shastra and are considered sacred. The entrance faces the East and the place of deity is to the South West. The deity place has its seven steps symbolizing Strength, Patience, Commanding power, Posture, Training, Expression and Sound. Students attain the power to control the internal energy, breath, mental power and the power to focus by following the rituals and reciting mantras. Students are instructed not to sleep during the day time and are advised to sleep well at night. It is important that the students understand that Kalari is not only a means of self-defense but also a means to becoming determined and self disciplined.

Kalari training can be started as early as seven years of age. Beginners start with training in balance and body flexibility and then move on to advanced lessons. Kalari requires speed, agility, and co-ordination of body parts. The training to become a Master includes training in Ayurveda and knowledge of human anatomy which helps in understanding vital nervous points.

The combat training can be divided into four categories

1. MAITHARI – Physical methods of fighting.
2. KOLTHARI – Wooden weapon fight.
3. ANKATHARI – Iron/steel weapon
4. VERUNKAI PRAYOGAM – Unarmed combat.

Note:- POOTHARA PRANAMAM (SALUTATION OF KALARI PAYATTU) The seven Sacred Steps in the South West Corner (Kannimoola) of the Kalari are called “Poothara”. Poorthara Pranamam is an important and foremost feature in Kalari.

MAITHARI – PHYSICAL 

EXERCISE ANGASADAGATHVAM (Leg Exercises). Training is Kalari commences with leg exercises. With 16 different exercises in this category, the student learns to grip the floor with his toes, to keep his balance and to focus while performing the exercises. Practicing the leg exercises everyday stretches the muscles well and improves the performance of the student. The movement during these exercises is from east to west and back while the Gurukkal (Instructor/Master) gives commands. The side commands of the Gurukkal, known as Vaithari are rhythmic and aid in timing of various movements. This basic training is necessary before advancing into the techniques of Kalari Payattu. 

II. MAIPAYATTU – THE SPINE OF KALARIPAYATTU Maipayattu is a pattern of exercises that integrates all categories of body exercises. Regular practice of Maipayattu results in controlled, flexible and graceful movements of the body and helps develop breath control (Pranayama), strength, flexibility and stamina. The movements have to be performed with a continuous flow of energy. In Maipayattu one seeks to achieve the softness of a cat and the swiftness of an antelope and can act even on a very restricted surface. Through these exercises, the student’s body becomes like a weapon and he is now capable of excelling in the use of the Kalaripayattu weapons also.

IV. KETTUKARI (KOLTHARI.) Kolthari refers to the use of wooden weapons especially a stick about 5to 6 feet long. This is the first weapon to be taken for practice in Kalaripayattu. The stick training allows one to use it as powerful weapon of offence and defense. Stick fight is the preliminary phase to learn the art of fighting with a spear. 

V. CHERUVADI Cheruvadi is a 3 span step much shorter exercise regime but requires more care and precision. The movements are very rapid and blows are delivered and parurd in quicker successions. The practice of Cheruvadi calls for great ability of movement and about a 100 blows can be dealt with it in a minute.

VI. OTTA (Curved Stick) One of the most important weapons in Kalari is a wooden curved stick with the shape of an elephant tusk. It is important because it is linked to the knowledge of the vulenerable points (Marmas) of the body. Otta Kol is 18 to 20 inches long with a knob at the point end. The knob is used to thrust the Marmas during combats at close quarters. This weapon is taught only to students in advanced courses who are disciplined, skilled, devoted and trustworthy. Training of the metal weapon precedes this weapon. It is said “Otta payattuyal Urakkathum payattam” - which means a student who is well trained in Otta fight can fight even when asleep.

VII. GADHA (MACE) This heavy wooden weapon (4 to 9 kg) must be wielded by well built person. It is strictly followed that this weapon should not be aimed below the waist of the opponent. Obvious reasons for which can be found even in puranic stories. Balarama, Bheema and Dhuriyodhana were the greatest exponents of this weapon - using Gada as their chief weapon. Blows on vulnerable points of the body like temple and chest can be fatal. 

VIII. Dagger ANKATHARI (Metal weapons) The dagger has a length of about one foot and is sharp on both sides. It is pointed at the end. It is used for slashing, cutting and prevention of attacks. No shield is used, blows being parried with the dagger itself. Cuts and thrusts can be made on any side and the slightest lack of attention on the part of the combatant could find his opponents dagger deep into his body.

IX. UDAVAL (Personal Sword) Udaval involves training in fight with sword. Attack and defense are done by sword only.

X. PULIANKAM (Sword and Shield) The word Puliankam is derived from two words Puli meaning ‘lion’ and ankam meaning ‘fight’. Most of the techniques employed in Puliankam are derived from animal fights, particularly the cat–like wild animals. Like in all other types of combat, puliankam involves all important techniques of Maipayattu, especially the jumps.and flow of the body. The fighters identify themselves with animals by using animal-expressions. In this fight blocking and attacking often happens simultaneously. The sword and the shield symbolize lord Shiva and goddess Sakthi respectively.

XI. KUNTHAM (Spear to Spear fight) In Kuntham, the fighters use only the spear. The sharp point of the spear is to attack various vulnerable points of the body. The defendant uses the spear to defend himself so the spear is used from both the sides. The spear can be also be used to cut away. 

XII. MARAPIDICHA KUNTHAM: (Sword and Shield against spear). In Marapidicha,kuntham one is armed with a sword and a shield, while the other with a spear. Unlike in other combats where the opponents face each other with identical weapons, here different weapons are used. During wars combat would often be between two men armed different weapons This type of fight is a good example of how to deal with this situation. Usually the shorter man is at a disadvantage due to the length of spear. Therefore, the shorter has to exploit all the weaknesses of the opponent. One has to very careful while blocking the spear as it points at him from a longer distance. 

XIII. KATHIYUM THALAYUM: (Knife and cloth) Kathiyum Thalayum involves the most crucial techniques in the art of self-defense. One person attacks with a knife and other defends himself with the aide piece of cloth held with both hands in a peculiar way. This technique is very interesting to watch.

XIV: URUMI (Flexible Sword) The flexible sword is double edged sharp weapon. It is a long flexible sword measuring 3 to 4 feet in length and sharp on both sides. One cannot handle such a sword unless he has mastery over body control exercises. This weapon was used by a warriors during mass encounter. One person skilled in the use of this weapon can attack several opponents at a given time. The use of this weapon is also highly dangerous for user himself because of its strangling nature.

Other traditional weapons in Kalari Payattu are Venmazhu (axe), Soolam (trident), Churika (a short type of double edged sword) and Kaduthala (Otta shaped metal weapon) with a sharp edge. 

II. KAITHALLU “Kai” means hand, “thallu” means hitting. Students face each other in pairs and exercise arm muscles by hitting and blocking. Leg kicks and elbow thrust however are also included in this. Practitioners have to take care of the distance between the students.

Ashta Vadivu (Animal postures) ‘Ashta’ means 8 ‘Vadivu’ means posture. There are basically eight animal postures used in Kalaripayattu. This is a very important feature in Kalari because it involves a lot of body movement that requires a good control of the body, focusing, concentration and balancing. Through these postures one also learns to control the breath. Following are the Ashta Vadivu:

Gaja Vadivu (Elephant) 
Simha Vadivu (Lion)
Aswa Vadivu (Horse) 
Matsya Vadivu (Fish) 
Marjara Vadiva (Cat)
Varaha Vadivu (Wild) 
Kukuda Vadivu (Cock) 
Sarpa Vadivu ( Snake ) 

Chuvadu (Steps) While performing most fights the student’s feet will be in one of the four defined positions.

Aka chuvadu     :A frisk step of small distance, ready for                                     action - defense or offence.
Neeka chuvadu :A moving step to avoid or to respond an                                    opponent. Move
                           or act as in an attacking action.
Vatta chuvadu   : A parallel step like in elephant stance
Chatta chuvadu : A jumping step
Ottakal chuvadu : Balancing on one step
Kon chuvadu      : A diagonal step
Vettu chuvadu     ‘Vettu’ means to beat,’ Chuvadu’ means stepping. In vettu chuvadu students perform the act of beating and taking steps in the some movement. However, an attack is always preceded by a blocking movement. The over all movements are made in four directions which also involve intricate ground patterns. Speed, concentration and powerful strokes with the hands are enhanced in this cycle of exercises.

Verunkai (Barehanded fight) Verunkai involves predominantly the use of bare hands for a fight. An attack during unarmed moments can be handled by using one’s hands that may be aided by a piece of cloth or a rope. Locks and blows are the main feature of such combat. Attacks directed to various parts of the body especially the nervous system using blows and kicks are therefore practiced to perfection in Verunkai.

kalari classes in chennai

             KALARIPAYATTU TRAINING
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kalaripayattu training in chennai



kalaripayattu training in chennai


kalaripayattu training in chennai

1. 

kalaripayattu training in chennai

varma kalai treatment

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Types of Varma kalai

Varma  kalai  is mainly four. They are padu varmam,Thodu varmam, Thattu varmam and Nokku varmam.

Padu varmam :   

               Padu varma is a horrible and very dangerous varma. It's about twelve. This misfortune will be attacked by Muthras. If it is attacked, it will be cool. If the attack is stronger then the death will occur. This is most important for self defence  Sidders have indicated that the human body has 12 points in the body.

Thodu varmam:

            Thodu varmam is not dangerous  like padu varmam. There is no fear of death in this varmam. we should give soft  pressure in  this padu varmam  If we give  strong pressure in this varmam it will affect the internal and external orangs . Sidders have stated that there are 96 pressure points  in the human body.

Thattu varmam:

              
           This thodu varmam  is the strength of the finger and is strongly squeezed to the point of view. This is a rare source of damage to the surface without knowing the pain. sidders have stated that there are eight layers in the human body.

Nokku varmam:

              This is known as the `Maitheenda kalai’ . In above varmam like( Padu varmam, Thodu varmam, Thattu varmam) You should touch someone's body to give points . But there is no need to touch the body to use this  varmam . That is why it is called Nokku varmam. Compare to the above three varmam It is very dangerous. There is no equivalent to someone who learned this art.  Internal power is most important in this varmam.

varmakalai training academy in chennai

          

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About varmakalai

Varmam is one of the traditional  art of tamilan. Varmam is originated in India thousands of years ago and spread to Tamil Nadu, Tamil Eelam, Kerala and eastern parts of modern Andhra. In this art Agathiyar is one of the best Siddhars.

Varmam can not be taught to everyone. The teacher will teach his student only 12 years after learning his habits. If one is attacked by this, it can be adjusted using the treatment method alone.

When one learns that there is no other species in the world, it is the life of the most intelligent descendant. This is a collection of facts that our ancestors have studied and analyzed. Most of our Tamil people  ​​are not aware of the amazing uses of this rare art of varmam. It has many secrets. This art has been bumped into a short circle from the very beginning The only way to survive in the Siddha medicine was the fact that it was spread in many places. Since it is very easy to risk, there are those who handled it in order not to go into the hands of the wrongdoers.

Our forefathers, who knew very well about our body system, were aware of the methods of controlling its movement and also varmam is based on its origin.

One of the traditional arts of Tamils Worship is known in ancient times by Shiva Siddhas. This worm that has been handled by siddhars is to be used only for creative work; The rule is not to use for destruction work. The art of being used only for medicine has evolved into the 'Naramadi' martial art. Our ancestors made it a mystery because social enemies would affect others if they misused it. The tradition of Tamils ​​is celebrated in different places in the world today. Those who are well versed in the Varnakalai can do a man. People who are unable to perform well for years have been able to get up with their treatment methods. At the same time, he can put his life in a place where he can put an end to his life by squeezing the finger. Because of such dangerous things, the varma kalai is still a mystery. Experts know how much they can affect any part of the body if any of the points are stressed.

All the nerves in the body are full of the life cycle of  'Prana Gas'. From the birth to the death, the life of the wind will last. It affects the movement of human beings, which occurs when the bio-to-air nerves occur, which means that the breeze is interrupted. The impact of these disruptions will be limited or permanent at a smaller or larger scale.

History of varma kalai

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FATHER OF VARMAKALAI

LORD SHIVA

History of varma kalai 

It is said that varmakalai, originated from Lord Siva, a great Yogi.

One day when Lord Shiva and parvathi went to the mountain called 'pothigai malai', they found a hunter on the tree and fell unconscious. Parvathi asked Lord Shiva to save him with mercy. Lord Shiva also came to the ground with his golden gray hood, and he was tempered by nature. Parvati inquires about this It is said that Lord Shiva taught in the human body that there are two types of duties, such as the Varma and the subconscious, and the various other  secrets. It is said to have been preached to his son Murugun. As the Surapatman harassed the saints, the Riyas appealed to Lord Shiva. Lord Shiva also handed over Murugun to take care of the rice. Murugan went to the power and lamented that he could not kill Surapatman. The power of the Lord, Murugan also advised him. Murugan has also won the surapatman by using the Varmakalai. It comes fromlord murugun to Siddhar Agasthiyar.

 
Agasthiyar

Agasthiyar later gave a written form that reached the masses. But the original texts (and their copies), directly written by siddhas, are not available now. Saints who have grasped the meaning of the siddhas sayings have given a poetic form, which is used in modern day learning. So far, around fifty thousand songs are available.

The narrated history has been mentioned in the 41st prose of “Kai Mathirai Thiravukol ” as describes the first worldly originator of the Guru Sishya Parampara or Lineage as the Sage Agastya who in turn taught it to others like  Bhogar, Gorakar, Pulippaani etc, who in turn taught their disciples and gradually knowledge of this art reached commoners in the same, strict Guru-Shishya tradition.

The ancient Sangam age kingdoms of Cheras, Cholas and Pandyas had a long tradition . Warriors refused to attack an unarmed opponent, instead meeting him on equal terms without weapons. Tanjore “Kuthu Varisai” was the domain of the Cholas The Chera kingdom was closer to the borders of Middle and southern Kerala and had their own tradition of unarmed combat and affinity towards Pressure point systems like [kalari) The Jadavarman pandiyan king was known to be the  king of the Pandyas after the destruction of the Pandya race, and later the Cholas learned this, and this art began to spread in countries like Sri Lanka.

In fact, the stronghold of Tamilian Varmam art is the area around Kanyakumari and Nagercoil districts, which share borders with Southern Kerala, where the Thekkan Kalari (Southern Style Kalari) system which devotes lesser time to weaponry and lays more emphasis on unarmed combat and Marma Adi. techniques that the other two styles of Madhya Keralam(Central Style of Kalari – Palakkad-Cannanore- Malappuram areas) and Vadakkan Kalari ( Northern Style– Malabar etc).

Even in the art of Silambam, (bamboo staff fencing) there are many instances in history, where opponents were defeated by blows or prodding attacks with the stick, to vital spots on the body in historical descriptions and in quite a number of manuals on this art.

Bhoodi Dharmar, a native of Kanchipuram, spread this story in China. The Chinese text, Tenjiku Naranokaku, translates into "The fighting techniques to train the body from India".