W3Schools Online Web Tutorials
LEARN WEBSITE DESIGNING CONCEPTS....
Saturday, October 18, 2008
Saturday, June 28, 2008
kalaripayattu academy
Kalari Academy of Performing Arts (KAPA) is the professional place to learn and practice Kalaripayattu and make it a part of one's daily life. We seek to preserve and endorse the virtues of traditional Kalaripayattu martial arts through our academy of performing arts.
Our mission is to popularise Kalaripayattu and provide easy accessibility to the common man. Our students come from a variety of background ranging from school and college -going youth to middle-aged executives and IT professionals. Kalaripayattu is not just for the guys alone. Almost 30 percent of students and some of the best performing artists and students are girls. This art form can easily be learnt and mastered at any age by anyone with dedication.
The Academy strives to preserve and endorse the virtues of traditional Kalaripayattu through the following means:
TrainingWorkshops & Seminars for dancers and theatre professionalsStage PerformancesDance Choreography
Contribution of the academy to Indian Sulture.
Our mission is to nurture and preserve one of India’s oldest and richest art form “The Kalaripayattu”
We have succeeded in subtly blending Kalaripayattu with classical and contemporary dance forms. These newly-evolved dance forms are a natural part of Kalari's evolution, from being a pure martial combat used to settle differences in battles to the death, to an art meant for self-expression and keeping fit.
Enhance awareness on India’s rich culture & heritage and especially our proud lineage in the field of martial arts
Motivate artists from other streams to innovate different mechanisms to nourish and popularize their art forms
Promote cooperation and collaboration among the national and global art/creative fraternity.
Ensure global acceptance of Kalaripayattu as an unique and multifaceted martial art
Ranjan Mullaratt - Having practiced Kalaripayattu for over 12 years as the student of the eminent master P K Balan Gurukkal, Ranjan Mullaratt today conducts regular classes. Although his training has been orthodox, Ranjan has succeeded in subtly blending Kalaripayattu with classical and contemporary dance forms. These newly-evolved dance forms are a natural part of Kalari's evolution, from being a pure martial combat used to settle differences in battles to the death, to an art meant for self-expression and keeping fit.
Ranjan's expertise saw him being invited to France for the 'Festival Latitudes Vilette Lude De Sud' by the French Government as a part of a cultural exchange program. His various accomplishments include choreography of Kalari movements in Mr. M S Sathyu's play 'Smashana Kurukshetra' which involved integrating Kalari movements and techniques into classical dance forms like Bharathanatyam and Odissi.Ranjan has also had the unique opportunity of co-choreographing the 'Sona Chandi Chyavanaprash' advertisement and working with the nation's pride, Mr. Saurav Ganguly.In a heartfelt bid to dispel the shrouds of mystery surrounding Kalaripayattu and popularize the art form, Ranjan has hosted several programs.
To contact us
Kalari Academy of Performing Arts.
#25, V N Plaza, Bazaar Streest
Brigade Cross Road, Bangalore - 560025. India.
Mobile 91-99451 55995
Ph 91-80-41127789
Email: ranjanmullaratt@yahoo.com
Our mission is to popularise Kalaripayattu and provide easy accessibility to the common man. Our students come from a variety of background ranging from school and college -going youth to middle-aged executives and IT professionals. Kalaripayattu is not just for the guys alone. Almost 30 percent of students and some of the best performing artists and students are girls. This art form can easily be learnt and mastered at any age by anyone with dedication.
The Academy strives to preserve and endorse the virtues of traditional Kalaripayattu through the following means:
TrainingWorkshops & Seminars for dancers and theatre professionalsStage PerformancesDance Choreography
Contribution of the academy to Indian Sulture.
Our mission is to nurture and preserve one of India’s oldest and richest art form “The Kalaripayattu”
We have succeeded in subtly blending Kalaripayattu with classical and contemporary dance forms. These newly-evolved dance forms are a natural part of Kalari's evolution, from being a pure martial combat used to settle differences in battles to the death, to an art meant for self-expression and keeping fit.
Enhance awareness on India’s rich culture & heritage and especially our proud lineage in the field of martial arts
Motivate artists from other streams to innovate different mechanisms to nourish and popularize their art forms
Promote cooperation and collaboration among the national and global art/creative fraternity.
Ensure global acceptance of Kalaripayattu as an unique and multifaceted martial art
Ranjan Mullaratt - Having practiced Kalaripayattu for over 12 years as the student of the eminent master P K Balan Gurukkal, Ranjan Mullaratt today conducts regular classes. Although his training has been orthodox, Ranjan has succeeded in subtly blending Kalaripayattu with classical and contemporary dance forms. These newly-evolved dance forms are a natural part of Kalari's evolution, from being a pure martial combat used to settle differences in battles to the death, to an art meant for self-expression and keeping fit.
Ranjan's expertise saw him being invited to France for the 'Festival Latitudes Vilette Lude De Sud' by the French Government as a part of a cultural exchange program. His various accomplishments include choreography of Kalari movements in Mr. M S Sathyu's play 'Smashana Kurukshetra' which involved integrating Kalari movements and techniques into classical dance forms like Bharathanatyam and Odissi.Ranjan has also had the unique opportunity of co-choreographing the 'Sona Chandi Chyavanaprash' advertisement and working with the nation's pride, Mr. Saurav Ganguly.In a heartfelt bid to dispel the shrouds of mystery surrounding Kalaripayattu and popularize the art form, Ranjan has hosted several programs.
To contact us
Kalari Academy of Performing Arts.
#25, V N Plaza, Bazaar Streest
Brigade Cross Road, Bangalore - 560025. India.
Mobile 91-99451 55995
Ph 91-80-41127789
Email: ranjanmullaratt@yahoo.com
TRADITIONAL KALARI TREATMENT
The training of a student to become a master includes the training in Ayurveda and in locating the vital points of the body. A Kalari Guru is not only a trained movement artist but also a professional in Ayurveda, a doctor who treats people of diseases and general ailments. Kalari has developed a traditional orthopedic system which is widely popular all over the states, especially for the setting of displaced bones. There are different types of Oils, pastes, herbs etc are used only by kalari masters to treat muscle and bone injuries.
KALARI MASSAGE
The first stage of the preparation of a warrior and the artiste is based on oil massage known as Udvarthaizam or Uzhichal. The Ayurvedic tradition of Susrutha says that diseases are afraid of approaching a body which has been foot-massaged, just like animals in the sight of a lion.
Combat situation demands an extremely agile, strong and supple body, which would instantly obey the focused mind. The ancient martial artists (warriors) used kalari massage to prime their body and sharpen reflexes.
In Kalari massage the therapist or the kalari master uses his hand and feet to massage the recipient using medicated oils. The masseur uses nadisuthra kriya to apply pressure with the fingers, thumb or toe at certain points on the body. These pressure points (Marma points) are areas where there is a high concentration of Prana. Prana is the energy which gives life for the living organism.
Usually an uzhichil course lasts for fourteen days. At the time of massage the student has to follow strict restrictions in his or her daily routines. He should not expose to the sun for a long time should take only the prescribed food and should follow strict celibacy.
Three types of kalari massages are used for different purposes.
Sukha thirummu: This system of massage relieves the body from aches and muscular pains and also provides physical relaxation and rejuvenation.
katcha thirummu massage, given to increase a person's body flexibility and physical endurance, is particularly efficacious for those who practice martial arts and dance forms. It gives flexibility and suppleness to the body. This form of massage is combined with different yoga postures.
Raksha thirummu: This massage is for healing. Different ailments require specific massage techniques, which the masseur selects keeping the individual's condition in mind. The speed, force, number of stroke, the type of herbal oil used and the system of massage will vary depending on the patient's physical strength, age and ailment.
Massage helps the body to attain a healthy constitution as well as flexibility, nimbleness and suppleness. Moreover, massage can improve mental alertness and attention span by reducing tension and calming the mind .Kalari massage can keep one disease free and in a state of positive health.MARMA POINTS
Marmas are certain vital points of the body. A marma point is a juncture on the body where two or more types of tissue meet, such as muscles, veins, ligaments, bones or joints and 'where the Prana is present'. There are total 108 Marma points in the body in which 64 are considered as kulamarma (deadly points). These points could be used to heel or to harm. If these points are pierced hard, it could result in trauma or even death. A kalari masseur uses the Marma points to heal. The mind is considered as the 108th marma. The other marma points are classified for better understanding according to the physical components:
Mamsa Marma - muscleSira Marma - vesselSanyu Marma- LigamentAsthi Marma- bonesSandhi Marma - joints
KALARI MASSAGE
The first stage of the preparation of a warrior and the artiste is based on oil massage known as Udvarthaizam or Uzhichal. The Ayurvedic tradition of Susrutha says that diseases are afraid of approaching a body which has been foot-massaged, just like animals in the sight of a lion.
Combat situation demands an extremely agile, strong and supple body, which would instantly obey the focused mind. The ancient martial artists (warriors) used kalari massage to prime their body and sharpen reflexes.
In Kalari massage the therapist or the kalari master uses his hand and feet to massage the recipient using medicated oils. The masseur uses nadisuthra kriya to apply pressure with the fingers, thumb or toe at certain points on the body. These pressure points (Marma points) are areas where there is a high concentration of Prana. Prana is the energy which gives life for the living organism.
Usually an uzhichil course lasts for fourteen days. At the time of massage the student has to follow strict restrictions in his or her daily routines. He should not expose to the sun for a long time should take only the prescribed food and should follow strict celibacy.
Three types of kalari massages are used for different purposes.
Sukha thirummu: This system of massage relieves the body from aches and muscular pains and also provides physical relaxation and rejuvenation.
katcha thirummu massage, given to increase a person's body flexibility and physical endurance, is particularly efficacious for those who practice martial arts and dance forms. It gives flexibility and suppleness to the body. This form of massage is combined with different yoga postures.
Raksha thirummu: This massage is for healing. Different ailments require specific massage techniques, which the masseur selects keeping the individual's condition in mind. The speed, force, number of stroke, the type of herbal oil used and the system of massage will vary depending on the patient's physical strength, age and ailment.
Massage helps the body to attain a healthy constitution as well as flexibility, nimbleness and suppleness. Moreover, massage can improve mental alertness and attention span by reducing tension and calming the mind .Kalari massage can keep one disease free and in a state of positive health.MARMA POINTS
Marmas are certain vital points of the body. A marma point is a juncture on the body where two or more types of tissue meet, such as muscles, veins, ligaments, bones or joints and 'where the Prana is present'. There are total 108 Marma points in the body in which 64 are considered as kulamarma (deadly points). These points could be used to heel or to harm. If these points are pierced hard, it could result in trauma or even death. A kalari masseur uses the Marma points to heal. The mind is considered as the 108th marma. The other marma points are classified for better understanding according to the physical components:
Mamsa Marma - muscleSira Marma - vesselSanyu Marma- LigamentAsthi Marma- bonesSandhi Marma - joints
ARCHITECTURAL DESIGHN OF TRADITIONAL KALARI
The art is trained in an enclosure called ‘Kalari’, which is 21 feet by 42 feet. The entrance faces the east. In the south-west corner is a seven-tiered platform called the "poothara", which houses the guardian deity of the kalari. These seven steps sy
mbolise seven abilities each person requires. They include Vigneswa (Strength), Channiga (patience), Vishnu (commanding power), Vadugashcha (the posture), Tadaaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners.ORIGIN AND EVOLUTIONKalaripayattu is perhaps the most ancient martial art in the world. Religions have incorporated Kalaripayattu into their realm. The origin of Kalaripayattu is still in the midst of obscurity. Traditional Kalari masters attribute mythological stories and legends to the origin of the art. Legend traces the 3000-year-old art form to Sage Parasurama- the master of all martial art forms and credited to be the re-claimer of Kerala from the Arabian Sea. At the turn of the 6th century A.D., martial arts spread from Southern India to China by Daruma Bodhidarma - an Indian Buddhist monk and Kalaripayattu master. From China, martial arts have spread to Korea & Japan. Kalaripayattu is derived from the words Kalari - which means "place, threshing floor, or battlefield", and payattu - which means to "exercise in arms or practice". Martial arts have been in existence on the Indian sub-continent for thousands of years. Long ago, animal fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron Ages. Even in Vedas they have mentioned about martial arts. Kalaripayattu is one such martial art, Crafted in ancient South India and draws inspiration from the raw power, majestic strength and instinctive fighting techniques of animals like lion, tiger, elephant, wild boar, crocodile etc.
It is significant that some Kalaripayattu masters trace their lineages of practice to "Dhanur Veda" and claim that the texts in which their martial techniques are recorded derive from Dhanur Vedic texts. Although the Dhanur Veda means the "science of archery," it encompassed all the traditional fighting arts. The explicit concern in Dhanur Veda texts is not with battlefield strategies, but rather with training in martial techniques.
The Dhanur Veda opens by cataloging the subject, stating that there are five training divisions (for warriors on chariots, elephants, horseback, infantry, or wrestling), and five types of weapons to be learned (those projected by machine [arrows or missiles], those thrown by the hands [spears], those cast by hands yet retained [noose], those permanently held in the hands [sword], and the hands themselves [249:1-5]). Most of the final Chapters are brief descriptions of postures and techniques for wrestling and the use of a variety of weapons including noose, sword, armors, iron dart, club, battle axe, discus, and the trident. A short passage near the end of the text returns to the larger concerns of warfare and explains the various uses of war elephants and men. The text concludes with a description of how to appropriately send the well-trained fighter off to war.
Kalaripayattu reached its pinnacle of glory during the 100-years-war between the Cholas, Cheras, and Pandyas in the early part of the first millennium. The warring states refined the fighting skills and techniques prevalent in the area into a martial art form. The art flourished between the 13 and 16 centuries, becoming a part of the education of youngsters. It was a social custom in Kerala to send all youngsters above the age of seven to learn Kalari.
The inherent beauty of this art form lies in the harmonious synergy of art, science and medicine. The various movements in Kalari are based on animal movements. Several poses are named after animals. Hence it is generally believed to have developed in the jungles when hunters observed the fighting techniques of various animals.The death blow to the Kerala military system and Kalaripayattu was dealt by the British. When the Malabar Province was ceded in favor of the British by the treaty of Seringapatam in 1792, there were a series of revolts in Malabar. The revolt led by Pazhassi Raja was well supported by the Nair soldiers and Kurichya tribals of Wayanad. The British dreaded the widespread Kalari training and objected to the traditional system of carrying arms by the Nairs. Thus the Malabar commissioners found it essential to unarm the entire region to establish tranquility. Major Dow's direction in this regard, is note worthy.
On 20th February 1804, Robert Richards, the Principal Collector of Malabar, wrote to Lord William Bentinck, President and General-in Council, Fort. St. George, asking permission to take action against persons carrying arms, either imposing death penalty or deportation for life. Lord Bentinck issued an order on 22nd April 1804, that those who concealed weapons or disobeyed the orders of the British against carrying arms would be condemned to deportation for life.
At the time of the Pazhassi rebellion, British soldiers raided each and every house of the rebels to confiscate their arms. The same situation repeated in Travancore at the time of the revolt orchestrated by Veluthampi, the Dalawa of Travancore. These developments led to the slow deterioration of Kalaripayattu. Yet, there were a few Kalaripayattu gurus who worked selflessly to keep this tradition of martial art alive for the future generations by training youngsters away from the prying eyes of the British rulers.KALARI'S INFLUENCE ON OTHER ARTS
Kalaripayattu has strongly influenced the evolution of several of Kerala's theatre and dance forms, most prominently Kathakali and Theyyam. Kathakali practitioners are required to train under Kalari masters to develop various attributes such as fitness, stamina, and martial movements enacted in their performances. Kalari practitioners claim that Bodhi Dharma, a Buddhist monk who was responsible for training the Shaolin monks in kung-fu, was in fact a Kalari master.
RESUREGENCE OF KALARIPAYATTU
Following the collapse of the princely states and the advent of free India - Kalaripayattu had lost its significance as a mortal combat code. Fortunately, Kalaripayattu has successfully survived the steady and sad decline in popularity. Kalaripayattu now has a compelling global audience and its fame and glory has won hearts all over.
In a Phoenix like resurrection, Kalaripayattu is today emerging in a new avatar - an ancient art form - a source of inspiration for self-expression in dance forms - both traditional and contemporary, in theatre, in fitness and in movies too.
mbolise seven abilities each person requires. They include Vigneswa (Strength), Channiga (patience), Vishnu (commanding power), Vadugashcha (the posture), Tadaaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners.ORIGIN AND EVOLUTIONKalaripayattu is perhaps the most ancient martial art in the world. Religions have incorporated Kalaripayattu into their realm. The origin of Kalaripayattu is still in the midst of obscurity. Traditional Kalari masters attribute mythological stories and legends to the origin of the art. Legend traces the 3000-year-old art form to Sage Parasurama- the master of all martial art forms and credited to be the re-claimer of Kerala from the Arabian Sea. At the turn of the 6th century A.D., martial arts spread from Southern India to China by Daruma Bodhidarma - an Indian Buddhist monk and Kalaripayattu master. From China, martial arts have spread to Korea & Japan. Kalaripayattu is derived from the words Kalari - which means "place, threshing floor, or battlefield", and payattu - which means to "exercise in arms or practice". Martial arts have been in existence on the Indian sub-continent for thousands of years. Long ago, animal fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron Ages. Even in Vedas they have mentioned about martial arts. Kalaripayattu is one such martial art, Crafted in ancient South India and draws inspiration from the raw power, majestic strength and instinctive fighting techniques of animals like lion, tiger, elephant, wild boar, crocodile etc.
It is significant that some Kalaripayattu masters trace their lineages of practice to "Dhanur Veda" and claim that the texts in which their martial techniques are recorded derive from Dhanur Vedic texts. Although the Dhanur Veda means the "science of archery," it encompassed all the traditional fighting arts. The explicit concern in Dhanur Veda texts is not with battlefield strategies, but rather with training in martial techniques.
The Dhanur Veda opens by cataloging the subject, stating that there are five training divisions (for warriors on chariots, elephants, horseback, infantry, or wrestling), and five types of weapons to be learned (those projected by machine [arrows or missiles], those thrown by the hands [spears], those cast by hands yet retained [noose], those permanently held in the hands [sword], and the hands themselves [249:1-5]). Most of the final Chapters are brief descriptions of postures and techniques for wrestling and the use of a variety of weapons including noose, sword, armors, iron dart, club, battle axe, discus, and the trident. A short passage near the end of the text returns to the larger concerns of warfare and explains the various uses of war elephants and men. The text concludes with a description of how to appropriately send the well-trained fighter off to war.
Kalaripayattu reached its pinnacle of glory during the 100-years-war between the Cholas, Cheras, and Pandyas in the early part of the first millennium. The warring states refined the fighting skills and techniques prevalent in the area into a martial art form. The art flourished between the 13 and 16 centuries, becoming a part of the education of youngsters. It was a social custom in Kerala to send all youngsters above the age of seven to learn Kalari.
The inherent beauty of this art form lies in the harmonious synergy of art, science and medicine. The various movements in Kalari are based on animal movements. Several poses are named after animals. Hence it is generally believed to have developed in the jungles when hunters observed the fighting techniques of various animals.The death blow to the Kerala military system and Kalaripayattu was dealt by the British. When the Malabar Province was ceded in favor of the British by the treaty of Seringapatam in 1792, there were a series of revolts in Malabar. The revolt led by Pazhassi Raja was well supported by the Nair soldiers and Kurichya tribals of Wayanad. The British dreaded the widespread Kalari training and objected to the traditional system of carrying arms by the Nairs. Thus the Malabar commissioners found it essential to unarm the entire region to establish tranquility. Major Dow's direction in this regard, is note worthy.
On 20th February 1804, Robert Richards, the Principal Collector of Malabar, wrote to Lord William Bentinck, President and General-in Council, Fort. St. George, asking permission to take action against persons carrying arms, either imposing death penalty or deportation for life. Lord Bentinck issued an order on 22nd April 1804, that those who concealed weapons or disobeyed the orders of the British against carrying arms would be condemned to deportation for life.
At the time of the Pazhassi rebellion, British soldiers raided each and every house of the rebels to confiscate their arms. The same situation repeated in Travancore at the time of the revolt orchestrated by Veluthampi, the Dalawa of Travancore. These developments led to the slow deterioration of Kalaripayattu. Yet, there were a few Kalaripayattu gurus who worked selflessly to keep this tradition of martial art alive for the future generations by training youngsters away from the prying eyes of the British rulers.KALARI'S INFLUENCE ON OTHER ARTS
Kalaripayattu has strongly influenced the evolution of several of Kerala's theatre and dance forms, most prominently Kathakali and Theyyam. Kathakali practitioners are required to train under Kalari masters to develop various attributes such as fitness, stamina, and martial movements enacted in their performances. Kalari practitioners claim that Bodhi Dharma, a Buddhist monk who was responsible for training the Shaolin monks in kung-fu, was in fact a Kalari master.
RESUREGENCE OF KALARIPAYATTU
Following the collapse of the princely states and the advent of free India - Kalaripayattu had lost its significance as a mortal combat code. Fortunately, Kalaripayattu has successfully survived the steady and sad decline in popularity. Kalaripayattu now has a compelling global audience and its fame and glory has won hearts all over.
In a Phoenix like resurrection, Kalaripayattu is today emerging in a new avatar - an ancient art form - a source of inspiration for self-expression in dance forms - both traditional and contemporary, in theatre, in fitness and in movies too.
kalaripayattu-training
The holistic approach of the training is aimed at the ultimate coordination and control over mind and body. The weapons become an extension of the body, controlled by the mind to achieve high degree of perfection in both offensive and defensive combats. The inherent beauty of this art form lies in the harmonious synergy of art, science and medicine
Anyone and everyone - young, old, boys, girls, working professionals, house wives – can reap the benefits of this rich and treasured martial art. In fact, more than one third of our students are girls. Apart from mastering the intricate fighting & self defense techniques, dedicated and systematic training program at the academy helps in building a strong body and focused mind. The flexible program schedule is specially designed to suit the rigors & pressures of your daily life without compromising the ‘essence’ of training techniques as practiced in the traditional ‘Kalaries’.
Professional training programs at the academy has been classified as follows.
Beginners level
Second Level
Weapon Combat
Kalari treatment
Certificate Course
BEGINNERS LEVEL - Understanding Stance and Structure.This is a prerequisite session for beginners in Kalaripayattu and usually stretches for three months. It introduces body conditioning exercises, stretching, basic hand and leg techniques, stances, and stepping. This exposure gives the new member a better foundation in order to enter into the advanced level in Kalaripayattu and focuses on achieving the skill to adopt certain stances which are broadly classified into two - 'Chuvadu and Vadivu'. Chuvadu is a position of the feet while Vadivu is a position of the posture of the body, keeping the chuvadu as its basis.Duration: Two months.
Timings for Beginners ClassesBatch 1 Tuesday and Thursday morning 7.00 to 8.30Batch 2 Monday and Wednesday evening 7.00 to 8.30
Timings for Weekend ClassesBatch 3 Saturday and Sunday morning 7.00 to 8.30Batch 4 Sunday 6.00 to 7.30 evening and Saturday 7.00 to 8.30 evening
SECOND LEVELAfter the completion of the first level a Kalaripayattu trainee graduates on to Meipayattu (meaning the use of body). It is a series of exercises, in 18 different lessons designed to achieve peak physical fitness and flexibility of the body. They include specific exercise for legs, hips, hands and the torso.In the second level, the training includes acrobatics, different types of flips and kicks.
WEAPON COMBATThis is a supplementary program for members interested in the practical use of martial arts. Training in weapons begins at the intermediate level, when there is a better understanding of the mechanics of movement and improved coordination. A weapon becomes an extension of one's body and a further test of one's skill. This supplementary program enhances the understanding of the principles and concepts in martial arts and ultimately develops better execution in all movements. Weapons are taught in form sequences to responsible individuals.The training with weapons commences with cane weapons; the trainee graduates to using the Short Stick (Cheruvadi), Curved Stick (Ottakkol), Mace (Gada), Dagger (Kattaram). Once the dagger fighting has been mastered, the trainee starts on the most glamorous of combats in kalaripayattu - fighting with the sword and shield. Finally Urumi (six feet length flexible sword) - is taught as the fitting finale to perfection in the art of Kalaripayattu. This is the most dangerous weapon in the Kalari system other than your own body.
KALARI TREATMENTKalari chikitsa or kalari treatment is an integral part of the kalari tradition. It is mainly used to treat sprains, fractures, cuts and similar injuries and was originally used as a form of treatment for the trainee's injuries. Kalari medication, with its own brand of potent oils, unguents and different types of bandages, is also popular among the general public.The final training of a student includes in identifying the 64 Kula Marmas (deadly spots) in the human body.
CERTIFICATE COURSE
Kalari academy of performing arts offer certificate course in Kalaripayattu, the Traditional Martial Art of India. This programme is designed to meet the advanced interests of the student of Kalaripayattu studies. DURATION: The duration of the programme shall be four semesters.
SYLLABUS:
Semester I(a) Chuvadu: The initial training in kalaripayattu focuses on achieving the skill to adopt certain stances which are broadly classified into two - 'Chuvadu and Vadivu'. Chuvadu is a position of the feet while Vadivu is a position of the posture of the body, keeping the chuvadu as its basis. The combinations of chuvadu and vadivu form the steps followed prior to an offensive or defensive maneuver. Chuvadu training stresses on various kinds of firm positioning of the feet.(b) Vadivu: In vadivu, importance is given to the posture of the body. The ancient masters codified eight types of vadivus after watching the crouching attack positions of various animals. The eight vadivus are: Varaha - Wild Boar, Gaja - Elephant, Marjara - Cat, Simham - Lion, Sarpam - Snake, Kukkuda - Cock, Mayura - Peacock and Haya - Horse.(c) Leg Exercises: There are ten types of leg exercises (kicks) are thought to each students. (d) Meipayattu: Meipayattu meaning body in practice. It is a series of exercises, in 18 different lessons designed to achieve peak physical fitness and flexibility of the body. They include acrobatics, different types of flips and kicks.
Semester II(a) Short Stick (Muchan): This wooden weapon is about 1.5 feet long (three span), mainly used for defense. It involves powerful blows and blocks with speed.(b)Long Stick (Kettukari): This is a form of combat using a long cane stick, as tall as the trainee (5 ½ feet). This combat contains mainly offensive movements.(c)Dagger (Kattaram): The dagger is a double-edged, sharp weapon made of tempered steel, with a length of about 1 ½ feet. This combat contains thrusts and blocks.(d) Knife (kathipayattu): A smaller version of Dagger. It is a small handy double edged weapon.(e) Kaikuthipayattu: Advanced body training to improve ones stamina, power and concentration.Semester III(a) CURVED STICK (Ottakol): This is a horn shaped weapon with a knob at one end. The knob is used to attack the vital spots of the nervous system.(b) SWORD AND SHIELD (Vallum parichayum): The sword is used for offence and the shield is used for defense. The most important and advanced fighting with the sword and the shield is called Puliyangam, the combat being likened to a battle between leopards.(c) SWORD AND SPEAR (Marapidichakuntham): One combatant is armed with a sword and shield and the other with a spear.(d) Udaval: This is the training in fight with sword. Attack and defense are done by sword only.(e) BARE-HANDED COMBAT (Verumkai): These techniques include those that are used to disarm and disable an opponent.
Semester IV(a) FLEXIBLE SWORD (Urumi): The Urumi is the most dangerous weapon in the Kalari system. It is six feet in length, flexible, and can be worn around the waist.(b) Kalari Massage (Uzhichil): Uzhichil or a medicated massage is used to make the body supple. It stimulates the nerves and relaxes the muscles.(c) Marmapoints : The final training of a dedicated student includes training in Ayurveda and identifying the 64 Kula Marmas (deadly spots) in the human body.General Rules:The students shall be required to secure a minimum of 70% marks in each course in order to be eligible for promotion to the next semesterA Faculty Certificate is issued on the successful completion of each unit.
RESIDENTIAL CLASS
Kalari academy of performing arts introduces residential classes in kalaripayattu for the beginners level.Duration: four days, three hours each day.Includes everyday Full body kalari massage with medicated oils
Anyone and everyone - young, old, boys, girls, working professionals, house wives – can reap the benefits of this rich and treasured martial art. In fact, more than one third of our students are girls. Apart from mastering the intricate fighting & self defense techniques, dedicated and systematic training program at the academy helps in building a strong body and focused mind. The flexible program schedule is specially designed to suit the rigors & pressures of your daily life without compromising the ‘essence’ of training techniques as practiced in the traditional ‘Kalaries’.
Professional training programs at the academy has been classified as follows.
Beginners level
Second Level
Weapon Combat
Kalari treatment
Certificate Course
BEGINNERS LEVEL - Understanding Stance and Structure.This is a prerequisite session for beginners in Kalaripayattu and usually stretches for three months. It introduces body conditioning exercises, stretching, basic hand and leg techniques, stances, and stepping. This exposure gives the new member a better foundation in order to enter into the advanced level in Kalaripayattu and focuses on achieving the skill to adopt certain stances which are broadly classified into two - 'Chuvadu and Vadivu'. Chuvadu is a position of the feet while Vadivu is a position of the posture of the body, keeping the chuvadu as its basis.Duration: Two months.
Timings for Beginners ClassesBatch 1 Tuesday and Thursday morning 7.00 to 8.30Batch 2 Monday and Wednesday evening 7.00 to 8.30
Timings for Weekend ClassesBatch 3 Saturday and Sunday morning 7.00 to 8.30Batch 4 Sunday 6.00 to 7.30 evening and Saturday 7.00 to 8.30 evening
SECOND LEVELAfter the completion of the first level a Kalaripayattu trainee graduates on to Meipayattu (meaning the use of body). It is a series of exercises, in 18 different lessons designed to achieve peak physical fitness and flexibility of the body. They include specific exercise for legs, hips, hands and the torso.In the second level, the training includes acrobatics, different types of flips and kicks.
WEAPON COMBATThis is a supplementary program for members interested in the practical use of martial arts. Training in weapons begins at the intermediate level, when there is a better understanding of the mechanics of movement and improved coordination. A weapon becomes an extension of one's body and a further test of one's skill. This supplementary program enhances the understanding of the principles and concepts in martial arts and ultimately develops better execution in all movements. Weapons are taught in form sequences to responsible individuals.The training with weapons commences with cane weapons; the trainee graduates to using the Short Stick (Cheruvadi), Curved Stick (Ottakkol), Mace (Gada), Dagger (Kattaram). Once the dagger fighting has been mastered, the trainee starts on the most glamorous of combats in kalaripayattu - fighting with the sword and shield. Finally Urumi (six feet length flexible sword) - is taught as the fitting finale to perfection in the art of Kalaripayattu. This is the most dangerous weapon in the Kalari system other than your own body.
KALARI TREATMENTKalari chikitsa or kalari treatment is an integral part of the kalari tradition. It is mainly used to treat sprains, fractures, cuts and similar injuries and was originally used as a form of treatment for the trainee's injuries. Kalari medication, with its own brand of potent oils, unguents and different types of bandages, is also popular among the general public.The final training of a student includes in identifying the 64 Kula Marmas (deadly spots) in the human body.
CERTIFICATE COURSE
Kalari academy of performing arts offer certificate course in Kalaripayattu, the Traditional Martial Art of India. This programme is designed to meet the advanced interests of the student of Kalaripayattu studies. DURATION: The duration of the programme shall be four semesters.
SYLLABUS:
Semester I(a) Chuvadu: The initial training in kalaripayattu focuses on achieving the skill to adopt certain stances which are broadly classified into two - 'Chuvadu and Vadivu'. Chuvadu is a position of the feet while Vadivu is a position of the posture of the body, keeping the chuvadu as its basis. The combinations of chuvadu and vadivu form the steps followed prior to an offensive or defensive maneuver. Chuvadu training stresses on various kinds of firm positioning of the feet.(b) Vadivu: In vadivu, importance is given to the posture of the body. The ancient masters codified eight types of vadivus after watching the crouching attack positions of various animals. The eight vadivus are: Varaha - Wild Boar, Gaja - Elephant, Marjara - Cat, Simham - Lion, Sarpam - Snake, Kukkuda - Cock, Mayura - Peacock and Haya - Horse.(c) Leg Exercises: There are ten types of leg exercises (kicks) are thought to each students. (d) Meipayattu: Meipayattu meaning body in practice. It is a series of exercises, in 18 different lessons designed to achieve peak physical fitness and flexibility of the body. They include acrobatics, different types of flips and kicks.
Semester II(a) Short Stick (Muchan): This wooden weapon is about 1.5 feet long (three span), mainly used for defense. It involves powerful blows and blocks with speed.(b)Long Stick (Kettukari): This is a form of combat using a long cane stick, as tall as the trainee (5 ½ feet). This combat contains mainly offensive movements.(c)Dagger (Kattaram): The dagger is a double-edged, sharp weapon made of tempered steel, with a length of about 1 ½ feet. This combat contains thrusts and blocks.(d) Knife (kathipayattu): A smaller version of Dagger. It is a small handy double edged weapon.(e) Kaikuthipayattu: Advanced body training to improve ones stamina, power and concentration.Semester III(a) CURVED STICK (Ottakol): This is a horn shaped weapon with a knob at one end. The knob is used to attack the vital spots of the nervous system.(b) SWORD AND SHIELD (Vallum parichayum): The sword is used for offence and the shield is used for defense. The most important and advanced fighting with the sword and the shield is called Puliyangam, the combat being likened to a battle between leopards.(c) SWORD AND SPEAR (Marapidichakuntham): One combatant is armed with a sword and shield and the other with a spear.(d) Udaval: This is the training in fight with sword. Attack and defense are done by sword only.(e) BARE-HANDED COMBAT (Verumkai): These techniques include those that are used to disarm and disable an opponent.
Semester IV(a) FLEXIBLE SWORD (Urumi): The Urumi is the most dangerous weapon in the Kalari system. It is six feet in length, flexible, and can be worn around the waist.(b) Kalari Massage (Uzhichil): Uzhichil or a medicated massage is used to make the body supple. It stimulates the nerves and relaxes the muscles.(c) Marmapoints : The final training of a dedicated student includes training in Ayurveda and identifying the 64 Kula Marmas (deadly spots) in the human body.General Rules:The students shall be required to secure a minimum of 70% marks in each course in order to be eligible for promotion to the next semesterA Faculty Certificate is issued on the successful completion of each unit.
RESIDENTIAL CLASS
Kalari academy of performing arts introduces residential classes in kalaripayattu for the beginners level.Duration: four days, three hours each day.Includes everyday Full body kalari massage with medicated oils
Miraculous Messages from Water
Discover how each source has an effect on the visual photographed structure...?
Snow has been falling on the earth for more than a few million years. Each snowflake, as we have been told, has a very unique shape and structure. By freezing water and taking a photograph of the structure, as Mr. Emoto has done, you get incredible information about the water.
Mr. Emoto has discovered many fascinating differences in the crystalline structures of water from many different sources and different conditions around the planet. Water from pristine mountain streams and springs show the beautifully formed geometric designs in their crystalline patterns. Polluted and toxic water from industrial and populated areas and stagnated water from water pipes and storage dams show definitively distorted and randomly formed crystalline structures.
After seeing water react to different environmental conditions, pollution and music, Mr. Emoto and colleagues decided to see how thoughts and words affected the formation of untreated, distilled, water crystals, using words typed onto paper by a word processor and taped on glass bottles overnight. The same procedure was performed using the names of deceased persons. The waters were then frozen and photographed.
Energized water has had its molecules returned to their original life-giving, super moisturizing state. This allows maximum moisture absorption into the cells of your body, pets and plants; a major key to healing, and the maintenance of health and vitality.
Dr. Emoto has revealed to the world the power of water's vibration. Take the next step and bring this transformation into your life and into your part of the world by naturally structuring your water.
To learn more about transforming water, click here.
These photographs show the incredible reflections of water, as alive and highly responsive to every one of our emotions and thoughts.
Masaru Emotos extraordinary work is an awesome display, and powerful tool, that can change our perceptions of ourselves and the world we live in, forever. We now have profound evidence that we can positively heal and transform ourselves and our planet by the thoughts we choose to think and the ways in which we put those thoughts into.
This article was written and published by Wellness Goods, where you can also order books written by Masaru Emoto. Photographs in this article are from "The Messages from Water" written and copyright protected by Masaru Emoto. Photographs are reproduced here by WellnessGoods.com under expressed permission and authority from the publisher.
Snow has been falling on the earth for more than a few million years. Each snowflake, as we have been told, has a very unique shape and structure. By freezing water and taking a photograph of the structure, as Mr. Emoto has done, you get incredible information about the water.
Mr. Emoto has discovered many fascinating differences in the crystalline structures of water from many different sources and different conditions around the planet. Water from pristine mountain streams and springs show the beautifully formed geometric designs in their crystalline patterns. Polluted and toxic water from industrial and populated areas and stagnated water from water pipes and storage dams show definitively distorted and randomly formed crystalline structures.
After seeing water react to different environmental conditions, pollution and music, Mr. Emoto and colleagues decided to see how thoughts and words affected the formation of untreated, distilled, water crystals, using words typed onto paper by a word processor and taped on glass bottles overnight. The same procedure was performed using the names of deceased persons. The waters were then frozen and photographed.
Energized water has had its molecules returned to their original life-giving, super moisturizing state. This allows maximum moisture absorption into the cells of your body, pets and plants; a major key to healing, and the maintenance of health and vitality.
Dr. Emoto has revealed to the world the power of water's vibration. Take the next step and bring this transformation into your life and into your part of the world by naturally structuring your water.
To learn more about transforming water, click here.
These photographs show the incredible reflections of water, as alive and highly responsive to every one of our emotions and thoughts.
Masaru Emotos extraordinary work is an awesome display, and powerful tool, that can change our perceptions of ourselves and the world we live in, forever. We now have profound evidence that we can positively heal and transform ourselves and our planet by the thoughts we choose to think and the ways in which we put those thoughts into.
This article was written and published by Wellness Goods, where you can also order books written by Masaru Emoto. Photographs in this article are from "The Messages from Water" written and copyright protected by Masaru Emoto. Photographs are reproduced here by WellnessGoods.com under expressed permission and authority from the publisher.
Miraculous Messages from Water
How the molecular structure of water is affected...?
From Mr. Emoto's work we are provided with factual evidence, that human vibrational energy, thoughts, words, ideas and music, affect the molecular structure of water, the very same water that comprises over seventy percent of a mature human body and covers the same amount of our planet. Water is the very source of all life on this planet, the quality and integrity are vitally important to all forms of life. The body is very much like a sponge and is composed of trillions of chambers called cells that hold liquid. The quality of our life is directly connected to the quality of our water.
Water is a very malleable substance. Its physical shape easily adapts to whatever environment is present. But its physical appearance is not the only thing that changes, the molecular shape also changes. The energy or vibrations of the environment will change the molecular shape of water. In this sense water not only has the ability to visually reflect the environment but it also molecularly reflects the environment.
Mr. Emoto has been visually documenting these molecular changes in water by means of his photographic techniques. He freezes droplets of water and then examines them under a dark field microscope that has photographic capabilities. His work clearly demonstrates the diversity of the molecular structure of water and the effect of the environment upon the structure of the water.
From Mr. Emoto's work we are provided with factual evidence, that human vibrational energy, thoughts, words, ideas and music, affect the molecular structure of water, the very same water that comprises over seventy percent of a mature human body and covers the same amount of our planet. Water is the very source of all life on this planet, the quality and integrity are vitally important to all forms of life. The body is very much like a sponge and is composed of trillions of chambers called cells that hold liquid. The quality of our life is directly connected to the quality of our water.
Water is a very malleable substance. Its physical shape easily adapts to whatever environment is present. But its physical appearance is not the only thing that changes, the molecular shape also changes. The energy or vibrations of the environment will change the molecular shape of water. In this sense water not only has the ability to visually reflect the environment but it also molecularly reflects the environment.
Mr. Emoto has been visually documenting these molecular changes in water by means of his photographic techniques. He freezes droplets of water and then examines them under a dark field microscope that has photographic capabilities. His work clearly demonstrates the diversity of the molecular structure of water and the effect of the environment upon the structure of the water.
Subscribe to:
Posts (Atom)
