Ayurveda Ausstellungskatalog C

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#1 - SIGN HALL kalari kovilakom, kollengode, india #2 - WATER LILY kalari kovilakom, kollengode, india 2 #3 - SHIRODHARA kalari kovilakom, kollengode, india #4 - SHIRODHARA kalari kovilakom, kollengode, india 3 #5 - DASAMOOLA KSHEERA kalari kovilakom, kollengode, india #6 - DASAMOOLA KSHEERA kalari kovilakom, kollengode, india 4 #7 - NJAVARAKIZHI kalari kovilakom, kollengode, india #8 - ELAKIZHI kalari kovilakom, kollengode, india 5 #9 - BINDSI THERAPIST kalari kovilakom, kollengode, india #10 - DASAMOOLA KSHEERA kalari kovilakom, kollengode, india 6 #11 - RITUAL LAMP kalari kovilakom, kollengode, india #12 - GHEE kalari kovilakom, kollengode, india 7 #13 - PULSE DIAGNOSTICS kalari kovilakom, kollengode, india #14 - RITUAL LAMP kalari kovilakom, kollengode, india 8 #15 - SIGN, DINING-HALL kalari kovilakom, kollengode, india #16 - UZHICHIL kalari kovilakom, kollengode, india 9 #17 - MARTIAL ARTS, KALARIPAYATTU kalari kovilakom, kollengode, india #18 - TONY, TEACHER OF KALARIPAYATTU THERAPIST kalari kovilakom, kollengode, india 10 #19 - MARTIAL ARTS, KALARIPAYATTU kalari kovilakom, kollengode, india #20 - MARTIAL ARTS, KALARIPAYATTU kalari kovilakom, kollengode, india 11 #21 - CANDLE LIGHT MEDITATION kalari kovilakom, kollengode, india #22 - PALM LEAF MANUSCRIPT kalari kovilakom, kollengode, india 12 #23 - KAVITEA, YOGA TEACHER kalari kovilakom, kollengode, india #24 - VINOD, YOGA TEACHER kalari kovilakom, kollengode, india 13 #25 - LOTUS kalari kovilakom, kollengode, india #26 - LOTUS kalari kovilakom, kollengode, india 14 #27 - RICE kalari kovilakom, kollengode, india #28 - MOON CREEPER kalari kovilakom, kollengode, india 15 #29 - ENTRANCE, LOTUS GARDEN kalari kovilakom, kollengode, india #30 - BOWL WITH FLOWERS kalari kovilakom, kollengode, india 16 #31 - EVENING RITUAL FLAME kalari kovilakom, kollengode, india #32 - HERBS IN WOODEN BOX kalari kovilakom, kollengode, india 17 #33 - RICE FIELD kerala, india #34 - AYURVEDIC MENU kalari kovilakom, kollengode, india 18 #35 - ELEPHANT kalari kovilakom, kollengode, india #36 - ANA KOTA MOUNTAINS OF ELEPHANT kerala, india 19 #37 - PALM TREES kerala, india #38 - ELEPHANT, ARATTU FESTIVAL kollengode, india 20 #39 - CLASSICAL DANCE kalari kovilakom, kollengode, india #40 - MRIDANGAM kalari kovilakom, kollengode, india 21 #41 - ARATTU FESTIVAL PANCHAVADHYAM kalari kovilakom, kollengode, india #42 - ARATTU FESTIVAL ELEPHANT LEAVING THE PALACE kalari kovilakom, kollengode, india 22 .

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Indian Martial Arts by Master E
1 Indian Martial Arts by Master E. Edwards [email protected] The following is a rendering of an article by Master E. Edwards that appeared on pages 12 – 14 of his 20th Anniversary Souvenir Program. Master Edward’s website is www.kalari-payat.org. Indian Martial Arts Origin – Even at the dawn of man’s existence, one of the first arts man was forced to learn, for self-preservation, was the art of self-defense and therefore origin of martial arts anywhere in the world will ultimately always be traced back to the origin of man. Early man had to learn not only to effectively defend himself against his enemies but also against marauding and carnivorous animals. Mind, Body and Spirit – Among the various arts developed in India, recognized for her rich cultural heritage dating back several centuries before Christ, was the one pertaining to martial arts. Ancient Indian philosophies were handed down from generation to generation normally by word of mouth or written on palm leaf manuscripts, which incredibly are still available for inspection. These oral and written philosophies give us a clear indication that the sages of yore, apart from their usual study of religion and philosophy, never neglected the study of the human anatomy incorporating the mind, body and spirit. It is precisely from this study that the various sciences of war and the indigenous Ayurvedic medical treatment emerged. Link between, Japanese, Chinese & Indian martial arts – In the southern peninsula of India there is clear evidence showing that martial arts were practiced during the 6th and 7th century.
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Effect of Kalaripayattu on Physical Fitness Variables Among College
International Journal of Physical Education, Sports and Health 2017; 4(4): 395-401 P-ISSN: 2394-1685 E-ISSN: 2394-1693 Effect of Kalaripayattu on physical fitness variables Impact Factor (ISRA): 5.38 IJPESH 2017; 4(4): 395-401 among college students © 2017 IJPESH www.kheljournal.com Received: 12-05-2017 Accepted: 14-06-2017 Sreenath S Sreenath S Abstract Assistant Professor, Department Objectives: To assess the characteristic effects of Tai Chi Chuan (TCC) exercise on metabolism and of Physical Education, Sree cardio respiratory response, and to measure its effect on cardio respiratory function, mental control, Sankaracharya University For immune capacity, and the prevention of falls in elderly people. Sanskrit, Kalady, Kerala, India Design: A review of controlled experimental studies and clinical trials designed with one of two aims: either to assess physiological responses during the performance of TCC or to assess the impact of this exercise on general health and fitness. MAIN OUTCOME MEASURES: Metabolic rate, heart rate, blood pressure, ventilation, maximal oxygen uptake (VO(2)MAX), immune capacity, falls, and fall related factors. Subjects: A total of 2216 men and women. Results: Under review were 31 original studies, published in Chinese or English journals, that met the criteria for inclusion. Most of the papers written in Chinese had not been introduced into the Western literature. Nine of these studies showed that TCC can be classified as moderate exercise, as its does not demand more than 55% of maximal oxygen intake. When this form of exercise and others conducted at equal intensity were compared, TCC showed a significantly lower ventilatory equivalent (VE/VO(2)MAX).
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Marma in Yoga and Other Ancient Indian Traditions 1
Exploring the Science of Marma - An Ancient Healing Technique - Part 3: Marma in Yoga and Other Ancient Indian Traditions Alka Mishra*, Vandana Shrivastava Department of Ayurveda and Holistic Health, Dev Sanskriti Vishwavidyalaya, Gayatrikunj-Shantikunj, Haridwar, Uttarakhand, India *Corresponding Author: Alka Mishra - Email: [email protected] License information for readers: This paper is published online under the Creative Commons Attribution (CC BY 4.0) License, whose full terms may be seen at https://creativecommons.org/licenses/by/4.0/ Uploaded online: 27 June 2020 Abstract Marma Science is an extremely important branch of Ayurveda. Marma points are important vital places in the body, that are the ‘seats of life’ (Prana - the vital life force). As any injury to these parts may lead to severe pain, disability, loss of function, loss of sensation, or death, therefore, they hold an important place in the science of surgery, wherein they are considered ‘Shalya Vishayardha’ (half of the entire science of surgery). The ancient scriptures have strictly directed against causing any injury to these vital spots. However, recent researches have attempted the stimulation of Marma points for theraputic benefits, with encouraging outcomes. In view of these mutually conflicting, importance applications of Marma Science, the present study was undertaken for its in-depth study. Part-1 of this study presented the information about different aspects of Marma Science in various ancient / classical Indian scriptures. Part-2 gave a detailed description of the number of marmas, their location, structures involved, classification, effect of trauma, etc., as per classical texts, as well as correlation with modern science.
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Effect of Kalaripayattu Training on Selected Physical Variables Among Inter-Collegiate Men Basketball Players 1 Rajith TR, 2 Dr
International Journal of Academic Research and Development International Journal of Academic Research and Development ISSN: 2455-4197, Impact Factor: RJIF 5.22 www.academicsjournal.com Volume 2; Issue 4; July 2017; Page No. 466-469 Effect of Kalaripayattu training on selected physical variables among inter-collegiate men basketball players 1 2 Rajith TR, Dr. A Mahaboobjan 1 Ph.D. Reaserch Scholar, Department of Physical Education, Bharathidasan University, Tiruchirappalli, Tamil Nadu, India 2 Professor, Department of Physical Education, Bharathidasan University, Tiruchirappalli, Tamil Nadu, India Abstract The purpose of the present study was to determine the effect of Kalaripayattu training programme on selected Physical variables among inter- collegiate men basketball players. In order to achieve the purpose of the study, thirty basketball players were selected from the affiliated colleges the Kerala university, Thiruvananthapuram. The subjects were randomly selected and their age group ranged from 18-23 years. The selected groups were divided in to two groups, experimental group and control group. The experimental group (EG) underwent the medium of twelve Kalaripayattu selected skill training. The control group (CG) not exposed to any training. Kalaripayattu training is considered as the independent variable. The physical variables (agility, leg explosive power and flexibility) are dependent variables. The statistical technique covariance ANCOVA was used to analyze the pre-test and post-test data of experimental group and control group.
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1001 Years of Missing Martial Arts
1001 Years of Missing Martial Arts IMPORTANT NOTICE: Author: Master Mohammed Khamouch Chief Editor: Prof. Mohamed El-Gomati All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Deputy Editor: Prof. Mohammed Abattouy accessing these web pages, you agree that you may only download the content for your own personal non-commercial Associate Editor: Dr. Salim Ayduz use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: April 2007 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 683 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2007 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it.
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The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques Towards a New Cross-Cultural Methodology for Actor Training
Video Article To cite this video article: de Roza, E and Miller, B 2018 The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques Towards a New Cross-Cultural Methodology for Actor Training. Journal of Embodied Research, 1(1): 1 (20:41), DOI: https://doi.org/10.16995/jer.6 Published: 28 March 2018 Peer Review: This article has been peer reviewed through the single-blind process of Journal of Embodied Research, which is a journal published by the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Journal of Embodied Research is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. de Roza, E and Miller, B. ‘The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques Towards a New Cross-Cultural Methodology for Actor Training’ (2018) 1(1): 1 (20:41) Journal of Embodied Research, DOI: https://doi.org/10.16995/jer.6 VIDEO ARTICLE The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques Towards a New Cross-Cultural Methodology for Actor Training Elizabeth de Roza1 and Budi Miller2 1 LASALLE College of the Arts, SG 2 University of Melbourne, AU Corresponding author: Elizabeth de Roza ([email protected]) This research looks at the effects ofkalaripayattu and Fitzmaurice Voicework techniques as a training methodology for the contemporary actor, redefining the fundamental principles that already exist within the two forms and placing its emphasis on the articulation of the imagination through their combination.
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Kalaripayattu
Kalaripayattu (pronunciation: ) or "Payattu" is an Indian martial art from the southern state of ancient Kerala.[1] One of the oldest fighting systems in existence,[2] it is now practiced in Kerala and contiguous parts of Tamil Nadu and Karnataka[citation needed] as well as northeastern Sri Lanka and among the Malayali community of Malaysia. It was originally practiced in northern and central parts of Kerala and the Tulunadu region of Karnataka.[3] Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods.[3] Regional variants are classified according to geographical position in Kerala; these are the Northern style from Malabar region in north Kerala, the Central style from inner Kerala and the southern style from Travancore region of south Kerala. The southern Payattu system is now extinct and the Tamil style of "Adi Murai" is classified as the southern kalarippayattu by Kerala Kalarippayattu association. The northern style was practiced primarily by the Nairs and the Ezhava (Thiyya), the two communities primarily associated with the martial arts practice in Kerala.[4] [5] as well as some Mappilas and Saint Thomas Christians. The southern style, called Adi Murai, was practiced largely by theNadars and has features distinguishing it from its other regional counterparts.[6][7][8] Northern kalaripayattu is based on elegant and flexible movements, evasions, jumps and weapons training, while the southern "Adi Murai" style primarily follows the hard impact based techniques with priority in empty hand fighting and pressure point strikes. Both systems make use of internal and external concepts. Some of the flexibility training methods in northern Kalaripayattu are applied in Kerala dance forms[3] and kathakali dancers who knew martial artswere believed to be markedly better than the other performers.
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KALARIPPAYATTU the Martial and Healing Art of Kerala
KALARIPPAYATTU THE MARTIAL AND HEALING ART OF KERALA SHAJI K JOHN © Shaji K John, 2011 Published by the Author Koovackal Kappumthala PO Muttuchira, Kottayam Kerala 686 613 [email protected] WITH DUE RESPECTS TO MY GURU Shri. E.P. VASUDEVAN GURUKKAL DEDICATED TO CHANDRALEKHA ""Ifcn icochpw IfcnhnZymÀ°n IfcnbpsS Bßmhpw BIp¶p!'' --hmkptZh Kpcp¡Ä “Kalari is the body and the disciple of Kalari its soul!” IfcnVasudeva Gurukkal CONTENTS PREFACE x ACKNOWLEDGEMENTS xii TRANSLITERATION xiii I II III IV V VI The Legend of A Historical Northern Style Kuzhi Kalari Kalari Niyama Kalari Vya=ya=ma Paras`ura=ma Account Kalarippayattu Literary Evidence: Place of Practice: General Discipline: The earliest history The word Kalari refers Tradition gives of warfare is found to the place of practice importance to the ethical recorded in the and payattu means and moral discipline of Dhanurveda, an practice.... a student of Kalari..... Upaveda to the Yajurveda... 1 5 7 9 12 15 VII VIII IX X XI XII XIII Meitha=ri Koltha=ri An?gatha=ri Verumkai Upa=sana= Marma Vidya= Kalari Marma Chikilsa= Physical Discipline: Metal Weapons: Bare-hand: Vital points: Treatment: Meitha=ri is the foun- An?gatha=ri is the use In Kalarippayattu Study of marma A Kalari Gurukkal dation to develop of sharp and lethal the most important points is the most is well-known in the skills that are neces- metal weapons.... part is the use of advanced stage villages of Kerala sary for advanced.... empty-hand. As the of Kalari training as a vaidya or name Verumkai.... course... physician..
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Kalaripayatt – the Ancient Indian Art of Self Defence Published: 2007.10.22 Stanisław Tokarski
Archives of Budo, 2007; Vol. 3: 15-20 Received: 2007.07.17 Accepted: 2007.06.28 Kalaripayatt – the ancient indian art of self defence Published: 2007.10.22 Stanisław Tokarski Polish Academy of Sciences, Warsaw; Academy of Humanities, Łódź, Poland Summary This article has not been the result of the strict empirical research. But the point of depart has been of the practical nature. For many years I have been studying the various self-defence systems of Asiatic combat sports and martial arts. As the point of depart I have chosen judo. I have black belt (4th Dan). In 1964 I won the gold in University Championship of Europe. About the same time I have been graduated at Oriental Department of Warsaw University. Than my researches on Asian martial arts have began, for more than two decades I have been interested in the studies of the cultural background of armed and unarmed combat. Some legends situated the cradle of martial arts in Bharatavarsha or in the country of Buddha’s birth. Although I have written two books about it, I could not study the ancient Indian systems of self-defence. But in 2005 situation has been changed: I have got a rare opportunity to go to India -to get some glimpses of the ethos and etnos of various implications of ancient Dhanur Veda. Within the scheme of I.C.C.R. (Indian Council for Cultural Relations) I have travelled all over India. My introductory reﬂ ection on kalari written above aims at the larger interdisciplinary and intercultural project of research on this subject.
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Jomar Template
Journal of Martial Arts Research, 2019, Vol. 2, No. 2 DOI: 10.15495/ojs_25678221_22 Gowtham P. S. Embodied Martial and Medical Practices of South India Abstract In Tamil Nadu and Kerala, the martial arts practices appear under different names and em- phasize different aspects according to geographical, political, and linguistic considerations. They find a place in contemporary society by addressing performative, fitness, and nation- alistic and socio-political purposes. There are traditional medical systems, Siddha and Ayur- veda, associated with these martial arts: many martial arts practitioners are medical prac- titioners as well. In my paper, I draw connections between the Siddha medical system and the above-mentioned martial systems. The martial artist’s internalized understanding of the body as malleable, able to conform to stylistic conventions, and able to navigate and exploit space to harm the opponent, I con- tend, must in some way affect his perspective when he takes on the role of Siddha practi- tioner. My paper will analyse the forms and movements as they relate to the medical sys- tems, and the role they play in the practitioner’s lived identity as well as in the collective regional identity. This paper explores the above-mentioned systems within the rationality of these systems of knowledge. Keywords Kalaripayat, Silambam, Varma Adi, Indian Martial Arts, Tamil Nadu, Kerala, Siddha, Ayurveda Contact Gowtham, P. S. Katholieke Universiteit Leuven, Belgium [email protected] This work is licensed under a Creative Commons Attribution 4.0 International and published in the JOMAR | Journal of Martial Arts Research (ISSN 2567-8221) on 2019-06-15.
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Contribution of Agasthiyar to Kerala
International Journal of Multidisciplinary Research and Development International Journal of Multidisciplinary Research and Development Online ISSN: 2349-4182, Print ISSN: 2349-5979 Impact Factor: RJIF 5.72 Received: 09-09-2018; Accepted: 10-10-2018 www.allsubjectjournal.com Volume 5 Issue 10; October 2018; Page No. 150-154 Contribution of Agasthiyar to Kerala GS Lekha1*, P Sathiyarajeswaran2, A Kanagarajan3, Neethu Kannan B4, A Anzari5 1 Research Officer (Siddha) SRRI Poojappura, Thiruvananthapuram, Kerala, India 2 Assistant Director, Scientist –II and i/c, Siddha Central Research Institute (SCRI), Arumbakkam, Chennai, Tamil Nadu, India 3 Assistant Director, Scientist –II and i/c SRRI, Poojappura, Thiruvananthapuram Kerala, India 4 Research Assistant (Botany) SRRI Poojappura, Thiruvananthapuram, Kerala, India 5 Director of IMPCOPs, Thiruvananthapuram, Kerala, India Abstract Sage Agasthya was the founder of Tamil Sangham that encompass three Kingdom - Chera, Chola and Pandya in which the Chera Kingdom denoted Keralaputra comprising the districts of Malabar, Cochin and Northern Travancore that was well recognized in epics and manuscripts. The major contribution of Agasthiyar to south zone is the martial art Kalari which lays more emphasis on unarmed combat and Varmam techniques; that includes Varma therapy, Kalari healing procedures and Silambam. This manuscript recalls the literary evidences and landmarks of Sage Agasthiyar’s eternity in Kerala. This article enlightens the devotion to the Sage Agasthiyar in Kerala by through idols and temples. Moreover this manuscript exemplifies the most advanced tribal practice in Agasthiya hills which are Centuries old Traditional knowledge of Saints – disciple of Agasthiyar promulgated in Kerala. Keywords: sangham, keralaputra, varmam, kalari, silambam 1. Introduction The life history of Agasthya has been described in Malayaala Agathiyar is one of the Seven Sages, well-versed in Vedas and Text ‘Puranic Encyclopaedia’.
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The Importance of the Eyes in Kalari Practice (PART 1) #BODY Written by Anne Dubos May 14, 2014
The Importance of the Eyes in Kalari Practice (PART 1) #BODY written by Anne Dubos May 14, 2014 Muscles have nothing to do with Kalari. It is all about the flow of energy – about the inner body. This is how Sathyan, a Master ofKalaripayattu , describes this martial art of Kerala, South India. Masters of Kalarippayattu emphasise that a relationship exists between how a student progresses in the art and staring. When training with students “I am looking for the gaps”, says Sathyan. These moments of inattention where the student loses the intensity of his gaze are the privileged moment for the attack. The teacher even asks the student to “shut his eyes so that the opponent can read his intentions”. The art of Kalarippayattu is believed by many to be one of the world’s oldest marshal arts, and it is a mastery of movement, and formed on a choreography based upon kicks declined in 8 figures, those being nerkal – straight leg, konkal – 1 of 8 leg angle, puramkal – outside leg, tiruccukal – turning leg, tirumkal– step inside, vitukal – circling leg, catiparumkal – outside leg jumping, iruttikal – sitting back leg, as well as 8 postures of animals, namely lion, elephant, rooster, horse, fish, wild boar, snake and cat, and 3 sequences called coq or Elephant suites, and Surya Namaskaram, Eye shot with an eyetracker, CVN Kalari, Trivandrum, Dubos, 2014 Phillip Zarrilli has written a book called When the Body Becomes All Eyes. The title is a translation of a traditional ‘folk saying’ in Malayalam about the ideal state of awareness for the kalaripayattu practitioner.
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