Paper: 2 Relationship Of Dance And Theatre, Study Of Rupaka And Uparupaka, Traditional Theatres Of India

Module 31 Kalaripayattu And Thang-Ta

In India, there are many regional forms of martial arts. Some forms of dance and dance-theatre have created most challenging and captivating forms with their amazing techniques. The resurgence of public interest in Kalaripayattu/कऱाररपायट्टू began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India. It was perhaps the growing reaction against British colonial rule. Martial arts are a part of India’s ancient culture and a part of traditional games. Nowadays a sense of self-defense and a heightened understanding of fitness has interested a lot of people opting for training in the martial arts. This is one of the reasons that a lot of Indian dancers and choreographers got attracted to the various Indian martial forms. The breath control, postural perfection, balance, internalization are some of the most profound qualities which definitely makes the dancer and actor prepare better.

1

Since the martial art primarily dealt with warfare, injuries and wounds were inevitable and hence the science of kalari/कऱरी incorporated effective treatments from Ayurveda/आयुर्वेद for cure of wounds, burses, dislocations and fractures. Healing has always been an important part of martial arts. You cannot be a fighter without knowing how to heal your wounds. Treatments in Kalari make use of ayurvedic herbs and herbal preparations and provide instant relief.

In addition, the practice of this martial art requires great deal of body flexibility, physical strength, extremely high levels of mental concentration and a synergy of the mind, body and soul to be able to attack and defend the body with extremely fast reflexes. The requisite physical fitness is acquired by making use of a disciplined regimen of yoga techniques. These yogasanas/योगासन being used for improving the flexibility have come to be called the “Kalari yoga/कऱरी योग”. The body is prepared for improving the flexibility by making use of Uzhichil/उजहिचिऱ or massages with specially prepared oils (with herbal extracts) which also provides an effective treatment for rheumatic complaints and nervous disorders. The mental strength, focus and concentration are improved by means of meditation, pranayama/प्राणायाम and yoga practice. Hence, Kalari has

2

incorporated kalari yoga and kalari ayurvedic/आयुर्वेहदक treatments (including massages) too.

Kalaripayattu, is a tradition of “art of war” known in the regions of Tami Nadu and Kerala. Kalaripayattu is one of the oldest fighting systems in existence. The martial art form is regarded as the oldest and most scientific of its kind in the world. Kalari indicates a “training centre” while payattu/पायट्टू means “practices”. Today there are three branches of Kalaripayattu: northern, central and southern Kalaripayattu was originally a secret method of the Nairs, the members of the warrior caste of Kerala. It was practiced only in specific kalari buildings. Everywhere in Asia, martial arts have a very long history, often extending to prehistoric times. According to the popular mythology, is it the warrior sage Parasurama who promulgated Kalaripayattu.

Literary evidence from around 200 AD exists in South India indicating the existence of martial arts. There are many regional forms of martial arts in India. Their techniques are employed in some forms of dance and dance-theatre. The primeval influence and impact of martial disciplines on the development of various folk art forms and classical and modern theatre is an accepted and well-known fact. The innate potential of Kalaripayattu as a worthy component of folk art

3

forms and theatre has obtrusively remained as the warp and weft of the social fabric of Kerala. It is the best Indian martial art that has been used in many movies to make it popular, like Ashoka and The Myth.

Some of the regional martial art forms are as under:

Andhra Pradesh: The native system of chedi talimkhana/िेडी

ताऱीमखंड or yudhkaushalya/युद्धकौश쥍य che talim/िे तालऱम is often abbreviated to talimkhana/तालऱमखाना or simply talim/तालऱम.

Bengal and Bangladesh: Dao khela/दार्व खेऱ (knife fighting) and Fala khela/फऱ खेऱ (sword fighting), Lathi khela/ऱाठी खेऱ (traditional stick- fighting)

Karnataka: Unarmed combat (kai varase/कई र्वरसे), staff-fighting (kolu varase/कोऱू र्वरस)े and sword-fighting (katti varase/कट्टी र्वरसे)

Kashmir: Sqay/सके , Khawankay/खार्वंके

Maharashtra: Mardani khel/मदाानी खेऱ

Kerala: Kalaripayyatu/कऱाररपाय्यट्टू (sword-fighting)

Odisha: Pari-Khanda/परी खंड (paika akhada/पाइका अखाड़ा) 4

Punjab: Gatka/गटका, lathi/ऱाठी

Rajasthan: Shastara-vidiya/शास्त्रवर्वहदया

Bengal: Lathi/ऱाठी

Tamil Nadu: Silambam/लसऱंबम, Varma Kalai/र्वमाा कऱाई, Adi Thadi/आहद

थडी, Malyutham Kusthi/म쥍युथं कु स्त्ती

Training progresses from footwork and stances to unarmed techniques, blunt weapons, and finally to edged weapons. Energetic footwork, executed mainly with the outer edge of the soles is the focus of Kalaripayattu technique. Footwork patterns is the most important key in Kalarippayattu. It consists of kicking movements and extremely high jumping. Kalaripayattu can be divided into several armed forms and unarmed techniques. The most common weapons today are the staff, stick, sword, shield, spear, dagger and flexible sword. The weapons also include a three-bladed knife, axes, and other local types of weapons. Many of the movement units are named after various animals and they clearly imitate animal movements. This is a common feature in many of the martial arts traditions in Asia. Kalaripayattu seems to confirm the long roots of these traditions, extending back to pre-historical times, when contact with the animal world was intensively close. 5

In Kalaripayattu, the body is used as weapon. The body is trained to become extremely elastic, quick and powerful through years of practice and oil massage. The principles of Kalari education stipulate that training in martial art begins with an oil massage of the body which goes on until the body is agile and supple. Body conditioning exercises form the foundation of all other exercises in Kalarippayattu. These calisthenics are to endow one with an agile and supple body, a graceful gait, stamina, strength, balance of body and stability of foot work. Feats like chaattom/िा配तोम (jumping), ottam/ओ配配तम (running), marichil/मररचिऱ (somersault) etc. are then taught, followed by the lessons in the use of weapons such as daggers, swords, spears, maces, the bow and arrow and so on. Many of kalaripapayattu’s elements, were adopted later by the kathakali dance-drama, particularly the stamping on the outer edge of the sole and the jumping method.

Body conditioning exercises form the foundation of all other exercises in Kalarippayattu. These calisthenics are to endow one with an agile and supple body, a graceful gait, stamina and strength, balance of body and stability of foot work. The primeval influence and impact of martial disciplines on the development of various folk art forms and classical and modern theatre is an accepted and well

6

known fact. Out of the boundless pan-Indian cultural scenario, we can pull together any number of paradigms for this.

Kalari is the Malayalam word for a traditionally built gymnasium to teach the martial art known as Payattu. The four stages of Payattu are:

a) Maippayattu/मैप्पय配तु b) Kolthari/कोऱथारी c)

Angathari/अन्गथारीd) Verumkai/र्वे셁म्कई which means

1) Body conditioning exercise 2) Use of wooden weapons 3) Use of sharp metallic weapons 4) Bare – handed defence and attack respectively.

Kalaripayattu training aims at the ultimate co-ordination of the mind and body. The traditional training in a kalari includes specialisation in indigenous medical practice too. Kalaris are also centers of religious worship. The general guidelines to be followed in Kalaripayattu demand that once the course is complete, a person should undergo oil massage and engage in the practice of the feats regularly to help him keep in shape. Kalarippayattu is considered as the most comprehensive of all the martial art traditions because it has:

 An excellent system of physical training.

7

 Very effective self-defense techniques - both armed and unarmed.

 A great system of vital pressure points based system of fighting and treatment using the principles of Ayurveda.

 A comprehensive guide to attaining the flexibility and desired physical and mental strength required to practice this martial art.

 It incorporates and links with ayurveda and has developed its system of healing and treatment for injuries that may arise as a result of the practice of Kalari.

 A great philosophy based on the Vedic culture of India.

Kalari is very closely associated with dance, sometimes practiced as a pre-dance exercise. Many experts of Kalaripayyatu have integrated the nuances of martial movements, yoga and exercises for teaching and body training for dancers. The classes begin with breathing exercises and warm-up. The exercises and Yogasanas are practiced to enhance flexibility and body control. They have modified the teaching methodology with a blend of traditional practices and modern life’s requirements.

8

THANG TA/थांग ता is a popular term for the ancient Manipuri

Martial Art known as Huyen Lallong/िुएन ऱा쥍ऱⴂग . The art developed from the war environment of the tiny state of Manipur in North-east India, which was an independent kingdom since the early Christian era. It played an important role in the geopolitical environment of medieval times in between India and China with many independent states at war with each other. Constant life and death struggles between clans, tribes and states resulted in the devising of ways and means of safeguarding the lives of the citizen, soldiers and at the same time developing an inward attitude to problems of life, death and afterlife.

Thang Ta is performed in Manipur state of India, where it is a cultural heritage art. Its traditional name is Huyel Lallon/िुयेऱ

ऱा쥍ऱⴂग. Huyel Langllon means (Huyel means War and Langllon means Knowledge of Art) knowledge of War Art. "Thang" and "Ta" are main weapons of this art so people commonly know the art as Thang-Ta/थांग ता, (not Thang as Sword and Ta as

Spear, as is often misunderstood). In this art, movements of sword intended to ward off evil spirits is shown while other dance moves indicate protection. It is recognized by the 9

Ministry of Culture of the government of India as a classical dance form of India, but not by the Sangeet Natak Akademi.

The art of the battle simultaneously envisioned a deep value system or world view ensconced within the culture of the small ethnic communities struggling for survival from constant attack from hostile neighbors and also to sustain a social order based on rank, status and kin affiliations of a collective kind. The individual was always in deep relationship with the community using ritual as a means of constant regenerative action in tune with the movement of the spiritual world of ancestors beyond human life. The world of man was an outward revelation of the inner life of the natural world and the universe. Deep harmony between outer action and inner forces resulted in the use of the body in various forms of expression.

The art of the battle and the use of weaponry, when its warlike engagements were over, developed into a system of wielding objective elements in organic relationship with the cosmos. The body itself became a space where the tensions and dynamics of creation were worked out in a system of movements reflecting the essence of these creative forces. The whole world of the

10

dynamic cosmos was recreated within the world of the body of man.

This Manipuri art was once practiced by the state's indigenous hill tribes who would engage in duels governed by strict rules of conduct. The armed component called thang-ta is named after the system's main weapons, the thang (sword) and ta (spear).

Practitioners spar through cheibi gatka/िेईबी गटका in which a foam sword is used together with a shield. Unarmed huyen lallong is called sarit-sarak and is used in conjunction with thang-ta when the fighter loses their weapon. Thang-ta or huyen lallong is a weapon-based martial art created by the Meitei of Manipur.

Thang Ta, the art of sword and the spear, thus became an expressive art form which however retained its fighting character at the secret home schools of individual teachers or Gurus, after being prohibited during the period of the colonial raj (1891-1947). It fortunately survived the period of Manipur’s integration with the Indian Union in 1949, where the art was shown in festivals and performance platforms abroad especially since 1976. Unfortunately, the internal system of meditative practices and its essential spiritual character is at risk of being

11

lost through lack of knowledge and committed practice by the present generation. Contemporary theatre practitioners are gaining awareness of its basic energy use and creative exercise of the body’s resources which would enhance the performance energy of the artist. It is at an exploratory stage that this new culture is being re-examined.

The movement behavior of the different parts of the ‘martial body’ in action, is derived from its cultural and habitual uses of daily life. Certain extra-daily postures, positions and movements are compiled into codes adding to the natural repertoire.

Physical Characteristics in Customary Usage and Ritual Practice

1. Khurumba/खु셁म्बा (the bow) : where the forward/downward flexion of the relaxed spine is used.

2. Tha Leiba/था ऱेइबा : Rotation and tilts of the pelvic joint in different angles while supporting the torso in regular curvilinear uses are most common. The half-turn of the chest is also common.

12

3. Thong khong/थⴂग खⴂग (bridge support) : The squat is also a familiar use of the lowering of the upper extremities nearer to the ground, where the two legs in deep bent position support the whole body, thereby proximally utilizing the use of the upper extremities at the ground level. Men use three positions of squat in a descending order to enable the firmer hold of the body in pro-gravitational positions.

4. Wai teiba/र्वाई तेइबा : A daily ritual of cleaning the floor by women. Women use a different flexible squat system with the bent knees opened out to enable the forward flexion of the torso or spine. The hand uses the washcloth with more space at her command while rubbing the floor. The entire system of body use is rich and varied, and the wrists could be most appropriately exploited in Khujeng Leibi/खुजेन्ग ऱेईबी (wrist- circling) to emulate the figure of eight.

Thang (Art of the sword) emphasizes Phidup/फफदपु (coil), lowering of one’s body near to the ground to enable a spring action for expansion and attack. Ta (spear) emphasizes

Phanba/फान्बा, an opening out of the body with two forms,

Nongphan/नⴂगफन

13

to stimulate the expanse of the sky, and the Leiphal emulating the expanse of the earth at the ground level in order to reach out to all directions of space. The spear uses about 75% of the lower extremities in motion, while the wielding of the sword normally takes 75% exercise of the upper extremities.

The martial system commands a much more vigorous use of the body in order to reach out to the space of the opponent, and the two arts are derived from the physiographic and cultural environment of the Manipur plains and the hills. The

Meitei/मेइतेइ in the plains, the pre-dominant ethnic group is capable of using both sword and spear in its weapon system. The sword is most favorably used in protecting the body from attack from all sides, whereby the figure of eight is extensively used to cover the all vulnerable parts of the body. The Meitei often use more movement than stillness while preparing to fight the opponent, and the self as target is dynamic, moving and shifting position often. There is also the use of stillness while awaiting the attacking move of the opponent, depending on the nature of the enemy.

Although the late Chandralekha/िंद्रऱेखा received her early training in Bharatanatyam, she went on to change her focus to

14

postmodern fusion dances that incorporated elements from other dances, martial arts like Kalarippayattu. In her later choreography works, she came to be known for her philosophical fusing of the classical Bharatanatyam dance form with martial arts, exploring the therapeutic varieties of dance.

By drawing upon the collective experience of the physical traditions of martial arts, yoga and dance, Chandralekha managed to synthesize several elements into a joyous celebration of the body. This historical, anthropological, almost anthropomorphic exploration of the tradition of body language was conceived in a work of choreography that comprised six startling sequences of pure magic. She worked with a group of Bharatanatyam exponents from Rukmini Devi's Kalakshetra, young exponents of Kalaripayattu, the martial art of Kerala, and practitioners of yoga fused together to create images visually so overwhelming that a tillana will never seem the same to followers of Indian dance. It was the magic and mystique of Chandralekha’s choreography.

Priti Patel is another such artiste who has, through her efforts, tried to preserve the essence and authenticity of Manipuri dance through her system of instruction. Born in 1960, she was

15

initiated into the world of dance at the early age of 5 years. At the age of 12, she started learning dance from eminent Manipuri dance gurus, late Guru Bipin Singh and The Jhaveri Sisters. Through the rigorous training she underwent under her Gurus, she excelled as a danseuse in this form of dance and especially in the Vaishnavite Ras Leela form of the Manipuri dance tradition. However her quest for mastery and perfection made her delve more into the study of this unique dance tradition. She took lessons in the pre-Vaishnavite dance forms of ‘Thang-ta’ (the martial art form of the Manipuri dance tradition), and ‘Lai Haraoba’ (a ritualistic dance form of the Manipuri tradition). In this quest for knowledge, she was imparted extensive training by her guru Padmashree Lt. Ojha Th. Babu Singh and Padmashree Ojha Ksh. Thoranisabi Devi in the ‘Sankirtana/संकीतान’ and ‘Ras Leela/रास-ऱीऱा’ traditions and by eminent scholar Padmashree Pandit Lt. N. Khelchandra Singh in the “Thang-ta” tradition. It was Padmashree Lt. MK. Binodini Devi, a Manipuri literature and scholar, who has shaped and influenced Priti’s dance and over the years, gave her information on the origin, history, importance and the very ethos of Manipuri dance, culture and society. Priti uses the vibrant and energetic world of Thang-ta, the Manipuri martial

16

art. The four men, along with Priti, invoked Usha — wisdom, maturity and light — with spectacular movements with swords, spears and sticks on the beats of the primitive drum. These is the new choreography of this vibrant danseuse.

17