PRIYA SHARMA/Daily Bruin Indian martial artist
Krishnadas Menon demonstrates his art at a
workshop that took place at UCLA Monday.
By Parisa Elahi
Daily Bruin Contributor
Martial arts is not commonly associated with the rich cultural
heritage of India. However, a recent event at UCLA brought
attention to the ancient Indian martial art of Kalarippayattu.
This performance marked the first in a 40-day U.S. tour that the
Kerela Dance Theatre is conducting around various universities and
Indian cultural centers. The South Indian Associations at UCLA,
Sangam and Bharatiyam, were contacted to co-sponsor the event last
Monday.
The tour organizer and president of the Kerela Dance Theatre
Radha Carmen, thought it valuable to showcase this art form even
though the choice of martial arts seemed unusual to the Indian
culture.
“I have been looking for an art form from India that can
be understood by the U.S.” Carmen said.
The exhibit showcased a demonstration followed by a workshop in
which the performers taught basic exercises to the audience.
Martial arts is not usually associated with India but
Kalarippayattu’s importance is demonstrated in that it is
influential to other forms of martial arts.
“Kalarippayattu is actually a forerunner to martial arts
in China,” Carmen said.Â
Kalarippayattu made its way to China with the spread of
Buddhism. As Indian Buddhist monks traveled, Kalarippayattu
spread and eventually became known as Kung-Fu in China.
Kalrippayttu emerged in the 12th century A.D. and was practiced
in the region of Kerela, located in the southwest of India. It
incorporates the ancient Indian science of war (Dhanur Veda) and
medicine (Ayuveda) and continues to be used as a way of maintaining
stability in society.
“It was a way society kept peace and order,” Carmen
said.
Under British colonial rules, the tradition was nearly lost as
it became almost unknown to the general population. It was revived
50 to 60 years ago when it was first brought to the
stage. Nowadays, the art form is well and thriving in the
region of Kerela.
“There are many centers (for martial arts) in Kerela.
There are competing tournaments; they are used in movies, theater
work and dance work,” Carmen said.
A graceful and skillful demonstration was put on by brothers
Krishnadas and Dinesh Menon, accompanied by Hari Rangaswami, who
plays percussive instruments from South India. The artists
practiced their exercises with a variety of weapons including the
kettukari (long staff), the kattaram (dagger) and the urumi (a
sword-like whip).
They began with a series of basic exercises which showcased the
fluid movement and grace inherent to the art form. These exercises,
called meipayatt, included cultivate control, flexibility and grace
for defensive and offensive movements.
The brothers covered the expanse of the room in a series of
movements that included long extensions and high kicks.
Kalarippayattu, which is often referred to as Kalari, differs from
other forms of martial arts in its kicking technique.
“Karate uses a kick with a flat foot and in Kalari the
foot is slightly bent,” said Murali Mani, a Bharatiyam
representative.
Both artists picked up short, ornamental daggers (kattaram),
that are double-edged, sharp weapons made of tempered steel. The
demonstration adopted a near theatrical edge as the artists’
faces took on expressions of anger, fear and suspicion. The
menacing thrusts, cuts, locks and throws which encompass the main
aspects of a dagger fight emphasized their skill as they
effectively dodged the advancing attacks of the other.
Bodily harm seems to be a very credible threat in the dangerous
back-and-forth movements of the two figures on stage.
“Looking at the movement of the eyes is an effective way
of keeping one’s concentration in such a situation,”
Dinesh said.
The performance was followed by a workshop where the performers
showed members of the audience basic exercises and movements of
Kalarippayattu.
“Focus in front and keeping a level of concentration (are
an important part of Kalari),” Krishnadas said. Breathing
control through the nose is important, Dinesh added.
A spiritual aspect exists in Kalari , which is apparent in the
artist’s performance. Before beginning their exercises they
perform a ritual in which they pay respects to their ancestors.
The brothers come from a family which practices Kalari and they
are the eighth generation practicing this art, with their father as
their teacher.
“The performers were praying to symbolic Kalari ancestors
who started their line,” Carmen said. She added that each
Kalari center has its own Kalari ancestral deification.
This spirituality, however, does not give way to the confines of
religion. Many Christians and Muslims as well as Hindus practice
Kalari in India. And no constriction seems to apply to the practice
of the art.
“In Kalari, there is no cast, no sex, no religion for
learning” Krishnadas said.