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BOOK REVIEW: Kalaripayat by Patrick Denaud

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Kalaripayat: The Martial Arts Tradition of IndiaKalaripayat: The Martial Arts Tradition of India by Patrick Denaud
My rating: 4 of 5 stars

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There’s a dearth of books on Indian martial arts, in general, and Kalaripayattu, specifically. The few books that do exist, such as Ranjan Mullaratt’s “Kalari Margam” (a fine book which I’ve previously reviewed), focus heavily on the techniques of the martial art. Denaud builds a niche by writing perhaps the only English-language book yet that turns its focus on other aspects of the art, including the art’s history, philosophy, customs, psychology, and its influence on–and interaction with–other systems both in India and abroad (e.g. yoga, Kathakali, Ayurvedic massage, and Tai Chi.)

After three forwards by luminaries and an introduction, the book consists of seven chapters. The chapters cover the history and mythology of the art, Kalaripayattu as a martial art (weapons and techniques in general terms), the psychological aspects of the art, the art’s relationship with Ayurvedic practices—particularly massage, its relationship to other elements of Keralan culture, the results of interviews with modern-day masters, and the influence of India and Kalaripayattu on foreign martial arts.

When I picked this book up, I was somewhat expecting that it would contain little in the way of intriguing and relevant information, and that it would be stuffed with generally known background information. I’ve come across far too many books on topics for which there’s little information, and have become well-acquainted with the many methods by which authors pad out a pamphlet’s worth of information into a book. However, I was pleasantly surprised by how much information on Kalaripayattu this book contained, and how relevant the background seemed. While there’s a fair amount of background, the book doesn’t feel padded. Granted, I can’t be certain how much of this information is accurate. I know common myths are repeated that are now believed to be false (e.g. Bodhidharma spreading Kalaripayattu to Shaolin), but I saw nothing that seemed like pure fabrication (though I’d be unlikely to recognize such a thing.) Denaud does cite his sources (not in bibliographic format, just by attribution of authors and texts) on most occasions and it certainly wrings authoritatively.

I’d recommend this book for individuals interested in martial arts, and the history of martial arts. It’s a rare glimpse into various aspects of Kalaripayattu. Also, some people who are interested in south Indian culture more than martial arts may also find it worthwhile.

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Flexibility & Power in Kalaripayattu: Confessions of a Gravitationally-Challenged Student

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IMG_4269Learning third level material was when Kalaripayattu became daunting. Until then, it was just exhausting.

 

I’d been doing a lap of the kalari consisting of high kicks flowing into Hanumanasana (a scissors split.) Each split is on the opposite side from the last. By yoga standards, my split alignment was off. My hips weren’t perpendicular to my legs, but I’d allowed them to twist open to make the split easier. However, that was probably the least of my errors, and–unlike in yoga practice during which one might take minutes to ease into this intense split–the cadence in kalari was kick – split – struggle to one’s feet. [Okay, the “struggle” shouldn’t have been, but it’s an accurate description of my rendition.]

 

This wasn’t the hard part, by the way. I’ll get to that. The structure of the class up to that point was logically arranged to facilitate those splits. The practice started with warm ups of rapid repetitive motions that got the muscles and core warm. Then there were a series of kicking exercises that also served as dynamic stretches. Next, there was a vertical version of the splits done in a static form. With the inner edge of one’s bottom foot posted along the base board, the heel of one’s upper foot is slid up a piece of wood lathe worn smooth that has been tied vertically–perpendicularly to the steel burglar bars that one uses to pull oneself into the stretch. (This is an inner city kalari, and not the traditional version dug into the ground.) Then one revisits a high kick, swinging the leg with greater intensity. Only then does one do the lap of splits.

A traditional kalari looks like this. This is the Kalari Gurukulam in Chikkagubbi (parent school to the one at which I train.)

A traditional kalari looks like this. This is the Kalari Gurukulam in Chikkagubbi (parent school to the one at which I train.)

 

The next piece is where the third level kicked my butt. One’s hamstrings and quads stretched to the max, feeling more like limp noodles than coiled springs, one is now expected to work through a series of leaping maneuvers. There are seven leaping exercises (besides some basic warm-up leaps): a leaping circle kick, a spinning kick that takes one 360-degrees, a split kick in which one leaps up and kicks out laterally in both directions simultaneously, a split kick in which one leaps up spinning 360 degrees [theoretically] and does the same split kick in the middle, a flip kick in which one kicks up and forward and flips one’s body over in mid-air to come down on one’s hands and feet (in a lunged position with palms down next to the feet), and then there are two versions of leaping/spinning kicks that proceed down the length of the kalari.

 

IMG_1661Why does one do these plyometric techniques in the wake of such intense stretching? I suspect that experts in exercise science would tell me this isn’t the best way to improve my leaps. One should do the leaps when one’s muscles are more like rubber bands than al dente linguine. Still, I dutifully comply. Maybe there’s an ancient wisdom at work here. Maybe there’s not. There’s no way to find out without giving it a try. I fall down a number of times that first day, and on all subsequent sessions. As I write this, I’m now learning level five material, but I continue to revisit the leaps every session for two reasons. First, I’m not happy with my abilities. Second, I want to find out whether I can improve my balance of flexibility and power, and whether the kalari approach does the trick. (Note: I’m using the word “power” in the specific sense of work performed per unit time. In other words, it’s not synonymous with strength. It’s a function of both speed and strength.) At any rate, I still fall down.

 

IMG_2278However, looking beyond my own limited capacity to have my cake and eat it too (i.e. retain flexibility as I gain power), I see evidence of the success of this approach. There are a number of advanced people who’ve been using this approach for many years and have a preternatural balance of flexibility and jet propulsion. Said individuals seem to go from deep stretches to phenomenal vertical leaps without difficulty.

 

If nothing else, I’ve learned a great deal about my muscular composition. While I’m challenged by ballistic movements, my stamina is quite respectable. Type I (slow twitch) musculature seems to be disproportionately common in comparison to type II (fast twitch) in my body. While I’m including more power building training in my workouts, my progress is glacial. If I was smart, I’d take up long-distance running or some other endurance activity. But I tend to find such activities tedious, while I love the martial arts. And so I struggle.

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Learning to Leap: Why?

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IMG_1631Leaping maneuvers are ever-present in martial arts movies and in some martial arts (e.g. Indian Kalaripayattu and some forms of Kung fu). However, these acrobatic techniques are rarely seen–and are even less often successful–in combative encounters (neither in sport nor in the real world–excepting those sports that highly reward such maneuvers and create rules that make them feasible for entertainment value.)

 

Why leaping, spinning wildness is popular in movies is easy. We thrill to see extremely demanding action that draws ooohs and ahhhhs. It’s the same reason one wants to watch a parkour runner vault over a car (presuming it’s not one’s car), even when it would be infinitely more practical to walk around it. It’s why we want to see gymnasts tumbling and flipping through the air even though walking across the floor is both easier on the joints and less hazardous.

 

However, the question of why martial arts that aren’t purely for entertainment practice leaping maneuvers. Even a few of the quintessentially pragmatic Japanese martial arts, which follow the motto “eliminate the extraneous” have some leaping techniques. One of the schools I’ve studied, Kotō-ryū Koppōjutsu has a scroll devoted to leaping techniques, despite the fact that it’s otherwise a grounded system–both literally and figuratively. Muay Thai, which also values tried and true winning basics over snazziness, also has leaping knee strikes in its repertoire, though one doesn’t see them a lot in fights. It’s true that the arts that emphasize practicality but have leaping and spinning techniques tend to have a different approach to them. The Kotō-ryū Hichōjutsu (that school’s leaping techniques) emphasize eliminating big wind-ups, and going straight into the leap from a natural posture. This gives one less air, but is much less obvious. It’s particularly useful if you don’t really want air, but you just want to leap as much as you must.  But why leap at all?

Creating this kind of spring loading of the legs may not fly.

Creating this kind of spring loading of the legs may not fly.

This kind of windup would be anathema to schools.

This kind of windup would be anathema to some schools

 

There are a number answers to this question. First, while it’s hard to make aerial techniques work, when they work, they can be devastatingly effective. There are few ways to put more power into a strike than to literally put all of one’s body-weight in motion under the force of gravity. There’s understandably something unsatisfying about this explanation. I think it mostly has to do with the dearth of second chances in combative encounters. Few second chances make one want to have the highest likelihood of success on the first go.

 

Second, while tried-and-true, go-to techniques work because they are hard to defeat and /or they minimize one’s risk of a fight-ending counter, some techniques work because they catch the opponent off-guard. Such techniques work because the opponent can’t believe one is actually trying something so wild on them. However, failing to anticipate the unusual, the opponent hasn’t trained a response into themselves. This answer gets us somewhere in cases where either the situation is dire or one knows something about the opponent.

 

Third–and I would argue most importantly–these techniques produce explosively powerful legs that are beneficial to a martial artist even when he stays on the ground. In other words, maybe they are more important in the role of capacity building than they are as actual techniques to be emulated.

The split kick allows one to kick two opponents at once--as long as they aren't moving and are perfectly spaced. However, it does require a multidimensional fitness that's beneficial for martial artists. (Which is why I can't do it well.)

The split kick allows one to kick two opponents at once–as long as they aren’t moving and are perfectly spaced. However, it does require a multidimensional fitness that’s beneficial for martial artists. (Which is why I can’t do it well.)

 

Finally, there’s one more reason that is important but was last because I didn’t even learn this lesson until I was reviewing the photos for this post, and that’s that these techniques require a whole new level of bodily awareness and control. I would generally be considered to have pretty good bodily awareness. I’ve been doing martial arts a long time, have practiced various kinds of yoga and chi gong, and have done my share of other physical training. Still, when I looked at my photos I found that I often had body parts jutting every which way. While one may argue that one doesn’t need that brand of bodily awareness if one is not using that kind of motion, I think that it probably helps with one’s awareness at high-speed in general and that many arts don’t adequately prepare one for keeping one’s body under control when there are those extra forces (e.g. centripetal & centrifugal, and gravity) acting upon it.

In my mind this looked completely different. I didn't have my arms out to the side like I was on a cross and my heel standing leg heel was still up near my buttock.

In my mind this looked completely different. I didn’t have my arms out to the side like I was on a cross and my heel standing leg heel was still up near my buttock.

 

One aspect of bodily awareness that is particularly important for these maneuvers is control of the eyes. In the arts I’ve studied, there has always been emphasis on the placement of the eyes. However, given all the little details one had to keep in mind, it was a reality easy aspect to half-ass. However, when one is leaping, and particularly if there is a spinning component, wandering eyes translates to crash and burn.

Entering the spin.

Entering the spin.

Mid spin / mid kick

Mid spin / mid kick. I have no idea why my right index finger is pointed down.

 

I’m not built for leaping. It’s not so much the leaping, but–in the immortal words of Tom Petty–“Coming down is the hardest thing.” I figured that getting to the level of Kalaripayattu training that involves a lot of leaping would be the end of that art for me. As I mentioned, there are some leaping techniques in the martial art I studied, but I was never particularly good at them. When I was young and had the proper body for it, I didn’t have the right mindset, and when I got older I was lacking the physical capacity for them. However, I’ve learned quite a bit about my body through the practice of these techniques, and I’m interested to see what level I can take it to.

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My 2014: A Year in Review [w/ Photos]

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2014 will be our first full year living in India. Having said that, I spent almost 50 days in Thailand, and Lilla and I will spend the last two weeks of the year in Hungary. So, in truth, I will have lived about ten months of 2014 in India.

 

The four months of 2013 that we lived in India largely involved acclimating and getting our feet under us, though we did see some important sights in India including the Taj Mahal, Delhi, Fatehpur Sikri, Hampi, Mysore, Belur, Halibidu, and Shravanabelagola.

 

2014 was an interesting and learning-intensive year, so I’ll review some of the year’s key happenings.

 

January:

From the 1st through the 18th, I was in Phuket, Thailand. Lilla and I spent the holidays there, and–upon her return to Bangalore–I stayed another couple of weeks training at Tiger Muaythai. Tiger is probably Phuket’s largest and most well-known Muaythai gym.  In addition to Muaythai classes, I took advantage of their broad class offerings to learn a little about Krabi Krabong, Muay Boran, Western Boxing, Mixed Martial Arts, Brazilian Jujutsu, as well as taking daily Yoga classes. I was particularly keen to learn about Muay Boran, MuayThai’s more combative ancestor art.

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While my training schedule (up to six hours / day, 6 days a week) didn’t allow for much sightseeing, I did get to see a little of Phuket Town and a couple of the beaches that Lilla and I skipped while we were traveling together. Phuket displays a lot of Chinese influence and there are many brightly colored Taoist, Confucian, and Chinese ancestral shrines and temples around Phuket Town. Rang Hill overlooks the island’s main “metropolis”, and I was able to take advantage of that vantage point. The beaches I visited were Karon and Kata which were middling between the two beaches Lilla and I visited together. That is, they weren’t as quiet and secluded as Naiharn, but neither were they as frenetic and overrun as Patong.

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February:

February was marked by two firsts. First, I began taking classes in Kalaripayattu two mornings a week. While this Indian martial art is far afield of the Japanese art I was raised on, I wanted to take advantage of living in India to learn something of the indigenous martial arts. One reason for my interest is the widespread belief that Indian martial arts—and Kalaripayattu specifically—are ancestors to many of the Asian martial arts–including the Chinese martial arts that are said to be predecessor to the Japanese arts I’ve studied. While I’m somewhat skeptical of that claim, I’m not in a position to altogether dismiss it. (I believe that in the face of combat, martial arts evolve rapidly to adapt to local conditions and needs. Also, I believe that ancestral arts continue to evolve as much as their off-shoots. Together this means that a martial art could look quite different from its ancestor in short order.)

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The reason I’ve kept training is that Kalaripayattu is an awesome workout. I see a two-fold strength in the art. For one thing, it builds bodily capacity. I mean one is able to leap higher, stretch farther, and endure more through the practice of this art. I’ve realized that the idea of a martial art solely as a means to ingrain movements that worked in the past is limited.  Another thing that the art does is help build a variety of fearlessness.  One has to throw one’s body around in a ways that can be intimidating, and one must build confidence that one will—like a cat—land on one’s feet. Further down the line, the metal weapons practice—choreographed as it may be—takes a special kind of inner calm. By “further down the line” I mean—as of this writing–I haven’t yet begun to learn weapons. I’ve passed through the first two levels and it’s been suggested that it might be time for the third test (though I’m far from skilled with some of the required jumps), but these levels are all unarmed.

 

The second activity I began in February was volunteering that the Don Bosco Mane Center, which is home and bridge school for young boys in central Bangalore. (A bridge school is a school used to prepare kids to go to regular public school, which is what they try to do a soon as possible, but some of the kids haven’t been to school and aren’t ready to leap in at the appropriate grade level.) BOSCO is one of the major charities working on children’s issues in Bangalore, and particularly in trying to intercept kids coming into the bus and train stations before the pimps and slavers get their hooks into them. They also run a help / reporting phone line.  If it’s possible, they try to get the kids back to their families, but if that’s unsafe or impossible the children live at one of the centers like Mane.

 

BOSCO also has a person trying to match kids to foster homes. Foster homes are a relatively new and undeveloped approach in India as compared to the West, but–as it’s a much better approach when it works—they’d like to see more of it. I volunteered here over the course of two months, before I started Yoga Teacher Training. Because I was only volunteering one day a week, and given the nature labor costs in India, they weren’t always sure what to do with me. Such a facility in the West would probably tend to be much more undermanned, but that didn’t seem to be so much the problem here as the challenge of funding and resources. At any rate, I have talked to the head priest about going back to teach martial arts and /or yoga. It was amazing to see how well-adjusted and respectful the kids were, given the hard life they’ve had.

 

March:

March wasn’t a big month for travel or new experiences. Lilla was in the middle of her busy season, and I continued learning Kalaripayattu and volunteering at BOSCO. Otherwise, I was writing or working out. I’ve been keeping my Gyokko-ryū koshijutsu and Kukishin-ryū jōjutsu training going as much as I can, and work on Muaythai as well.  As part of my yoga training, I started doing yoga with Lilla three mornings a week (this began in January or February), and—after going through yoga teacher training—this will become a regular class that I teach MWF from 7 to 8am. I attended about four studio sessions a week at a1000 Yoga in Indiranagar during March.

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We did take one long weekend trip at the end of the month. We went to Coorg and stayed a couple of nights at a coffee / tea plantation near Madikeri. We stopped along the way to visit the Namdroling Monastery, which is a Tibetan Buddhist monastery set up by exiled Tibetans in the early 1960’s. It’s one of the largest Tibetan communities in South India, and is the largest teaching center for the Nyingma sect of Tibetan Buddhism in the world. The monasterial campus was impressive.

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The serenity of the plantation provided a welcome respite from the horns and chaos of Bangalore. The Golden Mist Plantation is owned by a German who spends part of his year in Germany and part of the year in Coorg. Interestingly, they sell only organic products, which they largely export because organics are just beginning to catch on in India and not at the same scale as in Europe and other parts of Asia. The food was great, and—needless to say—the coffee and tea were fresh as can be.  We had a couple nice hikes in the Coorgi countryside, and I had authentic Coorgi pork—that’s a popular Indian dish from these parts.

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April:

April saw me begin my 200 hour yoga teacher training course (RYT-200) at a1000 Yoga. This course ran about 4 hours a day for five days a week through May 23rd.  The first hour and a half to two hours each day was yoga on the mat, and then we got into a broad range of subjects dubbed “theory” in the afternoon. These included yogic philosophy, Indian approaches to the body (chakras, nadis, granthis, kundalini, koshas, prantas, etc.), Western anatomy and physiology, and the historical development of yoga. The most unusual practice we learned was jala neti, in which one pours warm salt water in one nostril such that it drains out the other, cleansing the nasal passages. It wasn’t as bad as it sounds, and—given the dustiness of India—it’s a valuable skill to stave off sinusitis. Most of the course was about learning yoga, but the last week focused on learning about teaching.

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May:

The RYT-200 course occupied most of my time during this month as well. Even after the course ended on May 23rd, there were many requirements to be met and they all had to be documented. This included seva, which was charitable teaching requirement that we did at another of Bangalore’s (unfortunately) many orphanages.  This was a smaller shelter than the BOSCO center, and was run by an individual man rather than a large organization. Again, the kids were enthusiastic and well-behaved and made the process a happy one. I also had class observations to make as well as documenting my own teaching experiences from the guesthouse class and sadhana (my personal practice.)

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At the beginning of May, I completed a workshop in Tok Sen. Tok Sen is a Thai approach to massage that uses a mallet and a wooden chisel-shaped tool. While it sounds less than pleasant, it’s actually quite enjoyable. I had no idea what to expect besides that it was a Thai approach to body work that used wooden tools.

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Toward the end of the month there was a Kalaripayattu demonstration. This was the first time I’d seen the art practiced besides in Kalari sessions. Needless to say, it was much more acrobatic and stunning than day-to-day training. It featured many weapons, including the urumi, which is a four to six-foot flexible sword that old-time practitioners wore as a belt. Urumi demonstrations are about as edge-of-the-seat as one can imagine. While the demonstration is choreographed, the urumi is a severe injury waiting to happen. It requires the utmost attention on the part of both participants.

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June:

June was an intense month for my yoga practice. In addition to my own personal practice, which I was still documenting for my RYT-200 certification, I was attending 5 to 7 studio sessions per week. I was also able to do some refresher training with my Thai Yoga Bodywork teacher as he was running the Level I and II course in Bangalore, and I attended a few days.

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July:

In July I finally got my RYT-200 journal in and accepted, completing the requirements for a RYT-200 Yoga Teacher certification. Through the first half of the month, I was largely working on finishing up the last of the requirements and typing it all up into a 54 page account of my yoga life (not even double-spaced) since the courses beginning including my teaching, personal practice, observation of master teachers, etc.

 

We made our first trip to Kerala, another of the states in south India—bounding the Arabian Sea. We overnighted on a houseboat in the backwaters, got our first Ayurvedic massage, stayed at a resort in tea country, and toured the historic Malabar spice capital of Kochi (Cochin.) We were very fortunate with the weather in that we visited Kerala during the heart of rainy season, but stayed dry for the most part.

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Our houseboat stay was great. Our cook was skilled and the meals were outstanding. Chugging through the backwaters, I felt like a young Martin Sheen heading into the jungle to track down a rogue Army officer who became a cultist chieftain. Except that there was so much life and the ubiquitous Indian flare for color and sound. We got to see a snake boat crew in training, and saw so many colorful houses ornamenting the lush dikes—usually with verdant rice paddies as a backdrop.

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Ayurvedic massage was an unusual experience. It was the most oily I’ve ever been. Days later I felt a little like greased pig. It took place on a massive hardwood slab that had a channel carved through the middle to keep the oil from sluicing over onto the floor, an event that would cause the most skilled masseuse / masseur to slip fatally. The table looked a little like an autopsy table carved out of hardwood. It was a very impressive looking piece of furniture and not the least bit comfortable on one’s bony parts.

 

Munnar, amid the tea plantations, was green hill country and the low hanging clouds and vast expanses of tea bushes made it a scenic wonder. There were also some waterfalls in the area. It was misting part of the time we were here, which brought out the full jungle feel.

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Kochi is an enigma: ancient and modern, small but global. Its history is shrouded in the mists of time. It’s been an important center of commerce since who knows when. While trade with Arabs, Jews, and Chinese are all well-documented, it’s said that this port was familiar to the Greeks and Romans as well. When spice was king, Kochi ruled.

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August:

Lilla and I attended a yoganidra workshop this month. Yoganidra literally means “yoga sleep” and it’s a relaxation technique in which one maintains a state that is neuro-electrically like being on the edge of sleep. As you may know from visions that pop into your head right before sleep, those dreamlike random fragments that don’t make a lick of sense, this is a fertile state for the subconscious mind.

 

My second visit to Thailand took place in August and September. I left out on the August 20th and returned on September 17th.  From the 20th to September 3rd, I was training at the Muay Thai Institute (MTI) in Rangsit, Thailand. This involved training four hours a day—i.e. two 2-hour sessions. Unlike Tiger, which offered a wide range of classes, MTI specializes in Muaythai and all my training time was devoted Muay Thai. (At Tiger I generally trained one Muay Thai session per day and one other session in boxing, grappling, or muay boran.)  I was in the freestyle tract, and had a well-rounded experience of footwork drills, bagwork, pad drills, shadowboxing, and a bit of sparring.

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While I was training at MTI, I took one day trip with other trainees to play paintball, ride ATV’s, and go rafting. This also involved stops at a couple of temples at Ayutthaya, one of which I’d visited on my 2012 trip and another which was new to me. The one I’d visited before is Wat Mahathat, which famously appears in Jean-Claude Van Damme’s Kickboxer movie.  Wat Mahathat is particularly famous for a Buddha head that’s enveloped by Strangler Fig roots.

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I also took a boat trip around Koh Kret, which is an island in the middle of the Chao Phraya River—i.e. the river that runs through Bangkok. Koh Kret has a popular market and is known for certain unusual street foods like fried flower petals.  The only other place I visited during training was the J.J. Market, Bangkok’s sprawling weekend market where one can buy everything from pets to artworks to cheap tsotchkes to Louie Vattan (that’s how it’s spelled there) purses to street food. I’d been once before in 2012, but still got lost in its maze-like corridors packed with goods.

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September:

After I finished my second training week at MTI, I moved into Bangkok to a guesthouse in Chinatown.  This was a short walking commute to the Wat Po Thai Traditional Massage School where I completed the General Thai Massage course and the Foot Massage course. These courses were each 5 days long, and the first one is a prerequisite for just about everything at the Wat Po School.

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In the morning I would work out in one of two nearby parks frequented mostly by elderly fitness-buffs doing tai chi, chi gong, takraw, or Jianzi (the latter two being hacky-sack like games played with a woven ball [Thai] or a feathered weight [Chinese], respectively.)  On several occasions I went to the Thai Yoga (Russi Dutton) classes that were run inside the temple grounds. Then I would go to class for the day. The General Thai Massage sequence was gradually taught by parts defined by position (supine, side, prone, and seated), and it was not so different from the Chiang Mai style I’d learned in Bangalore. With the Foot Massage course, we began doing the entire sequence from the very outset, which meant one got to practice it about 10 times over the course of the five days.

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I was glad to visit Wat Po this time, as it’s the most important Bangkok sight that we missed during our 2012 visit. I also made it across the river to Wat Arun. I also made a trip across the river to a popular seafood restaurant on the edge of town with a group of fellow students from my General Thai Massage Course. With the same of Thais and Germans, I had dinner at the top of the tallest building in Thailand, the Baiyoke Tower.

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After I returned to Bangalore, there were two small events of note. I attended a function for the children at the KAMMS put on by Lilla’s firm, Grant Thornton, which is the third youth shelter /orphanage I’ve visited. This was the largest group of kids I’ve seen, because, unlike the other shelters, it was both genders and a wide-ranging age group. Again, the kids were very pleasant to be around.

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I attended another Kalaripayattu demonstration. This one was out of town at the Kalari Gurukulam, which is the parent school to the Kalari Academy where I’ve been attending classes. This would not be noteworthy except that I was briefly interviewed by a Canadian film crew who were making a documentary about old martial arts in Asia. They’d previously interviewed the Master of Bokator in Phnom Penh, and were making their rounds through the rest of Asia. (I almost visited that same school in Phnom Penh in 2012, but our limited time didn’t allow it. There was a time when it looked like moving to Cambodia might be a possibility.)

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October:

The big event in the month was our 20th wedding anniversary.

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Our big trip this month was to Mysore for the Dasara festival. We took the train, our first Indian train ride. Mysore is a city that’s only about an hour and a half away from Bangalore.  While it’s much smaller than Bangalore, it’s also more popular with tourists and travelers than Bangalore because of its history as a long-standing capital of the Wodeyar Kingdom and as a global center for yoga. It’s a yoga mecca because it was the home of T Krishnamacharya, who was the guru to some of the most famous yogis of the modern era, including B.K.S. Iyengar, Indira Devi, Pattabhi K. Jois, and T.K.V. Desikachar. Pattabhi Jois, founder of the Ashtanga Vinyasa style of yoga, also lived in Mysore and ran a school there until he passed away in 2009.

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Anyway, Dasara is huge in Mysore. They celebrate all 10 days with various events around town. However, the processional and the torchlight parade on the last day are the major draws, and we had seats for both of those events. For the processional we were right up front at the start of the parade route. For the torchlight parade our seats were not as great, but close to the front. We revisited the Zoo, which this year was rated the best in India by a TripAdvisor survey. There was flower show in progress for the festival.

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I attended a 10-day Advanced Hatha Yoga workshop that focused on building the capacity to do challenging intermediate and advance yogasana (postures.)

 

November:

I did a couple of sessions of intern/assistant teaching of corporate yoga for a1000 yoga, and will do some more after the beginning of the New Year.

 

Lilla and I went to a talk on philosophy which introduced me to an organization near our home that we were completely unaware of called the New Acropolis. It’s a school of practical philosophy. This led me to sign up for their introductory course, which takes place every Tuesday night. The class covers a wide range of topics in the domain of practical philosophy. (By practical philosophy, I mean philosophy geared toward substantively improving oneself, as opposed to sitting around staring at one’s navel and bemoaning our inability to know whether anything is real or whether we are all heads floating in vats.)  As of this writing, I’ve attended three of the first four sessions (I was in Maharashtra for one of the classes) and have found it to be a fascinating experience.

 

As you may know from my recent posts, this month I traveled to the Indian state of Maharashtra. Lilla and I were going to Mumbai to visit a relative, and I decided to take advantage of the relative proximity to visit the Buddhist caves at Ajanta and Ellora. The caves are among the most important archeological sites in India, but are out in the boondocks, and so they aren’t as well-known as, say, the Taj Mahal. However, in their own way I would rate them—as I do Hampi—as far more impressive than the Taj. A city of about 1.2 million, called Aurangabad, was my base from which to visit the caves. Aurangabad has a few sights of its own, most notably a copy of the Taj Mahal that is from the same era. Aurangabad also has its own set of caves that are nowhere near as extensive as the ones at Ajanta and Ellora, but are worth a visit, and it has remnants of fortification from the days when it was Aurangzeb’s capital.

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December:

Because the last graduation date occurred while I was in Thailand, I attended the graduation to get my RYT-200 certificate.

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We have one more trip for the year. Lilla and I will be traveling to Hungary in the middle of the month and will be there through New Year’s Day. We last visited Budapest in the summer of 2011, and haven’t been there in the winter since 2008. We haven’t experienced seasons, in the conventional sense, for a year and half–so that’ll be interesting.  (Bangalore has two seasons, rainy and dry, and even those can be muddled, as they were this year.) While I’ve been to Hungary many times, I hope to see some new sights this time, including a possible trip to Pécs, which will be my first Hungary trip south of Balaton. There are also some quirky Budapest locations listed on Atlas Obscura that I’d like to check out.

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The Upcoming Year:

I hope to do some new and interesting things in the upcoming year as well. Probably the oddest activity for the year will be attending the Vipassana Meditation Course. It’s 10 days on the outskirts of Bangalore with no books, notebooks, or electronic devices of any kind, and during which my only interaction with other people will be daily meetings with a teacher. It’s meditation all day every day for 10 days straight. From accounts I’ve read it’s an amazing or insanity-inducing experience.

 

Writing: The past year hasn’t been as productive as I’d like on the novel front. As I mentioned, I’ve traveled quite a bit and had major time commitments on the Yoga Teacher Training front. A fragmented life disagrees with novel writing because novels are long and fictional, so if you get away from it for any length of time you have a lot of reacquainting to do when you come back to it. If you’ve ever put a book you’re reading down for a month and had trouble getting back into it, multiply that by 100 and you’ll know the challenge of doing the same for a book you’re writing—so many details for which continuity needs to be maintained.  I tossed my first to chapters out entirely and rewrote them from scratch, having to update the rest to accommodate the new beginning. I’ve hemmed and hawed for days over certain plot points and devices.

 

Having said all that, I’m converging on a product that I’ll be ready to submit sample chapters to agents from in 2015. Most of the points that have been giving me problems are worked out as well as I think they are likely to.

 

I’ll do some revamping of my website, part of which I’ve already begun.

 

Martial Arts:  I expected that the jumping-intensive level of Kalaripayattu would be the end of that martial art for me. I’m not built for leaping. However, having cut some weight and built my fitness, I’ve found that my old body has taken the acrobatic craziness surprisingly well. So I’ll continue taking classes at the Kalari Academy as long as my body holds up.

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I plan to check out another martial art as well. There are a number of Muaythai places in Bangalore, and I may see if any of those work for me.  I don’t have any plans to travel to Thailand in the upcoming year, but—if I do—I’ll make sure to squeeze in some Muaythai.  (Actually, wherever I go I’ll try to squeeze in some of the indigenous arts.) Alternatively, there are Krav Maga classes offered at the New Acropolis, and that would be convenient to check out.

 

Yoga: I’d originally planned to do the 300-hour course that would complete my RYT-500 certification, but it doesn’t look like it will work with my travel schedule. However, I do intend to continue my studies, and—in particular—may pursue specialty teacher training courses in Children’s Yoga and /or Prenatal Yoga. There are also some intriguing workshop opportunities in Ashtanga Vinyasa and Iyengar Yoga (props yoga.) I may even try out the yoga in Mysore.

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I’ll continue to teach my MWF courses as long as there is interest and will maintain my own personal practice. Also, I’ll try to do some interning / teaching of corporate yoga classes.

 

Travel: We don’t have any specific trip planned past our December Hungary trip, but we’re sure to see some fascinating places in 2015.

 

It looks like I may have to make a trip to the US during the summer time-frame. However, if I don’t have to take care of business with the house, I’ll probably stay in Asia and visit some other country—possibly Burma. Lilla and I are planning to make a trip to the Himalayas sometime during the summer. This may involve a trip to Amritsar (location of the Sikh Golden Temple) in conjunction with visiting McLeod Ganj / Dharamsala (home of the Dalai Lama and the Tibetan government in exile) and Shimla or Ladakh or other Indian portions of the Himalayas. Alternatively, we may go to Nepal.

 

Among the Indian locations that remain on our list to see are Khajuraho, Varanasi, Pondicherry, Hyderibad, Chennai (with Kanakapura), Kolkata, and Darjeeling. That’s not to mention countries nearby that we’d like to visit while we’re here like Burma and Sri Lanka. It’s unlikely we’ll pack all that in to 2015, but hopefully we can make a dent in it.

 

Well there’s my 4,500 word narcissism-fest, but it has pictures.

BOOK REVIEW: Kalari Margam by Ranjan Mullaratt

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Kalari MargamKalari Margam by Ranjan Mullaratt

My rating: 5 of 5 stars

This is one of the few books on the Indian martial art of Kalaripayattu–particularly written in English. [There are English and Kannada editions–Kannada being the language spoken in Karnataka, the state where the book was produced.]Kalaripayattu is believed to be one of the world’s oldest martial arts and many believe it to be an ancestor to many popular Asian martial arts.

This will be a quick review because this is a pictorial book–i.e. like a coffee table book. While there is text throughout, the book primarily seeks to convey the feel of the martial art through photographs. In that regard the book succeeds tremendously. The photos, often full-page format, are vivid, engaging, and bring Kalaripayattu to life. The photographer, Arabind Govind, did an excellent job, as did all of the practitioners who served as demonstrators for the photos.There is pleasing use of natural lighting for both the photos taken in the kalari and outdoors. The acrobatics are awe-inspiring.

The text is well-written and concise. There were a couple tiny typos that didn’t detract from the meaning in any way. (It’s a first edition and a photo book, so I don’t grade hard there.) The text is most extensive and useful toward the front of the book in the discussions of history, philosophy, and mythos of the art. Throughout most of the rest of the book the text consists of sparse paragraphs used to give a little additional information on the weapons and techniques–including the massage style.

The book starts with background, then it delves into the physical exercises that are used to build fitness, then the unarmed fighting approach, followed by the arsenal of weapons employed in the art, and it concludes with a discussion of vital point massage.

I’d recommend this book for students of the martial arts who are interested in Indian martial arts, or who are just interested in martial arts generally.

I will say that the book may be difficult to get one’s hands outside of Bangalore because it is self-published by the Kalaripayattu Training and Research Center. I will, therefore, give their address: Kalari Gurukulam, 102 Maple Meadows, Chikkagubbi, Bangalore, India 562149.

Their website is www.kalarigurukulam.com

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DAILY PHOTO: Kalari Kids

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These are a few more pics from the Kalari Gurukulam‘s demonstration on Sunday night. These are a few of the kids from the youth classes.

Yesterday, I posted a few of the adult senior students here.

DAILY PHOTO: This is Kalaripayattu

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IMG_2557The Kalari Gurukulam put on a demonstration in Chikkagubbi yesterday. Here are a few photos from the event.

Kalaripayattu FAQ

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Source: The Kerala Tourist Office

Source: The Kerala Tourist Office

Outside of India, Kalaripayattu isn’t a household name like karate, kung fu, or judō. However, within India, this homegrown martial art is a source of great pride. It’s said to be one of the few indigenous martial arts that survived into modernity (with unbroken transmission, i.e. without a period in which no one was diligently practicing it.) Some consider it to be the mother of Asian martial arts (for reasons I both address and critique in an earlier post.) It’s a mainstay of Bollywood (and non-Bollywood Indian cinema—yes, there is such a thing) and makes frequent appearance in dance performances and plays.

 

I’ve been attending Kalaripayattu classes for the past 4 or 5 months. While this hardly makes me an expert on the subject, it does give me some insight into the art beyond reading or watching videos. I’m also able to make comparisons to other martial arts–one in which I have an extensive background, and others with which I also have limited experience.  I’ve, therefore, put together a collection of answers to questions I’ve been asked as well as others that I can imagine being asked.

 

Pre-Question Question: “Kalaripayattu” is a long name, can I call it by something shorter?

Answer:  Kalaripayattu is often just called “Kalari.” Note: “Kalari” also refers to the place where the martial art is practiced (i.e. not unlike the words “dōjō” or “training hall”.) If someone refers to “the kalari” or “a kalari” they’re probably talking about a physical location, whereas if they say “Kalari”– without an article—they’re likely talking about the martial art.

As an aside, a kalari, historically speaking, has a precise design approach and dimensions. It’s dug into the ground so that from the outside the building can look like it’s for Hobbits, but inside its ceilings are adequate even for the long weapons used in the art. This method presumably began in an attempt to reduce the effect of the south Indian sun.  Of course, in modern times, kalari take many forms (e.g. the kalari I attend is on the 3rd or 4th floor of a building.)

 

Q1: The most common question is, “Kalari? So, what’s that like?” [In this case, the questioner wants to know what classes are like.]

 

Answer: My stock answer to what classes are like is that if one imagines a class which includes yoga, modern dance, and a hard style of Okinawan Karate, one wouldn’t be far off.

 

Of course, most people have a tough time imagining such disparate elements in a coherent class, so I’ll describe what a typical class (at least at the beginner level) is like. Each hour-and-a-half class can be divided into five parts. The first is warm-ups, which consist mostly of joint articulations, dynamic yoga poses, and—lastly—leaping drills. Warm-ups may also include those old martial arts mainstays, running laps and side-to-sides (facing one direction and moving to the side without crossing one’s feet.)

 

The second section is a series of leg exercises, which are mostly kicks done on alternate legs in laps up and down the kalari. These get more challenging as one progresses. The highest level that I currently practice involves going into scissors splits (Hanumanasana) as one does these laps.

 

The third section is animal poses or movements (depending on one’s level.) One does animal poses in the first level. Now that I’m in the second level, I’m doing animal movements, which involve movement repeated up and down the length of the kalari. I believe there are more challenging versions of the animal movements in the subsequent level(s.) There are eight postures and eight basic movements that are designed to emulate animal behavior.

 

The fourth section is stretching. This involves a series of yogasana (yoga poses) and core work common to yoga.

 

The final section involves what in Japanese arts might be called kata (memorized forms–or set sequences of strikes and kicks) and striking drills.

 

Q2: The second most common question is, “Kalari?  So, what’s that like?” This sounds like the exact same question, but in this case the inquisitor is asking what the martial art is like, more generally. [I blame the modern educational system and Twitter for this lack of clarity in language.]

 

Answer: The answer to the first question gives one a little insight into this question as well, but I’ll expand upon it. First, Kalari is a comprehensive combative system. That mouthful just means that it involves unarmed striking, grappling, and a range of weapons. This should come as no surprise as any martial art that predates sport martial arts is likely to be comprehensive. (In combat, one has to be well-rounded because one can’t plan on a combatant sticking to protocol.)  Oddly, we think of “mixed martial arts” as the latest craze, but arts that specialize in either striking or grappling are the new kids on the block.

 

Second, I have read that the warriors in the area of present-day Kerala (i.e. where Kalari developed) didn’t use armor, and—in a related fact—tended to use weapons that were faster and were employed with greater agility than in other parts of India where armor was more common–as well as, the heavier weapons needed to be lethal against armored opponents .

 

Third, besides including wide-ranging unarmed and weaponry techniques, Kalari has a massage and medicinal component that has been handed down along with it. Readers familiar with either the Japanese and Chinese forms of acupressure massage (Shiatsu or Tui Na, respectively) and either Kobudō or Kung fu, will not be surprised to learn that the same vital points that are manipulated in massage in one way are exploited in martial arts in another. In Kalari, these points are called marma.

 

Q3: Who practices Kalari, and for what purpose?

 

Answer:  At the risk of angering some readers, Kalari has little value for either self-defense or for preparing for combative sports (beyond the choreographed competitions that are Kalari-specific.) Because these two objectives are among the most common reasons for learning a martial art, it’s often asked what type of person practices Kalari and what do they hope to get out of it?

 

It looks to me like practitioners fall into three categories. First, there are those who want to get fit. Kalari succeeds tremendously in this regard. If one practices diligently, one will likely see growth in flexibility, cardio-vascular stamina, agility, and both core and extremity strength. (To be frank, this fitness building is why I said that Kalari has “little value for self-defense” rather than saying that its techniques are “of less value than randomly thrashing about in a fight.” One’s physical capacities rise considerably, and that might serve one even if the motions that are drilled into one’s body have no pragmatic value in fighting a skilled opponent—except in surprising them with one’s flamboyantly acrobatic but excessively expansive and vulnerable motions. I’ll also note that there’s a degree of fearlessness that results from training with metal weapons—even choreographed movement with unsharpened metal weapons—that shouldn’t be ignored as a potent benefit if one were ever to have to fight an advanced Kalari practitioner.)

 

[For those who haven’t seen Kalari and think I’m being excessively douche about its combat ineffectiveness. Below is a video of a couple of very athletic and skilled Kalari performers, and you can ask yourself–in your heart of hearts–if these moves seem likely to be effective against a focused and experienced opponent who has done a lot of free-form sparring.]

 

 

Second, there are dancers and performers who want to impress with the martial moves of Kalari. Hopefully, I can make amends to those who I’ve offended in the preceding paragraphs. While someone employing Kalari techniques would likely be thrashed to within an inch of his or her life if they employed them against someone using Krav Maga, Systema, or even Muay Thai, on stage Kalari moves are far and away more impressive to watch than any of the aforementioned systems. Kalari makes for a great show. The things superheroes do in movies aren’t very realistic either, but we “oooh” and “aahh” when we see them.

 

Third, there are people like me who are interested in the art in a scholarly sort of way from a historical, cultural and /or movement interest. I want to see what this system has in common with other martial arts, and to think about how it might have evolved.  I should point out that I suspect that Kalari was at some point much more pragmatic as a combat system (and correspondingly much less thrilling to watch), and that it evolved to a new purpose over time. This same thing could be said of many arts that evolved into sports or entertainment enterprises (e.g. many forms of Kung fu are also unlikely to gain one success in a fight, but are nonetheless beautiful to watch. Also, I don’t know whether Capoeira evolved away from combat effectiveness or was born that way, but it certainly got there somehow.)  One can also learn about movement in a generic way that might be applied in ways that can be useful.

 

Q4: Is Kalari a unified art or an umbrella term? (To make this clear, consider the word “karate.” If someone says that she studies “karate,” one really knows very little about the art that person studies. However, if one says he studies Isshin-ryū Karate or Shōtōkan Karate, then one might know what that person’s training really looks like.)

 

Answer: As I understand it, there are two different styles encompassed in Kalari. The northern style is called Tulumanadan, and the southern style is Vadakanadan.  By “northern” and “southern” we’re talking about the northern and southern parts of the southwest tip of India, i.e. what is present-day Kerala, but which includes parts of other states–such as Karnataka. I don’t know how much variation is contained in each of those two styles.

 

Q5: How fit do I have to be to join Kalari training?

 

Answer:  Like any physical activity, you certainly don’t need to be able to do what you see the advanced practitioners doing when you start. There’s a gradual build up from simple movements to ones that are more challenging. There is also, some allowance for one’s (temporary and permanent) physical limitations–because we are all different and have our own unique set of strengths and weaknesses.

 

Having said that, if someone apparently non-athletic asked if they should sign up, I’d probably suggest they first take a few yoga classes of a challenging nature (e.g. Power yoga, Hatha Vinyasa, or Ashtanga Vinyasa.) The Kalari classes will ask every bit the same of one’s flexibility and core strength, and substantially more of one’s extremity strength and stamina.

Animals Forms and Poses in Martial Arts

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Snake

Snake

Part of the most basic of basics that I’m learning in Kalaripayattu class are 8 animal poses (Wild Boar, Elephant, Cat, Lion, Snake, Rooster, Peacock, and Horse.) While animal forms and postures are common enough in martial arts, this is an entirely new concept to me and one that I’m trying to wrap my head around.

Animal forms are most commonly associated with Chinese Kungfu. There are entire styles devoted to five animals (i.e. tiger, leopard, crane, snake, and dragon [yes, I realize dragons aren’t really animals.] Of course, from Kungfu Panda we know there are also Monkey style and Mantis style, but that’s only just the beginning.  There are many different animals that play a role in martial arts, some–like tigers–are not unexpected and others–like peacocks–are harder to imagine.

As I’ve mentioned before, old style Japanese martial arts–at least the one’s I’ve studied–invoke nature commonly, but in a more subtle form. In Japanese budō one does not imitate animal movement or positioning–except in a very limited and general sort of way.

I’m interested in why one should imitate the postures or movement of animals. After all, it’s hard to argue that a human being can move more efficiently or effectively imitating a [non-human] animal. We are uniquely bipedal mammals, and to imitate–for example–a legless reptile (for example) doesn’t seem to make a lot of sense.

One explanation I’ve heard is that these animals are natural fighters, and are, therefore, to be emulated. I don’t put a lot of stock in this explanation. Don’t get me wrong, I do believe that humans are less naturally capable of close-quarters fighting than pretty much any other animal. But it’s got nothing to do with the nature of our bodies and everything to do with the condition of our minds. Humans are emotional beasts and have trouble living in the moment. That’s why we aren’t natural fighters compared to a tiger–which doesn’t get paralyzed by fear, doesn’t get plagued by guilt, and never walks through dangerous territory with iPod earbuds in its ear, thinking about how it needs to update its Facebook page. Humans excel at making weapons that allow us to stay as far away from the enemy as possible–preferably on another continent. But close-quarters combat is an uphill struggle all the way.

Wild Boar

Wild Boar

There is an explanation that I find to be more sound, and that’s that these postures are meant to facilitate a certain mindset. Just as people condition themselves to associate certain hand mudra with certain states of mind (I know that’s not necessarily how they see it), one may use these postures to invoke a certain state of mind. This is somewhat related to what I was discussing in the preceding paragraph. Human’s are challenged to get into the right frame of mind for combat, and animal forms and postures might be one way to hasten that state. For humans there are two aspects of the problem. First, people are naturally scared of being injured or killed, and for many this becomes debilitating. Second, except some psychopaths, humans really don’t like to kill. This is true of other species by the way, we are genetically hardwired against killing our own kind. However, other animals can’t worry about it like us. (Here I mean worry in the sense that W.R. Inge described, “Worry is interest paid on trouble before it comes due.”)

Another explanation that I think has some merit is that some of these poses and forms are more about the exercise than combat effectiveness. In essence, they are like yoga; they build range of motion and strength in core muscles. One can certainly see this in the exceedingly low animal stances that require a great deal of flexibility.

The only other reason that’s popped to mind is that animal imitation is used to try to create a feeling (e.g. fear) in one’s opponent. This is closely related to the first point. One wants to create a perception of ferocity (or otherwise) in the eyes of the opponent as well as internally.

Rooster

Rooster

BOOK REVIEW: Vajramushti by Christopher Fernandes

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Vajramushti; Martial Arts of IndiaVajramushti; Martial Arts of India by Christopher Fernandes

My rating: 3 of 5 stars

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There aren’t many English language books on Indian martial arts, and most that do exist address a single style (most commonly Kalaripayattu.) Christopher Fernandes’s book, therefore, fills a void by providing an overview of martial arts on the subcontinent, and for the most part the book does an admirable job. I do have a couple of criticisms of the book that I’ll get into further down in the review.

The 350 pages of this book are arranged into 17 chapters, with the front and back matter of a scholarly work (i.e. in addition to an introduction and epilogue there are appendices and a bibliography.) The first few chapters set the historical background, and the last few chapters address topics that are related to—or interconnected with—the martial arts, e.g. pranayama (breathing), Ayurveda (traditional Indian medicine), dance, and games of martial relevance. Chapters 6 through 11 form the core of the book, and this is where one gets the book one expected. These core chapters are organized by region, and each gives an overview of one of India’s martial arts in great detail. The arts covered include: Thang ta (northeast), Gatka (author classifies as Central, but it’s commonly associated with the Sikhs [i.e. Punjab, in the Northwest]), Yudhkaushalya che Talim (Central), Silambam (south, Tamil Nadu), Kalaripayattu (south, Kerela), and Marma Adi (South). It’s not all-inclusive, but that might not be possible in a single volume. It does hit the major arts and covers a range of weapons and unarmed skills, and I suspect offers a fair representation of Indian martial arts past and present.

I have two major criticisms, and a third mild criticism. The first is purely technical and likely only applies to the Kindle edition (that’s the only edition I’ve seen), and you can probably guess my gripe. The formatting on the e-version of the book is poor. While this book isn’t as graphics-intensive as a typical martial arts book (i.e. there aren’t long sequences of technique photos) there are many graphics—and necessarily so. It would be hard to convey all the information in textual form for this type of book (e.g. consider the value of a picture of a complex weapon over a description.) What happens in Vajramusthi where the graphics are inserted is that the captions get kicked in among text. At least they italicized the captions so one can get used to this oddity, but it’s a bit hard on readability when one is reading along and there is a fractional caption randomly inserted mid-sentence. The photos also cause odd white space and very narrow columns here and there.

The second major criticism is that the book often forgets its theme. By that I mean that the author goes into far too much depth on topics that are tangential to the subject at hand and sometimes fails to indicate how the subject at hand is relevant. I’m not saying that historical background and discussions of breathing and Ayurveda shouldn’t be included, they are both quite pertinent, as are the other chapters that are more tangential. However, at one point the author provides a mini-herbal field guide that seems a bit too much information for those specific herbs, but, because it’s not an Ayurveda herbal field guide, he only covers a few. This creates a book that sometimes doesn’t seem to know what it wants to be or who its intended audience is. It’s most confusing in the early chapters that begin with the dawn of humanity. Obviously, the development of martial arts is inextricably tied into the rise of societies and states, but the author doesn’t consistently do a good job at connecting these dots so the book can maintain a consistent theme. I should point out that history buffs, dance enthusiasts, or physical education nerds may find the bonus material fascinating—and it is; it just belongs in different books. It does indicate that the author has done his research. While I’m a neophyte on the subjects covered, I believe that the quality of the information is quite good. (Although myth and fact are sometimes equated as with the discussion of Bodhidharma—a myth that many historians now believe false.)

The third criticism is classified minor both because it only comes into play in the epilogue and because if I was going to criticize every martial arts book author for this sin, I’d rarely have anything nice to say about a martial arts book. At the tail end of the book the author suggests that all the other martial arts of the world are just superficial competitive endeavors and only the Indian martial arts have depth that can lead to bettering oneself in a broad sense. This is a complete oversimplification, and especially odd for someone (like the author) who has apparently trained in other systems. (At one point there is a photo of Bruce Lee, captioned “Epitome of a Warrior,” and I can only assume from his commentary in the epilogue that the author is mocking the founder of Jeet Kune Do.) I do understand the passion that inflames the author’s sentiments, which is sadness that young Indians who study martial arts overwhelmingly look to the East—just as those in Europe and the Americas do. In Bangalore, where I live, there are two places that I know of that teach Indian arts (both Kalari) and at least eight places one can learn Muay Thai—not counting the fitness centers that have no one qualified to teach MT but do so anyway. Still, one need not take cheap shots at other martial arts in attempting to encourage people to study the indigenous arts.

While my review may come across as critical, there’s really not much wrong that a skilled editor and formatter couldn’t fix. (For example, one could get blitzed playing a drinking game whereby everyone takes a shot whenever they read the exact words “Vajramushti the classical Kshatriya Lion’s skill.”) The book’s virtues tend to outweigh its vices. If there were as many books out on the Indian martial arts as there are about those of China, Japan, or Korea, I don’t know that this one would get my recommendation in its present state, but there aren’t and so I do recommended it. It’s well-researched, contains useful graphics, and it provides insight into how the martial arts fit into the history, yogic science, and movement arts of India—if sometimes a bit too much insight.

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