Martial Arts of India
Introduction & Context
India's martial arts ('arts associated with the waging of war') evolved from ancient warfare practices into forms used today for self-defence, physical fitness, ritual, and performance. Many are closely linked to dance, yoga, and performing arts. Kalaripayattu and Silambam were banned during British rule and revived post-independence.
Classification: Armed vs. Unarmed
Armed Martial Arts
| Art | Region | Key Weapon(s) | Distinctive Feature |
|---|---|---|---|
| Kalaripayattu | Kerala (orig.) / South India | Metal weapons, Otta stick | Oldest martial art; footwork is key |
| Silambam | Tamil Nadu | Bamboo staff (stave) | Staff fencing; 4 types of staves |
| Thang-ta | Manipur (Meitei) | Sword (Thang) + Spear (Ta) | Linked to tantric practices |
| Cheibi Gad-ga | Manipur | Leather-encased stick + shield | Contest in 7m diameter circle |
| Pari-khanda | Bihar (Rajput-created) | Sword + Shield | Basis of Chhau dance |
| Gatka | Punjab (Sikhs) | Stick, Kirpan, Talwar, Kataar | Displayed at Sikh festivals |
| Mardani Khel | Maharashtra (Kolhapur) |
Unarmed Martial Arts
| Art | Region | Technique | Key Link |
|---|---|---|---|
| Sarit Sarak | Manipur | Hand-to-hand combat | Paired with Thang-ta; together = Huyen Langlon |
| Kuttu Varisai | Tamil Nadu / Sri Lanka | Grappling, striking, locking | Unarmed component of Silambam |
| Musti Yuddha | Varanasi | Kicks, punches, knee/elbow strikes | Boxing-like; 4 fight categories |
| Inbuan Wrestling | Mizoram | Lifting opponent off feet | Genesis: 1750 AD, Dungtlang village |
| Bandesh | India | Lock holds vs. armed opponent | Does not kill opponent |
| Malla Yuddha | South India | Combat wrestling | Related to SE Asian Naban wrestling |
Key Art Forms: Detailed Features
Kalaripayattu (Kerala, 4th century AD)
- Oldest martial art in India
- Origin: Kerala; legendary founder: Sage Parasurama
- Kalari = training hall/gymnasium (Malayalam)
- Key feature: Footwork; includes kicks, strikes, weapon practice
- NOT accompanied by drumming or song
- Women also practice it — legendary heroine Unniyarcha
- Techniques: Uzhichil (Gingli oil massage), Otta (S-shaped stick fight), Maipayattu (body exercises), Puliyankam (sword fight), Verumkai (bare-handed), AngaThari (metal weapons), Kolthari (sticks)
- Featured in films: Ashoka, The Myth
Silambam (Tamil Nadu)
- Staff fencing martial art; modern and scientific
- Patron dynasties: Pandya, Chola, Chera
- Mentioned in Silappadikaram (2nd century AD) — sale of staves, swords, pearls
- Bamboo staff was popular trade item with Rome, Greece, Egypt
- Divine origin: Lord Murugan and Sage Agastya
- Spread to Malaysia where it remains popular
- 4 types of staves: Torch silambam (lighted cloth balls), sonorous swishing staff, non-elastic clattering staff, short powerful staff
- 3 ways to win: (1) Dispossess opponent of staff, (2) Count body 'touches', (3) Protect money pouch at feet; marking forehead = victory
- Dress: Langots, turbans, sleeveless vests, canvas shoes, wickerwork shields
Thang-ta & Sarit Sarak (Manipur, Meitei people, 17th century)
- Together called Huyen Langlon
- Thang = Sword; Ta = Spear
- Thang-ta = armed; Sarit Sarak = unarmed (hand-to-hand)
- 3 modes of practice: (1) Ritualistic/tantric, (2) Sword & spear dances, (3) Actual fighting
- Used by Manipuri kings against British; banned by British; revived post-independence
- Other weapons: Axe, shield
Cheibi Gad-ga (Manipur)
- Ancient Manipuri art; sword + shield (now: leather-encased stick + leather shield)
- Contest in 7-metre diameter circle; two lines 2 metres apart
- Cheibi stick: 2–2.5 ft; shield ~1 metre diameter
- Victory by points (skill + brute force)
Pari-khanda (Bihar, Rajput-created)
- Pari = Shield; Khanda = Sword
- Forms the basis of Chhau dance — all its elements absorbed into Chhau
Thoda (Himachal Pradesh)
- Mixture of martial arts, sport, and culture
- Held during Baisakhi (13–14 April)
- Based on archery (bow and arrows)
- Genesis in Kullu valley; linked to Mahabharata
- Name derived from the round wooden piece on arrowhead (reduces lethality)
- Teams: Pashis (Pandava descendants) vs Saathis (Kaurava descendants)
- Archers target below the knee — negative points for striking elsewhere
- Deities: Mashoo and Durga
Gatka (Punjab, Sikhs)
- Weapon-based; features Kirpan, Talwar, Kataar, stick
- Name possibly from Sanskrit 'Gadha' (mace)
- Attack/defence determined by hand-foot positions and weapon type
- Displayed at Sikh fairs and celebrations
Mardani Khel (Maharashtra, Kolhapur)
- Focuses on weaponry skill, swift movement, low stances (suited to hills)
- Unique weapons: Pata (Indian sword) and Vita (corded lance)
Lathi (Punjab & Bengal)
- 6–8 feet cane stick; sometimes metal-tipped
- One of the world's oldest weapons; used by Indian police
Inbuan Wrestling (Mizoram, 1750 AD)
- Genesis: Dungtlang village
- Strict rules: No stepping out of circle, no kicking, no knee bending
- Win by lifting opponent off feet; involves catching belt
- Recognised as sport after Mizo migration from Burma to Lushai Hills
Kuttu Varisai (Tamil Nadu)
- Means 'empty hand combat'
- First mentioned in Sangam literature (1st–2nd century BC)
- Popular also in NE Sri Lanka and Malaysia
- Unarmed Dravidian art; uses yoga, gymnastics, breathing
- Animal-based sets: snake, eagle, tiger, elephant, monkey
- Considered unarmed component of Silambam
Musti Yuddha (Varanasi)
- Resembles boxing; techniques: kicks, punches, knee/elbow strikes
- Develops physical, mental, and spiritual aspects
- 4 fight categories (named after Hindu gods):
- Jambuvanti — submission via locking/holding
- Hanumanti — technical superiority
- Bhimaseni — sheer strength
- Jarasandhi — limb and joint breaking
Other Notable Martial Arts (Quick Reference)
| Art | Region | Description |
|---|---|---|
| Paika Akhadha | Odisha | Dance + combat; now a performing art |
| Varma Ati | Tamil Nadu | Attacks on body's vital spots |
| Malla Yuddha | South India | Combat wrestling; practitioners: Siddhartha Gautama, Krishna Deva Raya |
| Malla Khamb | Maharashtra (12th c.) | Pole + rope; requires concentration |
| Insu Knawr | Mizoram | Round wooden rod game in circle |
| Kirip/Saldu | Nicobar | Nicobarese wrestling |
| Kathi Samu | Andhra Pradesh | Ancient royal army skill |
| Bandesh | India | Unarmed lock holds vs. armed opponent |
Technical Terms / Key Vocabulary
- Kalari: Training hall for Kalaripayattu (Malayalam)
- Huyen Langlon: Combined system of Thang-ta + Sarit Sarak
- Thang: Sword (in Thang-ta)
- Ta: Spear (in Thang-ta)
- Otta: S-shaped stick used in Kalaripayattu
- Pari: Shield (Pari-khanda, Bihar)
- Khanda: Sword (Pari-khanda)
- Pata: Indian sword used in Mardani Khel
- Vita: Corded lance used in Mardani Khel
- Uzhichil: Gingli oil massage in Kalaripayattu
- Puliyankam: Sword fight (Kalaripayattu)
- Verumkai: Bare-handed fight (Kalaripayattu)
- AngaThari: Metal weapons stage (Kalaripayattu)
- Maipayattu: Body exercises (Kalaripayattu)
- Langot: Loincloth worn by Silambam players
Applied Anchors
- Indian Heritage & Identity: Martial arts are living embodiments of regional warrior traditions — Meitei (Manipur), Rajput (Bihar), Sikh (Punjab), Dravidian (Tamil Nadu) — reflecting India's civilizational continuity.
- Religion–Philosophy–Art Linkage: Thang-ta is linked to tantric practices; Musti Yuddha fight categories are named after Hindu gods; Thoda invokes Goddesses Mashoo and Durga; Kalaripayattu was started by Sage Parasurama.
- Continuity of Traditions: Multiple arts (Kalaripayattu, Silambam, Thang-ta) survived British bans and were revived post-independence — demonstrating cultural resilience.
- Dance–Martial Art Linkage: Pari-khanda forms the basis of Chhau dance; Paika Akhadha (Odisha) is now a performing art; Thang-ta includes sword and spear dances.
- Regional Kingdoms as Patrons: Silambam was patronised by Pandya, Chola, and Chera dynasties — linking martial traditions with political history.
- Cross-Cultural Spread: Silambam, Kalaripayattu, and Kuttu Varisai spread to Malaysia and Sri Lanka, reflecting India's soft power.
Exam Traps
- Kalaripayattu origin: Originated in Kerala (4th century AD), though practiced across South India. Do NOT say Tamil Nadu.
- Silambam state: Tamil Nadu, NOT Karnataka (a common wrong pairing in MCQs).
- Thang-ta origin: Manipur (Meitei people, 17th century), NOT Arunachal Pradesh, NOT 500 BC.
- Huyen Langlon: Is the combined name for Thang-ta + Sarit Sarak — NOT a separate art form.
- Chhau dance basis: Pari-khanda (Bihar), NOT Thang-ta or Cheibi Gad-ga.
- Kuttu Varisai: Unarmed component of Silambam, not a completely independent art. Mentioned in Sangam literature, NOT in Silappadikaram.
- Silappadikaram: Mentions the sale of silambam staves — do not confuse with Kuttu Varisai.
- Inbuan Wrestling: Mizoram (1750 AD), NOT Manipur (common confusion with Cheibi Gad-ga).
- Thoda: Based on archery (bow & arrow), NOT sword/shield. Himachal Pradesh, NOT Uttarakhand.
- Banned art forms: Only Kalaripayattu and Silambam are explicitly mentioned as banned by the British — Gatka is NOT mentioned as banned in source.
- Lathi: World's oldest weapon, practiced in Punjab and Bengal — NOT a South Indian art.
- Pari-khanda: Created by Rajputs of Bihar — not a Rajasthan art despite Rajput association.
Quick Revision Points
- Oldest martial art = Kalaripayattu (Kerala, 4th c. AD)
- Banned by British = Kalaripayattu + Silambam
- Staff fencing = Silambam (Tamil Nadu)
- Sword + Spear = Thang-ta (Manipur)
- Armed + Unarmed together = Huyen Langlon
- Basis of Chhau = Pari-khanda (Bihar)
- Archery-based = Thoda (Himachal Pradesh, Baisakhi)
- Sikh martial art = Gatka (Punjab)
- Empty hand combat = Kuttu Varisai (Tamil Nadu, Sangam literature)
- Boxing-like = Musti Yuddha (Varanasi)
- Mizoram wrestling = Inbuan (1750 AD, Dungtlang)
- Pata + Vita = Mardani Khel (Kolhapur, Maharashtra)
- Vital spots attacks = Varma Ati (Tamil Nadu)
- Dance + combat (Odisha) = Paika Akhadha
Ready to test this chapter?
Save your reading progress here, then use the quiz to lock in recall.