Varma kalai by ajizai

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									Varma kalai, Varmakalai, Marma kalai, marma adi - The art of Pressure point

Varma Kalai is a martial art coming from Tamil Nadu, India . “Varma Kalai” means “The art of Vital
points”. This art is composed of hand-to-hand fighting and fighting with weapons. The study of this art
goes beyond learning fighting techniques.
The art itself originally began as a healing art from Varma Cuttiram which later turned into a martial art,
thus the name Varma Kalai. It is also called the art of healing and the art of killing.Its aim is to produce
healthy and stable individuals. The original texts about Varma Kalai are found in Tamil and Malayalam
languages in palm leaves.

The art itself originally began as a healing art from Varma Cuttiram which later turned into a martial art,
thus the name Varma Kalai. It is also called the art of healing and the art of killing.Its aim is to produce
healthy and stable individuals. The original texts about Varma Kalai are found in Tamil and Malayalam
languages in palm leaves. The knowledge and methods of Varma Kalai as been passed on in secret for
centuries and was shared amongst only selected disciples under strict code of ethics and discipline of
the legendry ASSANS (masters).The knowledge was transmitted only when disciples acquired enough
experience and aturity in order to be responsible for themselves. However, over the centuries the
knowledge of the art was misused and or learnt by miscreants for ill doings which decreased the
transmission of knowledge by Assans, who stopped teaching the complete knowledge to one student, or
taught to a chosen few who excel in the art and had exceptional moral values.

Varma Kalai

Varma Kalai, also known as Marma Adi ,is one of the oldest and deadliest forms of South Indian

martial art in history developed in TamilNadu India) . The tamil word “Varma Kalai” literally means

The Art of Vital Points. Varma Kalai uses pressure and precise strikes to vulnerable pressure

points on the human body to heal, maim or even kill someone depending on what part of he body is

it and how much pressure is applied based on periodic energy flows (time-dependent) streaming

through the body along meridians.

Varma adii or marma adi (also called Varma Kalari ) or Varma Kalai is practised in old Travancore

including present day Kanyakumari district of Tamil Nadu and is called the southern style of

kalarippayattu. Its a unique Neuro Martial Art in warfare practised by the Royal Thiruppad Nadans

to defeat/kill the enemy without any external injuries are called Varmam. Varma Kalai is the master

of all arts, royal to its name, practised by Asaans ( masters). An Asaan of special rank is a master

over 108 Kalaries. These Asaans were the real kingmakers and known as Gramavadins or Gramanis, a

term applied to communities like Nadars and Devars. They were the very ancient rulers of South
India. Varmam or Marmam When one is affected by Varmam, it stimulates or blocks one or more of

the 10 Vayus (air) governing the life centers of the body, which in turn acts on the Sapta Dhathu

(Seven Vitals) of the body namely Ninam, Kapham, Majjai, Suklam, Moothiram Pethi and Viyarvai

(blood, lipid, marrow, semen, urine, stools, sweat) respectively, and makes the desired effect to the

enemy and causes his death or unconsciousness. Sidha Grandhas This Art is the one mentioned in the

300000 Grandhas (Books) of the early Sidhas. More than 75% of the original Sastras have been either

lost, sold out or destroyed due to negligence and also through the over conservative character of the

people who handled this Art. Yet, there are sufficient quantity of these rare Grandhas, in the form of

Palm-Leaf Texts in Southern India, especially in Malabar, South, and Central Travancore. The Asaans

of Kanyakumari, Kollam and Trivandrum Districts, although getting weaker at present, are still alive to

the standard of these rare records. In order to learn this Art, it was necessary to work with an Asaan

for a minimum period of 12 years in those days. This Art was not taught to anyone who came forward.


Siddhars are saints in India, mostly of the Saivaite denomination in Tamil Nadu, who professed and

practised an unorthodox type of Sadhana, or spiritual practice, to attain liberation. Yogic powers called

Siddhis are acquired by constant practice of certain yogic disciplines. Those who acquire these Siddhis

are called Siddhas. Siddhars are people who are believed to control and transcend the barriers of time

and space by meditation (Yoga), after the use of substances called Rasayanas that transform the body

to make it potentially deathless, and a particular breathing-practice, a type of Pranayama. Through

their practices they are believed to have reached stages of insight which enabled them to tune into the

powers hidden in various material substances and practices, useful for suffering and ignorant


Typically Siddhars were saints, doctors, alchemists and mysticists all at once. They wrote their

findings, in the form of poems in Tamil language, on palm leaf which are collected and stored in what

are known today as Palm leaf manuscript, today still owned by private families in Tamil Nadu and

handed down through the generations. In this way Siddhars developed, among other branches of a

vast knowledge-system, what is now known as Siddha medicine, practised mainly in Tamil Nadu as

Traditional native medicine. A rustic form of healing that is similar to Siddha medicine has since been

practised by experienced elderly in the villages of Tamil Nadu, and is popularly known as Paatti

Vaitthiyam, Naattu marunthu and Mooligai marutthuvam They are also founders of VarmaKalai - a
martial art for self-defence and medical treatment at the same time. Varmams are specific points

located in the human body which when pressed in different ways can give various results, such as

disabling an attacker in self-defence, or balancing a physical condition as an easy first-aid medical

treatment. Tamil Siddhars were the first to develop pulse-reading ("naadi paarththal" in Tamil)to

identify the origin of diseases. This method was later copied and used in ayurvedha. Siddhars have

also written many religious poems. It is believed that most of them have lived for ages, in a mystic

mountain called Sathuragiri, near Thanipparai village in Tamil Nadu One of the best-known Siddhars

was Agasthyar or Agasthya, who is believed to be the founding father of Siddha culture. Abithana

Chintamani states Siddhars are either of the 9 or 18 persons enlisted, but sage Agastyar states that

there are many who precede these and follow 9 or 18 persons. Many of the great Siddhars are





















18. Pulipani

Silambam (Tamil:             ) is a weapon-based Dravidian martial art from Tamil Nadu in south

India. It is closely related to kalaripayat, particularly the southern style, which was created in the

neighbouring state of Kerala. In Tamil, the word silambam refers to the bamboo staff which is the

main weapon used in this style. Other weapons are also used such as the maduvu (deer horn), kathi

(knife) and vaal (sword). Unarmed

silambam, called Kuttu Varisai, utilizes stances and routines based on animal movements such as

the snake, tiger and eagle forms. The length of the staff depends on the height of the practitioner. It

should just touch the forehead about three fingers from the head, although different lengths are used

in different situations. It usually measures roughly 1.68 meters (five and a half feet). The 3 feet stick

called sedikutchi can be easily concealed. Separate practice is needed for staves of different lengths.

The usual stance includes holding the staff at one end, right hand close to the back, left hand about 40

centimeters (16 inches) away. This position allows a wide array of stick and body movements,

including complex attacks and blocks. There are numerous sub sects in silambam like nagam-16

(cobra-16), kallapathu (thieves ten), kidamuttu (goat head butting), kuravanchi, kalyanavarisai

(similar to quarterstaff), thulukkanam, and so on. Each is unique and may differ from one another in

grip, posture, foot work, method of attack, length of the stick, movement of the stick etc.

History of Silambam

Silambam supposedly originated in the Kurinji hills, present day South Indian state Kerala almost 5000
years ago. The Narikuravar of the area are said to have used staves called chilambamboo in battle and to
defend themselves against wild animals. They would also perform solo stick-fighting demonstrations
during Hindu religious festivals. The art was patronized by the ancient Chola, Chera and Pandya kings of
South India during the Sangam period. The Maravar pada of Travancore kings used silambam in their
warfare against enemies. Ancient contact between Tamil Nadu and Southeast Asia brought silambam to
the Malay Peninsula during which time the word silambam came to refer to the art as well as the
weapon. Many Southeast Asian martial arts were influenced by silambam including silat and Krabi
Krabong. The references to Silappadikkaram in Tamil Sangam literature dating back to the 2nd century
refer to the sale of silamabam staves, swords, pearls and armor to foreign traders. The ancient trading
centre at the city of Madurai was renowned globally and said to be thronged by Romans, Greeks, and
Egyptians among others who had regular sea trade with the Tamil kingdoms. The bamboo staff, one of
the first weapons used in Indian martial arts, was in great demand with the visitors. The soldiers of King
Veerapandiya Kattabomman (1760–1799) relied mainly on their silambam prowess in their warfare
against the British Army.Indian martial arts suffered a decline after the British colonists banned
silambam along with various other systems. They also introduced modern western military training
which favoured fire-arms over traditional weaponry. The stick lost much of its combat superiority and
some of silambam's vast techniques and styles were lost.
Silabmam Techniques
 Beginners are taught footwork (kaaladi) which they must master before learning spinning techniques
and patterns, and methods to change the spins without stopping the motion of the stick. There are
sixteen of them among which four are very important. Footwork patterns are the key aspects of
silambam and Kuttu Varisai (empty hands form). Traditionally, the masters first teach kaaladi for a long
time then proceed to Kuttu Varisai. Training in Kuttu Varisai allows the practitioner to get a feel of
silambam stick movements using their bare hands, that is, fighters have a preliminary training with bare
hands before going to the stick. Gradually, fighters study footwork to move precisely in conjunction with
the stick movements. The ultimate goal of the training is to defend against multiple armed opponents.
In silambam as well as Kuttu Varisai, kaaladi is the key in deriving power for the blows. It teaches how to
advance and retreat, to get in range of the opponent without lowering one's defence, aids in hitting and
blocking, and it strengthens the body immensely enabling the person to receive non-lethal blows and
still continue the battle. The whole body is used to create power. When the student reaches the final
stage, the staff gets sharpened at one end. In real combat the tips may be poisoned. The ultimate goal
of the training is to defend against multiple armed opponents. Silambam prefers the hammer grip with
main hand facing down behind the weak hand which faces up. The strong hand grips the stick about a
distance hand's width and thumb's length from the end of the stick and the weak hand is a thumb's
length away from the strong hand. The weak hand only touches the stick and to guide its movement.
Silambam stresses ambidexterity and besides the preferred hammer grip there are other ways of
gripping the staff. Because of the way the stick is held and its relatively thin diameter, blows to the groin
are very frequent and difficult to block. Besides the hammer grip, sliambam uses the poker grip and ice
pick grip as well. Some blocks and hits are performed using the poker grip. The ice pick grip is used in
single hand attacks. The staff is held like a walking stick and just hand gets inverted using the wrist. In
battle, a fighter holds the stick in front of their body stretching the arms three quarters full. From there,
they can initiate all attacks with only a movement of the wrist. In fact, most silambam moves are derived
from wrist movement, making it a key component of the style. The blow gets speed from the wrist and
power from the body through kaaladi (footwork). Since the stick is held in front, strikes are telegraphic,
that is, the fighter does not hide their intentions from the opponent. They attack with sheer speed,
overwhelming the adversary with a continuous non-stop rain of blows. In silambam, one blow leads to
and aids another. Bluffs may also be used by disguising one attack as another. In addition to the strikes,
silambam also has a variety of locks called poottu. A fighter must always be careful while wielding the
stick or they will be grappled and lose the fight. Locks can be used to disable the enemy or simply
capture their weapon. Techniques called thirappu are used to counter the locks but these must be
executed before being caught in a lock. Silambam also has many different types of avoiding an attack
like blocking, parrying, enduring, rotary parrying, hammering (with the stick), kolluvuthal (attacking and
blocking simultaneously) and evasive moves such as sitting or kneeling, moving out, jumping high, etc.
Against multiple attackers, silambam exponents do not held out their sticks as they do in single combat.
Instead they assume one of the numerous animal stances which makes it difficult for opponents to
predict the next attack. An expert silambam stylist will be familiar with Varma Kalai (pressure-point
fighting) and knows where to strike anywhere in the body to produce fatal or crippling effects by the
least use of power. In one-on-one combat an expert would just slide his stick to opponents wrist many
times during combat. The opponent may not notice this in the heat of battle until they feel a sudden
pain in the wrist and throw the stick automatically without knowing what hit them. When two experts
match against each other one may challenge the other that he will hit his big toe. Hitting the big toe can
produce crippling effects on the fighter, making them abandon the fight. This is called solli adithal which
means "challenging and successfully hitting".

Varma Diseases

Some of the Varma Diseases are given below
1.Bone joints and arthritics
3.Nerves weakness
4.Body shivering
5.Eye problems
6.Disk prolapse
7.Cervical spondylosis
8.Sciatic Problems
9.ENT (Ear, Nose, and Throat) problems
10.Gland disorders (like Diabetes, etc.)
11.Head ache
12.Sexual Problems

Varma Therapy

Varma kalai has 2 sides in it as a coin has sides. One is called varma kalai that deals with self

defence and the other called the varma therapy which deals with are some of the most important

structured features of human body, ligaments, nerves, bones, blood vessels, joints and nerve-centres

etc. They meet combine and coordinate so as to enable the body of function biologically.

The nerves and bones and muscles form part of the entire body. The bone and joints are hard

structures. At many points the nerves and nerve centres are closely in interviewed. Even a slight

damage to these nerve center and joints some times may nerve critically harmful. (eg. where the

nerve is in contact with the bone). The damage may be extensive too. They may even affect the blood

vessels passing through area causing improper blood supply to that area. This leads to pain and


Hence such nerve centers are called vunerable sites.
1. These vulnerable points are not visible, as they lie beneath the skin. The word marmam means
that which is hidden.
2. The points at which these structures lie interviewed are not visible and are located only at a few
3. These spots are so finely placed that all cannot because and identify them. 4. Injury to these
varmas, causes severe pain and affects the normal functioning of the body.
5. The how and why of the various symptoms that result have remained a mystery. Hence the name
"marmam" which is varmam in Tamil.

According to those sources the point through which an arrow pierces the body and kills the person,is
taken for a vulnerable point/spot/area/ (marmam).A varma terms the body in which it originates and
with it abides. Hence it is called a varmam, an enemy with in "varma" is the term used in most of
the texts.

Varma is the seat of wind, breath or sources/seat of life. when the flow of this life-fOrce is disturbed
the body becomes insensitive. If the injury is of very servious kind it moves . If the injury or damage
intensity and it is not yet too late for treatment recovery is possible.

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