BUFFALO RACE
A kambala (Tulu & Kannada: ಕಂಬಳ) is an annual buffalo race held in the southwestern Indian state of Karnataka. Traditionally, it is sponsored by local Tuluva landlords and households in the coastal districts of Dakshina Kannada and Udupi, a region collectively known as Tulu Nadu.The kambla season generally starts in November and lasts until March. The kambalas are organized through kambala samithis (Kambala Associations), of which there are currently 18. Over 45 races are held annually in coastal Karnataka, including smaller remote villages such as Vandaru and Gulvadi.
BULL RACE
The running of the bulls (Spanish: encierro, from the verb encerrar, 'to corral, to enclose'; Occitan: abrivado, literally 'haste, momentum'; Catalan: correbous, 'street-bulls') is an event that involves running in front of a small group of cattle, typically six[1] but sometimes ten or more, that have been let loose on a course of a sectioned-off subset of a town's streets,[1], usually as part of a summertime festival. Particular breeds of cattle may be favored, such as the toro bravo in Spain,[1] also often used in post-run bullfighting, and Camargue cattle in Occitan France, which are not fought. Actual bulls (non-castrated male cattle) are typically used in such events.
The most famous bull-run – what a capitalized "the Running of the Bulls" most often refers to in English – is the encierro held in Pamplona during the nine-day festival of Sanfermines in honour of Saint Fermin. It has become a major global tourism event, today very different from the traditional, local festival. More traditional summer bull-runs are held in other places such as towns and villages across Spain and Portugal, in some cities in Mexico,[3] and in the Occitan (Camargue) region of southern France. Bull-running was formerly also practiced in rural England, most famously at Stamford until 1837.
The origin of this event comes from the need to transport the bulls from the fields outside the city, where they were bred, to the bullring, where they would be killed in the evening.[4] During this "run", youngsters would jump among them to show off their bravado. In Pamplona and other places, the six bulls in the event are still those that will feature in the afternoon bullfight of the same day.
Spanish tradition holds that bull-running began in northeastern Spain in the early 14th century. While transporting cattle in order to sell them at the market, men would try to speed the process by hurrying their cattle using tactics of fear and excitement. After years of this practice, the transportation and hurrying began to turn into a competition, as young adults would attempt to race in front of the bulls and make it safely to their pens without being overtaken. When the popularity of this practice increased and was noticed more and more by the expanding population of Spanish cities, a tradition was created and stands to this day
EQUESTRIAN EVENTS
What are the Olympic Equestrian sports? The Olympic Equestrian sports are dressage, three-day eventing and show jumping.
Horse sports such as chariot and riding races were part of the early Olympic games. Riding was first included in the 1900 Olympics and reappeared in 1912. Originally in the modern Olympics, only commissioned officers were allowed to compete. Beginning in 1952 rules were changed to allow civilians and women. Olympic equestrian events are one of a very few Olympic sports where women compete equally with men.
The Competition
There are 6 Olympic Equestrian events that take place in a number of venues:
- Eventing, Team Competition
- Eventing, Individual Competition
- Dressage, Team Competition
- Dressage, Individual Competition
- Jumping, Team Competition
- Jumping, Individual Competition
All Olympic equestrian disciplines are governed by the rules of the Fédération Equestre Internationale (FEI).
Dressage
Dressage is the systematic training of a horse to carry a rider with ease and grace. Dressage competitions demonstrate the level of training a horse and rider team have attained. During the test, you will see the horse ridden at different paces and different speeds within those paces. The horses will be asked to fluidly move in straight lines and circles. The horses will also be asked to move smoothly and obediently sideways, diagonally and in place. You will see horses in 'collection' where the horse is moving with a higher elevation of back and legs, and 'extension' where the horse is reaching further with its legs while still carrying its neck and back in an elevated frame. Olympic level dressage competition highlights the most advanced and refined riding skills. It is often compared to ballet on horseback.
Dressage is the systematic training of a horse to carry a rider with ease and grace. Dressage competitions demonstrate the level of training a horse and rider team have attained. During the test, you will see the horse ridden at different paces and different speeds within those paces. The horses will be asked to fluidly move in straight lines and circles. The horses will also be asked to move smoothly and obediently sideways, diagonally and in place. You will see horses in 'collection' where the horse is moving with a higher elevation of back and legs, and 'extension' where the horse is reaching further with its legs while still carrying its neck and back in an elevated frame. Olympic level dressage competition highlights the most advanced and refined riding skills. It is often compared to ballet on horseback.
The first Olympic competition was in 1912 although the sport is centuries old. Olympic dressage is scored by 5 FEI judges; each sits in a different position around the arena. Scores are based on the accuracy and brilliance of each required movement of the assigned test and rated on a scale of 0 to 10.
Horses and riders at the Olympics compete at the highest level of dressage recognized by the FEI; Grand Prix. Kur or freestyle is a dressage test choreographed to music. The score is based on the accuracy of the movements and artistic impression. The highest score wins.
Show Jumping
Show jumping tests the ability of horse and rider to jump over a series of obstacles inside a riding ring. You will see horses and riders jumping over a preset course of 10 to 16 jumps that are up to 6ft 6in (2m)high or wide. Courses are designed with many tricky turns and colorful obstacles challenging both the mental and physical agility of horse and rider. The horse/rider teams must finish within a set time and penalties are given for knocking down rails and other faults.
Show jumping tests the ability of horse and rider to jump over a series of obstacles inside a riding ring. You will see horses and riders jumping over a preset course of 10 to 16 jumps that are up to 6ft 6in (2m)high or wide. Courses are designed with many tricky turns and colorful obstacles challenging both the mental and physical agility of horse and rider. The horse/rider teams must finish within a set time and penalties are given for knocking down rails and other faults.
Scores are based on the number of jumps knocked down, falls, touches, refusals to jump and time penalties. The rider with the fewest penalties wins. Ties are broken by jump-offs with penalties and fastest times used to break the tie. Riders inspect the course before riding to plan the best strategy for jumping these very challenging courses cleanly and quickly.
Three Day Eventing
Eventing is a test of the skill, versatility, courage, and endurance of horse and rider. Three-day eventing is held over three days and consists of three disciplines: cross country jumping, dressage and stadium jumping. The cross-country phase takes place over a course of natural and man-made objects. There can be up to 40 obstacles that horses must jump or go through over the course that is up to four miles long.
Eventing is a test of the skill, versatility, courage, and endurance of horse and rider. Three-day eventing is held over three days and consists of three disciplines: cross country jumping, dressage and stadium jumping. The cross-country phase takes place over a course of natural and man-made objects. There can be up to 40 obstacles that horses must jump or go through over the course that is up to four miles long.
Scores are based on refusals, coming in under or over a set time and falls of the rider.
Read more about Olympic Equestrian Rules and Scoring.
EQUIPMENT and VENUES
Dressage:
Olympic dressage is held in a flat 20 X 60-meter arena. The horses wear minimal tack usually black in color. At the Olympic level, bridles will be a curb bit with a bridoon (sometimes called a double bridle). A plain cavesson, flash, figure-eight or drop noseband may be used. Saddles will be dressage style with a straight flap and a white square saddle pad. No boots or wraps may be used.
The riders wear a shadbelly tail coat, yellow vest, top hat, white gloves, white breeches and black tall boots.
Horses will have their manes braided and may be banded with white tape. Tails may be braided but are usually left flowing to encourage natural tail carriage.
Three Day Eventing:
Rules for tack and clothing and arena for dressage and jumping are similar to these individual sports. The cross country course consists of jumps made of very solid natural type obstacles. During the cross country phase, riders will be seen wearing jerseys and helmet covers in their team colors, an ASTM/SEI helmet, gloves and body protector. Riders wear eventing watches with a large readout that allows them to keep track of their time and alert them when 'optimum time' has been reached.
Horse's tack will be similar to jumping, but boots are secured with tape and shoes may have studs for extra grip on tight corners. White colored 'leg grease' is also seen on some horse's front legs to help them slide over fences they may hit.
Olympic Show Jumping:
Olympic show jumping courses will be colorful with many technical twists and turns. Course designers will include spread jumps, verticals, and combinations. The spaces between obstacles will be set up so that riders must control the length of each stride to set up properly for the next jump.
Tack includes a forward seat saddle that allows support and security for riding over fences. At the Olympic level, white square saddle pads are used. There are few restrictions on the types of bridles, bits, and martingales. Some horses may wear hackamores and bitless bridles. Boots, wraps and other protective gear can be worn.
Riders must wear ASTM/SEI approved helmets, buff, tan or white breeches, and will most likely be seen wearing a team jacket.
Horses are well groomed. Tails may be braided and manes will be pulled and may be braided.
Gold, Silver, and Bronze
Each country may have a maximum of 3 riders competing for individual medals in the dressage competition. There may be 4 riders from each country in jumping and 5 in eventing competing for individual medals.
Showjumping placings are determined by the fewest knock-downs, penalties and fastest times if there is a jump-off. Dressage placings are determined by the highest scores with 100% being the ideal score.
Eventing medals are determined by the combined scores for all phases. In all cases, the combined scores of all team members are calculated to find the winning team in each event.
VALARI THE ANCIENT WEAPON IN TAMIL NADU
A valari (Tamil: வளரி) or valai thadi is a wooden throwing stick tipped with iron and this specific variant is used primarily by the Tamil people of the Indian subcontinent.[1] Valari is used for protecting cattle from predators, war and hunting. It was the favorite weapon of choice in a deer hunt. Tamil Nadu is strongly associated with this weapon. It is the predecessor of the wooden boomerang, which was used widely in India since the Upper Paleolithic, most notably in the Ganga Plains for hunting birds and small, mobile prey.
Construction
Like the hunting boomerang of the aboriginal Australians, the Tamilian valari were two types: returning and non-returning to the thrower. Valari is made in many shapes and sizes. History of Valari is rooted to ancient times and evidences can be found in Tamil Sangam literature "Purananuru". The usual form consists of two limbs set at an angle; one is thin and tapering while the other is rounded and is used as a handle. Valari is usually made of iron which is melted and poured into molds, although some may have wooden limbs tipped with iron. Alternatively, the limbs may have lethally sharpened edges; special daggers are known as kattari, double-edged and razor sharp, may be attached to some valari.
Use
The thrower holds the valari by one of its limbs and throws it. There are several ways of throwing and aiming. It is usually given a spin while throwing. While flying through the air, it can maneuver and execute several types of movements according to the throwers purpose. It may spin in the vertical axis, horizontal axis, or just fly without spinning. The spin may also vary in speed. A lethal throw is given a spin and aimed at the neck. A non-lethal throw is given a spin and aimed at the ankles or knees. This is to capture a fleeing victim. A simple hurting blow does not have any spin. It is sharp enough to cut through a person's neck during war .
JACK SPARROW INTRO
Captain Jack Sparrow is a fictional character in the Pirates of the Caribbean film series. The character created by screenwriters Ted Elliott and Terry Rossio, and is portrayed by Johnny Depp. The characterization of Sparrow is based on a combination of The Rolling Stones' guitarist Keith Richards and Looney Tunes cartoon character Pepé Le Pew. He first appears in the 2003 film Pirates of the Caribbean: The Curse of the Black Pearl. He later appears in the sequels Dead Man's Chest (2006), At World's End (2007), On Stranger Tides (2011), and Dead Men Tell No Tales (2017).
In the films, Sparrow is one of the nine pirate lords in the Brethren Court, the Pirate Lords of the Seven Seas. He can be treacherous and survives mostly by using wit and negotiation rather than by force, opting to flee most dangerous situations and to fight only when necessary. Sparrow is introduced seeking to regain his ship, the Black Pearl, from his mutinous first mate, Hector Barbossa. Later he attempts to escape his blood debt to the legendary Davy Jones while fighting the East India Trading Company.
The Pirates of the Caribbean series was inspired by the Disney theme park ride of the same name, and when the ride was revamped in 2006, the character of Captain Jack Sparrow was added to it. He headlined the Legend of Captain Jack Sparrow attraction at Disney's Hollywood Studios, and is the subject of spin-off novels, including a children's book series Pirates of the Caribbean: Jack Sparrow, which chronicles his teenage year
Kalaripayattu oldest form of martial arts
Kalaripayattu History
Existence of Martial arts in India for over 3000 years can be proved by the mention of martial arts in the Vedas. According to ancient folklore, Lord Vishnu’s disciple Parasurama who was an avatar of Lord Vishnu is believed to be the founder of martial arts in India. Kalaripayattu, which is the most popular amongst many martial arts practiced in India, is believed to have been founded by Parasurama. Kalaripayattu is probably the oldest form of martial arts in India. The word kalaripayattu is a combination of two words, namely, ‘kalari’ and ‘payattu’ which mean training ground and fight. Kalaripayattu is an ancient art form and is considered to be one of the oldest forms of martial art in Indian and across the world. During the peak of its popularity, kalaripayattu was used as a code of combat by the South Indian dynasties. Kalaripayattu reach its zenith during the hundred years of war between the Cholas, Pandyas and Cheras. The constant fighting between the princely states helped the fighters in refining the art into a martial art form.
Many martial arts in India have been forgotten due to neglect and lack of proper documentation of their existence but kalaripayattu has stood the test of time. During the 13th and 16th centuries, the art gained dominance and was incorporated into many religions as well. It was customary in Kerala to have all children above the age of seven to obtain training in kalaripayattu. Martial arts in India were considered as a code of life for many. However, during the British occupation, martial arts in India suffered major set backs. The ruling British objected to the tradition of training with and carrying arms. Laws were passed and were implemented with zest to prevent the people from practicing and training in kalaripayattu. These laws were put in place by the British to quell the chances of any form of mutiny or rebellion among the natives. But the British had underestimated the love of martial arts in India and kalaripayattu was secretly practiced and kept alive during the colonial occupation of India by the British. The art was practiced by people in rural areas to avoid an confrontation with the authorities. Thus, one of the main martial arts of India survived the dark times where curbs were imposed on its practices. On being declared independent, martial arts in India were in vogue again as they could now be practiced without hesitation. Lost glory of kalaripayattu was regained slowly and steadily. Many movements and postures in the art of kalaripayattu are believed to be inspired by the raw strength of animals and are also named after them. There is a strong belief that this art was developed in the forests when hunters had observed the fighting techniques of different animals.
Many martial arts in India have been forgotten due to neglect and lack of proper documentation of their existence but kalaripayattu has stood the test of time. During the 13th and 16th centuries, the art gained dominance and was incorporated into many religions as well. It was customary in Kerala to have all children above the age of seven to obtain training in kalaripayattu. Martial arts in India were considered as a code of life for many. However, during the British occupation, martial arts in India suffered major set backs. The ruling British objected to the tradition of training with and carrying arms. Laws were passed and were implemented with zest to prevent the people from practicing and training in kalaripayattu. These laws were put in place by the British to quell the chances of any form of mutiny or rebellion among the natives. But the British had underestimated the love of martial arts in India and kalaripayattu was secretly practiced and kept alive during the colonial occupation of India by the British. The art was practiced by people in rural areas to avoid an confrontation with the authorities. Thus, one of the main martial arts of India survived the dark times where curbs were imposed on its practices. On being declared independent, martial arts in India were in vogue again as they could now be practiced without hesitation. Lost glory of kalaripayattu was regained slowly and steadily. Many movements and postures in the art of kalaripayattu are believed to be inspired by the raw strength of animals and are also named after them. There is a strong belief that this art was developed in the forests when hunters had observed the fighting techniques of different animals.
Kalaripayattu means Practicing the arts of the battlefield. Kalari means battlefield. Kalaripayattu is sometimes in short called as Kalari. It is today more prevalent in the south Indian state of Kerala. This art is said to have had its origin with Rishi Agastya and Parashurama. Agastya is a great name in Ayurveda – the main Indian medical system. Parashurama is also said to have reclaimed the submerged Kerala from the Arabian Sea (Will write on this aspect of Kerala someday)
The oldest reference to this martial art is found in the Rigveda and Atharvaveda. In Rigveda it is mentioned that lord Indra defeated the daemon Vritasura using one of the marmam techniques of Kalari. Marmam are pressure points in the human body and experienced practitioners can disable or kill their opponents by a mere touch of the opponent’s Marmam. This technique is taught only to the promising and level headed persons, to prevent its misuse.
Today martial arts in India are back in focus. Kalaripayattu is now practiced widely across Kerala, fringes of Karnataka and Tamil Nadu and also in Sri Lanka. Kalaripayattu is also a source of living for many people in Kerala as performances are now conducted for tourists. Kalaripayattu has been stood the test of time unlike many other martial arts in India. Historically, kalaripayattu has proven to be one of the most ancient martial arts in India and is still being practiced by many in Southern India.
Shiva was said to have taught Parasurama, the art of Kalaripayattu, which arised itself out of Shiva's war with his Father-In-Law Daksha, one of the Prajapatis or 'Lords Of Creation'. Later, Parasurama taught his 21 disciples the art of Kalaripayattu, and then opened 108 Kalari (school's/gymnasiums) around the Kerala region, Southern Indian state.
There are no records that chronicle the historical origins of Kalaripayattu, only narrative accounts formatted as myth and legend. Most of these credit Kalari's origins to Lord Shiva, one of the three principle Gods of the Hindu pantheon. Shiva has many aspects, he is depicted as moral and paternal, also called, the Lord of Time(mahakala), the 'Destroyer' of all things. He is the Yogeshwara who dwells in Kailas, deep in the meditation that maintains this very existence.
The oldest reference to this martial art is found in the Rigveda and Atharvaveda. In Rigveda it is mentioned that lord Indra defeated the daemon Vritasura using one of the marmam techniques of Kalari. Marmam are pressure points in the human body and experienced practitioners can disable or kill their opponents by a mere touch of the opponent’s Marmam. This technique is taught only to the promising and level headed persons, to prevent its misuse.
Today martial arts in India are back in focus. Kalaripayattu is now practiced widely across Kerala, fringes of Karnataka and Tamil Nadu and also in Sri Lanka. Kalaripayattu is also a source of living for many people in Kerala as performances are now conducted for tourists. Kalaripayattu has been stood the test of time unlike many other martial arts in India. Historically, kalaripayattu has proven to be one of the most ancient martial arts in India and is still being practiced by many in Southern India.
Shiva was said to have taught Parasurama, the art of Kalaripayattu, which arised itself out of Shiva's war with his Father-In-Law Daksha, one of the Prajapatis or 'Lords Of Creation'. Later, Parasurama taught his 21 disciples the art of Kalaripayattu, and then opened 108 Kalari (school's/gymnasiums) around the Kerala region, Southern Indian state.
There are no records that chronicle the historical origins of Kalaripayattu, only narrative accounts formatted as myth and legend. Most of these credit Kalari's origins to Lord Shiva, one of the three principle Gods of the Hindu pantheon. Shiva has many aspects, he is depicted as moral and paternal, also called, the Lord of Time(mahakala), the 'Destroyer' of all things. He is the Yogeshwara who dwells in Kailas, deep in the meditation that maintains this very existence.
How other martial arts derived from Kalaripayattu
The ethnic Indian martial art of Kalari Payat (Kalaripayattu) - meaning 'Battleground' or 'Gymnasium' - (Kalari), 'Method' or 'Art' - (Payatt), has a special significance for practitioners of the Tibetan and Chinese martial arts.In tradition, the Shaolin Temple martial art of China was introduced by the Indian Buddhist Patriarch and founder of Ch'an' (Zen) Buddhism; Bodhidharma (450-523 AD).
Bodhidharma known in Chinese as 'Dat-Mo' was the 28th Patriarch in the dhyana (Sanskrit for meditation and hence Ch'an and Zen) Buddhist tradition of India.He had been invited to China by the Emperor Wu, an ardent Buddhist. Bodhidharma later retired to the Shaolin Temple, and according to legend instructed the Monks there in a series of exercises that went on to form the basis of Shaolin Temple 'boxing'. These exercises are recorded as martial arts techniques and forms from India, or, simply calisthenics, as identified in the 'I Chin Ching' or "Muscle Changing Classic". Extended wall paintings and murals at the Honan Shaolin Temple in North East China show ethnic Indian Monks sparring and training in boxing skills with Chinese Monks, supporting the view that Bodhidharma's exercises were in fact martial arts - the martial arts of his homeland - India. Ancient buddhist monks who travelled from India to China to spread buddhism are said to have taught these martial arts to the Chinese.
The very sparse written historical details that exist today, about Kalaripayattu, dates back to between the 9th and 12th centuries AD. Obviously, this is much too late for the arts origins given the teachings of Bodhidharma, and the long martial heritage of India, known to the Persian Empire (circa 6th Century BC) and the Hellenistic Empire of Alexander the Great (4th Century BC). It is however, well within the time frame for a transmission (along with Tantric Buddhism) to Tibet, and for the period of Ah-Dat-Tor Lama, founder of the Tibetan Lion's Roar Lama martial art (Circa 1426 AD) - see below.
Nevertheless, Bodhidharma, is remembered in the Kerala Region of Southern India - the Homeland of Kalari, as both a lineage Kalari Master, AND, as the Father of Han-Chinese Shaolin 'Kung-Fu'. Kalari Payat has many similarities with Chinese martial arts. There is a division into Northern and Southern styles. There is a separation of systems and techniques into 'external' and 'internal' categories. There is a medical tradition (in Kalari: Ayurveda), there is a vital point discipline (in Kalari: Marma-adi), there is a 'spiritual' aspect that covers both orthodox faiths such as Hinduism, Buddhism and Islam, and also, as in Chinese Kung-Fu a demonology and the use of alters. There is a strong weapons training tradition in Kalari, indeed in some systems the empty hand arts are secondary - as in some South-East Asian martial disciplines.Kalari has many distinct practices too, the use of massage to prepare the fighter for the rigors of training can last a period of several months. The 'Kalari' or Gymnasium - particularly in the Southern systems is constructed as a ritually dug pit of specific dimensions.
Kalaripayattu today, is still practiced in the same manner as it was hundreds and probably thousands of years ago, the rural traditions of India keeping its original practices very much alive and unaltered, in large contrast to much of Mainland Chinese Kung-Fu - which has undergone great change since the homogenization of the Cultural Revolution.
The very sparse written historical details that exist today, about Kalaripayattu, dates back to between the 9th and 12th centuries AD. Obviously, this is much too late for the arts origins given the teachings of Bodhidharma, and the long martial heritage of India, known to the Persian Empire (circa 6th Century BC) and the Hellenistic Empire of Alexander the Great (4th Century BC). It is however, well within the time frame for a transmission (along with Tantric Buddhism) to Tibet, and for the period of Ah-Dat-Tor Lama, founder of the Tibetan Lion's Roar Lama martial art (Circa 1426 AD) - see below.
Nevertheless, Bodhidharma, is remembered in the Kerala Region of Southern India - the Homeland of Kalari, as both a lineage Kalari Master, AND, as the Father of Han-Chinese Shaolin 'Kung-Fu'. Kalari Payat has many similarities with Chinese martial arts. There is a division into Northern and Southern styles. There is a separation of systems and techniques into 'external' and 'internal' categories. There is a medical tradition (in Kalari: Ayurveda), there is a vital point discipline (in Kalari: Marma-adi), there is a 'spiritual' aspect that covers both orthodox faiths such as Hinduism, Buddhism and Islam, and also, as in Chinese Kung-Fu a demonology and the use of alters. There is a strong weapons training tradition in Kalari, indeed in some systems the empty hand arts are secondary - as in some South-East Asian martial disciplines.Kalari has many distinct practices too, the use of massage to prepare the fighter for the rigors of training can last a period of several months. The 'Kalari' or Gymnasium - particularly in the Southern systems is constructed as a ritually dug pit of specific dimensions.
Kalaripayattu today, is still practiced in the same manner as it was hundreds and probably thousands of years ago, the rural traditions of India keeping its original practices very much alive and unaltered, in large contrast to much of Mainland Chinese Kung-Fu - which has undergone great change since the homogenization of the Cultural Revolution.
The Shaolin temple itself was founded by an Indian Dhyana master Buddhabhadra. On one of the walls of the Shaolin temple a fresco can be seen, showing south Indian monks, teaching the Chinese the art of bare-handed fighting. On this painting (see image below) are inscribed: Tenjiku Naranokaku which means: the fighting techniques to train the body (which come) from India.
Please note that Buddhism was born in India and then spread to rest of the world including China, Japan, Thailand, Srilanka, Burma, Cambodia, Indonesia etc.As a Chinese Ambassador to USA, Hu Shih once said India conquered and dominated China culturally for 20 centuries without ever having to send a single soldier across her border.. He was referring to the spread of Buddhism into China.
This author was astonished in 1982 to witness a British BBC television documentary entitled: "The Way Of The Warrior": 'Kalari, the Indian Way'. The opening film sequence was of a Southern Kalaripayattu Guru (Master) performing a traditional 'Form' that was near identical to a Tibetan Lion's Roar Lama Kung-Fu form that he had learned! This was despite a separation between the arts of many hundreds of miles and several hundreds of years. The connection was real, present and obvious.
An intriguing suggestion has been made by several prominent martial arts historians, notably Tatsuo Suzuki, Hirokazu Kanazawa, and Masutasu Oyama, that the Greek Martial Art of Pankration (all Powers) introduced into India by the army of Alexander the Great in the 4th Century BC, influenced the development of Kalari, and thence, the martial arts of China, Tibet, Japan, Okinawa and South-East-Asia. The Greeks remained in India and Afghanistan for three hundred years, during which time Greek (Hellenistic) culture pervaded that of India, even influencing China and Japan.
Today, mainly for reasons of national pride, many Chinese reject out of hand the possibility of any effect on Kung-Fu from Greek Pankration. The Japanese and Okinawan's, who openly acknowledge the influence of Kung-Fu on their arts are less reticent.
Please note that Buddhism was born in India and then spread to rest of the world including China, Japan, Thailand, Srilanka, Burma, Cambodia, Indonesia etc.As a Chinese Ambassador to USA, Hu Shih once said India conquered and dominated China culturally for 20 centuries without ever having to send a single soldier across her border.. He was referring to the spread of Buddhism into China.
This author was astonished in 1982 to witness a British BBC television documentary entitled: "The Way Of The Warrior": 'Kalari, the Indian Way'. The opening film sequence was of a Southern Kalaripayattu Guru (Master) performing a traditional 'Form' that was near identical to a Tibetan Lion's Roar Lama Kung-Fu form that he had learned! This was despite a separation between the arts of many hundreds of miles and several hundreds of years. The connection was real, present and obvious.
An intriguing suggestion has been made by several prominent martial arts historians, notably Tatsuo Suzuki, Hirokazu Kanazawa, and Masutasu Oyama, that the Greek Martial Art of Pankration (all Powers) introduced into India by the army of Alexander the Great in the 4th Century BC, influenced the development of Kalari, and thence, the martial arts of China, Tibet, Japan, Okinawa and South-East-Asia. The Greeks remained in India and Afghanistan for three hundred years, during which time Greek (Hellenistic) culture pervaded that of India, even influencing China and Japan.
Today, mainly for reasons of national pride, many Chinese reject out of hand the possibility of any effect on Kung-Fu from Greek Pankration. The Japanese and Okinawan's, who openly acknowledge the influence of Kung-Fu on their arts are less reticent.
Kalari and Tibetan Martial Arts:
The Tibetan Lion's Roar! Lama, Potala Palace Martial Art: the martial art of the Tibetan Nation and People; is a Tantric Yana in it's own right. The art becomes known to narrative history in the middle of the 15th century AD, when the Lama Ah-Dat-Tor, a Tantric Siddha (Crazy Wisdom Teacher), and student of Dharma Master Gong-Got Lama, at the Potala's famous: Namgyal or "Victorious" Monastery, 'created' the Lion's Roar! martial art through a Tantric meditative and Yiddam (Deity Meditation) process, making Lion's Roar Lama Potala Palace Kung-Fu, part of the Gelugpa or "Yellow Hat" school of Tibetan Buddhism, a part of the lineage sect of the Dalai Lama himself.This is as far as the oral narrative histories, can take us. However, broader anthropological research can offer the potential for further insight.The 'Potala': Early legends concerning the Red Mountain at Lhasa, tell of a sacred cave, considered to be the dwelling place of the Bodhisattva Chenrezig that was used as a meditation retreat by Emperor Songtsen Gampo in the seventh century AD. In 637 King Songtsen Gampo built a palace on the 'Red Hill/Mountain' at Lhasa. From as early as the eleventh century the Palace was called Potala. The name probably derives from Mt. Potala (Sanskrit: Potalaka - derived from the Tamil for 'Brilliance' or 'To Light a Fire') the mythological mountain abode of the Bodhisattva Chenrezig (Indian - 'Avilokiteshvara', Han- 'Kuan Yin') in the Kerala region of Southern India. The Potalaka is sacred to Hindu's, Jains and Buddhists. The Tibetan King Songtsen Gampo has been regarded as an incarnation of Chenrezig (as indeed were all the subsequent incarnations of the Dalai Lama). As he founded the Potala, it seems likely that the Mountain top Palace of Lhasa took on the name of the Indian sacred mountain.
Given this, and given that The Lion's Roar (as part of the Lotus Sutra) was originally a Theravada Arhat teaching, it seems likely that very early Bcuddhist influence (Theravadian) may well have entered into Tibet, and settled near to the Potala Mountain. The Lion's Roar! Tibetan martial art, is acknowledged to have been influenced by the Indian martial art of Kalaripyattu. Some narrative histories make direct claim that Ah-Dat-Tor was trained in Kalari, and, some martial arts forms from the 'Southern' style of Kalaripayattu, from the Kerala district, are very close indeed in technique and sequence to modern Lion's Roar forms, even without any evidence whatsoever of any recent historical contact between the systems. This fact was recorded in a BBC Television film documentary in 1981: "Kalari, the Indian way" which shows a Southern Kalari Master performing a martial arts form near identical to one found in a branch lineage from the Chan-Tat-Fu line of Tibetan Hap-Gar Kung-Fu. Given that the Sacred Mountain of Potala is in Southern India, a potential link to Southern Kalari martial arts is obviously evident (see above).
Given also that Gong-Got Lama (Dharma Master) was also a teacher of martial arts at the Potala to Ah-Dat-Tor Lama, it may well be that Southern Indian Kalaripayattu together with its sister art Simhanada Vajramukti, was already present at Lhasa, and taught on the Potala Red-Hill for many generations before 'Lion's Roar' as we know it (exclusively through Han Chinese lineages) was 'formulated' by Ah-Dat-Tor himself.
The transformation of the Arhat (Theravadian) tradition into the Mahayana Bodhisattva, may mirror the transformation of Indian Kalaripayattu into Tibetan Lion's Roar Lama 'Kung-Fu'. Named Arhat forms still exist in some extant Han 'Tibetan' Hop-Gar, Lama and White Crane Kung-Fu lineages, that all arise from the original Lion's Roar of Ah-Dat-Tor. Bodhisattva forms also exist, showing the mixture of traditions. Indeed some Tibetan lineages in Hop-Gar claim that their Tantra is from the Karmapa 'Black-Hat' tradition, which cannot be the case if Ah-Dat-Tor was a Monk at the Potala, unless, further influence occurred after Ah-Dat-Tor's time, which seems to be the case.
Nevertheless, Ah-Dat-Tor's art, as originated by him, or as 'ascribed to him', albeit arising from a Kalari root, has further diversified into many branches. To be authentically 'Tibetan' however, the Lion's Roar! Lama 'Kung-Fu' MUST be Tantric in form and practice, this is the essential root, and must be 'living' even in the Han-diversified or Westernized branches of the art.To be practiced as Tantra, TRUE Lion's Roar! Martial Arts will resemble Japanese 'Zen' martial systems, even more than they do Han Chinese, in respect of their integrated spiritual - Buddhist practices. Just as Karate-Do is the way of the 'Empty' (Zen) Hand, so too is Lion's Roar 'Tantra', in it's integrated body, mind, and spiritual form.
Buddhism has always changed to meet 'local' conditions, in host cultures: Tibet, Thailand, Japan, China, the West etc (e.g. 'Gnostic Buddhism'). Lion's Roar! as a Tantric martial art has also changed and evolved, but, as with Buddhism, and in particular, as with 'Tibetan' Buddhism, the art must have a Tantric core. Then, the Lion's Roar! will still Roar the Buddha's Dharma, and still be a vehicle for transformation and enlightenment, just as it was always intended to be.....
'Tibetan' Kung-Fu has been demonstrated to be related in religion to India thru Tantric Buddhism, and now thru actual research the physical connections in technique and form can be seen as still alive, and still flourishing in Kerala, Southern India, the 'homeland' of Kalari, which is perhaps the 'Mother Art' for both Tibetan and Han Chinese 'Kung-Fu'......
Given this, and given that The Lion's Roar (as part of the Lotus Sutra) was originally a Theravada Arhat teaching, it seems likely that very early Bcuddhist influence (Theravadian) may well have entered into Tibet, and settled near to the Potala Mountain. The Lion's Roar! Tibetan martial art, is acknowledged to have been influenced by the Indian martial art of Kalaripyattu. Some narrative histories make direct claim that Ah-Dat-Tor was trained in Kalari, and, some martial arts forms from the 'Southern' style of Kalaripayattu, from the Kerala district, are very close indeed in technique and sequence to modern Lion's Roar forms, even without any evidence whatsoever of any recent historical contact between the systems. This fact was recorded in a BBC Television film documentary in 1981: "Kalari, the Indian way" which shows a Southern Kalari Master performing a martial arts form near identical to one found in a branch lineage from the Chan-Tat-Fu line of Tibetan Hap-Gar Kung-Fu. Given that the Sacred Mountain of Potala is in Southern India, a potential link to Southern Kalari martial arts is obviously evident (see above).
Given also that Gong-Got Lama (Dharma Master) was also a teacher of martial arts at the Potala to Ah-Dat-Tor Lama, it may well be that Southern Indian Kalaripayattu together with its sister art Simhanada Vajramukti, was already present at Lhasa, and taught on the Potala Red-Hill for many generations before 'Lion's Roar' as we know it (exclusively through Han Chinese lineages) was 'formulated' by Ah-Dat-Tor himself.
The transformation of the Arhat (Theravadian) tradition into the Mahayana Bodhisattva, may mirror the transformation of Indian Kalaripayattu into Tibetan Lion's Roar Lama 'Kung-Fu'. Named Arhat forms still exist in some extant Han 'Tibetan' Hop-Gar, Lama and White Crane Kung-Fu lineages, that all arise from the original Lion's Roar of Ah-Dat-Tor. Bodhisattva forms also exist, showing the mixture of traditions. Indeed some Tibetan lineages in Hop-Gar claim that their Tantra is from the Karmapa 'Black-Hat' tradition, which cannot be the case if Ah-Dat-Tor was a Monk at the Potala, unless, further influence occurred after Ah-Dat-Tor's time, which seems to be the case.
Nevertheless, Ah-Dat-Tor's art, as originated by him, or as 'ascribed to him', albeit arising from a Kalari root, has further diversified into many branches. To be authentically 'Tibetan' however, the Lion's Roar! Lama 'Kung-Fu' MUST be Tantric in form and practice, this is the essential root, and must be 'living' even in the Han-diversified or Westernized branches of the art.To be practiced as Tantra, TRUE Lion's Roar! Martial Arts will resemble Japanese 'Zen' martial systems, even more than they do Han Chinese, in respect of their integrated spiritual - Buddhist practices. Just as Karate-Do is the way of the 'Empty' (Zen) Hand, so too is Lion's Roar 'Tantra', in it's integrated body, mind, and spiritual form.
Buddhism has always changed to meet 'local' conditions, in host cultures: Tibet, Thailand, Japan, China, the West etc (e.g. 'Gnostic Buddhism'). Lion's Roar! as a Tantric martial art has also changed and evolved, but, as with Buddhism, and in particular, as with 'Tibetan' Buddhism, the art must have a Tantric core. Then, the Lion's Roar! will still Roar the Buddha's Dharma, and still be a vehicle for transformation and enlightenment, just as it was always intended to be.....
'Tibetan' Kung-Fu has been demonstrated to be related in religion to India thru Tantric Buddhism, and now thru actual research the physical connections in technique and form can be seen as still alive, and still flourishing in Kerala, Southern India, the 'homeland' of Kalari, which is perhaps the 'Mother Art' for both Tibetan and Han Chinese 'Kung-Fu'......
THANKS
1.KALARI KENDRAM
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