Silambam
Silambam (Tamil: ல ப ) is a weapon-based martial art of
India, more specifically from Tamilakam (now Tamil Nadu region)
Silambam- ல ப
in the Indian subcontinent, where it originated around 1000
BCE,[1] This ancient fighting style is mentioned in Tamil Sangam
literature 400 BCE.[2]
Contents
Origins
Weapons
Training
World Initiatives Focus Weapons
In Tamil Films Country of origin Tamil Nadu ( India)
List of films featuring the martial art form Silambam
See also Creator traditionally Agastya
References Olympic sport No
Origins
Oral folklore traces Silambam back several thousand years to the
siddhar (enlightened sage) Agastya. While on his way to
Vellimalai, Agastya discussed Hindu philosophy with an old man
he met, said to be the god Murugan in disguise. The old man
taught him of kundalini yoga and how to focus prana through the
body's nadi (channels). Agastya practiced this method of
meditation and eventually compiled three texts on palm leaves
based on the god's teachings. One of these texts was the Kampu
Sutra (Staff Classic) which was said to record advanced fighting Weapons used in Silambam
theories in verse. These poems and the art they described were
allegedly passed on to other Siddha of the Agastmuni akhara
(Agastya school) and eventually formed the basis of Silambam, siddha medicine, and the southern style of kalaripayat.
References in the Silappadikkaram and other works of Sangam literature shows that silambam has been practiced as far back as
the 4th century BC.[3] The bamboo staff - along with swords, pearls and armor - was in great demand with foreign traders,[4][5]
particularly those from Southeast Asia where silambam greatly influenced many fighting systems. The Indian community of the
Malay Peninsula is known to have practiced silambam as far back as the period of Melaka's founding in the 15th century, and
likely much earlier.
The soldiers of Kings Puli Thevar, Dheeran Chinnamalai had Silambam army named "thadii pattalam", Veerapandiya
Kattabomman and Maruthu Pandiyar (1760–1799) relied mainly on their Silambam prowess in their warfare against the British
Army.[4] 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. During this time,
Silambam became more common in Southeast Asia than its native India where it was banned by the British rulers.[6] The ban was
lifted after India achieved independence. Today, Silambam is the most famous and widely practiced Indian martial art in Malaysia
where demonstrations are held for cultural shows.
Weapons
Silambam's main focus is on the bamboo staff. The length of the staff depends
on the height of the practitioner. Ideally, it should just touch the forehead about
three fingers from the head, typically measuring around 1.68 metres (five and a
half feet). Different lengths may be used depending on the situation. For
instance, the sedikuchi or 3-foot stick can be easily concealed. Separate practice
is needed for staffs of different lengths. Listed below are some of the weapons
Maru, Weapon used in Silambam
used in Silambam.
Silambam: staff, preferably made from bamboo, but sometimes also
from teak or Indian rose chestnut wood. The staff is immersed in water and strengthened by beating it on the
surface of still or running water. It is often tipped with metal rings to prevent the ends from being damaged.
Maru: a thrusting weapon made from deer horns
Aruval: sickle, often paired
Panthukol: staff with balls of fire or weighted chains on each end
Savuku: whip
Vaal: sword, generally curved
Kuttu katai: spiked knuckleduster
Katti: knife
Kattari: native push-dagger with a H-shaped handle. Some are capable of piercing armor. The blade may be
straight or wavy.
Surul kaththi: flexible sword
Sedikuchi: cudgel or short stick, often wielded as a pair.
Training
The first stages of Silambam practice are meant to provide a foundation for fighting and to condition the body for the training
itself. This includes improving flexibility, agility, hand-eye coordination, kinesthetic awareness, balance, strength, speed,
muscular endurance, and cardiovascular stamina.[7][8]
Beginners are first 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. Traditionally, the masters first teach kaaladi for a long time before
proceeding to unarmed combat. Training empty-handed 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. In Silambam, kaaladi is the key to
deriving power for attacks. It teaches how to advance and retreat, to get within range of the opponent without lowering one's
defence, aids in hitting and blocking, and it strengthens the body immensely enabling the fighter to receive non-lethal blows and
still continue the battle. The whole body is used to create power.
In the main stance, the staff is held at one end, right hand close to the back, left hand about 40 centimetres (16 inches) away. This
position allows a wide array of stick and body movements, including complex attacks and blocks. 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 the 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, Silambam 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 art. The blow gets
speed from the wrist and power from the body through kaaladi. 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
Kattari 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, 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 hold 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 of Silambam will be familiar with varma adi or marma adi (pressure points) and know 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 slide the 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".
Traditional masters still encourage students to live a "pure" life through daily meditation and abstaining from drinking, smoking,
and meat consumption. Students who have completed the training syllabus by learning every form are considered qualified to
teach. The time it takes to complete differs from one style to another. For example, the nillaikalakki style requires around seven
years of training while other styles may have no articulated syllabus.
World Initiatives
Silambam name has made its historical first time appearance in the world eyes as the committee of United Nations Assembly
recommends Silambam Asia for United Nations status for representing Asia Continent. Occasion held at the United Nations
Headquarters in New York, United States on January 21, 2019 whereby China-Taipei government representatives arised border
conflicts in ancient recording pertaining Silambam and requesting organisation of Silambam Asia to resolve prior to internal
committee clearance request. On January 30, 2019 concluded substantive work as the Committee recommended Silambam Asia
for Special Status in the United Nations.[9]
In Tamil Films
In quite a number of his movies in 1950s and 1960s, M.G.Ramachandran (MGR) had incorporated silambam fighting scenes, to
popularize this ancient martial arts in the 20th century. MGR himself was an exponent on silambam fighting. Some of these
movies include Thaikkupin Tharam, Periya Idathu Penn, Mugaraasi and Thanipiravi.
List of films featuring the martial art form Silambam
List of Silambam films
Year Film Language(s) Lead actor(s) / Performer(s)
1956 Thaikkupin Tharam Tamil M. G. Ramachandran
1962 Thayai Katha Thanayan Tamil M. G. Ramachandran
1963 Periya Idathu Penn Tamil M. G. Ramachandran
1964 Padagotti Tamil M. G. Ramachandran
1966 Mugaraasi Tamil M. G. Ramachandran
1966 Thanipiravi Tamil M. G. Ramachandran
1970 Maattukara Velan Tamil M. G. Ramachandran
1971 Rickshawkaran Tamil M. G. Ramachandran
1976 Uzhaikkum Karangal Tamil M. G. Ramachandran
1978 Thai Meethu Sathiyam Tamil Rajinikanth
1980 Murattu Kaalai Tamil Rajinikanth
1982 Thooral Ninnu Pochchu Tamil K. Bhagyaraj
1983 Mundhanai Mudichu Tamil K. Bhagyaraj
1989 Karagattakaran Tamil Ramarajan
1992 Thevar Magan Tamil Kamal Haasan
1994 Periya Marudhu Tamil Vijayakanth
1995 Villadhi Villain Tamil Sathyaraj
1996 Amman Kovil Vaasalile Tamil Ramarajan
2008 Silambattam Tamil Silambarasan
2010 Vamsam Tamil Kishore
2011 7aum Arivu Tamil Suriya
2015 Baahubali: The Beginning Tamil, Telugu Prabhas
2018 Seema Raja Tamil Samantha Akkineni
See also
Angampora Bataireacht
Banshay Bōjutsu
Gatka Silambam
Jūkendō Silambam Asia
Kalaripayattu Tahtib
Kendo Thang-ta
Kenjutsu Varma kalai
Krabi–krabong World Silambam Association
Kuttu Varisai Silat
Mardani khel Kbachkun boraan
References
1. "This Man Quit His Studies to Revive the 3000-Year-Old Sport of Silambam in Pune!" (https://www.thebetterindia.
com/118164/silambam-pune-ancient-sport/). The Better India. 2017-10-12. Retrieved 2019-02-12.
2. Raj, J. David Manuel (1977). The Origin and the Historical Developlment of Silambam Fencing: An Ancient Self-
Defence Sport of India. Oregon: College of Health, Physical Education and Recreation, Univ. of Oregon. pp. 44,
50, 83.
3. Balambal, V. (1998). Studies in the History of the Sangam Age. New Delhi: Kalinga Publications. p. 6. ISBN 978-
8185163871.
4. Raj, J. David Manuel (1977). The Origin and the Historical Development of Silambam Fencing: An Ancient Self-
Defence Sport of India. Oregon: College of Health, Physical Education and Recreation, Univ. of Oregon. pp. 44,
50, & 83.
5. Sports Authority of India (1987). Indigenous Games and Martial Arts of India. New Delhi: Sports Authority of
India. pp. 91 & 94.
6. Crego, Robert (2003). Sports and Games of the 18th and 19th Centuries pg 32. Greenwood Press
7. Guruji Murugan, Chillayah (20 October 2012). "Silambam health and physical benefits" (http://silambam.asia/sila
mbam-benefits.html). Silambam. Retrieved 31 May 2013.
8. Ministry of Education (1956). National Plan of Physical Education and Recreation Publication No.237. New Delhi:
Government of India, Ministry of Education.
9. "United Nations grant Special Status for Silambam Asia" (https://www.un.org/press/en/2019/ecosoc6961.doc.ht
m). un.org. United Nations Meetings Coverage & Press Releases. Retrieved 30 January 2019.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Silambam&oldid=910481829"
This page was last edited on 12 August 2019, at 11:18 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using
this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
Foundation, Inc., a non-profit organization.
