Here are no known written
records about the origins of the martial art known as karate-do. It
is known however that it came to Okinawa from China. The origins of
this Chinese method of fighting is found in a discipline set by the
Indian monk Boddhidharma who is also known as Da Mo in Chinese and
Daruma Taishi in Japanese
south Indian Martial Arts
developed by kings 1)cheran 2)choolan 3)pandiyan they ruled South
India To South East asia Bali(gadaram),Cambodia so they developed
defense system to there force such a force called Selambam Kaliattam, Kuthuvarsi ,Chera king devaloped (kerala) Kalari pait (kalari vithai) Tamil meaning Kalari ( Poor )War, Pait (Pairu ,Pairchi) Practice
He is from
kanchipuram (Tamilnadu) south India the destination being the Shaolin
Temple. Boddhidharma was well versed in a martial art of South
India, rich in Yoga Sans or Yogic Postures that bring the union of
the body and the mind
Daruma-Taishi or Bodhidharma was an Indian monk born
the prince of a country in southern India(tamilnadu) in the mid-5th century.
Bodhidharma who is considered the 28th patriarch in the tradition of
Gautam- Buddha. He was surprised when he saw that the trainee monks
could not withstand the rigorous training necessary for his type of
Buddhism. It was therefore felt that in order for the monks to bear
the rigours of travel, they needed to not only have a healthy body
and mind, but also learn to defend themselves against wild creatures
as well as thieves and bandits. Boddhidarma's task was therefore to
shape them up. He sailed to China to tell everyone there about the
fundamental teachings of Buddhism.
However, when he met the Chinese Emperor Wu of the Liang Dynasty, who was reputed to be a devout Buddhist, he realized that the emperor was not committed to the true teachings. Parting away from him with his monks crossed the Yangtse River and went to the Shaolin Monastery,where Bodhidharma was refused admittance at first.
Daruma-Taishi or Bodhidharma set the method for the monks which is laid down in the Ekkin Sutra of the Dhamapada or the holy scriptures of Buddhism. By conjecture we understand that the martial arts of the Shaolin Monastery also spread with Buddhism along the silk route with the merchants of China, many of whom also learnt the art from the monks. Amongst the regions where Buddhism spread were the Ryukyu Islands, a group of Islands now called Okinawa which is off the coast of Japan and where Chinese influence through trade and culture was the greatest. Okinawa originally consisted of the small kingdoms of Chuzan, Nanzan & Hokuzan. Being unified by King Sho Hashi of Chuzan in 1429 a prohibitory order was issued. That was banning all Ryu Kyuans from possessing weapons. A similar order was also promulgated in 1609 by Shizuma of the Satsuma clan of Kageshima after they gained control of Okinawa. Therefore the only method of self defence was the method called To-te or Hand of Chinese, yet unknown to the mainland Japan and hence practised secretly. This martial art underwent a great development in the Ryukyu Islands or Okinawa especially the provinces of Shuri, Naha and Tomari. In Okinawa it became Okinawa-te. Upon coming to know about this art, the rulers from mainland Japan banned its practice.
However, when he met the Chinese Emperor Wu of the Liang Dynasty, who was reputed to be a devout Buddhist, he realized that the emperor was not committed to the true teachings. Parting away from him with his monks crossed the Yangtse River and went to the Shaolin Monastery,where Bodhidharma was refused admittance at first.
Daruma-Taishi or Bodhidharma set the method for the monks which is laid down in the Ekkin Sutra of the Dhamapada or the holy scriptures of Buddhism. By conjecture we understand that the martial arts of the Shaolin Monastery also spread with Buddhism along the silk route with the merchants of China, many of whom also learnt the art from the monks. Amongst the regions where Buddhism spread were the Ryukyu Islands, a group of Islands now called Okinawa which is off the coast of Japan and where Chinese influence through trade and culture was the greatest. Okinawa originally consisted of the small kingdoms of Chuzan, Nanzan & Hokuzan. Being unified by King Sho Hashi of Chuzan in 1429 a prohibitory order was issued. That was banning all Ryu Kyuans from possessing weapons. A similar order was also promulgated in 1609 by Shizuma of the Satsuma clan of Kageshima after they gained control of Okinawa. Therefore the only method of self defence was the method called To-te or Hand of Chinese, yet unknown to the mainland Japan and hence practised secretly. This martial art underwent a great development in the Ryukyu Islands or Okinawa especially the provinces of Shuri, Naha and Tomari. In Okinawa it became Okinawa-te. Upon coming to know about this art, the rulers from mainland Japan banned its practice.
It is because of these bans that the art acquired its
mystique and the legends of great karate warriors
were born. Since it could not be learned legally, there
were no Dojos nor any professional instructors. The only ones who
taught the art did so because of their interest in it and accepted a
few students in secret. There was therefore no emphasis on written
descriptions of techniques. The arts took on a local hue and came to
be known as Shuri-te, Naha-te and Tomari-te after the provinces.
History of Martial Arts in India
When we think of martial arts, we usually think of China or Japan. Only recently, people have discovered that martial arts had its roots in India “somewhere”. The location of the part of India martial arts came from still remains a mystery to many. Martial arts have been in existence on the Indian sub-continent for thousands of years practiced by ancient Tamils of Tamil Nadu, Tamil Eelam (Northeast Sri Lanka), Kerala, and the Southern portion of present day Andhra Pradesh. Long ago, animal fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron Ages. At the turn of the 6th century A.D., martial arts spread from Southern India to China by a Tamil prince turned monk named Daruma Bodhidarma. From China, martial arts have spread to Korea & Japan In the Tamil country, the earliest martial arts known were Varma Kalai (pressure point attacks – similar to Tai Chi or Dim Mak), Kuttu Varisai (hand to hand combat – similar to Kung Fu and Karate), Malyutham (wrestling), Silambam (staff and weapons fighting – similar to the Filipino arts of Arnis, Kali, and Escrima), and Adithada (kickboxing). Martial arts can also be seen in the classical dance of Bharatha Natayam. Through its rhythmic movements one can see a close resemblance to the stances, blocks, and strikes in martial arts. There is also a close affiliation to Yoga in the stretching and meditating exercises of almost every fighting art.(source :
Martial Arts Authority of India)
History of Martial Arts in India
When we think of martial arts, we usually think of China or Japan. Only recently, people have discovered that martial arts had its roots in India “somewhere”. The location of the part of India martial arts came from still remains a mystery to many. Martial arts have been in existence on the Indian sub-continent for thousands of years practiced by ancient Tamils of Tamil Nadu, Tamil Eelam (Northeast Sri Lanka), Kerala, and the Southern portion of present day Andhra Pradesh. Long ago, animal fighting styles were imitated by pre-historic man which was a system for survival. The first weapon used was the stick which was an extension of the arm. Various weapons were later invented during the Stone and Iron Ages. At the turn of the 6th century A.D., martial arts spread from Southern India to China by a Tamil prince turned monk named Daruma Bodhidarma. From China, martial arts have spread to Korea & Japan In the Tamil country, the earliest martial arts known were Varma Kalai (pressure point attacks – similar to Tai Chi or Dim Mak), Kuttu Varisai (hand to hand combat – similar to Kung Fu and Karate), Malyutham (wrestling), Silambam (staff and weapons fighting – similar to the Filipino arts of Arnis, Kali, and Escrima), and Adithada (kickboxing). Martial arts can also be seen in the classical dance of Bharatha Natayam. Through its rhythmic movements one can see a close resemblance to the stances, blocks, and strikes in martial arts. There is also a close affiliation to Yoga in the stretching and meditating exercises of almost every fighting art.(source :
Martial Arts Authority of India)
O-Sensei (Supreme Master)
Funakoshi Gichin often considered as the father of Modern Day Karate
was born into a Samurai Family on 10 th November 1868. He was very
weak as a child and to improve his health his father took him to
Azato Yasutsune a good friend who knew the martial arts. During
Funakoshi Sensei's childhood the art was banned and at first he was
Azato's only student. He trained under both Azato and Itosu who were
great warriors. Years later he also trained under a great many other
Senseis like Kiyuna Sensei, Niigaki Sensei, Toonno Sensei and a man
described by Funakoshi Sensei as the Greatest Karate Ka “Mastumura
Sensei”. With the martial art training Funakoshi Sensei's health
not only improved but he became a very adept martial artist. And by
the time he completed his education and became a teacher himself,
Funakoshi Sensei was appointed Chairman of Shobukai the Martial Arts
Association of Okinawa .
This is a picture of Master Gichin
Funakoshi's grave site.
The Tomb Stone reads:
KARATE NI SENTE NASHI
THERE IS NO FIRST ATTACK IN KARATE
The Tomb Stone reads:
KARATE NI SENTE NASHI
THERE IS NO FIRST ATTACK IN KARATE
Over the years exponents from both Shuri- Te and
Tomari-Te developed their own schools to the extent that one could
see conceptual differences from the art practised in the Naha
prefecture. The Shuri and Tomari schools keeping more to the
hard-line training methods became known as Shorin- Ryu. Not to be
outdone by their compatriots from Shuri and Tomari, the exponents
from Naha called their school - Shorei Ryu or the school of the
Enlightened Spirit.
Gichin Funakoshi was a school teacher, and in conjunction with Itosu and others had karate introduced to the Okinawan school system. In 1921Crown Prince Hirohito who was passing through Okinawa on his way to Europe.
Gichin Funakoshi was a school teacher, and in conjunction with Itosu and others had karate introduced to the Okinawan school system. In 1921Crown Prince Hirohito who was passing through Okinawa on his way to Europe.
The department of Education asked Funakoshi to give a
karate demonstration for the then Crown
Prince in the Great Hall of Shuri Castle to impress him with the rich
culture of Okinawa. On 6th March 1921, Funakoshi Sensei gave a
demonstration for the Crown Prince Hirohito.
As a result of the interest shown by the Crown Prince,
Funakoshi Sensei received invitations from various groups and the
Ministry of Education formally requested a karate demonstration. He
performed his art in Tokyo in 1922. This was at the first National
Athletic Exhibition in Tokyo. After the demonstration Funakoshi
Sensei was approached by members of the Sho family, direct
descendants of Shotai, the last king of Okinawa, and asked to extend
his visit, and Funakoshi Sensei agreed to stay a few weeks longer.
From Gigoro Kano Sensei, the founder of judo, came a Special request
for a Karate demonstration at the Ko Do Kan (judo headquarters) and
at this demonstrations Gima Sensei assisted Funakoshi Sensei!
This was a private demonstration for Kano Sensei and
selected members of the Ko Do Kan.
Kano Sensei was so impressed by the demonstrations that
he persuaded Funakoshi Sensei to stay in Tokyo and teach him the
basics of karate.
Kano Sensei gave him the necessary help to teach the
art of Karate officially for the first time in Japan, although
various masters like Chogun Miyagi (Goju Ryu) Kenwa Mabuni (Shito
Ryu) and other Okinawans were actively teaching karate in Japan prior
to this point.
The demonstrations and Kano Sensei's introductions to
influential Japanese, soon led to official requests for karate
instruction by the Society for Research in High School Physical
Education, universities and military academies.
In his early days in Tokyo, Japan, Funakoshi Sensei
stayed at a dormitory for Okinawan students living in a small room by
the entrance. He showed his humble natture by cleaning the place
while the students attended class during the day. Then he would
instruct them in Karate-do in the evening.
During this period (1920's-40's) what was to become known as Shotokan continued to be developed by Master Funakoshi and his senior students, especially his son,
During this period (1920's-40's) what was to become known as Shotokan continued to be developed by Master Funakoshi and his senior students, especially his son,
The demonstrations and Kano Sensei's introductions to
influential Japanese, soon led to official requests for karate
instruction by the Society for Research in High School Physical
Education, universities and military academies.
In his early days in Tokyo, Japan, Funakoshi Sensei
stayed at a dormitory for Okinawan students living in a small room by
the entrance. He showed his humble natture by cleaning the place
while the students attended class during the day. Then he would
instruct them in Karate-do in the evening.
During this period (1920's-40's) what was to become known as Shotokan continued to be developed by Master Funakoshi and his senior students, especially his son,
During this period (1920's-40's) what was to become known as Shotokan continued to be developed by Master Funakoshi and his senior students, especially his son,
Yoshitaka (1906-1945).
In order for karate to be accepted as a Japanese art
(and not an Okinawan import) certain changes were necessary. In 1929
one of these was to change the characters used to spell karate so
that the meaning became empty hand
rather
than Chinese hand
It was in Japan when Master Funakoshi was leading a students group doing research on karate at the Keio University when he proposed the change of name in order to make the art totally Japanese in nature. He proposed the name 'Dai Nippon Kempo Karate-do
rather
than Chinese hand
It was in Japan when Master Funakoshi was leading a students group doing research on karate at the Keio University when he proposed the change of name in order to make the art totally Japanese in nature. He proposed the name 'Dai Nippon Kempo Karate-do
Or Great Japan Fist Method Empty Hand Way .
In 1935 karate men from all over Japan formed a
committee to build a free-standing karate dojo. Construction of the
building in Zoshigaya. Toshima Ward, began in mid-1935, and was
completed in
the spring of 1936. Funakoshi Sensei, at the age of 68, bowed and
entered the world's first karate dojo in the spring of 1936. As a
tribute to him from karate students from all over Japan a plaque was
hung over the door inscribed with the characters for Shoto-kan.
Shoto
Kan literally , The Hall of Pine Waves .
Shoto was the pen name Funakoshi Sensei used in his
poetry,which means pine waves while Kan means Hall
This first dojo was completely destroyed in an American
bombing raid on Japan in 1945.
In the world today four major schools of karate-do
are prevalent, namely Shotokan, Wado-ryu, Guju Ryu and Shito Ryu..
The most popular style or school of karate in world
is Shotokan.
One such Purana, the Mallapurana is kept at the Oriental research Institute in Poona, India. It is written in the Devangari script and dates back to the year 1731 A.D. It describes many of the practises and traditions of the Vajramushti wrestlers in particular; some of which will be described in this article. It also mentions the Jyesthimalla’s or Jyesthi clan of fighters, who still carried on the practice of this art into recent times. The term Jyesthi translates as ‘the best’ and comes from the word Jyestha meaning most prominent or seniormost. The Jyesthimallas still inhabit the Gujarat region of India till this day – two renowned Jyesthimalla’s were Shri Sitaram and Laxminarayana Sagar, both pictured in this article.
This ancient Mallapurana text contains eighteen chapters, describing everything from the diet, training practices and stages of the fight in detail. From the syntax and spelling of certain words contained therein, there is evidence enough to suggest that it was copied in the 1700’s from another, even older source that may have dated back to even centuries earlier.
The word Mallapurana is a term derived from two words; Malla – meaning wrestler or fighter and Purana – denoting ‘ancient or old story’. Hence, Mallapurana, refers to the ancient works denoting the practices of fighters or wrestlers.
The Mallapurana describes the various types of exercises the
wrestlers would undertake to condition themselves for the fight. Among
these are:
Once the student has developed sufficient strength, flexibility and stamina, he is introduced to the Mallasthamba or wrestlers pole, where the power to grip, with both arms and legs is developed to a high degree. There are many ways in which the wrestler mounts, utilizes and dismounts this free-standing pillar. Alongside these main methods, practices such as swimming and running were also used to further prepare the fighter to train in actual wrestling techniques and eventually, competition.
The wrestling or fighting training was done in the Akhada, usually a circular or square area of some thirty feet across, filled with soft soil. The earth in the Akhada is kept soft by constant tilling and by the addition of various substances, such as ochre, buttermilk and oil. Water is usually sprinkled over the training area, about every third day.
A weapon similar to the Vajramushti, was also used in the ancient Greek and Roman world. It was used by boxers and Pancrationists, and was called the Cestus. It was a ring, usually made of bronze, worn around the knuckles, to add power to a blow. Many variations of this weapon have been described in both ancient Greek and Indian literature.The Vajramushti’s that were used in warfare had sharp spikes or blades extending from each end.
In training, the Vajramushti wrestlers are taught many ways to lock-up and immobilize the arm that holds the Vajramushti. These locks are applied with the arms, or legs and sometimes a combination of both. Various methods of striking and defending are also part of the mainstream training regimen. Takedowns, knees and elbows are also employed – although striking with the weapon to any target below the chest is considered an illegal technique.
Before leaving their family Akhada for the match, both fighters pray to their family Goddess, Limbaja. For this worship, a square altar is temporarly constructed in the middle of the wrestling pit, upon which a branch of the Neem tree is planted. To the east of this altar, a small platform is placed, upon which, the weapons of the wrestlers are placed.
After prayers and rituals are completed, the fighter is given the Vajramushti, which is tied to his right hand. Upon leaving their family’s place of training, the wrestlers make their way to the public areana, where they enter in a zig- zagging, jumping fashion.
The object of the match was to bring the other fighter to the point of submission; either by blows or a locking up of the Vajramushti-wielding arm. It is a limited-rules engagement, where knees, kicks and strikes are all legal techniques to be used in conjunction with grappling techniques .
Both fighters receive payment after the match, with the winner receiving double the amount of his defeated opponent. If the match was a draw, and neither fighter was submitted, then the prize was shared.
It is interesting to note that the Jyesthimalla’s have been referred to in ancient literature, as far back as the 12th and 13th centuries. They have always had the distinction of being Ayudhajivi Brahmanas, that is Brahmins (the priest caste) living on arms.
The Jyesthi’s living in the 16th century were renowned athletes, and thought of as being synonomous with fighting. In fact, to this day, there is an expression in the state of Gujarat, ‘the Jyesthimallas are fighting’, and it is used to describe any serious duel between two combatants.
The Jyesthi’s have had a long tradition of working as bodyguards to marriage parties, and have been patronised by kings, princes and rulers for many centuries.
In the early 19th century, the Jyesthimallas were sponsored by the Gaekwads, and so, many were invited to Baroda from Dalmal and Hyderabad. Those that came from the Hyderabad continued to maintain their family’s fighting tradition right up until modern day; but sadly, by the late 1980’s there were only several surviving practitioners of this ancient art still living in Baroda. Even then, it was an art on the verge of extinction.
But it has not always been this way. To put things in context; only twenty years ago, nobody outside of Brazil had heard of Brazilian Jiu Jitsu or Vale Tudo. Forty years ago, the term ‘Kickboxing’ hadn’t even been coined yet. Sixty years ago, no-one had ever heard the words ‘Karate’ or ‘Kung Fu’ outside of the Orient. In other words, our history of professional mixed martial arts is a very short one indeed; some would say, even non-existent.
It is worth the effort, at least in my opinion, to peer back into time, and examine arts such as those practised by the Vajramushti fighters, and marvel at the sheer wonder and history of it all. Over centuries, such arts were developed, who knows to what amazing degree; for no video cameras existed and no cable television networks were there to broadcast the struggles of these time-forgotten athletes.
It takes several decades, and the work of many, to develop an art to the point where it’s level of effectiveness outweighs it’s theoretical musings – but sadly, with the passing of only one generation it can all be forgotten as if it had never existed at all. The world is growing smaller; history and legends fade by the minute – but if we pay attention and keep our hearts open, much can still be preserved.
- John B Will
The Ancient Vale Tudo of India: Vajramushti
by John Will
Prior to his training
in Brazil in the late 80’s, author and Brazilian Jiu Jitsu Black Belt,
John Will, travelled to and trained in some of the most exotic places in
Asia and the sub-continent.
It was
during those travels, that he sought out and trained with the notorious
Jyesthimalla clan in the desert state of Gujarat in India.
The
beginning of the no-rules Vajramushti match – complete with
ivory-carved knuckledusters worn on the right hand of each combatant.
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Training
The Jyesthimallas are the keepers of this ancient and formidable art; an art in which a knuckleduster is tied onto the wrestlers right hand and used in ways that would make the hardest UFC veteran, wince in disbelief. This art form is by no means, a modern day adaption of the wrestling and striking arts; it has a history, a lineage and traditions that take us back to the middle ages and possibly beyond.
Vajramushti
wrestling techniques included working from the bottom position – in
recent times, Brazilian Jiu Jitsu has brought similar strategies into
mainstream focus.
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The Mallapuranas
Indian culture has produced a plethora of Puranas, (ancient texts), ranging from writings on ancient ayurvedic medicine, classical architecture, from warfare to lovemaking – and these collections of ancient wisdom have been written, re-written and handed down from generation to generation till modern day.One such Purana, the Mallapurana is kept at the Oriental research Institute in Poona, India. It is written in the Devangari script and dates back to the year 1731 A.D. It describes many of the practises and traditions of the Vajramushti wrestlers in particular; some of which will be described in this article. It also mentions the Jyesthimalla’s or Jyesthi clan of fighters, who still carried on the practice of this art into recent times. The term Jyesthi translates as ‘the best’ and comes from the word Jyestha meaning most prominent or seniormost. The Jyesthimallas still inhabit the Gujarat region of India till this day – two renowned Jyesthimalla’s were Shri Sitaram and Laxminarayana Sagar, both pictured in this article.
This ancient Mallapurana text contains eighteen chapters, describing everything from the diet, training practices and stages of the fight in detail. From the syntax and spelling of certain words contained therein, there is evidence enough to suggest that it was copied in the 1700’s from another, even older source that may have dated back to even centuries earlier.
The word Mallapurana is a term derived from two words; Malla – meaning wrestler or fighter and Purana – denoting ‘ancient or old story’. Hence, Mallapurana, refers to the ancient works denoting the practices of fighters or wrestlers.
The
victor has won the match by locking up his opponents weapon arm – note
that the lock applied in this case is almost identical to the ‘Omoplata’
of modern day brazilian Jiu Jitsu.
|
- The Rangasrama – refers to the actual wrestling and wrestling techniques. These include all manner of grappling techniques, such as takedowns, fighting from the bottom, fighting from the top, and striking techniques.
- The Sthambhasrama - the set of exercises performed on a standing upright pole called a Sthamba. There are many kinds of Sthamba, although the most common is an upright pole, some eight to ten inches in diameter, planted into the ground. The wrestler performs various complex callisthenics on it to develop arm, leg and upper-body strength and stamina.
- The Gonitaka – this refers to the training done with a large stone ring. This weight is lifted and swung in various ways, even worn around the neck to develop neck, back and leg strength.
- The Pramada – is the set of exercises performed with the use of the Indian clubs – the Gada. These tools are still used by many Indian wrestling Akhada (wrestling schools) today.
- The Kundakavartana – refers to the callisthenics performed without the use of equipment; tumbling, various styles of push-ups, squats, etc that are used to develop overall strength and stamina.
- The Uhapohasrama – refers to the discussion of tactics and strategies and is considered an important part of the fighters training regime.
Once the student has developed sufficient strength, flexibility and stamina, he is introduced to the Mallasthamba or wrestlers pole, where the power to grip, with both arms and legs is developed to a high degree. There are many ways in which the wrestler mounts, utilizes and dismounts this free-standing pillar. Alongside these main methods, practices such as swimming and running were also used to further prepare the fighter to train in actual wrestling techniques and eventually, competition.
The wrestling or fighting training was done in the Akhada, usually a circular or square area of some thirty feet across, filled with soft soil. The earth in the Akhada is kept soft by constant tilling and by the addition of various substances, such as ochre, buttermilk and oil. Water is usually sprinkled over the training area, about every third day.
Here
are some examples of the various Vajramushti – the two smaller weapons
are used for the sporting aspect, whilst the larger, complete with
spiked ends, were used in warfare.
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The Vajramushti
In this fierce style of wrestling, the combatants wear the Ayudha or Vajramusti on their right hand. This weapon, commonly known today as the knuckleduster, is usually made out of buffalo horn or ivory. It has several small holes along it’s length, so that it may be tied onto the hand with thread, so as not to become dislodged during the fight.A weapon similar to the Vajramushti, was also used in the ancient Greek and Roman world. It was used by boxers and Pancrationists, and was called the Cestus. It was a ring, usually made of bronze, worn around the knuckles, to add power to a blow. Many variations of this weapon have been described in both ancient Greek and Indian literature.The Vajramushti’s that were used in warfare had sharp spikes or blades extending from each end.
In training, the Vajramushti wrestlers are taught many ways to lock-up and immobilize the arm that holds the Vajramushti. These locks are applied with the arms, or legs and sometimes a combination of both. Various methods of striking and defending are also part of the mainstream training regimen. Takedowns, knees and elbows are also employed – although striking with the weapon to any target below the chest is considered an illegal technique.
The author in the mid 1980’s,alongside renowned Jyesthimalla wrestler, Shri Sitaram, wearing the Vajramushti.
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The Vajramushti Match
On the day of the match, the combatants heads are shaved clean, except for a small tuft of hair on the crown of the head. Several Neem leaves are tied to this tuft of hair as a good luck omen. The wrestlers body is then rubbed down with red ochre, which is supposedly mean’t to keep the body cool during the fight.Before leaving their family Akhada for the match, both fighters pray to their family Goddess, Limbaja. For this worship, a square altar is temporarly constructed in the middle of the wrestling pit, upon which a branch of the Neem tree is planted. To the east of this altar, a small platform is placed, upon which, the weapons of the wrestlers are placed.
After prayers and rituals are completed, the fighter is given the Vajramushti, which is tied to his right hand. Upon leaving their family’s place of training, the wrestlers make their way to the public areana, where they enter in a zig- zagging, jumping fashion.
The object of the match was to bring the other fighter to the point of submission; either by blows or a locking up of the Vajramushti-wielding arm. It is a limited-rules engagement, where knees, kicks and strikes are all legal techniques to be used in conjunction with grappling techniques .
Both fighters receive payment after the match, with the winner receiving double the amount of his defeated opponent. If the match was a draw, and neither fighter was submitted, then the prize was shared.
The author with another Vajramushti wrestler, just prior to a training session in a renowned Jyesthimalla Akhada.
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The Jyethimallas
The Jyesthimalla’s are now found in the Indian states of Gujarat, Mysore, Hyderabad and Rajasthan. In Baroda, the capital of Gujarat, several of the better known Jyesthimalla’s have kept training Akhada’s right up to present day. The Jyesthi’s are a sub-caste of the Modha Brahmins, and as such worship the Indian deity, Krishna.It is interesting to note that the Jyesthimalla’s have been referred to in ancient literature, as far back as the 12th and 13th centuries. They have always had the distinction of being Ayudhajivi Brahmanas, that is Brahmins (the priest caste) living on arms.
The Jyesthi’s living in the 16th century were renowned athletes, and thought of as being synonomous with fighting. In fact, to this day, there is an expression in the state of Gujarat, ‘the Jyesthimallas are fighting’, and it is used to describe any serious duel between two combatants.
The Jyesthi’s have had a long tradition of working as bodyguards to marriage parties, and have been patronised by kings, princes and rulers for many centuries.
In the early 19th century, the Jyesthimallas were sponsored by the Gaekwads, and so, many were invited to Baroda from Dalmal and Hyderabad. Those that came from the Hyderabad continued to maintain their family’s fighting tradition right up until modern day; but sadly, by the late 1980’s there were only several surviving practitioners of this ancient art still living in Baroda. Even then, it was an art on the verge of extinction.
The 1st page of the Mallapurana text preserved at the Oriental Research Institute in Poona.
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Conclusion:
In this the 21st century, we see ourselves at the very pinnacle of evolution in as far as the combative arts go. And this may well be the case – due not to the effort of any single individual, but rather to the advent of the information explosion. We simply have more information at our fingertips today, than we have ever had in the history of mankind. Via the internet and cable television, any 15 year old can keep abreast of what is happening at any given moment. The magazine racks are crammed with publications to cater for every taste. Martial arts schools flourish on every corner.But it has not always been this way. To put things in context; only twenty years ago, nobody outside of Brazil had heard of Brazilian Jiu Jitsu or Vale Tudo. Forty years ago, the term ‘Kickboxing’ hadn’t even been coined yet. Sixty years ago, no-one had ever heard the words ‘Karate’ or ‘Kung Fu’ outside of the Orient. In other words, our history of professional mixed martial arts is a very short one indeed; some would say, even non-existent.
It is worth the effort, at least in my opinion, to peer back into time, and examine arts such as those practised by the Vajramushti fighters, and marvel at the sheer wonder and history of it all. Over centuries, such arts were developed, who knows to what amazing degree; for no video cameras existed and no cable television networks were there to broadcast the struggles of these time-forgotten athletes.
It takes several decades, and the work of many, to develop an art to the point where it’s level of effectiveness outweighs it’s theoretical musings – but sadly, with the passing of only one generation it can all be forgotten as if it had never existed at all. The world is growing smaller; history and legends fade by the minute – but if we pay attention and keep our hearts open, much can still be preserved.
- John B Will
source:grapplearts
