Originally, there are two styles of Kalaripayat: Vadakkan from the North and Thekkan, from the South.

A third one, more recent, originating from the two previous ones, Madhya Keralam, comes from the centre of Kerala.

Each of these styles has derivatives.

Let’s talk about the Northern style, Vadakkan, whose three main derivative styles are Arrapukayan or Tulu (a very well-preserved self-defense system thanks to the use of martial techniques), Pillatani and Vattentiruppu. The Vadakkan Vallapatu style as well as the Odimuceri style or even the Draunampali style are also practised.

Arrapukayan is itself divided into two branches: kalluyartippayattu, in which the fighter often resorts to leg-throwing with great accuracy and confidence, and kaikuttippayatu, which requires getting a great deal of supports from his hands which have to rest firmly on the floor.

Master Shyne Tharappel Thankappan teaches Vadakkan Arrapukayan Kalluyarti. This style comes from the teaching of Gurukkal C.V. Narayan Nayar, which he learnt thanks to his master E.P. Vaduseva Gurukkal. The latter still teaches nowadays and Master Shyne Tharappel Thankappan represents him in France.

Kalari, a place for handing down knowledge:

There are different types of Kalari (school, temple).

First of all let’s mention the ancient kuzhi kalari located in the basement, kept for members of the high castes, who only tolerated thara kalari without walls for lower castes in order to be able to control its teaching. They were both 42 feet long and pointed East-West. There are also 52-feet long kalaris pointed North-South, the anka kalari or nedum kalari, but also pratista kalari, dedicated to gods, and kurum  kalari,  small rooms designed for the practise of one person.

Today, a kalari is usually 42 feet long  (based on the size of the master’s feet), 21 feet wide, 7 khol and a half high (1 kohl = 3 fists with relaxed thumb) and 5 feet deep.

The entrance is eastwards. In the South-West corner called kannimula, you can find the poothara. This altar connected to the wall comprises seven degrees which represent the saptadhadukal, the seven constitutive elements of the body (or corporeal existence) –chyle, blood, air, bones, spinal cord, seminal liquid, grease –the heart of the kalari (koomb) is represented at the top.

On the right hand side of the puthara, there is an altar dedicated to the descendants of kalaripayattu masters. On the right hand site again, there is the Ganapathi’s altar.
In the opposite corner, North-East, an altar is dedicated to Vettakruvan, one of Shiva’s sons.

The kalari has got eight symbolic protectors located at each end of the medians and diagonals of the room, astadhikpalaganmar.

On both sides of the entrance, there are two other kalaripalaganmar, or kalari keepers.

The center of kalari is dedicated to Brahma.

Kalari is the body, students are the soul. But without students, Kalari is nothing but  remains.

One enters the Kalari with the right foot. Then one touches the ground with the right hand. The puthara is headed for and honoured by touching it with the right hand and raising one’s hand to the forehead and the heart. One also waves at the guruthara, Ganthara, and finally at the master (Gurrukkal or Ashan) if he’s here.

From then on, the training can start: