Η απόλυτη δίαιτα. Διατροφικό πρόγραμμα για την άμεση απώλεια λίπους κυρίως από την μέση.

ΗΜΕΡΗΣΙΟ ΠΡΟΓΡΑΜΜΑ ΔΙΑΤΡΟΦΗΣ
7:30 – 8:00	ΠΡΩΙΝΟ
10:00	ΔΕΚΑΤΙΑΝΟ (Snack)
13:00	ΜΕΣΗΜΕΡΙΑΝΟ
15:00	Smoothie
18:00	Snack
20:00 – 21:00	ΒΡΑΔΥΝΟ
22:00 – 23:00 (προαιρετικά)	ΑΠΟΔΕΙΠΝΟ
[κ.σ = κουταλάκι της σούπας κ.γ. = κουταλάκι γλυκού]
Εφαρμογή των παρακάτω γευμάτων αυτούσια ή σαν συνδυασμός των ποσοτήτων των τροφών που περιγράφονται και είναι πλούσια σε ενέργεια και με μεγάλη διατροφική αξία.
Εναλλακτικά οι τροφές μπορούν να αντικατασταθούν με άλλες ίσης θερμιδικής και διατροφικής αξίας χωρίς επιπλέον λίπος και χωρίς ζάχαρη και σε καμία περίπτωση με επεξεργασμένες τροφές.
ΠΡΩΙΝΟ ( 7:30 – 8:00 )
Ένα από τα παρακάτω πρωινά:
● 2 κ.σ ταχίνι, 2 μικρές φέτες ολικής άλεσης, 2 φέτες μπέικον
● 50gr δημητριακών χωρίς ζάχαρη, 10 αμύγδαλα και 200ml άπαχο γάλα
● 50gr δημητριακών χωρίς ζάχαρη, 250ml άπαχο γάλα, 3 μικρά λουκάνικα γαλοπούλας και 1 πορτοκάλι
● 1 φέτα μικρή ολικής άλεσης, 1 κ.σ. ταχίνι ή φυστικοβούτυρο χωρίς ζάχαρη, 40 gr δημητριακών χωρίς ζάχαρη 120ml άπαχο γάλα και ένα μικρό πορτοκάλι
● 1-2 αυγά, 2 μικρές φέτες ολικής άλεσης, 1 μπανάνα και 250ml άπαχο γάλα
● 250gr smoothie
ΔΕΚΑΤΙΑΝΟ-Snack ( 10:00 )
Δύο από τα παρακάτω προϊόντα (ένα από την κατηγορία 1 και το άλλο από την κατηγορία 2)
ΚΑΤΗΓΟΡΙΑ 1	2 κ.γ. ταχίνι, 30gr αμύγδαλα, 3 λεπτές φέτες αλλαντικού με λίγα λιπαρά, 220gr γιαούρτι με λίγα λιπαρά, 240ml άπαχο γάλα, 2 φέτες τυρί με λίγα λιπαρά, 30gr σταφίδες
ΚΑΤΗΓΟΡΙΑ 2	Ωμά λαχανικά, 170gr μούρα, 120gr πεπόνι, 1 μεγάλο πορτοκάλι ή μήλο, 330ml χυμό πορτοκαλιού, 2 μικρές φέτες ολικής αλέσεως, 100gr νιφάδες βρώμης
ΜΕΣΗΜΕΡΙΑΝΟ ( 13:00 )
Ένα από τα παρακάτω μεσημεριανά:
● 60gr στήθος κοτόπουλου ψητό, 1 σαλάτα με φρέσκα λαχανικά, 1 κ.γ. ελαιόλαδο, 1 μικρή κομμάτι τυρί φέτα, 1 κ.σ. λιναρόσπορος, 1 μικρή φέτα ψωμί ολικής άλεσης (350 θερμίδες – 1 μερίδα)
● 60gr στήθος κοτόπουλου ψητό, 1 τορτίγια ολικής άλεσης, ψιλοκομένα λαχανικά εποχής, λίγη παρμεζάνα και ίσως λίγος τριμμένος λιναρόσπορος (330 θερμίδες – 1 μερίδα)
● 180gr τόνος σε νερό, 1 κ.γ. ελαιόλαδο, 1 κ.γ. λιναρόσπορος, 1 κ.γ χυμό λεμόνι, 2 ντομάτες ψιλοκομένες, 1 μικρή φέτα ψωμί ολικής άλεσης (450 θερμίδες – 2 μερίδα)
● 180gr τόνος σε νερό, 100gr τυρί κότατζ με λίγα λιπαρά, 3 μικρές φέτες ολικής άλεσης, 1 ψιλοκομμένο κρεμμύδι, 1 κ.γ χυμό λεμόνι (750 θερμίδες – 2 μερίδα)
● 220gr στήθος κοτόπουλου, 220gr ψιλοκομμένο κρεμμύδι, 1 κ.γ. Ελαιόλαδο, 2 ψιλοκομμένες σκελίδες σκόρδο, 150gr φασόλια βρασμένα, 2 κ.σ. βασιλικός ή μαϊντανός τριμμένος, 60gr καρότα, 120gr καλαμπόκι, 100gr ντοματάκια, 1,5lt ζωμός κοτόπουλο, μαύρο πιπέρι (180 θερμίδες/μερίδα – 4 μερίδα)
Σωτάρουμε το κοτόπουλο, κατόπιν το κρεμμύδι. Μετά ρίχνουμε όλα τα υπόλοιπα υλικά και βράζουμε για 15 λεπτά. Στο τέλος βάζουμε το πιπέρι.
● 450gr στήθος κοτόπουλου σε λωρίδες, 120gr βιολογικό γιαούρτι με λίγα λιπαρά, 120gr μαγιονέζα με λίγα λιπαρά, 3 κ.σ. ψιλοκομμένα κρεμμύδια, 1 κ.γ. τζίντζερ, 1 κ.γ. πάπρικα, μαύρο πιπέρι, 150gr καστανό αναποφλοίοτο ρύζι, 1 κ.γ. Κάρρυ (700 θερμίδες – 2 μερίδες)
Ανακατεύουμε μαζί γιαούρτι, μαγιονέζα, κρεμμύδι, τζίντζερ, κάρρυ. Ανακατεύουμε το κοτόπουλο με πάπρικα και πιπέρι. Σωτάρουμε το κοτόπουλο για 4-5 λεπτά. Ρίχνουμε το γιαούρτι και συνεχίζουμε για 2 λεπτά. Σερβίρεται με ρύζι.
● 2 φέτες ψωμί ολικής άλεσης, 60gr ζαμπόν με λίγα λιπαρά, 2 φύλλα μαρούλι, 1 κ.γ. μαγιονέζα με λίγα λιπαρά, 30gr τυρί με λίγα λιπαρά (350 θερμίδες – 1 μερίδα)
● 100gr καστανό αναποφλοίωτο ρύζι, 120gr φασόλια, πιπέρι, ταμπάσκο (315 θερμίδες – 1 μερίδα)
SMOOTHIE ( 15:00 )
Ένα από τα παρακάτω smoothies:
● 240ml άπαχο γάλα, 50gr νιφάδες βρώμης, 2 κ.γ. ταχίνι, 2 κ.γ. πρωτεΐνη ορού γάλακτος, 1 μπανάνα, 1 φρούτο εποχής (ή μιά φέτα), θρυμματισμένα παγάκια (2 μερίδες)
● 240ml άπαχο γάλα, 2 κ.σ. γιαούρτι με λίγα λιπαρά, 50gr νιφάδες βρώμης, 2 κ.γ. ταχίνι, 2 κ.γ. πρωτεΐνη ορού γάλακτος, θρυμματισμένα παγάκια (250 θερμίδες/μερίδα – 2 μερίδες)
● 120ml γιαούρτι με λίγα λιπαρά, 2 κ.γ. πρωτεΐνη ορού γάλακτος, 240ml άπαχο γάλα, 170gr φράουλες, 2 κ.γ. ταχίνι, θρυμματισμένα παγάκια (202 θερμίδες/μερίδα – 2 μερίδες)
● 120ml γιαούρτι με λίγα λιπαρά, 2 κ.γ. πρωτεΐνη ορού γάλακτος, 240ml άπαχο γάλα, 1 μπανάνα, 2 κ.σ. Χυμός πορτοκαλιού, θρυμματισμένα παγάκια (181 θερμίδες/μερίδα – 2 μερίδες)
SNACK ( 18:00 )
Δύο από τα παρακάτω προϊόντα (ένα από την κατηγορία 1 και το άλλο από την κατηγορία 2)
ΚΑΤΗΓΟΡΙΑ 1	2 κ.γ. ταχίνι, 30gr αμύγδαλα, 3 λεπτές φέτες αλλαντικού με λίγα λιπαρά, 220gr γιαούρτι με λίγα λιπαρά, 240ml άπαχο γάλα, 2 φέτες τυρί με λίγα λιπαρά, 30gr σταφίδες
ΚΑΤΗΓΟΡΙΑ 2	Ωμά λαχανικά, 170gr μούρα, 120gr πεπόνι, 1 μεγάλο πορτοκάλι, 330ml χυμό πορτοκαλιού, 2 μικρές φέτες ολικής αλέσεως, 100gr νιφάδες βρώμης
ΒΡΑΔΥΝΟ ( 20:00 – 21:00 )
● 455gr άπαχος βοδινός κιμάς, 45gr φρυγανιά ολικής αλέσεως, 1 μεγάλο κρεμμύδι, 1 κ.σ. λιναρόσπορος, 60gr μαλακό τυρί, 1 σκελίδα σκόρδο, 500gr ντοματοπολτός, 4 μεσαίες φέτες ψωμί ολικής άλεσης (400 θερμίδες/μερίδα - 4 μερίδες) ΕΠΕΞΕΡΓΑΣΙΑ: ΟΠΩΣ ΚΑΝΟΥΜΕ ΤΟΥΣ ΚΕΦΤΕΔΕΣ
● 4 φιλέτα στήθος κοτόπουλο χωρίς πέτσα, 240ml ντοματοπολτός, 180gr χυμός πορτοκάλι, 1 λεμόνι, 1 λάιμ, 2 σκελίδες σκόρδο, 1 κ.σ. λιναρόσπορος, ξύσμα 2 πορτοκαλιών, ταμπάσκο (184 θερμίδες/μερίδα - 4 μερίδες) ΕΠΕΞΕΡΓΑΣΙΑ: ΚΑΝΟΥΜΕ ΜΑΡΙΝΑΔΑ ΜΕ ΟΛΑ ΤΑ ΥΛΙΚΑ ΕΚΤΟΣ ΑΠΟ ΤΟ ΚΟΤΟΠΟΥΛΟ. ΒΑΖΟΥΜΕ ΤΟ ΚΟΤΟΠΟΥΛΟ ΜΕΣΑ ΣΤΗΝ ΜΑΡΙΝΑΔΑ ΓΙΑ ΜΕΡΙΚΕΣ ΩΡΕΣ. ΨΗΝΟΥΜΕ ΤΟ ΚΟΤΟΠΟΥΛΟ ΠΕΡΙΧΥΝΟΝΤΑΣ ΜΑΡΙΝΑΔΑ ΓΙΑ 10-15 ΛΕΠΤΑ.
● 350gr κόντρα φιλέτο σε λεπτές φέτες ή 450gr κοτόπουλο. 300gr καστανό ρύζι ή 250gr σπαγγέτι ολικής άλεσης, 1κ.σ. Ελαιόλαδο, 1 σκελίδα σκόρδο, 300gr λαχανικά, 1 μεγάλο κρεμμύδι, 1 κ.σ. Λιναρόσπορος (500 θερμίδες/μερίδα - 4 μερίδες) ΕΠΕΞΕΡΓΑΣΙΑ: ΠΡΟΑΙΡΕΤΙΚΑ ΟΠΩΣ ΜΑΣ ΑΡΕΣΕΙ
ΑΠΟΔΕΙΠΝΟ-προαιρετικά ( 22:00 – 23:00 )
1 ΦΕΤΑ ΑΠΑΧΟ ΑΛΛΑΝΤΙΚΟ & 1 ΦΕΤΑ ΑΠΑΧΟ ΤΥΡΙ Ή ΚΑΙ 1 ΠΟΤΗΡΙ ΑΠΑΧΟ ΓΑΛΑ Πηγή: David Zinczenko "the Abs Diet", http://ebodytraining.blogspot.com/search/label/Nutrition

Kyūsho, Pressure point

A pressure point (Japanese: kyūsho 急所 "vital point, tender spot"; Chinese: 穴位; Malayalam marmam) in the field of martial arts refers to an area on the human body that may produce significant pain or other effects when manipulated in a specific manner. Techniques of attacks on pressure points are called Hyol Do Bup (Hangul: 혈도법; 穴道法) in Korean martial arts and kyūsho-jutsu (Japanese: きゅうしょじゅつ) in various styles of Japanese martial arts.

The concept of pressure points is present in old school (17th century) Japanese martial arts and is claimed to have an even earlier history; in a 1942 article in the Shin Budo magazine, Takuma Hisa Sensei asserted the existence of a tradition attributing the first development of pressure-point attacks to Shinra Saburō Minamoto no Yoshimitsu (1045–1127).

Hancock and Higashi (1905) published a book which pointed out a number of vital points in Japanese martial arts.

Exaggerated accounts of pressure-point fighting appeared in Chinese Wuxia fiction and became known by the name of Dim Mak, or "Death Touch", in western popular culture in the 1960s. One of the best-known uses of pressure-point fighting is known to Trekkies as the "Vulcan nerve pinch."

While it is undisputed that there are sensitive points on the human body where even comparatively weak pressure may induce significant pain or serious injury, the association of kyūsho with esotericist notions of qi, acupuncture, or reflexology is controversial.

There are several types of pressure points - each is applied differently and each creates a different effect. "Pain points", for example, use tendons, ligaments, and muscles - the goal is to temporarily immobilize the target, or, at the very least, to distract them. Reflex points produce involuntary movements; for example, causing the hand to release its grip, the knees to buckle, the target to gag, or even for the person to be knocked unconscious. Most pressure points are located on pathways on the nervous system.

Pain

Some pressure points produce pain when struck, pressed, or rubbed, depending on the point itself. These points are also referred to as nerve centers. While the distraction of pain might offer sufficient advantage in a fight or escape, the body also has a pain withdrawal reflex, whereby it reacts to pain by moving away from the source.[6] Martial artists can make use of this reflex with minimal effort.

Blood and blood pressure

The baroreceptors in the carotid artery are pressure-sensitive, supplying the brain with information to control systemic blood pressure. Pressure against this region will send signals that indicate that blood pressure is too high, leading to a lowering of blood pressure.[7] Thus, striking this area can cause unconsciousness, both using the same mechanism and relying on the force being transmitted to the reticular activating system.

Break

There are certain areas which are likely to lead to a break if struck properly, such as the "floating ribs", the philtrum, and the side of the knee.

Hyper-extension

There are joints that, when struck, can be hyper-extended and even tear. The striking of these joints is a technique which can cause permanent damage to one's opponent. There are two types, as follows:

• Brute force, which, when applied, takes advantage of the vulnerability of the strike point, usually a joint, thereby causing damage.
• Golgi organ strike, a relatively gentle strike to the Golgi tendon at the back of the elbow, which triggers a reflex that immediately relaxes the tendon, allowing the elbow to bend more easily in the wrong direction. If this is directly followed by a solid strike to the elbow joint, them the elbow can be broken with significantly less effort than it could through brute force.
  

Concussion

The brain is a sensitive organ which floats in a fluid (cerebrospinal fluid). The fluid itself is a safety mechanism that allows the head to take substantial impact without resulting in concussion, although such an impact could still cause permanent brain damage. However, it is possible to deliver a blow using artful techniques in such a way that even these protections can be effectively eliminated, causing disorientation or instantaneous knockout. The most commonly taught technique involves a strike just below the occipital ridge, at the correct angle, in the correct direction. Another well-known point with this effect is the chin or lower jaw, giving rise to the boxing expression a "glass jaw".[9] The same effect of knocking somebody unconscious may be achieved by using the edge of the hand, palm-up, to apply a sharp strike to the carotid artery.

Energy

Some fighter artists believe that there are energy channels (acupuncture meridians) which allow Qi, or "life-force", to flow through the body. Acupuncture, for example, is well-known among the pseudosciences that use the meridian system. Traditional Chinese medicine practices in general are largely based on the belief that meridians are specific pathway lines in the human body, along which are found many hundreds of acupressure points. According to this belief, attacks can be used to impact the flow of Qi, and, thus, the body. Therefore, pressing, seizing, or striking these points with specific intent and at certain angles is believed to cause either a heightening or a diminishing of Qi circulation in the body. However, despite many attempts using placebo-controlled doubled-blinded experiments to find these points, these so-called meridians have never been located or proven scientifically, pointing to the conclusion that they may not exist at all.

http://en.wikipedia.org/wiki/Pressure_point

Kalarippayattu - The Mother of Martial Arts

Kalaripayattu is a Dravidian martial art from the Indian state of Kerala. One of the oldest fighting systems in existence, it is practiced in Kerala and contiguous parts of Tamil Nadu and Karnataka as well as northeastern Sri Lanka and among the Malayali community of Malaysia. It was practiced primarily by the Nairs, the martial caste of Kerala, and also by some other castes like Nadars, Ezhavas and the Mappilas. Kalari payat includes strikes, kicks, grappling, preset forms, weaponry and healing methods. Regional variants are classified according to geographical position in Kerala; these are the northern style of the Malayalis, the southern style of the Tamils and the central style from inner Kerala. Northern kalari payat is based on the principle of hard technique, while the southern style primarily follows the soft techniques, even though both systems make use of internal and external concepts. Some of the choreographed sparring in kalari payat can be applied to dance[2] and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen.

The term kalari payattu is a tatpurusha compound from the words kalari (Malayalam:കളരി) meaning school or gymnasium and payattu (Malayalam:പയററ്) derived from payattuka meaning to "fight/ exercise" or "to put hard work into". In Tamil, kalari payattu is a compound from the words kalari meaning war fight and payattu derived from payattuka meaning to "learning exercise" Belying the assumption that the compound itself might have an equally antique use as the singular kalari and payattu, the unpublished Malayalam Lexicon notes that the earliest use of the compound, kalarippayattu is in Ulloor S. Parameswara Iyer's early twentieth century drama Amba when it is probable that the systems of martial practice assumed a structure and style akin those extant today. M.D. Raghavan has suggested that kalari was derived from the Sanskrit khalrikג (parade ground, arena) while Burrow shares the generally accepted opinion that khalrikג and its root, khala- (threshing floor) are Dravidian loan words.

Oral folklore ascribes the creation of kalari payat to the Hindu gods almost 3000 years ago. Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalari payat, estimates that the art dates back to at least the 12th century AD. The historian Elamkulam Kunjan Pillai attributes the birth of kalari payat to an extended period of warfare between the Tamil Kingdoms Cheras and the Cholas in the 11th century AD. The art was disseminated through the kalari, which served as active centres of learning before the modern educational system was introduced. Still in existence, these institutions were schools where students could assemble together and acquire knowledge on various subjects ranging from mathematics, language, astronomy and various theatrical arts. Martial arts were taught in the payattu kalari, meaning fight school. Kalari payat became more developed during the 9th century and was practiced by a section of the Nair community, warrior clan of Kerala, to defend the state and the king. In the 11th and 12th century, Kerala was divided into small principalities that fought one-to-one wars among themselves. These duels or ankam were fought by Chekavar on an ankathattu, a temporary platform, four to six feet high. The right and duty to practice martial arts in the service of a district ruler was most associated with Nairs and Ezhavas.[2] The Lohar of north Kerala were Buddhist warriors who practiced kalaripayat. The writings of early colonial historians like Varthema, Logan and Whiteway shows that kalari payat was widely popular and well established with almost all people in Kerala transcending gender, caste and communal lines. It is said to have eventually become as prevalent as reading and writing. Among some noble families, young girls also received preliminary training up until the onset of menses. It is also known from the vadakkan pattukal ballads that at least a few women of noted Chekavar continued to practise and achieved a high degree of expertise. The most famous of them was Unniarcha of Keralan folklore, a master with the urumi or flexible sword. The earliest western account of kalari payat is that of the Portuguese explorer Duarte Barbosa (c. 1518). The more part of these warriors when they are seven years of age are sent to schools where they are taught many tricks of nimbleness and dexterity; there they teach them to dance and turn about and to twist on the ground, to take royal leaps, and other leaps, and this they learn twice a day as long as they are children, and they become so loose-jointed and supple that they make them turn their bodies contrary to nature; and when they are fully accomplished in this, they teach them to play with the weapon to which they are most inclined, some with bows and arrows, some with poles to become spearmen, but most with swords and bucklers, which is most used among them, and in this fencing they are ever practising. The masters who teach them are called Panikars.

Kalari payat underwent a period of decline when the Nair warriors lost to the British after the introduction of firearms and especially after the full establishment of British colonial rule in the 19th century. The British eventually banned kalari payat and the Nair custom of holding swords so as to prevent rebellion and anti-colonial sentiments. During this time, many Indian martial arts had to be practiced in secret and were often confined to rural areas. The resurgence of public interest in kalari payat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India and continued through the 1970s surge of general worldwide interest in martial arts. In recent years, efforts have been made to further popularise the art, with it featuring in international and Indian films such as Indian (1996), Asoka (2001), The Myth (2005), The Last Legion (2007), and also in Japanese Anime/Manga Series Kenichi: The Mightiest Disciple.

There are several styles of kalari payat which can be categorised into three regional variants. These three main schools of thought can be distinguished by their attacking and defensive patterns. The best introduction to the differences between these styles is the book of Luijendijk which uses photographs to show several kalari payat exercises and their applications. Each chapter in his book references a representative of each of the three main traditions. Northern kalari payat is practiced mainly in North Malabar. It places more emphasis on weapons than on empty hands. Parashurama, sixth Avatar of Vishnu, is believed to be the style's founder according to both oral and written tradition. Masters in this system are usually known as gurukkal or occasionally as asan, and were often given honorific titles, especially Panikkar. The northern style is distinguished by its meippayattu - physical training and use of full-body oil massage. The system of treatment and massage, and the assumptions about practice are closely associated with ayurveda. The purpose of medicinal oil massage is to increase the practitioners' flexibility, to treat muscle injuries incurred during practice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for such massages is thirumal and the massage specifically for physical flexibility chavutti thirumal which literally means "stamping massage" or "foot massage". The masseuse may use their feet and body weight to massage the person. There are several lineages/styles (sampradayam), of which 'thulunadan' is considered as the best. In olden times, students went to thulunadu kalari's to overcome their defects (kuttam theerkkal). There are schools which teach more than one of these traditions. Some traditional kalari around Kannur for example teach a blend of arappukai, pillatanni, and katadanath styles.

Southern kalari payat was practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu primarily by the Nadars and Thevars. Emphasising empty-hand techniques, It is closely connected to Tamil silambam and Sri Lankan angampora. The founder and patron saint is believed to be the rishi Agastya rather than Parasurama. Zarrilli refers to southern kalari payat as varma ati (the law of hitting), marma ati (hitting the vital spots) or varma kalai (art of varma). The preliminary empty handed techniques of varma ati are known as adithada (hit/defend). Marma ati refers specifically to the application of these techniques to vital spots. Weapons include bamboo staves, short sticks, and the double deer horns. Medical treatment in the southern styles is identified with siddha,[10] the traditional Dravidian system of medicine distinct from north Indian ayurveda. The siddha medical system, otherwise known as siddha vaidyam, is also attributed to Agastya. Masters are known as 'asaan. The stages of training are chuvatu (solo forms), jodi (partner training/sparring), kurunthadi (short stick), neduvadi (long stick), katthi (knife), katara (dagger), valum parichayum (sword and shield), chuttuval (flexible sword), double sword, kalari grappling and marma (pressure points).

The Madhya Kalari(central style) of kalaripayat is practiced mainly in northern part of kerala although it is not to be mistaken with vadakkan(north) kalari. It is not a composite of the northern and southern forms as in popular beliefs and has its own distinctive techniques, which are performed within floor paths known as kalam. the madhya(central) kalari has many different styles, it gives heavy emphasis on the lower body strength and speed through thorough practice of various chuvadu, only after which you advance in to weaponry and advanced studies. Various kalari styles as specified in Vadakkan Pattukal,

kadathanatan kalari

Karuvancheri Kalari

Kodumala Kalari

Kolastri Nadu Kalari

Kurungot Kalari

Mathilur Kalari

Mayyazhi Kalari

Melur Kalari

Nadapuram Kalari

Panoor Madham Kalari

Payyampalli Kalari

Ponniyam Kalari

Puthusseri Kalari

Puthuram Kalari

Thacholi Kalari

Thotuvor Kalari

Tulunadan Kalari

Students begin training at approximately seven years old with a formal initiation ritual performed by the gurukkal. On the opening day of the new session, a novice (mostly Nairs , Ezhavas in the olden days) is admitted to the kalari in the presence of the gurukkal or a senior student and directed to place their right foot first across the threshold. The student touches the ground with the right hand and then the forehead, as a sign of respect. He is then led to the guruthara, the place where a lamp is kept burning in reverence to all the masters of the kalari, to repeat this act of worship. He then offers the master some money as dakshina in folded betel leaves and prostrates himself, touching the master's feet as a sign of submission. The guru then places his hands on the pupil’s head, blesses him and prays for him. This ritual - touching the ground, puttara, guruthara and the guru’s feet - is repeated everyday. It symbolizes a complete submission to and acceptance of the master, the deva, the kalari and the art itself.

A kalari is the school or training hall where martial arts are taught. They were originally constructed according to vastu sastra with the entrance facing east and the main door situated on the centre-right. Sciences like mantra saastra, tantra saastra and marma saastra are utilized to balance the space's energy level. The training area comprises a puttara (seven tiered platform) in the south-west corner. The guardian deity (usually an Avatar of Bhagavathi, Kali or Shiva) is located here, and is worshipped with flowers, incense and water before each training session which is preceded by a prayer. Northern styles are practiced in special roofed pits where the floor is 3.5 feet below the ground level and made of wet red clay meant to give a cushioning effect and prevent injury. The depth of the floor protects the practitioner from winds that could hamper body temperature. Southern styles are usually practiced in the open air or in an unroofed enclosure of palm branches. Traditionally, when a kalari was closed down it would be made into a small shrine dedicated to the guardian deity.

Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattu exercises for neuro-muscular coordination, balance and flexibility follow the basic postures of the body. Kalari payat originates not in aggression but in the disciplining of the self. Therefore the training begins with disciplining the physical body and attaining a mental balance. This is crucial for any person and not necessarily a martial aspirant. This first stage of training consists of physical exercises to develop strength, flexibility, balance and stamina. It includes jumps, low stances on the floor, circular sequences, kicks, etc. An attempt is made to understand and master each separate organ of the body. These exercises bring an alertness to the mind, and this alertness helps one understand some of the movements and processes of the self defense sequences that are taught at later stages.

Once the student has become physically competent, they are introduced to fighting with long wooden weapons. The first weapon taught is the staff (kettukari), which is usually five feet (1.5 m) in length, or up to the forehead of the student from ground level. The second weapon taught is the cheruvadi or muchan, a wooden stick three palm spans long, about two and a half feet long or 75 cm. The third weapon taught is the otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots in the opponent's body. This is considered the master weapon, and is the fundamental tool of practice to develop stamina, agility, power, and skill. Otta training consists of 18 sequences.

Once the practitioner has become proficient with all the wooden weapons, they proceed to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the kadhara, a metal dagger with a curved blade. Taught next are the sword (val) and shield (paricha). Subsequent weapons include the spear (kuntham), trident (trisool) and axe (venmazhu). Usually the last weapon taught is the flexible sword (urumi or chuttuval), an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of Ankathari, the student would specialize in a weapon of their choice, to become an expert swordsman or stick fighter for example.

Only after achieving mastery with all the weapon forms is the practitioner taught to defend themselves with bare-handed techniques. These include arm locks, grappling, and strikes to the pressure points (marmam). This is considered the most advanced martial skill so the gurukkalmarmam only to very few trusted students.

It is claimed that learned warriors can disable or kill their opponents by merely touching the correct marmam (vital point). This is taught only to the most promising and level-headed persons, to discourage misuse of the technique. Marmashastram stresses on the knowledge of marmam and is also used for marma treatment (marmachikitsa). This system of marma treatment comes under siddha vaidhyam, attributed to the sage Agastya and his disciples. Critics of kalari payat have pointed out that the application of marmam techniques against neutral outsiders has not always produced verifiable results

The earliest mention of marmam is found in the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with a vajra.[12] References to marman also found in the Atharva Veda. With numerous other scattered references to vital points in Vedic and epic sources, it is certain that India's early martial artists knew about and practised attacking or defending vital points. Sushruta (c. 6th century BC) identified and defined 107 vital points of the human body in his Sushruta Samhita. Of these 107 points, 64 were classified as being lethal if properly struck with a fist or stick. Sushruta's work formed the basis of the medical discipline ayurveda, which was taught alongside various Indian martial arts that had an emphasis on vital points, such as varma kalai and marma adi.

As a result of learning about the human body, Indian martial artists became knowledgeable in the field of traditional medicine and massage. Kalari payat teachers often provide massages (Malayalam: uzhichil) with medicinal oils to their students in order to increase their physical flexibility or to treat muscle injuries encountered during practice. Such massages are generally termed thirumal and the unique massage given to increase flexibility is known as katcha thirumal. It is said to be as sophisticated as the uzhichil treatment of ayurveda. Kalari payat has borrowed extensively from ayurveda and equally lends to it.

Techniques (atavu) in kalari payat are a combination of steps (chuvatu) and stances (vadivu). There are five steps and northern styles have ten postures (Ashta Vadivukal). Each stance has its own power combination, function and set of techniques. All the eight postures are based on animals. Although no longer used in sparring sessions, weapons are an important part of kalari payat. This is especially true for the northern styles which are mostly weapon-based. Some of the weapons mentioned in medieval Sangam literature have fallen into disuse over time and are rarely taught in kalari payat today.

http://en.wikipedia.org/wiki/Kalarippayattu