History
Silambam is said to have originated in Kurinji hill, around the Tamil Nadu Kerala bordering areas in ancient India. The Narikuravar of the area are said to have used staves called chilambamnboo in battle and to defend themselves against wild animals. They would also perform solo stick-fighting demonstrations during festivals.
The art was patronised by the ancient Chola, Chera and Pandya Kings. The Maravar Pada of Travancore kings used silambam in their warfare against enemies. Ancient contact between Tamil Nadu and Southeast Asia brought Silambam to the Malay Peninsula, during which time the word Silambam came to be referred as an art as well as a weapon. Many Southeast Asian martial arts were influenced by silambam including Silat and Krabi Krabong.
The references to Silappadikkaram in Tamil Sangam Literature dating back to the second century refer to the sale of silambam staves, swords and armour to foreign traders. The ancient trading centre at the city of Madurai was renowned globally and is said to be thronged by Romans, Greeks and Egyptians among others who had regular sea trade with the Tamil kingdoms. The bamboo Staff, one of the first weapons used in Indian Martial Arts was in great demand with the visitors.
Techniques
Beginners are taught the footwork (kaaladi), which they must master before learning the spinning techniques and patters, and methods to change the spins without stopping the motion of the stick. There are 16 of them among which, four are very important. The footwork patterns are the key aspects of Silambam and Kuttu Varisai. Traditionally, the masters teach kaaladi (footwork) for a long time before proceeding to Kuttu Varisai. Training in Kuttu Varisai 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.
The final aim of the training is the ability to defend against multiple opponents. In Silambam and Kuttu Varisai, kaaladi plays a vital role in deriving power for the blows. It teaches how to advance and retreat, to get in range of the opponent without lowering one’s defences, aids in hitting and blocking, and it strengthens the body immensely enabling the person to recieve non-lethal blows and continues the combat. The whole body is used to create power.
In the final stage, the staffs are sharpened at one end. In real combat (battle) the tips would be poisioned. Silambam prefers the hammer grip with the main or lead hand facing down behind the back or ‘weak’ hand faces up. The strong hand grips the stick about a 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.
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 would hold the stick in front of the body stretching the arms three quarters full.
