Achala Siddha™

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FOLKLORE ARTS

• FOLKLORE SONGS

  • MYSTICISM OF SOUND

  • SONGS OF THE SIDDHAS

• MARTIAL ARTS   

  • ANCIENT WEAPONS

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FOLKLORE ARTS

The Ancients developed several kinds of arts to remember and celebrate the occasions of Life and their philosophy helped one to develop a keener sense, a fine turning into the Nature of Life through the messages that were spread in the Songs of the Siddhas and they even helped to fine tune the body through the training in the Martial Arts.

FOLKLORE SONGS

• MYSTICISM OF SOUND

• SONGS OF THE SIDDHAS

MARTIAL ARTS

• ANCIENT WEAPONS

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FOLKLORE SONGS

The Siddhas Songs are extremely esoteric in nature, which is why very few interpreters have tried deciphering it. For those who attempted, found that the cryptic poems were quite offbeat for their time. They were hard to interpret mainly because of their esoteric quality. Often scholars assumed the poems represented Mysticism and Occult. Known to be 'against all human conditioning', these bold poems contained imagery that offended the conventional readers of poetry. Most found the Siddhas Songs resembled puzzles to be unscrambled.

• MYSTICISM OF SOUND

• SONGS OF THE SIDDHAS

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MYSTICISM OF SOUND

Sound is the origin of all things in this universe, it all started with the Sound. This whole Universe is held together by the power of this Sound. The ancient and primitive human societies were very well aware of the power of Sound vibrations and its effect upon the human consciousness. They recognised the effect of sound vibrations for several purposes. In fact, sound energy was utilized for healing, curing, transforming, transmitting, uplifting, creating, destroying, nurturing and for many other purposes. The great system of Nada Yoga (the Yoga of Sound Energy), once popular in India, works on the premise that the entire universe around us is Nadha Prana (Sound Energy). Even today, we know the effect of heartfelt music on ourselves.

Sound forms the foundation blocks of our entire Universe. It is Sound and not matter, particle or a quark as physics tell us, which is responsible for the creation of this Universe. The realization of this sacred knowledge in India ushered in the concept of Nada being worshipped as Brahman.

This was the birth of the great system of Nada Yoga, which divides sound/ music into two aspects:

AHATA - the Outer Music/ Sound 

ANAHATA - the Inner Music/ Sound

AHATA - It is the music, which is heard through our sense organs, such as the ears, eardrums etc. We can also call it as music, which is heard from without, externally.

ANAHATA - It is the music, which is heard from the very core of our Being, from within, internally. Anahata is, knowing ones own sound vibration. It is the sound of Anahata, (the subtle heart chakra), also known as Anahatam Chakra - which is not a sensory organ. Anahata is a very unique inner sound. It is the root sound of every person. Each one has their unique sound. The sound of Anahata cannot be shared as each one resonates with the sound of their Anahata. One can tune into one's Anahata and make use of it, provided one develops certain basic interest, commitment, will and patience. The system of Nada Yoga not only assures to the practitioner of the inner music the resultant harmony, relaxation and joie de vivre, but also promises self-realization, which is often, the singular goal for those who meditate.

The Indian musical tradition is age-old. It has derived its base from the pre-Aryan or pre-Vedic sources consisting of Nature Worshippers. The pre-Aryan deity Shiva, the destroyer, is associated with powerful nada (sound) of damru, a hand-held, hourglass shaped instrument, with both sides containing membranes on which a hanging cotton thread is made to strike. The noise produced by this insignificant instrument is very intimidating and is considered inauspicious. The tantric yogis (followers of the secret path) and those associated with the cult of Shiva however consider this instrument as auspicious.

Similar primordial sound also emanates from the Shankh (conch-shell), which is associated with Vishnu, the Preserver. The vibrations that emanate from this instrument are considered quite healthy, auspicious and positive; hence, the Shankh is used as an accompaniment to puja (worship). The tremendous vibrations that emanate from this instrument are said to keep those who practice meditation from falling asleep. Among the Hindu trinity, Brahma is the creator. His consort, Saraswati is associated with veena (a stringed instrument). This powerful chordophone produces vibrations that affect the subtle chakras in the human body. In fact, the very shape of veena is designed as the vertebral column, which is considered as a musical octave. In indigenous Indian Music the initial training, for a person is to recognize the Anahata (the root sound) starting from this root swara (note) together there are seven swaras to be recognised. Seven swaras (musical notes) represent the seven Chakras _ situated here. By playing or singing, these notes in a certain manner and simultaneously observing, a sadhaka (practitioner) visualises their impact on the chakras. An effortless experience unfolds within oneself, according to the nature of sound and its effect upon the corresponding Chakras. As the sound ascends and descends, the aroha (ascending sound) and avoraha (descending sound) so does its effect upon the chakras. In short, the seven swaras represent the spine of human being and consciousness and the musical octave corresponds to the inner sounds of the seven Chakras, one practices not only music, but also yoga with the help of veena.

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SONGS OF THE SIDDHAS

"Seven are the Swaras 

Seven are the Chakras 

A string is enough. 

Hear the music of this Universe".

Siddhas Music is not an ordinary form of Music. It is the musical manifestation of one's life situation. A distance philosophy of life is deeply embedded within the Siddhas Music. In this form of music the singers, lend their voices to an ecstatic call to God or reflect over the vicissitudes of the human life. The Siddhas developed a stylised language, which they rendered in their songs in the mode of folk music. They never sang for anything else other than spreading the message of divine love, invoking a great sense of purpose and awareness within humanity to reflect upon the nature and meaning of its existence. The central themes of the Siddhas songs expressed, the spiritual goals to be attained or it spoke about the difficulties in the spiritual quest and offered guidance to overcoming the difficulties that lay in the path. Their quest ultimately was directed towards the Anthar Manush (the inner being). The Siddhas Music was filled with a sense of wonder about life and metaphysics. The language of the songs was less refined but filled with cryptic metaphors. Through their music, the Siddhas continually refilled the psychic reservoir of human consciousness that got depleted by chores of daily life. The Siddhas always kept human beings and humanity above any other consideration be it caste, creed, colour or religion. Their songs permeated and touched the inner core of the human heart where the minds met irrespective of their differences.

But, only some of the Siddhas songs are available in print and most of the songs carry on till date by the oral lineage, little known of their composers. The songs impart precious insights and wisdom related with both the body as well as mind that the composer has gained from his own lifestyle and from the specific nature of his own personal spiritual quest.

Their precise metaphysical discoveries are known to spring from their faith, deep introspection, bold intuition and the sacred teachings of their Guru. This valuable knowledge is communicated and spread through verses typical of the rebellious spirit of the Siddhas.

These personalised verses tell the journey of the composer, his social backdrop and his system of belief. And without understanding it, one could never gather the message so subtly sung by him in metaphors. It skilfully brings together the intellectual subtlety of trained logicians and the intimate language of love and life, all propelled by his state of divine madness.

For Them the only enjoyment of human life is spreading divine love, and they do so, 'against all conditioning', living the spirit of their truth. Covering all the dimensions revealed under this vast tradition, we can find songs about alchemy, medicine, yoga, cosmos and the nature of Reality etc. Even though the songs declare visions related to all dimensions of life, mundane as well as spiritual, the divine composers themselves remain indifferent to the materialism of the world around them. Pattinathar sings in His Gnanam - 80 as,

'Now that I've found my Guru I don't need the world'.

Catchy lines from the songs of the Siddhas sung by beggars can still be heard in the village streets of Tamil Nadu; many quote snatches of some quite unaware of the source and a handful of them are even simplified and used as lyrics of Tamil film songs. These mystical songs have reached all areas of life by surpassing all boundaries. Just as they have found popularity amongst the common folk, these meaningful verses have reached even aspirants seeking answers to the basics of meditation, yogic breathing etc. Then again, some search the knowledge of methods conquering the five senses and still others make a deep study to unravel formulae to concoct native healing medicine. The list is endless the valuable songs of the Siddhas travel all known dimensions of life in a depth unseen before. Their accuracy and illustrative guidance reaches all of humanity, 'against all conditioning'. Some Ancient Songs of the Siddhas

"When words of sweetness exist, uttering the harsh ones Is like snatching the half-ripe ones rejecting ripe fruits". [Thirukurral]

"As the bird flies away from the egg shell Should be the friendship of the body to being" [Thirukkural: Section on impermanence]

"What use is it when you enjoy the women of this world? It is the destiny inscribed in the body They are like sugarcane juice outside it It remains like massive neem tree in the mind". [Thirumular]

"Never think of this body as a filthy carcass Never consider is as a salt-laden vessel For the Seers it is not filthy See for yourself inside your body". [Kongana Nayanar (Verse-24)]

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MARTIAL ARTS

'The two eyes of the Tamils are Love and Courage'

Thol Kappiyam, one of the ancient Tamil literatures says thus.

But, it is not confined to the ancient Tamils, it is meant for all. All ancient civilizations had these traits within them and portrayed them through the Epics. At the same time, there is uniqueness in the Martial Art of the Pre-Vedic civilizations.

It is an 'Eros' of a human that expresses in one way as love and in another way as courage. Both are two sides of the same coin. Love and courage portrays the empowerment gained from an individual's authentic life.

Ramchandra Dixit in his work says, 'In our opinion the iron culture of South India may dated from eight to 10,000 BC. Therefore, it is not strange that the Indian culture had many millennial of human endeavour behind it.'

The same information has been told in 'Tamil heroic poems', in the journal of Royal Asiatic Society, Calcutta (1899). Page 225-230 by G.O. Pope.

The excavation undertaken by archaeologists in the Thirunelveli District (Athicha Nalloor Village) of Tamil Nadu revealed that the Dravidian civilization is earlier than 8000BC and it says the Silambam (stick fighting) is earlier than 10,000BC in this place. This report found many different types of weapons in small villages and has classified them as:

The ancient Tamil land had five kinds of landscapes. Depending on the nature of each these landscape, fighting techniques was born. So, basically, all fighting methods evolved according to the temperament and nature of the field.

'Kaalam' means field. So, the Martial art system got its name Kalari Payathu. The Kalari martial art has many kinds of techniques in it such as stick fighting, sword fighting, bare handed fighting vital point martial art called as Marma in Kerala and Varma in Tamil Nadu.

Siddha Sage Agasthiyar in his martial art work, Agasthiyar Kambu Sutra, talks about various techniques of stick fighting and how the techniques evolved from the fighting temperaments of various animals such as Bull, Elephant etc.

There are two schools of Kalari martial Art. One is Vadakkam Kalari (northern sect) prevalent in Kerala and another is Thekkam Kalari (southern sect) prevalent in present day Tamil Nadu.

There is a unique method of Martial Art in the southern school style called as Nadai Saari, which speaks of how by way of different moves it is possible to approach the enemy (Nadai means walk and Saari means reach). There is a palm script written by the Siddhas that describes this art. A sentence in this palm script goes like this,

'Before the beat afflicts, 

the thunder will afflict you, 

thus Hanuman taught Nadai Saari to Beema'.

From the above sentence we can understand, Lord Hanuman taught this art to Beema. So, the practitioners of this art always worship Lord Hanuman as the ancestor living in Tamil Nadu.

The distinguished side of the ancient Siddha system has the 'Varma system', that has its twin faces - Healing as well as martial art. This system talks about the Vital Spots in the human body, their nature, and if they suffer injury accidentally, through combat or sports, how to cure them. This Varma system of the Siddhas has great scope in the future and if proper research is done it will emerge as the best offshoot of the contemporary sport medical system.

Finally, we conclude this article by saying another one fact of ancient history.

Bodhi-Dharma, the founder of Zen Buddhism, the Indian Buddhist Monk belongs to Kancheepuram in Tamil Nadu. He taught the Chinese Monks some dimensions of ancient Kalari Payat for the Monks to defend themselves against the frequent bandit attacks. The Hindu paper (1985 May 12th) mentions this

'In 522AD, an Indian Buddhist Monk named Bodhi-dharma, son of the King of Kancheepuram (approximately 70 km from Chennai city) of Tamil Nadu arrived at the Court of the Chinese Emperor Liang Nuti of the 6th dynasty. The Emperor greeted him and granted him an audience and gave him travel documents to walk to the Kingdom of Wei, now called Homan province, at the foot of the Han Shan mountains, to a Buddhist Monastery called the Temple of Shaolin.

Father and Founder of Zen Buddhist called C'han in China, Boddhi-dharma of Kancheepuram in Tamil Nadu, taught the Chinese monks Kalari Payat of ancient Tamil Nadu, a very ancient Indian Martial Art, so that they could defend themselves against the frequent attacks of bandits. In time, the monks became known all over China as experts in Bare-handed fighting, later known as 'Shaolin' boxing art. The Shaolin Temple, which has just been handed back to the C'han Buddhist monks, inheritors of Bodhi dharma's spiritual and martial teaching by the present Chinese government, is now open to visitors. On one of its walls, a fresco can be seen, showing dark skinned Indian Monks, 'dark skinned monks', here suggests the early Dravidian monks of Tamil Nadu, India, teaching their lighter skinned Chinese brothers the art of bare handed fighting. On this painting inscribed, 'Tenjiku Naraonkaku', which means the fighting techniques, which came from India to train the body.

All Asian Martial Arts, in particular those of China and Japan recognise their origin in the Shaolin Temple and worship Boddhi dharma whom the Japanese call Dharuma and often hang portrait in their Dojos.

Shaolin Boxing and Zen Buddhism travlled from China to Japan in Okinavva, where Kalari Payat became the art of the empty hand Karate. Kalari Payat of ancient Tamil Nadu is the ancestor of all Asian Martial Arts and it still survives in Tamil Nadu and Kerala, Katari trainings have been codified for over 3000 years and nothing much has changed. The warming up is essential and demands great suppleness. Each movement is repeated several times, facing north, east, south and west till perfect loosening of body is achieved.

The young pupils pass onto the handling of weapons, starting with 'Silambum' a short stick made of extremely hard wood, which in the olden times could effectively deal with swords. The blows are hard and the parade must be fast and precise to avoid getting hit on the fingers.

Kalari Payat of ancient Tamil Nadu, the ancestor of all Asian martial arts still survives in Tamil Nadu and Kerala, Boddhi dharma of India the founder of Zen Buddhism, taught the Chinese this art as Shaolin Boxing. It then passed onto Japan to blossom in the art of the empty hand or Karate and Judo. All these forms have borrowed heavily from the Kalari techniques.

Kalari payat when it became known as Shaolin Boxing, passed from China to Japan, through the Ryukyu Islands, landing in Okinawa to blossom in the art of the empty hand, later known as Karate which got split into Hiu-Jitu, Judo and Shorinji-kempo in the Japanese mainland.' 

Courtesy, The Hindu.

Martial Art Palmscripts and Works in Tamil

Agasthiyar Kurunthadi Silampam 

Beeman Vali Kurunthadi Silampam 

Agasthiyar Kampu Sutra 

Nada Saari 

Bogar Ponnusi 

Vari Beerangi 

Agasthiyar Varma Thiruvukol

Description of a Kalari Practice place

Shape - Savar or circle or triangle 

Length - 42 feet and width 21 feet 

The thatched place has walls on four sides and an underground pit of hip level. The entrance is found in the east direction. It is built in a way that the evening sun cannot fall inside. In the southwest corner of the place, there is a 7 step platform where statues of snakes, Lord Hanuman and Lord Ganesha are found after which is the Guru Peedam (Alter of the Guru). The northeast corner has the statue of the Goddess Badra Kali. The Guru sits facing the east and the students practice facing west.

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ANCIENT WEAPONS

Evolution of the Ancient weapons from sticks (as stick fighting is the origin of all other Martial Arts)

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