Munnar is considered to be one of the most favored romantic/honeymoon destinations in India. Its cool climate, pristine fresh environment and green waved tea carpeted mountains are the perfect setting for a great honeymoon or romantic holiday.

Munnar Tea plantations

Munnar has a lot of stories to tell about itself. The story of the tea plantation dates back to the British era in India, an experimentation on 20 acres of land lead to a successful growth of the tea plantations in Munnar. Today, most parts of Munnar are carpeted with the breath taking greenery of tea plantations. Before, it was home to tribal communities and many species of wild animals.

Top station Munnar

Things to do in and around Munnar:

Eravikulam National Park

About about 15 km from Munnar, this park is famous for the endangered the Nilgiri Tahr. Covering  an area of about 100 sq. km., this park is also home to several species of rare butterflies, animals and birds. A great place for trekking, the park offers  magnificent views of  tea plantations and  the rolling hills caressed by cover of mist. The park becomes a popular destination when the hill slopes here get covered in a carpet of blue, resulting from the flowering of Neelakurinji. It is a plant endemic to this part of the Western Ghats which blooms once in twelve years. The last time it bloomed was in 2006.

Anamudi

In Eravikulam National Park is the Anamudi Peak. This is the highest peak in south India standing at a height of over 2700 m. Treks to the peak are allowed with permission from the Forest and Wildlife authorities at Eravikulam.

Mattupetty

Another place of interest, located about 13 km from Munnar Town, is Mattupetty. Situated at a height of 1700 m above sea level, Mattupetty is known for its storage masonry dam and the beautiful lake, which offers pleasurable boat rides, enabling one to enjoy the surrounding hills and landscape. Mattupetty’s fame is also attributed to the dairy farm run by the Indo-Swiss Livestock Project, where one would come across different high yielding breeds of cows. Mattupetty with its lush green tea plantations, rolling grasslands and the Shola forests is also ideal for trekking and is home to a variety of birds.

Pallivasal

Pallivasal, located at about 3 km from Chithirapuram in Munnar is the venue of the first Hydro-electric project in Kerala. It is a place of immense scenic beauty and is often favoured by visitors as a picnic spot.

Chinnakanal

Near the town of Munnar is Chinnakanal and the waterfalls here, popularly known as Power House Waterfalls, cascade down a steep rock 2000 m above sea level. The spot is enriched with the scenic view of the Western Ghat ranges.

Top Station

Top Station, which is about 32 km from Munnar is at a height of 1700 m above sea level. It is the highest point on the Munnar-Kodaikanal road. Travellers to Munnar make it a point to visit Top Station to enjoy the panoramic view it offers of the neighbouring state of Tamil Nadu. It is one of the spots in Munnar to enjoy the Neelakurinji flowers blooming over a vast area.

Tea Museum

Munnar has a legacy of its own when it comes to the origins and evolution of tea plantations. Taking account of this legacy and to preserve and showcase some of the exquisite and interesting aspects on the genesis and growth of tea plantations in Kerala’s high ranges, a museum exclusively for tea was opened some years ago by Tata Tea in Munnar. This Tea Museum houses curios, photographs and machineries; all of which have a story to tell on the origins and growth of tea plantations in Munnar. The museum is located at the Nallathanni Estate of Tata Tea in Munnar and is worth a visit.

Getting there:

Nearest railway stations: Theni (Tamil Nadu), about 60 km away; Aluva about 110 km away.
Nearest airports: Madurai (Tamil Nadu), about 140 km away; Nedumbassery International Airport, about 125 km away.

The accompaniments and combinations of “puttu” include both spicy as well as sweet ones. Spicy accompaniments include “chickpea curry”, which is a spicy curry made with grams, is one of the most common and popular combination you would find everywhere in Kerala. And banana is the common sweet accompaniment. Even though these are the common accompaniments, “Puttu” goes well with almost all curry’s and Non veg preparations. Apart from the variety of combination which goes with “Puttu”. It’s a combination of different tastes put together to form a new taste with no or less oil.

Method of eating is by hands and the accompaniment and “Puttu” is crushed and mixed to consume. “Puttu” can be of different shapes but the most common one would be the cylinder shaped one. The shape is formed by baking it in a cylinder. In olden days wood or bamboo shoots were used. Another popular shape found in some parts of the state is the hemisphere, where the rice powder is cooked in a half coconut shell, which is called “Cheratta Puttu”.

In some parts of the state fruits are grated and mixed with the baking mixture. Fruits like banana, jack fruit are the common ones. In a way one could easily try out hundreds of different fruits to discover more different tastes. The method of cooking, the ingredients, and the accompaniments, every aspect comes together to make it one of the best and healthiest breakfasts in the world.

Different stories have been associated with this art form’s origin. One version is that The King of Kochi, “Shaktan Tamburan” introduced this colorful folk art to make Onam more colorful with a dance that reflected the wild and macho spirit of the force. There are many country side stories associated with the myths of King “Mahaballi” with tigers. The only fact with no contradiction is that the art form is associated with Onam and is from The District of Trissur.

The tiger faces are painted on the belly and strips and dots are painted all over legs and hands. A readymade tiger mask is used to cover the head. The colors include back, yellow and white. One could identify a few other flashy colored tigers too. Paint formed with a combination of color powder and varnish is used to color up the shaven body and people of all ages participate in the Event. Earlier, there were no masks and the shades were painted all over the body and face.

The performance is a procession through the streets with drum beats of “Chenda” and “Edathalam”. Human tigers wear a belt on their waist with jingles plugged on to the belt. This jingle makes up jazzy sounds to the movement of the dancers. There are tiger like dance steps, shaking their bellies to the drum beats, which are played throughout the procession. Symbolical acts like catching the prey and hunters trying to shoot the tigers are common. A few Tableaus related to Onam and Gods can also be found along the procession.

Artists from different parts of the district come over to the town for painting the tigers. It’s a time consuming process with two coats of paint. An initial base is painted and after drying it, a second coat with tiger designs are applied. It takes up to 5 hours to completely paint a human tiger. A tiger face comes on the belly and the biggest bellies would be the best human tigers. The artists would have a model picture of a tiger face and the same picture is painted on to the belly with great perfection. The paintings look so real that you can hear the wit from the crowd – “Even if a real tiger comes, it would be hard to recognize” and that is the greatest recognition for these artists.

The tiger groups from all over joins up and form a group of tigers near the “Vadkkumnathan” temple by afternoon. A coconut is thrown and crushed as an offering to lord “Ganapathi” and the procession starts off to Swaraj round, Trissur.

Almost 150 years back a young Englishman named Henry Baker had a visit to Kumarakom and was attracted to the beauty of this backwater village. He seeked permission from the King of Travancore to start farming and agriculture. Travancore was the then ruling princely state of South Kerala. He created mud bunds along the remote areas of the Vembanad backwaters and started with many paddy fields. The success of it prompted him make more mud bunds and started rubber plantations. Baker was very much interested in protecting the flora and fauna of the land. He planted more plants on the banks of the backwaters to prevent the rubber plantations and the soil from eroding. On one side of his plantations he kept apart almost 15 acres of land for birds and later that became almost like a sanctuary. Down the line these birds helped the agriculture by preventing it from insects, worms and virus, which was a very natural process. Today this is a national sanctuary and is named Kumarakom bird sanctuary.

By post independence of India, by the 1970s the successors of Mr. Baker transferred their property in Kumarakom to the Government of Kerala and by due course of time it was transferred to Kerala tourism. This marks the transformation of Kumarakom into a tourist destination with the importance of it being close to the backwaters. In three decades time Kumarakom got itself a name of being one of the most beautiful backwater destination. The natural beauty of Kumarakom has always attracted millions of tourist across the world. The traditional rice barges gradually with physical modifications became houseboats. This gave Kumarakom a big facelift in the international scenario.

Kerala identified Kumarakom as the first destination to incorporate responsible tourism. The intention was to invite local participation in the tourism process and make them one among the direct or indirect beneficiaries of the income generated. Kerala introduced the concept of responsible tourism to the local people of Kumarakom. The concept was defined as “A tourism model which does not affect the environment of a destination, and does not affect the lifestyle of the people by promoting development to the local people through tourism”. Which means, the agriculture produce would be collected locally, checked to the standards and sold to hotels, resorts, houseboats and other consumers? This would benefit the local population in a great way. There would be opportunity for tourists to go villages, watch the lifestyle, architecture, see traditional craft making and many more. The concept is a complete experience of local living, flora fauna, and the beauty of the land.

When a visitor likes to see the world outside the resort he is staying in Kumarakom. Responsible tourism helps the tourist in a big way. Interaction with the locals is the best way to explore a destination. In a way responsible tourism breaks down the barriers between the tourist and the local population. There are bicycle tours, country boat ride, village walks and many more options are available. This helps in knowing more about the Kerala village lifestyle and traditional occupations like coir making and so on. Every land on earth has its own kind of traditional occupations. The fish named Pearl spot is veryabundant in Kumarakom and fishing is one among the traditional occupations in this area. Coir spinning, toddy tapping, houseboats are some other local occupations in Kumarakom. Traditional art forms and performing arts are played for tourist for entertainment becomes a part of exploring the land.

Kumarakom is the first village in Kerala which has successfully incorporated responsible tourism into their lifestyles. A week in Kumarakom will definitely gift you a very memorable, peaceful and a very relishing enjoyable holiday experience with the local people.

A popular religious act, Theyyam is an Anushthanam, a sacred ritual, performed by male members of indigenous tribal communities. Depicting various aspects of life with mythical, religious and social backgrounds, there are around four hundred Theyyams with Bhagavathy, Muthappan, Chamundi, Vishnumoorthy and Kuttichathan being the more popular ones.

Whereas many of the other art forms, especially temple arts, require the audience to have a certain level of scholarly training, Theyyam has a vernacular base. Theyyam has evolved from common folklore and mirror issues dealing with day to day life. The Theyyam season starts around November and lasts till around May, except for Muthappan Theyyam, which is performed all year around.

Background
Like many other art forms, Theyyam is an extension and reflection of social life as it was ages ago. Many of the movements and sounds of the art form have survived without drastic changes.

Theyyam pantheon contains gods and goddesses of the local religion with tribal deities like nature, spirits, ancestor and folk heroes. The indigenous tribal civilization of the land, belonging to the Dravidian stock emphasized nature worship. The gradual acculturation with Aryan religions brought their gods and goddesses into the picture. Thus, a colorful amalgam of religion-related culture developed in Kerala, as in the rest of India. However, the discriminating caste system had strict laws regarding social interaction. Surprisingly, Theyyam bridges these caste, religious and class inequalities and Ali Theyyam, which shows Islamic influences, is a prime example. Members of the so-called lower castes performed the Theyyams or Thiras and the upper castes received the blessings with fervor.

The Act of Divinity

Theyyams are usually performed in Kavu or a holy grove, or at times on temple grounds called Madappura. The fact that the rites included animal sacrifice and alcohol could be one of the reasons that the act was kept outside the consecrated grounds. Even though, many of the divine powers depicted by Theyyams are feminine, all Theyyams are performed by male members.

The metamorphosis from human to god is a complex one, often starting long before the Mughadarsanam, or gazing into the mirror. The performer has to go undergo steadfast spiritual and physical exercises, diet restrictions, sometimes fasting, and other necessary religious rituals and regimen called Vratham.

Songs that describe the Theyyam called Thottam accompany the Theyyam in the initial stage. Vaadyam, music from Kuzhal, Chenda, Maddalam and Tudi add to the ambience. Sometimes, an initial, simpler form of the Theyyam, called Vellatom also puts in an appearance. At the Kuri Kodukkal, the Theyyam listens to the believers and gives advice or blessings to them along with holy turmeric powder.

Chamayam, make up fit for Gods
After a break, which could last from a few hours to a day, the actual manifestation of the power reappears, resplendent in its all glorious finery. The Theyyam, now dons the Chamayam- the dress complete with Mukhamezhuth (face painting) and Meyyezhuth (body painting) which use natural products like turmeric, saffron, rice flour and quick lime.

From the top of the head with the intricate headdress called Mudi, to the feet adorned with the Chilambu, the Theyyam now looks the part of the power he represents. The hand, neck and chest ornaments of the Theyyam are called Kaikkaru and the leg ones are called Kakkaru. The waist of the Theyyam is decorated heavily with an attire made of cloth, bamboo, coconut leaves and other ornaments together called Arachamayam, Ara meaning waist. At times Theekolams, the dangerous ones that deal with fire, use Vatta Oda and Pandhams or torches. The face accessories like the beard, called Thaadi, and Thalappaali, which is attached to the forehead, and masks called Poimugham, form a separate section in dress up.

The Sacred Ceremony
The fully decked Theyyam, runs and dances between the crowd amidst chants, yells, cries and even laughs, with distinct footwork called Kalasams. He holds sacred weapons, symbols of divinity called Thiruvayudham. He blesses the crowd and does many rituals as the situation demands. At times, animal sacrifices are called for during particular Theyyams like Vasoorimala, Chamundi, Uchitta etc. For the rite called Vadakke Vathil, roosters are beheaded in front of a sacred square called Kolam, made out of stems of bamboo and coconut leaves.

At the final stage of the performance, Thirumudiazhikkal, the Theyyam dances itself into a deep frenzy and falls into a stage of unconsciousness. Once the Theyyam wakes up from the trance, the human identity of the performer is regained. The divine headdress is removed to symbolically represent that the supreme power has left the physical body of the Theyyam.

From the first step of Thirumudivekkal to the final act of Thirumudiazhikkal, the Theyyam and the believers feel and see god in all its supreme glory. This incredibly intense and dramatic event evokes awe, admiration and reverence- for the very human element in this divine dance of gods.

With forty four rivers or so, boats have always been a mode of transport in Kerala and so it’s no surprise that long boats and canoes play an important role in her culture. The shimmering surface of these tranquil waters sets the stage for these exciting and energetic sporting events. Though most of these races have a religious background, people from all walks of life, faith and communities join the celebrations. As in everything else with Kerala, vallamkali is a perfect mix of austere devotion and spirited passion, making the events impressive and a must watch.

In Malayalam, vallam means boat and kali translates to play or game. Now, the word vallamkali, or boat race might give one a sense of playfulness about these colorful, spectacular events, but they are highly traditional, ritualistic and follow certain strict schedules. In fact, there is nothing simple or casual about these, as they take months of planning and preparation.

Roars, oars and more
From the first enthusiastic aarppo irrro shout to the last push of the oar that sends the boat through the finishing line, the races are a real treat for the senses, their colors and sounds adding to the anticipation and feel of the moment. The boats usually belong to the people of a locality and so the public turn up in hundreds to help and cheer their team. The sight of these long, graceful boats sliding through the water with the hundreds of oars spurring them ahead, and thousands singing and shouting their support is incredible.

The oarsmen under the leadership of the karanavan or captain who mans the adanayampu, the main rudder-oar, sing a particular kind of song called vanchipaattu. These songs are set to a distinct meter and the rowers synchronize their rowing with the song’s energetic rhythm. Usually, panchavaadyam or panjaari melam, traditional percussion music, accompany almost all religious festivals. The brightness of the oarsmen’s costumes against the contrasting darkness of the boats, the colorful umbrellas and decorations, the team spirit, the cheering crowd- everything about the spectacular race gives you an adrenalin rush.

Many vallamkalis are held during the Onam season, from June to September, but three of the major ones worth watching are the Champakkulam Moolam vallamkali, Nehru Trophy Boat Race and the Aranmula vallomkali. The usually quiet rivers and lakes of Kerala like Pampa, Punnamada, Aranmula and Payippad are transformed to lively arenas for these colorful events.

Champakkulam Moolam vallamkali
The vallamkali season is kicked off in July by the Champakkulam Moolam vallamkali held on the Pampa river. It is one of the oldest boat races in Kerala with long tradition and interesting history of religious relativism attached to it.

Around 1545 A.D., while building a temple for the Raja of Ambalappuzha, the temple idol was kept at a Christian household at Champakkulam for a night. The people of the family and the area and the Church honored and accompanied the idol and the King to their destination. In order to honour the people, the grateful King started the water carnival. The place where the idol was kept is still considered a devasthanam, a sacred place, and a lamp is kept lit there perpetually. The boat race continues its unbroken tradition as a symbol of religious harmony.

Nehru Trophy Boat Race, which is not tied to a temple or myth, started in 1952 as an exhibition for the then Prime Minister Jawaharlal Nehru. The race and the finish were so exciting that Nehru could not stop himself from jumping abroad the winning Nadubhagom chundan. He was so enthralled by the event that he gifted a silver miniature of a snake boat as a trophy.

The race is held at the Punnamada Lake in Alappuzha on the second Saturday of August. Not only the race, but the spectacular boat processions and floats held before the race is another crowd puller, not to be missed. Though this vallamkali features many types of boats, Chundans or snake boats are the stars of the event. Other types of boats that participate in various events of the race are Churulan Vallam, Iruttukuthy Vallam, Veppu Vallam, Odi Vallam, Vadakkanody Vallam and Kochu Vallam.

Aranmulla vallomkali is more a religious and social endeavor and celebration than a competitive race, with nearly 30 chundan valloms participating in the festival. The two day festivities end with the race in the second day afternoon. As per tradition, the thiruvona sadya, the traditional onam feast, is brought to the 1700 year old Aranmula Parthasarathy temple in the thiruvonachilavu thoni accompanied by boats called palliyodams who take part in the friendly race, where the winning boat gets the honour to accompany the idol.

The legend goes that once upon a time a nambudiri from Kattur near Aranmula, had to feed a poor person to complete his prayer ritual. Since no one came by for a long time, the devotee ardently prayed to Lord Krishna, the presiding deity at Aranmula. To the brahmin’s surprise, a young, famished boy turned up immediately. The happy man fed the boy who promptly disappeared just the way he had come. To the nambudiri, the boy was none other than Lord Krishna himself and so he decided to bring the thiruvonasadya to Aranmula temple every year at the same time. The oarsmen are seen as the god himself and is treated to a sumptuous feast, vallasadya, by the devotees. As time went by, the tradition gained popularity and the number of boats that used to accompany the thiruvonachilavu thoni for protection, or palliyodam kept increasing and became the present day vallamkali.

Bit about the boats
The chundan vallams which are about 100 feet or so in length can carry up to150 men. They are skillfully carved from the woods of anjili or teak and need arduous maintenance. They are designed and made according to specifications from the Sthapathya Veda. With a towering tail end and tapering front end, the snake boat justifies its namesake. Once a suitable tree is located, construction of the boat begins on an auspicious day under the leadership of a chief craftsman and carpenters. When the boat is completed, it is introduced to the water amidst great celebrations and gaiety at a ceremony called neeranial, which could be loosely translated as being anointed with water.

Among the people, the ownership of the boat is a matter of great pride and it is revered like a deity. A club or a team representing the people row for the locality. The boat belongs to a locality called kara and usually carries the name of the place like Kavalam chundan or Karichal chundan. The money and care for its upkeep is usually raised from the public.

As a participant, a win is highly honored and cherished, justifying all the effort that has gone into the preparation for the race. As a spectator, the race has all the elements that one wants- entertainment, culture and a glimpse into the rich past of this wonderful land.

Kathakali is believed to have been conceived out of the fundamentals of the dramatic dance form called Krishnanaattam, which means the dance of Krishna. Derived from the Malayalam words “katha” which translates to story and “kali” which means play, Kathakali is literally the enactment of stories through the medium of dance. More than a mere drama, beyond the realms of simple dance, Kathakali, has been defined by the poets of yore as a three dimensional poem. A veritable theatre of poetry. Best exemplified by the various modes of address that the characters employ in their graceful dialogue with one another. Not by their proper names or even pronouns, but by descriptive expressions and eloquent phrases.

And so when King Nala addresses his wife Damayanti as “Kuvalaya Vilochane, Baale, Bhaimi, Kisalayaadhare, Chaaruseele”, he is actually describing her as “You with the eyes like the blue water Lilly, young girl, daughter of King Bheem, with lips like the tender leaves, good natured one”. Adjectives emanating as literary poetic expressions and re-created as visual poetic expressions using intense facial expressions, vibrant hand gestures and elegant bodily movements.

Kathakali combines five artistic elements that cover the entire gamut of non verbal expression and communication.An entire treatise known as the Natyashastra on the science of facial expressions has been compiled. In Kathakali too, facial expressions have been classified into nine expressions or the “Navarasas”.

Shringaaram or love
Haasyam or humour
Bhayam or fear
Karunam or pathos
Roudram or wrath
Veeryam or valour
Bheebatsam or disgust
Adbhutham or amazement
Saantham or tranquility

Kathakali dancers undergo special practice during their intensive training period to master control over their facial muscles and eye movements. Quivering eyebrows, emphatic eye movements and staccato facial contortions come together on the face of the Kathakali artiste in the ultimate dramatic display.

The entire Kathakali story is narrated not through mere words and expressions but through a series of elaborate hand gestures known as mudras. With the fingers on one hand tipped with extended shining steel nails, these mudras accentuate the dramatic interest of the performance. While there are 24 primary hand gestures or mudras, the various combinations of gestures using both hands account for almost 470 gestures in all.

Kathakali borrows several elements of concentration, skill and physical stamina from Kalaripayattu, the ancient martial art of Kerala. A Kathakali artiste has to undergo rigorous training for several years in order to master control over his bodily movements and transform his body into a malleable instrument of expression. Flexible, supple and responsive to the numerous postures and complex positions required during the entire dance performance. This fluidity can only be attained if the artiste submits himself to extensive training right from childhood, when his bones and joints are softer and more responsive to movement.
The verbal narrative of the Kathakali performance is achieved through the stirring voice of the lead singer. Through the traditional musical style known as Sopanam, the lead singer, called “ponnani” and his back up vocalist called “singidi” perform a musical rendering of the Kathakali tale. They use the “Chengala”, a bell metal gong struck with a wooden stick and “Ilathaalom” or cymbals to dictate the tempo of the performance.

Percussion instruments are the only musical instruments used as accompaniment in Kathakali. The instruments are cleverly manipulated to emphasize expressions rather than merely render rhythm. So, a staccato beat on the Chenda or drum could symbolize the explosive anger of Arjuna or a thunderclap while the cymbals crash in tempestuous time to the quivering eyebrows of the enraged character on stage. Under the expert ministrations of these maestros every instrument becomes one more voice in the rendering of the timeless tales of yore.
Vivid splashes of Red, gold, green and black, dramatic creatures suspended in disbelief by their demeanour and adornment, the very act of beholding a Kathakali performance is an experience next to none. And for the artiste? A metamorphosis into a character out of Indian mythology. A transformation so complete, that the person is sacrificed at the altar of the persona.

Unlike many art forms and schools, kalari was and is open to all- men and women. At a time in India when caste and gender dictated one’s life, surprisingly kalari accepted everyone, across gender, caste and communal lines. kalari was way ahead of its time and yet amazingly, one can observe sacred rites and rituals as old as the technique itself even now.

Origin
Many regard Kalari as one of the oldest forms of a ‘fighting system’. Not surprisingly, Parasurama, the legendary warrior sage who is credited with the very creation of Kerala, when he threw his battleaxe into the ocean, is said to be the first gurukkal, or kalari teacher. He is said to have founded 42 kalaris and instructed the first 21 gurukkal or asans. It is also said that Bodhidharma, an Indian monk, introduced an ancient form of Indian martial arts, believed to be kalaripayattu, to the Shaolin monks in China around the 4th century AD.

History
Considered the oldest existing martial art form, kalaripayattu evolved from a traditional discipline, into a more popular, established fighting activity around 9th century. This stemmed from a dire requirement for trained warriors by bickering kings and chieftains involved in petty power struggles. An intricate value-system with a strict moral code was woven into the discipline. But in some ways, it also became a mercenary skill, called ankam, where warriors used to display their talent for rewards and at times, settle quarrels between nobles.

Folk ballads or vadakkan pattukal
The heroism of the local warriors was spread far and wide through local ballads called vadakkan pattukal. In Northern Kerala, these ballads were an important part of oral history. Truth and tale intertwined seamlessly to create a past where larger-than-life heroes became part of everyday routine. Aromal Chekavar, Thacholi Othenaan and Unni Aarcha were legendary warriors of North Kerala whose valiant deeds as kalari warriors live on today as part of history through folklores, songs and myths.

Lokanarkkavu Temple
Religion and spiritualism is an indispensable part of kalaripayattu. Lokanarkkavu temple, situated 5 kilometers from Vadakara in North Malabar, is steeped in kalari folklore. Legend has it that Othenaan used to worship at this 1500 year-old temple daily. Even today, the surroundings and the temple pond reverberate with the echoes of these heroic ballads. During mandala ulsavam, the annual festival, which falls between the months of November- December, thacholikkali or poorakkali, a traditional dance form resembling kalaripayattu, is performed here to invoke the blessing of Durga and Othenaan by kalaripayattu students.

Payattu means combat and Kalari means arena, which is an enclosed area of specified measurements built according to vaastu sastra, with the entrance facing east. An area for worship is an essential part of the kalari. In the event that a kalari was closed down, it became a temple for the presiding deity. At the kalari, one or more deities are worshipped on the puttara, a 7-tiered structure, in the south-west corner of the arena, along with the gurukkal. Lamps and flowers are used to adorn the puttara. The weapons lining the walls of the puttara silently await their turn. The practitioner follows a strict regimen of exercise, diet and spiritualism.

The art of kalari
There are two main styles of kalari- vadakkan or Northern, which has elaborate, graceful body movements, as opposed to the economical but powerful body movements of thekkan or the Southern form. tulunadan and kadathanadan are examples of Northern style. The Southern style is attributed to Agasthya muni and is said to use sidhavaidyam instead of Ayurveda, which is more popular in the North. Then there is a third form, which is a mix of the meipayattu exercise from the North with the bare-handed techniques of the South.

The technique
The students start young, usually around the age of 7. They are prepared for rigorous physical training and are taught 18 basic adavu or moves- stretching, balancing and flexibility exercises, different body postures (vativu), feet movements (chuvadu) and jumps, massages and other medical treatments- which help in controlling the flow of energy in the body and the mind. Concentration, confidence, courage and values like honor and valor are instilled in them from a young age.

At the kalari one can watch the students go through a series of defensive and offensive moves- strikes, kicks, grappling and also other evasive techniques. Training is classified into four main sections – meithari, kolthari, ankathari and verumkai.

With meithari exercises, the body gains balance and flexibility. The students crouch, jump high, kick, leap; they move their body to the gurukkal’s terse instructions, mimicking animal postures. After successful completion, the student goes on to kolthari, fighting with sticks and wooden staff.

Then comes the real test; the student gets trained in a variety of weapons called angathari: daggers, spears, short sword called churika, long sword called val and urumi, or flexible sword. It takes time and years of practice to be good at the art. The weapon sequence is a real treat to watch- the shrill clang of metal against metal, sharp, indrawn breaths, the thud of the feet hitting the red mud; the constant flow of brisk commands, bodies glistening with oil and sweat- a beautifully choreographed dance.

One can understand that the philosophy behind kalaripayattu is not fighting or winning. The student gets to learn the art of bare-hand fighting only after he or she masters all the weapons. So the fine art of defending oneself without the help of the trusted weapons is considered the most advanced skill: one that is not easily learned or handed down either. verumkai teaches the student how to use pressure points or marmas, a dangerous technique and hence taught only to the most trusted and promising students.

Kalari/ Marma Chikilsa
Kalaripayattu is based on training the mind and body together. kalarichikilsa or the practice of kalari in medical treatment has its roots in Ayurveda and sidhavaidyam systems, traditionally practiced in South India. According to this science, there are 107 marmas, or pressure points in the body. Ayurvedic medicines and oil massages are used for treating any injury to any of the marma. Apart from flexibility, agility and suppleness, the massages also help to attain a sharper mind, better ability to focus, confidence and composure.

Revival
In many places in Kerala, especially North Kerala, kalaripayattu is going through a vigorous revival. Now learned for its traditional values and fitness quotient, and more as a performing art than a fighting technique, the art form is gaining popularity all over Kerala. It is a stimulating, thrilling and aesthetic experience for the senses- a heady mix of supple movements and brisk action- guaranteed to leave the viewer enthralled.

An epitome of this unique amalgamation of cultures and histories is the little town of Mattanchery, eight kilometers from the heart of Kochi city. Once renowned as the stronghold of a vibrant Jewish community, Mattanchery, for years, was known as the spice trade center and the house of Jews. In 1951, records state there were 5000 Jews. Unfortunately, today, the Jewish community has diminished to a dismal population of less than ten. While they still follow Jewish customs, they are extremely comfortable with Kerala food, language and customs. Talk to them, and they prefer speaking in Malayalam. Sadly, in a few years from now, the Jews who have enjoyed a wonderful bond with Kerala will be relegated to the realms of history.

The singularly most popular attraction in Mattancherry is a narrow lane called Jew Street. Lined with handicraft, jewellery, clothes and artifact shops on either side, Jew Street has become a favourite shopping destination for the local and tourist populace alike. During peak tourist season, you’ll see Jew Street teeming with tourists. Situated t the end of Jew Street is the 451-year old Jewish or Pardesi Synagogue, built by the descendants of Spanish, Dutch and other European Jews.

The Synagogue has large windows, without bars. These windows allow sunlight and breeze to reach every corner of the hall, illuminating the hall with natural light. One of the unique features of the Synagogue are the 1100 hand-painted Chinese floor tiles used in the Synagogue. They are of four different patterns, but every single tile is different and dates back to 1774. The chandeliers were imported from Belgium and Italy 105 years back. The priests stands at the Bimah or Teybah (commonly known as ‘Pulpit’) to lead the services. Torah, the religious book of the Jews is read every Friday and Saturday when the Jews gather for prayer.

The Streets of Mattanchery are fragrant with the aromas of spices and a forgotten history. If there is a place in Kochi, that hasn’t been defiled by development, it has to be Mattancherry. Even the buildings here were built hundreds of years ago and stand as silent sentinels, safeguarding the memory of their glorious past.

Here’s a street where you can find almost everything you want – and if you have a particular interest for antiques and art works, spices, readymade dresses and books, go right ahead. The streets are spread between the Dutch Palace and the Pardesi Synagogue. The world’s largest Varpu (huge traditional bronze utensil) is displayed at the Crafters Antique shop. For lovers and collectors of antique, here’s a lane that’s right up your street!

When you are in Mattanchery, you can’t miss the architectural marvel, Dutch Palace, replicating Kerala’s traditional architectural style – Naalukettu with a combination of Dutch styled doors and windows and Gothic arches. The Palace exhibits a series of paintings on Ramayana, Lord Krishna the earliest map of Kochi, an 18th century palanquin, an ivory palanquin, sheathed swords, draggers and axes, spears, Maharaja’s swing, Parasol, garlands and royal costumes. The Dutch Palace has been recognized as a National Monument and has been placed under the protection of the Archaeological Survey Department, Govt. of India since 1954.

Another place of prime importance in Mattanchery is the Jain Temple, built in 1904, and dedicated to Lord Dharamnath. The Jain community in Mattanchery comprise around 375 families, most of them engaged in business activities and the others in varied careers. This is yet another local attraction where people from all walks of life visit to pay their respects to an ancient culture and also to marvel at the historical wonder. Adjacent to the Jain temple, is yet another temple. Unlike the norm, there are no lamps in this temple and hence this temple is called “Velakilla Temple”.

To reach Mattanchery, you can either take a taxi from Kochi city, or go by the local ferry from the main shores of Kochi. For your accommodation, there are hotel and homestay options in Kochi and Fort Kochi aplenty. All in all, a trip to Mattancherry is like a pilgrimage into the past. Sacred and so special.

Agastyarkoodam gets its name from the legend and the Great Sage Agastyar who meditated from this peak, where a small temple stands in remembrance and devotion to this great saint.

Positioned in Western Ghats, Agastyar Biosphere Reserve is spread over two States and three districts – Thiruvananthapuram and Kollam Districts in Kerala and Thirunelveli District in Tamil Nadu. Agastyarkoodam is a 28km trek from Bonacaud, the last point of the motor able road. Bonacaud with a beautiful tea estate is about 40km drive from Trivandrum. Agastyarkoodam attracts both trekkers and pilgrims. The peak remains open in the name of pilgrimage for a short span of about one and a half months that falls anytime between the period of December and April, as decided by the forest department. The forest officials fully regulate the trek.

Agastyar bio-reserve is a natural herbal garden, home to thousands of rare herbal plants. Agastyar Munni, considered as the father of Siddha system of medicine, the first Siddhar(Siddha Practitioner is also known to have contributed highly to martial art forms like Silambam and Kalarippayattu, both oldest forms of martial arts that are still practiced. Even today, some martial art practitioners and certain people of Tamil Nadu worship him.

A short journey from the city of Thiruvananthapuram, the trek at Agastyarkoodam is through a forest inhabited by wild elephants, bisons and boars. Interestingly, these animals pull over to deeper jungles sensing human commotion when the trek begins making the trek all safer. However, a trek after sunset would be dangerous – even the most experienced guides clench tight to the rule.

The two-day trek to Agastyarkoodam starts in the morning from the Bonacaud forest check post. Stretches of open grasslands, small streams running across, waterfalls, steep climbs make the trek all vivid. Muttidichan Parra, literally meaning knee-knocking rock, a steep climb takes you to the base camp at Athirumala. The base camp offers a large building to accommodate the trekkers and God sent canteen that serves traditional Kerala cuisine.

For the trek, the forest officials employ tribals from the hamlet inside the forest as guides. The tribals convey fascinating stories of Pygmy Elephant though its presence isn’t officially recognized. Listening to such stories during a trek through the forest makes the trip further fascinating.

The final 12 km climb to the Agastyarkoodam starts early the next morning. The first few kilometers pass through steep climbs footing big tree roots and rocks. Pilgrims stop at the mountaintop, Pongala Parra, for religious rituals and put Pongala (a religious ceremony of making sweet dishes as offering to Agastya Munni).

Reaching the peak, mist and cool breeze taps, a full dimensional panoramic view – of Arabian Sea on one side, a chain of fading mountain ranges on two sides and a never ending stretch of plain land in the other direction finds us, the sight that get engraved in the memory forever. Down below a tiger reserve stands guard; a mighty water reservoir gives a splendid view. The Idol of Agastyar Munni stands silent in the heaven watching over the world.

Agastyarkoodam is a great place to trek – if you love to go with only a batch of men – friends or strangers, and admire the natural beauty as you walk through the small streams, water falls and taking each step as you pass through a place that shares an important place in history.