Catalogue

CONCEPT:-
The publishing is the method to give the viewer imformation about the cultural artifact he is admiring. The information in the catalogue is for the viewer to know about the history and culture of the artifact. The hierarchy of information allows the viewer to explore the importace of the artifact, why and how its there.

ILLUSTRATION:-

Poster

CONCEPT:-
Its a important step towards publicity. The posters are designed to create a hierarchy between text and images. The poster not only emphasise on the artifact but also the culture the artifact has come from. In the same time it creates a hierarchy with the information where the artifact is displayed.

ILLUSTRATION:-

Display

CONCEPT:-
The exhibition set up in the Museum of Traditional Arts, Kerala is unlike other museums leaves the object open to be interpreted by the viewer. The artifacts are presented in such a way that it places a dialogue with the viewer. The display not only leaves the viewer to admire the artifacts but to know about the past and present of it too. The display is not just presentation of objects but it also a introduction of the method the object is used. Viewer is allowed to explore the culture and relationship of the artifact with culture, which produced them.

ILLUSTRATION:-
Display of weapons on the 2D pictures of kalaripayattu movements in the 3D space, according to the position and the action of the worrier in the picture. Pictures are placed on the wall with the plasma screen in the center to demonstrate the live performance happened in Museum of Performing Arts, Kerala. The long barrior placed is covered and decorated with the traditional dress called Kacha.

Pictures

Architectural Design of a Traditional Kalari

The art is trained in an enclosure called ‘Kalari’, which is 21 feet by 42 feet. The entrance faces the east. In the south-west corner is a seven-tiered platform called the "poothara", which houses the guardian deity of the kalari. These seven steps symbolise seven abilities each person requires. They include Vigneswa (Strength), Channiga (patience), Vishnu (commanding power), Vadugashcha (the posture), Tadaaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners.

Kalari's influence on other arts

Kalaripayattu has strongly influenced the evolution of several of Kerala's theatre and dance forms, most prominently Kathakali and Theyyam. Kathakali practitioners are required to train under Kalari masters to develop various attributes such as fitness, stamina, and martial movements enacted in their performances. Kalari practitioners claim that Bodhi Dharma, a Buddhist monk who was responsible for training the Shaolin monks in kung-fu, was in fact a Kalari master.

MarmmaVidya

Another important ingredient in Kalarippayattu is the MarmmaVidya which is an intimate knowledge of pressure points of the body which can be used to cause intense pain to the opponent or even kill instantly. Kalari chikitsa or treatement in kalaripayatt includes specialized and indigenous medical preparations and methods to treat injuries caused while practicing this martial art. Only students who are devoted towards kalaripayatt and whom the gurukkal thinks trustworthy and capable of handling responsibilities are taught the methods of kalari chikilsa.

The mind is considered as the 108th marma. The other marma points are classified for better understanding according to the physical components:
Mamsa Marma - muscle
Sira Marma - vessel
Sanyu Marma- Ligament
Asthi Marma- bones
Sandhi Marma - joints

Marma chikitsa is only performed by a person with thorough knowledge of all the vital spots of the human body and is used to treat injuries which may even lead to death.