Archives of Yewell "Sonny" King

“When you begin to teach is when you learn the most. This is because you must convey your understanding in the manner that the student readily accepts. This experience develops a cerebral mind…” *bow held long in deep respect*

“Understanding is linked to repetition. One cannot exist without the other. If you are uncomfortable it is because you haven’t washed yourself in repetition…” -Meijin Yewell “Sonny” King

2 Timothy 2:15
“Study to shew thyself approved unto God, a workman that needeth not to be ashamed, rightly dividing the word of truth.”

2 Corinthians 10:5
“Casting down imaginations, and every high thing that exalteth itself against the knowledge of God, and bringing into captivity every thought to the obedience of Christ;”

KALARI PAYATTU - WARRIORS OF PEACE

There are different paths to Spirituality and Awareness. Martial Arts are the physical activity, which blends mind and body in perfect synchrony and procreates a high degree of positive energy. The learner in the beginning fights the enemy or combats with an excellence that raises his levels of confidence. As he progresses a more lethal combat is fought with the enemies lurking in his mind akin to greed, lust, ego, selfishness etc and translates these emotions to altruistic giving, compassion and healing.

Kalari Payattu is the oldest Martial Art of the World. Kalari translates to Gymnasium andPayattu, Martial Arts. In the Classical literary works of Dhanur Veda, Agni Puranam, Natya Shastra, Hasthangastham and Srakraneeti mention that Sage Parasurama after creating Kerala from the Ocean, taught his twenty-one disciples this graceful lethal Art toprotect and maintain peace in the land. Legend from antiquity asserts that Lord Shiva andShakthi taught the Northern Style (Thekkan) to two disciples who later opened manifold Kalaris and promulgated this technique in Kerala. Maharishi Agasthya created the Vadakkan style (Southern Style). Kalari flourished up to the 18th Century. When British ruled India they banned Kalari, and probably was because of dexterous feats and fighting skills accomplished by the proficient. The Art was practiced in secrecy and thankfully survived a definite extinction for the only reason, that few sincerely interested Warriors and Gurus taught and kept it alive. Today hordes of people come to Kerala and learn Kalari Payattu , the Mother of all Martial Arts.

Around 520 AD Bodhi Dharma came from China to learn the Eight Fold path of Buddhism from Kerala. Fascinated by Kalari Payattu he took with him over hundred experts back to the Shaolin Temple in China. The Art Form that evolved through Kalari Payattu became Kung Fu.

The Architecture of Kalari is as unique as the Martial Art. It is built three feet below ground level, and usually an area of 18, 32, 43 or 52 feet in length from East to West and width exactly half from North to South. There are five styles of Kalari and are Kurum Kalari meant for guerrilla training, Anka Kalari for duels, Cheru Kalari intended for healing and treatment, Kodum Kalari designed for meditation and teaching the Science ofMarmam (Vital Nerve Centers) and Kuzhi Kalari for training and practicing.

A three feet wall is built all around the Kalari and a thatched roof of bamboo and coconutleaves cover it. The floor and walls are made of mud and beaten to make it smooth and level. The floor is subsequently disinfected with herbs; different kinds of oils and natural pigments to protect the bare body of the Martial Artist, and is then made slippery by applying oil made from the leaves of Kulir Maavu, which increases footwork ability and abdominal power.

The entrance is in center of the Eastern wall having three steps leading down. The Poothara or a seven-tiered conical shaped structure in the Southwest corner symbolizes the subtle and gross aspects of self and the Universe. The important zones inside the Kalari are determined through Vaasthu Shasthra. A flower or lamp is placed on top of Poothara and is the focus point for eye exercises and concentration. This area is known asTrataka. On the right are smaller platforms representing seats of earlier Teachers (Guru Thara) and Ganapathi Thara, where Lord Ganesha is propitiated for positive thinking. Allweapons are kept on the Western side and Gurukkal stands here when teaching facing east. No exercises are done either North or South. and according to Yoga and Ayurveda the magnetic fields in South and North have detrimental properties.

Two main styles of Kalari Payattu found within Kerala are Northern (Vadakkan) and Southern (Thekkan). Parasurama taught Thekkan style and Maharishi Agasthya, Vadakkan style. The other styles are Dronapalli, Odimurisseri, Valla Batta, Madhya Keralam, Kadathanadan, Thulunadhan, Pillathangi, and Malanadan etc. Instruction in all styles commences by massaging the novice with medicinal oils to improve litheness and endurance. The student's body is smeared with medicated oil and the guru massages it with his feet to make the body and muscles supple. Three forms of massage or Uzhichal are practiced in Kalari. Sukha Thirummu for physical comfort and relaxation, Raksha Thirummu to increase body resistance, with specially prepared Ayurvedic herbal oils and Katcha Thirummu, for flexibility of the body. The student wears a cloth Mundu (Dhoti) called Katcha, which supports the central muscles of the body. One end of this cloth is tied to a pillar or coconut tree and the learner begins to wind him self into it with elaborates series of movements called Katcha Kettal. The student begins his training by offering obeisance to Goddess. This is done in a war dance ritual called Poothara Thozal, where the student salutes the lamp lit Poothara and performs Vandhanam in a crouched cat stance with the hands moving in a circular motion. The eyes are focused at a single point on the Poothara to improve vision and concentration . Every move is done with grace and synchronized breathing. The next aspect is Kalari salutation and are five yogic postures done in motion to instill body and mind coordination.

Other aspects of training are twelve leg movements (Kaal Ettuppu). After a certain stage flexibility achieved are immense and the legs become weapons of defense, offence and healing. Legend from antiquity asserts that Lord Shiva and Shakthi taught Northern Style to two disciples who later opened manifold Kalaris and promulgated this technique in Kerala. Shiva,s style is known as Pillai Thangi and are aggressive with linear movements and represents the male form. Shakthi Swaroopa or Arapu Kai have subtle, more circular and symbolizes feminity. Great emphasis is given to spontaneous and graceful body movements during combat in this style. Meythari are 12 movements, which include twists, turns, leaps and stances. With theses callisthenic& #8217;s maximum body- flexibility is achieved and difficult feats with weapons are wielded. The learner learns various leg-stretching exercises and several sequences of body exercises, which help in balance, body posture jumps. Training with weapons made of wood (Kolathiri) like long stick, short stick and curved stick (Otta) are also given. Kol means stick. Otta combat is very graceful and needs a lot of practice. This S shaped two feet stick with a k**b at the end is made out of tamarind tree and experienced fighters will use the stick to hit the Marmam or vital nerve points of opponents. Training is given with long canes; short wooden sticks and specially designed wooden weapons and maces. Practice with mace increases strength and judgment. The third phase of training is called Ankathari. The word Ankom mean combat. Sharp edged weapons (Angathari) are taught and include dagger, sword and shield, spear and perhaps found only in this Martial Art, the different and deadly flexible sword, the Urumi. This razor-sharp sword with a flexible blade when twirled correctly becomes a lethal weapon and produces a most terrifying sound. The next stage of unarmed combat is called Verumkai Prayogam or barehanded fight. Techniques like Kathiyum Thalayum (where attacks with a knife are defended with a piece of cloth) are also taught at this stage.

Puliyankam or sword fight is the ability to wield the weapon as an extension of the body with perfection and experience. Puliyankam mean the duel of Tigers having stealth and grace. Unarmed combat (Verum Kai) , incantations, concentration and Kalari Chikilsa (Medicine and Treatment) are the other aspects of this style.

Southern Kalari gives more prominence to unarmed combat (Verum Kai). Movements are performed on a cross and square diagram drawn on the floor. There is Siddha influence both in Yoga and Medicine in this style. This style has 64 Adimura (Blows and Holds). Thattumura, Pidimura, Marmamura and Marma Adi are the other unarmed combat techniques. Kicking is an integral facet of this discipline. There are 84 different techniques in kicking and are Ankachery Chavuthu (16), Balivazhi Chavuthu (18) Ankamvettu Chavathu (12), Nalani (16), Karinada Chavathu (8), Cheena Adhi (6 Drunken Style) and Thattu Marma Chavathu (8).

The Gurukkal or Gurunathan (Teacher) is the most revered person in the Kalari. The disciple offers his mind, body and soul and the Gurukkal moulds and creates the perfect warrior of peace who expels negativity and harmonizes positive vibrations.

The Teacher should have purity in mind and should be without politics, religion, caste etcto edify the trueness of this ancient Martial Art. He should also be an expert in AyurvedicMarma treatment.

Marmas are vital points in the body. This ancient treatment cures sprains, dislocated joints, fractures, back pains, rheumatism, sciatica, lumbago, anxiety, depression, insomnia, obesity, arthritis and paralysis etc

Many classical folk art forms of Kerala, especially Kathakali dancers learn the basics of this Art to increase endurance and flexibility. Aromal Chekavar and Thacholi Othenan, who lived in Kerala in 18th century, are great Kalari Payattu Legends. At the same time lived Unniarcha, a lady exponent of this art. Even today farmers while harvesting the lands sing Vadakkan Patthu (Folk Ballads), which are based on the heroic combats and adventures of these great warriors.

From the archives of the Do Ho Katsu
From the desk of yewell

"2022 will be Sonny's year..." *bows*

Within 2022 in honor of entering the 9th year since the Founder Meijin Yewell “Sonny” King’s transition, the Director of the Do Ho Katsu Ryu will post or read chosen excerpts from the 5 year journal he wrote while under the Founder’s tutelage. This will be only the beginning for what will be called the “Year of the Old Student.”

Prepare yourselves…

•bow held long in deep reverence•

"Black and blue arms, fists, and shins are better then a black and blue face. Practice defending against all forms of attacks by hands and feet. Unless technology changes things, or aliens arrive... the human race will always have two arms, hands, and two feet...."

*bow held long in deep respect*

Meijin Yewell "Sonny" King

"UNDERSTANDING THE SIGNIFICANCE OF COMPLETE TRAINING"

SOCIAL SIGNIFICANCE IN RELATIONSHIP TO THE SCHOOL IS DRAWN UP BY THE PROPER ATTITUDES OF THE STUDENTS IN THE SCHOOL. THE FIRST PREREQUISITE: THE TEACHER/STUDENT RELATIONSHIP IS NEVER DISJOINTED. THE STUDENT BECOMES A TEACHER, AND THE TEACHER REMAINS THE STUDENT. THIS PRINCIPLE ABIDES SO CONSTANTLY CLOSE AND INFORMAL THAT THE FIRMNESS ATTAINED BETWEEN TEACHER AND STUDENT NEVER STOPS FROM BEGINNING TO END OF TRAINING, EVEN IF IT IS AN ENTIRE LIFETIME.

ALL INSTRUCTION OF TECHNIQUE WILL BE EQUAL, COMPLETELY WITHDRAWING THE CONCEPT OF STRONG VERSUS WEAK. THIS DOES NOT ADVOCATE A BOND BETWEEN A STUDENT AND THE SCHOOL, BUT INSTEAD REINFORCES THE RELATIONSHIP OF TEACHER TO STUDENT. CLARIFYING THE ADAGE THAT IF THE STUDENT IS NOT CARED FOR AND THE TEACHER NOT RESPECTED, THERE WILL BE TROUBLE IN THE TEACHING HOWEVER CLEVER ONE IS.

AS A SIDELIGHT I WOULD LIKE TO MENTION THAT A STUDENT IN A FORMAL AIKIDO SCHOOL WILL PRACTICE BREAKFALL (UKE-ME) FOR A PERIOD OF TEN YEARS BEFORE GOING ABOUT TEACHING. SINCE DYNAMIC DISPLACEMENT IS THE KEY FEATURE OF AIKI-JITSU, IT WOULD BE PRUDENT TO SPEND A MAJORITY OF YOUR TIME MASTERING UKE-MI IF YOU WANTED TO SUCCEED IN FINISHING YOUR STUDIES IN AIKIDO. ALSO, TEACHINGS IN THE BREAKFALL CANNON MAKES ONE FEARLESS. FEARLESSNESS IS THE CORNERSTONE OF ANY REAL STUDY IN BUDO.



THE TWO SIDES OF A COIN

IN THIS EXPRESSION LIES THE SECRET OF REAL GROWTH IN THE STUDY OF BUDO. UNDERSTAND WITH YOUR HEART, MIND AND YOUR BODY, THAT THERE IS HIGH BECAUSE OF LOW. THERE IS FAST BECAUSE OF SLOW. THERE IS A THROW AND A REMEDY TO ITS EFFECT BY MASTERING BEING THROWN.

THERE IS LEFT BECAUSE OF RIGHT. YOU MUST COME TO REST IN YOUR MIND ABOUT THE RAMIFICATIONS OF SIMULATED AND ACTUAL COMBAT.. IN CONVERSATIONS WITH PEOPLE WHO ARE STUDYING A SYSTEM OF COMBAT, I OFTEN FOUND WHOLESALE IGNORANCE ABOUT WHAT TWO SIDED STUDY IS. VERY FEW PEOPLE WHO ARE FUELED WITH A PASSION OF CONQUERING AN OPPONENT SEE IT NECESSARY TO WORRY ABOUT BEING THROWN, OR BEING HIT.

IT IS AS IF THEY SAY TO THEMSELVES: I WON’T BE THROWN, SO WHY PRACTICE BREAKFALL TECHNIQUES? “WHAT SMALL THINKING!” I WOULD SUGGEST TO ANYONE REGARDLESS OF WHETHER OR NOT THEY WERE PRACTICING A SYSTEM OF COMBAT, OR BUDO, THAT FALLING IS ONE OF THOSE UNFORTUNATE THINGS THAT HAPPEN TO BIPEDS. WE FALL MORE OFTEN THAN WE WOULD LIKE TO ADMIT AND THEREFORE IT IS PRUDENT ON EVERYONE’S BEHALF TO STUDY HOW NOT TO FALL DOWN.

IN YOUNGER PEOPLE IT DOES NOT TAKE LONG FOR BONES TO HEAL, BUT IN OLDER PEOPLE THEY MAY FIND THAT BROKEN BONES FROM FALLING DO NOT HEAL AS WELL, OR MAYBE NOT AT ALL. AGAIN WE MUST RETURN TO THE FULL UNDERSTANDING OF LOOKING AT THINGS ON BOTH SIDES OF THE COIN WHEN WE STUDY BUDO.

WE MUST TEMPER THE MIND THROUGH THE PRINCIPLE OF RECIDIVISM. RETURNING AND RETURNING AGAIN TO OUR STUDIES CONCERNING BUDO. WHEN A STUDENT STOPS TO REST ON A SUBJECT AND NOT SEE IT THROUGH IN ITS ENTIRETY THEN THE REWARD IS ONE SIDED, WITH ONE SIDED RESULTS. THIS CHOOSING OF ONE SIDE OVER THE OTHER IS A BRICK WALL TO THE SUBCONSCIOUS. AFTER ALL IT IS THE SUBCONSCIOUS THAT WE ARE TRAINING. WE MUST GIVE THE SUBCONSCIOUS ALL OF THE TOOLS NECESSARY TO COMPLETE ITS RESPONSE APPROACH.

WITH OUT A SYNOPTIC UNDERSTANDING OF COMBAT, HOW THEN CAN THE MIND ALTER AND REMEDY THE RAMIFICATIONS OF COMBAT? A MUST METHOD OF STUDY IS THE COMPLETE IMMERSION INTO A STUDY. IDEALLY, WE SHOULD APPROACH A TEACHING FULLY, THIS SO THAT WE MAY BECOME SPIRITUALLY ATTUNED WITHIN THE STUDY. PHYSICAL STUDY IS THE FIRST HURDLE. MENTAL STUDY IS NEXT IN THE TRILOGY. LAST, BUT NOT LEAST, IN FACT MORE IMPORTANT THAN THE FIRST AND SECOND
UNDERSTANDINGS, IS THE SPIRITUAL DEVELOPMENT.

AT THIS STAGE OF YOUR DEVELOPMENT WE BECOME PROFICIENT AND IN TUNE WITH THE COMPLETE STUDY. THIS IS TRUE OF ALL STUDY IN BUDO. PHYSICAL, MENTAL AND THEN SPIRITUAL UNIFICATION COMPLETES THE UNION.

from the desk of yewell

During the path to the first Do Ho Katsu Ryu in Arlington Va, there was a formation of rocks that Sensei King instructed his students to walk across on their way to class. His students made this journey to class for every session...

"My informal Journal has been written so that it presents my personal history in the martial arts in Louisville Ky. That way there can be no confusion about how I felt, in my own words..." ---Meijin Sonny "Yewell" King

The Royal Way of mental, and physical, and spiritual unification...

Well...., like the monk who was struck 30 times before he could open his mouth about learning the sword, and then asked why did the Head Monk strike him when the question had not been asked in full as of yet?

The Monks answer was crystal clear: "If I would have waited, it would have been too late."
Instruction in any art is to be done immediately if not sooner....

Students.... I cannot wait for you to make up your minds about training. I must strike while the iron is hot.
If I fail to strike at the most opportune moment... "...all is lost..."

Therefore classes will be about the business of executing kata and releases and dynamic displacement....

1. Kata will start with the fundamental kata and go up to the intermediate kata and then arrive at the advanced kata.

1a. As you finish the kata level where you are studying, then you must go through and review the releases of the school.

1b. When that is finished, you must go to the makiwara, thus practicing what strikes that are known to you.

1c. When makiwara training is finished, then move to the candle training area and practice your strikes.

""This memo has been generated so that there is no confusion
as where we may start or finish our class when at the Dojo""

from the desk of Yewell (Yaksu)