Master Anbananthan is an expert in the ancient Indian martial art of Silambam who lives in Penang, Malaysia. [1] Silambam involves the use of a 1.68 meter staff and has a lineage dating back 5000 years to tribes in southern India. [2] Master Anbananthan learned Silambam from his teacher, the late Mahaguru Mariapakiam, and he is now responsible for maintaining and teaching the tradition. [3] During a visit, the author was given a demonstration of Silambam by Master Anbananthan and his students, observing techniques including unusual animal forms.

1. As citied at (http://www.silambam.com/NilaikalakkiSilambamFightingArt.html) on 08 December 2011
Introduction
During the past eleven years, a colleague and I have undertaken numerous research missions to
Europe, Japan and Asia. Our main focus has been to research the Japanese jujutsu, Atemijutsu
and Kuatsu arts of the late Professor Kam Hock Hoe. Professor Kam opened a branch of the
Kyoto Kokusai Jujutsu Dai Gakuin (International Jujutsu Institute) in Malaysia in 1935.
In my travels I have met many devotees of Japanese Budo, as well as practitioners of Chinese
and Indian martial arts. Occasionally I have the pleasure of meeting exceptional exponents who
are far from the commonplace. Early this year, by chance, I found myself again in the footsteps
of the late Donn F. Draegger sensei, the most famous Western "explorer" of the traditional
Japanese, Chinese and other Asian martial arts.
During my most recent visit to Penang, Draeger sensei's most respected and senior jodo
(Japanese staff art) student, Mr. Karunakaran s/o Chindan sensei, introduced me to a number of
his friends, including Malay, Chinese and Indian martial artists.

2. One of the people I was introduced to was master Anbananthan an expert in the ancient Indian
art known as Silambam. Master Anbananthan was wuite happy for me to recount his history, and
a brief history of his Silambam arts.
Living on Penang Island, Malaysia, is a traditional Indian Silambam Master who specialized in
the use of a 1.68-meter staff referred to as a Silambamboo. Although the length of the stick is
meant to be 1.68m it is usually cut to suit practitioners'height and thus can vary in length.
The word Silambamboo is broken down into two words. The first word Silam in Tamil means
"mountain" while bamboo remains the same in English. The most senior ranks are allowed to
train with a sharpened spearpoint on the end of the stick.
The art is not widely known, although it has a long lineage. One of the first Westerners to study
this fighting art in the early 1970's was the late Donn F. Draeger Sensei.
Draeger sensei first met mahaguru Mariapakiam (1900-1986), Master of Silambam, during a
research visit to Malaysia in 1972 and was most impressed with the narikuru (animated animal
movements) of the art.
It was during this time that Draeger sensei developed a close friendship with Mahaguru
Mariapakiam's senior student Mr. Anbananthan, who was in later life destined to continue the
teaching of the Silambam art.
Master Anbananthan lives in Taman Tun Sardon, Penang, surrounded by his family, friends and
selected students. He currently works with the Malaysian postal service and is due to retire in a
few years. Mr. Anbananthan is looking forward to retiring so that he will have more time to
teach the silambam art to his many students.
Master Anbananthan's only disappointment in life is that Draeger sensei did not live long enough
to finish a publication on the art of Silambam.
History of Silambam

3. Silambam is said to have its origins in India 5000 years ago. The art traces its history back to the
Kurinji mountains located in South India. Natives of the region, the Narikuravar, used the staff to
defend themselves against wild animals and other attackers.
The staff also played an important part in early religious festivals amongst the indian people
when they would display their skills. Religious rites had to be performed to the goddess Sakthi
(goddess of strength, courage and guidance) before a student sought permission from the Master
to learn the art.
During religious festivals it was commonplace for Hindu scholars and yogis visiting the Kurinji
Mountain area to view the highly-skilled spinning displays of the Silambamboo.
The scholars and yogis were attracted to the Silambam art and they adopted it for themselves. In
time the scholars brought the art to the Royal Court during the reign of the powerful rulers
Cheran, Cholan and Pandian. Over a period of time Silambam became an exercise expressing
both the physical and spiritual aspects of Hinduism.
Competitions were held to promote the art during Royal birthdays, with handsome rewards paid
to the Silambam. The winners of the competitions were honoured with selection to the rank of
King's Guard.
Lineage of Silambam in Malaysia
In 1936 Mahaguru Mariapakiam, Nilaikalakki Silambam and Yoga Master travelled to Penang
from South India. During 1964 Master Anbananthan became a student of the Nillaikalakki
Silambam.
On the Mahaguru's death (12th of August 1986) Master Anbananthan became Master-teacher
and leading authority in Malaysia for Silambam. He maintains the lineage from South India and
is regarded as one of the few living Masters teaching the traditional aspects of the art.

4. Silambam
Once a person has been selected as a student of Silambam he is informed of correct behaviour,
given a staff and then commence learning the basics of the art. This basic training takes seven
years to complete and is comprised of ten different stages.
The first stage "Otthai Vitchi" focusses on physical fitness, with special exercises to strenghten
the nerves and muscles of the body.
During the second stage "Yiretthai Vitchi" the student learns to spin the staff, incorporating
rotating movements using both arms. This stage builds up the student's coordination skills. When
twirling the silambamboo the practitioner must relax and breathe normally.
The third stage, the "Varusai/Silat Varusai" is the most difficult and involves spinning techniques
and patterns at ninety-six different angles.

5. Once the student has mastered the ninety-six patterns they are taught stage four "Sandai
Marutham" which also uses the ninety-six patterns and incorporates striking movements based
on four, eight, sixteen, thirty-two, sixty-four and ninety-six sets of attacking options.
After the first four stages the student is introduced to defence techniques known as "Othokal
Murai" which teaches how to evade attacks by rotating the staff. At stage six "Piruvugal, Adi
Kambugal" thirty-six movements are taught in which each set consists of twelve movements in a
sequence. Strinking of the vital points, "Kurivaithu Adipethu" with the focus on the target area is
the seventh stage. This is followed by the "Kanthan" eighth stage, which teaches the difficult
rythmic movements of the art with their tactical application. There is no shouting when strinking
but the student does exhale.
The ninth stage, "Narikuru" is where the animated animal movements are taught. These
movements are the most difficult and beautiful of the art. Only the most senior and dedicated
students are taught them. The fox movements in the ninth stage is unique and extremely difficult
to copy without years of training. On gaining mastery of the ninth stage the student is ready for
the final tenth stage "Utchekattha Nillai" where all the earlier skills are tested.

6. Use of vital points
Silambam not only teaches how to attack vital points but also teaches students revival techniques
and general medical remedies for the promotion of good health. Master Anbananthan described
one such procedure for reviving someone from a heavy blow to the head.
The treatment involves rubbing the nerves at the side of the head and ears and massaging the
scalp. Betel nut is also sometimes used in this treatment. The Betel nut is chewed and then blown
into the patient's ears to insert heat and speed up the healing process.
Demonstration
During the meeting with Master Anbananthan I was privileged to meet his students and view the
training weapons. Master Anbananthan and his students then put on a demonstration using the

7. silambamboo. The techniques of Silambam were performed with speed and control. Of particular
interest to me was the performance of the various set routines.
Two special highlights were demonstrations by Master Anbananthan of the unusual Narikuru fox
movement and of an empty hand form, which closely resembled a karate kata. The form was
unique due to the openness of the hands when not actually striking the opponent and the
execution of the foot to target the oppenent's ribs. This seemed to bear out that research which
points to karate having an Indian origin.
In conclusion I would like to thank my friends Master Anbananthan and Karunakaran sensei,
both of whom are truly humble and sincere individuals.