Shastar Vidya

Whilst the word gatka is commonly employed to refer to the modern Sikh martial art system as a whole, the correct historical term is shastar vidya. Originally, Gatka was actually part of just one branch (known as an aṅg) of the wider Shastar Vidya martial art system. == Utility ==

According to Gurbachan Singh Bhindranwale, the former Jathedar of the Damdami Taksal, there are two different kinds of the vidya (science/art), the first is performative (meant for exhibition) and the second is authentic and bona fide (which is lethal). According to Bhindranwale, the second type is meant for the warrior who is ready to kill his enemy or become a martyr himself. The form of gatka which is authentic and lethal is termed as jhaṭkā-gatkā but very few masters of the genuine martial art exist in the present-day as the martial art has become dominated by the performative expression of it. == Branches ==

There are various components or branches of Shastar Vidya. These branches are traditionally called ang, they are as follows: • Bāhu yudh - unarmed combat • Loh mustī - iron fist fighting • Mal yudh - wrestling • Gadā yudh - stick/club fighting, containing a particular style of stick-fighting called Gatkabazi (referred to simply as Gatka in the present-day) • Shastar yudh - weapon fighting • Astra yudh - missile fighting == Training ==

The bare necessities required for mastery of Shastar Vidya is a healthy diet and physical fitness, which is reached through exercises such as sūraj namaskār (sun salutations), bhujaṅg-dand (Indian press-ups), and ūtak-baiṭakh (Indian squats). A master and teacher of Shastar Vidya is called an ustad. Students and disciples are called shagirad. Weapons are usually taught through sparring with a sword and shield but usually non-lethal forms of weapons are used for beginners, such as wooden sticks.' Once a student has reached an advanced level, sparring with actual lethal weapons can occur but it requires stringent discipline and focus.' People sparring are referred to as khidārīs. In-order to produce a capable warrior that is ever reminded of death even while living, the martial art stresses upon both spiritual (meditation and prayer) and temporal strengths (awareness, healthy diet, exercise, and fighting techniques) of humanity.'' Practitioners are to follow a strict Rehat (code of conduct).'' The martial art combines and stresses upon the Sikh religious concepts of tyar bar tyar (a state of being "ready upon ready"), sevā (selfless voluntary service), and Degh Tegh Fateh (victory of charity and arms).'''' == Fundamentals ==

Footwork Footwork forms are referred to as Paiṅtarā or asanas, they are used to coordinate the entire body in unison with whatever weapons are being wielded. Some of the different footwork styles are as follows (each may incorporate different kinds of weapons): • mūl paiṅtarā - the most basic form that the others are based upon. It is a simple four-step pattern and an exercise of both balance and coordination of the body that is regularly practiced. • tiger paiṅtarā • monkey paiṅtarā • bull paiṅtarā • snake paiṅtarā • eagle paiṅtarā Movements Working upon the footwork, there are various movements that "dictates the strategy of engagement". The different kinds of movements or actions are termed pāitā. Membranophone instruments like the nagara or dhol drums are used to aid the rhythms of the various movements so the practitioners can internalize them to muscle-memory. Some pāitā forms are as follows: • īta-ūta - forward-and-backward, side-to-side movements Maneuvers The various offensive (attacking) and defensive (blocking) maneuvers of Shastar Vidya are based upon the positioning of the limbs (such as feet and hands) but also weapons during the footwork movements. All these fundamentals together are the repertoire of the practitioner and are termed as baṅdish. Some offensive and defensive maneuvers are as follows: • hujh - direct strike • rokhaṇā - blocking • lapeṭaṇā - twisting • phaiṅkaṇā - throwing • chhīni - snatching • bandesh - locking or holding • maroṛā - swinging • chuṅgī - leaping When the student has reached an advanced level, they are then taught about chambers (such as feints) and other misalignment methods. Striking points Various locations of the human body have traditionally been identified as striking points or maram within the martial art. There are thirty-three striking points (marams) located on the human anatomy, of which, eight of them are considered to be major maram points. There are nine different kinds of strikes and each strike has a counter (called a vār). == Weaponry ==

Within the martial art, weapons are called shastars. Weapons are often venerated, as a form and agent of the divine, within the martial art. Within the martial art, weaponry is seen as the power (bhagautī) of Akal Purakh(God). The Sikh gurus revered weapons and passed down the practice of deeply respecting weapons to Sikhs. The practice of venerating weapons is known as shastar puja. Any class or performance of the martial art involves certain rituals taking place, such as the customary offering of jot and dhūp. An ardas prayer is performed beforehand and then the practitioner respectfully salutes and bows to the weapon out of reverence. Weapons can be directly approached or circumambulated around.'' This manner of paying obeisance to the weaponry through rituals is called salamī or shastar namaskār (weapon salutation). It is common for particular hymns from the Dasam Granth to be recited as an incantation, such as excerpts from the Shastar Nām Mālā, Tribhaṅgī Chhand, Bhagautī Astotra, and Chaṇḍī dī Vār compositions. Jaikaras (war cries) are also exclaimed during the process, such as Sat Sri Akal or gurbār akāl.'' Before any sparring session is to occur, both practitioners must salute one another (known as fatehnāmā) by ritually crossing and hitting each other's weapons, which is done two times.'''' There are also particular prescribed patterns for arranging the weapons for display, which is referred to as shastar prakāsh, with one specific layout that is recorded in an early rehat (code of conduct) being the gul shastar. There also exists a favoured arrangement meant to represent the lotus flower. The weapons can be adorned or placed on different parts of the body or clothing, such as kamarkasā (cummerbund) or around the dastār (turban). Once the practitioner has mastered both the movement and wielding of weapons, they can perform the fluid motions and flowing movements of the martial art, which is called kāl nach (the dance of death). File:Traditional Sikh weapons being displayed with their Punjabi names given, published in Kahn Singh Nabha's magnum opus, Mahan Kosh (first edition, volume 1, 1930) (1).jpg File:Traditional Sikh weapons being displayed with their Punjabi names given, published in Kahn Singh Nabha's magnum opus, Mahan Kosh (first edition, volume 1, 1930) (2).jpg File:Traditional Sikh weapons being displayed with their Punjabi names given, published in Kahn Singh Nabha's magnum opus, Mahan Kosh (first edition, volume 1, 1930) (3).jpg File:Traditional Sikh weapons being displayed with their Punjabi names given, published in Kahn Singh Nabha's magnum opus, Mahan Kosh (first edition, volume 1, 1930) (4).jpg == Battle tactics and formations ==

Mobile warfare is called chakkar-bazi. Fighting in close-quarters is termed saf-jang ('battle in the line'). Fighting with swords and spears is known as ahan-i-sard ('cold iron'). The Sikhs employed a particular type of "hit-and-run" tactic on horseback known as Dhaī Phaṭ ('two and a half injuries') that was observed by contemporary writers (both native and foreign): first the Sikhs advance and then retreat, then rally and return to the fight again. == History ==

Origin The ultimate origin for the martial art is unknown and disputed. Adoption by Sikhs armour-set bearing a portrait of Guru Nanak, Punjab, circa late 18th or early 19th century Since the 17th century, the Sikh tribes of the Punjab adopted the martial art and became the chief custodians and masters of this fighting system. Whilst this provided a possibility of recruiting these unemployed Sikh soldiers into the Bengal Army, the governor-general cautioned against doing-so as he was concerned about the Sikhs rising up in rebellion against the British once again, as had happen earlier in Multan in 1848. Rather, he also cites the changing nature of warfare brought on by technological development, seen with the surmounting of traditional martial arts by the adoption of modern firearms. • Baba Gian Singh (of Bhindran), a promoter and teacher of jhaṭkā gatkā or jaṅg vidiyā (war arts). The revival of the martial art began in the United Kingdom amongst members of the local Sikh diaspora and spread out from there. The digital age and Internet has led to increased awareness and discussion of the traditional martial art amongst the diasporic Sikh youth. == See also ==