Gatka

This is about the revival of the style associated with Sikhs in particular. For the general
meaning of the term, see Indian martial arts.

Gatka (Punjabi: ਗਤਕਾ Urdu: ‫ گٹکا‬gatkā) is the name of an Indian martial art
associated with the Sikhs of the Punjab region. It is a style of stick fighting,
Gatka
with wooden sticks intended to simulate swords.[1] The Punjabi name gatka
properly refers to the wooden stick used. The word originates as a diminutive
of Sanskrit gada "mace".[2]

The style originated in later 19th century, out of sword practice in the British
Indian Army, divided in two sub-style, called rasmi (ritualistic) and khel
(sport) from the 1880s. There has been a revival during the later 20th
century, with an International Gatka Federation was founded in 1982 and
formalized in 1987, and gatka is now popular as a sport or sword dance Gatka demonstration in Bedford,
performance art and is often shown during Sikh festivals.[3] Since this revival, England (2007)
the term gatka has sometimes come to be extended to "Sikh martial arts" Focus Weaponry
more generally, including the use of various weapons, more properly called
Country of India
Shastar Vidiya (Punjabi ਸ਼ਸਤਰ ਿਵਿਦਆ shastar vidiyā, from Sanskrit
origin Pakistan
śastra-vidyā "martial arts"). The term in this sense, especially as used by
Niddar Singh since 2002, denotes historical martial arts reconstruction of Famous Guru Hargobind
16th to 18th century Sikh fighting styles, even though the term may also be practitioners Emperor Akbar
used of Indian martial arts in general Guru Gobind
Singh
Gatka can be practiced either as a sport (khel) or ritual (rasmi). The sport Bhai Daya Singh
form is played by two opponents wielding wooden staves called gatka. These Sahibzada Ajit
sticks may be paired with a shield. Points are scored for making contact with Singh
the stick. The other weapons are not used for full-contact sparring, but their Sahibzada Jujhar
techniques are taught through forms training.[3] The ritual form is purely for Singh
demonstration and is performed to music during occasions such as weddings, Kapur Singh
or as part of a theatrical performance like the chhau dance. A practitioner of Mai Bhago
gatka is called a gatkabaj while a teacher is addressed as Guru or Gurudev. Baba Deep Singh
Phula Singh
Olympic sport No
Contents
History
Training
Competition
Performance
Unarmed combat
 Weaponry
Swords
Shields
Polearms
Sticks
Other
Mughal weapons
Forms
See also
Notes
References
External links

History
During the Indian Rebellion of 1857, the Sikhs assisted the British in crushing
the mutiny. As a consequence of this assistance, restrictions on fighting
practices were relaxed, but the Punjabi martial arts which re-emerged after
1857 had changed significantly.[4] The new style applied the sword-fighting
techniques to the wooden training-stick. It was referred to as gatka, after its
primary weapon. Gatka was used mainly by the British Indian Army in the
1860s as practice for hand-to-hand combat. As Sikh colleges opened during
the 1880s, European rules of fencing were applied to create what is now
called khel or sport gatka. The other techniques and weapons of traditional
Singhs at World Gatka Cup
shaster vidiya were taught to experienced students as rasmi or ritual.

The Defendu system devised by Captain William Ewart Fairbairn and Captain
Eric Anthony Sykes borrowed methodologies from gatka, jujutsu, Chinese martial arts and "gutter fighting". This method
was used to train soldiers in close-combat techniques at the Commando Basic Training Centre in Achnacarry, Scotland.[5]

Since India's independence from colonial rule, gatka has been managed and promoted in India by the Panjab Gatka
Association and the Gatka Federation of India. The latter organization formulated and standardized rules and regulations
for gatka as a sport, and providing free training through seminars, workshops and camps under the new rules. The Panjab
& Chandigarh Education Departments have introduced gatka into the school sports calendars in the state, while the
School Games Federation Of India also incorporated gatka into the 56th national school games calendar 2011–2012.
Gatka is still practiced by some communities in Pakistan but is increasingly uncommon and does not get much support
from the government. To promote and popularize the art outside India, the Asian Gatka Federation, Commonwealth
Gatka Federation and World Gatka Federation have also been constituted. From 2011, the Panjabi University Patiala have
started to host All India inter-varsity gatka championships annually.

Today gatka is most often showcased during the martial festival of Hola Mohalla, as well as Independence Day and
Republic Day celebrations in the Panjab. Gatka is one of the competitions held during an annual sporting event in the
rural Indian city of Kila Raipur, and the Sikh community of Malaysia often holds gatka demonstrations during Vaisakhi or
the Sikh new year. Once considered a diminishing art by UNESCO and SAARC, the intense and concerted efforts of these
gatka federations has popularized it amongst the students in north India. While the urbanization of gatka has helped keep
it alive, traditional masters often bemoan the lack of technique among modern competitors who tactlessly beat each
other's sword or shield. Modern competitions are sometimes derogatively called the "ox-beating game" (sandeh kot di
khel). To differentiate between gatka as a sport and as a martial art, the terms shoshabaji (exhibitionist) and chatka
(quick kill) are used.

Training
The traditional training hall for gatka is the akhara.[6] Sikhs may train in a religious or semi-religious situation, such as in
a gurdwara (Sikh temple). Traditionally, drug addiction and alcoholism were considered among the worst of earthly evils,
and masters refused to teach addicts or drunkards. Typical akhara still do not allow anyone to enter the training hall while
intoxicated.

Like most South Asian martial arts, gatka begins with footwork and tactical body positioning (pentra). The foundation of
the art is a movement methodology for the use of the feet, body, arms and weapons in unison. In the first and most basic
stance, the feet are spaced about shoulder-width apart with the weight divided evenly between them. While walking from
this position, the exponent spills their centre of gravity as they initiate any movement. This is done by stepping forward
just before the front knee locks out, never hyper-extending the leg at any point. This gait is meant to be applied to daily
life so that it becomes natural in battle where it allows one to quickly change direction. Gatka favors rhythmic movement,
without hesitation, doubt or anxiety. The attacking and defense methods are based upon the positions of the hands, feet
and weapon(s) during the dexterity regimen.[6] Chanting of holy verses may accompany these exercises, and the three-
beat-per-cycle played by a drummer adds to the coordination during practice.[6]

By conception, gatka is defensive as well as offensive[3] Instruction falls into the two main categories of sava-raksha (self-
defense) and yuddha-vidiya (battlefield science). Sava-raksha takes into account the specific needs, strength and anatomy
of the practitioner. Teachings include armed and unarmed fighting, defense against an armed opponent, defense against
several opponents, escaping from grabs, and the psychology of combat. It also incorporates various battle chants, verbal
formula, and general philosophical advice on fighting and defending oneself. Tactics and moves exist which are
specifically tailored for women and children

In contrast, yuddha-vidiya is much more comprehensive. Fully mastering it is said to take a lifetime due to the fact that a
master needs to learn the form, function, and theory of the art before being considered a gurudeva. This refers to the
actual techniques, their application in combat, and memorising the oral tradition which includes various strategems. Like
sava-raksha, yuddha-vidiya also teaches single combat, fighting in groups, defense against several opponents, etc. But as
the latter was designed for war training, it also includes skirmishing, ambushes, battle formations, defense of a house
(ger), and defense of a village (gao). Yuddha-vidiya further incorporates projectile weapons, seizing and disarming,
strangling (thagi), and traditional medicine.

The concept of range is based on the principle that, no matter how strong or fast the opponent is, it means nothing if they
can't reach their target. The ideal range therefore is just barely out of reach of the opponent's weapon, or the tip of their
toe in the case of unarmed fighting. Side-stepping is used extensively, anticipating an opponent's move before countering.
Dodging is considered superior and more important than blocking, which necessitates agility and speed. As a person gets
older and agile maneuvres become less practical, the exponent adapts their style to become what is traditionally described
as "lazy". This essentially means using fewer movements to win, applying superior tactical knowledge rather than physical
prowess.
Gatka emphasizes having something in both hands, e.g. two sticks, a stick and a sword, a sword and a shield or any other
combination.[6] Training with "both hands full" is believed to be an excellent exercise for coordinating the two halves of
the body, a concept also found in Filipino martial arts. Ambidexterity is thus a highly valued quality, and such a fighter is
known in Hindi as doh-baha. Students are taught stances (asana) and forms (yudhan) before they progress to free
sparring. The individual's preference for weapons, combination of weapons, and movement patterns leads to the
development of individual fighting methods.[6]

A basic concept of the north Indian martial arts is that of chatka meaning a quick kill. The traditional Hindu method of
slaughtering an animal for food was by beheading swiftly with a single blow of the sword, so as to inflict as little pain as
possible. Conservative Sikhs today abstain from any meat unless the animal was killed in this way. In battle this means
finishing the fight as soon as possible, either by killing or otherwise rendering the opponent incapable of continuing by
knocking them unconscious, disarming them, or disabling a limb.

To condition their bodies, practitioners may also engage in meditation, yoga, martial games (sonchi), and traditional
weight training similar to that used by wrestlers. Together with the dietary regimen this is intended to increase stamina,
maintain a healthy digestive system, improve quality of sleep, increase hand speed, improve mind-body coordination, and
keep the mind calm even under pressure.

Ready to perform Chakari demonstration at A young practitioner with

Yuba City chakari

Competition
Khel (meaning sport or game) is the modern competitive aspect of gatka, originally used as a method of sword-training
(fari-gatka) or stick-fighting (lathi khela) in medieval times. Competitors spar using sticks called gatka, from which the
sport derives its name. The gatka are about three handspans long, made from light wood or bamboo and covered in
leather. It may be used on its own or paired with another stick but for official matches, the gatka is paired with a leather
shield called a pari. The fixed distance of sparring was introduced from British fencing during the colonial era. Points are
scored for hitting or touching (shu) the opponent with the stick, but hits to vital points are forbidden. Victory by touch is
known as shubaji.

While khel gatka is today most commonly associated with Sikhs, it has always been used in the martial arts of other ethno-
cultural groups as well such as Rajputs and Mughals. It is still practiced in India and Pakistan by the Tanoli and Gurjara
communities. In Manipur, thang-ta practitioners refer to their own sword-practice as cheibi gatka, wherein the players
spar with a two-foot leather-encased cudgel which may be paired with a leather shield measuring one metre in diameter.
In some arts today, the sword-fighting is more akin to a dance than a form of combat. For example, the daal fari khadga
of Andhra Pradesh is usually choreographed, but is performed with real swords and shields rather than wooden ones.

Performance
The performance aspect of gatka is known as rasmi meaning "ritual" or "official". During weddings and other festivals, the
men perform repetitive swinging and twirling movements with one or two swords. The first part of the chhau dance is
known as pari-khanda or fori-khanda and is performed with a sword and shield. Traditionally such sword-dances were
typically performed by martial artists but today they are generally taught as separate disciplines altogether.

Unarmed combat
Bare-handed fighting, or bhuja-yuddha, is rarely taught in gatka today and until modern times had always been
considered secondary to armed combat. Every form or yudhan has its own unarmed set (platha). Punches, kicks, elbows,
knees, and finger strikes are all incorporated along with grabs, throws, locks, chokeholds, pressure point striking, and
many other forms of attack. The main targets are the eyes, throat, groin, ankles and knees, but this varies considerably
from one style to another. Interchanging between armed and unarmed fighting is a common tactic, relying on small
concealable weapons like knives and daggers. When wearing armour, bhuja-yuddha can even be used against an armed
opponent by blocking the opponent's attacks with gauntlets for example. Because gatka favours avoidance over blocking, a
common tactic is to sidestep while the opponent comes forward and then counter by kicking at the legs and lower body.
This is said to have developed because warrior-caste Hindus and upper-class Muslims didn't want to soil their hands by
touching a lower-class opponent with their hands, and preferred to engage them with the feet unless the use of their
hands was necessary.

Weaponry
The correct use of weapons is central to gatka, with techniques depending on the nature of the weapon.

Swords
Swordsmanship is known as asiyuddha or karaga-yuddha. Ancient swords (assu or khadga) were mostly of the straight
variety, their form preserved in the khanda. The most common type of sword today is the Central Asian-derived talwar,
but a wide variety of other swords are also incorporated. The more traditional katti is used for advanced forms, in
particular those styles based on the Hindu gods. Sword-belts were in general broad and handsomely embroidered. On
horseback they were worn on a belt hanging over the shoulder. Otherwise warriors carried their sword by three straps
hanging from a waist-belt. The sword may be paired with another sword, an axe, a spear, a katara, a maru, or any other
one-handed weapon, but its most typical pairing is with a shield.

Types of swords include the following.

Khanda: straight double-edge sword with a broad blade four feet long and a cross hilt
Talwar / Prak: curved one-sided sword, measuring about 3 feet long
Katti: lightweight single-edge sword with a slight curve
Kirpan: originally synonymous with the talwar but today usually refers to a dagger worn by baptised Sikhs at all times
 Kroli: small straight sword or knife
Kroti: serrated talwar
Gupti: straight sword concealed in the sheath of a walking stick
Kora: Nepalese sword with a heavy inward-curving single-edge blade that broadens toward the point
Aara: flexible sword

Shields
A shield always accompanied a sword as part of the swordsman's equipment.
Carried on the left arm, or when out of use, slung over the shoulder, shields
were made of steel or hide and were generally from 17 to 24 inches (430 to
610 millimetres) in diameter. If made of steel they were often highly
ornamented with patterns in gold damascening while hide shields bore silver Aara demonstration at Sirhind
or gold bosses, crescents, or stars. Shields were made of sambar deer, buffalo,
nilgai, elephant, or rhinoceros hide, the last being the most highly prized.
Brahmans, who objected to leather, had shields made from forty or fifty folds of silk painted red and ornamented, lined
with velvet or snakeskin. While shields can be used to block sword attacks, in South Asia they are more often used
offensively as an impact weapon or pushed against the opponent to prevent them from attacking, in addition to deflecting
projectiles. A dagger is often held in the same hand, protruding from under the shield. Coupled with the fact that most
indigenous swords have little defensive capability, swordsmanship in gatka relies heavily on avoiding and
outmaneuvering an opponent's attack.

Dala/ Khetak: small circular shields of cane or bamboo

Atak: buffalo-hide shield
Charm: rhino-hide shield, regarded by Indians as the superior form of shield

Polearms
All pole weapons begin with the staff, known as a dang or lathi. The dang's ideal length is either equal to the height or the
armspan of its wielder. Gatka typically uses a bamboo staff, which may be steel-tipped and encased in leather. This type of
dang is held with both hands on one end and used for swinging techniques. The light weight of the bamboo allows for
great speed and a variety of twirling maneuvres. This style of fighting was often used by peasants and commoners for
whom the staff was a domestic tool and a convenient implement of self-defense. For warriors who used the dang as a
training tool for edged weapons, a different method was employed. In this style, the dang is held diagonally with the
hands far apart. The butt end of the weapon is held with one hand, while the other hand is further down the middle or just
above the other end. This grip lends itself to thrusting attacks aimed at the vital points (marma), done by pushing the
weapon forward with the back hand through the front hand, though it also incorporates barta, techniques in which both
ends are used to attack. This thrust-based method can be easily adapted to edged weapons such as spears, tridents and
battle-axes. In the case of the axe, thrusts hit with the weapon's head, which can also be used defensively to stop an
opponent's attack or to break their fingers. The barta method can also be adapted to edged polearms, most of which have
a weighted or spiked back end. When wielding a heavy polearm in close-quarters, the fighter may hold a katara on one
hand.

Pole weapons include the following.

 Dang/ Lathi: staff of wood or bamboo measuring one to three meters in length
Naga dang: lit. "snake staff", a wooden staff with a head like a cobra's hood
Chakri dang: bamboo staff with a chakram attached at one end
Lohangi: metal-capped staff
Shula: spear
Trishula: trident used to cut at a horse's legs, typically with a spiked back end
Pinakha/ Bisekh: trident with an iron shaft and a bronze head
Barsha/ Barcha: heavy spear made entirely of iron or steel and used by infantry
Barshi: short spear or lance
Ballam: short spear with an almond shaped blade
Pandi-ballam: hog-spear with an iron leaf-shaped blade at the end of a bamboo shaft
Bhala: spear with a ridged or grooved blade, sometimes forked
Bhima pala: heavy spear named after the hero Bhima
Grar: thorned spear
Kumbareh: spear used to pierce through the head of war-elephants
Bijeh: a spear with three stabbing points
Marhati: 4-foot bamboo spear with blades at both ends. During war, the spearheads would be
replaced with flaming cloth balls and used to frighten enemy elephants.
Gandasa with
Sang: Rajput lance made entirely from iron and wielded by cavalry. The long slender head
may be 3 or 4-sided and the grip is covered in velvet bhuj
Tasria: bamboo spear with a length of cord attached
Gandasa: bill-hook or pole-axe with a steel chopper attached to a long pole. Used by the
chaukidar or village watchmen
Gajakati: short poleaxe for cutting at the legs of elephants
Dhodhara gati: double-edged sword blade attached to a five-foot wooden staff
Danga: polearm with a crescent shaped blade
Krapa: polearm with a 3-foot double edge blade on the front end and a spiked metal ball at the back end
Nagni: snake-head spear
Neja: Panjabi cavalry lance with a small slender steel head and a long bamboo shaft
Ankusha: elephant goad. The head of the weapon (ankusha sira) can be wielded on its own in close-quarters
Nachak: northern forked spear
Panjamuka: lit. "five-faced", a Gujerati five-headed spear

Sticks
Stick-fighting or danda-yuddha employs either the single or double stick. The stick or danda is generally the length of
three handspans and made of Indian ebony. They are often capped with steel on one end. Sticks are used as an implement
of instruction for small weapons such as axes (kuhara), but were also used during war to beat down armoured opponents.
The danda is traditionally worn on the right side and drawn from underneath the belt, in contrast to swords which are
worn on the opposite side and drawn from above. Stick fighters generally employ a single-hand grip but the double grip is
also commonly used for certain techniques. When attacking, the fighter hits their opponent with only the rim of the
danda's tip, thereby focusing all the power into a small point. One stance is the angaraksha or bodyguard position in
which the feet are placed slightly more than shoulder-width apart and the arms are placed across the chest, as if crossed,
while the danda is held in the right hand. This stance was once used by armed guards who relied on their peripheral vision
to watch for attackers. Modern exponents still use this form of training to develop surti or awareness so that they can
anticipate an attack from behind or from the side without having to look directly at the attacker.
Sticks and club-type weapons include the following.

Danda: short stick, sometimes with a steel tip

Kuhara: axe
Safa jang: small axe
Mogri: small club
Mutri: short heavy club or staff

Other
Katara: push-dagger with a H-shaped handle
Kara: iron bracelet worn on one wrist by all Sikhs, removed and wielded
like a knuckleduster. Some variations may include one or several spikes.
Chakram: circular edged weapon that can be thrown or used in-close
Gada: mace made entirely of steel
Kaman/ Chap/ Khatang: Bow and arrow, either traditional steel recurve
bows or true composite bows made of wood, horn and sinew. Fletched
reed arrows with tanged steel points are typically used. Bamboo bows
are known as garia 18th-century katara (dagger)
Baneti: two thin chains with blades attached, connected together by a
single thick chain
Bindapala: originally a wooden throwing stick, the word also refers to an iron arrow thrown with the hand
Chakari: a wooden ring from which hang cloth or steel balls connected by string or chain. When the balls had been lit
with fire, they were twirled in the face of enemy elephants.
Dati: sickle
Gajagah: originally a title given to a warrior who single-handedly defeats a war-elephant, it now refers to the arrow-
and crescent-shaped weapon worn as an ornament by Nihang in their turbans
Kukri: bent dagger which broadens towards the point
Krora: flail consisting of a shaft connected to one or more chained balls. The balls are sometimes spiked
Nagni barcha: javelin
Naka angusht: claw-like weapon worn on the thumb
Pashi: lasso made of plant fibre or metal wire
Samha vali dang kmandi: flail consisting of a ball and chain attached to a metal-capped staff of bamboo or hardwood
Chura: knife
Treh kon chura: a knife with two blades protruding from a central handle with their edges facing opposite to each
other. A third blade extends from the guard above the handle
Vajra: a type of club said to be able to break sword blades.
Bagh naka: "leopard claw", a spiked weapon worn on the hand
Maru: a defensive stabbing weapon inspired by deer horns

Mughal weapons
Weapons and armour of Central Asian and Middle Eastern origin were introduced by the Mughal tribe. Most of these are
used primarily by Muslim and Sikh practitioners. Some - like the talwar and gurj - were adopted even by Hindus and
became so common that they are hardly considered uniquely Mughal today. The Mughals commonly used Arabic or
Persian terminology for Indian weapons. The words talwar (Hindi), shamshir (Persian) and tegh (Arabic) were often
interchangeable, while the Arabic term sef was occasionally used for the Indian katti. The generic Mughal word for spear
was sinan.
 Khanjar: poignard-type dagger with a hilt like a sword of which most had doubly curved blades
Gurj: Persian gurz, a flanged or spiked mace made out of steel. The head may also be connected to a chain
Karud: Persian kard, a type of knife resembling a buther's knife
Gupti-karud: a karud inserted into a stick
Qamchi-karud: whip-shaped knife
Peshkaj: Persian pesh-kabz, a pointed one-edged dagger generally with a thick straight back to the blade and a
straight handle, though at times the blade was curved, or even double-curved.
Shamshir/ Shamsher: Persian scimitar
Zaghnal: lit. "crow's beak", a battle-axe with one or two curved blades

Forms
Forms are referred to as yudhan. As with Silat Pattani, most gatka schools
make use of mainly freestyle routines each governed by particular principles
rather than the preset forms of other systems. There are altogether ten
yudhan which, when taken as a whole, collect all the techniques and
strategies of gatka. The first six forms imitate animals and are grouped under
Khat Ang Yudhan meaning "six parts" or "six limbs". The seventh form
Ain-i Akbari weaponry
collates the previous six into a seamless whole. The final forms are based on
deities and are grouped as Deva Ang Yudhan meaning "limbs of the gods".
Each builds upon the last, requiring that trainees progress through them systematically in a specific order. Many yudhan
also have an opposing form which acts as counter and complement to the other. The combat application of the techniques
become less obviously apparent in the higher forms which not only include more weapons and techniques but also enrich
the understanding of the lower forms. Originating in different parts of India, every yudhan has its own characteristic
focus, gait, weapons and unarmed techniques. They can be practiced individually, in pairs, in groups, or formerly, as an
army.

Jat ka gatka

The Jat style of gatka (Jat ka gatka) is sometimes incorporated as a yudhan to acquaint beginners with basic asana
(stances) and tactics, although many masters refuse to acknowledge it due to the form's peasant origins. The most basic
stance (mulasana) is a crouching position which provides a stable base from which to launch attacks and avoid being
knocked down. Unarmed techniques are divided into six components which altogether incorporate strikes with the fists,
open hands, knees, elbows and feet, attacks to the vital points, grappling, torso throws, and tripping the opponent from
the legs. In terms of defense, students are also taught how to escape from various frontal and rear grabs and chokeholds.
Many of these techniques are also used in kusti, so fighters sometimes supplement their training with wrestling. Armed
training may include swords, shields, axes, battle-axes, spears, clubs, maces, daggers, sticks and kukri.

Boar

The boar style or Varaha Yudhan is associated with the varaha avatar of Vishnu. Originating in Bihar, it specializes in
close-quarter combat and short explosive strikes with the fists, elbows, knees, feet and single knuckles. As the first formal
yudhan, it teaches basic principles such as body positioning, misalignment, and hitting vital areas to end the fight quickly.
The boar is the simplest and easiest style to master, but provides the foundation for all succeeding forms. Its weapons are
the gada (mace) and daggers, taking advantage of the form's short movements. One crucial principle of the boar style is
drawing the hand in towards the body before throwing a punch. In this way, the fighter can easily draw a weapon from the
waist or anywhere else on the upper body.

Snake

The snake style is known as Shesha-naga Yudhan, named after the serpent lord Shesha. Acting as a counter and
complement of the boar style, it is based on the cobra (naga) and python (ajagara). It begins with a salutation in which
the arms are brought upwards from the sides in a continuous arc til the hands are straight above the head. In contrast to
the straightforward blows of its counterpart, the snake style is subtle and focuses on parrying attacks and striking at vital
points with looping circular motions. Characteristic of the snake style is the entangling of limbs, combined with whipping
strikes, locks, joint manipulation, and chokeholds. Its weapons include scarves, knives, axes and spears.

Eagle

Garuda Yudhan is variously rendered in English as the bird style or eagle style. Originating in Kashmir, it is named after
the mythical garuda. It imitates four different birds, namely the peacock (mayura), eagle (garuda), goose (hamsa) and
rooster (kukkuta). It specializes in hit-and-run tactics, mimicking a bird flying at its prey. It is characterized with an
angling side-to-side motion. Techniques include attacks delivered with the hands and feet, elbows, knees, sweeps, and
stomps in the case of a downed opponent. The garuda style is most notable as the basic sword-fighting form and the first
yudhan in which upper body armor may be worn. Categorized as a skirmishing style, it can be employed either on foot or
horseback. The garuda leads with the tip of the sword, stabbing at the opponent's arms and hands like a bird's peak. It is
most suited to the talwar. Weapons include any combination of the sword, axe, dagger, shield, and spear.

Bull

The bull style is named Nandi Yudhan after Nandi, the mount and gatekeeper of Shiva. Originating in the Himalayas, it is
the first grappling style and specialises in upright grabbing. The counter and complement of garuda, the bull is also a
skirmishing style which can be used on foot or horseback. Like its counterpart, Nandi also employs the motion of angling
from left to right in order to find the correct trajectory. The difference between them is that the more aggressive bull style
favours infighting and grappling, using leverage to damage the opponent's back with spinal twists, knees, and heavy close-
quarter fist strikes. As with garuda, the bull style includes a variety of attacks against a fallen opponent such as stomps
and knee drops. Weapons include daggers and curved swords. To counter the garuda stabbing from a safe distance, Nandi
instead closes in and attacks with the centre of the blade.

Lion

Narasingha Yudhan is named after the Narasingh avatar of Vishnu, variously depicted as a man with the head and claws
of a lion, tiger or leopard. It was used to support the vanguard during battle and therefore favours armed combat and
specializes in fighting heavily armoured opponents. Practitioners may also wear heavier armour than in previous forms,
including chainmail. Narasingha is categorized as a duelling yudhan and its wide entrenched stance is well-suited for
swampy terrain. Imitating the agility and attack style of big cats, it is highly evasive and constantly seeks to reach the
opponent's head and neck. Aside from swords, the most characteristic weapons of Narasingha are the large heavy shield
and the long-handled battle-axe.

Monkey
The monkey style or Hanuman Yudhan has its origins in Central India, particularly around Maharashtra and the Dakhin
Plateau. It is named after the monkey god Hanuman. As counter and complement to Narasingha, the monkey style is also
a duelling yudhan and once provided support to the vanguard. It employs a similar wide stance as its counterpart, but
with the hips sunk in lower. Using momentum to redirect an opponent's energy while grappling, it also teaches to advance
while avoiding the opponent's attacks, and eventually trample them when they have been knocked down. It mainly targets
the lower body, particularly the legs and groin. Primarily an armed form, weapons of the monkey style include the gada
(mace) and curved daggers.

Leopard

The leopard or panther form is called Bagh Yudhan in Hindi and is associated with the mount of Durga. Originating in the
Himalayas, it is regarded as the seventh animal style even though they are numbered at six. As with the corresponding
style in Burmese bando, the leopard is actually a more advanced application of all the previous forms and teaches how
they may be combined into one single system. Taught at both the shota (immature) and vada (mature) levels, it possesses
great speed and agility. The most famous application of the leopard form is loh-musti or iron-fist boxing in which the
boxers wield an iron bracelet (kara) on one hand.

Bhawani

The first of the Deva Ang Yudhan is named for the eight-armed goddess (Ashtabuja Devi). It is divided into four sub-
styles, representing the various aspects of the devi. The first sub-style is Chandi Yudhan, known for its graceful, elegant
movements imitating the goddess as a beautiful young girl. Chandika is well-suited for fighting multiple opponents and
specializes in gatti sakti, using their own energy against them. The Kali Yudhan is a more direct and aggressive version of
Chandi, which aims to kill as quickly as possible and specialises in confusing and misleading the opponent. The
Jagdambeh Yudhan ("World-Mother") makes use of quick footwork to circle around the opponent in a manner similar to
Chinese baguazhang. Its more aggressive counterpart is the Kalika Vambrolah Yudhan or "Whirlwind Kali" form.
Weapons include various blades such as swords and daggers, as well as the spear and the bow. Partly out of respect and
partly out of practicality, only the finest and most advanced weapons are used in this style.

Shiva

Adi Deva Yudhan ("Primordial God Form") is divided into four sub-styles. In contrast to the goddess form, Adi Deva
represents akarshan sakti or gravitational energy. Shiva Yudhan specializes in unbalancing and manipulating their centre
of gravity. Ganpat Yudhan (Ganesha style) is much the same but with a focus on grappling and facing a larger opponent.
Jaganatha Yudhan focuses on quickly moving in on the opponent and striking at pressure points while avoiding their
attacks. The highest of the Adi Deva forms is Mahakala Yudhan which was traditionally employed by an army's vanguard.
Like the other sub-styles, it also relies on misalignment while closing in, but with an emphasis on snapping the opponent's
neck.

Harihara

The final yudhan is named Ardhanarishvara Yudhan after the androgynous composite of Shiva and Parvati. It combines
all the forms into a single seamless whole, to the point that the exponent reacts spontaneously without thinking and all
forms become "formless". Achieving mastery of this final form is traditionally compared to attaining enlightenment or
ascending Mount Kailash.
See also
Hola Mohalla
Indian martial arts
Kalaripayattu
Nihang
Pehlwani
Mardani khel
Sqay

Notes
1. Donn F. Draeger and Robert W. Smith (1969). Comprehensive Asian Fighting Arts. Kodansha International Limited.
2. Ananda Lal, The Oxford companion to Indian theatre, Oxford University Press (2004), ISBN 9780195644463, p. 129.
3. Sikh martial art `Gatka' takes the West by storm. (http://www.hindu.com/2006/07/27/stories/2006072712720300.htm)
(Press Trust of India). The Hindu
4. [v MILITARY SIKHS: The Education of a Sikh Warrior. Victoria and Albert Museum.] 'An introduction to Shastar Vidiya
- the education of a Sikh warrior' was a lecture by Nidar Singh, given as part of the Sikh Arts and Heritage Lecture
Series at the V&A, 10 October 2001.
5. O. Janson. Fairbairn-Sykes Fighting knife: The famous fightingknife used by British commandos and SOE during
WW2. Gothia Arms Historical Society
6. Singh, Arjun (2006). Gatka. Atlanta Martial Arts Directory. (http://www.atlantamartialarts.com/styles/gatka.htm)

References
Nanak Dev Singh Khalsa & Sat Katar Kaur Ocasio-Khalsa (1991) Gatka as taught by Nanak Dev Singh, Book One -
Dance of the Sword (2nd Edition). GT International, Phoenix, Arizona. ISBN 0-89509-087-2

External links
Punjab Gatka Association (Regd.) (http://www.punjabgatkaassociation.com/)
International Gatka Organisation (IGO) (https://web.archive.org/web/20040921181504/http://www.internationalgatka.o
rg/)
Gatka Federation of India (GFI) (Regd.) (http://www.gatkafederation.com/)
Gatka Association (http://blog.punjabgatkaassociation.com/)
Bir Khalsa Gatka group in Slovakia got talent (https://www.youtube.com/watch?v=1X18PeCB-ek)

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