MALLA-KHAMB HISTORY
There is no reference of the exercise on the Malla-khamb in Ramayana and Mahabharat Epics. We trace its origin in the twelth century. Because in Manasolhas there is description wrestlers taking exercise on Malla-khamb. It was very common from of exercise among wrestlers in Deccan in those days. This art however remained in the background for six or seven countries. Afterwards the art was revived by Balambhat Dada Deodhar in the first half of the 19th century. Balambhat Dada was engaged as the physical instructor to the Peshva Bajirao II. He revived the art and made it very effective and as an indispensable aid to art of wrestling. He planned two types of Mall-Khambs—one was made use of after fixing a part of it underground. The second type of Malla-Khamb was kept hanging after attaching it to some beam by a hook. He deviced several feet on Malla-Khamb with the sole intention of using those feats or devices as an aid to the art of wrestling. Much stress was given by him on these Malla-Khamb feats and he proved by open exhibitions that a wrestler wellversed in the art of Malla-Khamb would compete easily with his opponent of about double his weight. For political reasous Bajirao II had to go to the Benaras side. Ballabhat Dada naturally had to accompany him there. He trained there a number of disciples, the most favorites of whom was Kondbhat Nana Godbole.
Kondabhat Nana Godbole tried to establish himself at Benaras, where he found a famous Gymnastic Institution and imparted instruction in wrestling and Malla-Khamb on the lines chalked out by his Guru Balambhat Dada. Meanwhile Balambhat Dada finished his worldly career and his three children with their mother settled at Benaras. Narayan Guru Deodhar was the youngest son of Balambhat Dada. He had a favorable companion in Damodar Guru – a worthy disciple of Kondbhat Nana Gpdbole. Both these youngsters received proper training in Malla-khamb and Wrestling under the guidance of Kondbhat Nana Gadbole. Damodar Guru after acquiring proficiency in these arts moved in different parts of India establishing new gymnastic-institutions and spreading the knowledge he received from his Guru. He introduced a new type of Cane Malla-khamb and made it very popular. All those institutions are even now in flourishing state. Though Malla-khamb could be traced as back as to the 12th century, still the different feats and devices on Mall-khamb were the works of Balambhat Dada and so a major credit for developing the art goes to him. While this art was being spread by Damodar Guru in the whole of India, Narayan Guru Deodhar came to Baroda, and founded an institution for developing the art in this part of India. Mr.Sapre, one of the members of this institution devised still more types of Malla-khambs and improved the exhibitive side of this art. This is a short history of the art of Malla-khamb—an indispensable art as an aid to the science of Wrestling.
Malla-Khamb as an aid to skill in wrestling:-
Holds practiced on the Wrestler’s pillar give many advantages to a wrestler. The hands, legs and thighs ensure the muscular strength. The body becomes light. It enables the wrestler to defeat his opponent of heavier weight. Constant and regular practice on Malla-khamb, makes the body supple, vigorous, tough and singularly active and the wrestler’s stamina is remarkably increased. The wrestler becomes confident of making offensive moves. His defensive power is greatly increased along with the suppleness of joints brought about by serpentine movements on Malla-khamb. Besides, the wrestler can better apply holds.
The arm-pit moves on Malla-khamb facilitate and ensure leg-throws in wrestling. Quick and round moves there on enables the wrestler to escape from the hard locks and holds of his opponent. Upward and downward moves and Dankies thereon invariably save the wrestler from being pinned on his shoulders in wrestling. They not only save him but enable him to get the upper hand over his opponent. They enable him to apply inextricable locks on the opponent confidently. The experience will enable the wrestler to invent new moves for the application of new holds in wrestling.
Malla-khamb as an effective form of exercise:-
One who practices feats on malla-khamb, regularly, develops a beautifully muscular body with an all round tone, within a very short time. Eminent physical culturists state that if sinews, joints and the vertebral column get adequate exercise, the person gains longevity of life. Malla-khamb develops these more than any other form of exercise. Jumps, twisting exercises upward and downward, give sufficient exercise to the body so that kidneys, spleen, liver, pancreas, etc. can work efficiently. Sinews and joints all over the body and spinal column are constantly brought into play in exercises on the Wrestler’s pillar. Circulation of blood becomes vigorous, resulting in the rapid growth of the limbs of the body when the performer is in his teens. The performer gets a sure control and balance on his bodily movements. His digestive organs begin to function effectively owing to the vigorous exercises on Malla-khamb.
Malla-khamb does not check the height development:-
The people in general labour under a great misapprehension that malla-khamb exercises make a man dwarfish. Correct and healthy diet can bestow height upon a person. Healthy weather is another factor, paving the path to the acquisition of height. The following are the examples:- Punjabis are tall, Gurkhas are dwarfish, the Japanese are short, the English are tall. Some Mall-khambists are tall and some are short. Mall-khamb exercises should be taken when the player is in his teens when the body-growth is rapid. This is true in every form of exercise. Little children should indulge in jumping and running exercises which allow free scope to the growth of body. In brief, the objection of dwarfishness in cases of Malla-khamb players is groundless.
Two kinds of Malla-khamb:-
Every institution, therefore, should have two wrestling pillars. One thick and the other thin. The thick one is more useful for practicing wrestling holds and the other will be useful in practicing more instricate feats. The measurements of these are given. (In picture nos.1 & 2)
Type of wood:-
They should be prepared out of sheesum or Teak wood. The first is more durable. The part of the pillar to be placed underground should be coated with tar in order to prevent it from being eaten up by white ants.
Surrounding ground:-
The ground in which the pillar is to be fixed should not be sandy leat the pillar will be scratched at every jump or feat.
Dress:-
The performer should not put on a frock and a short but he should wear only a Langot and a loin cover.
Means required:-
Castor oil is slightly rubbed round the pillar to prevent slipping. A napkin should be used for cleaning the pillar. Rasin or wax should be used if the interlaced fingers slip. The teacher may use a stool while teaching the feats.
Grouping of feats:-
Feats are generally arranged on two methods-convenience and varieties. The first varies with every instructor and every learner. It is the most practical one. But this volume shows the arrangement according to the second method from which every instructor is expected to select feats according to his needs.
Malla-khamb feats are formed into 13 groups as under:-
(1) Front Leg-grips. (8) Descending.
(2) Jumps. (9) Creeping.
(3) Salutations. (10) Needle-thread moves.
(4) Back Leg-grips (11) Balances.
(5) Arm-pit Grips. (12) Yogic postures.
(6) Repetition Grips (13) Exhibition feats.
(7) Turnings.
