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Sikh Warrior Ways: The History and Development of the Weapons Art of Gatka
To document the evolution of gatka, the traditional weapons-based combat sport of the Sikhs, one must first look to the ancient Hindu martial art of shastar vidya, from which it’s derived.
The origins of shastar vidya, which means “weapon science” in Sanskrit, are unknown, but according to ancient accounts, the art may have belonged to a Caucasian tribe that invaded India around 1500 B.C. Other sources indicate that it predates that invasion and was the product of prehistoric Indians.
Whatever the truth, one thing is for certain: In the 17th century, Guru Hargobind Ji, sixth guru of the Sikhs, made shastar vidya part of a training regimen designed to prepare men for battle against the Mughals, who were persecuting people across the Indian subcontinent.
Guru Hargobind Ji introduced the concept of miri-piri, or temporal and spiritual power, which helped transform the Sikhs into saint-soldiers who were ready to wage war against anyone who committed injustice, regardless of their religion or caste. Practitioners were taught to use their skills only for defense and only as a last resort.
Guru Gobind Singh Ji (1666-1708), the 10th Sikh guru, made that crystal clear when he wrote, “When all other means of ending injustice have failed, it is permissible to hold the sword.”
Shastar vidya was widely taught and studied until the early 19th century. Afterward, its numbers declined rapidly because masters were killed or forced into exile by the British. Fortunately, the art survived the attempt at eradication, mostly because it had been secretly taught to people who lived in the community of Akali Nihang Singh Khalsa, India, where the most martial faction of the Sikhs resided. Only in recent years has shastar vidya been made available to the public.
EVOLUTION
From the battlefield art of shastar vidya, the combative sport of gatka evolved. Attend a modern Sikh festival, and it’s gatka you’ll see demonstrated. In fact, whenever practitioners display their skills with the gatka stick, staff, sword or shield, crowds gather for the spectacle.
A typical gatka lesson takes place in a training hall that’s called an akahra. Instruction begins with the teacher leading the students through warm-up exercises and stretches to prepare their muscles for what’s to come, thus helping them avoid injury during the repetitive portions of the workout. Next come prayers and a traditional salute to the weapons that will be wielded.
Beginners must learn the basic footwork before they’re permitted to touch the weapons, which lie neatly on a blanket or mat spread across the floor.
More correctly described as a series of whole-body movements, the footwork, called pentra, guides their hands and feet in geometrical patterns.
Progressing in gatka leads to another prerequisite: meditation. The training, called simran, is a vital component of the art because it keeps the mind focused and free from evil intent, hesitation, haste and distraction. That’s crucial whenever potentially deadly weapons are about to become part of the mix.
When weapons are introduced, students are taught a few movements slowly and told to master them before other techniques are shown. In the early stages of learning, speed is discouraged for obvious safety reasons.
ARMS
Gatka training includes a plethora of weapons, most of which fall into the categories of blunt, bladed, flexible and projectile. All were designed to injure or kill on the battlefield.
For example, the khanda is a double-edged sword with a heavy broad end that enabled warriors to hack off an enemy’s limbs with ease. The katar is a punch dagger designed to penetrate body armor. The lathi is a bamboo staff that’s hard but flexible, the nature of which enabled a warrior to shatter an enemy’s bones without shattering the weapon. The chakar is a steel ring with a sharp outer edge. When thrown, it could sever body parts.
Other war devices in the gatka arsenal include the gurj (mace), bichua (curved dagger), teer (arrow), barcha (spear) and talwaar (curved sword).
No matter which one is wielded, modern practitioners emphasize safety. Their primary goal is to demonstrate perfection of martial skill—much like karate students do with weapons kata.
APPLICATIONS
Even though gatka is no longer the weapon of choice for men on the battlefield, it can still function in self-defense.
Because its stances and techniques are more realistic than those of some ancient arts, they can permit practitioners to fend off real-life attacks. Its effectiveness is enhanced by its evasive footwork and practical hand techniques.
It’s that relevancy, coupled with its historical roots, that causes Sikhs to hold great respect for gatka, which is regarded in a different light than, say, imported arts like karate, kung fu and taekwondo.
That cultural connection draws strength from the few gatka manuals that have been preserved. One is titled, naturally enough, The Art of Gatka-Fighting. It was written in 1936 by K.S. Akali, physical director of RSD College in Ferozepur, British India.
Another text, Gatka: Book One–Dance of the Sword, was written in the 1980s by a well-known American master named Nanak Dev Singh Khalsa.
Gatka has spread to many parts of the world, including America, Canada, Britain and Germany—mostly through the hard work of the Punjab Gatka Association, the Gatka Federation of India, the International Gatka Organisation and the International Gatka Federation.
Their members are dedicated to the preservation and promotion of the art.
SOURCES FOR SIKH SKILLS
Shastar vidya is now taught by a man named Niddar Singh in five locations in the United Kingdom: Wolverhampton, Birmingham, Leicester, Cranford and Slough. He’s the ninth master in his lineage.
His skills in armed and unarmed combat are remarkable, and his knowledge of Sikh history and traditions is astonishing.
Martial artists interested in learning more about gatka are advised to search online for one of the aforementioned books or organizations. Alternatively, they can access videos of the art on YouTube.
In 2006, a renowned United Kingdom-based master named Uptej Singh performed at a Sikh temple for the Prince of Wales, Prince Charles, and the Duchess of Cornwall, Camilla. The art was also famously demonstrated in a 2010 episode of the reality-TV show India’s Got Talent. The practitioners, members of the Bir Khalsa Group, even reached the finals.
As more people discover gatka, chances are good that it will experience a revival and become a popular 21st-century “cultural combat sport.”
More good news for the historically inclined: Thanks to the efforts of people such as Niddar Singh, shastar vidya is also gaining popularity.
In all likelihood, neither art will be lost to the sands of time like so many other aspects of pre-Mughal India have unfortunately been.
