Page 40 - Martial Science Magazine Special Edition 2015

GOLDEN EDITION 2014

During the rule of Sri Lanka by the British, in the year There are 2 aspects to this martial art that makes it fully
1818 it has been recorded on official documentation integrated in to the cultural belief system of its people.
that the practice of the art was banned as part of their These areas are namely
initiatives to dampen the efforts of the nation’s patriots
to free the country from foreign dominance. 1. “Angampora”unarmed combat
2. “Illangampora” armed combat
In the outset of such times, many (gurus) masters of the
art, along with its avid practitioners went underground, ANGAMPORA (UNARMED COMBAT)
and employed various methods of concealing the art in
plain sight. Unarmed Combat which is commonly known as “an-
gam pora” has its distinct meaning. “Angam” refers to
Due to the rich cultural heritage of its island nation the body while “Pora” refers to combat. So while angam-
Angam has an aesthetic value, in terms of rituals sym- pora means the martial use of the limbs without the use
bolism, and the mystique. Like all Martial Arts it had of weapons, it is also divided in to three main categories.
unarmed combat techniques, grips and locks as well as
mastery in weaponry. 1. Pora Harammba (offensive and defensive techniques)
2. Gata Harammba (grips and locks)
There are many varied views out there regarding this 3. Maru Kala (vital point attacks)
ancient art…. But what really is angam? According to
the grand masters Angam has 2 different subject areas 1. Pora Harammba (offensive and defensive techniques)
that can stand alone individually as vast bodies of study.
Although some of these areas have been lost with the This are covers the techniques relate to the offensive
decay of time, but most of it has been preserved by true execution of different strikes and the defensive uses of
masters who exist to this day with their perseverance a vast variety of blocks. In angam the artful execution
and true patronage of the art. of foot work is essential in mastering its powerful tech-
niques.

In theory the master prompts his students to train their
students to cultivate a strong metal and physical apti-
tude that requires them to train their proverbial eagle
eye, for watch fullness, the Peacocks hearing, listen to
the movements of the enemy, the leap of the monkey,
to stay agile and supple, the walk of the tiger that refers
to the readiness and alertness in ones movements, the
grapple of a bear, , the gait of the that refers to strength
needed for ground fighting and executing neutralizing
techniques.

These techniques are taught in the form of movement
sets that includes different combinations of strikes and
block with the relevant foot work. Students are taught
these sets of movements, from basic to more advanced
varieties.

2. GATA HARAMMBA (GRIPS AND LOCKS)

Grips and lock in angam is an area that clearly set the
art part from many others in the world. Over the years
this areas has proven to be one of the most deadly and
practical techniques to be taught in the angam maduwa
(dojo). It requires both strength and skill with the addi-

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