Some of the art forms in Kerala, especially those predominantly performed by men, are strongly connected to the martial arts tradition. Performances like Kanyarkali showcase a culture of strong physical movements, with a blend of ritual and entertainment aspects and stand as part of worship culture and community life. Kanyarkali, also known as Deshathukali, is a popular ritual folk group performance popular in the Palakkad region, particularly in Alathur and Chittur Taluks of Palakkad district. Traditionally, Kanyarkali was performed by men from the Nair community as an offering to Goddess Bhagavathy, during the temple festival called Vela. Kanyarkali is staged in Bhagavathy temples and temples dedicated to Vettekkaran (the hunter form of Lord Shastha also known as Vettakkorumakan). The major performance season is in April and May. Vishu is a special occasion for Kanyarkali - the first day of the Malayalam month Medam, which falls on April 14th or 15th, which is also considered as the beginning of an agricultural year.  Some sections of the Nair community are traditional warriors and well-versed in martial practices. So, the origin of this art form connects to a period when the area was under threat from the neighbouring Kongunadu (present-day Tamil Nadu), and warriors had to be well-prepared for battle. As part of their practice for physical fitness and to seek blessings from the village deity, an artistic performance was evolved.

Performance
The dance part of Kanyarkali is performed against a backdrop of rhythmic devotional folk songs, supported by percussions such as Chenda, Maddalam, Elathalam, and Chengila. Other than devotional songs Kanyarkali includes humorous statements and versus often narrates the darker aspects of feudal chieftains and the sufferings of their dependents.

The performance lasts for four days. Each night performances begin with men from the community, gathering in the temple premise to form a circle and perform a rhythmic dance called Vattakali, which means circular dance. This is followed by several Porattu performances, which are farces depicting the life and customs of various castes and tribes from medieval Kerala and Tamil Nadu. Each Porattu features distinct costumes, dance styles, and song tempos to represent different social groups. Some depict fierce or warrior tribes with stick fights and martial movements, while others have slow, rhythmic movements. Certain Porattu performances incorporate humour, portraying scenarios such as the reunion of a long-lost husband and wife. 

The performances take place on a specially constructed square stage called a pandal supported by nine pillars, with a lighted lamp at its centre. Singers occupy the central position, while dancers move in a circular pattern around the periphery. Each night's performance is known by different names such as Iravakali, Anadikoothu, Vallon, and Malama. The last day's performance features hill tribes, including women, and showcases over 40 variations of unique steps and moves. The festival concludes vibrantly with fireworks and staged dramatic events of Porattu.

Traditionally, Kanyarkali was performed exclusively by men and boys. However, the art form has evolved to include women and performers from other communities. The training system was a lineage-based tradition, passed down from generation to generation, primarily from uncles to nephews and grand-nephews. The verses and songs were not documented but were transmitted orally.