The exercises begin with the "Poothara wandanam" done seated in front of the seven tiered platform in the cat posture and the hands are moved in a circular fashion in front of the body, synchronized with inhalation and exhalation. The eyes are fixed on a particular point on the Poothara, to aid in concentration and to develop single point focus (Ekagrata)

"Poothar Wandanam" is followed by "Kalari wandanam" which is a combination of five different animal postures done as a chain of movement with total body and mind co-ordination. The movement are synchronized with deep breathing emphasizing relaxation and concentration.

The form also represents the symbolic representation of the fight of the inner self against the negative or doubtful mindset of the combatant, which is specific hindrance in a life and death confrontation. The negativity appears in the form of attachment to worldly desires and most importantly of the fear of death. Therefore the Kalari Wandanam practiced before a Combat or duel prepares the warrior to liberate himself from the fear of death. At advanced level the Kalari Wandanam is practiced with a weapon.

The training then moves towards the more intensive leg exercises (12 in number) which are progressive in nature from basic to advanced. The students are taught to raise their legs with the least effort and to touch the palms of the hands, raised over the head with the foot. The eyes are kept looking straight ahead at a particular spot to aid in concentration. The exercises are done forward and backward across the floor east to west and west to east. Even though there is no voluntary breath control during the exercises, the breathing with inhalation and exhalation is induced as the leg is raised and brought down. After the leg exercises, 18 different static animal postures are practiced which is perhaps the secret door to all the hidden knowledge of Kalari Payat. This practice of Animal posture is the most precious and hidden knowledge of a Kalaripayat Practitioner.

The students are then taught two aspects of body exercises which are a combination of leg kicks and animal postures arranged in forms. The hard forms are known as 'Shiva Swaroopa' and the soft forms are Shakti Swaroopa. In Kalari terms the Shiva forms are known as "Pillai Thangi and Shakti Form as "Arappu Kai". The Shiva form are most compact, linear and strong in nature and the Shakti form are more circular, flowing and dance like exercises. These forms contain concepts of fighting techniques that could be spontaneously used during combat.

After the body exercises, different weapons are taught at a progressive level, starting with wooden weapons, such as long stick (Kettukari) short stick (Ceruwadi) and Marma Stick(Otta) which is "S"-Shaped.

After completing the wooden weapons, the students are taught the use of sharp edged weapons, beginning with dagger (Katara) for close combat, sword and shield(Churika-paricha), Spear (Kuntham) and most importantly the flexible sword known as Urumi. The senior most students are then trained in the art of empty hand combat known as "Verumkai" . This involves training of holds, locks, strikes, kicks, evasion, Marma point attacks and also mantra (magic chanting)

Until now, the emphasis of this article has been on the northern (vadakkan), style of Kalaripayat practiced in north Kerala or erstwhile Malabar region.
There are two more styles of Kalari: - Southern (Thekkan) and Central (Madhya). The southern style is self defence oriented. The movements are done in a very economical manner using circular and linear movements with the emphasis on low kicks and parries with simultaneous attack and defence using multiple techniques to marma points. According to Larry Hartsell one of the closest disciple of Bruce Lee has reported that Bruce Lee has learnt southern kalaripayat techniques from a person called Dharma in America in his early days.

Central style is more esoteric in nature with a system of training based on geometrical patterns (square, circle and triangle) drawn on the ground. It involves footworks, hand & palm changes which are constantly flowing as the practioner walks through different patterns drawn on the ground. Central style is very powerful and deceptive in nature.