146:, but in the religious context it is known as the path to attain salvation. The process of conversion to Christianity was known as "Margam Koodal" until recently in Kerala. Much of this folk art is woven around the mission of St. Thomas, the Apostle. The original Margam Kali describes the arrival of St. Thomas in Malabar, the miracles he performed, the friendship as well as the hostility of the people among whom he worked, the persecution he suffered, the churches and crosses he put up in various places, etc. These details are incorporated in the various stanzas of the Margam Kali songs. Kerala's Margam Kali is an important element in the age-old and hallowed tradition of St Thomas among the Syrian Christians of
194:“Knanaya Christians have the most ancient and varied art forms. Margamkali is their dance form. Generally, it is said that margamkali is said in vogue among the Syrian Christians, but a close and critical observation will show that the practice and propagation of margamkali were among the Knanites. During my research in the 1960s, I could not find this art form practiced in the regions like Trissur and Pala where the Syrians are thickly populated. The traditions of margamkali can thus by analyzed: 70% among Knanaya Catholics and 25% among Knanaya Jacobites.”
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eventually presented it to Kerala's
Minister of Education who introduced a 14 minute long documentary created by the team. In order to make sure Margam Kali would be an art form set in stone, the team looked for a formal center for the furthering or Margam Kali and allied Christian art forms. Mar Kuriakose Kunnasserry the Bishop of the Knanaya Diocese of Kottayam came to the aide of the team in 1995 and established
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even though it did exist in some places. But at the end of the nineteenth and the beginning of the twentieth century, the form became popular once again, and some structural changes took place then. Masters such as
Kalarikal Unni ashan, Indumoottil Kocheppu ashan, Indumoottil Kutto ashan were some of them who were responsible for this change and upheaval. By this time the
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272:, the apostle. It then takes a striking turn with a martial play of artificial swords and shields. Margamkali does not use any instruments other than two small palm size cymbals played by the same person who sings the song. It was originally played by men and afterwards by boys, but nowadays women also perform the dance.
211:(Syriac for Dancing/Rejoicing), as an All India Institute of Christian Performing Arts which in part has forever aided the existence and prominence of Margam Kali today. Hadusa has released a text titled "Margam kali Aattaprakaaram" which is considered as an authentic reference material for this art form.
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community took upon the initiative to promote and further expand the art form. During the 1960s the St. Thomas
Christian scholar of folk culture Dr. Chummar Choondal led a sociological survey of the Margam Kali and noted that the practice was solely of the Knanaya Community. Furthermore, Choondal
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priest Itti
Thomman Kathanar, the textual part of this form got certain upliftment and care. The Margamkali might have been edited and refashioned into the present fourteen stanza structure during this period. However, until the end of the nineteenth century the art form was not in common practice
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in 1910. In 1924 the
European priest and scholar Fr. Hosten S.J. witnessed the Margam Kali danced by the Knanaya of Kottayam and was enamored by the ancient artform. Subsequently, Hosten endeavored to present the dance at the Mission Exhibitions at the Vatican in 1925 by bringing these dancers to
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or teachers of Margam Kali to revitalize the ancient art form. Through critical historical, musicological, and ethnochoreological evaluation this team of researchers systematized Margam Kali and promoted it among schools and cultural organizations as an item of competition in youth festivals and
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are included in the State Youth
Festival of Kerala. This makes these art forms a competitive item in the Four-tier system (i.e. School, Sub District, Revenue and State level) Youth festival. Margam Kali is performed mainly by women in cultural shows and by school children in a variety of
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Rome, however this venture was met with mass resentment and disapproval from the
Northist St. Thomas Christians who viewed the artform as being an "uncouth performance" and stated that if performed it "might ridicule all the St. Thomas Christians".
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The disparity between the present condition of this form and the early days leads one to assume three important phases in the history of
Margamkali. The first phase was the pre-colonization one in which this semi-theatrical form was performed by the
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priests Fr. George
Karukaparambil and Jacob Vellian as well as scholar of folk culture Dr. Chummar Choondal undertook years of heavy research and study with the help of 33 Knanaya
268:". The lamp represents Christ and the performers his disciples. The performance is usually held in two parts ("padham") and begins with songs and dances narrating the life of
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found that all of the Margam teachers and groups of the time period were entirely
Knanaya. The following analysis of the art-form was stated by Dr. Chummar Choondal.
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16(2): 175-196. Weil, Shalva. "'Symmetry Between Christians And Jews In India: The Canaanite Christians And The Cochin Jews Of Kerala" in Tim Timberg (ed.)
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The efforts of Prof. George Menachery was met with the approval of Minister T. M. Jacob in introducing this item in the State Youth Festival
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Neumann K (1998) "Mond, Gott Siva und heiliger Thomas: Die religiöse Gemeinschaft der Knanaya in Kerala" Universität Marburg p 150
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Weil, Shalva. "Symmetry between Christians and Jews in India: the Cnanite Christians and the Cochin Jews of Kerala,"
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K.C. Zacharia - THE SYRIAN CHRISTIANS OF KERALA: DEMOGRAPHIC AND SOCIOECONOMIC TRANSITION IN THE TWENTIETH CENTURY
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It is traced back to Jewish wedding songs and dance from the diaspora. Scholars have found common origin among
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Jussay, P. M. (2005). The Jews of Kerala. Calicut: Publication division, University of Calicut.,pages 124-125
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In the late 1900s the art form was heavily in decline among the St. Thomas Christian Community but the
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Vellian, J (1990) 'Crown, veil, cross : marriage rites' in Syrian churches series, vol 15 p 30
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curbed and suppressed this native form. During the seventeenth century, due to the efforts of a
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dance and songs and the dance form of Margamkali. In addition, scholars like P.M. Jussay and Dr
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Ipe, Ann (2015). "A Content Analysis of the Changes in Margamkali and Its Present Scenario".
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The Hosten pictures of 1924 published by Prof. George Menachery may be referred to
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Women wearing Margamkali dress as part of a performance in a college arts festival
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There are several opinions on the potential origin of Margamkali. They are:
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state, mainly practiced by the endogamous sub-sect known as the
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scholar Puttanpurikkal Uthuppu Lukose compiled and published
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Typically, a dozen dancers sing and dance clapping around a
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It is derived from Sangam kali, a performance dance form of
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have found many similarities in the customs and rituals of
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Margamkali performed during an arts & cultural fest.
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329:. Syrian Church Series. Vol. 15. Anita Printers.
73::മാർഗ്ഗംകളി ) is an ancient Indian round dance of the
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Ulloor Parameswara Iyer - Kerala Sahithya Charithram
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512:. 29 April 2011 – via www.thehindu.com.
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142:"Margam" means path or way or solution in
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312:. Deepika Book House.
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148:Malabar Coast
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119:Malabar Jews.
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1962:
1955:
1923:Contemporary
1879:Singhi Chham
1719:Kachhi Ghodi
1614:Dandiya Raas
1554:Bedara Vesha
1484:Divine forms
1420:Mohiniyattam
1349:
1279:
1272:
1260:
1248:
1162:Martial arts
1138:Thiruvathira
1063:Keralotsavam
956:Thacholikali
891:Mangalamkali
866:Kummattikali
770:Panchavadyam
755:Kuzhal Pattu
724:Ottamthullal
714:Mohiniyattam
605:
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270:Saint Thomas
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66:
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53:Syro-Malabar
37:
2025:Accessories
1894:Thirayattam
1884:Sword dance
1569:Bommalattam
1544:Bardo Chham
1534:Baagh Naach
1370:Veeranatyam
1360:Parai Attam
1274:WikiProject
941:Poothamkali
901:Margam Kali
896:Marathukali
886:Malayikuthu
871:Kuthiyottam
775:Pandi Melam
709:Koodiyattam
259:Nilavilakku
244:Performance
132:Yathra Kali
111:Shalva Weil
58:wedding at
18:Margam Kali
2011:Tamil Nadu
1949:Literature
1914:Yakshagana
1869:Raut Nacha
1859:Puliyattam
1839:Pavri Nach
1829:Paampattam
1799:Mayilattam
1729:Karakattam
1604:Corridinho
1594:Chheih Lam
1388:Recognised
1350:Margamkali
1226:Sarpa Kavu
1053:Kanyarkali
1013:Aanayoottu
966:Theyyannam
931:Poorakkali
911:Nayadikali
836:Eruthukali
831:Duff Muttu
826:Chozhikali
795:Thayambaka
613:Margamkali
318:B076GCH274
138:in Kerala.
67:Margamkali
1909:Veeragase
1854:Puli Kali
1824:Oyilattam
1744:Khual Lam
1739:Keisabadi
1699:Hulivesha
1644:Duffmuttu
1539:Bagurumba
1501:Rasa lila
1410:Kuchipudi
1405:Kathakali
1380:Classical
1250:Templates
1123:Puli Kali
1006:Festivals
990:Fine arts
976:Thiyyattu
951:Slamakali
804:Folk arts
699:Kathakali
335:311292786
144:Malayalam
71:Malayalam
2052:Category
2032:Ghungroo
1979:By state
1844:Phulpati
1834:Padayani
1754:Kolattam
1724:Kalbelia
1704:Jhijhiya
1694:Hojagiri
1684:Gombhira
1624:Dhunachi
1599:Chholiya
1584:Chang Lo
1491:Nataraja
1430:Sattriya
1415:Manipuri
1262:Category
1231:Tharavad
1174:Velakali
1058:Karivela
1018:Aaraattu
921:Padayani
906:Mudiyett
390:Ipe 2015
360:See also
352:50077436
125:Brahmins
60:Arakuzha
2037:Silambu
2016:Tripura
1904:Tippani
1889:Tertali
1804:Mussoll
1769:Lahasua
1714:Jhumair
1679:Ghumura
1674:Ghoomar
1634:Domkach
1609:Dalkhai
1559:Bhangra
1496:Tandava
1466:Gotipua
1461:Gaudiya
1365:Theyyam
1338:Ancient
1219:Society
1205:Mizhavu
961:Theyyam
936:Poothan
856:Kolkali
841:Gadhika
790:Sopanam
200:Knanaya
187:Knanaya
175:Knanaya
170:Knanaya
115:Knanaya
97:History
83:Knanaya
56:Nasrani
2006:Punjab
2001:Odisha
1970:Mudras
1940:Nautch
1864:Rasiya
1819:Oppana
1764:Lavani
1749:Kikkli
1709:Jhumar
1669:Giddha
1659:Garadi
1649:Dumhal
1589:Cheraw
1471:Mahari
1456:Deknni
1439:Others
1425:Odissi
1400:Kathak
1355:Koothu
1210:Timila
1195:Idakka
1190:Chenda
916:Oppana
442:
350:
333:
316:
209:Hadusa
204:ashans
79:Kerala
1991:Assam
1874:Saang
1809:Nacnī
1794:Matki
1779:Maach
1774:Lezim
1759:Kummi
1734:Karma
1689:Grida
1664:Garba
1654:Fugdi
1639:Domni
1619:Dhalo
1579:Chang
1529:Alkap
1506:Lasya
1451:Chhau
1153:Vishu
743:Music
483:1982.
377:Notes
276:Today
1814:Nati
1564:Bihu
1520:list
1516:Folk
1108:Onam
440:ISBN
348:OCLC
331:OCLC
314:ASIN
2054::
548:^
454:^
438:.
412:^
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299:.
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93:.
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1518:(
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354:.
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301:3
127:.
69:(
62:.
20:)
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