This paper is an analysis on the transformations seen on the Chattayum mundum which is the traditional attire of Syrian Christian women in Kerala, for it to have emerged as a costume for Margamkali, which is a native Syrian Christian dance-form. I argue that although the Chattayum mundum became part of a vanishing tradition among the Syrian Christians; but by virtue of Margamkali, the Chattayum mundum has become revitalised. Thereby, the interaction between Chattayum mundum and Margamkali in contemporary Kerala, is analysed. The preliminary part of this research has been complemented by the successive phenomenological research that was based on the interviews of Syrian Christian women in Kerala. Detailed interpretations on the interviewees’ lived experiences of having worn the Chattayum mundum has been accounted for. Also, the coexistence of Chattayum mundum in its traditional form and as a Margamkali costume in the contemporary context, has been analysed. Thus, this research serves as a specific case study for heritage practitioners, to understand the potential role of contemporary artforms in revitalising the traditional forms of fashion.
Table of Contents
Chapter 1
Introduction
Key terms
Literature Review
Research gap
Statement of the problem
Statement of Aim
Research question
Research Outcomes
Methodology
Limits of scope of research
Chapter 2 – Syrian Christians in Kerala
2.1. The History of Syrian Christians
2.1.1. Religious diversity in Kerala.
2.1.2. Christians in Kerala.
2.1.3. Syrian Christians in Kerala.
2.1.4. Syrian Christians and the apostle St. Thomas.
2.1.5. Explaining the term Syrian Christian.
2.1.6. Understanding the nomenclature of Syrian Christians.
2.1.7. The caste status of Syrian Christians.
2.1.8. The privileged position of Syrian Christians due to their caste status.
2.1.9. Knanaya Christians among the Syrian Christian community.
2.1.10. Caste differences among Christians in Kerala.
2.1.11. The social identity of Syrian Christians.
2.2. Traditions of Syrian Christians
2.2.1. Syrian Christians’ practice of other religious traditions.
2.2.2. St. Thomas tradition of Syrian Christians.
2.2.3. The dialect of Syrian Christians.
2.2.4. Syrian Christian songs with St. Thomas tradition.
2.2.5. Syrian Christian dance-forms with St. Thomas tradition.
2.3. Syrian Christian dance-form of Margamkali
2.3.1. The significance of Margamkali.
2.3.2. The performance of Margamkali.
2.3.3. The symbolism of Margamkali.
2.3.4. The occasions when Margamkali is performed.
2.3.5. The decline and renaissance of Margamkali
Chapter 3 – The dressing of Syrian Christian women
3.1. History of Syrian Christian women’s dressing
3.1.1. The early notion of clothing in Kerala.
3.1.2. The dressing of high-caste Hindus and low-caste women.
3.1.3. The dressing of Syrian Christian women.
3.1.4. The reflection of caste on Syrian Christian women’s dress.
3.1.5. The Syrian Christian women’s dress as a school uniform.
3.1.6. The Channar revolt.
3.2. Design of Syrian Christian women’s dressing
3.2.1. Introduction to the Chattayum mundum.
3.2.2. The elements of Syrian Christian women’s dressing.
3.2.3. Categorization of the Chattayum mundum based on its usage.
3.2.4. Similarities and differences of Chattayum mundum with other religious attire in Kerala.
3.2.5. Exemplary design of Chattayum mundum.
3.3. Meanings associated with Syrian Christian women’s dressing
3.3.1. Symbolism of clothing in Kerala.
3.3.2. Clothing and ornamentation.
3.3.3. White colour of the Chattayum mundum.
3.3.4. Symbolism of the Chattayum mundum.
3.4. Significance of the Chattayum mundum
3.4.1. Influence of the dress on a Syrian Christian woman’s naming.
3.4.2. The earlier role of Chattayum mundum for communal identity.
3.5. Craftsmanship associated with Syrian Christian women’s clothing
Chapter 4 – Transformations seen on the Chattayum mundum
4.1. The decline in the consistent usage of Chattayum mundum
4.1.1. Disappearance of communal clothing of women in Kerala.
4.1.2. Transition in usage of the Chattayum mundum.
4.1.3. Chattayum mundum in the contemporary context.
4.2. The influence of Margamkali on Chattayum mundum
4.2.1. Women as Margamkali performers
4.2.2. Chattayum mundum as a costume for Margamkali.
Chapter 5 –The interaction between Chattayum Mundum and Margamkali
Conclusion
Research Objectives and Themes
This research aims to analyze the transformation of the 'Chattayum mundum' from a traditional daily attire of Syrian Christian women in Kerala into a contemporary costume for the Margamkali dance-form, exploring its revitalization and changing social significance.
- Historical evolution of Syrian Christian social identity and clothing practices in Kerala.
- The traditional design, symbolism, and cultural significance of the Chattayum mundum.
- The role of the Margamkali dance-form in revitalizing traditional fashion.
- Phenomenological analysis of the lived experiences and changing attitudes of different generations of women regarding this attire.
- The coexistence of traditional dress and modified dance costumes in modern society.
Excerpt from the Book
The dressing of Syrian Christian women
In the beginning of 17th century, the Portuguese recorded the dress of Syrian Christians as being similar to the dress of high-caste Hindus. They wore a white coloured mundu but tied it with a fan-tail, unlike the Nair women. Over the course of 19th century, Syrian Christian women from initially wearing a jacket (called Kuppayam), began to wear the white-coloured blouse. They also covered their bosom with a cloth (called Kavani) which was similar to Nair women’s breast-cloth and they wore gold-coloured hooped earrings called Kunukku (Thomas, 2011, pp. 72-75). They also were permitted to use an umbrella that was called Muthukudda, as a shield “from the sun and from the eyes of men”. Presently, Muthukudda is still used by some Syrian Christians for their wedding rituals (Philips, 2004, p. 258).
Summary of Chapters
Chapter 1: Outlines the introduction to the research topic, including key definitions, literature review, and the methodology used for this qualitative study.
Chapter 2: Provides a historical overview of Syrian Christians in Kerala, their caste status, cultural traditions, and the dance-form of Margamkali.
Chapter 3: Examines the history, elements, and symbolic meanings of Syrian Christian women’s traditional dressing, specifically the Chattayum mundum.
Chapter 4: Analyzes the decline in traditional usage of the Chattayum mundum and its subsequent transformation into a costume for Margamkali performers.
Chapter 5: Discusses the interaction between the attire and the dance-form based on interview insights from Syrian Christian women across different age groups.
Keywords
Syrian Christian, Kerala, Chattayum mundum, Margamkali, traditional attire, cultural identity, caste, phenomenology, heritage, revitalization, costume, dance-form, modernization, gender, social transition
Frequently Asked Questions
What is the core subject of this research?
The research explores the cultural and social evolution of the 'Chattayum mundum', the traditional dress of Syrian Christian women in Kerala, specifically how it has transformed into a costume for the Margamkali dance.
What are the primary themes discussed?
The study covers the social identity of Syrian Christians, the historical significance of their attire, the evolution of design, and the role of contemporary performance art in sustaining traditional heritage.
What is the main research question?
The research asks how the traditional dress of Kerala’s Syrian Christian women, the Chattayum mundum, became transformed to emerge as a performance costume for Margamkali in the contemporary context.
Which methodology was applied?
The study employed a qualitative approach using literature reviews and semi-structured, phenomenological interviews with six Syrian Christian women to gather insights into their lived experiences.
What defines the content of the main chapters?
The chapters systematically transition from historical background and cultural context to the design analysis of the garment and finally to the contemporary intersection of fashion and performance arts.
Which specific keywords define this work?
Key terms include Syrian Christian women, Chattayum mundum, Margamkali, caste identity, heritage revitalization, and contemporary Kerala.
How is the traditional garment designed?
The traditional Chattayum mundum consists of the 'chatta' (loose stitched blouse), the 'mundu' (unstitched white loincloth), and the 'Kavani' (shoulder cloth), all typically white or off-white.
How has Margamkali influenced the design of the garment?
For use as a costume, the garment has been modified for mobility with shorter mundu lengths, added red lace borders for visual appeal, and pre-stitched components for easier draping.
What do the interviewees perceive as the role of the costume?
Interviewees generally perceive the costume version of the Chattayum mundum as a way to connect with their ancestry and keep the culture alive, even if they find the traditional version impractical for daily modern wear.
- Citation du texte
- Loveena Mariam George (Auteur), 2023, Fashion in Danceform. The Case of Chattayum mundum in Kerala, India, Munich, GRIN Verlag, https://www.grin.com/document/1494781
