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LRC Webinar Part II of III. The uniqueness of Syriac chants.

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AP 279 - LRC Webinar Part II of III. The uniqueness of Syriac chants.
Call Number

AP 279 - Part II

Part Number Part I - Syro Malabar Church
Title LRC Webinar Part II of III. by Dr. Joseph J. Palackal, CMI.
Duration 37:26
Place of Recording  
Date of Recording 28 January 2022
Youtube URL
Video Segment (s)


Content of this video

00:00 - Introduction

00:19 - The unique place of syriac liturgy and musicin the culture of history of India and early christianity

00:49 - Sagadinan Mar and the solutions for Christological controversies

06:55 - Bar Mariam: Scripture and Mariology in Music

12:34 - RAZA A Liturgical Revolution in Kerala

14:23 - Sleeva Dahvalan For the Veneration of the Cross

18:27 - Use of Meaningless Syllables in Syriac Chants

22:10 - Music Theory of Syriac Chants in Kerala

27:09 - Rhythm in Syriac Chants

32:46 - Marggamkali Use of Syriac mode in Secular Songs

35:28 - Conclusion

Related Videos

  • AP 279 - Part 1 - LRC Webinar by Dr. Joseph J. Palackal, CMI.
  • AP 279 - Part 2 - The uniqueness of Syriac chants by Dr. Joseph J. Palackal, CMI.
  • AP 279 - Part 3 - Religious Ecumenism and Thoma Marggam by Dr. Joseph J. Palackal, CMI.

User comments

MARGAM KALI AND KNANAYA LIVES MATTERS - Margam Kali is an ancient round dance form of the St. Thomas Christian community based in Kerala known as Knanaya or Southist Christians........... - Simon Stephen - 12 June 2022is video for some months now. ......Knanaya Cultural Foundation - May, 2022

Margam Kali is an ancient round dance form of the St. Thomas Christian community based in Kerala known as Knanaya or Southist Christians. The dance retells the life and missionary work of St. Thomas the Apostle. Based on the Acts of Thomas written by Burdusan of ouraha during 2nd Century AD. For the knanaya people, the Margam Kali is more than just a performing art but its is a sacred and integral part of their origin, traditions and cultural fabric. It is traced back to Jewish wedding songs and dances from the diaspora. Scholars have found origin among Malabar Jewish dance and songs and the dance form of Margam Kali. In addition scholars have found many similarities in the customs and rituals of knanaya Christians and Malabar Jews.
Margam means path or way or solution but in the spiritual context as path to salvation. Much of this dance form is woven around the mission of St. Thomas, the Apostle. The original Margam kali describes the arrival of St. Thomas in India, the miracle he performed , the frienship as well as the hostility of the people whom he worked, the persecution he suffered. these details are incorporated in the various stanzas of Margam Kali Songs. Margam Kali is an integral and Secread element in the age old and hallowed traditions of Knanaya Syrian Christian Community who are spread all over the World now.
The disparity between the present condition of this Dance form and the early days leads one to assume three important in the history of Margam Kali. The 1st phase was the pre colonization one in which this semi theatrical form was performed by the knanaya community during special occasions like wedding and festivals. Parichamuttukali was also a part of it also predominately participated by male folks. Later Synod od Diamper curbed and suppressed this sacred dance form of the knanaya community. During the 17th century due to the efforts of Knanaya priest Itti thomman Kathanar, this art form got certain upliftment and care. however, until the end of 19th century the art form was not in common practice even though it did exist in the community. But at the end of 19th century the form became popular once again and some structural changes took place then. Today it is well known all over the world as the Only Christian performing art form . But for Knanaya community it is a sacred and ritualistic ancient ceremonial art form of their ancient Jewish origin and it is practiced by the early Christians of Jesus times.
In 1924 the European priest and scholar Fr. Hosten witnessed the Margam Kali danced by the knanaya community of kottayam and was enamored by the ancient art form and thus he presented the Margam kali to Rome in 1925. However, this was met with mass resentment and disapproval from the Northist. St Thomas Christians who viewed the Margam kali as being an " Uncouth performance". To day this same Northists are engaged in cultural appropriation and coercion to destroy this knanaya community.
During 1960 the northists Christian scholar Dr. Chummar Choondal led a sociological survey of Margam Kali and noted that the practice solely of the knanaya community. Further more. all Margam kali teachers and groups of the tome period were entirely knanaya. He further states:
" Knanaya Community have the most ancient varied art forms. Margam Kali is their art form. A close and critical observation will show that the practice and propagation of Margam Kali were among Knanites. The traditions of Margam kali can thus by analysed, 70% among Knanaya Catholic and 25 5 among Knanaya Jacobite and rest with Knanaya Malankara communities."
In 1970 to 1980 the Knanaya priests led by Fr. Vellian undertook years of research and study with help of 33 knanaya ashans or teachers of Margam kali to revitize the ancient art form. through critical, musicological and ethnochreological evaluation of the team of researchers systemized Margam Kali and promoted it among schools and cultural organization as an item of competition in schools and universities. thus presented to Kerala Givt. and approved . So Margam kali would be a performing art form set in stone all over the world. Today Margam Kali and allied Christian art form has a center under Endogamous knanaya Community diocese of Kottayam in 1995 established Hadusa ( Dancing , Rejoicing) . As an All India Institute of Christian performing Arts Centre. Hadusa has released a text titled " Margam kali Aattaprakaaram" which is considered ae an authentic reference material for the Performing art Form.
Fr. Palackal and Group along with Syro ( Northist) are engaged in an international Criminal acts of Cultural Appropriation of an another ancient surviving community Knanaya endogamous Community .

- Simon Stephen - 12 June 2022

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