Margamkali - Revision history

CarmenCarey59: refine structure for consistency and added references to improve readability

2026-03-26T04:17:34Z

refine structure for consistency and added references to improve readability

← Older revision		Revision as of 09:47, 26 March 2026
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			{{Short description\|Ancient Indian dance form from the state of Kerala}}
	[[File:Advika VAST 2020 Margamkali 01.jpg\|thumb\|Margamkali performed during an arts & cultural fest.]]		[[File:Advika VAST 2020 Margamkali 01.jpg\|thumb\|Margamkali performed during an arts & cultural fest.]]
	{{Use dmy dates\|date=December 2019}}		{{Use dmy dates\|date=December 2019}}
	{{Use Indian English\|date=December 2019}}		{{Use Indian English\|date=December 2019}}
	[[File:Margamkali - Saint Thomas Christian dance form.webm\|thumb\|Margamkali performed during a [[Syro-Malabar]] [[Nasrani (India)\|Nasrani]] wedding at [[Arakuzha]].]]		[[File:Margamkali - Saint Thomas Christian dance form.webm\|thumb\|Margamkali performed during a [[Syro-Malabar]] [[Nasrani (India)\|Nasrani]] wedding at [[Arakuzha]].]]
	'''Margamkali''' ~~([[Malayalam]]:മാർഗ്ഗംകളി )~~ is an ancient Indian round dance of the [[~~St.~~ Thomas ~~Christians~~]] community- based in [[Kerala]] ~~state,~~ mainly practiced by the endogamous sub-~~sect~~ known as the [[Knanaya]] or Southist Christians.{{sfn\|Ipe\|2015\|p=289}}{{sfn\|Vellian\|1990\|p=31}}{{sfn\|Karukaparambil\|2005\|pp=497}} The ~~dance~~ retells the life and missionary work of ~~St.~~ [[Thomas the Apostle]], based on the ~~third~~- century apocryphal [[Acts of Thomas]].{{sfn\|Vellian\|1990\|p=31}}		The '''Margamkali''' is an ancient Indian round dance of the [[Saint Thomas Christian]] community based in the state of [[Kerala]]. The dance is mainly practiced and propagated by the endogamous sub-ethnic group known as the [[Knanaya]] or Southist Christians.{{sfn\|Ipe\|2015\|p=289}}{{sfn\|Vellian\|1990\|p=31}}{{sfn\|Karukaparambil\|2005\|pp=497}} The Margam Kali retells the life and missionary work of [[Thomas the Apostle]], based on the 3rd-century apocryphal [[Acts of Thomas]].{{sfn\|Vellian\|1990\|p=31}}<ref>{{Cite book \| url=https://books.google.com/books?id=8yvTEAAAQBAJ \|title =The Acts of St. Thomas in India \|isbn = 9781087965710 \|last1 = Curtin\|first1 = D. P.\|last2 = James\|first2 = M.R.\|date = June 2018}}</ref>

			Historically different forms of the Margam Kali existed in practice among the Kerala Syrian Christians, a Saint Thomas Christian or Northist version and a Knanaya or Southist version.{{sfn\|King\|2018\|pp=663-679}} Historian Dr. [[Istvan Perczel]] notes that only the Knanaya version is in existence today, with its 14 stanza form written by the Knanaya priest [[Anjilimoottil Itty Thommen Kathanar\|Anjilimootil Itti Thomman]] in the 17th century.{{sfn\|King\|2018\|pp=656}} The prototype of Margamkali is composed of 14 stanzas (padas) which are derived from [[Syrian]] and [[Tamil language\|Tamil ]]words, and they got to be included in its composition. Until the ninth century AD., [[Kerala\|Keralam]] was a part of [[Tamilakam]] and the language of the Kerala region was [[Tamil language\|Tamil]] or Middle Tamil. Gradually [[Malayalam]] came under the influence of Sanskrit and Prakrit with the spread of Aryan influence. But some scholars states that those songs are written in a language which is neither pure [[Malayalam]] of today nor the spoken [[Tamil language\|Tamil]] of today, and this language is absolutely free of any Sanskrit terms,it might be [[Middle Tamil]] spoken in [[Chera Kingdom]] or Chentamil. There was a time when [[Syriac language\|Syriac]] language was used as a trade language (Lingua Franca) in [[Kodungallur]] and its surroundings. At least from the fourth century, the Knanites as well as the rest of the Syrian Christians in [[Malabar Coast\|Malabar]] used the [[Syriac language\|Syriac]] language in their liturgical celebrations. They firmly believed that the Syriac language was sacred since Jesus Christ, his mother, and the Apostles used it, and the holy mass was instituted by Christ in that language. These were the reasons for the Syrian Christians of Kerala to maintain and use the Syriac language even in their cultural performances. The present day Margamkali songs have many [[Syriac language\|Syriac]] liturgical words like ''maran'' (our Lord), ''alaha'' (God), ''mar thomma'' (St Thomas), ''malaka'' (angel), ''kandessa'' (Saint), ''ruha'' (spirit), ''nivyalanmar'' (prophets), ''Iso'' (Jesus), ''Mishiha'' (Christ) are seen in the lyrics. The [[Tamil language\|Tamil]] words like meyu (body), peeli (dress). All these lead us back to an early period of the history of [[Malayalam]] literature, which had [[Tamil language\|Tamil]] words aplenty. However, Persian and Portuguese words are not seen in the text. Those words might possibly have been borrowed from karintamil or [[Middle Tamil]] because Margamkali has close affinity with the Cindu kind of song composition, which was popular in Tamil language during the period (Karimbumkalayil).<ref>{{cite journal \|last=Alex \|first=Soorya \|year=2023 \|url=https://www.researchgate.net/publication/392675340_'Dance_of_the_Converted'_Margamkali_and_Cultural_Hybridity_of_Syrian_Christians_in_Kerala \|title='Dance of the Converted': Margamkali and Cultural Hybridity of Syrian Christians in Kerala \|journal=Dialogist: International Journal of Literary Studies and Interdisciplinary Research \|volume=2 \|issue=1 \|pages=140-171 \|ISSN=2583-1836 \|publisher=[[Kannur University]]}}</ref>

	==History==		==History==

	There are several opinions on the potential origin of Margamkali. They are:		There are several opinions on the potential origin of Margamkali. They are:
	# It is traced back to Jewish wedding songs and dance from the diaspora.<ref name="Neumann">Neumann K (1998) "Mond, Gott Siva und heiliger Thomas: Die religiöse Gemeinschaft der Knanaya in Kerala" Universität Marburg p 150</ref> Scholars have found common origin among [[Cochin Jews\|Malabar Jewish]] dance and songs and the dance form of Margamkali.<ref name="Neumann"/><ref name= "Vellian">Vellian, J (1990) 'Crown, veil, cross : marriage rites' in Syrian churches series, vol 15 p 30</ref> In addition, scholars like P.M. Jussay and Dr [[Shalva Weil]] have found many similarities in the customs and rituals of [[Knanaya]] Christians and [[Cochin Jews\|Malabar Jews.]]<ref>Weil, Shalva. "Symmetry between Christians and Jews in India: the Cnanite Christians and the Cochin Jews of Kerala," ''Contributions to Indian Sociology,'' 1982.'' ''16(2): 175-196.		# It is traced back to Jewish wedding songs and dance from the diaspora.<ref name="Neumann">Neumann K (1998) "Mond, Gott Siva und heiliger Thomas: Die religiöse Gemeinschaft der Knanaya in Kerala" Universität Marburg p 150</ref> Scholars have found common origin among [[Cochin Jews\|Malabar Jewish]] dance and songs and the dance form of Margamkali.<ref name="Neumann"/><ref name= "Vellian">Vellian, J (1990) 'Crown, veil, cross : marriage rites' in Syrian churches series, vol 15 p 30</ref> In addition, scholars like P.M. Jussay and Dr [[Shalva Weil]] have found many similarities in the customs and rituals of [[Knanaya]] Christians and [[Cochin Jews\|Malabar Jews.]]<ref>Weil, Shalva. "Symmetry between Christians and Jews in India: the Cnanite Christians and the Cochin Jews of Kerala," ''Contributions to Indian Sociology,'' 1982.'' ''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.)'' The Jews of India'', Delhi: Vikas Publication, 1986.pp.177-204.</ref><ref>Jussay, P. M. (2005). The Jews of Kerala. Calicut: Publication division, University of Calicut.,pages 124-125</ref>		Weil, Shalva. "'Symmetry Between Christians And Jews In India: The Canaanite Christians And The Cochin Jews Of Kerala" in Tim Timberg (ed.)'' The Jews of India'', Delhi: Vikas Publication, 1986.pp.177-204.</ref><ref>Jussay, P. M. (2005). The Jews of Kerala. Calicut: Publication division, University of Calicut., pages 124-125</ref>
	# It is derived from Sangam kali, a performance dance form of [[Brahmins]].<ref>{{cite web\|url=https://www.thehindu.com/todays-paper/tp-national/tp-kerala/Preserving-the-purity-of-Margamkali/article14742358.ece\|title=Preserving the purity of Margamkali\|date=29 April 2011\|via=www.thehindu.com}}</ref><ref>Ulloor Parameswara Iyer - Kerala Sahithya Charithram</ref>		# It is derived from Sangam kali, a performance dance form of [[Brahmins]].<ref>{{cite web\|url=https://www.thehindu.com/todays-paper/tp-national/tp-kerala/Preserving-the-purity-of-Margamkali/article14742358.ece\|title=Preserving the purity of Margamkali\|date=29 April 2011\|via=www.thehindu.com}}</ref><ref>Ulloor Parameswara Iyer - Kerala Sahithya Charithram</ref>
	# It is derived from the ''Yathra Kali'', a performance art of [[Nambudiri\|Nambudiri Brahmins]] in Kerala.<ref>M.V. Vishnu Namboothiri, Dictionary of folklore, page 529</ref>		# It is derived from the ''Yathra Kali'', a performance art of [[Nambudiri\|Nambudiri Brahmins]] in Kerala.<ref>[[M. V. Vishnu Namboothiri]], Dictionary of folklore, page 529</ref>

	"Margam" means path or way or solution in [[Malayalam]], 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.{{Citation needed\|date=October 2018}} 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 [[Malabar Coast]].<ref>		"Margam" means path or way or solution in [[Malayalam]], 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.{{Citation needed\|date=October 2018}} 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 [[Malabar Coast]].<ref>
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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 [[Saint Thomas Christians]] during special occasions. ''[[Parichamuttukali]]'' (The sword and shield dance) was also a part of it. Later [[Synod of Diamper]] curbed and suppressed this native form. During the seventeenth century, due to the efforts of a [[Knanaya]] 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 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 [[Knanaya]] scholar Puttanpurikkal Uthuppu Lukose compiled and published ''Margamkali Pattukal'' 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 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". {{sfn\|Karukaparambil\|2005\|p=582-583}}		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 [[Saint Thomas Christians]] during special occasions. ''[[Parichamuttukali]]'' (The sword and shield dance) was also a part of it. Later [[Synod of Diamper]] curbed and suppressed this native form. During the seventeenth century, due to the efforts of a [[Knanaya]] 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 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 [[Knanaya]] scholar Puttanpurikkal Uthuppu Lukose compiled and published ''Margamkali Pattukal'' 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 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". {{sfn\|Karukaparambil\|2005\|p=582-583}}

	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. {{sfn\|Karukaparambil\|2005\|p=582-583}} Furthermore, Choondal found that all of the Margam teachers and groups of the time period were entirely Knanaya. {{sfn\|Karukaparambil\|2005\|p=582-583}} The following analysis of the art-form was stated by Dr. Chummar Choondal.		In the late 1900s the art form was heavily in decline among the St. Thomas Christian Community but the [[Knanaya]] 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. {{sfn\|Karukaparambil\|2005\|p=582-583}} Furthermore, Choondal found that all of the Margam teachers and groups of the time period were entirely Knanaya. {{sfn\|Karukaparambil\|2005\|p=582-583}} The following analysis of the art-form was stated by Dr. Chummar Choondal.
	<blockquote>		<blockquote>
	“Knanaya Christians have the most ancient and varied art forms. Margamkali is their		“Knanaya Christians have the most ancient and varied art forms. Margamkali is their
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	</blockquote>		</blockquote>

	~~In the late 1900s the art form was heavily in decline among the St. Thomas Christian Community but the [[Knanaya]] community took upon the initiative to promote and further expand the art form.~~ In the 1970s and 1980s the [[Knanaya]] 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 ''ashans'' 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 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 ''Hadusa'' (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. {{sfn\|Karukaparambil\|2005\|pp=497}}		In the 1970s and 1980s the [[Knanaya]] 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 ''ashans'' 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 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 ''Hadusa'' (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. {{sfn\|Karukaparambil\|2005\|pp=497}}

	{{Multiple image		{{Multiple image
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	==Bibliography==		==Bibliography==
	* {{cite journal \|last1= Ipe \|first1= Ann \|year= 2015 \|title= A Content Analysis of the Changes in Margamkali and Its Present Scenario \|journal= Xavierian Research Journal \|volume= 3 \|publisher= St. Xavier's College for Women }}		* {{cite journal \|last1= Ipe \|first1= Ann \|year= 2015 \|title= A Content Analysis of the Changes in Margamkali and Its Present Scenario \|journal= Xavierian Research Journal \|volume= 3 \|publisher= St. Xavier's College for Women }}
	* {{cite book \| last=Karukaparambil \|first= George\|year=2005\|title= Marganitha Kynanaitha: Knanaya Pearl \|publisher= Deepika Book House\|~~ASIN~~= B076GCH274}}		* {{cite book \| last=Karukaparambil \|first= George\|year=2005\|title= Marganitha Kynanaitha: Knanaya Pearl \|publisher= Deepika Book House\|asin= B076GCH274}}
	* {{cite book \| last=Vellian \|first= Jacob\|year=1990\|title= Crown, Veil, Cross: Marriage Rights \|series= Syrian Church Series \|volume=15\|publisher= Anita Printers\|~~OCLC~~= 311292786}}		* {{cite book \| last=Vellian \|first= Jacob\|year=1990\|title= Crown, Veil, Cross: Marriage Rights \|series= Syrian Church Series \|volume=15\|publisher= Anita Printers\|oclc= 311292786}}
	* {{cite book \| last=Vellian \|first= Jacob\|year=~~1990~~\|title= Knanite Community: History and Culture \|volume=17\|publisher= Jyothi Book House\|~~OCLC~~= 50077436~~\|ref= {{sfnRef\|Vellian\|2001}}~~}}		* {{cite book \| last=Vellian \|first= Jacob\|year=2001\|title= Knanite Community: History and Culture \|volume=17\|publisher= Jyothi Book House\|oclc= 50077436}}

	==See also==		==See also==
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	==External links==		==External links==
	{{~~Commonscatinline~~}}		{{Commons category-inline}}

	{{Culture of Kerala}}{{Dance in India}}		{{Culture of Kerala}}{{Dance in India}}

	[[Category:Dances of Kerala]]		[[Category:Dances of Kerala]]
	~~[[Category:Arts of Kerala]]~~

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[[File:Advika VAST 2020 Margamkali 01.jpg|thumb|Margamkali performed during an arts & cultural fest.]]
{{Use dmy dates|date=December 2019}}
{{Use Indian English|date=December 2019}}
[[File:Margamkali - Saint Thomas Christian dance form.webm|thumb|Margamkali performed during a [[Syro-Malabar]] [[Nasrani (India)|Nasrani]] wedding at [[Arakuzha]].]]
'''Margamkali''' ([[Malayalam]]:മാർഗ്ഗംകളി ) is an ancient Indian round dance of the [[St. Thomas Christians]] community- based in [[Kerala]] state, mainly practiced by the endogamous sub-sect known as the [[Knanaya]] or Southist Christians.{{sfn|Ipe|2015|p=289}}{{sfn|Vellian|1990|p=31}}{{sfn|Karukaparambil|2005|pp=497}} The dance retells the life and missionary work of St. [[Thomas the Apostle]], based on the third- century apocryphal [[Acts of Thomas]].{{sfn|Vellian|1990|p=31}}

==History==

There are several opinions on the potential origin of Margamkali. They are:
# It is traced back to Jewish wedding songs and dance from the diaspora.<ref name="Neumann">Neumann K (1998) "Mond, Gott Siva und heiliger Thomas: Die religiöse Gemeinschaft der Knanaya in Kerala" Universität Marburg p 150</ref> Scholars have found common origin among [[Cochin Jews|Malabar Jewish]] dance and songs and the dance form of Margamkali.<ref name="Neumann"/><ref name= "Vellian">Vellian, J (1990) 'Crown, veil, cross : marriage rites' in Syrian churches series, vol 15 p 30</ref> In addition, scholars like P.M. Jussay and Dr [[Shalva Weil]] have found many similarities in the customs and rituals of [[Knanaya]] Christians and [[Cochin Jews|Malabar Jews.]]<ref>Weil, Shalva. "Symmetry between Christians and Jews in India: the Cnanite Christians and the Cochin Jews of Kerala," ''Contributions to Indian Sociology,'' 1982.'' ''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.)'' The Jews of India'', Delhi: Vikas Publication, 1986.pp.177-204.</ref><ref>Jussay, P. M. (2005). The Jews of Kerala. Calicut: Publication division, University of Calicut.,pages 124-125</ref>
# It is derived from Sangam kali, a performance dance form of [[Brahmins]].<ref>{{cite web|url=https://www.thehindu.com/todays-paper/tp-national/tp-kerala/Preserving-the-purity-of-Margamkali/article14742358.ece|title=Preserving the purity of Margamkali|date=29 April 2011|via=www.thehindu.com}}</ref><ref>Ulloor Parameswara Iyer - Kerala Sahithya Charithram</ref>
# It is derived from the ''Yathra Kali'', a performance art of [[Nambudiri|Nambudiri Brahmins]] in Kerala.<ref>M.V. Vishnu Namboothiri, Dictionary of folklore, page 529</ref>

"Margam" means path or way or solution in [[Malayalam]], 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.{{Citation needed|date=October 2018}} 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 [[Malabar Coast]].<ref>
K.C. Zacharia - THE SYRIAN CHRISTIANS OF KERALA: DEMOGRAPHIC AND SOCIOECONOMIC TRANSITION IN THE TWENTIETH CENTURY</ref>

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 [[Saint Thomas Christians]] during special occasions. ''[[Parichamuttukali]]'' (The sword and shield dance) was also a part of it. Later [[Synod of Diamper]] curbed and suppressed this native form. During the seventeenth century, due to the efforts of a [[Knanaya]] 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 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 [[Knanaya]] scholar Puttanpurikkal Uthuppu Lukose compiled and published ''Margamkali Pattukal'' 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 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". {{sfn|Karukaparambil|2005|p=582-583}}

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. {{sfn|Karukaparambil|2005|p=582-583}} Furthermore, Choondal found that all of the Margam teachers and groups of the time period were entirely Knanaya. {{sfn|Karukaparambil|2005|p=582-583}} The following analysis of the art-form was stated by Dr. Chummar Choondal.
<blockquote>
“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.” {{sfn|Karukaparambil|2005|p=582-583}}
</blockquote>

In the late 1900s the art form was heavily in decline among the St. Thomas Christian Community but the [[Knanaya]] community took upon the initiative to promote and further expand the art form. In the 1970s and 1980s the [[Knanaya]] 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 ''ashans'' 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 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 ''Hadusa'' (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. {{sfn|Karukaparambil|2005|pp=497}}

{{Multiple image
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| image1 = Advika_VAST_2020_Margamkali_09.jpg
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| footer = Women wearing Margamkali dress as part of a performance in a college arts festival
}}

==Performance==
[[File:Knanaya Margam Kali.jpg|thumb|Knanaya Margam Kali]]
Typically, a dozen dancers sing and dance clapping around a ''[[Nilavilakku]]'' wearing the traditional "''[[Chattayum Mundum]]''". 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 [[Thomas the Apostle|Saint Thomas]], 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.<ref>The Hosten pictures of 1924 published by Prof. George Menachery may be referred to</ref>

==Today==
Currently both Margamkali and [[Parichamuttukali]] 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.<ref>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</ref> Margam Kali is performed mainly by women in cultural shows and by school children in a variety of competitions.<ref name="nasrani.net">{{cite web|url=https://www.nasrani.net/2009/05/04/margam-kali-history-theme-early-reference-and-modern-developments/|title=Margam Kali – History, Text, Lyrics, Theme, Early Reference and Modern Developments|date=4 May 2009}}</ref>

==Bibliography==
* {{cite journal |last1= Ipe |first1= Ann |year= 2015 |title= A Content Analysis of the Changes in Margamkali and Its Present Scenario |journal= Xavierian Research Journal |volume= 3 |publisher= St. Xavier's College for Women }}
* {{cite book | last=Karukaparambil |first= George|year=2005|title= Marganitha Kynanaitha: Knanaya Pearl |publisher= Deepika Book House|ASIN= B076GCH274}}
* {{cite book | last=Vellian |first= Jacob|year=1990|title= Crown, Veil, Cross: Marriage Rights |series= Syrian Church Series |volume=15|publisher= Anita Printers|OCLC= 311292786}}
* {{cite book | last=Vellian |first= Jacob|year=1990|title= Knanite Community: History and Culture |volume=17|publisher= Jyothi Book House|OCLC= 50077436|ref= {{sfnRef|Vellian|2001}}}}

==See also==
* [[Arts of Kerala]]
* [[Kerala Folklore Academy]]

==Notes==
{{reflist}}

==External links==
{{Commonscatinline}}

{{Culture of Kerala}}{{Dance in India}}
[[Category:Dances of Kerala]]
[[Category:Arts of Kerala]]