Call Number : RR-079
The Indigenization of Tamil Christian music:
Folk music as a liberative transmission system
Doctoral Thesis
By
Sherinian, Zoe C. 1998.
Wesleyan University, Connecticut.
Director
TABLE OF CONTENTS
| AKNOWLEDGEMENTS | ii |
| TRANSLITERATION | v |
| TABLE OF CONTENTS | vi |
| INTRODUCTION | 1 |
| Purpose and Scope | 4 |
| Indigenization | 6 |
| Studying Folk Music and "Other" Styles in Tamil Nadu | 13 |
| Advocacy Ethnomusicology Reflexive Methods in the Field and Ethnography | 18 |
| Area | 20 |
| Christian Population and Caste | 22 |
| Tamil Language | 27 |
| Chapter Descriptions | 28 |
| PART I: Historical and Musical Context | 33 |
| CHAPTER ONE: | |
| HISTORY OF INDIGENIZED TAMIL CHRISTIAN MUSIC | 34 |
| Introduction and Theoretical Approach | 34 |
| Historical Period Outline | 37 |
| Historical Issues | 44 |
| Conversion, Caste and M usic | 50 |
| 1) The Syrian Christians 52 AD to 1498 | 55 |
| 2) The Portuguese Catholics in the 1500s | 58 |
| 3) Catholicism on the Tamil Nadu Coast in the 1500s | 60 |
| 4) Robert De Nobili's Madurai Mission Beginning in 1606 | 64 |
| 5) Lutheran Danish-Halle Mission in Tamil Nadu from 1706 | 69 |
| The Missionaries as Scholars, Translators and Diplomats | 69 |
| History of Vedanayakam Sastriar | 76 |
| VedanayakamSastriar's Work and its Transmission | 80 |
| Conclusion | 97 |
| 6) 19th Century Caste Division, Indigenization, and Music | |
| Transm ission | 100 |
| The Mission and Caste Field | 106 |
| The Vellala Response to the Anglicans | 108 |
| Lower-Caste Responses to the American Madurai Mission | 118 |
| Indigenization of Kamatak Music by Lower Castes | 126 |
| Anglicization of the Nadar Christians in the 19th Century | 131 |
| Conclusion | 137 |
| 7) Nationalism, Dalit Movements, and Indigenization in the Late 19th | |
| and Early 20th Century | 138 |
| The Dalit Movement and Mass Conversions | 139 |
| The Social Gospel as a Theology for Dalits | 144 |
| The Canonization of Classical Tamil Music and Literature as a | |
| Symbol of Indigenous Identity | 149 |
| Nationalism and Indigenization | 161 |
| Nationalism, Christian Identity and Dalit Movements | 163 |
| 8) Ecumenicism, Tamil Isai (Music) and Christian Indigenization in the | |
| Mid-20th Century | 165 |
| Continuing Castism, Veiled by Ecumenicism | 165 |
| The Dravidian Movement and Tamil Christian Indigenization | 167 |
| 9) 1970 to the Present | 174 |
| Contemporary Theologies and Musical Styles | 174 |
| Transmission | 184 |
| Conclusion | 186 |
| CHAPTER TWO: | |
| MUSICAL STYLE AMONG TAMIL CHRISTIANS | 193 |
| Introduction | 193 |
| Musical Style as a Code for Values, Identity and Indigenization | 199 |
| Style as an Ethnomusicological Category | 202 |
| The Practice o f Styles in the Churches of Tamil Nadu | 207 |
| Cultural Values and Indigenous Theories of Musical Form | 209 |
| Tamil Christian Styles, Their Use and Values | 216 |
| Western Christian Music in the Tamil Church Context | 216 |
| Western Hymns and Choruses in Tamil | |
| Indigenized Christian Music | |
| Kamatak, Light and Folk | 222 |
| Christian Kamatak Music | 223 |
| Christian Light Music | 246 |
| Christian Folk Music | 262 |
| Correlation of Style, Social Identities and Indigenization | 277 |
| Conclusion | 288 |
| PART II: Ethnography | 292 |
| CHAPTER THREE: | |
| TEACHERS AND PREACHERS AS MUSICIANS | 293 |
| Introduction | 293 |
| Dalits | 296 |
| The CJ Daniel and C S Karunakaran Family | 297 |
| Jacquolin Jothi | 304 |
| Kamala Mary | 308 |
| Nadars | 311 |
| Samuel Timothy Asirvatham | 312 |
| Emmanuel Jebarajan | 320 |
| Vellalas | 328 |
| Raja Sekaran | 329 |
| Conclusion | 334 |
| CHAPTER FOUR: | |
| PRODUCTION, RE-CREATION, AND TRANSMISSION OF MUSIC AT | |
| THE TAMIL NADU THEOLOGICAL SEMINARY | 338 |
| Introduction | 338 |
| Daily Liturgy and Music Practice | 347 |
| Morning Chapel Service | 348 |
| Daily Music Practice | 364 |
| Intensive kamatak Music Course for First-Year Students | 372 |
| Daily Reflection of Music and Politics over Food | 376 |
| Carol Service Practice | 377 |
| Spreading the TTS Message Through Musical Interaction | 381 |
| The 1993 Carol Service | 382 |
| Music Camp | 400 |
| Choir Finance Tour to Coimbatore | 405 |
| Independent Student Transmission | 408 |
| Use of Drama and Music in Protests | 411 |
| Social Work Projects and Student Internships | 417 |
| oruolai, Community Service, and Festivals | 422 |
| Sunday Service and Community Meal | 423 |
| oruolai: Sharing a Meal | 427 |
| Pongal | 428 |
| Caroling | 433 |
| Conclusion | 434 |
| PART III: Case Study | |
| THE UBERATTVE MUSIC OF JAMES THEOPHILUS APPAVOO | 437 |
| Introduction to Part III | 437 |
| My Relationship to Appavoo | 443 |
| CHAPTER FIVE | |
| MUSICAL HISTORY OF JAMES THEOPHILUS APPAVOO | 450 |
| Generations of Pariyar Christian Kamatic Musicians | 45 |
| Appavoo and The Tamil Nadu Theological Seminary | 464 |
| Appavoo's Early Folk Songs | 484 |
| Fieldwork Interactions With Appavoo | 492 |
| Conclusion | 504 |
| CHAPTER SIX: | |
| SOCIAL ANALYSIS AS THEOLOGICAL FOUNDATION | 506 |
| Introduction | 506 |
| Essential Change in Cultural Values | 508 |
| Internalization of Hegemonic Culture | 519 |
| Sanskritization and Christian Kamatak Music | 524 |
| Classism | 529 |
| Caste | 529 |
| EPSIPEGS | 534 |
| Media Systems | 539 |
| Brahmin Philosophy and Media systems | 539 |
| Folklore and Dalit Protest | 541 |
| Emotion | 543 |
| Appavoo's Ethnomusicological Analysis | |
| Indigenization as Liberative Re-creation | 546 |
| Re-creation as Transmission | 549 |
| Problems with Kamatak Music | 553 |
| Appavoo's Humanly Produced and Transmitted Media (HPTM | 556 |
| The Alternative Model | 559 |
| Conclusion | 570 |
| CHAPTER SEVEN: | |
| APPAVOO'S THEOLOGY | 572 |
| Introduction | 572 |
| Audience and Transmission | 576 |
| A Theology of Indigenization | 580 |
| The Three Primary Tenets of Appavoo's theology | 585 |
| oru o la i | 585 |
| Universal Family | 602 |
| Strategy of Reversal | 605 |
Keywords - The Indigenization of Tamil Christian music Folk music as a liberative transmission system, Sherinian, Zoe C, Wesleyan University, Connecticut., Mark Slobin
