769:, and that the site is "stamped" with "American consumerism". With its fusion of the education, entertainment and spectacle, it is a major destination marketed to the cosmopolitan audiences. It is a space offering rural southern India as representation of the country, that invites both detached contemplation and nostalgic attachment. It is also said that DakshinaChitra embodies the contradiction of mourning the loss of pre- industrial life ways, yet is premised on free-market economic practice. But the curator, Thiagarajan traces her commitment to the project to deeply felt concerns about the loss of vernacular architectural, performance and craft traditions with southern India's rapid industrialization.
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353:, free of cost, because of his interest in rural architectural design. A master plan is a small-scale graphic outline that shows all the major elements of a project. Laurie Baker, known for his unconventional approach, included the use of local materials and the adaptation of artisanal production methods suited to the environment in design. Baker began his master plan for DakhshinaChitra as a map, which in execution on site was different from the it. He planned to represent
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370:. When Baker prepared the master plan, the sizes and styles of the buildings which are purchased were not known. To accommodate these transplanted buildings, master plan had to be modified. Although Kuriakose's association with Baker and Thiagarajan started in 1984, with MCF, he became involved with buildings in DakshinaChitra only in the second half of 1995, with the construction of the three houses in Kerala section-
267:, art, folk performing-arts and craft of South Indian traditions. The amenities include a research unit, crafts bazaar, playground, an area to hold religious functions, stone workshop, and souvenir kiosks. There are craftsmen who permanently work at DakshinaChitra who demonstrate or explain how they make their wares. Besides workshops are conducted regularly for various crafts by artists who rent the community studio.
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Some of the archives are of old journal collections such as Marg, India
Magazine, Lalit Kala, Sangeet Natak as well as other journal collections such as South Asian Studies, Art India etc. They also have census reports on crafts, houses, festival and out-of-print books on crafts and arts. DakshinaChitra accepts donation of books related to art, craft and culture of South India.
335:, several structures are generic replicas of vernacular styles and others are exact recreations of specific off-site structures. In addition, the exhibitions span a broad range. With its relocated originals and re-created copes, DakshinaChitra aims to represent the late-eighteenth to mid-twentieth century, framing that vaguely bounded period of intensive British colonization
362:, the architect who carried out the work later, recalls in one of his articles that Baker said; âthe idea is to abandon the big exhibition pavilion system entirely. For one thing, they canât be typical or genuine because our forebears didnât have such things, and for another thing, folk stuff is mainly small. Blow it up and out of size, it is all wrong.â
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She has written that the global template of
DakshinaChitra has earned both praise and criticism, with some conservation architects and cultural tourism proponents describing it as a Disneyfied version of south India's past; some critics complaining that the characterization of pre-industrial village
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Tamil Nadu section showcases how yesteryear merchants, Brahmins, silk weavers, agriculturists and potters lived. The Ikat weavers house and coastal Andhra house are exhibited in Andhra
Pradesh section. The Ilkal weavers house and a house from Chikamagalur are at display in Karnataka section. In the
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The museum is a center for living traditions of art, folk performing arts, and crafts set up with the objective of preserving and promoting South India's heritage and culture. Special programmes feature dances, crafting of necklaces, basket weaving, and puppet shows. The museum also holds workshops
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DakshinaChitra has collection of over 14,000 books and journals on South Indian arts, crafts, performance, anthropology and folklore. The
Library includes the National Folklore Support Centre's collections and also houses more than 1,00,000 photographs and a vast collection of DVDs, CDs and tapes.
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The collection consists of items of daily life used in the southern states. As of 2014, there were 4,220 artefacts on display; 3,200 are objects 950 are textiles and 70 contemporary works. The textile collection consists of cotton and silk attires of male (dhoti, lungi, kurta, turban, cap,
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on a 33-year lease. In establishing the museum, cooperation was maintained between government organizations, industry and specialists in the sphere of conservation. Contributors to the museum's creation included long-term corporate donors and the Office of the
Development Commissioner for
443:(temple architects). The dismantled elements were transported to the museum site and recreated at the allotted space in their exact original form. Apart from recreating the homes, the roads and all other features that existed in the old village sites were recreated.
424:. It has zones devoted to these four southern states. The architecture is not grandiose, and is not folk either, this is mostly urban middle class traditional architecture, which means it is a complex that eschews spectacle and grand scale, as well as ethnography.
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of each southern state as a village with its small streets and walkways. Baker did not want to have grand buildings in the campus. He thought that âthis placeâ should deal with arts and crafts of ordinary people. He pursued his philosophy of âsmall is beautifulâ.
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Kerala section, the Syrian
Christian house known for its distinctive layout with the entrance leading directly to the granary, the Hindu house built largely using jackfruit wood and palmyra and the Calicut house representing homes in north Kerala are displayed.
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ceremonial attire), female (saree, blouse, half saree, full skirt, set mundu, veil, scarf), furnishings, yardage (Real Madras
Handkerchief, Ikat, Kalamkari etc. ), Telia Rumal, decorative wall hangings and ritual textiles. The entire display is in the
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Kuriakose, retained the main "spatial types and syntax", but altered the layout of master plan. The reason for this change was due to change in circumstances around the site location. One such example is the change of entrance from side road to the
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The complex brings together old buildings that have been transplanted from other sites, to give an idea of vernacular architecture and forms of community living from southern states namely Tamil Nadu, Andhra
Pradesh,
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The museum has 18 heritage houses representing the living styles of people from the states. The original houses in their "vernacular style" were purchased by MCF and were recreated by a team of
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dying. Potters trained at the center are issued a certificate of their skills by the regional office of the
Department of the Development Commissioner (Handicrafts). Classical dances such as
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295:. She founded MCF in 1984 with the intent of preserving the regional culture and heritage. In July 1991, the MCF received 10 acres (4.0 ha) of land for the project from the
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The roots of this museum can be traced back to the open-air museums of Europe, the United States, Japan and
Southeast Asia, though its closest precursor is
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house. Later, they designed the main reception center, the stores, the gallery, the restaurant, guesthouses 2 and 3, and the other minor public buildings.
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were selectively borrowed from many of the existing museums. DakshinaChitra's exhibitions are predominantly architectural as at
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of the region and the living conditions and habits of the people. It was founded by the Madras Craft Foundation (MCF), an
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and architecture students. The purchase costs varied from Rs. 50,000 for ordinary mud houses to Rs. 1.5 million for the
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merchants' mansions with crafted doors and woodwork. They were then dismantled systematically under the guidance of
327:(England). The exhibitions consist of relocated originals. Not all structures are reassembled originals, as seen at
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315:(USA) and unidentified sites in Japan and Romania. The center's emphasis on pre-industrial technology and
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Developed as a heritage village, DakshinaChitra has an array of displays and relocated originals of
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DakshinaChitra, meaning "a picture of the south", is a heritage village where the lifestyle of
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1205:"Best Collection of books on Indian Heritage & Arts - DakshinaChitra Library, ECR Chennai"
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Anthropologist and historian, Mary Hancock has written about DakshinaChitra in her book
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Re-shaping Cities: How Global Mobility Transforms Architecture and Urban Form
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Re-shaping Cities: How Global Mobility Transforms Architecture and Urban Form
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is built on 10 acres (4.0 ha) of land taken on a 33-year lease from the
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The State of the World's Cities 2004/2005: Globalization and Urban Culture
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started in 1984, by Deborah Thiagarajan. Thiagarajan came to Madras (now
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No touching, no spitting, no praying : the museum in South Asia
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Link, Rosemary J.; Ramanathan, Chathapuram S. (16 September 2010).
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Mathur, Saloni, editor. Singh, Kavita, editor. (21 December 2017).
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1176:"Museum Tour: Ever wondered what homes looked like in the past?"
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Consuming modernity : public culture in a South Asian world
291:) in 1970, and visited several rural villages in Tamil Nadu and
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216:. It is located 25 kilometres (16 mi) to the south of
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Madhyam: Issues in Communication, Culture, and Development
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Human Behavior in a Just World: Reaching for Common Ground
232:, an Indian art historian of American origin, governs the
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Guggenheim, Michael; SĂśderstrĂśm, Ola (4 December 2009).
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832:"Dakshinachitra Ceramic Workshop Centre on ECR Chennai"
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connecting Chennai and Pondicherry, the site overlooks
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depicting the life pattern of people in the states of
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Programme, United Nations Human Settlements (2004).
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National Handicrafts and Handlooms Museum, New Delhi
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1068:Breckenridge, Carol Appadurai, 1942-2009. (1995).
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762:The Politics of Heritage from Madras to Chennai.
279:is displayed based on their states, through the
220:. Opened to the public on 14 December 1996, the
1488:. Vol. 15, Issues 1-2. Bangalore: Madhyam.
1443:The Politics of Heritage from Madras to Chennai
1401:Corporate Communications: A 21st Century Primer
1267:The politics of heritage from Madras to Chennai
632:Household items within the museum's collection.
603:Fisherman's Andhra House on the museum grounds.
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1377:Acuff, Joni Boyd; Evans, Laura (8 July 2014).
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411:A typical Tamil house recreated in the museum.
1148:Kuriakose, Benny. "Evolving DakshinaChitra".
765:life is inaccurate, focusing too much on the
1104:: CS1 maint: multiple names: authors list (
695:Woven mat and stand in the museum collection
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736:for training in traditional crafts such as
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307:. Deborah Thiagarajan was influenced by
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224:was founded and is being managed by the
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1467:. Rowman & Littlefield Publishers.
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1383:. Rowman & Littlefield Publishers.
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1360:DakshinaChitra: From Village to Centre
730:Craft items for sale at DakshinaChitra
151:4,220 artefacts and 1,000,000 pictures
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1398:Fernandez, Joseph (8 December 2004).
1380:Multiculturalism in Art Museums Today
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1002:Lakshmi Viswanathan (20 March 2000).
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906:"We need people with a public vision"
665:House hold items in museum collection
16:Heritage village in Tamil Nadu, India
1440:Hancock, Mary E. (29 October 2008).
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904:Krithika Reddy (21 September 2006).
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685:Mural in a household, DakshinaChitra
675:Household items in museum collection
1362:. Chennai: Madras Craft Foundation.
1037:from the original on 27 August 2015
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918:from the original on 20 March 2018.
868:from the original on 20 March 2018.
323:, Greenfield Village (USA) and the
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1004:"Fostering culture in her own way"
991:from the original on 4 March 2016.
979:"Dakshinachitra: A labour of love"
967:from the original on 4 March 2016.
955:"Dakshinachitra: A labour of love"
14:
1572:
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1265:Hancock, Mary Elizabeth. (2008).
1076:. University of Minnesota Press.
856:Joseph Fernandez (23 July 2001).
812:from the original on 17 June 2015
214:South Indian heritage and culture
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1031:"Dakshinachitra â A Rare Museum"
611:Inside a house at DakshinaChitra
473:Tamil Nadu House, DakshinaChitra
200:("a picture of the south") is a
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808:. India Today. 3 January 2012.
540:Karnataka House, DakshinaChitra
482:Tamil Nadu Merchant House
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244:. Located at Muttukadu, on the
1130:. Routledge. pp. 101â121.
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1:
1358:Thiagarajan, Deborah (1999).
802:"Must see must do in Chennai"
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1446:. Indiana University Press.
1269:. Indiana University Press.
987:. 17 March 2006. p. 3.
963:. 17 March 2006. p. 2.
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569:Kerala House, DakshinaChitra
511:Andhra House, DakshinaChitra
403:assembled within the museum.
374:house, Puthupally house and
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1033:. Indian Holiday Pvt. Ltd.
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263:. The exhibits portray the
94:, Muttukadu, Chennai, India
10:
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1241:Link & Ramanathan 2010
1180:Architectural Digest India
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61:Location within Tamil Nadu
712:Library at DakshinaChitra
619:A house in DakshinaChitra
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325:Weald and Downland Museum
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880:"Dakshinachitra Chennai"
862:The Hindu Business Lines
297:Government of Tamil Nadu
242:Government of Tamil Nadu
226:Madras Craft Foundation
159:Madras Craft Foundation
122:12.822423°N 80.243098°E
1209:www.dakshinachitra.net
1126:Hancock, Mary (2009).
858:"A date with heritage"
836:www.dakshinachitra.net
786:Acuff & Evans 2014
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447:State-wise Collection
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309:Old Sturbridge Village
1556:Museums in Tamil Nadu
1404:. SAGE Publications.
767:Nattukkottai Chettiar
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520:Coastal Andhra House
127:12.822423; 80.243098
1150:Architecture+Design
935:"Heart in heritage"
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552:Ilkal Weavers House
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230:Deborah Thiagarajan
167:Deborah Thiagarajan
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313:Plimoth Plantation
190:dakshinachitra.net
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1506:978-92-1-131705-3
1474:978-1-4422-0292-4
1453:978-0-253-00265-5
1432:978-1-135-18908-2
1411:978-0-7619-9746-7
1390:978-0-7591-2411-0
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1499:. UN-HABITAT.
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