Photo exhibit traces genocide’s impact on traditional Assyrian garments

A photo exhibit showcasing traditional Assyrian clothing from the early 20th century opened on Oct. 19 at the State Parliament of New South Wales in Sydney, Australia.

The collection of black-and-white portraits, titled “Assyria: A Woven History,” traces how clothing styles evolved in the aftermath of the Seyfo genocide of 1915, when Ottoman forces and Kurdish tribes massacred and deported an estimated 250,000 Assyrians during World War I.

“A lot of people don’t really know much about the genocide,” said Ramsin Edward, the exhibit’s curator. “They’ll know there was loss of life, but they don’t think that deep into what else it impacted. We wanted to demonstrate the impact that the genocide had on folk garments, particularly in influencing certain elements and motifs, and also show how displacement has impacted the transmission of traditional knowledge.”

Loss of styles

Each Assyrian village maintains its own distinctive clothing style rooted in centuries of history. For generations, these communities carefully passed down their traditions, preserving patterns, dyes, and techniques.

But as World War I approached, Assyrians were uprooted and pushed into larger cities or overseas, leaving behind the tools and knowledge needed to handcraft their garments.

Many Assyrians abandoned the practice entirely, distancing themselves from traditional dress as newly-built nation states pressed for assimilation. 

Others continued the craft but adapted it, replacing handmade fabrics and natural dyes with machine-made textiles and imported — often lower quality — materials.

Over time, Edward said, motifs once unique to each village began to fade.

Assyrians today continue wearing traditional clothing, known as jouli d’khomala, for major celebrations such as weddings and Kha b’Nissan (New Year), but Edward noted these outfits no longer match the garments worn before Seyfo.

“There were a lot of technical things that we lost as a result of the genocide,” Edward said. “Photographs from Alqosh or Baghdeda show the textiles, the tapestries and the headpieces are the same, but the actual dresses themselves, with all of the different colors and shiny fabrics, these are things that wouldn’t have been worn about 100 years ago.”

Revisiting traditions

Edward was approached in September by MP Hugh McDermott to curate a cultural exhibition at the State Parliament. The initiative was supported by a bipartisan group of regional politicians, included New South Wales Labor leader Chris Minns, Minister for Multiculturalism Mark Coure, and Shadow Minister for Multiculturalism Steve Kamper.

Edward jumped into the extensive photo archive of the Assyrian Cultural and Social Youth Association (ACSYA), which has digitized images from various libraries. From this collection, he selected photographs depicting Assyrians wearing jouli d’khomala across different villages. 

The Assyrian National Council of Australia (ANCAU) co-hosted the exhibit with McDermott, who represents the New South Wales District of Prospect — home to a large Assyrian community.

McDermott co-chairs the Parliamentary Friends of Assyria Initiative, established in 2009 to advocate for the rights of Assyrian communities both in Australia and their ancestral  homeland.

Along with the photographs, the event featured Assyrian paintings of former Australian Prime Ministers, speeches from community leaders, and a performance by the Ashur Dance Group, who presented traditional dances accompanied by live singing.

“This was a fantastic event celebrating the history of the Assyrian people, discussing their right to self-determination and paying respects to Assyrians who were victims of persecution of genocide,” McDermott wrote following the event.

Carrying on history

Traditional garment making today faces significant challenges. Increasing globalization has eroded the uniqueness of indigenous communities. That’s why documenting traditional processes is so important to keeping the culture alive.

Exhibitions on the history of jouli d’khomala have traveled across Australia. Last month, traditional clothing was showcased at the Assyrian Music and Cultural Festival in Sydney, with mannequins dressed in modern-made garments representing different villages.

That collection is now headed to Greenacre, New South Wales, as part of a collaborative project with the Babylon Cultural Association, highlighting garments specifically from Tur Abdin. 

“Culture is in a constant state of flux, influencing and being influenced,” ACSYA wrote on their site. “Prioritizing the documentation of Assyrian folk garments and traditional garment making is not to confine it conservatively, but to invest in the social and economic development of indigenous Assyrians, as well as maintain this rich heritage for present and future generations.”

ACSYA is still searching for a semi-permanent home for the exhibit, Edward said. 

Its mission to preserve traditional garments and pass on their knowledge remains steadfast. Next March, ACSYA plans to launch a new book titled “Garments of Assyria,” which will feature photographs of modern Assyrians wearing traditional clothing.

“A lot of the work that we do when we promote our culture is done within our own community,” Edward said. “It’s very important that we branch out, that we connect with diverse communities to share culture.”