At the end of May of this year, Fatima Abbadi wrote a blog (click here) about the charuga, which is a mantle-like garment knotted at the shoulder and worn at festive occasions among the Christian community in northern Iraq. The TRC commissioned the sewing and embroidering of a charuga, by a local embroideress, called Suzan Sukari. A few days ago we were informed that the garment has been completed (see the attached photograph), and we soon hope to show it in our TRC Gallery in Leiden.

Fatima Abbadi sent us the following blog, which is based on her recent conversations with the embroiderer.

Suzan Sukari is one of the last embroiderers from the Iraqi town of Qaraqosh who still embroiders the traditional charuga, with much love and devotion. She is doing so despite all the struggles that she faces every day, including the difficulty in finding textiles and threads, the lack of demand due to the economical crisis and the decline in the willingness of the younger generation to wear this traditional garment.

A charuga being made in northern Iraq by Suzan Sukari for the TRC in Leiden.

Qaraqosh, also known by the name of Baghdeda, is situated in the north of Iraq. The majority of the local people are Christians. Suzan and all her family have lived there for generations, but recently, due to the war and the total destruction wrought upon the town and region by ISIS, many people have fled the area, leaving it almost empty of heritage and people. This is one of the main reasons why Suzan decided to stay and rebuild the charuga tradition in her community.

So during my many talks with Suzan, I asked her to explain in detail the meaning and symbolism of the charuga that she has just finished for the TRC.

A modern charuga is divided into six separate bands, with each section devoted to a specific theme. Once sewn together, the six bands make up the complete charuga. Suzan decided to make an exception for the TRC and add an additional, seventh section as a symbol of gratitude and love. 
She gave the followng explanation for every section, from bottom to top:

Detail of the charuga, with the bottom three bands.

Floral theme

The lower band carries flowers, which are part of daily life and environment, especially the damask rose. People love flowers and usually pick them and put them in vases. This section symbolises the beauty of Qaraqosh and its environs.

Wedding

A wedding is an important event for the town and the community. At the wedding, people dance the traditional Khaga dabka dance. It’s a hand-in-hand dance and the rhythm is determined by the drummer and the flutist. Nowadays the bride dresses in white, but in the past she used to wear a traditional dress and she was riding a donkey escorted by the groom.


Daily life

Mud houses, women grinding wheat or making straw mats, women carrying bread baskets on their head or people collecting water from a well. These are all common scenes and activities that you can still find in Qaraqosh.


Detail of the charuga, with the top four bands.

Geometric patterns and decorations from the old charuga


The square shaped mottifs represent a quilted blanket which is called a jodalyeh. These blankets were made from left-over fabrics, but other motifs that are embroidered on this section are birds, circles, and a jar with a piece of cheese on the top, called sindan.


Religious motifs

– The life of Christ: Christianity is the faith of most of the people of Qaraqosh, and this section is reserved to recount the story of Jesus, from his birth in the cave with the Virgin Mary, his life, the last supper, his death by Crucifixion, burial inside the cave and the Resurrection.


– Christian symbols: Patterns such as the heart, the eucharist, the rosary, the Tahira (Syriac-Catholic church), the Holy Bible and the Holy Spirit are important symbolisms of Christianity and belong to the daily rituals and life symbolism of the Qaraqosh people.


- And in the seventh, and top band: Written in Syriac the text says: “Christ has Risen! Christ has Risen!” which is a message of peace and hope for humanity.

All these motifs and themes are linked to the people of Qaraqosh, their daily life and habits, their faith and traditions. This is why Suzan continuously documents it by embroidering it on a charuga. It is a testimony and a picture of the present she is living in, and a way to safeguard it from the loss and destruction that continuously threatens the region.

25 November 2020