The history of criminalisation of hereditary courtesan castes
should not be perceived through anecdotal historical debate references b/w Muthulakshmireddy, Sathyamurthy Iyer/figures from past.There needs to be analysis of the repercussions on formerly courtesan castes today!
What has criminalisation done to the psyche of women from these castes? How was the reform carried out? Were there reparative and rehabilitative measures or safe spaces for women to pursue the art? Or were they simply erased or pushed to live in the margins?
How are people from these castes treated today in the caste ordained society?Stigma and persecution is very much part of the lives of most persons from these caste backgrounds. Do we discuss intergenerational trauma and social ostracisation that continues to be part of our lives?
Also one needs to study the lives of successful personalities from these caste locations , especially those who disclosed their caste identities. It's no secret that they suffered shaming and mocking by peers and competitors for their caste background .
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Some practitioners have now started to begin Bharathanatyam performances with a Hereditary acknowledgement statement, which I think is maybe a good first step in acknowledging the problematic history of Bharathanatyam.
I have personally had messages from some practitioners asking what kind of statement can be read out. For me, I am unable to put in words the violence & the repercussions of the violence women like me (from the castes where Bharathanatyam is appropriated from) continue to face .
But Prof. Hari Krishnan (Wesleyan University) and Dancer Neeraja Ramani together have brought out a statement which they have suggested people can use. I am sharing it in parts as a tweet here with slight changes that I have made.
Thevadiyal: You may have heard this word from your surroundings, from your peers, from your parents, from cinemas or anywhere else. This can be called the most offensive term used to disgrace a female in the Tamil language.
Thevadiyal comes from the word, 'Devar Adiyar'(தேவர் அடியார்) in which 'devar' means god & 'adiyar' means servants of god. DevarAdiyars (also) Devadasis ( a term that became universal during reform discourse) were female artists who performed dance& music in royal courts& temples
There were different names given to dancing women/courtesans all of which had a sense of othering/stigma in the largely caste ordained society .They were the owners / propagators of the dance form 'sathir' more popularly known as Bharathanatyam today.