Carnatic Music and Caste

The Impact of the Brahmin Nationalist Movement on the Devadasi Community

Abstract

My paper examines how Brahmins came to dominate Carnatic music over time, from the pre-colonial period until today. I show how Brahmins had better access to formal education and held positions of power in the British government, while Devadasis were sponsored for performances during festivals by elite members of society, many of whom were also Brahmin. Brahmins gained their privileged status due to their associations with Aryan tradition, which was favored by the British caste system.

Though Devadasis flourished during the 19th century, Brahmins eventually led the nationalist movement, seeking to “purify” and “revive” Indian culture. They replaced Devadasis with upper-caste women, whom they saw as more “respectable,” and Devadasis were forced into roles defined for them by these nationalist Brahmins. The ostracism of Devadasis from Carnatic Music was an act of anti-Devadasi violence that was all-consuming across different societal areas. Brahmins in Carnatic Music set standards for musicians, predominantly female and/or of lower castes, to assimilate into their culture of exclusivity. Devadasis often had to conform to these standards to continue pursuing art, often losing the ability to publicly show their identities in the name of career advancement.

The dominance of Brahmins in historically non-Brahmin arts led to the alienation of other castes and the ostracism of Devadasis from Carnatic Music and other arts, which pushed many into religiously sanctioned prostitution. Today, a stark contrast exists between the Devadasi community, struggling with sexually transmitted diseases, and the Brahmin community, thriving economically and artistically in the mainstream through their exclusive culture, remaining segregated from other castes.