Until the 1930s, Carnatic composers and dance theoriticians were from the educated castes - Brahmins, Saiva Vellalars and Isai Velalars - but the vast majority of performers were Isai Velalar. With the deterioration of the temple economy and rural poverty, there was no /1

means of support for artists except through the inam properties granted to them and the support provided by rich landlords and traders. The patrons were also partners for the women performers. With the abolition, performers could no longer rely on land or on patronage. Only /2

nadaswaram artists could survive since their music was essential for temple rituals and personal functions and rituals. Folk arts were practiced by people from untouchable castes and they relied on a part of the village's produce, but without lands being alienated for them /3

As a result of abolition, classical performers, except nadaswaram, gave up their traditional vocation and took up regular white collar jobs. Quite a few of them found work in theatre and cinema. Folk artists who performed in funerals continued to find work in the villages but /4

the others moved out as agricultural labour or in cities.
As a result, today, you will find that the most underprivileged among Isai Velalar are the nadaswaram artists who were able to survive on traditional occupation and among the most underprivileged among Dalits are /5

are those who continued to perform in funerals. The new source for patronage were the sabhas, made up of urban middle class. Somehow, the older sabhas in Central Madras are far less vibrant than the relatively newer sabhas in South Madras. The reasons for why no other caste /6

but Tam Brahms took to classical arts, as audience and performers, are less clear. The Dravidian reaction against Telugu music and the setting up of the Tamil Isai Sangham seem to have done little to change the situation. The result has been that except for a few small /7

pockets, the millenia-old traditional music and dance have mostly disappeared from Tamil lands. The Government runs a grand total of 6 music colleges (including private aided) and 17 music schools. All the graduating students can easily be accommodated as artists in the HRCE /8

temples and if given a stipend, can support themselves by teaching children. This can create a far larger talent pool and audience across the state. 200 music and dance teachers in each district will dramatically change the nature of the art scene /END