stigma attaching to their birth. Others join the Mēlakkārans or professional musicians. Cases have occurred, in which wealthy sons of dancing-women have been allowed to marry girls of respectable parentage of other castes, but they are very rare. The daughters of the caste, who are brought up to follow the caste profession, are carefully taught dancing, singing, the art of dressing well, and the ars amoris, and their success in keeping up their clientèle is largely due to the contrast which they thus present to the ordinary Hindu housewife, whose ideas are bounded by the day's dinner and the babies. The dancing-girl castes, and their allies the Mēlakkārans, are now practically the sole repository of Indian music, the system of which is probably one of the oldest in the world. Besides them and the Brāhmans, few study the subject. The barbers' bands of the villages usually display more energy than science. A notable exception, however, exists in Madras city, which has been known to attempt the Dead March in Saul at funerals in the Pariah quarters.
"There are two divisions among the Dāsis, called Valangai (right-hand) and Idangai (left-hand). The chief distinction between them is that the former will have nothing to do with the Kammālans (artisans) or any other of the left-hand castes, or play or sing in their houses. The latter division is not so particular, and its members are consequently sometimes known as the Kammāla Dāsis. Neither division, however, is allowed to have any dealings with men of the lowest castes, and violation of this rule of etiquette is tried by a panchāyat of the caste, and visited with excommunication.
"In the Telugu districts, the dancing-girls are called Bōgams and Sānis. They are supposed to be dedicated to the gods, just as the Dāsis are, but there is
