Paper short abstract:

The public ('gana') as a female, professional domain in contrast to private purity of lineage was disrupted by (post-)colonial modernity. Courtesans -both sacred and secular- were the first to suffer marginalization. in spite of new, global validations, contemporary India has not provided new vitality neither to past courtesans nor to new professionalism in the performing arts.

Paper long abstract:

Three abstract issues contextualize the profession of courtesans (ganikas) in South India: 1. the public versus the private, 2. competitive artistic opportunity versus guarantee of lineage, 3. patronage and survival. Flexibility between temple and court had been a traditional double orientation of professional success. This validation was eradicated by (post-)Colonial modernity.

Two concrete case-studies exemplify both the historical continuity of sacred and secular courtesan in Indian culture, as well as their marginalization and ultimately legal disappearance. Smt.T. Balasaraswati -whose family heritage goes back to the royal court of Tanjavur- stands in sharp contrast to the dis-empowerment of Smt. P.Ranganyaki a former temple employee.

A final thrust will be the assessment of 'new professionality'. Emancipation of the contemporary, professional, female performing artist emerges as a 'fata morgana' only.