Art, Identity and Power: Exploring the Socio-Economic and Political Dynamics of Irulas Ethno-Artistry in South India through Bourdiue's Lens

The Irula community, indigenous to Southern India, exemplifies how ethno artistry, particularly music and dance, shapes both individual and collective identity, while playing a critical role in socio-economic and political structures. Drawing from Bourdieu's theory of practice, this study examines the economic and political dimensions of Irula artistry, emphasizing how their traditional art forms like music, and dance serve as key modes of cultural expression, social differentiation, and economic livelihood. Music and art within the Irula community are not merely cultural products but are deeply embedded in the creation of self and community identity. Practices like 'Kummi', a traditional dance, and tribal music reflect Bourdieu’s notion of habitus, where art becomes both a personal and communal practice that reinforces cultural values and individual agency. These forms of artistic expression are passed through generations, functioning as mechanisms of cultural continuity and social reproduction, yet they are adapted in response to modern economic pressures, such as performances in festivals, tourism and government programs. While Irula artists gain exposure through initiatives like the National Tribal Festivals, the uneven distribution of economic benefits reveals underlying power dynamics, as described in Bourdieu’s field theory. The field of Irula artistry is influenced by external forces, including market demands and socio-political structures, which impact the community's access to resources and cultural recognition. The success of artists like Nanjiyamma in mainstream media highlights the struggle for cultural legitimacy and inclusion in India’s broader art worlds. This research argues Irula ethno artistry, particularly through music and performance, is central to the community’s sense of identity, socio-political standing, and economic survival. By analyzing these aspects through Bourdieu’s framework, the study sheds light on how indigenous art forms are both shaped by and shape the socio-economic conditions of the Irula people, contributing to broader discussions on cultural identity and empowerment.