Na_chni na_ch, a dance form of West Bengal, is going through a difficult time in its 500-year history. The woman dancer, who is known as a nachni, performs, often at night, along with her male partner, or rasik. Her life is intricately tied with that of her rasik, which includes her status as a woman performer at public events and the observance of proper rituals upon her death. Caught in a web of exploitation, the nachni essentially has no ‘kin’. Following the work by Inden and Nicholas on Bengali kinship and its categories and meanings within Bengali culture, this article looks at the amorphous pattern of kinship for the marginalized, with a special focus on the daily lives of nachnis. It explores the networks on the margins of kinship in which women performers of this crisis-ridden folk-art form survive.
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