- @Amrapali #img-anno http://www.kokuyocamlin.com/blog/wp-content/uploads/2014/07/blog13.jpg {u'shapes': [{u'geometry': {u'y': 0.14788732394366197, u'x': 0.9332220367278798, u'width': 0.01836393989983298, u'height': 0.05281690140845072}, u'type': u'rect'}], u'src': u'http://www.kokuyocamlin.com/blog/wp-content/uploads/2014/07/blog13.jpg', u'context': u'http://testapp.swtr.us/?code=SBHE9zWOXwjZQynJEkRKaYkeNPQg8T', u'comment': u'In the east-central Indian states of Jharkhand, West Bengal, and Orissa, the term nacn\u012b (lit. "dancer" pronounced NUCH-nee) refers to female performers who sing and dance professionally in rural areas, accompanied by male \u1e0dhulk\u012b and nagar\u0101 drummers who move around the stage with her. Women who perform as nacn\u012bs are considered "kept women" and are usually paired in an informal "marriage" with a male manager and dancing partner, typically of a higher caste. In this pairing, nacn\u012bs are thought to embody the goddess Radha while the male dancing partner is a stand-in for Krishna. The performers are considered out-caste and in many ways transgress usual Indian caste and gender distinctions both on and off stage, taking on a certain power role among their "fans" and often engaging in "typically male" behavior, such as drinking and smoking.This style of performance is rapidly disappearing.'} created: Fri, 05 Sep 2014, 05:13 PM UTC