SOCIO-ECONOMIC STATUS AND

EMPLOYABILITY PROCESS OF ARTISTS

IN MANIPUR

DISSERTATION SUBMITTED TO MANIPUR UNIVERSITY IN

PARTIAL FULFILMENT FOR THE AWARD OF THE DEGREE OF
MASTER OF COMMERCE

Submitted By:

NONGTHOMBAM MENAKA DEVI

Registration No. 2201030877 of 2022
Roll No. 2216024

Supervisor: Dr. A. S. RAPHEILENG

DEPARTMENT OF COMMERCE
SCHOOL OF SOCIAL SCIENCES
MANIPUR UNIVERSITY
CANCHIPUR- 795003
2024
Dr. A. S. Rapheileng
Manipur University
Canchipur, Imphal – 795003
Department of Commerce Manipur, India

This is to certify that the thesis entitled “SOCIO-ECONOMIC

STATUS AND EMPLOYABILITY PROCESS OF ARTISTS IN

MANIPUR” is an authentic original work done by Nongthombam

Menaka Devi under my supervision and guidance for the award of the

Degree of Master in Commerce. No part of this thesis has been presented

for any other degree from any other institution.

Dated: Dr. A. S. Rapheileng

Place: Supervisor
 DECLARATION

I, Nongthombam Menaka Devi bearing [Link]. Registration

No.2201030877 of 2022, hereby declare that the thesis entitled “SOCIO-

ECONOMIC STATUS AND EMPLOYABILITY PROCESS OF

ARTISTS IN MANIPUR” submitted to the Department of Commerce,

Manipur University, in partial fulfilment of the requirements for the award of

the Master of Commerce is a record of original work done by me during the

year 2024 under the supervision and guidance of Dr. A. S. Rapheileng,

Department of Commerce, Manipur University, and it has not been formed the

basis for the award of any Degree/Diploma or other similar title to me or

anybody else to the best of my knowledge.

Dated: (Nongthombam Menaka Devi)

Place: Imphal, Canchipur

 ACKNOWLEDGEMENT

I am deeply grateful to Dr. A. S. Rapheileng, Guest Faculty,

Department of Commerce, Manipur University, who had nurtured and guided

me from the very initial stage till the completion of my research. His constant

unwavering guidance and wistful directions enabled me to clear all doubts and

overcome all difficulties till this end.

I express my sincere thanks to Prof. N Tejmani Singh, Head and

Professor, Department of Commerce, Prof. G. P. Prasain, Prof Robita

Sorokhaibam, Prof. A. Rajmani Singha, Prof. Kh. Tomba Singh, and Prof. Kh.

Dhiren Meetei for their dynamic guidance and support for the successful

completion of this research. I am also thankful to Assist Prof Ksh. Ranjan

Singh, Dr. A.S Rapheileng and Alice Mongjam (Guest Faculty). Department of

Commerce, Manipur University, for their selfless encouragements and

suggestions given in the making of this thesis.

(Nongthombam Menaka Devi)

Certificate
Declaration
Acknowledgement
Contents

Chapters Particulars Page No.

CHAPTER – I INTRODUCTION AND REVIEW OF

LITERATURE 1-15
1.1 Introduction
1.2 Socio-Economic Status
1.3 Socio-Economic Status of Artists in Manipur
1.4 Employability Process
1.5 Employability Status of Artists in Manipur
1.6 Statement of the Research Problem
1.7 Review of Literature

CHAPTER – II RESEARCH METHODOLOGY 16-19

2.1 Introduction
2.2 Objectives
2.3 Sampling and Data Collection
2.4 Period of the Study
2.5 Materials
2.6 Data Analysis
2.7 Chapter Scheme

CHAPTER – III Art Forms 20-40

3.1 Introduction
3.2 Dances of Manipur
3.3 Thang - Ta
3.4 Music of Manipur
3.5 Nata Sankirtana
3.6 Theatre of Manipur
3.7 Fine Arts
CHAPTER – IV DATA ANALYSIS AND INTERPRETATION 41-78
4.1 Demographic Information of the Respondents
4.2 Employment Information of the Respondents
4.3 Economic Profile
4.4 Employability

CHAPTER – V CONCLUSION 79-89

5.1 Findings in Relation to Socio-Demographic Profile
5.2 Findings in Relation to Employment
5.3 Findings in Relation to Economic Profile
5.4 Findings in Relation to Employability
5.5 Suggestions
5.6 Conclusions

BIBLIOGRAPHY 90-91
APPENDICES
 Chapter – I

INTRODUCTION AND
REVIEW OF
LITTERATURE
 Chapter – I

INTRODUCTION

1.1 INTRODUCTION

The socio-economic status and employability process of artists form an

intricate and interdependent dynamic, influencing not only the individual artist’s

career trajectory but also the broader cultural and economic landscapes of their

communities. Artists, as creators and preservers of cultural heritage, play a crucial

role in shaping societal values and contributing to the economy. However, their socio-

economic status and employability are often precarious, affected by a range of factors

including market demand, educational opportunities, institutional support, and

societal attitudes. The socio-economic status of artists refers to their overall economic

well-being and social standing within society. This status is shaped by their income

levels, job stability, access to resources, and social recognition. Artists frequently

encounter unique challenges in achieving a stable socio-economic position due to

several factors: Irregular Income: Many artists rely on freelance work, commissions,

or project-based employment, leading to fluctuating and unpredictable income. Unlike

traditional jobs with regular salaries, artistic work often does not provide consistent

financial security. Market Demand: The demand for artistic products and services can

be highly variable and influenced by cultural trends, economic conditions, and

consumer preferences. Limited market demand can result in reduced income

opportunities for artists.

1
Valuation of Art: The economic value assigned to artistic work is often subjective and

may not reflect the time, effort, and skill invested by the artist. This can lead to

undervaluation and under-compensation of artistic labour. Educational Access:

Access to quality education and training is crucial for developing artistic skills and

enhancing employability. However, many artists face barriers to obtaining formal

education and professional development opportunities, which can hinder their career

growth. Institutional Support: Institutional support, including grants, scholarships, and

cultural programs, plays a significant role in sustaining artists' careers. Inadequate or

poorly implemented support mechanisms can limit artists' ability to achieve financial

stability and professional success. Social Recognition: Artists' social status is

influenced by societal attitudes towards the arts. In some contexts, artistic professions

may not be highly regarded or seen as viable career options, impacting artists' social

standing and support.

The employability process of artists involves acquiring and continuously

developing a set of skills, knowledge, and personal attributes that enhance their ability

to secure and sustain employment. For artists, employability is particularly nuanced

due to the unique nature of artistic careers, which often require balancing creative

excellence with practical business acumen. Key components of the employability

process for artists include:

Skill Development: Mastering both hard and soft skills is essential for artists. Hard

skills include technical abilities specific to their art form, while soft skills encompass

communication, collaboration, problem-solving, and time management.

Portfolio Creation: A strong portfolio is a critical tool for artists, showcasing their

work, creativity, and achievements. Maintaining and regularly updating a diverse

2
portfolio can enhance an artist’s employability by demonstrating their range and

expertise to potential employers or clients.

Market Understanding: Understanding the art market, including pricing strategies,

consumer behaviour, and market trends, is crucial for artists. This knowledge helps

artists position themselves effectively and capitalize on market opportunities.

Networking: Building and maintaining professional networks is vital for artists to gain

exposure, secure commissions, and collaborate on projects. Networking can lead to

job opportunities, mentorship, and access to resources and information.

Continuous Learning: The dynamic nature of the arts industry requires artists to

engage in lifelong learning and professional development. Staying updated with new

techniques, technologies, and industry trends is important for maintaining

competitiveness and adaptability.

Self-Promotion and Branding: Effective self-promotion and personal branding help

artists stand out in a competitive market. Utilizing social media, participating in

exhibitions, and engaging with media can enhance visibility and attract potential

clients or employers.

Entrepreneurial Skills: Many artists operate as independent entrepreneurs, managing

their careers and businesses. Entrepreneurial skills such as financial management,

marketing, and contract negotiation are essential for sustaining a successful artistic

career.

3
1.2 SOCIO ECONOMIC STATUS:

A major theme of the sociology of education in Britain and elsewhere has

been the intergenerational transmission of socioeconomic status, principally expressed

in terms of the relationship between the occupational destinations of parents and their

adult children. These patterns of continuity are well established in the various

countries that make up Great Britain. During the second half of the twentieth century,

there was a considerable upward shift in occupational status with a much higher

proportion of the population working in professional and managerial occupations. But

at the same time as this movement in absolute mobility, the relative mobility of

people from different occupational origins remained largely unchanged.1 However,

while these patterns of differential outcomes are well documented, the processes

which give rise to them are less well understood. In particular, the process of choices

about occupational destinations has received much less attention. Seeing occupational

destinations in terms of choice, albeit choice which may be constrained by

circumstance, is partly influenced by theorists such as Beck and Beck-Gernsheim

(1992, 2001) who are moving away from heavily structuralist explanations for

personal destinations and life experiences, especially those based around social class,

to a focus on life patterns as an individual project and to individualisation as the key

feature of modern society. These theorists have argued that social groupings and

identities based on occupation and inherited socio-economic status, which have

dominated traditional sociological thinking, have been replaced by groupings based

on lifestyle, choices, diversity and a highly individualised notion of identity. For these

authors, ‘The ethic of individual self-fulfilment and achievement is the most powerful

current in modern society. The choosing, deciding, shaping human being who aspires

4
to be the author of his or her life, the creator of an individual identity, is the central

character of our time’ (Beck and BeckGernsheim 2001, 22–3). These arguments are

relevant to a consideration of the occupational choices made by young people and

how these relate to the socio-economic circumstances of their families, their gender

and a variety of other factors. Occupational choice decisions, including a refusal to

make such choices (Du Bois-Reymond 1998), are central life decisions for most

people. An emphasis on choice matches the perspectives of young people themselves

which have emerged from a variety of research studies. These have shown how,

despite the relatively predictable employment and educational outcomes for many

young people, they still typically have a strong sense of personal agency (Ball,

Maguire, and Macrae 2000; Attwood, Croll, and Hamilton 2003). Most young people

in these studies see themselves as having, in Beck’s terms, an ‘elective’ or ‘do it

yourself’ biography (Beck and Beck-Gernsheim 2001, 3). The contrast between the

sense of agency, of young people feeling that the way their lives develop will depend

on their own choices, efforts and abilities, can seem at odds with the evidence that, as

discussed in note 1, structural factors such as socio-economic background and gender

are strongly associated with educational and occupational outcomes. However, it

should also be noted that the structural relationships are probabilistic: young people

from advantaged backgrounds are over-represented in advantaged destinations and

young people from disadvantaged ones in disadvantaged destinations, but there are

many exceptions to this pattern, particularly about upward social mobility, and

therefore plenty of spaces in which choice and agency can operate. The extent to

which social structures determine outcomes is also qualified by the substantial upward

shift in available destinations in the second half of the 20th century. Although the

relative advantages of people from different socio-economic backgrounds have

5
remained, the absolute upward movement in educational and occupational outcomes

has inevitably come about through people from less advantaged backgrounds moving

into more advantaged destinations (Bynner, Ferri, and Wadsworth 2003). An

important and very distinctive approach to the role of choice about differences in

educational participation for different socio-economic groups is that of Goldthorpe

(Breen and Goldthorpe 1997; Goldthorpe 2000, Ch. 8). This approach uses Rational

Action Theory to demonstrate that decision processes based on a rational analysis of

resources, opportunities and constraints can be used to account both for the increase in

educational participation over the second half of the twentieth century and for the

continuing differential rates of participation by people from different socio-economic

backgrounds. In particular, it is argued that it is not necessary to invoke cultural

differences in the values and identities of people from different socio-economic

backgrounds to explain different patterns of decision-making. Families in more

advantaged social locations have greater resources to devote to their children’s

education, are more confident of favourable outcomes from educational participation

and see greater benefits, particularly about avoiding downward mobility, than families

in less advantaged circumstances. Although this analysis is concerned with

educational decisions it is also focused on future occupational outcomes and is highly

relevant to the issue of occupational choice. Another theme of research on

occupational choice has been that of alignment: the extent to which the occupational

ambitions of young people line up with their educational intentions and attainments.

In a study of adolescents in the United States, Schneider and Stevenson (1999) argued

that many of the young people in their study had misaligned ambitions: they either

wanted careers which required far greater levels of time spent in education than they

were intended or, in some cases, aimed for jobs that required less education and

6
qualifications than they planned. Schneider and Stevenson stressed the importance of

parents helping their children to align their occupational ambitions with the

educational choices they made and the way that parents need to both support and

challenge their children.

1.3 SOCIO-ECONOMIC STATUS OF ARTISTS IN MANIPUR

Manipur, a state in northeastern India, is renowned for its rich cultural heritage

and diverse artistic traditions. The artists of Manipur are integral to the preservation

and propagation of these cultural practices. However, the socio-economic status of

these artists is often precarious, shaped by a variety of economic, social, and

institutional factors. Understanding these factors is crucial for addressing the

challenges they face and for developing strategies to improve their livelihoods.

One of the primary challenges faced by artists in Manipur is economic

instability. Many artists work in informal sectors with irregular and unpredictable

income streams. The market for traditional arts and crafts within Manipur is limited,

and the purchasing power of the local population is generally low. This constrains the

artists' ability to sell their work at prices that would ensure a sustainable livelihood.

Moreover, the economic value assigned to artistic work is often insufficient to meet

their basic needs, leading to financial insecurity.

Geographical isolation significantly hampers the market access of artists in

Manipur. The state's remote location and inadequate infrastructure make it difficult

for artists to reach larger markets in other parts of India and internationally. This

isolation limits their opportunities to showcase their work, participate in exhibitions,

7
and engage with a broader audience. Consequently, many artists struggle to gain

recognition and secure sales beyond their immediate localities.

Educational opportunities for artists in Manipur are limited, particularly in

specialized fields such as classical dance, music, and visual arts. While there are some

institutions offering training in traditional art forms, these programs often lack

sufficient funding and resources. This can result in inadequate skill development and

professional preparation. Many artists rely on informal apprenticeship systems, which

may not provide comprehensive training or exposure to contemporary practices and

market trends. Institutional support plays a crucial role in the socio-economic status of

artists. In Manipur, although there are some government initiatives and cultural

institutions aimed at supporting the arts, these efforts are often insufficient or poorly

implemented. Artists may face difficulties in accessing grants, scholarships, and other

forms of financial assistance necessary for their professional development.

Bureaucratic hurdles and lack of transparency in resource allocation can further limit

the effectiveness of these support mechanisms. Gender dynamics also influence the

socio-economic status of artists in Manipur. Female artists, in particular, may face

additional challenges due to societal norms and expectations. Traditional gender roles

can restrict their access to education, resources, and professional opportunities.

Moreover, female artists may encounter biases and discrimination that hinder their

career advancement and financial stability.

Artists in Manipur are often deeply committed to preserving their cultural

heritage. This commitment is a source of pride and identity, but it can also present

challenges in terms of employability. Adherence to traditional practices may limit

opportunities for innovation and adaptation to contemporary market demands.

8
Balancing the preservation of traditional art forms with the exploration of new,

commercially viable practices is a critical challenge for artists in Manipur. The social

recognition and support for artists in Manipur vary. While traditional art forms are

highly valued culturally, the economic and social support for artists can be

inconsistent. Social recognition does not always translate into financial stability or

professional opportunities. This discrepancy can lead to a situation where artists are

celebrated for their cultural contributions but struggle to secure a sustainable

livelihood.

1.4 EMPLOYABILITY PROCESS

The employability process for artists is a complex and dynamic journey that

requires the continuous development and application of a wide range of skills,

knowledge, and personal attributes. Artists must master technical skills specific to

their art form, such as painting, sculpting, or choreography, and soft skills, including

communication, collaboration, problem-solving, and time management. Knowledge

acquisition is also crucial, encompassing both field-specific expertise and business

acumen, such as marketing, financial management, and legal aspects of running an

artistic practice. Building a strong and diverse portfolio is essential, as it showcases an

artist's work, style, and achievements, serving as a critical tool for securing

commissions, gallery representations, and employment opportunities. Networking and

maintaining professional relationships with other artists, clients, galleries, and cultural

institutions are vital for gaining exposure, securing job opportunities, and accessing

resources.

9
 Artists face several unique challenges that can hinder their employability.

Economic instability is a significant issue, with many artists experiencing irregular

and unpredictable income streams due to the nature of freelance work and limited

local market demand. Market saturation and high competition can make it difficult for

artists to stand out and find sustainable opportunities. Geographical barriers,

particularly in remote regions like Manipur, restrict access to larger markets and

opportunities for broader exposure. Additionally, resource constraints, such as limited

access to studio space, materials, and funding, further exacerbate these challenges.

Societal perceptions and undervaluation of artistic work can also impact financial

compensation and social recognition, making it harder for artists to achieve economic

stability.

To enhance their employability, artists can adopt several strategies.

Diversifying income streams by combining multiple sources, such as teaching,

commissions, and selling work, can provide greater financial stability. Leveraging

digital platforms, including online marketplaces and social media, can expand market

reach and visibility, helping artists to connect with wider audiences and potential

clients. Continuous skill development through courses, workshops, and self-directed

learning is crucial for maintaining competitiveness and adaptability in a rapidly

evolving industry. Building a support network of mentors, peers, and industry

professionals can offer valuable advice, opportunities, and resources. Advocacy and

awareness efforts, aimed at educating the public about the value of artistic work, can

enhance societal appreciation and support for the arts, potentially leading to better

compensation and recognition for artists.

10
 Addressing the unique challenges faced by artists, particularly in regions like

Manipur, requires targeted strategies and supportive policies. These should focus on

improving market access, strengthening institutional support, enhancing educational

opportunities, and promoting cultural exchange. Policies that promote gender equality

and support diverse artistic practices can also contribute to a more inclusive and

dynamic cultural landscape. By implementing these strategies and policies, it is

possible to create an environment where artists can thrive both creatively and

economically, ensuring that they can continue to contribute to the cultural and

economic vitality of their communities.

1.5 EMPLOYABILITY STATUS OF ARTISTS IN MANIPUR

There are various artists in Manipur in different cultural fields. Very few of

the artists in Manipur have government jobs in Arts and Culture related institutions

like Dance Academy, Government Dance College, Shri Shri Balmukunda Music

College, Imphal Arts College, Manipur University of Culture, Department of Dance

and Music as well as Fine Arts Department, Manipur University, and few other

private institutions like Sheishakkol, Rhythms of Manipur, Kha-Manipur Hindustani

Sangeet Mahavidyalaya, Kakching, etc. and other jobs in other government

departments. But, many of the artists in Manipur are facing much bigger challenges in

their lives due to the lack of job opportunities. Many of the artists are managing their

household expenses from the money that they get from the hirings for programmes

and performances. Very less number of artists used to get regular programmes

whereas many other artists used to get the programmes once or twice in a month. The

programmes that they used to get is also very seasonal in character. For Example,

there are specific seasons for Lai Haraoba and many a time, there are restrictions on

11
performances of various cultural activities. In recent years, due to the Covid-19

pandemic and communal classes in Manipur, all the performances related to Arts and

Culture, live stage performances, etc. have not been seen and not permitted socially.

This makes the situation bad to the worse condition of employability of artists in the

state. It has been heard and reported many artists have changed their profession in

order to survive at such difficult times.

1.6 STATEMENT OF THE RESEARCH PROBLEM

Artists in Manipur are backward in education, employment and economic

conditions. They do not know how to get the government allowances and offers. They

earn only during festival seasons in the five months of March, April, May, June and

July. They manage their family expenses spreading over a year with an income earned

during these months. Therefore it may not be sure that they are engaged in at least

fifteen events per month because the events are not permanent and continuous. The

number of events differs from season to season. According to seasons, it may increase

or decrease.

Another reason is that folk artists perform only folk arts and they cannot

perform other jobs. Therefore they are unemployed during the period when they don’t

have an opportunity to perform folk arts. In the periods of unemployment, folk artists

spend from borrowings. At the time of earnings they repay their principal amount

with interest. They do not own agricultural lands. Hence they are unaware of

agricultural activities. Moreover they are also not employed in agro-based activities.

Government bans the events after 10 p.m during election periods and hence the

activities of folk artists are largely affected during such periods. This leads to the

situation of not earning income. Because it is feared that if the musical instruments

12
are loaded in the bus, they will be disturbing the passengers. It compels folk artists to

hire auto to carry their instruments. Even for 10 km travel, auto drivers charge Rs. 500

and above.

1.7 REVIEW OF LITERATURE

Bille and Jensen (2018) analyzed the role of education in the survival and

success of artists, finding that higher educational attainment correlates with better

economic outcomes in artistic careers.

Morris (2016) compared the employability of art students in the UK and the

US, finding that institutional support and market-oriented training significantly impact

their career prospects.

Tamang (2016) provided an analysis of cultural policies in India, discussing

their impact on regional cultures and the specific challenges faced by artists in diverse

socio-economic contexts

Bell and Oakley (2015) provided a comprehensive overview of cultural

policy, examining its role in supporting the arts and addressing the socio-economic

challenges faced by artists.

Bridgstock (2011) identified key skills required for success in the creative

industries, emphasizing the importance of adaptability, networking, and

entrepreneurial skills for artists.

McRobbie (2011) critiques the commercialization of the creative economy,

advocating for a more socially inclusive approach to cultural policy that addresses the

needs of marginalized artists.

13
 Markusen and Gadwa (2010) reviewed the role of arts and culture in urban

and regional planning, highlighting the importance of supportive policies and

infrastructure for the development of the artistic community.

Bennett (2009) explored the transition from academic training to professional

careers in the performing arts, highlighting the gap between educational institutions

and the realities of the job market.

Oakley (2009) discussed the dynamics of cultural labour markets, focusing on

the precarious nature of employment and the importance of networks and cultural

policies in supporting artists.

Gray (2007) discussed the commodification of culture and the instrumental

use of cultural policies, arguing for a balance between economic and intrinsic values

in policy-making.

Hesmondhalgh and Pratt (2005 ) examined the relationship between

cultural industries and policy, highlighting the need for policies that support the

diverse and often precarious nature of cultural work.

Gibson and Klocker (2005) examined the impact of regional economic

policies on artists, noting that neoliberal approaches often fail to address the unique

needs of the cultural sector.

Benhamou (2003) provided an overview of artists' labour markets,

emphasizing the challenges of low income, job insecurity, and the need for

supplementary employment.

14
 Cunningham (2002 ) explored the shift from cultural to creative industries,

discussing the implications for policy and the need for a holistic approach to

supporting artists.

Florida (2002) discussed the emergence of the creative class and its impact on

urban economies, arguing for policies that support creativity and cultural industries as

drivers of economic growth.

Throsby (2001) integrated economic and cultural perspectives, advocating

for policies that recognize the intrinsic value of the arts and support the economic

well-being of artists.

Towse (2001) examined the motivations and economic rewards for artists,

noting that many engage in artistic work despite low financial returns due to intrinsic

motivations and non-monetary benefits.

Menger (1999) explored the labour markets for artists, highlighting the

instability and uncertainty associated with artistic careers. He points out that artists

often face irregular employment patterns and income volatility.

Matarasso (1997) investigated the social impact of arts participation,

emphasizing the role of cultural policies in promoting social inclusion and community

development.

Throsby (1994) discussed the economic conditions of artists, emphasizing the

disparity between their contributions to cultural capital and their financial rewards. He

argues that many artists operate under precarious economic conditions, often relying

on multiple income sources.

15
 Chapter – ii

RESEARCH
METHODOLOGY
 Chapter – II

RESEARCH METHODOLOGY

2.1 INTRODUCTION

Research methodology is the systematic, theoretical analysis of the methods applied

to a field of study, or the theoretical analysis of the body of methods and principles associated

with a branch of knowledge. In other words, the procedures by which researcher goes about

their work of describing, explaining and predicting phenomena are called research

methodology. It is used to give a clear-cut idea on what the researcher is carrying out the

research. The methodology to be adopted for this research is illustrated systematically under

different sub-headings.

2.2 OBJECTIVES

The purposes of this research are:

1. To study the socio-economic conditions of artists in Manipur.

2. To find out the employability status of artists in Manipur.

2. To understand the different forms of art in Manipur.

3. To analyse the problems faced by artists at workplaces in Manipur.

2.3 SAMPLING AND DATA COLLECTION

Prior to the commencement of data collection, ethics approval was sought from the

Sumanh Leela Council of Manipur, Kala Kshetra, Roop Mahal Theatre, Manipur Drama

Union (MDU), Anoi Sindam Shang, Government Dance College, Shri Shri Bal Mukunda

Music College, Jawaharlal Nehru Manipur Dance Academy, Imphal Art College, Lianda Folk

and Classical Academy, Performing Entrancement Arts and Culture Evolution (PEACE),

16
Ministry of Information and Broadcasting Central Bureau of Communication, Department of

Fine arts Manipur University, Dance and Music Department Manipur University, Sheishakol,

Manipur Jagoi Marup, Tapasy, Chorus Repertory Theatre, Bellet Unit of JNMDA.

Participants were informed that their participation was voluntary and that withdrawal from

the study was possible without penalty. In total, there are about 202 artists in Manipur were

approached to participate in the study. Since the questionnaires were self-administered by the

researcher, a 100% correct response rate was achieved.

2.4 PERIOD OF THE STUDY

The primary data for the analysis of variables were collected during the period from

March 2024 to May 2024.

2.5 MATERIALS

The questionnaire entitled ‘Socio-Economic Status And Employability Process of

Artists In Manipur” was a series of measures put together into four distinct parts (given in

Annexure-I). The approximate completion time for the survey was 15 minutes.

Part-A: Socio-Demographic Profile

To fully understand the conditions of artists in Manipur it is required to gather

a piece of in-depth information about the artists’ socio-demographic profile. Part-A of

the questionnaire sought information about name, age, gender, residence, marital

status, religion, social category, education, size of family, and type of residence.

PART-B: Employment

Part-B of the questionnaire consisted lists of 11 questions related to

employment, such as their parental or relatives' previous occupation as an artists,

professional training as an artist, type of art they are performing, years of experience

17
as an artist, nature of performance whether as full time or part-time, and exposure of

the level of performance as whether at local, inter-district, national and international.

PART-C: Performance of MGNREGA

A list of 13 questions was created based on the economic profile of the

respondents. The respondents were asked to rate their monthly income and expenses,

annual savings, indebtedness status and other economic-related questions (detail lists

are provided Part-C of Annexure-I).

PART-D: Employability

A two-item question on related to employability ‘To what extent do you think

that Artists are employed through Arts in Manipur?’ and ‘To what extent do you

believe that Artists can sustainability survive as professional Artists activities in

Manipur?’ rate on a 7 point Likert type scale from 1 ‘To No Extent’ to 4 ‘To A

Moderate Extent’ to 7 ‘To A Very Great Extent’ were inserted as Part-D of the

questionnaire.

2.6 DATA ANALYSES

The data collected were first codified and then entered and processed using the Statistical

Product and Service Solutions – Analysis of Moment Structure (IBM SPSS – AMOS

Statistics), the English version 22.0. The descriptive statistics (mean, frequency,

percentage, and standard deviation) provide information on the data of the sample

respondents.

18
2.7 CHAPTER SCHEME

The present study has been divided into five chapters and is presented in the following

manner.

Chapter 1 - The First Chapter is the introduction.

Chapter 2 - The Second Chapter deals with the research methodology.

Chapter 3 - The Third Chapter deals with Art forms of Manipur.

Chapter 4 - The Fourth Chapter consists of analysis with statistical tests in the form of

tabulation and interpretation.

Chapter 5 - The Fifth Chapter consolidates the overall findings of the research, suggestions

and conclusion.

19
 Chapter – III
ART FORMS OF
MANIPUR
 Chapter - III

ART FORMS OF MANIPUR

3.1 INTRODUCTION

The art forms and cultural expressions of Manipur are a testament to its rich heritage,

capturing the attention of the world. The renowned classical dance of Manipur stands out

prominently among its diverse dance forms, boasting a unique style and captivating gestures.

The people of Manipur possess an innate passion for art and beauty, reflected in their

widespread talents in singing and dancing. Each ethnic group in Manipur upholds its own

unique culture and traditions, evident in their vibrant dances, melodious music, and cherished

customary practices. The following are some art forms:

3.2 DANCES OF MANIPUR

The state of Manipur is home to many styles of dance. Manipuri dances embrace both

folk and classical forms of dance. The Raas Leela, a Manipuri dance form, is one of India’s

eight primary classical dance forms. The Manipuri folk dances are performed primarily in

devotion to local gods such as Umang Lai during festivals like Lai Haraoba. The dance forms

of the numerous local tribes also contribute to the styles of Manipuri dance. It is usually

performed by multiple groups where each group has its unique costumes, theme, patterns and

expertise. Manipuri dance is primarily religious and aims to express spirituality. It is

performed mainly during festivals and ceremonies such as weddings and rites, particularly by

the Meitei people. Most of the Manipuri dance forms are said to have originated in temples

and have been passed down verbally from time to time.

There are many different dance styles in Manipur, a state in northeastern India. A

Manipuri dance encompasses both classical and folk dance forms. The folk dance forms are

20
mainly attributed to ancient Meitei deities such as Umang Lai and performed during Lai

Haraoba, and also the dances of the different tribal communities of Manipur. The Manipuri

dance, in general, is a team performance, with its unique costumes, aesthetics, conventions

and repertoire. Manipuri dance is a religious art and its aim is the expression of spiritual

values. Aspects of this performance art are celebrated during festivals and major rites of

passage such as weddings among the Manipuri people, particularly in the ethnic majority

of Meitei people. There are numerous dance forms of Manipur, comprising both classical and

folk dances of the different communities residing in the state.

3.2.1 Lai Haraoba

Lai Lam Thokpa

Lai Ekouba Lai ekaba

Lai Haraoba (Meitei for 'merry-making of the gods') is a traditional Meitei religious

festival of ritual dance and musical theatre, celebrated annually in honour of Umang Lais,

21
the forest deities of Sanamahism (traditional Meitei religion). Lai Haraoba (Meitei: ꯂꯂꯂ

ꯂꯂꯂꯂꯂ) is a ritualistic festival of the Meiteis observed since ancient times. It is a ritual

enactment of the creation myth. It mirrors the entire culture of Manipur and depicts the close

affinities between the hill and plain people. It is a combination of religious recitations,

traditional music and dance, traditional social values and ancient cultural aspects.

3.2.2 Thougal jagoi

Thougal jagoi

Thougal jagoi Thougal jagoi

Thougal Jagoi is the folk dance of the Meitei community performed during the Lai

Haraoba festival before the deities. It is also known as Khamba Thoibi Jagoi. A variant of

Thougal Jagoi, performed only by women dancers, is known as Leima Jagoi. The dance uses

22
traditional musical instruments like pena and laangden (traditional drum). According to the

legendary Meitei language epic poem of Khamba Thoibi set in the ancient kingdom

of Moirang, it is believed that Khamba, the Khuman prince and Thoibi, the Moirang princess

performed this dance in front of Eputhou Thangjing.

3.2.3 Maibi Jagoi

Lai nupi thiba (kanglei thokpa)

Laiching jagoi Laiching jagoi

Maibi Jagoi or Maibi Dance is a shamanic ritual dance performed by Maibis mostly

during the Lai Haraoba ceremony for the forest deities of Manipur. Maibism or maibi culture

is a dominant feature of sanamahism. They are considered a medium between humans and

spirits. A woman may become a maibi at any age at any time. Being a maibi depends on

being chosen by the Lai. The maibis get trained in dance, music chanting, and complex ritual

procedures. The spiritual partners of maibis are male maibas who were also trained in ancient

23
lore, spirit, incarnation and psycho-analytic methods. Maibi jagoi includes all the dances

performed during the Lai Haraoba festival, mainly performed by the Maibis. Some of them

are Laiching Jagoi, Nungnao Jagoi, Panthoibi Jagoi, Longkhon Jagoi, Paton, Thang

Thaba and Phibul Jagoi etc.

3.2.4 Raas Leela

Shri Krishna and rasheshwori

Gopis In Raas Leela Of Govinda Raas leela of stage performance

The Raas Leela is based on Hindu Vaishnavism themes and exquisite performances of

the love-inspired dance drama of Radha-Krishna called Raas Leela. The roots of the Manipuri

Raas Leela dance, as with all classical Indian dances, is the ancient Hindu Sanskrit text Natya

Shastra, with influences and the cultural fusion between various local folk dance forms. With

evidence of Vishnu temples in the medieval era dance style. The Raas Leela is based on

Hindu Vaishnavism themes and exquisite performances of the love-inspired dance drama of

Radha-Krishna called Raas Leela. The roots of the Manipuri Raas Leela dance, as with all

24
classical Indian dances, is the ancient Hindu Sanskrit text Natya Shastra, with influences and

the cultural fusion between various local folk dance forms. With evidence of Vishnu temples

in the medieval era, this dance form has been passed down verbally from generation to

generation as an oral tradition. This Manipuri dance drama is, for the most part, marked by a

performance that is graceful, fluid, and sinuous with greater emphasis on hand and upper

body gestures. It is accompanied by devotional music created with many instruments, with

the beat set by cymbals (kartal or manjira) and double-headed drum (pung or

Manipuri mridanga) of sankirtan. The dance drama choreography shares the plays and stories

of Vaishnavite Padavalis that also inspired the major Gaudiya Vaishnava-related performance

arts found in Assam and West Bengal.

3.2.5 Kabui Jagoi (Dance)

Kabui Jagoi

Stage Performance of Kabui Jagoi Performance Of Kabui Jagoi

25
 The Kabuis or Rongmeis, one of the Zeliangrong brothers of the western hills are the

most primitive groups of the Indian tribe and they develop a deep taste for dance and music.

The Kabui Naga dance, known popularly throughout India, accompanied with drum beatings

enhances the liveliness and intrinsic interest of its audiences and sway their hearts as the

dancers move. 'Laam' meaning dance in Rongmei dialect depicts the true individuality of the

Rongmeis. There are lots of different kinds of Kabui Naga dances performed on specific

occasions on a strict basis. Instances may be stated as during the traditional festivals (Ngai

Laam), at celebrating the creation of community utility (Poumei Laam) and ritualistic dance

on the occasion of the feast of merit (Ballu Laam). Ballu Laam, of the three, is the most

important as this has to get hold of the exact choreography, rhythm, songs etc. This dance,

however, is regarded as the dance of the gods so it has to be performed with perfect

submission and devotion. Different traditional festival dances mentioning a few are Gaan

Ngai Laam, Tamchan Laam, Gaanpi Kadimei Laam, Khangbon Kadimei Laam, Karapei

Kadimei Laam, Tun Ngai Laam, etc performed at different specific times of the year.

26
3.2.6 Mao Jagoi (Dance)

Mao dance

Mao Dance Mao Dance

The Mao Naga Dance is a popular dance of the Mao Naga community of Manipur,

who reside in the northern mountains of Manipur. Young girls and boys dance in the annual

harvesting and seed-sowing festivals (Chikhuni). It involves intricate footwork along with

graceful body movements. Mao Maram Dance (Asharali Odo), a colourful dance known for

its vocal rhythms and mellifluous movements, is one of the popular dances of this

community.

27
3.2.7 Tangkhul Jagoi (Dance)

Luivat Pheichak Dance

Thangkhul War Dance Tangkhul Martial Folk Dance

The Tangkhuls were first noticed in Manipur by Poireiton, one of the earliest kings of

a principality in Manipur valley. Tangkhuls have their own traditions and cultures. They have

different dance forms and songs. Some of the tangkhul dances are tangkhul war

dance,tangkhul martial folk dance,luivat pheichak dance etc. The Tangkhul Pheichak Dance

holds a significant historical and cultural background within the Tangkhul community.

Originating from a tribe with animistic roots, the Tangkhuls underwent a transformation with

the arrival of Christianity, which led to the preservation of traditional festivals and rituals

alongside the adoption of Christian beliefs. The Tangkhul Pheichak Dance is a manifestation

of this cultural fusion, symbolizing the community's resilience in maintaining their heritage

while embracing new religious practices. Textiles play a crucial role in the Tangkhul culture,

with institutions like the Tangkhul Shanao Long and the Church influencing the production

28
and meaning-making of textiles, reflecting socio-political realities and resistance efforts
[2]
within the community . The intricate relationship between the Tangkhuls and nature further

shapes their cultural practices, emphasizing the importance of preserving traditional

knowledge systems for nature conservation.

3.3 THANG-TA

The art of Thang-Ta represents an ancient and remarkable tradition of Manipur. It exhibits

the extraordinary technique of combat using the Thang (sword) and the Ta (spear). Thang-Ta

symbolises the traditional martial arts techniques of the Manipuris. It was customary for all

Manipuri men to undergo rigorous training to master this art to prepare them to respond to a

war-like situation. This dance helps provide basic training in warfare and develops personal

strength, speed, sensitivity and agility of mind. In appreciation of the various benefits

afforded by the dance, the Kings of Manipur used to maintain Thang-Ta experts in their

courts. Training for this dance begins early and is an arduous task. All dance movements of

the Meiteis are said to have originated from this martial art and are linked to the snake lore of

Manipur. The movements of the Thang help to ward off evil spirits, while the Ta is held in

position to protect. The martial Meiteis practice three types of Manipuri martial arts - sword

fighting, spear-fighting and wrestling. These various forms of self-defence have been

transformed into graceful performing arts. A Thang-Ta performance begins with

Khurumjaba, an invocatory item, in which the performers seek blessings from the Lord, the

gurus as well as the audience by holding their instruments or with bare hands.

29
The different variations of the Thang-Ta include:

3.3.1 Thang-Chungoi Yannaba

This is a duel fight, where both the warriors carry a sword and a shield. The swordsmen use

the Chungoi (shield) to protect themselves against possible attacks. The sword and the shield

are wielded with agility and precision to thwart all attempts of attack.

3.3.2 Ta-Khousaba

This dance mainly involves the use of the spear and is performed in an open area. There are

nine kinds of Khausaral (steps with a spear), evolved by experts over the ages, which have

been handed down through generations. In this performance, the artists select one of the

Khausarals and present it in the form of a dance. The warrior dancers hold a spear in one

hand and a chung (a long shield) in the other. This dance forms part of the Kwak Jatia and

Lai-Haraoba festivals.

3.3.3 Thang-Ta-Chainaba

This dance comprises a duel between the sword and the spear. While one dancer carries a

sword and a shield, the other wields a spear but no shield. The man carrying the spear

performs steps called Khousaba under the overarching principle called Khausaral. The steps

used by the swordsman are known as Thanghairol. In this dance, both men try to defend each

other's attack.

3.3.4 Yet-Thang Oi-Thang Yannaba

This fight involves great skill and proficiency as each dancer handles two swords

simultaneously. This martial art form is used in battles but has been stylised for stage

presentations. It is mainly performed during royal functions and at the Lai Haraoba Festival.

30
3.3.5 Thang Leiteng Haiba

Also known as decorated swordplay, this dance is only performed by highly skilled

swordsmen. The choreography combines martial steps with complete mastery of the weapon.

3.3.6 Thang Amaga Aniga Yanaba

In this fight, a man equipped with two swords fights two men at a time, one handling

a sword and the other, a spear. The principles and rules of Thanghairol are followed in this

dance too.

3.3.7 Chei Khatpa

This dance forms part of the Thang-Ta repertoire and is performed using one long

stick and two shorter ones. It is a form of Cheitek Kotpi, an indigenous Manipuri game.

3.3.8 Meibul-Thang-Ta

Successive gurus of this martial tradition have enriched this variant of the Thang-Ta.

This dance uses the Thang-Leiteng (sword movement) and Ta-Khousaba (spear movement)

but the weapons are replaced by fire sticks. This interesting art of the fire dance known as

Meibul Haiba is a visual treat.

31
 VARIOUS FORMS OF MANIPURI THANG - TA

a b

c d

e f

g h

Various forms of Manipuri Thang Ta: a) Thang Chungoi Yanaba b) Thang Leiteng
Haiba c) Ta –Khousaba d) Yet – Oi Thang Yanaba e) Thang Amaga Ani Yanaba f)
Thang Ta Chainaba g) Meibul Thang- ta h) Chei Khatpa

32
3.4 MUSIC OF MANIPUR:

Tribal Folk Songs

Pena Folk Song Khullang Eshei

Manipur is a region of North-East India. Some varieties of folk music from the area

include the rural love songs Khullang Eshei, the rhythmic Lai Haraoba eshei, which contain

lyrics with veiled references to erotic mysticism and pena eshei, which is accompanied by

a pena, an instrument made from a bamboo rod and the shell of a gourd or coconut. The Pena

is an ancient instrument that is a sort of national symbol for Manipuris. The

classical nat music performed at various special occasions, the women's devotional nupi

pala songs, Gaur Padas, sung in praise of Chaitanya Mahaprabhu and dhob, sung

accompanied by the jhal, a large cymbal. Manohar Sai is another important class of songs,

33
devoted to a 19th-century man of the same name. Khubak eshei is a kind of song

accompanied entirely by clapping.

3.5 NATA SANKIRTANA

Sankirtan nupi pala

Sankirtana Nupa Pala Pung Yeiba

Meitei Sankirtan (Meitei: Meitei Nat Sankirtan), also known as Meitei

Sankirtana (Meitei: Meitei Nat Sankirtana) or Manipuri Sankirtan (Meitei: Nat Sonkirton)

or Manipuri Sankirtana (Meitei: Nat Sonkirton), is a Meitei cultural form of performing art

involving ritual singing, drumming and dancing performed in the temples and domestic

spaces in Manipur in India. Through the performances which exhibit unparalleled religious

devotion and energy, the performers narrate the many stories of Krishna often moving the

spectators to tears. It is practiced primarily by the Meitei Hindus (primarily Vaishnavas) in

Manipur and by the Vaishnava Manipuri population settled in the neighbouring States

34
of Tripura and Assam. "Sankirtana: Ritual singing, drumming and dancing of Manipur" was

inscribed on the Representative List of the UNESCO Intangible Cultural Heritage of

Humanity during the eighth session of the UNESCO Intergovernmental Committee meeting

in Baku, Azerbaijan, held in December 2013.

3.6 THEATRE OF MANIPUR

3.6.1 Shumang Leela

Performance of Shumang Leela

Performance of Shumang Leela Performance of Shumang Leela

Shumang Kumhei also known as Shumang Leela (Meitei for 'Courtyard Play'), is a

Meitei traditional form of theatre, usually performed in Manipur, North East

India. The theatre is arranged in the form of open-air from four sides. The roles are all played

35
by male actors, some dressed as beautiful ladies. The roles of male characters are played by

female artists in the case of female theatre groups. This traditional theatre form has been

prevalent since the time of monarchical rule in Manipur. But the proper form of Shumang

Leela had its inception in 1895 A.D. The present-day Shumang Leelas address the issues of

moral values, unity and integrity. The fostering of bonds of brotherhood and friendship

among various communities in the State is also promoted by the theatre. In

2017, Shougrakpam Hemanta was conferred with the prestigious Sangeet Natak Akademi

Award in recognition of his contribution to Shumang Leela . With this, he became the first

person to receive the award for this art form.

3.6.2 Drama

Performance of Manipuri Drama

Performance of Manipuri Drama Performance of Manipuri Drama

36
 Manipur is one of the very few states in India where regular drama shows are

provided for public entertainment. The origin of Manipuri theatre is a continuation of the

traditional ways of public performances and dancer rituals to the modern theatre. There are

several drama groups in Manipur, but the most prominent among them with their permanent

theatre hall are Manipur dramatic union, Imphal (MDU), Roop Mahal, Imphal, and Aryan

theatre, Imphal

Other prominent theatre groups are the Chorus Repertory Theater, Imphal, under Ratan

Thiyam; a forum for laboratory theatres of Manipur, Imphal under Lokendra Arambam;

Society Theatre, Imphal, under (late) G.C. Tongbra.

3.7 FINE ARTS

3.7.1 Painting

Painting of RKCS

Painting of RKCS

Painting of RKCS

37
In the domain of fine arts in Manipur, Rajkumar Chandrajitsana Singh popularly known as

RKCS, and Doyen among the local painters, has become a household name. remarkable for

imaginative portrayal, his paintings have been patronized by connoisseurs outside the state as

well, viz. mythological, historical and contemporary events, with elan and authority. Being a

born artist his creativity genius was evident very early in his life, from a variety of paintings

on mythological and cultural themes. One of the most outstanding achievements of Shri

RKCS is the completion of an ambitious project depicting the history of Manipur (1709-

1949) after 10 years of hard work including research with eminent scholars of Manipur. in all

72 paintings in oil on canvas were displayed at G.M. Hall, Imphal between June 11-22, 1990.

The exhibition was sponsored by Manipur State Kala Academy. The paintings recount the

main events of about 240 years of Manipur beginning with a historical episode of 1709 and

closing with one of the most memorable events, the merger agreement of Manipur with India

in 1949.

38
3.7.2 Sculpture:

Sculpture Of Ibudhou Pakhangba

PAKHANGBA

Sculpture of Phousubi Sculpture of Khamba

There are significant evidences that demonstrate that the art of statue-making was

flourishing long before the idols of Shri Govinda and Raseshori were made from wood and

metal respectively. From some ancient Manipuri texts, what we know is that the art of statue-

making and sculpting was in existence before the time of Nongda Lairen Pakhangba (33 AD).

There are evidences which prove that the idols of Aribam Lairembi, Phurailatpam Lairembi,

Mahabali Hanuman Thakur, Kalimai, Narasingh Deb, and Durga were made during the reign

of Meiding-u Khagemba (1597-1652). The statues of Yangdouba-Yangdoubi, made of wood,

predate Christ. Later on, statues came to be made of metal.

The art of statue-making that started to develop and grow during the reign of Meidung-u

39
Garibniwaj (1739-1748), reached full maturity during the reign of Rajarshi Bhagyachandra

(1763-1798).

For that reason, it is safe to assume that idol-making was not a new or an alien art form at the

time of the nirupan of Shri Govinda, Raseshori, Bijoy Govinda etc. Not only that the worship

of idols of Radha Krishna began long before Rajarshi Bhagyachandra, during the time of

Charairongba Maharaj (1617-1709). Before the nirupan of Shri Govinda, Rajarshi's elder

brother Gourashyam worshipped Radharaman.

In Manipur, idols were also made out of sandstone. Idols of Hanuman and Garud kept in

temples as door guards were all made in Manipur. Since sandstone was readily available in

large quantities at Thongjaorok, Bishnupur, there was an ample supply of material for making

idols. In the 20th century, the British had a statue made of Sir James Johnston with sandstone

available in Manipur. The statue is still standing in the compound of Johnston Higher

Secondary schools.

After the war with Japan, statues began to be made with cement. Statues of Sir Churachand

Singh at Churachand Higher Secondary school, and that of Raja Dumbra Singh at Dumbra

Singh Higher Secondary, were made by Manipuri sculptors using cement.

The trend of sculpture art in Manipur has continued in this fashion. Now, with the presence of

an art college in Manipur, work in terra cotta art is being pursued. Plaster of Paris and other

materials are also employed to make statues and figures.

40
 Chapter – IV
DATA ANALYSIS
AND
INTERPRETATION
 Chapter – IV

DATA ANALYSIS AND INTERPRETATION

4.1. DEMOGRAPHIC INFORMATION OF THE RESPONDENTS

4.1.1 Age of the Respondents

Table 4.1.1 Age of the respondents

Age Frequency Percentage
Below 25 13 6.4
25-35 years 25 12.4
36-45 years 59 29.2
46 and above 105 52.0
Total 202 100.0

Figure 4.1.1 Age of the respondent

Source: Computed from primary data

The table provides a breakdown of respondent age groups, indicating that a

significant majority (52.0%) are aged 46 and above. This suggests the survey may

capture perspectives more reflective of older demographics, potentially influencing the

study's findings regarding age-related trends or preferences.

41
 4.1.2 Gender of the Respondents

Table 4.1.2 Gender of the Respondents

Gender Frequency Percentage

Male 104 51.5
Female 89 44.1
Others 9 4.5
Total 202 100.0

Figure: 4.1.2 Gender of the respondents

Source: Computed from primary data

The table shows that 51.5% of respondents are male, 44.1% are female, and 4.5%

identify as 'others'. This distribution provides insights into the gender diversity of the

surveyed population, influencing interpretations related to gender-specific perspectives

and responses within the study's findings.

42
4.1.3 Residence Location of the Respondents

Table 4.1.3 Residence Location of the Respondents

Residence Frequency Percentage

location

Rural 66 32.7

Urban 129 63.9

Semi-urban 7 3.5

Total 202 100.0

Figure 4.1.3 Residence Location of the Respondents

Source: Computed from primary data

The data indicates that 63.9% of respondents live in urban areas, 32.7% in rural

areas, and 3.5% in semi-urban areas. This distribution suggests a predominantly urban

respondent base, highlighting potential differences in demographics and living conditions

that may influence survey outcomes.

43
4.1.4 Marital Status of the Respondents

Table 4.1.4 Marital Status of the Respondents

Marital status Frequency Percentage

Married 164 81.2

Unmarried 38 18.8

Total 202 100.0

Figure 4.1.4 Marital Status of the Respondents

Source: Computed from primary data

The table illustrates the marital status distribution among respondents, with 81.2%

identified as married and 18.8% as unmarried. This demographic breakdown provides

insights into the relationship dynamics within the surveyed population, indicating a

predominant presence of married individuals whose marital status could influence various

aspects of the study's findings and conclusions.

44
4.1.5. Religion of the Respondents

Table 4.1.5 Religion of the Respondents

Religion Frequency Percentage

Hindu 145 71.8
Muslim 4 2.0
Christian 13 6.4
Sanamahism 40 19.8
Total 202 100.0

Figure 4.1.5 Religion of the Respondents

Source: Computed from primary data

The data shows a diverse religious composition among respondents, with Hindus

comprising the majority at 71.8%, followed by Sanamahism at 19.8%. Christians

represent 6.4%, while Muslims account for a smaller proportion at 2.0%. This

distribution reflects religious diversity within the surveyed population, influencing

cultural and social dynamics within the study context.

45
 4.1.6 Category of the Respondents

Table 4.1.6 Category of the Respondents

Category Frequency Percentage

General 62 30.7
ST 17 8.4
OBS 109 54.0
SC 14 6.9
Total 202 100.0

Figure 4.1.6 Category of the Respondents

Source: Computed from primary data

The table displays the distribution of respondents across different categories, with

Other Backward Classes (OBCs) comprising the majority at 54.0%, followed by General

category at 30.7%. Scheduled Tribes (ST) and Scheduled Castes (SC) represent 8.4% and

6.9%, respectively, indicating diverse social group representation among respondents.

46
4.1.7 Educational Qualification of the Respondents

Table 4.1.7 Educational Qualification of the Respondents

Educational Qualification Frequency Percentage

Illiterate 15 7.4
Undergraduate 123 60.9
Graduate 43 21.3
Above graduate 21 10.4
Total 202 100.0

Figure 4.1.7 Educational Qualification of the Respondents

Source: Computed from primary data

The data reveals the educational qualifications of respondents, with

undergraduates being the largest group at 60.9%, followed by graduates at 21.3%. Those

with educational qualifications above graduate level constitute 10.4%, while 7.4% are

illiterate, indicating varying levels of educational attainment within the surveyed

population.

47
 4.1.8 Family size of the Respondents

Table 4.1.8 Family size of the Respondents

Family size Frequency Percentage

Below 3 members 12 5.9
3 - 5 members 120 59.4
Above 5 members 70 34.7
Total 202 100.0

Figure 4.1.8 Family size of the Respondents

Source: Computed from primary data

The table illustrates the distribution of family sizes among respondents, with the

majority (59.4%) having 3-5 members. A smaller proportion has above 5 members

(34.7%), and the smallest group has below 3 members (5.9%).

48
4.1.9 Types of Residents of the Respondents

4.1.9 Types of Residents of the Respondents

Type of residence Frequency Percentage

Rent 3 1.5

Owned 193 95.5

Government quarter 6 3.0

Total 202 100.0

Figure 4.1.9 Types of Residents of the Respondents

Source: Computed from primary data

The table presents the types of residence among respondents, indicating that the

majority (95.5%) own their residences. A small percentage (1.5%) rent their homes and

another 3.0% live in government quarters. This distribution suggests a predominantly

homeowner demographic in the surveyed population, highlighting potential differences in

property ownership and living arrangements that may affect socio-economic profiles and

stability.

49
4.2 EMPLOYMENT INFORMATION OF THE RESPONDENTS

4.2.1 Is your father an Artist too?

Table 4.2.1 Is your father an Artist too?

Is your father an artist too? Frequency Percentage

YES 41 20.3

NO 161 79.7

Total 202 100.0

Figure 4.2.1 Is your father an Artist too?

Source: Computed from primary data

The table displays responses regarding whether respondents' fathers are also

artists, with 20.3% answering "YES" and 79.7% responding "NO". This data suggests

that a minority of respondents have fathers who are artists, indicating potential influences

on familial backgrounds and possibly differing perspectives or experiences related to

artistic pursuits within the surveyed population.

50
4.2.2 Is your mother an artist too?

Table 4.2.2 Is your mother an artist too?

Is your father an artist too? Frequency Percentage

YES 21 10.4
NO 181 89.6
Total 202 100.0

Figure 4.2.2 Is your mother an artist too?

Source: Computed from primary data

The table shows responses regarding whether respondents' mothers are also

artists, with 10.4% answering "YES" and 89.6% responding "NO". This indicates that a

minority of respondents have fathers who are artists, suggesting potential influences on

family background and possibly differing experiences or perspectives related to artistic

endeavors within the surveyed population.

51
4.2.3 Any other artist in your family member

Table 4.2.3 Any other artist in your family member

Any other artist in your family member Frequency Percentage

YES 61 30.2

NO 141 69.8

Total 202 100.0

Figure 4.2.3 Any other artist in your family member

Source: Computed from primary data

The table indicates responses regarding whether respondents have other artists in

their family, with 30.2% answering "YES" and 69.8% responding "NO". This suggests a

significant minority have other family members who are artists, influencing familial

dynamics and potentially reflecting on cultural or artistic influences within the surveyed

population.

52
4.2.4 Are you professionally Educated/trained

Table 4.2.4 Are you professionally Educated/trained

Are you professionally Educated/trained Frequency Percentage

YES 201 99.5

NO 1 .5

Total 202 100.0

Figure 4.2.4 Are you professionally Educated/trained

Source: Computed from primary data

The table shows that 99.5% of respondents are professionally educated or trained,

while only 0.5% are not. This indicates a highly educated respondent base, which is

crucial for understanding the qualifications and expertise of the surveyed population in

the context of the study or survey.

53
4.2.5 Type of Art

Table 4.2.5 Type of art

Type of Art Frequency Percentage

Dance 61 30.2

Music 29 14.4

Theatre 25 12.4

Fine Art 8 4.0

Others 79 39.1

Total 202 100.0

Figure 4.2.5 Type of art

Source: Computed from primary data

The table presents the types of art practiced by respondents, with the highest

frequency in 'others' at 39.1%, potentially encompassing a variety of artistic disciplines.

Dance follows at 30.2%, music at 14.4%, theatre at 12.4%, and fine art at 4.0%. This

diversity reflects the varied artistic interests and practices within the surveyed population.

54
4.2.6 Years of experience as an artist

Table 4.2.6 Years of experience as an artist

Years of experience as an Frequency Percentage

artist

1.00 1 .5

5.00 5 2.5

6.00 2 1.0

8.00 3 1.5

10.00 8 4.0

11.00 1 .5

12.00 3 1.5

13.00 2 1.0

15.00 9 4.5

16.00 1 .5

18.00 1 .5

20.00 12 5.9

21.00 7 3.5

23.00 5 2.5

24.00 3 1.5

25.00 8 4.0

26.00 10 5.0

27.00 2 1.0

55
28.00 2 1.0

29.00 5 2.5

30.00 27 13.4

31.00 2 1.0

32.00 5 2.5

34.00 1 .5

35.00 12 5.9

36.00 7 3.5

37.00 1 .5

38.00 2 1.0

39.00 3 1.5

40.00 6 3.0

41.00 4 2.0

42.00 2 1.0

43.00 3 1.5

45.00 9 4.5

46.00 5 2.5

47.00 1 .5

48.00 4 2.0

49.00 2 1.0

50.00 2 1.0

51.00 4 2.0

52.00 1 .5

56
 53.00 1 .5

54.00 6 3.0

56.00 2 1.0

Total 202 100.0

Figure 4.2.6 Years of experience as an artist

Source: Computed from primary data

The table presents the distribution of years of experience as artists among

respondents, showcasing a diverse range of experience levels. The most common years of

experience are 30.00 years (13.4%), followed by 15.00 years (4.5%) and 20.00 years

(5.9%). This indicates varied expertise and tenure within the artistic community

surveyed.

57
4.2.7 Nature of performance

Table 4.2.7 Nature of performance

Nature of performance Frequency Percentage

Full Time 194 96.0

Part Time 8 4.0

Total 202 100.0

Figure 4.2.7 Nature of performance

Source: Computed from primary data

The table illustrates the nature of performance among respondents, with 96.0%

engaging in full-time artistic endeavors and 4.0% participating part-time. This

distribution highlights a predominantly full-time commitment to artistic pursuits within

the surveyed population, indicating varying levels of dedication and possibly influencing

their professional and personal lifestyles.

58
4.2.8 Please tick one of the following that best describes you in involvement as a

paid performer

Table 4.2.8 Please tick one of the following that best describes you in involvement as

a paid performer

Please tick one of the following that best describes you Frequency Percentage
in involvement as a paid performer:

Inactive Artist 5 2.5

Nascent Artist 5 2.5
New Artist 7 3.5
Experience Artist 185 91.6
Total 202 100.0
Figure 4.2.8 Please tick one of the following that best describes you in involvement

as a paid performer

Source: Computed from primary data

The table depicts the involvement of respondents as paid performers, with 91.6%

classified as experienced artists. Smaller percentages include new artists (3.5%), nascent

artists (2.5%), and inactive artists (2.5%). This distribution highlights a predominantly

experienced performer base, indicating a majority with substantial professional

engagement in their artistic careers within the surveyed population.

59
4.2.9 Performance Coverage

Table 4.2.9 Performance Coverage

Performance Coverage: Frequency Percentage

Local 3 1.5
Inter-District 74 36.6

National 83 41.1
Inter-National 42 20.8
Total 202 100.0

Figure 4.2.9 Performance Coverage

Source: Computed from primary data

The table presents the performance coverage of respondents, with the majority

performing at national levels (41.1%) and inter-district levels (36.6%). A significant

proportion also engages in inter-national performances (20.8%), while a small percentage

performs locally (1.5%). This distribution showcases varied geographical reach and

professional exposure among the surveyed artists.

60
4.2.10 Apart from being an artist is you also an employee elsewhere?

Table 4.2.10 Apart from being an artist are you also an employee elsewhere?

Apart from being an artist are you also an Frequency Percentage

employee elsewhere?

YES 33 16.3

NO 169 83.7

Total 202 100.0

Figure 4.2.10 Apart from being an artist are you also an employee elsewhere?

Source: Computed from primary data

The table shows that 16.3% of respondents are also employed elsewhere apart

from being artists, while 83.7% are not. This suggests that a minority of artists in the

surveyed population have additional employment, potentially influencing their income

sources and work-life balance alongside their artistic pursuits.

61
4.2.11 How likely is it that you will choose an artist over a wage/salary job?

Table 4.2.11 How likely is it that you will choose an Artist over a wage /salary job?

How likely is it that you will choose an Artist over a Frequency Percentage
wage /salary job?
Very Unlikely 83 41.1
Unlikely 50 24.8
Somewhat Likely 17 8.4
Neutral 15 7.4
Somewhat Likely 9 4.5
Likely 21 10.4
Very Likely 7 3.5
Total 202 100.0
Figure 4.2.11How likely is it that you will choose an Artist over a wage /salary job?

Source: Computed from primary data

The table illustrates respondents' likelihood of choosing an artist's

career over a wage/salary job. The majority find it very unlikely (41.1%) or

unlikely (24.8%) to prioritize being an artist over stable employment. A

smaller proportion are somewhat likely (8.4%), indicating varied

perspectives on the feasibility and preference for artistic careers versus

traditional jobs among the surveyed population.

62
4.3 ECONOMIC PROFILE

4.3.1 Annual Income (approximately):

Table 4.3.1 Annual Income (approximately):

Annual Income (approximately): Frequency Percentage

Less than ₹100000 35 17.3
100001-500000 154 76.2
500001 - 1000000 6 3.0
Above 1000000 7 3.5
Total 202 100.0

Figure 4.3.1 Annual Income (approximately):

Source: Computed from primary data

The table displays the annual income distribution of respondents, with the

majority (76.2%) earning between ₹100,001 and ₹500,000. A smaller proportion earn

less than ₹100,000 (17.3%), while 3.0% fall into the ₹500,001 - ₹1,000,000 bracket and

3.5% earn above ₹1,000,000 annually. This showcases varied income levels among

artists surveyed.

63
4.3.2 Monthly expenditure

Table 4.3.2 Monthly expenditure

Monthly expenditure Frequency Percentage

Less than 10000 50 24.8
10001 - 15000 53 26.2
Above 20000 99 49.0
Total 202 100.0

Figure 4.3.2 Monthly expenditure

Source: Computed from primary data

The table illustrates the monthly expenditure of respondents, showing that nearly

half (49.0%) spend above ₹20,000 per month. About a quarter (26.2%) spends between

₹10,001 and ₹15,000, while 24.8% spend less than ₹10,000 monthly. This distribution

reflects varying spending habits and financial commitments among the surveyed

population.

64
4.3.3 Annual savings

Table 4.3.3 Annual savings

Annual savings Frequency Percentage

No Savings 82 40.6

Less Than 10000 93 46.0

10001 - 15000 12 5.9

Above 2000 15 7.4

Total 202 100.0

Figure 4.3.3 Annual savings

Source: Computed from primary data

The table presents the annual savings of respondents, indicating that a significant

portion (40.6%) have no savings. About 46.0% save less than ₹10,000 annually, while

smaller percentages save between ₹10,001 and ₹15,000 (5.9%) and above ₹20,000

(7.4%). This distribution underscores varying financial security and savings practices

among the surveyed population.

65
4.3.4 Indebtedness (money borrowed from other people)

Table 4.3.4 Indebtedness (money borrowed from other people)

Indebtedness (money borrowed

Frequency Percentage
from other people)
LESS THAN 5000 105 52.0
5001 - 10000 69 34.2
10001- 15000 18 8.9
ABOVE 15001 10 5.0
Total 202 100.0

Figure 4.3.4 Indebtedness (money borrowed from other people)

Source: Computed from primary data

The table depicts the indebtedness of respondents, with 52.0% borrowing less

than ₹5,000, and 34.2% borrowing between ₹5,001 and ₹10,000. Smaller proportions

owe between ₹10,001 and ₹15,000 (8.9%), and above ₹15,001 (5.0%). This distribution

reveals varied levels of financial borrowing among the surveyed population, reflecting

different financial needs and conditions.

66
4.3.5 What is your primary reason for opening bank account

Table 4.3.5 What is your primary reason for opening bank account

What is your primary reason for Frequency Percentage

opening bank account
Savings 192 95.0
to get the loan 5 2.5
Jewel mortgage 1 .5
other purposes 4 2.0
Total 202 100.0

Figure 4.3.5 What is your primary reason for opening bank account

Source: Computed from primary data

The table illustrates respondents' primary reasons for opening a bank account,

with savings being the most common motive at 95.0%. A small percentage opened

accounts to obtain loans (2.5%), for jewel mortgage purposes (0.5%), or other reasons

(2.0%). This distribution highlights savings as the predominant motivation for banking

among the surveyed population.

67
4.3.6 What is your working time schedule?

Table 4.3.6 What is your working time schedule?

What is your working time schedule? Frequency Percentage

Day only 17 8.4
Night only 4 2.0
Both day and night 133 65.8
Anytime 48 23.8
Total 202 100.0

Figure 4.3.6 What is your working time schedule?

Source: Computed from primary data

The table describes respondents' working time schedules, revealing that 65.8%

work both day and night. A smaller proportion work during the day only (8.4%) or at

night only (2.0%). Additionally, 23.8% have flexible schedules, working anytime. This

distribution underscores varied work patterns and flexibility among the surveyed

population.

68
4.3.7 Availability of work through the year

Table 4.3.7 Availability of work through the year

Availability of work through the year Frequency Percentage

YES 48 23.8

NO 154 76.2

Total 202 100.0

Figure 4.3.7 Availability of work through the year

Source: Computed from primary data

The table indicates the availability of work throughout the year among

respondents, with 23.8% confirming consistent work availability and 76.2% reporting its

absence. This suggests significant variability in employment continuity within the

surveyed population, reflecting potential challenges or seasonal patterns affecting job

opportunities.

69
4.3.8 Types of events (programme) where you performed

Table 4.3.8 Types of events (programme) where you performed

Types of events (programme) Frequency Percentage

where you performed
Marriage 69 34.2
Festivals 67 33.2
Others 66 32.7
Total 202 100.0

Figure 4.3.8 Types of events (programme) where you performed

Source: Computed from primary data

The table outlines the types of events or programs where respondents have

performed, with marriages being the most common at 34.2%, followed closely by

festivals at 33.2%. Other events, categorized as 'Others', account for 32.7%. This

distribution highlights the diverse settings in which artists in the surveyed population

showcase their talents.

70
4.3.9 Name the events which generates the most income for you

Table 4.3.9 Name the events which generates the most income for you

Name the events which generates Frequency Percentage

the most income for you
Marriage 58 28.7
Festivals 64 31.7
Death ceremony 2 1.0
Others 78 38.6
Total 202 100.0

Figure 4.3.9 Name the events which generates the most income for you

Source: Computed from primary data

The table shows the events generating the most income for respondents, with

festivals leading at 31.7%, followed closely by 'Others' at 38.6%. Marriages contribute

28.7% to income, while death ceremonies constitute a smaller portion at 1.0%. This

distribution indicates varied income sources from different events among the surveyed

population of artists.
71
4.3.10 Name the events which generates the lowest income for you

Table 4.3.10 Name the events which generates the lowest income for you

Name the events which generates Frequency Percentage

the lowest income for you
Marriage 5 2.5
Festivals 4 2.0
Death ceremony 65 32.2
Others 128 63.4
Total 202 100.0

Figure 4.3.10 Name the events which generates the lowest income for you

Source: Computed from primary data

The table reveals the events generating the lowest income for respondents, with

death ceremonies being the least lucrative at 32.2%. Festivals and marriages contribute

minimally at 2.0% and 2.5%, respectively. 'Others' represent the largest category,

generating the lowest income for 63.4% of artists surveyed. This distribution underscores

varied financial returns across different event types.

72
4.3.11 Ways to meet your family expenses during non-working periods

Table 4.3.11 Ways to meet your family expenses during non-working periods

Ways to meet your family expenses Frequency Percentage

during non-working periods
Past savings 113 55.9
Loan from SHGs 37 18.3
Borrowing from friends 45 22.3
Loan from money lenders 1 .5
Withdrawal of deposits from banks 6 3.0
Total 202 100.0

Figure 4.3.11 Ways to meet your family expenses during non-working periods

Source: Computed from primary data

The table illustrates how respondents meet family expenses during non-working

periods. The majority (55.9%) rely on past savings, while 18.3% borrow from Self-Help

Groups (SHGs), and 22.3% borrow from friends. Withdrawal of deposits from banks

accounts for 3.0%, and a minimal 0.5% obtain loans from money lenders.

73
4.3.12 How do you spend your free time?

Table 4.3.12 How do you spend your free time?

How do you spend your free time? Frequency Percentage

Reading or writing 50 24.8
Meeting friends and relatives 74 36.6
Listening to audio and watching TV 67 33.2
Visiting places of worship 11 5.4
Total 202 100.0

Figure 4.3.12 How do you spend your free time?

Source: Computed from primary data

The table outlines how respondents spend their free time, with meeting friends

and relatives being the most common activity at 36.6%. Listening to audio and watching

TV follows closely at 33.2%, while reading or writing accounts for 24.8%. Visiting

places of worship is the least common activity, at 5.4%.

74
4.4 EMPLYOYABILITY

4.4.1. Extent of Artists employed through Arts in Manipur

Table 4.1. Extent of Artists employed through Arts in Manipur

To what extent do you think that Artists

are employed through Arts in Frequency Percentage

Manipur?

To no extent (About 10% or less) 33 16.3

To a little extent (About 10-30%) 103 51.0

To some extent (About 30 -40%) 46 22.8

To a moderate extent (About 50%) 9 4.5

To a good extent (About 60-70%) 4 2.0

To a great extent (About 70-90%) 3 1.5

To a very great extent (About 90% or

4 2.0
more)

Total 202 100.0

75
Figure 4.4.1 Extent of Artists employed through Arts in Manipur

Source: Computed from primary data

The table indicates respondents' perceptions of artists' employment through arts in

Manipur. The majority (67.3%) believe it ranges from minimal to moderate impact, with

16.3% seeing it at 10% or less, and 51.0% estimating between 10-40%. Few respondents

perceive a substantial impact, with only 7.5% estimating over 50%.

76
4.4.2 Extent of Artists’ Sstainability to Survive as professional Artists Manipur

Table 4.4.2 Extent of Artists’ Sstainability to Survive as professional Artists

Manipur

To what extent do you believe that Artists

can sustainably survive as professional Frequency Percentage

Artists activities in Manipur?

To no extent (About 10% or less) 36 17.8

To a little extent (About 10-30%) 50 24.8

To some extent (About 30 -40%) 46 22.8

To a moderate extent (About 50%) 32 15.8

To a good extent (About 60-70%) 14 6.9

To a great extent (About 70-90%) 16 7.9

To a very great extent (About 90% or more) 8 4.0

Total 202 100.0

77
 Figure 4.4.2. Extent of Artists’ Sstainability to Survive as professional Artists

Manipur

Source: Computed from primary data

The table reflects respondents' beliefs regarding the sustainability of artists as

professionals in Manipur. A majority (65.4%) perceive limited to moderate sustainability,

with 17.8% estimating it at 10% or less, and 24.8% between 10-30%. Only a minority

(18.6%) see a substantial to very great extent of sustainability, suggesting challenges in

sustaining professional artistic activities.

78
 Chapter – V

CONCLUSIONS
 Chapter – V

CONCLUSION

5.1 FINDINGS IN RELATION TO SOCIO-DEMOGRAPHIC PROFILE

1. Out of 202 respondents, the majority (52.0%) are in the age group of 46 and above.

This suggests the survey may capture perspectives more reflective of older demographics,

potentially influencing the study's findings regarding age-related trends or preferences.

2. As with the gender composition of the respondents 51.5% of respondents are male,

44.1% are female, and 4.5% identify as 'others'. This distribution provides insights into the

gender diversity of the surveyed population, influencing interpretations related to gender-specific

perspectives and responses within the study's findings.

3. The data with regard to the residence location of the artists, it was found that 63.9% of

respondents live in urban areas, 32.7% in rural areas, and 3.5% in semi-urban areas. This

distribution suggests a predominantly urban respondent base, highlighting potential differences

in demographics and living conditions that may influence survey outcomes.

4. The marital status distribution among respondents, with 81.2% identified as married

and 18.8% as unmarried. This demographic breakdown provides insights into the relationship

dynamics within the surveyed population, indicating a predominant presence of married

individuals whose marital status could influence various aspects of the study's findings and

conclusions.

5. The religious composition among respondents, with Hindus comprising the majority at

71.8%, followed by Sanamahism at 19.8%. Christians represent 6.4%, while Muslims account

79
for a smaller proportion at 2.0%. This distribution reflects religious diversity within the surveyed

population, influencing cultural and social dynamics within the study context.

6. The distribution of respondents across different categories, with Other Backward

Classes (OBCs) comprising the majority at 54.0%, followed by the General category at 30.7%.

Scheduled Tribes (ST) and Scheduled Castes (SC) represent 8.4% and 6.9%, respectively,

indicating diverse social group representation among respondents.

7. The educational qualifications of respondents, with undergraduates being the largest

group at 60.9%, followed by graduates at 21.3%. Those with educational qualifications above

graduate level constitute 10.4%, while 7.4% are illiterate, indicating varying levels of

educational attainment within the surveyed population.

8. The distribution of family sizes among respondents, with the majority (59.4%) having

3-5 members. A smaller proportion has above 5 members (34.7%), and the smallest group has

below 3 members (5.9%).

9. The types of residence among respondents, indicating that the majority (95.5%) own

their residences. A small percentage (1.5%) rent their homes and another 3.0% live in

government quarters. This distribution suggests a predominantly homeowner demographic in the

surveyed population, highlighting potential differences in property ownership and living

arrangements that may affect socio-economic profiles and stability.

5.2 FINDINGS IN RELATION TO EMPLOYMENT

1. The responses regarding whether respondents' fathers are also artists, with 20.3%

answering "YES" and 79.7% responding "NO". This data suggests that a minority of respondents

80
have fathers who are artists, indicating potential influences on familial backgrounds and possibly

differing perspectives or experiences related to artistic pursuits within the surveyed population.

2. The responses regarding whether respondents' mothers are also artists, with 10.4%

answering "YES" and 89.6% responding "NO". This indicates that a minority of respondents

have fathers who are artists, suggesting potential influences on family background and possibly

differing experiences or perspectives related to artistic endeavors within the surveyed population.

3. The responses regarding whether respondents have other artists in their family, with

30.2% answering "YES" and 69.8% responding "NO". This suggests a significant minority have

other family members who are artists, influencing familial dynamics and potentially reflecting on

cultural or artistic influences within the surveyed population.

4. Out of the 202 respondents, that 99.5% of respondents are professionally educated or

trained, while only 0.5% are not. This indicates a highly educated respondent base, which is

crucial for understanding the qualifications and expertise of the surveyed population in the

context of the study or survey.

5. As with the types of art practiced by respondents, the highest frequency in 'others' at

39.1%, potentially encompassing a variety of artistic disciplines. Dance follows at 30.2%, music

at 14.4%, theatre at 12.4%, and fine art at 4.0%. This diversity reflects the varied artistic interests

and practices within the surveyed population.

6. The distribution of years of experience as artists among respondents, showcasing a

diverse range of experience levels. The most common years of experience are 30.00 years

81
(13.4%), followed by 15.00 years (4.5%) and 20.00 years (5.9%). This indicates varied expertise

and tenure within the artistic community surveyed.

7. The nature of performance among respondents, with 96.0% engaging in full-time

artistic endeavors and 4.0% participating part-time. This distribution highlights a predominantly

full-time commitment to artistic pursuits within the surveyed population, indicating varying

levels of dedication and possibly influencing their professional and personal lifestyles.

8. The involvement of respondents as paid performers, with 91.6% classified as

experienced artists. Smaller percentages include new artists (3.5%), nascent artists (2.5%), and

inactive artists (2.5%). This distribution highlights a predominantly experienced performer base,

indicating a majority with substantial professional engagement in their artistic careers within the

surveyed population.

9. The performance coverage of respondents, with the majority performing at national

levels (41.1%) and inter-district levels (36.6%). A significant proportion also engages in inter-

national performances (20.8%), while a small percentage performs locally (1.5%). This

distribution showcases varied geographical reach and professional exposure among the surveyed

artists.

10. Out of 202 respondents 16.3% of respondents are also employed elsewhere apart

from being artists, while 83.7% are not. This suggests that a minority of artists in the surveyed

population have additional employment, potentially influencing their income sources and work-

life balance alongside their artistic pursuits.

82
 11. The respondents' likelihood of choosing an artist's career over a wage/salary job. The

majority find it very unlikely (41.1%) or unlikely (24.8%) to prioritize being an artist over stable

employment. A smaller proportion are somewhat likely (8.4%), indicating varied perspectives on

the feasibility and preference for artistic careers versus traditional jobs among the surveyed

population.

5.3 FINDINGS IN RELATION TO ECONOMIC PROFILE

1. The annual income distribution of respondents, with the majority (76.2%) earning

between ₹100,001 and ₹500,000. A smaller proportion earn less than ₹100,000 (17.3%), while

3.0% fall into the ₹500,001 - ₹1,000,000 bracket and 3.5% earn above ₹1,000,000 annually. This

showcases varied income levels among artists surveyed.

2. The monthly expenditure of respondents, showing that nearly half (49.0%) spend

above ₹20,000 per month. About a quarter (26.2%) spends between ₹10,001 and ₹15,000, while

24.8% spend less than ₹10,000 monthly. This distribution reflects varying spending habits and

financial commitments among the surveyed population.

3. The annual savings of respondents, indicating that a significant portion (40.6%) have

no savings. About 46.0% save less than ₹10,000 annually, while smaller percentages save

between ₹10,001 and ₹15,000 (5.9%) and above ₹20,000 (7.4%). This distribution underscores

varying financial security and savings practices among the surveyed population.

4. The indebtedness of respondents, with 52.0% borrowing less than ₹5,000, and 34.2%

borrowing between ₹5,001 and ₹10,000. Smaller proportions owe between ₹10,001 and ₹15,000

83
(8.9%), and above ₹15,001 (5.0%). This distribution reveals varied levels of financial borrowing

among the surveyed population, reflecting different financial needs and conditions.

5. The respondents' primary reasons for opening a bank account, with savings being the

most common motive at 95.0%. A small percentage opened accounts to obtain loans (2.5%), for

jewel mortgage purposes (0.5%), or other reasons (2.0%). This distribution highlights savings as

the predominant motivation for banking among the surveyed population.

6. The respondents' working time schedules, revealing that 65.8% work both day and

night. A smaller proportion work during the day only (8.4%) or at night only (2.0%).

Additionally, 23.8% have flexible schedules, working anytime. This distribution underscores

varied work patterns and flexibility among the surveyed population.

7. The availability of work throughout the year among respondents, with 23.8%

confirming consistent work availability and 76.2% reporting its absence. This suggests

significant variability in employment continuity within the surveyed population, reflecting

potential challenges or seasonal patterns affecting job opportunities.

8. The types of events or programs where respondents have performed, with marriages

being the most common at 34.2%, followed closely by festivals at 33.2%. Other events,

categorized as 'Others', account for 32.7%. This distribution highlights the diverse settings in

which artists in the surveyed population showcase their talents.

9. The events generating the most income for respondents, with festivals leading at

31.7%, followed closely by 'Others' at 38.6%. Marriages contribute 28.7% to income, while

84
death ceremonies constitute a smaller portion at 1.0%. This distribution indicates varied income

sources from different events among the surveyed population of artists.

10. The events generating the lowest income for respondents, with death ceremonies

being the least lucrative at 32.2%. Festivals and marriages contribute minimally at 2.0% and

2.5%, respectively. 'Others' represent the largest category, generating the lowest income for

63.4% of artists surveyed. This distribution underscores varied financial returns across different

event types.

11. With regarding to questions on how respondents meet their family expenses during

non-working periods. The majority (55.9%) rely on past savings, while 18.3% borrow from Self-

Help Groups (SHGs), and 22.3% borrow from friends. Withdrawal of deposits from banks

accounts for 3.0%, and a minimal 0.5% obtain loans from money lenders.

12. With regarding to questions on how respondents spend their free time, with meeting

friends and relatives being the most common activity at 36.6%. Listening to audio and watching

TV follows closely at 33.2%, while reading or writing accounts for 24.8%. Visiting places of

worship is the least common activity, at 5.4%.

5.4 FINDINGS IN RELATION TO EMPLOYABILITY

[Link] respondents' perceptions of artists' employment through arts in Manipur. The

majority (67.3%) believe it ranges from minimal to moderate impact, with 16.3% seeing it at

10% or less, and 51.0% estimating between 10-40%. Few respondents perceive a substantial

impact, with only 7.5% estimating over 50%.

2. The respondents' beliefs regarding the sustainability of artists as professionals in

Manipur. A majority (65.4%) perceive limited to moderate sustainability, with 17.8% estimating

85
it at 10% or less, and 24.8% between 10-30%. Only a minority (18.6%) see a substantial to very

great extent of sustainability, suggesting challenges in sustaining professional artistic activities.

5.5 SUGGESTIONS

The suggestions for future research based on the survey findings on the socio-economic

status and employability of artists in Manipur, several recommendations can be stated as follows:

Enhance Financial Support: Given the limited annual income for most artists, implementing

financial support systems such as grants or subsidies could help stabilize their income. Programs

could be introduced to assist artists with low earnings and improve their overall financial

security. Career Development and Training: Although 99.5% of respondents are professionally

educated, continued professional development and training opportunities could further enhance

their skills. Workshops, mentorship programs, and advanced training could be provided to help

artists improve their craft and adapt to evolving market demands. Increase Employment

Opportunities: With 76.2% facing irregular employment, creating more consistent and diverse

employment opportunities in the arts could help. Initiatives such as arts festivals, cultural events,

and collaborations with local businesses could increase job stability and [Link]

Savings and Financial Planning : Given that 40.6% of respondents have no savings and many

face debt, financial literacy programs could be beneficial. Workshops on savings, investments,

and debt management tailored for artists might improve their financial planning and stability.

Support Urban and Rural Artists Equally: As the majority of artists live in urban areas, efforts

should be made to ensure that rural artists also have access to similar resources and

opportunities. This could involve mobile workshops, online resources, and regional arts festivals.

86
Enhance Public Perception and Support for Arts: With a perception of minimal impact and

sustainability, raising awareness about the economic and cultural contributions of the arts could

help shift public opinion and garner greater support. Campaigns to highlight the value of artistic

professions could lead to increased funding and policy support. Strengthen Networking and

Community Building: Encouraging collaboration and networking among artists can create a

stronger support system. Establishing artist communities or associations can provide a platform

for sharing resources, opportunities, and mutual support. Diversify Event and Income Sources:

To reduce dependence on specific types of events that offer varying income levels, artists could

be encouraged to explore and engage in a broader range of events and performances. This

diversification can help stabilize their income.

5.6 CONCLUSION

The study was conducted to find out the socio economic status and the employability

process of artist in Manipur. As with the results of the socio demographic status profile of the

artists in Manipur, out of 202 survey respondents, a notable 52% are aged 46 and above,

indicating a skew towards older demographics which may shape age-related insights. The gender

distribution is relatively balanced with 51.5% male, 44.1% female, and 4.5% identifying as

'others', reflecting a diverse gender perspective. A majority, 63.9%, reside in urban areas, while

32.7% live in rural and 3.5% in semi-urban settings, suggesting urban-centric living conditions.

Marital status shows a predominance of married individuals at 81.2%, with unmarried

respondents at 18.8%, possibly affecting relationship-related insights. Religiously, Hindus make

up 71.8%, Sanamahism followers 19.8%, Christians 6.4%, and Muslims 2.0%, illustrating

religious diversity. Socially, 54% belong to Other Backward Classes (OBCs), 30.7% to the

General category, 8.4% to Scheduled Tribes (ST), and 6.9% to Scheduled Castes (SC), indicating

87
varied social backgrounds. Educationally, 60.9% are undergraduates, 21.3% graduates, 10.4%

hold advanced degrees, and 7.4% are illiterate, showing diverse educational levels. Family size

data reveals that 59.4% have 3-5 members, 34.7% have more than 5, and 5.9% have fewer than

3. Lastly, 95.5% of respondents own their homes, with only 1.5% renting and 3% in government

quarters, highlighting a predominantly homeowner demographic.

The survey reveals that only 20.3% of respondents have artist fathers, and 10.4%

have artist mothers, indicating that most artists do not have a familial background in the arts.

However, 30.2% of respondents do have other artists in their family, suggesting some familial

influence in their artistic pursuits. Almost all respondents (99.5%) are professionally educated or

trained, reflecting a highly qualified group. The types of art practiced vary, with the most

common being 'others' at 39.1%, followed by dance (30.2%), music (14.4%), theatre (12.4%),

and fine art (4.0%). Experience levels are diverse, with a significant number having 30 years

(13.4%), and others with 15 years (4.5%) and 20 years (5.9%) of experience. Most respondents

(96.0%) are full-time artists, and 91.6% are experienced performers. They perform nationally

(41.1%) and inter-districtly (36.6%), with some also participating in international performances

(20.8%). Only 16.3% of respondents have additional employment, and a majority (41.1%) find it

unlikely to choose an artistic career over a stable wage job, reflecting a preference for traditional

employment in contrast to artistic pursuits.

The annual income of the respondents shows that 76.2% earn between ₹100,001 and

₹500,000, with 17.3% earning less than ₹100,000, and smaller percentages earning ₹500,001-

₹1,000,000 (3.0%) or above ₹1,000,000 (3.5%). Monthly expenditures vary, with nearly half

(49.0%) spending over ₹20,000, 26.2% spending between ₹10,001 and ₹15,000, and 24.8%

spending less than ₹10,000. In terms of savings, 40.6% have none, 46.0% save less than ₹10,000

88
annually, and smaller groups save between ₹10,001-₹15,000 (5.9%) or above ₹20,000 (7.4%).

Regarding debt, 52.0% borrow less than ₹5,000, and 34.2% borrow between ₹5,001 and

₹10,000, with smaller percentages borrowing higher amounts.

Savings are the primary reason for opening bank accounts for 95.0% of respondents.

Work schedules are diverse: 65.8% work both day and night, 8.4% during the day only, 2.0% at

night only, and 23.8% have flexible schedules. While 23.8% have consistent work year-round,

76.2% face irregular employment. Artists perform mainly at marriages (34.2%), festivals

(33.2%), and other events (32.7%). Festivals generate the most income (31.7%), while death

ceremonies provide the least (1.0%). During non-working periods, 55.9% use past savings to

cover family expenses, 18.3% borrow from Self-Help Groups, and 22.3% from friends. Free time

is spent mostly meeting friends and relatives (36.6%) or watching TV/listening to audio (33.2%),

with visiting places of worship being least common (5.4%).

The survey reveals that most respondents (67.3%) view the employment impact of arts in

Manipur as minimal to moderate. Specifically, 16.3% estimate the impact at 10% or less, and

51.0% believe it ranges between 10-40%. Only 7.5% perceive a substantial impact, with

estimates exceeding 50%. This suggests a general consensus that the arts have a relatively

limited effect on employment within the region.

Regarding the sustainability of artists as professionals in Manipur, 65.4% of respondents

consider it limited to moderate. Within this group, 17.8% estimate sustainability at 10% or less,

and 24.8% between 10-30%. In contrast, only 18.6% perceive a substantial to very high level of

sustainability, indicating that many believe there are significant challenges to sustaining a career

in the arts. Overall, the responses highlight concerns about both the impact and long-term

viability of artistic professions in Manipur.

89
BIBILOGRAPHY
 BIBLIOGRAPHY

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Economics (pp. 69-75). Edward Elgar Publishing.

Bennett, D. (2009). Academy and the real world: Developing realistic notions of career in the
performing arts. Arts and Humanities in Higher Education, 8(3), 309-327.

Bille, T., & Jensen, S. (2018). Artistic education matters: Survival in the arts occupations.
European Societies, 20(3), 269-290.

Bridgstock, R. (2011). Skills for creative industries graduate success. Education + Training,
53(1), 9-26.

Cunningham, S. (2002). From cultural to creative industries: Theory, industry, and policy
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Florida, R. (2002). The Rise of the Creative Class: And How It's Transforming Work, Leisure,
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Gibson, C., & Klocker, N. (2005). The ‘cultural turn’ in Australian regional economic
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McRobbie, A. (2011). Re-thinking creative economy as radical social enterprise. Variant, 41, 32-
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Oakley, K. (2009). Art works: Cultural labour markets. In G. Evans & P. Shaw (Eds.), Creative
Cities, Cultural Clusters and Local Economic Development (pp. 52-69). Routledge.

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40(4), 391-411.

Throsby, D. (1994). The production and consumption of the arts: A view of cultural economics.
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490.

91
APPENDICES
Date & Place of Interview:_________________________ Interview Number:____
SOCIO-ECONOMIC STATUS AND EMPLOYABILITY PROCESS
OF ARTISTS IN MANIPUR

(The study is for academic purpose only. Your responses will be kept confidential.
Please respond as sincerely as possible. If you have any queries please feel free to ask.)

PART- A: SOCIO-DEMOGRAPHIC PROFILE

Q1. Name: ____________________________________________________________

Q2. Age Group (in yrs):

A. Below 25 B. 25 to 35 C. 36-45 D. 46 and Above

Q3. Gender:

A. Male B. Female C. Others

Q4. Residence location:

A. Rural B. Urban C. Semi-urban

Q5. Marital status:

A. Married B. Unmarried

Q6. Religion:

A. Hindu B. Muslim C. Christian D. Sanamahism

Q7. Category:

A. General B. ST C. OBC D. SC

Q8. Educational qualification:

A. Illiterate B. Undergraduate C. Graduate D. Above graduate

Q9. Family Size:

A. Below 3 members B. 3-5 members C. Above 5 members

Q10. Type of residence:

A. Rent B. Owned C. Government quarter

Page 1 of 4
PART- B: EMPLOYMENT

Q1. Is your father an artist too: a) Yes b) No

Q2. Is your mother an artist too: a) Yes b) No
Q3. Any other artist in your family member: a) Yes b) No
If Yes, Please specify how many: _________________________________________
[Link] you professionally Educated/trained: a) Yes b) No
Q5. Type of Art:
a) Dance: [ i) Folk ii) Classical iii) Modern iv)Others: ________]
b) Music: [ i) Folk ii) Classical iii) Modern iv)Others: _____]
c) Theatre: [ i) On-screen actor ii) Arena theatre’s actor iii) End stage
theatre’s actor iv) Others: ______________________________]
d) Fine Art [ i) Painting ii) Sculpture iii) Graphic iv) Applied]
e) Others (Makeup Artists/Thang-Ta,/ Sankirtan etc): ________________________
Q6. Years of experience as an artist: _______________________
Q7. Nature of performance: i) Full Time ii) Part Time
Q8. Please tick one of the following that best describes you in involvement as a paid
performer:
a) Inactive Artist b) Nascent Artist (less than 1 year)
c) New Artist (1-3 yrs.) d) Experienced Artist (more than 3 yrs.)
*Note. Involvement refers to the point in time when you receive their first payment for
your performance.
Q9. Performance Coverage:
a) Local b) Inter-district c) National d) International
Q.10. Apart from being an artist are you also an employee elsewhere?
a) Yes b) No
If yes, please specify: ________________________________________________

Q.11. How likely is it that you will choose an Artist over a wage /salary job?
Very Unlikely Somewhat Neutral Somewhat Likely Very likely
unlikely unlikely likely

Page 2 of 4
PART- C: ECONOMIC PROFILE
Q1. Annual Income (approximately):
a) Less than ₹100000 b) ₹100001-₹500000
c) ₹500001-₹100000 d) Above ₹10, 00,000
Q2. Monthly expenditure in Rs:
a) Less than ₹10000 b) ₹10001-₹15000
c) ₹ 15001 - ₹20000 d) Above ₹20000
Q3. Annual Savings:
a) No savings b) Less than Rs. 10000
c) ₹10000- ₹15000 d) Above ₹20000
Q4. Indebtedness (money borrowed from other people):
a) Less than ₹ 5000 b) ₹5001- ₹10000
c) ₹ 10001- ₹15000 d) Above ₹15000
Q5. What is your primary reason for opening bank account:
a) Savings b) To repay the loan c) To get the loan
d) Jewel Mortgage e) Other purpose
Q6. What is your working time schedule?
a) Day only b) Night only c) Both day and night d) Anytime
Q7. Availability of work through the year:
a) Yes b) No
Q8. Types of events (programme) where you performed:
a) Marriage b) Festivals c) Death ceremony d) Others
Q9. Name the events which generates the most income for you:
a) Marriage b) Festivals c) Death ceremony d) Others
Q10. Name the events which generates the lowest income for you:
a) Marriage b) Festivals c) Death ceremony d) Others
Q12. Ways to meet your family expenses during non-working periods:
a) Past savings b) Loan From SHGs c) Borrowing from friends
d) Loan from money lenders e) Withdrawal of deposits from banks
Q13. How do you spend your free time?
a) Reading or writing b) Meeting friends and relatives
c) Listening to audio and watching TV d)Visiting places of worship

Page 3 of 4
PART- D: EMPLOYABILITY

Q1. To what extent do you think that Artists are employed through Arts in Manipur? (Please
tick)

To no extent (About 10% or less)

To a little extent (About 10-30%)

To some extent (About 30 -40%)

To a moderate extent (About 50%)

To a good extent (About 60-70%)

To a great extent (About 70-90%)

To a very great extent (About 90% or more)

Q2. To what extent do you believe that Artists can sustainably survive as professional Artists
activities in Manipur? (Please tick).

To no extent (About 10% or less)

To a little extent (About 10-30%)

To some extent (About 30 -40%)

To a moderate extent (About 50%)

To a good extent (About 60-70%)

To a great extent (About 70-90%)

To a very great extent (About 90% or more)

Please feel free to give any suggestions/comment(s) on Art/Artists in Manipur:

_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________

Thank You!

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