Rural people of Purulia in West Bengal, Ranchi and Hazaribagh in Jharkhand and Mayurbhanj in Orissa enjoy and appreciate Jhumur song along with a particular dance popularly called Nachni. Its composers, performers and audience all are rural folk. Historically Nachni is an ancient practice, just like Devdasi and other folk forms. Like classical dance and music, Nachni was originated in King’s court. Here a particular existence or profession came into being—the Rasik, who taught and mentored Nachnis and lived by their earning. The love story of Radha Krishna is the most reliable and recurring theme for the common audience in the villages. However, Jhumur songs, which Nachnis used in the functions, usually do not contain theoretical deliberations. In sum, they all are marginal women of our society, and outcast and untouchable. But they are no longer outcast to the connoisseurs of folk art. It is painfully true that these connoisseurs never protest the social discrimination against Nachnis. After death Nachni is dragged by row to dispose off far away from the village (2006). It is to redeem her from some unknown sins. This is the perspective of their art and life—a sought-after entertainer yet socially untouchable being.