Divinity in our country is attributed to many things. From books that symbolise vidya (knowledge) to statues cast in bronze, as a society, we find traces of the divine in objects both ordinary and extraordinary. This reverence often extends beyond things to people and communities who are believed to embody a sacred connection. One such community is the Jogappas — a transgender and gender-fluid community primarily found across Karnataka, Maharashtra, and Telangana.

An inherently musical community, the Jogappas carry forward a centuries-old tradition of singing devotional songs in praise of the goddess Yellamma, performing in both Kannada and Marathi. Draped in vibrant Ilkal sarees indigenous to the region, adorned with large vermilion bindis, pearl necklaces known as muthu, and distinctive nose rings, they are instantly recognisable. Carrying folk instruments such as the chowdiki and the ektara, they travel from village to village singing hymns and performing Jogati Nritya, a devotional dance form deeply intertwined with their faith.

Many members of the community dedicate themselves to Yellamma through a ritual known as diksha, after which they are considered spiritually married to the goddess. This dedication often offers a framework through which individuals who do not conform to traditional gender norms can find a place within society. Historically, the community occupied a respected social position. Their blessings were sought at weddings, childbirth ceremonies, harvest festivals, and other important occasions. Villagers believed that Jogappas possessed a unique spiritual power derived from their devotion to Yellamma, and their songs served as a medium through which stories, myths, and cultural memory were passed down through generations. 

Yet, like many communities that exist outside dominant social norms, the Jogappas have faced increasing marginalisation. With colonisation and changing social attitudes, along with the decline of patronage systems, the traditional roles that once sustained them were eroded. Despite their sacred status in ritual contexts, many Jogappas continue to encounter discrimination because of their gender identity. Access to education, healthcare, employment, and housing remains a challenge for many members of the community.

This contradiction holds a mirror up to contemporary Indian society. A community may be celebrated as divine in cultural memory while simultaneously being excluded from everyday social and economic life. The Jogappas occupy this complex space. Their presence forces us to confront difficult questions about how society treats those who do not fit neatly into conventional categories of gender.

In recent years, however, there has been growing interest in preserving and celebrating Jogappa traditions. Scholars, filmmakers, musicians, and activists have documented their songs and performances, recognising them as an invaluable part of India's cultural heritage. Contemporary artists like TM Krishna have also collaborated with Jogappa performers, introducing their music to new audiences while ensuring that the community remains active participants in shaping how their stories are told.

The Jogappas remind us that gender variance is not a modern phenomenon imported from elsewhere. It has long existed within the cultural and religious fabric of the subcontinent. Their history demonstrates that Indian traditions have often been far more nuanced and expansive than contemporary narratives suggest.

As Pride Month fills our feeds with rainbow flags and conversations about visibility, it is also an opportunity to turn inward and examine what pride has always looked like in the Indian context. Long before the language of LGBTQIA+ rights entered mainstream discourse, communities like the Jogappas were an integral part of the cultural fabric of the subcontinent. Their stories remind us that gender diversity is not a foreign concept or a modern trend, but a lived reality that has persisted across centuries of Indian history. Pride, then, is not only about celebrating progress or looking toward the future; it is also about reclaiming histories that have been forgotten, marginalised, or erased. 

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