This paper examines the work of Tamil lyricist and performer Arivu (Arivarasu Kalainesan) as a case study in anti-caste artivism. Through The Casteless Collective, the Chennai ensemble founded by Pa. Ranjith and Tenma in 2017, Arivu reclaims gaana, a percussive folk genre rooted in the funerary and street performance of North Chennai's Dalit communities, and turns its stigma into political address. Jose and Yeldho place Arivu in a lineage of anti-caste cultural workers running from Phule and Ghogre to Gaddar, artists who recast forms marked as denigration by savarna sensibility into emblems of pride and protest. Read alongside Kalyani's account of the sonic anti-caste counterpublic in North India, this lineage frames the paper's central claim: that Arivu and The Casteless Collective extend the counterpublic into the contemporary Tamil popular sphere, where commercial circulation both amplifies the politics of the form and complicates them. The paper analyses "Jai Bhim Anthem" and "Quota Song," the album Therukural (2019), and the viral single "Enjoy Enjaami" (2021), attending to lyric, instrumentation and vocal register. It argues that artivism here is not only protest content but an infrastructure for assembling publics, and that gaana's funerary lineage supplies a specific expressive resource: a music of mourning turned toward the re-narration of caste history through embodied performance.