Before the revolution, authorities considered Afro-Cuban religious music a lesser culture; religious drummers were persecuted and instruments were confiscated. After the revolution, Afro-Cuban music could be practiced more openly, but authorities were suspicious due to its relation to Afro-Cuban religions. The first revolutionary institution created for the performing "national folklore" (Afro-Cuban artistic traditions) was "Conjunto Folklórico Nacional". Despite official institutional support from the Castro's regime, Afro-Cuban music was treated mostly with ambivalence throughout the second half of the 20th century. Audiences looked down on traditional and religious Afro-Cuban music as primitive and anti-revolutionary, music educators continued pre-revolutionary indifference toward afro-Cuban folklore, and the religious nature of Afro-Cuban music led to criticisms of the government's whitening and de-Africanization of the music. Religious concerts declined, musical instruments related to Santería were confiscated and destroyed, afro-Cuban celebrations were banned outright, and strict limits were placed on the quantity of religious music heard on the radio and television. These attitudes softened in the 1980s and 1970s as the afro-Cuban community began to fuse religious elements into their music. In the 1990s, Afro-Cuban music became a mainstay of Cuba's tourism economy. Members of religious groups earned their living by performing and teaching ritual drumming, song, and dance, to tourists visiting the country.