ROLL NUMBER : B8/2021/15

NAME OF THE STUDENT : RANI CHRISTOPHER

NAME OF THE EXAM : BPA VIII SEMESTER

(BHARATANATYAM)
NAME OF THE SUBJECT : PROJECT
 TOPIC

ROLE OF DEVADASIS

PARAMBARA AND DETAILED

INFORMATION ABOUT THAT

ERA
INTRODUCTION OF BHARATNATYAM

Bharatnatyam is an ancient classical dance form of Tamilnadu

That has been in existence for over 2000 years, The word
Bharatnatyam can be broken down to

‘ Bhavam’ which means Expression

‘Ragam’ which means Music

‘Rhythm ‘which means ‘Talalm’

‘Natyam’ which means Dance.

The dance that society now calls Bharatnatyam was actually

reffered to as Sadir Natyam during ancient times. Sadir refers
to dancing in the royal courts, which was the original purpose
of bharatnatyam was used as a form of entertainment for rulers
in India which people , known as Devadasis, or temple dancers,
would dance for the kings. The temple dancers were to extent,
servents to the king and devoted their lifetime to both learn
and dance on a daily basis for the royals of the kingdom.

DETAILED STUDY OF DEVADASIS

In India, in the past ,the Devadasis were a very important

functionary of Hindu society. The functions of Devadasis were
very part of religious services in a long history of temple
institution. These practices originated and developed during
the early medieval period. There are a large number of
inscriptions which offer extensive information regarding the
existence of institution of the devadasis . Several south Indian
inscriptions prove the association of dancing girls with temple
service from about the 9the Century C.E.

It is believed that the class of temble of dancing girls came

about due to expansion of the temple system and growth of
the bhakti movement. Traditional forms borne out of divinity,
were performed for the divine in formal settings of temples.
Dancers thus dedicated primarily for propitiating Gods –
devas- were dedicated to god, hence called devadasis. These
were women of complete knowledge in sahitya, sangeetha and
shatsra and knew many art forms pertaining to the alankara

shastra and hence were complete artistes. They danced in

temples on special occasions, worshipping and celebrating god.

The temple artistes had different duties

Rajadasis danced before the sacred before the sacred flagstaff.

Alankara dasis danced at the social functions.

Deva dasis danced regularly in the temples .

Swadasis danced on Special occasion.

Pushpanjali dasis danced while flowers were offered to the

diety.

Others fanned the image of god , lit the lamps , performing

many of the duties of the priests.

DEVADASIS AND MUSICIANS

Musicians, who accompanied them in the main hall, conducting
the performance with cymbals to maintain rhythm and overall
presentation, were called nattuvanars. Belonging to the isai
vellalar community , they were the fuicrum of the group and as

the head , maintained structure and substances. We learn from

inscriptions that a thousand years ago nattuvanars used to train
the chola princess kuntavai. During the time when dance was
performed in the temples by devadasis, the music instrument
nadaswaram and tavil were used and to this day, they were
played at religious and auspicious ceremonies in South India.

The first reference to dancing girls in temples is found in

Kalidasa’s MEGHDHOOTAM. Most of the puranas contain
reference to dancing girls , so most probably the custom of
dedicating girls to temples was common during the century.
Puranas even recommended enlisting the services of singing
girls for worship at temples.
Devadasis were trained artistes , so part from their temple
duties they also performed dance and music at private
functions like marriages. Bharatnatyam (developed from sadir

dance, chinna melam and dasi attam) The contribution of

devadasis to music is also significant. Some famous singers like
M.S. Subhalakshmi , Lata mangeshkar and her sister Asha
bhonsale trace their lineage to the devadasi community

DIFFERENT NAMES AND PERFORMANCES

In Tamil nadu, those who danced in shiva temples were called

devadasis. Local king often invited temple dancers to dance in
their courts, the occurrence of which created a new category of
dancers, rajadasis, and modified the technique and themes of
the recitals. Those who gave dance performances in festivals
elsewhere came to known as sevadasis. A devadsi had to satisfy
her own soul while she danced unwatched and offered herself
to the god, but the rajadasi’s dance was meant to be an
entertainment.

In south India particularly in Tamilakam the earliest inscription

to mention a devadasi is as late as the 8th century C.E The earlist
literary sources to mention the association of devadasis with
temples is in the hymns of Tamil Nayanar Campantar in 7th

century C.E.under the patronage of the pallavas and the

Pandyas.

The sources for the origin of the custom largely based on the
literary records of ancient tamils, particularly Tolkappiyam and
Chilappatikaram. The practice of ritual dancing practiced by
ancient .

Tamil tribe such as the Maravar hunters, and the gradual

transformation of it under the influence of the brahamancial
religion seems to point towards the propable inspiration for
the system temple dancing . In sangam literature the dancing
women and prostitudes are frequently mentioned. But there
was no evidence of temple women. During early medieval
period onwards the devotional literature Alvars and nayanars
from 6 th to 9th centuries C.E refered to women as celestial and
human, offering worshop to temples and to singing and
dancing . In an effort to control the spread of vineral desease
then British government mandated that all prostitudes register

themselves.Devadasis were required to register, as they were

thought to be prostitudes by the british government.

DEVADASIS IN SOUTH INDIA AND THE CHOLA EMPIRE

The Chola empire supported the Devadasi system; in Tamil

Devadasi were known as devar adigalar ‘Dev’ means divine
‘adigalar’ means Servent that means servants of the devine .
Both male and female Devadasi were dedicated to the service
of temple and its diety. The chola empire developed the
tradition of music and dance employed during temple festivals.
Devadasis reached height of glory under chola kings between
9th and 12th centuries AD. There were 430 dancers in the
Thanjaur temple. Their names and addresses have been
recorded in the inscriptions. They were paid out of a corpus
fund. During the five pujas in the temple , all 430 dancers
danced and worshipped lord siva accompanied by 150
musicians.

Some devadasis were named after saints, while others were

given the title Talaikkoli to denote that they were experts in
dance. There were even instances of kings being so pleased
with their dance so as to name a village after a devadasi.

Innumerable inscriptions from Chola times tell us of the

philanthropy of devadasis. They erected new shines, rebuilt old
and crumbling ones, plated some of the roofs with copper, gold
and brass. They commissioned master sculptures to make gold
and bronze image gods, goddesses and saints to be installed in
temples. Devadasis who had specific lands to ensure these
celebrations. The weather devadasis donated jewellery, lamps,
plates and bells made of solid gold for temple service.

When maharaja Sayaji Rao married a princess from Thanjaur in

1883, two devadasis came as a part of the dowry to the Baroda
darbar along with a full troupe of musicians.

Since Devadasis were dedicted to temples they were

understood to be married to god and hence could not marry
ordinary human beings. If they wished an alliance to continue
their art, they could have liaison with either with the temple
priest represented of god on art, or the temple patron/ local
zaminder since he too paid for and mainted all services to god.

Male offsprings generally born out of such union were trained

in music, hence became musicians and nattuvanars and female
offsprings were trained in dance. Thus the twin systemof
devadasi and nattuvanars contuined under patronage temples
and local zamindars. Their world was the temple and after
entertaining gods, they entertained the patron and other
important dignitaries.

In intial years of this PARAMPARA the women wre of great

repute and intellect . They were treated as SUMANGALIalways
married, hence auspicious, since they were treated like quasi-
royalty and put on pedestal by the society, for their learning

and wisdom. Many famous temples had famous dancers

kanchipuram were famous temples of learning and had leading
practioners for dance and music.

The term Devadasis is of Sanskrit origin. Though it was

commonly used the institution and the women in profession
were known locally by different terms. The rise and fall in status
of devadasis can be seen to be running parallel to the rise and
fall of hindu temples. Invadeers from west Asia attained their
first victory in India at the beginning of the second millennium
CE. The destruction of temples by invaders started from
northwestern borders of the country and spread through the
whole the country. Thetreafter the status of the temples fell
very quickly in North India slowly in South india. The temples
became poorer and lost their patron kings, and in some cases
were destroyed, and the devadasis were forced into life of
poverty.

Towards the 18th century, patronage to temples started to

decline due to colonial rule and many small temples could not
afford to maintain artists of excellence. Zaminderi system was
also abolished and further marked to death knell of this
tradition because in absence of patronage, artistic activity
suffered slowly, devadasis fell on bad days and had to seek
other traders to survive and some also took to the oldest
profession in the world, thus gaining ill repute not only for
themselves but their art. Soon, the entire devadasi system

came under legal disputes owing to colonial, especially British

prudery.

In later period the devadasis were equated with prostitutes

and their children were again given away to temples. Stigma
was attached to a particular caste of devadasis and they were
seen as prostitute. After a certain age thye were left to fend
from themselves.

As the Devadasi were equated with prostitutes, they also

became associated with the spread of veneral disease syphilis
in India. During the british colonialperiod many british soldiers
were exposed to veneral diseases in brothels, and Devadasis
were misunderstood to be responsible. In an effort to control
the spread of veneral diseases the British Government
mandated that all prostitutes register themselves. Devadasis
were required to register, as they were thought to be by the
british Government

DEVADASI PRACTICES

From the late medieval period until 1910 the Pottukattu or tali-
tying dedication ceremony, was a widely advertised community
event requiring the full co-operation of the local religious
authorities. It intiated a young girl in to the Devadasi
profession and was performed in the temple by a priest. In the
hindu tradition marriage is viewed as the only religious intiation
(diksha) permissible to women. Thus, the dedication was
sympolic marriage of the pubescent girl to the temple deity.

SOCIAL STATUS

Traditionally , no stigma was attached to a Devadasi or to her

children, and other members of their caste received them on
terms of equality. The children of a Devadasi were considered
legitimate and Devadasis themselves were outwardly
indistinguishable from married of their own community.
A Devadasi was believed to be immune from widowhood and
was called AKHANDA SAUBHAGYAVATI(women never
separated from good fortune) Since she was wedded to divine
deity. She was supposed to be one of the especially welcome
guests at weddings and was regarded as a bearer of good
fortune. At weddings people would receive a string of the

TALI(wedding lock) prepared by her, threaded with a few beads

from her own NECKLACE . The presence of a Devadasi on any
religious occasion in the house of a dvija member was regardes
as sacred and she was treated with due respect and was
presented gifts.

LEGISLATIVE INTIATIVE

The first legal intiative to outlaw the Devadasi system dates

back to the 1934 Bombay Devadasi Protection act. This act
pertained to the Bombay province as it existed in the British raj.
The Bombay Devadasi protection act made dedication of
women illegal , whether consensual or not. In 1947, the year of
Indian independence, the Madras presidency. The Devadasi
system was formally outlawed in all of Indian in 1988, although
some Devadasis still practice the system illegally.

EVALUATION OF BHARATNATYAM

Rukmini devi Arundale, a theosophist trained in ballet, sought

to re- appropriate the Devadasi dance traditions in a context
perceived respectably by Indian society which had by then
adopted the western morales. She altered the dance repertoire
to exclude pieces perceived as erotic in their description of a
deity. She also systematized the dance in a way that
incorporated the extension and use of space associated with
dance traditions such as ballet. The product of this

transformation was a new version of Bharatnatyam is

commonly seen as a very ancient dance tradition associated
with the Natyasastra. However, Bharatnatyam as it is
performed and known today is actually a product of Arundale’s
recent endeavour to remove the Devadasi community and
bring it into the upper caste performance milieu. She also
adopted lot of technical element of ballet into the modified
form of Bharatnatyam.

The contribution of Rukmini Devi Arundale , founder of

kalakshetra, the first institution to teach bharatnatyam, and the
first Brahmin women to dance publicly, is hailed for having
given aesthetic direction to modern day bharatnatyam
established it unquestionably as a spiritually evolved art.
However, the wave she began also had other negative, effects
for the hereditary practitioners.

FAMOUS BHRATNATYAM DANCERS

The modern bharatnatyam was given the formal shape by these

four Nattuvanars namely Chinnayya, Ponnayya, Shivandam ,

Vadivelu(Tanjore quartet brothers). Fresh composition were

also brought in the dance items.

MEENAKSHI SUNDRAM PILLAI, BALASARASWATI, RUKMINI DEVI

MRINALINI SARABHAI.

THE NEW GENERATION ROOT OF BHARATNATYAM

With so many artists not only in India but from around the
world have come together to keep the legacy of Bharatnatyam
going forward for next generations as they know how culturally
rooted this dance forms is with a very interesting history.21 st
century has been by far an interesting time for Bharatanatyam
with so many young talents around world spreading the love
for Bharatnatyam and creating awareness about it along with
encouraging others to join their teams.