History And Social Status Of Devadasi Tradition In English

History And Social Status Of Devadasi Tradition In English

Devadasi Tradition

• In India, a devadasi was a female performer dedicated to the worship and service of a deity or temple for the rest of her life.
• The dedication took place in a ceremony somewhat similar to a wedding ceremony. In addition to taking care of the temple and performing rituals, these women also learned and practiced classical Indian artistic traditions such as Bharatanatyam, Mohiniattam, Kuchipudi and Odissi.
• Their social status was high as dance and music were an essential part of temple worship.
• The dedication took place in a ceremony somewhat similar to a wedding ceremony. In addition to taking care of the temple and performing rituals, these women also learned and practiced classical Indian artistic traditions such as Bharatanatyam, Mohiniattam, Kuchipudi and Odissi.
• Their social status was high as dance and music were an essential part of temple worship.

• Between the sixth and thirteenth centuries, devadasis had a high position and respect in society and were exceptionally prosperous because they were seen as patrons of the arts.
• During this period the royal patrons provided him with gifts of land, property and jewellery. After becoming Devadasis, women used to spend their time in religious rites, rituals and learning dance.
• Devadasis were expected to lead a life of celibacy, however, there have been instances of exceptions.
• The devadasi practice, though still in rudimentary form, still exists, but with social activism, state governments of different states have outlawed the practice at different times, such as the Andhra Pradesh Devadasi Act, 1988, or the Madras Devadasi Act. Act 1947.

History

• This practice became important when one of the great queens of the Somavanshi dynasty decided that in order to honor the deities, some women trained in classical dance should be married to the deities.
• The beginning of the practice was one that was treated with great respect because the women who were chosen to become devadasis were subject to two great honors: first, because they were literally married to the deity, they They were to be treated as if they were meant to be Devadasis.
• Goddess Lakshmi herself, and secondarily, women, were honored because they were “regarded as those noble women who could control natural human impulses, their five senses and submit completely to God.”
• As married to an immortal, women were considered auspicious. Their main duties, life without marriage, were taking care of a temple and learning classical Indian dance, usually Bharatanatyam, which they performed in temple rituals.
• Patrons were highly regarded for their ability to financially sponsor the devadasis.
• According to temple worship rules, or Agamas, dance and music are essential aspects of daily worship for the deities of the temple.
• Devadasis were also known as Jogini, Venkatasani, Nellis, Murali and Theradian.

Ancient And Medieval Times

• The exact origins of the Devadasi tradition are obscure because of its early beginnings. The first known mention of a devadasi is of a girl named Amrapali, who was declared a Nagarvadhu by the king during the time of the Buddha.
• The tradition of women artists in temples is said to have developed during the 3rd century CE.
• A reference to such dancers is found in the Meghaduta of the classical poet and Sanskrit writer Kalidasa of the Gupta Empire.
• The first confirmed reference to devadasis was during the Keshari dynasty in the 6th century CE in South India.
• Other sources include the works of authors such as Hiuen Tsang, a Chinese traveller, and Kalhana, a Kashmiri historian.
• An inscription from the 11th century suggests that there were 400 devadasis attached to the Tanjore temple in South India.
• Similarly, the Someshwar temple in Gujarat had 500 devadasis. Between the 6th and 13th centuries, devadasis had a high position and respect in society and were exceptionally affluent as they were seen as patrons of the arts.
• During this period the royal patrons provided him with gifts of land, property and jewellery.
• Devadasis and the Chola Empire in South India
• Devadasis both male and female were dedicated to the service of a temple and its deity. The Chola Empire developed a tradition of employed music and dance during temple festivals.
• Inscriptions suggest that the Brihadeeswarar Temple, Thanjavur, was maintained by 400 dancers with their gurus and orchestra, with generous endowments including daily distribution of oil, turmeric, betel nuts and nuts.
• Nattuvanar was the male companion accompanying the devadasis during their performances. The nattuvanars conducted the orchestra while the devadasis served them.
• As the Chola Empire expanded in wealth and size, more temples were built across the country.
• Soon other emperors started imitating the Chola Empire and adopted their own devadasi system.

Natavalolu

• A community from Karnataka living in Andhra Pradesh, the Natavalolu are also known as Nattuvaru, Bogam, Bhogam and Kalavantulu.
• In the Krishna district of Tenali, there was a practice of giving one girl to each family in the devadasi system. These dancers were known as Jakkula.
• As part of a social reform, a written agreement was made to formally end the practice.
• Adapa was the attendant of the women of the families of the zamindars. Adapapas led a life of prostitution as they were not allowed to marry.
• In some places like Krishna and Godavari districts, Adappa was known as Khasa or Khasavandalu.
• The Natavalolu/Kalavant were a community distributed throughout the state of Andhra Pradesh. He was also known as Devadasi, Bogamavallu, Ganikulu and Sani. Kalavantulu means one who is engaged in arts.

Mahari Devdasi of Orissa

• In the eastern state of Odisha, the devadasis were colloquially known as the maharishis of the Jagannath temple complex.
• Devadasi is the term used for women who dance inside the temple.
• Devadasi, or mahari, means “those noble women who can control natural human impulses, their five senses and surrender themselves completely to God.” Mahari means great woman means woman of God.
• Sri Chaitanyadeva defined devadasis as sevayats who served the Lord through dance and music.
• Pankaj Charan Das, the oldest guru of Odissi classical dance and who comes from a Mahari family, defines Mahari as Maha Ripu-ari, one who conquers the five main Ripu-enemies.
• Unlike other parts of India, Odia Mahari devadasis were never sexually promiscuous and were expected to remain celibate when they became devadasis.
• The Orissa Gazette of 1956 lists nine devadasis and eleven temple musicians.
• By 1980, only four devadasis were left – Harapriya, Kokilaprabha, Parashamani and Sashimani. As of 1998, only Sashimani and Parashamani were still alive.

Social Status

• A devadasi was considered free from widowhood and was called Akhand Saubhagyavati.
• Since she was married to a celestial deity, she was considered one of the especially welcome guests at weddings and considered a bringer of good fortune.
• At weddings, people were given a string of tali (marriage lock) made by them, into which some of the pearls from their own neck were threaded.
• The presence of a Devadasi on any religious occasion in the household of a Dwija member was considered sacred and was treated with due respect, and presented with gifts.