Introduction
In ancient eastern and southern India, women who dedicate themselves to the service of the patron god of the great temples were known as “Devadasis”. Devadasis were young women involved in performing rituals of the temples, and considered married to the deity. These young women performed classical art forms, such as Bharatanatyam (formerly known as ‘Sadir Natyam’), Odissi, Kuchipudi, Mohiniyattam, sacred devotional music, classical vocal pieces, and temple hymns. They originally held an elite place in the society, but as the years passed by with the rise of Mughal Raj and Colonial Rule, the performance of these art forms by Devadasis was reckoned equivalent to prostitution, thereby deteriorating their status in the society. Further, the dismantlement of the temples led to severe financial troubles, pressuring the Devadasis to divulge into prostitution in actuality. The system came to be known as the “Devadasis System” which was prominently followed in various princely states such as Madras, Garhjats, and Bombay. The article delves into the laws like Bombay Devadasi Protection Act 1934, Madras Devadasis Act 1947, Karnataka Devadasis Act 1982, and how they liberated these misunderstood women from the devious system.
History: The Tale of Devotional Dancers
The references of female temple performers date back to the inscriptions from the 6th century and early texts like Silappadikaram. But, who were these performers? They were highly respected young women of the society known as Devadasis, also called as “Servants of the Divine”, and were considered to be married to God. They were closely involved in matters related to the temple which included, taking care of the temple and helping in rituals. Apart from this, they were also exceptionally educated in literature, complex arts and classical dance forms. Dance and music being very important means of honouring the God, the dance form of Bharatanatyam, formerly known as Sadir Natyam was invented by Devadasis, and became popularised as ‘Dasi-attam’ at that time. It was performed in temples as a devotion to God along with Odissi, Kuchipudi and Mohiniattam in various parts of Southern India. The most important validation for a Devadasi who performed in temples was being formally married to the deity and dedicated to the temple, consequently holding a higher rank in qualifications than their mere ability to dance. As they were married to the deity, they owed allegiance to no man except him, and were said to be very auspicious. They also came to be known as Akhandasaubhagyawati since they could never be widowed, and therefore, they were invited in marriages to bless the newlyweds with their divine energy. The beads from a Devadasis’ necklace were used to thread the Mangalsutra as it was believed that the newlywed bride would never die as a widow if she wears the Mangalsutra made by the Akhandasaubhagyawati herself. A Devadasi enjoyed all the advantages that came with being a servant to God, they were highly respected, had extensive socio-economic privilege, and their artistic brilliance gave them lucrative patronage from Kings.
.jpeg)
