DEDICATED TO THE DIVINE - DEVADASI
DEDICATED TO THE DIVINE - DEVADASI
Sai Pallavi played a devadasi named Maitrey in the Telugu period romantic drama film Shyam Singha Roy (2021), alongside Nani, in a story about reincarnation and social reform against the devadasi system in 1960s Kolkata. The film delves into the complex tradition of devadasi women, with Sai Pallavi's portrayal highlighting their struggles, artistry, and humanity, marking a significant role in her career.
In India, a devadasi is a female artist who is dedicated to the worship and service of a Hindu deity in a ceremony that is somewhat similar to a marriage ceremony. In addition to taking care of the temple and performing rituals, these women also learn and practice classical Indian dances such as Bharatanatyam, Mohiniyattam, Kuchipudi, and Odissi.
These women were not only dancers but also musicians, poets, and scholars of aesthetics (nāṭyaśāstra). Their training was rigorous, and they often collaborated closely with temple musicians and court patrons.
The Devadasi community dedicates their girls to the temple deities for life and becomes consorts to the deity. Besides the temple rituals, they also dance to entertain the Kings, landlords, and wealthy patrons.
Historically, both male and female devotees (Devadasas and Devadasis) were dedicated to temple service, though their roles evolved differently over time.
In Indian mythology and aesthetics, the Devadāsa–Devadāsī tradition is often seen as the earthly reflection of Indra’s celestial court.
Bṛihadīśvara Temple institutionalized sacred dance and music on a scale unmatched anywhere else in the medieval world.
Between the sixth and thirteenth centuries, Devadasis enjoyed a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts. During this period, royal patrons provided them with gifts of land, property, and jewellery. After becoming Devadasis, the women would spend their time learning religious rites, rituals and dances. Devadasis were expected to live a life of celibacy.
It is interesting to note that after the age of fifty, no Devadasis were seen in society.
The tradition of female artists in temples is said to have developed during the 3rd century CE. A reference to such dancers is found in the Meghadūta of Kālidāsa, a classical poet and Sanskrit writer of the Gupta Empire. An example of reference to a Devadasi in the 3rd century CE in South India is Madhavi, found in the Silappadikaram.
An inscription dated to the 11th century suggests that there were 400 Devadasis attached to the Thanjavur temple in South India. Similarly, there were 500 Devadasis at the Someshvara shrine of Gujarat. Between the 6th and 13th centuries, Devadasis enjoyed a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts.
The inception of the practice was imbued with great respect as the women who were chosen to become devadasi or “Devidasi” were subject to two great honors: first, because they were literally married to the deity, they were to be treated as if they were the goddess Lakshmi herself, and second, the women were honored because they were considered to be "those great women who (could) control natural human impulses, their five senses and [could] submit themselves completely to God." As they were married to an immortal, the women were considered to be auspicious.
Their main duties, in addition to committing to a life without marriage (to a mortal, in the common, popular sense), were to take care of a temple and learn classical Indian dances, usually the Bharatanatyam, which they would perform at temple rituals. Patrons were considered to have a higher status for their ability to financially support Devadasis.
According to temple worship rules, or Agamas, dance and music are the unavoidable aspects of daily puja for temple deities.
The term "Yellamma Devadasi" in Kannada refers to the practice of dedicating young girls, often from impoverished and Dalit communities in North Karnataka and South Maharashtra, to the goddess Yellamma (also known as Renuka). This historical system, which meant "servant of god," has evolved into a form of ritualistic sexual exploitation, effectively forcing these dedicated women into prostitution.
Karnataka (especially North Karnataka) was one of the strongest and longest-lasting centers of the Devadāsī system. The Yellamma (Renukā) cult was indeed the most prominent focus of dedication in this region.
There are many stories about the origin of the Yellamma cult. The most popular story indicates that Renuka was the daughter of a Brahmin, who married the sage Jamadagni, and was the mother of five sons. She used to bring water from the Malaprabha river for the sage's worship and rituals. One day at the river, she saw a group of youths engaged in water sports and forgot to return home in time for her husband's worship and rituals, which resulted in Jamadagni questioning her chastity. He ordered their sons one by one to punish their mother, but four of them refused on one pretext or another. The sage cursed them to become eunuchs and had Renuka beheaded by his fifth son, Parashurama. To everybody's astonishment, Renuka's head multiplied by tens and hundreds and moved to different regions. Wherever the head reached, there was a Yellama deity installed and worshipped. This miracle inspired her four eunuch sons as well as others to become her followers and worship her head.
Some state governments used to give allowances to the Devadasis who are registered with their authorities.
The Devadasi system existed in the Indian states of Karnataka, Andhra Pradesh, Kerala, Tamil Nadu, Odisha, Maharashtra, Gujarat, Goa and Daman.
Celebrities and figures from this heritage include:
- The Mangeshkar Family: The singing siblings, including Lata Mangeshkar, Asha Bhosle, Usha Mangeshkar, and Hridaynath, have roots in the Gomantak Maratha Samaj (the present-day name for the Devadasi community in Goa). Dinanath Mangeshkar, their father, was the son of a Devadasi (Yesubai) and a Brahmin priest at the Mangeshi temple.
- M.S. Subbulakshmi: The Carnatic vocalist is said to have traced her lineage to the Devadasi community, known for preserving and propagating classical music. She won the prestigious Bharat Ratna from the Government of India.
- T. Balasaraswati: A Bharatanatyam dancer and Padma Bhushan recipient, she came from a long line (seven generations) of temple dancers and musicians.
- Rekha: The Bollywood actress is the daughter of Pushpavalli and Gemini Ganesan, both of whom are noted in some sources as belonging to a Telugu Devadasi lineage.
Most of the states where the Devadāsī system once existed have legally abolished it and actively enforce the ban today, recognizing it as a violation of human rights.
The book by Kabhyashree Dasgupta :
"The Devadasi in Scarlet" by Kabbyashree Dasgupta delves into the poignant tale of Yashri, a young woman ensnared by the ancient tradition of Devadasis and later thrust into the grim reality of prostitution. The title itself hints at the depth of the narrative, drawing readers into a world of profound struggles and resilience.
Dasgupta, despite her youth, crafts a compelling story that sheds light on societal injustices and personal tragedies. Through Yashri's journey, the author navigates themes of familial betrayal, friendship, love, and ultimately, redemption. The character dynamics, particularly the unwavering support of Yashri's friend Paromita and the tragic loss of her beloved Manoj, resonate with emotional depth.
The narrative vividly portrays the harsh realities faced by prostitutes, evoking a sense of empathy and reflection in readers. Yashri's daughter, Aroshi, symbolises hope amidst despair, adding layers of complexity to her mother's tumultuous existence.
Kanchan Ji emerges as a beacon of light in Yashri's darkness, offering glimpses of salvation and the possibility of a better life. The intricate portrayal of Devadasis and the red-light districts demonstrates the author's meticulous research and attention to detail.
The Devadasi in Scarlet is a compelling and deeply moving work that captivates the reader through its powerful storytelling and thought-provoking themes. Dasgupta’s exploration of human resilience in the face of adversity leaves a lasting emotional impact, making the novel a poignant reflection on the enduring strength of the human spirit.
Devadasi - A poetry by Jyotirmayee Mohanty in Oriya
The law may forbid the ritual, but freedom takes longer to arrive. Nearly a century after the Devadāsī system was first banned, its shadows still linger. One can only hope that the women once bound by devotion and deprivation may finally step into lives of dignity, autonomy, and unbroken freedom.
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