Devadasi

[Dept of PMM Artists & things]

Devadasi (देवदासी) originally described a Hindu religious practice in which girls were "married" and dedicated to a deity (deva or devi). In addition to taking care of the temple and performing rituals, they learned and practiced Bharatanatyam and other classical Indian arts traditions and enjoyed a high social status.

Following the demise of the great Hindu kingdoms the practice degenerated. Adherents of this movement considered devadasis immoral since they engaged in sex outside of the traditional concept of marriage, and described them as prostitutes. As a result of these social changes, devadasis were left without their traditional means of support and patronage. Colonial views on devadasis are hotly disputed by several groups and organizations in India and by western academics.

The high regard with which they were previously held has deteriorated in recent years due to their association with prostitution, and the practice has started to disappear. In modern India the tradition has become associated with commercial sexual exploitation, as described in a 2004 report by the National Human Rights Commission of the Government of India. According to this report, "after initiation as devadasis, women migrate either to nearby towns or other far-off cities to practise prostitution" (p200). A study from 1990 recorded that 45.9% of devadasis in one particular district were prostitutes, while most of the others relied on manual labour and agriculture for their income. The practice of dedicating devadasis was declared illegal by the government of the Indian state Karnataka in 1982 and by the government of Andhra Pradesh in 1988. However as of 2006 the practice was still prevalent in around 10 districts of northern Karnataka and 14 districts in Andhra Pradesh}.

Devadasis are also known by various other local terms. They are sometimes referred to as a caste; however, some question the accuracy of this usage. "According to the devadasis themselves there exists a devadasi 'way of life' or 'professional ethic' (vritti, murai) but not a devadasi jāti (sub-caste). Later, the office of devadasi became hereditary but it did not confer the right to work without adequate qualification" (Amrit Srinivasan, 1985). In Europe the term Bayadere (from French: bayadère, ascending to Portuguese: Balliadera, literally dancer) was occasionally used.

 Origin

 Ancient and medieval history

Originally, devadasis were celibate all their life. Reference to dancing girls in temples is found in Kalidasa's "Meghadhoot". It is said that dancing girls were present at the time of worship in the Mahakal Temple of Ujjain. Some scholars are of the opinion that probably the custom of dedicating girls to temples became quite common in the 6th century CE, as most of the Puranas containing reference to it have been written during this period. Several Puranas recommended that arrangements should be made to enlist the services of singing girls for worship at temples.

By the end of 10th century, the total number of devadasis in many temples was in direct proportion to the wealth and prestige of the temple. During the medieval period, they were regarded as a part of the normal establishment of temples; they occupied a rank next only to priests and their number often reached high proportions. For example, there were 400 devadasis attached to the temples at Tanjore and Travancore.

Local kings 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. A devadasi 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.

The popularity of devadasis seems to have reached its pinnacle around 10th and 11th century AD. The rise and fall in the status of devadasis can be seen to be running parallel to the rise and fall of Hindu temples. Invaders 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 the northwestern borders of the country and spread through the whole of the country. Thereafter the status of the temples fell very quickly in North India and slowly in South India. As the temples became poorer and lost their patron kings, and in some cases were destroyed, the devadasis were forced into a life of poverty, misery, and, in some cases, prostitution.

  Devadasis in South India and the Chola empire

The Chola empire encouraged the devadasi system . Men and women were dedicated to temple service. They developed the system of music and dance employed during temple festivals.

The rise of Chola empire in the 6th century AD coincided with the decline of Buddhism and Jainism in South India. According to certain researchers, former Buddhist nuns were forced to perform temple service as atonement for their previous heretic views. Similarly queens and princesses of defeated kings were forced to join the temple service to erase their identity.

Inscriptions reveal that the 400 dancers, their gurus and orchestras, were maintained by the Brihadeesvarar temple, Thanjavur, with munificent grants, including the daily disbursement of oil, turmeric, betel leaves and nuts.

Nattuvanars were the male accompanists of the devadasi during her performance. They conducted the music orchestra while the devadasi performed her service. Inscriptions reveal that nattuvanars were used to teach the Chola princess Kuntavai a thousand years ago.

As the Chola empire expanded in wealth and size, they built more temples throughout their country. Soon other emperors started imitating the Chola empire and developed the system.

 Mahari Devadasi of Orissa

Unlike other parts of India, the devadasis of the Jagannath temple complex in the eastern state of Orissa have never practised prostitution, and have been expected to remain celibate from the time they became devadasis. Devadasi is a name given to a group of women who danced in the temple premises. The word devadasi or mahari means "those great women who can control natural human impulses, their five senses and can submit themselves completely to God (Vachaspati)." Mahari means Mohan Nari that is, the woman belonging to God. Sri Chaitanayadev had defined devadasis as 'Sebaets' who served God through dance and music. Pankaj Charan Das, the oldest Guru of Odissi classical dance, who comes from a Mahari family, explains Mahari as Maha Ripu -Ari (one who conquers the five main ripus - enemies ).

The beginning the decline of the Mahari tradition started with the Muslim invasion of Orissa in the 14th century. They were exploited and for the first time the Purdah system appeared, ostensibly to guard the women-folk. The gradual degeneration of the devadasi tradition, which had started since the attack of Sultan Shah in 1360 A.D. continued. This was because the social, cultural & political scene was changing rapidly and women, in general, were losing their independence and power.

The Orissa Gazette of 1956 lists nine devadasis and 11 temple musicians. By 1980, only four devadasis were left – Harapriya, Kokilprabha, Paroshmoni and Shashimoni. Now only Shashimoni and Paroshmoni are alive. The daily ritualistic dance had stopped long ago. Now this twosome serve in a few of the yearly temple rituals like Nabakalebar, Nanda Utsav and Duar Paka during Bahura jatra.

The Orissa Gazette of 1956 mentions some occasions where the devadasis danced. They had two daily rituals. The bahar gaunis would dance at the Sakhala Dhupa. Lord Jagannath, after breakfast, would give Darshan to the bhaktas, the devotees. In the main hall, a devadasi accompanied by musicians and the Rajguru, the court guru, would dance, standing near the Garuda sthambha. This dance could be watched by the audience. They would perform only pure dance here. The bhitar gauni would sing at the Badashringhar, the main ceremony for ornamenting and dressing the God. Lord Jagannath, at bedtime, would be first served by male Sebaets- they would fan Him and decorate Him with flowers. After they would leave, a bhitar gauni would then enter the room, stand near the door (Jaya Bijay) and sing Geetagovinda songs, and perhaps perform a ritualistic dance. After a while, she would come out and announce that the Lord has gone to sleep and then the guard would close the main gate.

Yellamma cult of Karnataka in South India

In the state of Karnataka in the region of South India the devadasi system was followed for over 10 centuries. Chief among them was the Yellamma cult.The stories seem to indicate that in the state of Karnataka devadasis originated from Brahmin women who were thrown out of their homes by their husbands.

There are many stories about the origin of the Yellamma cult. The most prevalent one says that Renuka was the daughter of a Brahmin, married to sage Jamadagni and was the mother of five sons. She used to bring water from the river Malaprabha for the sage's worship and rituals. One day while she was at the river, she saw a group of youths engaged themselves in water sports and forgot to return home in time which made Jamadagni to suspect her chastity. He ordered his sons one by one to punish their mother but four of them refused on one pretext or the other. The sage cursed them to become eunuchs and got her beheaded by his fifth son, Parashuram. To everybody's astonishment, Renuka's head multiplied by tens and hundreds and moved to different regions. This miracle made her four eunuch sons and others to become her followers, and worship her head.

The followers of Yellamma, who are mostly poor, and illiterate, take a vow to dedicate themselves, their spouses, or their children in the service of Goddess Yellamma when they are unable to face the hardships of life. The typical situations include life-threatening diseases, infertility, and dire financial troubles. These are the people who are primarily responsible for propagating Goddess Yellamma's virtues and achievements and glorify the Goddess. An elaborate ceremony is held in order to initiate the Jogathis (female) and Jogappa (male) volunteers in the service of Goddess Yellamma. New followers have to bathe in three holy ponds and proceed to the head priest accompanied by community elders and other members of the family. The priests give them a long sermon on what they have to do please Yellamma. They have to identify themselves with the very poor and unfortunate ones and serve the society. At least twice a year they have to visit the Yellamma shrine on full moon days to express and confirm their obedience. During this semi-annual ritual, they have to observe preferably total nudity. If not, they have to cover their bodies with Neem foliage or scanty clothes. Such rituals, especially in the last decade, have become heavily publicized events due to the youngsters and tourists who gather around such pilgrimage centers to have glimpses of nude and semi-nude human bodies.

Colonial era

Toward the end of the 19th century, there was a spurt of social movements in India. Nationalism and search for national identity led to social movements relating to devadasis. These movements can be classified into two categories: Reformists/Abolitionists and Revivalists.

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Traditionally the young devadasi underwent a ceremony of dedication to the deity of the local temple which resembled in its ritual structure the upper caste Tamil marriage ceremony. Following this ceremony, she was set apart from her non-dedicated sisters in that she was not permitted to marry and her celibate or unmarried status was legal in customary terms. Significantly, however she was not prevented from leading a normal life involving sex with individuals of her choice and childbearing. The very rituals which marked and confirmed her incorporation into temple service also committed her to the rigorous emotional and physical training in the classical dance, her hereditary profession. In addition, they served to advertise in a perfectly open and public manner her availability for sexual liaisons with a proper patron and protector. Very often in fact, the costs of temple dedication were met by a man who wished thus to anticipate a particular devadasi's favours after she had attained puberty. It was crucially a women's 'dedicated' status which made it a symbol of social prestige and privilege to maintain her. The devadasi's sexual partner was always chosen by 'arrangement' with her mother and grandmother acting as prime movers in the veto system. Alliance with a Muslim, a Christian, or a lower caste was forbidden while a Brahmin or member of the royal elite was preferred for the good breeding and/or wealth he would bring into the family. The non-domestic nature of the contract was an understood part of the agreement with the devadasi owing the man neither any householding services nor her offspring. The children in turn could not hope to make any legal claim on the ancestral property of their father whom they met largely in their mother's home when he came to visit.

 Reasons for dedication in modern times

Even though the majority of the girls dedicated in the past few years or decades come from families with no tradition of devadasis, all of them come from communities with a strong history of the practice. For example, a village named Yellampura in Karnataka, 95 percent of households of Holers have practicing devadasis, which is the highest percentage in the village, followed by Madars.

The system has an obvious economic basis. The sanctions provided by social custom and apparently by religion, combined with economic pressures, have pushed girls from poor families into becoming the wives of a deity. The three factors (religious, social, and economic) are interlinked.

In a 1993 study, Asha Ramesh found that:

Dedication to the Goddess or God was justified on the following grounds:
(a) If the parents were childless, they vowed to dedicate their first child if it happened to be girl.
(b) If there were no sons in the family, the girl child was dedicated and could not marry as she becomes a 'son' for the family (earning the family’s livelihood).
Yet another economic reason contributed to the dedications. If the girl's family had some property, the family ensured that it stayed within the family by turning the girl into 'son' by dedicating her.

 Dedication process

From the late medieval period until 1910, the Pottukattu or tali-tying dedication ceremony, was a widely advertised community event requiring the full cooperation of the local religious authorities. It initiates the a young girl into the devadasi profession and is performed in the temple by the priest. In the Brahminical tradition marriage is viewed as the only religious initiation (diksha) permissible to women. Thus the dedication is a symbolic "marriage" of the pubescent girl to the temple's deity.

In the sadanku or puberty ceremonies, the devadasi-initiate consummates her marriage with an emblem of the god borrowed from the temple as a stand-in 'bridegroom'. From then onward, the devadasi is considered a nitya sumangali: a woman eternally free from the adversity of widowhood.

She would then perform her ritual and artistic duties in the temple. The puberty ceremonies were an occasion not only for temple honor, but also for community feasting and celebration in which the local elites also participated. The music and dance and public display of the girl also helped to attract patrons.

 Life after dedication

A devadasi's life after dedication was obviously very different centuries ago. Nowadays

After dedication of a girl to the temple, she has to take bath every day early in the morning and should present herself at the temple during morning worship of Yellamma. She is not allowed to enter the sanctum sanctorum. But she will bow to the deity from outside. Thereafter she sweeps compound of the temple. Every Tuesday and Friday she goes for yoga along with senior jogatis (yoga teachers). During this period she learns innumerable songs in praise of Yellamma and her son Parashurama. If she shows some aptitude to learn playing instruments she will be given training by her elder jogatis. In Yellampura and other villages Devadasis do not dance but this is performed by eunuch companions. The main functions of Devadasis would be singing and playing stringed musical instruments and Jagate. They form a small group and go for joga, from house to house on every Tuesday and Friday (Jogan Shankar, 1990).

These religious duties are uncontested and are a widely celebrated part of the life of the devadasi temple servant.

 Sexual Aspects

Although the original devadasis were brahmacharinis their entire life, even the contemporary sexual aspects of the rituals that accompany dedication are now considered by many Hindus to be exploitative and not mandatory. Nevertheless this practice continues unabated in some places where a devadasi would usually acquire a "patron" after her "deflowering ceremony". Patronship in a majority of cases is achieved at the time of the dedication ceremony itself. The patron who secures this right of spending the first night with the girl can pay a fixed sum of money to maintain a permanent liaison with the devadasi, pay to maintain a relationship for a fixed amount of time, or terminate the liaison after the deflowering ceremony. A permanent liaison with a patron does not bar the girl from entertaining other clients, unless he specifies otherwise. In case the girl entertains, other men have to leave the girl’s house when her patron comes.

 Social Status

Traditionally, no stigma was attached to the 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 women of their own community.

Furthermore, a devadasi was believed to be immune from widowhood and was called akhanda saubhagyavati ("forever a woman of good fortune"). Since she was wedded to a 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 an upper caste member was regarded as sacred and she was treated with due respect and was presented with gifts.

Devadasis nurtured the arts - dance and music - to the high levels of today. They were torchbearers of these arts throughout the history of India under various rulers, passing on their legacy until the end of the 19th century. After that period the upper castes started learning these arts, taking away the devadasis' only means of subsistence.

 Contemporary statistical data

India's National Commission for Women, which is mandated to protect and promote the welfare of women, has collected information on the prevalence of devadasis in various states. The government of Orissa has stated that the devadasi system is not prevalent in the state. There is only one Devadasi in Orissa, in a Puri temple. Similarly the government of Tamil Nadu wrote that this system has been eradicated and there are now no devadasis in the state. Andhra Pradesh has identified 16,624 devadasis within its state and Karnataka has identified 22,941. The government of Maharashtra did not provide the information as sought by the Commission. However, the state government provided statistical data regarding the survey conducted by them to sanction a "Devadasi Maintenance Allowance". A total of 8,793 applications were received and after conducting a survey 6,314 were rejected and 2,479 devadasis were declared eligible for the allowance. At the time of sending the information, 1,432 Devadasis were receiving this allowance.

In Andhra Pradesh, devadasi practice is prevalent in Karimnagar, Warangal, Nizamabad, Mahaboobnagar, Kurnool, Hyderabad, Ananthapur, Medak, Adilabad, Chittoor, Rangareddy, Nellore, Nalgonda, and Srikakulam. In Karnataka, the practice has been found to exist in Raichur, Bijapur, Belgaum, Dharwad, Bellari and Gulbarga. In Maharashtra, the devadasi practice exists in Pune, Sholapur, Kolhapur, Sangli, Mumbai, Lathur, Usmanabad, Satara, Sindhudurg and Nanded.Devadasis exist in temples in Goa in some form or the other(prominent Indian Classical vocalists like Kesarbai Karkar,Lata Mangeshkar,Kishori Amonkar,Mogubai Kurdikar belong to Devadasi community of God,called as Kalavant in Konkani).