The role of Devadasis in Hindu temple rituals

by Subashini Pathmanathan

Bharatha Natyam evolved out of temple dance Sathir, which was essentially a temple dance. In India Sathir was practised in temple rituals, processions and festivals. Sathir was practised and preserved by the Devadasi clan. The Devadasis literally mean the female servants of the gods.

The Devadasis were also called Pathiyeyallar, because they served in Pathi (temples). Those who served in Sivan temples were called Rishapath Taliyeyallalar. The Devadasis of Vaishna temples were called Sri Vaishnava Manikam. Such a distinction or division was not in existence in Sri Lanka.

In the 19th century, and early 20th century in Northern Sri Lanka temples had dancers called Sathirkaries, who performed in the temples, during festivals. But in Sri Lanka Hindu temples held dances within the premises, but not within the temple 'mandapas'. The temple dances in Sri Lanka are not used for the temple processions and temple rituals.

Temple rituals

In India the dance is considered as part and parcel of the temple rituals even during the pujas. There are numerous historical evidence related to this fact. Historical evidence reveals that during the pujas when offerings are made to the gods, the temple dancers danced in front of the idols. It reveals the truth that temple dances were held within the temples.

In India separate dance halls were built within the temple premises, but in Sri Lanka there is so far no evidence to prove that dance halls existed within the temple premises. But the dancers danced outside the temples, but within the temple premises. It was also considered purely an entertainment program.

Sri Lankan Hindu temple dancers were not attached to any one particular temple. They were having their own dance troupes. The dancers were hired by temple authorities during the festivals. Hence one temple dance troupe was used to perform in different temples during festivals. One group of dancers performed in two or three temples in the night programs. They were independent dance troupes.

They were not attached to any temple or any temple authorities, as the dancers of India.In Jaffna temple dance was called 'Servagam'. In India, however, each temple had its own dance troupe to perform at functions. According to Padma Puranam of the 4th century AD, 'One who offers a beautiful woman to god attains heaven for a kalpa'.

Devadasis danced a particular dance called Kuravanchi at the Tanchai Bragatheeswar temple. The French traveller Travernier who came to India in 1641 AD said sending girls to dance in temples was believed to bring good fortune to the families. 'When the courtesans collect big sums of money in their youth, they buy young slaves whom they teach to dance and sing. When the girls are 12 years, their mistress sends them to the temple, believing it will bring them good fortune.

In India, the dance halls were known by different names such as Nat Mandapa, Natanasalai, Atana Salai, Sathir Salai, Nanaveetha Natana Salai, Natya Mandapam, Nertha Mandapam and Koothampalam. Koothampalam was the oldest model drama based dance hall inside the temple.

This is one of the oldest Sanskrit temple drama theatres.Earlier there was a belief that Devadasis were formally married to the god of the temple where they served. The female Devadasis were dedicated to the dancing service at a very tender age, generally before 14. The females over that age were not allowed to enrol to serve the Lord by the temple authorities. Soon after enrolment the girl was entitled to receive a payment.

After a ritual ceremony she could not marry or lead a normal life and was supposed to serve as temple Devadasis. Once they enrol themselves for the temple dance service they must totally dedicate themselves to the practice and the performance of the arts such as music and dance. But socially they were allowed to lead a free life.

Devadasis were provided with houses and other facilities.