The temple and Indian classical dances

by Subashini PATHMANATHAN

In most of the temples in south India, East India, North Central India, and West India the institution of devadasis, flourished in the temples, and temple environs. These devadasis were attached to the temples, as the hand maids of the Lord. According to puranic sources, these female dancers were proficient in music and dance. There is also historical evidence that there was a practice of dedicating female children to the service of the Lord.

These children were expected to sing and dance in temple rituals, processions, and festivals. This practice existed in Vaishnava and Saiva Temples. During the reign of emperor Raja Raja Chola-1 there were altogether 400 devadasis (female dancers) attached to Thanchai Brgatheeswara Temple.

In different States in India, the temple dancers were called by different names. In Orissa the devadasis were called Maharis. There is evidence, that the Maharis were attached to the Jagannath Temple in Puri, and some other temples, in Bhuwaneswar, Jhankad and Kakapur. Today Orissa State's classical dance form is known as Odissi. Odissi dance had its links and roots with the practice of devadasi tradition of Odissa. This practice started during the reign of King Chodagandadeva, (1077 A.D.-1147 A.D.) who built the famed Jaganath Temple, and introduced the dance by Maharis to serve the Lord.

In West Indian state of Maharastra the devadasis were called Murlis.

Similarly in the East Indian state of Assam, the devadasis were called Nathis.

In south Assam a dance called Yakshagana had its close ties with dramas.

That is why Yakshagana was regarded as a dance drama. Like many other classical Indian dance forms, this particular dance was also practised and performed in temples, and temple festivals.

Sattariya is another dance form of East Indian state of Assam. It originated in the 16th century. This was practised in the Vaishnava monasteries. Chhu another dance form of Assam is performed during the temple festival. This is danced for the worship of Lord Arthanaareeswarar.

The Telegu Desha classical dance form is Kuchupidi. Like most of the Indian classical dance forms, Kuchupidi, has its links with Hindu religious customs, and traditions. Kuchupidi has its origin in the village of Kuchupidi, in the modern Andhra State, Earlier it was performed in the Ramalingeswara Temple, and later it was performed in various other temples.

In Kerala, chakiyar koothu, koodiattam, Krishna attam, and Kathakali, are the main dance forms of Kerala. These dances have their close links with temple tradition, and temple customs. Chakiyar were the male dancers. (There is a reference in Sillapathikaram about chakai koothu. Koothu means dance). This dance was performed by the chakyiar inside the temple premises.

The place where they perform chakiyar koothu inside the temple is called koothampalam.

Like chakiyar koothu there is also another temple dance based on drama form.

It is called Kodiattam. This is performed by more than one individual, - by a group of male dancers. This kodiattam is also performed in the same koothampalam where the chakyiar koothu was held. It evolved out of various religious ritual rites.

Similarly Krishna Attam came into existence during the 17th century. This dance form was performed during the Krishna Jayanthi festival mainly in the temple of Guruvayoor.

Kathakali though it did not originate in temples, but eventually it was danced in temples.

In East Indian state Manipur, the Manipuri dance gained the worldwide recognition. In Manipuri dance the Rasa Leela, dances are deeply linked to devotional worship, and these dances were danced in temples. The dances were performed at the Nat Mandapas in temples.

Bharatha Natyam evolved out of temple dance Sathir. Sathir was essentially a temple dance. And Sathir was practised in temple rituals, temple processions, and temple festivals. Sathir was practised and preserved by the Devadasi clan. The devadasis were also called Pathiyeyallar, because they were serving in Pathi (Temples).Those who were serving in Sivan Temples were called Rishapath Taliyeyallalar.

In the 19th century, and early 20th century in Northen part of Sri Lanka Temples were having temple dancers called Sathirkaries, who performed in the temples, during the temples during the temple festival times. This customs continued till the mid of nineteen seventies. These dancers were belonged to a particular clan or caste in the Hindu society.

And those who were serving in Vaishnava Temples were called Sri Vaishnva Manikam and the male dancers who were called Ariyer. In temples dance halls were separately established, and managed. In Thiruvaduthuri Temple a dance hall was established and called Nanavitha Nadana Saali. In 15TH century at Kachi Eekampara Nathar Temple, a dance hall was established and called, Nirirutha Mandapam. Similarly Raja Raja Chola, who built the Thanjai Bragatheeswarar Temple, set up a separate dance hall for dances, called Nanavitha Nadana Saali. Beside these, carved sculptures of temple pillars, gupura (tower) sculptures, temple paintings (including wall and roof paintings), stone inscriptions, and copper plate inscriptions provide a wealth of information about the dance and the development of dance, in and around the temples.

Hence Indian classical dance forms originated and were preserved, in and around the temples and temple environs. The Indian classical dance forms had their birth in temples.