DEVADASIS - BHARAT'S LEGENDARY TEMPLE DANCERS *** Jai Maharaj posts
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Devadasis
Hinduism Today
http://www.hinduismtoday.com
August 1993
India's legendary temple dancers
It is hard to imagine a class of people once so venerated and then so
dishonored as the devadasis --India's ritual temple artists. For
millennia, these highly trained performers filled India's temples
with devotional song and rigorous dance. Then in the early 1900's,
Christian influence inspired a moral brigade of Anglicized Indians to
cleanse India of such "backwardness." They branded the devadasi a
harlot and had her legally outlawed. Few Hindus know this. Fewer
comprehend how a society that once called her nityasumangali, "the
ever-auspicious woman," could later chase her into the streets. In a
three-part series, we will help explain this, identify her Agamic
origins, detail her duties and discuss controversial efforts to
"rehabilitate" her.
The devadasi never married in the normal sense. Raised in the temple
environs under years of rigorous training in classical singing and
dance, she was ceremonially "wed" to a God or Goddess at about 16.
She rose before dawn, sang as she lit the temple lamps and danced as
part of the worship offered to the Deity during pujas, festivals and
processions. As the priest conducted the puja, she sang devotional
songs while offering flowers or waving the alankaram lamp. This
sublime choreography transformed temple ceremonies into beautiful
spectacles uplifting all the senses as shakti flowed forth from the
Mahadeva.
In order for her to continue her lineage, the devadasi was encouraged
to secure a "patron" from the community. He was to be "a religious
man of good status, taste, wealth and tradition" as it was considered
important that their offspring be of high-breeding. Respected elders
in the community often made this choice. Brahmins were commonly
selected. She could change "patrons" if felt necessary. She never
cooked for him, stayed at his house or performed routine wifely
functions. Children born of their alliance were hers and learned
music and dance. Sons never danced in the temple, but became the
dance masters, natuvanars, and taught younger girls, who came to look
upon them like fathers. It was these natuvanars who protected the
devadasis and saw to their happiness and welfare.
This unique tradition was Hindu society's strategic way of
guaranteeing the preservation of the classical arts as religious, not
secular expressions. The devadasi's marriage to the Deity was more
than a spiritualizing arrangement. It was a practical necessity,
society felt, because the demands of a female family member --
daughter, wife or mother -- are so consuming, only someone unmarried
could commit the time and energies needed to master the classical
arts. "They could practice and perform all day long and not think
about anything else," examines Mythili Kumar, a famous contemporary
dancer, herself trained by a devadasi. "Even if they had some family,
they didn't have to, or want to, really worry about all that. This is
so different from the training a girl now gets in India where you
have to always put family first before the art. Whether that is
positive or negative depends on how you look at it. It really comes
down to dedication to the art. For them, the art always came first
and family came second."
Her Tarnished Image -- an Explanation
In Hindu society there were other classes of dancing girls besides
the devadasis. Much of the negative stigma attached to her comes from
the chronic misidentification of her with them. There were the famed
ganikas, highly educated dancer/courtesans such as Ambapali who
Buddha once dined with. The Muslims spawned a giant class of dancers
and singers to entertain in their courts. There were also dancers who
were clearly identified as "public women." Prostitution in ancient
India was legal and regulated by the state. The state taxed it,
licensed practioners, monitored their health, kept records and
policed all involved.
In an effort to debase Hinduism, several Western scholars classed the
devadasi with these public women. One of the most widely referenced
encyclopedias on Hinduism in the world, The Hindu World, slanderously
writes: "The institution of temple harlotry was prevalent in India
till the end of the last century. Large temples such as those at
Madura, Conjeeveram and Tanjore were worked like brothels." This
bizarre idea is based on a temple inscription that simply said
Tanjore had 400 devadasis.
After the devadasis were banned from the temples, most struggled on
the fringe of society. Some were driven to unflattering means of
livelihood -- a fact they suffer with to this day. While the
government today spasmodically tries to "rehabilitate" them,
devadasis themselves, and sympathizers, are asking for bolder, more
creative solutions.
Part II next month
Sidebar: Saride ManikYamma
Interview by Vijay Shankar
Saride Manikyamma was initiated as a child danseuse in two temples in
Andra Pradesh. She became the most beloved dancer at her temple until
1947 when the government banned the devadasi tradition. She struggled
alone in poverty for 25 years until a dance director found her and
hired her to teach dance at his institute. Today, Saride leads a
retired life in Hyderbad. In 1991, she was honored with the
prestigous Central Sangeete Nataka Akademi Award for her outstanding
contribution as a danseuse. In this rare interview she speaks about
her past.
Hinduism Today: Could you tell us about your initiation as a temple
danseuse?
Saride Manikyamma: I was initiated to the temple of Madana
Gopalaswamy (Lord Krishna) and Rukmini (Goddess Lakshmi) in
Ballapadu, at the age of 11. I never realized the significance of
what I was doing. Being an obedient child, I did what my elders asked
me to do. My day started with the early morning worship. Commencing
with the Suprabhatam in the early morning worship 'til the Ekantaseva
late in the night, I performed several rituals in the temple. Some of
them had to be performed through dance. In the evenings, there were
occasional congregations of people when a Deity was worshipped and
the Asthana Utsavam (sun-setting festival) was performed as an
offering. This was also a program for entertainment and devotional
purpose.
For many years, my family line has been dedicated to the temple. My
grandmother, Seshamma, and two paternal aunts, Mutyam and Madhuram,
were the temple danseuses before me. I learned dance from my
ancestors but also had other teachers. Rudrabhatla Ramamurthy was the
original guru of the temple. I studied under him for quite some time.
Then there was a dispute between him and temple management, and he
had to go. Another scholar, Purughalla Subbaiah, was appointed as a
substitute. He was both a musician and a dance scholar. He taught me
abhinaya, mimetic expression, and the Adhyatma Ramayana.
HT: It is well known that though the temples are closed to devadasis,
the custom of dedicating girls to Deities still continues in parts of
India. Many then sing and beg for a living, an almost unrecognizable
mutation of the original system. The government is now mounting a
drive against these girls. What is your reaction?
SM: A drive against the devadasi system hardly has any significance.
What the government should do is to rehabilitate the devadasis by
providing them with basic needs and vocational help, but moreover
encourage their artistic talents instead of looking down on them. It
is not fair to blame the devadasis alone, as society holds equal
responsibility in the deterioration and degradation of devadasis.
There are many devadasis who are completely left in the lurch and
lead a secluded life.
HT: Tell us about the temples you were associated with in Ballapadu?
SM: The two temples stretched over 136 acres. This was truly a rich
endowment considering those times. The entire income of the temple
was spent for the Deity only, for the daily and periodical rituals,
festivals and maintenance of artists, servants, etc. I was the prima
donna until the endowments were abolished along with the devadasi
system in the 1930's.
HT: What was the impact on your life?
SM: I remember, it was about fifty years ago, suddenly the temple
staff was dismantled. I had nowhere to go, I felt miserable. We
fought a losing battle in the courts. The case even reached the high
court. Finally, I moved to Duvva, another nearby village, after
selling all my personal property.
HT: How did Dr. Nataraj Ramakrishna spot you?
SM: In 1972, there was a sadassu (convention) convened by Dr. Nataraj
Ramakrishna (right). All the artists rich in experience in
traditional arts assembled. I was discovered by him along with many
others and was brought to Hyderbad. At his institute, I was assigned
to teach abhinaya. If not for his timely support, I would be leading
the secluded life of a recluse.
HT: You are an expert in the interpretation of Munipalle Subrahmanya
Kavi's Adhyatma Ramayana?
SM: Yes. It's a ballad form of Ramayana. Written in the 16th century,
it consists of about 108 songs in which the story of Rama is narrated
from his birth to his ultimate coronation. Perfect lyrics, the songs
have classical tunes. Each song has its own substance, culminating in
a climax. Adhyatma Ramayana became an integral part of the repertoire
of the numerous temple dancers in Godavari regions.
HT: What has been your reaction on receiving the Sangeeta Nataka
Akademi Award?
SM: It was all due to the Divine Grace and through Dr. Nataraj
Ramakrishna who was instrumental in my being able to surface and see
the world from the seclusion to which I was forced to retire. I was
not existing at all for the rest of the world until Dr. Nataraj noted
my presence. But now I have the satisfaction of having passed on my
knowledge to some students at least, especially my disciple Tara
Priyadarshini. I am glad that my singing and dance version has been
recorded by Central Sangeeta Nataka Academy. Today, due to the grace
of Almighty, I lead a contented life.
Sidebar: Their Talent Persists
Though not widely known, many of India's greatest contemporary
dancers, singers and instrumentalists are from a devadasi lineage.
One such artist unashamed of her devadasi lineage is Kishori Amonkar,
one of India's most extraordinary classical singers. An article on
her (India Perspectives, 1991, by Rashmee Seghal) candidly revealed
the prejudice she suffered as a girl:
"Born in Goa in 1931, her mother Moghubhai Murdikar herself a famous
singer, came from the oppressed stratum of society, the devadasis. So
although she grew up in an atmosphere of music, Kishori faced many
privations in her youth. Describing one such incident, she says,
"Once I was sitting on the parpet of the Someshwar temple in our home
village Kurdi, when I was rudely a sked to get down from there and
sit on the step below. Why? I failed to understand. I did not budge.
Later on I came to know that our low social status automatically
assigned us to a place a the bottom."
"It is not fair to blame the devadasi alone. Society is equally
responsible for her present degradation.
The government should provide not only vocational help, but
encourage her artistic talents instead of looking down on her."
- Saride Manikyamma
End of forwarded article from:
http://www.hinduismtoday.com/1993/8/1993-8-05.html
Jai Maharaj, Jyotishi
Om Shanti
Devadasis, Part II
Hinduism Today
September 1993
Part I introduced the complex and severely misunderstood tradition of
the devadasis, Hinduism's ritual temple artists. Four points were
made: 1) the devadasi was highly trained in music and dance from
girlhood; 2) at 16, she was ceremoniously "married" to a temple Deity
and served as a full temple employee; 3) she was permitted a "patron"
of good bearing from the community; 4) and she was distinct from
other women who sang solely in palaces and wealthy homes as well as
the various strata of courtesans high and low.
Despite all the bizzare accounts by mainly Western writers, the
devadasi temple tradition was not some twisted turn of a patriarchal
Indian society nor a heartless Hindu institution of "religious
harlotry." Hardly. Its origins trace deep into the Saiva Agamas
(circa 1,500 bce), which dignify her as a bonafide ceremonial
officiant, with specific duties, training and and rules of conduct.
Both the devadasis and the priests were a part of the subtle, sacred
task of invoking the shakti, divine energy, of the Mahadeva and
making it a palpable experience to devotees. The priests employed
Sanskrit mantras; the devadasis used music, mudra and dance. Both
regarded themselves as "temple servants." They carried an attitude of
humble self-respect, joyfully filling an occupation that garnered
little worldly reward. Their deepest fulfillment was completely
inner.
The Kamikagama describes many categories of female ritual temple
artists, including the Rudraganika, Rudrakkannikai and the Rudradasi.
Contemporary high priest Sadyojatasivacharya summarizes from Agamic
passages: "The Rudraganika should wear her hair in a knot above the
collar bone; her waist should be adorned by a saffron cloth. She
should wear the Siva mark of three stripes of holy ash and the
rudraksha as the sole ornament. She should wear a silken blouse. The
acharya gives her Sivadiksha (initiation) and teaches her the
Panchakshara Mantram and ties on her the golden sign of the linga
onto her wedding pendant. For all three [ganikas] after the bottu
(lingam) has been tied, it is necessary for her to peform nrittnam,
pure dance. If this is done with lust, or otherwise, the king and
country will be destroyed."
Other sects, Sakta and Vaishnavite, scripturally sanctioned and
adopted the devadasi tradition. To her village, she was considered a
"harbinger of auspiciousness," a true embodiment of the Deity.
Devotees invited devadasis to private homes on auspicious occasions,
especially weddings. Here they were worshiped and then asked to sing
and bless. They went in groups of two or more, never alone. One Puri
Temple retired devadasi relates: "People used to take sand from our
door [as a blessing] and bangles from our hands to give to their
daughters. But today, people think sinfully about us and [don't do
this anymore]."
The devadasi's schedule was highly routine. She performed daily, or
more infrequently if many were attached to her temple. She lived in
her own small house, alone, on temple lands, and ate both temple
prashadam and cooked for herself. She rose before dawn, performed her
personal worship and arrived at the temple with the priests. She
sang, lit lamps and danced generally in two different locations --
right before the inner sanctum and also at smaller shrines in outer
mandapams (halls) where devotees were uplifted by her sublime
worship. At other times, she performed in festival processions and
part of dance dramas that continued around the year keeping Hindu
teachings and stories alive. In the evening, she sang but only the
most honored "inner division devasasis" performed at the close of the
final evening puja, waving the last arati. Some learned and played
the flute and veena.
Her "Private" Life -- Fact Versus Fabrication
Nothing has so hypnotized the prurient imagination of Western writers
than the devadasi's "private" life. French missionary Abb� Dubois
seeded a breeding nest of vilification with his baseless statement
circa 1800: "Once the devadasis' temple duties are over, they open
their cells of infamy, and frequently convert the temple itself into
a stew. A religion more shameful or indecent has never existed
amongst a civilized people." Other Western writers further
fictionalized this warped portrait. By the early 1900's, an �lite
group of Anglicized Indians, brainwashed by decades of Christian
moralizing -- along with a party of avowed anti-Hindu atheists -- led
fierce campaigns against temple dancing. Several unusually courageous
devadasis such as Balasarawati (left) and stalwart brahmin
sympathizer E. Krishna Iyer fought against the zealous "reformers."
But to no avail. The temples were legally "cleansed" in late 1947.
(See side bar.) The sacred art form was frantically and awkwardly
passed on to high-caste brahmin girls to learn and then perform as
"high" secular entertainment, like ballet, where it stands today.
Ironically the dismantling of the devadasi tradition only fueled an
even more radical rural religious practice. In this, girls are "wed"
to a God or Goddess, but with no temple to serve in. Often called
jogtis, (or, confusingly, devadasis by the Indian press) they carry
an image of the Deity and worship it daily. Considered "auspicious,"
they beg at five homes a day and are openly "public women," with
rural society's religious sanction. State governments have banned the
practice and are desperately trying to eradicate it.
During 1975-1981 Fr�d�rique Marglin, an anthropologist who studied
Indian dance, visited India and befriended the last remaining temple
devadasis of the Jagannath Temple at Puri. Her remarkable 400-page
sober and sensitive account of their tradition, Wives of the
God/King, faithfully retrieves one of the clearest pictures of the
original devadasi tradition in all its complexity.
The Puri devadasis repeatedly told Marglin that fraternizing with
"outsiders," (pilgrims) was strictly taboo. If they had "relations"
with a temple devotee, they were dismissed. However, they shared
something that was common knowledge amongst temple brahmin families
but to few others. In the words of Radha, a Puri devadasi: "It is a
custom for us to keep relations with a brahmin temple servant, but
never with 'outsiders.' Why should I hide these things? When I had my
puberty, I exchanged garlands with this priest [a widower] in whose
brother's house I live and I have lived within the boundaries of that
relationship always." The Puri devadasis explained that they grew up
with the priests and felt a natural closeness to them as both had
dedicated their lives to being temple servants. The brahmins' wives
were fully aware of these "second wife" situations. Until "reformers"
came, they were never a moral concern. The sinfulness Christians
attached to non-monogamous marital arrangements was not yet known.
For years, the devadasis feared revealing this area, painfully aware
that already they were considered prostitutes by educated society.
Now, demoralized and disbanded, they feel they have nothing to lose
in confiding everything, for they have nothing left, except a
hauntingly deep love of devotional song and dance.
Part III will include interviews with famous contemporary dancers,
including Mrinalini Sarabhai, Ratna Kumar and Vidya Sridhar.
The Law that Damned Dance
The sun rose bright over Madras on January 27th, 1948. It seemed to
be an everyday morning. But when the Fort St. George Gazette hit the
streets, there were cries --cheers and tears. The legal section
carried the long-expected decree -- The Madras Devadasis Act XXXI,
(reproduced in part):
"Dancing by a woman, with or without kumbhaharathy (pot-shaped temple
arati lamp), in the precincts of a temple or other religious
institution, or in any procession of a Hindu deity, idol or object of
worship installed in any such temple or institution or at any
festival or ceremony held in respect of such a deity, idol or object
of worship, is hereby declared unlawful... Any person who performs,
permits or abets [temple dancing] is punishable with imprisonment
for... six months.
A woman who takes part in any dancing or music performance... is
regarded as having adopted the life of prostitution and becomes
incapable of entering into a valid marriage and... th e performance
of any [marriage] ceremony... whether [held] before or after this Act
is hereby declared unlawful and void."
From that day onward, 35,000 temples of Tamil Nadu barred all women
performers, devadasis or not. Most had already. Today, Indian girls
perform Hinduism's sacred dances in high school basketball gyms,
rented Christian community centers and hotel dance halls. The temples
meanwhile are void of devotional song and dance, except occasional
tourist shows like at Khajarao.
Amrapalli of Puri
Amrapalli was a dancer/singer in Puri's Jagannath Temple and began in
her early teens. In her mid-twenties, the local king suddenly
banished her from the temple. She says it was because she refused his
royal order to bed with him (a king's right, exercised for
centuries). Others said it was because she lived for a period in
Calcutta with her "patron," breaking the rule that devadasis never
leave their temple's town.
Amrapalli broke another rule, one of the first to do so. When she saw
her tradition being trampled into ruin by the "anti-dance" reformers,
she trained her four adopted daughters in music and dance, but
married them to high caste husbands (including one brahmin), instead
of dedicating them as devadasis. The fourth she married to a
devadasi's son. He became an Orissi dancer and now teaches at a dance
school.
Amrapalli came from the karana caste, hereditary temple scribes, and
was dedicated to the temple at age 9 by her mother. She was highly
trained, studied literature, wrote poetry, was considered very
beautiful, danced inspirationally and had an unusually sweet,
devotional voice.
"[The 'reformers'] say I was just a concubine of [my patron]. But he
was also one of my gurus. Sometimes, he even worshiped me as a
devotee, giving me sandalpaste and flowers and doing puja to me. He
was very religious and built a shrine and a hospital."
As of 1982, Amrapalli was happy, living alone and associating closely
with a Vaishnavite monastery in Puri, worshiping and attending talks
by sadhus.
End of forwarded article from:
http://www.hinduismtoday.com/1993/9/1993-9-12.html
Jai Maharaj, Jyotishi
Om Shanti
Devadasis
Hinduism Today
December 1993
Outlawed as Harlots
Parts One and Two of our 4-part series introduced India's legendary
ritual temple artists, the Devadasis. Part Three-drawn extensively
from Kay Jordan's unusual study "From Sacred Servant to Profane
Prostitute-The Changing Legal Status of the Devadasis: 1857-1947"-
examines the complex saga of how, in a land where God is worshiped as
a dancer, dance became a sin.
As the East India Company's 17th century "looting spree" turned into
permanent business by the 1800's-"bleeding India, judiciously," as
British Prime Minister Salisbury coolly decreed-waves of Christian
preachers and teachers were dispatched to Anglicize the "savages."
Vicious in their ridicule of Hinduism, the missionaries won converts
amongst the Indian �lite who were quick to adopt novel European ideas
and eager for social acceptance by those in power. Gradually the
seeds of cultural shame were sown and an Indian clone of British
mentality successfully bred. From then onwards, the most effective
critics of Hindu tradition were Indians themselves. By the late
1800's, a reform movement was in full bloom comprised of
"missionaries, doctors, journalists and [Indian] social workers
heavily influenced by Christian morality and religion," notes social
historian Amrit Srinivasan. "Civilizing the Indians through enforcing
a uniform adoption of the Victorian ethic for women" became a central
goal of the reformers. And the Devadasi tradition-with its custom of
allowing her an alliance with a respectable "patron" in the
community-stood out as the most ungodly, un-Christian violation. "An
insult to womanhood," reformers indignantly fumed, and insisted on
"the imported conjugal monogamous ideal for women as the only code of
conduct permissble for all Indian women," Srinivasan further
examines.
Devadasis in Court
The earliest court cases involving devadasis appear in the1860's-
mostly petty grievances with temple management over the devadasis'
temple land grants and their selection rights regarding new
devadasis. A statement by Bombay's Chief Justice Holloway in 1864
typifies Britain's cautious legal policy of avoiding, whenever
possible, any legislation on matters of Hindu religion that might
inflame the Hindu populace. He wrote:"This [devadasi custom] is not
at variance with Hindu law; our courts are therefore bound to
administer to them that law, uninfluenced by a fastidiousness founded
upon Western views of morality." Social activists however insisted
that girls dedicated to temples were inducted into lives of
prostitution and demanded the courts ban the practice. (The Indian
Penal Code, established in 1861, allowed for prostitution but made
"trafficking" illegal.) Pressured by an Indian �lite who felt
embarrassed by a tradition that Westerners had convinced them
"violated international 'moral' standards," the Central Government in
1872 requested an official report from each of its provinces on the
extent and nature of its devadasi tradition as well as the Hindu
public's opinion relating thereto.
The Governor General of Madras responded: "It seems to be the most
general opinion that dancing girls are necessary adjuncts to the
Hindu ritual and that also their attendance on private families is
customary and necessary on many domestic occasions. That to legislate
with the intention of the gradual extinction of the dancing girl
caste would be viewed with extreme dislike by the great majority of
Hindus." Bombay agreed and penned: "There would be no advantage to
interfere in long established usages in this respect which are in a
great measure founded on the religious tenets of the people."
Trichy's District Magistrate replied: "These girls, by definite title
or by prescription, occupy a defined position and perform defined
duties in Hindu temples and from that point of view, their services
must be considered lawful and necessary and are also recognized by
the Civil Courts as being so." Sholapur Collector A.F. Maconochie
expressed that the dancing girls should be tolerated because if they
were outlawed, they would be abused. "Private [Hindu] people would be
unwilling to receive them, and there are no public institutions in
India for their reception. The [Christian] Missions, of course, would
take them in, with the object of making Christians of them. But as
the mass of Indian public look on change of religion, especially the
adoption of Christianity, as a far worse sin than prostitution, the
change would stir up very bitter religious opposition, and be
interpreted as a practical propagation of Christianity by the
government." H.C. Mules, Karachi district magistrate, answered:
"However objectionable the lives of the girls may be in our eyes, it
does not appear they follow their calling under pressure, and are not
looked upon as outcasts or regarded so by their co religionists."
Britain's Home Secretary responded to the reformers' argument that
dedicating girls without their consent was cruel: "In India, females
of disposed of one way or another, long before age 16; whether their
volition has or has not matured by that age is not very material
since they seldom are allowed to exercise it at any time."
After judicious review, the Central Government concluded that
regardless the extent of alleged sexual excesses it perhaps
encompassed, the devadasi tradition was nevertheless a bonafide Hindu
custom and that existent "trafficking" laws provided adequate
protection by forbidding girls under 16 to be given or kept for the
proven express purpose of prostitution. But, as reformist zeal
mounted, some judges showed less restraint. In 1880, Justice West of
Bombay called the temple dancer tradition of his precinct a
"manifestly evil tendency, essentially vicious" and denied devadasis
protection under all civil law. Madras High Judge Muttusami Ayyar
objected: "Whatever may be the change in the sentiments of Hindus in
regard to the dancing women in Bombay and Poona, I am unable to say
that there is considerable change in this presidency in the general
mass of the Hindu community as contra-distinguished from a
comparatively small section that has come under the influence of
Western culture."
But continuing pressure and "criticism of the court's recognition of
the devadasis and their customs from England and from both Indian and
missionary social reform organizations demanded the British Indian
government take action," notes author Kay Jordan.
In 1912, legislation to "protect female minors"-aimed at banning the
devadasi system-was again introduced by a Parsi and a Hindu, Mr.
Mudholkar. Mudholkar presumed: "Neither Hinduism as now practiced,
nor Hinduism as it was inculcated by our rishis, recognized this
[devadasi system]. It was to them a most abhorrent thing." Moral
indignation voiced by the male sector of Hindu society was new.
Associate Professor of Asian Studies at Mt. Holyoke College Dr.
Indira Viswanathan Peterson explains this phenomenon: "In reaction to
the British, Indians acted in two contradictory ways: they became
great reformers; but also suppressed some of the more erotic and
sexually liberated aspects of women's culture, thus turning Indian
society more rigid and conservative. Devadasis, or temple dancers,
were now considered obscene prostitutes, whereas earlier they were
not. This was because Indian men had to prove to the British that
they were moral, moral in a Christian, Victorian sort of way."
All along, the central question of alleged prostitution, or a degree
thereof, within the devadasi tradition remained a blur. The Madras
Legislature wrote in 1924: "We have not definitely assumed that
employment as a devadasi is equivalent to employment for purposes of
prostitution." The Central Government generally concurred: "Even if
it is true in many instances that temple dedication is synonymous, in
practice, with prostitution, we should hesitate to make a legal
declaration to that effect, so long as this was not admitted by
Hindus generally." It then advised Bombay and Madras to strengthen
prostitution trafficking laws and to encourage their ladies'
vigilante associations as such rather than outlaw devadasis.
Then in 1929, a brahmin woman and member of the legislature, Dr.
Muthulakshmi Reddy, launched a furious anti-nautch (dance) campaign,
demanding wholesale demolition of the devadasi system-a "revolting
custom, calling for immoral trade of women," she raged. "The
dharmakarthars [temple heads] and general illiterate public imagine
that the Gods in the temple want these dasis for service!" she added.
"The Gods in the temple do not want any dancing or music," thundered
a Mr. K. R. Karant, a Hindu. "It is a sacrilege to say that religion
requires all this nonsense."
"Don't Exterminate Us!" Throughout the 60-years of legal assault
against them, the devadasis remained silent. But Dr. Reddy scared
them out of that shy profile. Overnight, scores of hand-writtenpleas
and protests-personally signed by devadasis-poured into the Madras
Legislature. One stood out. It was signed by the "Deputation of the
devadasis of the Presidency of Madras" and "Devadasi association of
the Tinnevelly District." In eloquent language, they pleaded for
their survival. They denied being harlots, and lamented this cruel
stigma attached to them. They confessed a minor degree of
prostitution had crept into their society and sincerely invited that
such women be dealt with in accordance with existing laws. They
maintained: "Our institution is similar to the mutts presided by
sanyasis for the propagation of religion. We can be compared to
female sanyasis who are attached to respective temples. We marry none
but God and become devotees of God." "They described themselves,"
writes Kay Jordan, as "guardian angels of dance and music with a
devotion that bears comparison with the ardor of the pundits reading
Vedas in preference to modern pursuits." They quoted the Saiva Agamas
to substantiate their scriptural origins-"Shiva said: 'To please me
during my puja, arrangements must be made daily for shudda nritta
(dance). This should be danced by females born of such families and
the five acharyas should form the accompaniments.' Since these Agamas
are revered by every Hindu, however modern and educated they are,
what reason can there be for our community not to thrive and exist as
necessary adjuncts of temple service?" They averred Dr. Reddy's
proposed abolition of their tradition punished the many for actions
of a few, and painfully assessed: "In proposing this legislation, the
legislators attempt to do away for ever with our sect. Such
legislation is unparalleled in the civilized world."
They asked for more soulful training: "Give us education-religious,
literary and artistic-so we will occupy once again the same rank
which we held in the past. Teach us the Thevarams of the Saivite
saints and the Nalayaram of the Vaishnavite acharyas. Instill into us
the Gita and the beauty of the Ramayana and explain to us the Agamas
and the rites of worship." This would, they argued, inspire devadasi
girls to model themselves after female saints like "Maitreyi, Gargi
and Manimekalai and the women singers of the Vedas that we might once
again become the preachers of morality and religion... You who boast
of your tender love for small communities, we pray that you may allow
us to live and work out our salvation and manifest ourselves in jnana
and bhakti and keep alight the torch of India's religion amidst the
fogs and storms of increasing materialism and interpret the message
of India to the world."
Despite fervent protests by E. Krishna Iyer and a"pro-art" Madras
contingent-Dr. Reddy and her Anglicized women's leagues prevailed.
Crippling legislation passed against the devadasis in 1927, followed
by total abolition in 1947 [Hinduism Today, Sept. '93]. Dance was
relegated to a secular art, renamed Bharata Natyam, and then adopted,
restylized and nurtured by mostly married women of the brahmin caste.
Part IV includes messages from famous dancers as well as an
explanation of the current rationale of the Anti-Nautch Law from a
Tamil Nadu government spokesperson.
End of forwarded article from:
http://www.hinduismtoday.com/1993/12/1993-12-13.html
Jai Maharaj, Jyotishi
Om Shanti
Temple Dancers
By Bhadra Sinha
Letters to the Editor
Hinduism Today
June 1994
Your coverage on Devadasis [August, September, December, 1993 and
January, 1994] was really informative for talented new dancers.
Devadasis were those who dedicated their lives to their dance not for
money but only because it was a medium through which they could
worship God. Dance, especially classical Indian dance, was given by
Lord Shiva (Tandava) and by Goddess Parvati (Lasya). Devadasis
performed this dance for God, but their dance was appreciated by
people too. People used to come to the temple for puja and also saw
the dance. Because they appreciated the dance, this does not mean
that it should be done for their entertainment.
Dancers should continue to maintain the dignity of dance by keeping
it a medium for worshiping-they should not commercialize it. Dancers
should have the temple as the stage for their dance.
Bhadra Sinha, New Delhi, India
Source - http://www.hinduismtoday.com/1994/6/1994-6-06.html
An Era of Renaissance
By Rishi K. Agarwal
Letters to the Editor
Hinduism Today
June 1994
It's a matter of great satisfaction that such a very useful forum
[Hinduism Today] has been functioning for the last sixteen years-
bringing together the Hindus spread all over the world to communicate
with each other on matters relating to this great religion and
spiritualism. I hope that this will usher in an era of renaissance in
Hinduism worldwide. It's highly gratifying to note that basic tenets
of Hinduism have percolated down to the grass-root levels in the
Western world, which has certainly opened its eyes and ears to the
spiritual teachings and moral principles of our saints and sages who
had dedicated their lives for the good of mankind.
I am amazed by the clarity of understanding and appreciation of a
complex Hindu tradition such as Devadasis shown by Prof. Teresa Hubel
[January, 1994]. I am yet to find such a positive, sensible and
illuminating approach from a co-religionist.
You have given important information on what Hindus are trying to do
in many corners of the world. Accomplishing such a hazardous task is
certainly a wonderful show of immense dedication, sincerity of
purpose and total commitment to what you believe in.
Rishi K. Agarwal, Orissa, India
Source - http://www.hinduismtoday.com/1994/6/1994-6-06.html
Devadasis Forever
By Richard Morey
Letters to the Editor
Hinduism Today
December 1993
Your series of articles about the "Devadasis-India's legendary temple
dancers," is deeply appreciated by everyone here at the society of
Abidance in Truth. We applaud and heartily encourage such excellent
"spiritual journalism." Our ashram maintains a regular schedule of
Indian spiritual cultural events featuring Indian musicians, singers
and dancers. Yes, we do invite into our temple traditional Indian
dancing, such as bharata natyam and other forms. We have found these
events to be quite spiritually inspiring for our members and guests,
and the dancers are always deeply touched by performing in such a
holy setting.
Richard Morey, General Manager Society of Abidance in Truth Santa
Cruz, CA
Source - http://www.hinduismtoday.com/1993/12/1993-12-22.html#gen261
End of forwarded articles from Hinduism Today
http://www.hinduismtoday.com
Jai Maharaj, Jyotishi
Om Shanti
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harmony
<use...@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20091231Y3zLEequ2PNU50407b3R84C@D64P3...
and/or www.mantra.com/jai
a genuine devadasi, a period of meditation focused on one is
recommended substitute.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b4283c0$0$5325$bbae...@news.suddenlink.net>,
"harmony" <a...@hotmail.com> posted:
>
> devadasi ji ke paay lagoon.
> Dr. Jai Maharaj posted: