Role of temple dancers

Subashini PATHMANATHAN

The classical dances of India are based on spiritual and religious philosophy. The female temple dancers were called devadasis, koothier and Sri Vaishnavamaikam in different temples and different regions.

Devadasis were funded by the temples

The devadasis literally means the female servants of gods. Earlier there was a belief that the devadasis were formally married to the god of the temple where they served.

These female devadasis were dedicated to the dancing service at a very tender age generally before the age of 14. The females above that age were not allowed to enrol to serve the lord by the temple authorities. Soon after the enrolment the girl was entitled to get a payment.

After a ritual marriage ceremony she could not marry or lead a normal life and was supposed to serve as temple devadasis. Once they enroll 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. Shelter and all the necessary arrangements and facilities were provided to the devadasis and for their mentors by the state and the temple authorities.

Some castes had a tradition to contribute one female child for the service of the temple dance.

The male dancers were called Koothar, Chakaier, Araier and Gothipuas. The Indian classical dances were mostly based on Hindu culture, tradition and Hindu philosophy including Sivaism and Vishnavaism.

It was believed that Nathamuni who compiled the works of 12 Alwars and published under the name Naalaaiyram Thviya Pirapantham. He also set the music for it and formulated the hand gestures for abinaya. The females who danced in the Vaishnava Temples were called Sri Vaishnava Manikam and the males were called Araier and their services were recognised as Araier servai.

Dance, drama and music including vocal music and instrumental music played an important role in the temples. These fine arts were regarded as temple arts. In olden days these art forms grew, developed and flourished in and around the temple environs.

Numerous inscriptions provide valuable information regarding how the royal patronage was given to promote dance in temples. Kings generously contributed lands, paddy, cash and the kind for their services. Even today there is a village in Tamil Nadu called Kootha Nallur. This shows that the village was given to Koothar (dancers) for their service.

There are still some references available that devadasis themselves donated lands back to temples. The temple devadasis were employed to dance in the daily temple rituals as well as in the temple festivals.

Dance in temple nvirons later moved on to the public stage

There is evidence to show that after they reached a particular age and stage they faced a retirement ceremony by unhooking their earrings before the temple priests. The earrings are given back to them, yet they don’t wear those back in their lifetime. Their life was fully secured. According to some records the funeral pyre of the devadasis must be lit by the fire brought from the temple. Hence the devadasis who dedicated themselves throughout their life for the temple service were well looked after by the temple. During the events like social functions, pongal festivals, marriage functions, auspicious functions and sometimes in float festivals dances of devadasis were held.

Though dancing in temples was banned during the British regime yet it continued till 1947 in Tamil Nadu. With the passage of time the total number of performers of devadasi clan declined due to various reasons. Temple dancers including males and females were very much popular in certain states like Assam, Andhra, Orissa, Manipur, Madras, Karnataka and Kerala.

These dance forms were practised inside the temple before the presiding deity or before the Utsava moorthy or within the temple courtyard. Even in the temple itself Natya Salai, Natana Mandapam and Nat Mandapam were built to preserve and perform the arts.

Kuchupidi, Bhagavatha Mela, Bharatha Natyam, Odissi and Koodiyattam are closely and directly linked to the temple traditions and spiritualism.

Koodiyattam is an ancient drama based Sanskrit temple art form which is still considered as temple theatre of Kerala and preserved by Chakaiyer.

The dancing in temples and temple premises has declined and finally disappeared from the temples and temple environs which later on moved to the public stages and became the stage theatre with modern technology. But still it preserves the same spiritualism in the art.

The temple dancing was not only restricted to Hindu temples but this was practised in certain Buddhist and Jain temples as well.

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