The Devadasi Dance: A Rich Tradition of Assam

Himangshu Ranjan Bhuyan

(hrbhuyancolumnist@gmail.com)

The Devadasi dance is a valuable part of India’s ancient cultural heritage, blending religious devotion, art, and social traditions. It is not just an art form but a complex reflection of Indian society’s religious, cultural, and social life. In Assam, the Devadasi dance took a unique form, influenced by Shaivism and deeply connected to local Assamese culture. Through this dance, devotion to God, the beauty of classical dance, and the cultural complexities of Assam’s feudal society were expressed. This essay will discuss in detail the origin, historical background, stylistic features, social role, phases of change, reasons for its decline, and efforts to revive the Devadasi dance in Assam. Through a deep analysis of its religious, cultural, and social significance, we will explore its historical importance, its impact on society, and its future possibilities.

The word ‘Devadasi’ comes from the Sanskrit words ‘Deva’ (God) and ‘Dasi’ (servant), meaning a woman dedicated to serving God. In ancient India, the Devadasi system was an essential part of temple-based religious activities. Devadasis were appointed for temple worship, dance, music, and various religious rituals. Their role was not limited to being artistes; they were also considered symbols of societal welfare through their service to God. Ancient Indian texts like Kalhana’s “Rajatarangini,” Kautilya’s “Arthashastra,” Damodar Gupta’s “Kuttanimatam,” Padma Purana, Bhavishya Purana, and Kalidasa’s “Meghdoot” mention Devadasis and their dance. These texts show that the Devadasi system was widespread across India, with different names in different regions. For example, they were called Basivi in Karnataka, Matangi in Maharashtra, and Bhavin or Kalavantin in Goa. Despite the different names, their main purpose was to participate in temple religious activities and enrich society’s cultural and religious life through their service to God. The lives of Devadasis were closely tied to temples, and their activities helped maintain religious and cultural unity in society. Through their dance and music, they expressed devotion to God, awakening religious consciousness among people.

In South India, especially during the Chola Empire, the Devadasi system was highly organized and respected. Inscriptions at the Brihadeshwara Temple in Thanjavur mention the presence of 400 Devadasis, indicating their importance in the temple’s religious and cultural life. These Devadasis performed dance and music and participated in various temple festivals. The role of Nattuvanars (musicians) was crucial in their performances. Nattuvanars controlled the rhythm and melody, enhancing the quality of the Devadasis’ performances. Their music and rhythm expressed the emotion and spirituality of the dance. The presence of 500 Devadasis is mentioned in the Someshwara Temple in Gujarat, showing the widespread acceptance of this system. The education system for Devadasis was highly advanced. They were trained in classical dance, music, literature, and religious scriptures. This education enabled them to play a sacred role in the temple environment. Their lives were dedicated to temple service, and their activities enriched society’s religious and cultural life. Through their performances, they awakened religious consciousness among people and expressed devotion to God.

Although the exact timeline of the Devadasi dance in Assam is unclear, its origin is believed to be linked to the influence of Shaivism. Texts like the Kalika Purana and Yogini Tantra mention this system in Assam. These texts indicate that the Devadasi system was deeply connected to Shaivite temples in Assam. Scholars believe that the system likely entered Northeast India under the influence of Dravidian culture. Major temples in Assam, such as the Negheriting Shivadol in Dergaon, the Shiva Temple in Bishwanath, and the Parashureshwara Temple near Bajali, were notable for the practice of Devadasi dance. In these temples, Devadasis were known as “Nati” or “Natin.” The Ahom kings were patrons of this dance and appointed dancers in temples to keep the tradition alive. For example, during the reign of Swargadeo Shivasimha, Nati dancers from Dergaon were brought to the Parashureshwara Temple in Dubi to promote this dance. It is also said that Shivasimha’s chief queen, Phuleshwari Kunwari, was a Devadasi, highlighting the social importance of this system. The patronage of the Ahom kings made the Devadasi dance a significant part of Assam’s cultural life. They provided land, fisheries, and other resources to support the dancers, ensuring their material security. This patronage established the Devadasi system as an organized part of Assamese society.

The style of the Devadasi dance in Assam was unique and deeply rooted in local culture. The costumes worn by the dancers reflected Assamese traditions. They wore a long skirt or mekhela around the waist, a white blouse, and a riha (a type of shawl) draped over the chest and tied around the head. This costume was modest and aligned with the religious sanctity of the dance. Various ornaments like necklaces, earrings, nose rings, finger rings, and anklets were used, enhancing the dancers’ beauty and expressing the sacredness of the dance. Before performing, the dancers bathed in a nearby pond, checked their reflection in the water, and adorned themselves with makeup and hairstyles to look graceful. This process expressed a sacred devotion to God. The music for the dance included instruments like the khol (drum), cymbals, conch, and large flute. The rhythm of the khol accompanied various dance postures, captivating the audience. While there is no clear information about the use of songs in Assam’s Devadasi dance, local instruments like the dotara and sarinda were notable. The dance movements and gestures followed the principles of Natyashastra but developed a distinct style due to local cultural influences. The movements were subtle and graceful, beautifully expressing devotion to God. Each posture and gesture conveyed the dancers’ devotion and reverence, creating a spiritual impact on the audience.

In ancient times, Devadasis held a high social status. They were considered symbols of societal welfare through their service to God. Their dance and music training followed strict classical rules. In Assam, Devadasis were mainly chosen from the Nat-Kalita or Gandharva-Kayastha communities. Their brothers were assigned tasks like tending to temple flowers, indicating that the system was part of an organized social structure. The royal court provided land and resources to support their livelihood, ensuring they faced no material shortages. Through their education and training, they played a vital role in temple religious activities. Their performances kept society’s religious and cultural traditions alive, awakening religious consciousness among people and creating a unique identity for Assamese culture.

However, over time, the social status of the Devadasi system declined. Exploitation by temple priests and influential people increased. Although Devadasis were prohibited from marrying, there was no strict obligation to maintain chastity, complicating their social and moral lives. The powerful classes began using the system for sexual exploitation, gradually lowering the social status of Devadasis. Outside Assam, the system became associated with prostitution in other parts of India, giving the terms “Nati” or “Devadasi” a negative meaning. This change diminished the religious and artistic significance of the system. Their art’s sanctity and social importance faded, and they were increasingly seen as an exploited class.

During British rule, the Devadasi system faced severe criticism. British administrators could not distinguish between the religious and artistic roles of Devadasis and their social exploitation. As a result, the system was declared illegal in India in 1988. In Assam, the practice stopped in the 1930s and 1940s due to various social and religious reasons. The decline of royal patronage during colonial rule and the efforts of social reformers contributed to its end. Changes in society’s moral and cultural values during British rule altered perspectives toward the Devadasi system. Instead of its artistic sanctity, the focus shifted to their social exploitation, leading to the system’s gradual isolation from society.

Despite its decline, efforts to revive the Devadasi dance in Assam continue. In 1954, under the leadership of Kala Guru Bishnuprasad Rabha, Ratnakanta Talukdar recovered parts of the dance with the help of Dubi’s last two Devadasis, Raya Das and Kaishalya Das. This effort restored 22 dance postures and 12 rhythms. These efforts paved the way for the revival of Assam’s Devadasi dance. Currently, artistes and researchers like Jatin Goswami, Ramkrishna Talukdar, Girin Patgiri, and Karabi Goswami are working to revive and promote this dance. In February 2020, the first Devadasi Dance Festival in Assam was held at Negheriting Shivadol, organized by Bedanta Bikash Datta of Monikanchan Kala Niketan and Shrimoyee Bora of Jhumka Kalakendra in Dergaon. This festival sparked interest among the new generation. However, there is still no clear understanding of how the revived dance style compares to its ancient form. These revival efforts are a significant step toward preserving and promoting this valuable part of Assamese culture.

The Devadasi dance is not just an art form; it is an integral part of Assam’s religious, cultural, and social heritage. Through this dance, devotion and surrender to God were expressed. It reflects Assam’s feudal system, the influence of Shaivism, and the development of local art. The lives of Devadasis and the social changes related to their dance reveal the complexities and evolving dynamics of Assamese society. Even after its decline, efforts to revive the Devadasi dance symbolise the new generation’s interest in Assamese culture. Through research, education, and performances, the revival of this dance is possible, marking a significant step toward preserving and promoting Assamese culture.

 (References: Several books, articles published in different souvenirs, and various writings available on the internet were used.)