The Devadasi System And Sadir Attam
Explore the history of Bharatanatyam, from its sacred temple origins to its evolution through time and tradition
Bharatanatyam: A Journey Through History
Bharatanatyam is one of the oldest Indian classical dance forms, originating in the Tanjore district of Tamil Nadu. Initially, this dance was practiced in the temples of Tamil Nadu by women as a solo art form. It gradually became an integral part of many South Indian temples between 300 BCE and 300 CE. The temple dancers, known as Devadasis, performed this dance form—then called Sadhir Attam—as a devotional offering to the divine. The dance was considered a sacred art, celebrating a connection beyond the physical realm. The dancer would dissolve her identity into rhythm and music, making her body an instrument for the experience of the soul. Thus, the dance practice during this era adhered closely to the teachings of the Natya Shastra.
The Natya Shastra is an ancient Indian treatise on dramaturgy, compiled by Bharata Muni, detailing Indian theatre and dance in meticulous detail.
The Devadasi System
Under the Devadasi system, dance was passed down as a living tradition from generation to generation. The Devadasis, who were highly educated, held exclusive ownership of this knowledge. Once a girl became a Devadasi, she would begin her training under a dance teacher, known as the Nattuvanar. The Devadasis were well-versed in literature (Sahitya), music (Sangeet), and scriptures (Shastra), making them significant figures in temple administration.
In addition to their dance, Devadasis were involved in temple maintenance and rituals, earning them a place of respect in society. Leading temples like Thanjavur, Chidambaram, Kumbakonam, Madurai, and Kanchipuram were home to prominent practitioners of dance and music. It is important to note that the Devadasi system was an institution, not a caste—a common misconception even today.
Patronage and Decline
During the Chola dynasty (9th to 12th centuries AD), Devadasis thrived under royal patronage. However, this dependence on kings also marked the beginning of a shift. Temple dancers began performing in royal courts, where their art was adapted to suit the audience’s entertainment. These court performers, called Rajadasis, modified their themes and techniques to fit the materialistic nature of court life.
The status of Devadasis declined alongside Hindu temples, particularly with the advent of British colonial rule. The British sought to impose Western ideologies on Indian society and systematically undermined temples. As territories fell to colonial rule, temples lost their royal patronage and grew impoverished. This forced the Devadasis into poverty, and their artistic activities diminished.
The British began inviting Devadasis to perform at private gatherings, infamously called Nauch parties. Deprived of alternatives, the Devadasis were reduced to a marginalized status, viewed as slaves or prostitutes by society.
Reform and Abolition of the Devadasi System
To protect the art and artists from exploitation, Indian reformers launched the first anti-Nautch movement in 1882. The movement built public awareness and encouraged people to boycott nautch parties and avoid inviting Devadasis to social festivities.
The first legal step to outlaw the system came with the 1934 Bombay Devadasi Protection Act. The system was completely abolished in India in 1988, after independence.
The Modern Transformation of Bharatanatyam
It is deeply unfortunate that an art form rooted in spirituality and devotion became entangled in political and societal agendas. History shows that Devadasis once held equal status to men, earning a living as artists and heading their families. However, in post-colonial India, Bharatanatyam was redefined as a hobby, particularly for middle- and upper-caste women, who were discouraged from pursuing it professionally.
This “reformation” was cloaked in a moral discourse that distanced the dance form from commercialism. As a result, Sadhir Attam and the dancing bodies of Devadasis were labeled vulgar. Today, distorted perceptions persist, conflating the Devadasi system with caste-based exploitation.
Revisiting the Legacy
Though outlawed, exploitative practices under the guise of tradition still occur in small villages today. It is unjust to generalize a system that had ethical and cultural roots as solely exploitative. The Devadasis were mentors, preservers, and pioneers of traditional Indian art. Bharatanatyam, as we know it today, grows from the legacy they nurtured.
To honor this art form’s true history, we must revisit our understanding, separating fact from misconception. Bharatanatyam is not just a dance—it is a cultural treasure that continues to evolve, carrying forward the sacred traditions once upheld by the Devadasis.
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