Mysore’s Devadasis

This analysis is based on "Jingles of History: Looking Back at Mysore’s Devadasis." It covers a talk by historian Janaki Nair at the Bangalore International Centre, exploring the historical role and eventual abolition of the Devadasi system in the princely state of Mysore.

1. Devadasi Role in Mysore: During the Wadiyar reign, Devadasis lived and performed ritual dances in temples across Mysore, Bangalore, Mulbagal, Kadoor, and T. Narsipur, supported by merchants, landlords, and art patrons.
2. Royal Patronage: Krishnaraja Wadiyar III (1799-1868) employed Chinnayya Pille of the Thanjavur Quartet to train Devadasis, elevating their dance as a courtly art form, reflecting the cultural richness of the era.
3. Social Structure: Studies show Devadasis came from diverse castes (e.g., Kurubas, Bedas, Vokkaligas, Lingayats), forming a distinct class with their own inheritance laws, etiquette, and panchayats.
4. Early Abolition: Mysore abolished the Devadasi system by administrative order in 1908-1909, decades before Madras did in 1947, marking a progressive step under princely rule.
5. Colonial Influence: The British viewed Devadasi dances as morally suspect, pushing for reforms; this contrasted with local patronage, highlighting tensions between colonial and indigenous values.
6. Evidence of Practice: Inscriptions, like those at Thanjavur’s Rajarajesvara temple, record 400 Devadasis and their land grants, showing their institutional role in temple economies as early as 800 AD.
7. Cultural Shift: Post-abolition, Devadasi dances were reframed as classical art (e.g., Bharatanatyam), stripping their ritual context and aligning them with nationalist revivalism.
8. Gender Implications: The abolition aimed to “rescue” Devadasis but often left them destitute, raising questions about agency, reform, and socio-economic rehabilitation.

Link To The Original Article – https://www.thehindu.com/news/cities/bangalore/jingles-of-history-looking-back-at-mysores-devadasis/article69344323.ece