Another scholar who worked with the Devdasis was the famous carnatic singer Dr. Shyamala Balakrishnan, the sister-in-law of Dr. Padma Subramanium. Dr. Shyamala Balakrishnan devoted herself to the research on folk and classical art forms of Tamil Nadu. During her research across Tamil Nadu she found three ex-devdasis at the temple of Muruga at Viralimalai, situated presently in Puddukottai District. In her thesis, she recorded their art, history, traditions and contributions. Each temple had its own tradition of dance style and compositions. Kuttral Temple had its own composition called Kuttrala Kuravanji. Sri Kumbeshwar Temple in Kumbakonam was famous for performing Kumbkeshwar Kuravanji and Viralimalai was known for its Viralimalai Kuravanji. These used to be performed during the annual temple festival.

Dr. Padma Subramanium learnt Viralaimalai Kuravanji from a Viralimalai Devdasi called Annamal, who was brought specially to Madras by Padma’s father Mr.Subramanium to teach her this composition. As a tribute to Annamal, the Viralimalai Kuravanji has been presented by the outstanding dancing trio of Tamil Nadu, Dr. Padma Subramanium, Chitra Vishveshwaran and Sudha Rani Raghupathy at the festival of India in Russia. Dr. Padma Subramanium also learnt dance from Mylapore Gauri Ammal the last surviving devdasi of Shree Kapalishwar temple at Mylapore. 

According to Balakrishnan, brother of Dr. Padma Subramanium, dance (niritya) is one of the Shodash Upcharas (sixteen rituals) performed to appease the deity. The other being abhishekam (ritual bathing), putting sandalwood, vermilion and flowers. Lighting doopam (incense) deepam (lighting of lamp) and camphor, decorations and ornaments, royal treatment like fanning, etc, chanting of Vedas, playing instruments, singing, offering tamboolam (beetal leaf and nut), naivaidyam (food for God) and prayers. 

When he was about ten, he visited Alwar Thiru Nagari and saw a devdasi perform in the temple of Vishnu. According to him, she first took a bath in the temple tank. After that she changed into fresh white clothes. Her hair was loose but tied into a knot at the bottom called 'nuni mudi' and she had adorned herself with sandalwood paste. She danced in front of various shrines and deities soon after the Karpura aarti (lighting of camphor before the lord) was over. A mridangam (drum) player was following her and she was dancing to the beat of his drum.

Another native of Alwar Thiru Nagari and a retired headmaster, Shri Peria Thiruvadi says, "There were three or four families of devdasis living in Alwar Thiru Nagari in the South car street. They were usually a family of mothers and daughters. The women did not marry but did enjoy the freedom to relate to any man they chose. They did generally have partners or patrons from the elite of the society or from among temple priests from whom they were free to have children. After the mothers became old, the daughters took over as temple dancers. In these families the birth of a girl was a joyful event unlike in other Indian families where the birth of a girl child was mourned." 

"Many male members in devdasi families became players of the auspicious music (Nadeshwaram and Tavil) and took to the profession of becoming dance masters (nattuvangams). They came to be known as Isai vellalas. The girls were generally initiated from the age of five and adhered to a very vigorous training routine. When the devdasi made her debut in the temple there was a ceremony called ‘Pattu Katarada’. A full marriage ceremony was performed between her and the deity inside the Garabagriha (sanctum sanctorum) of the temple. Thereafter she wore the thread of marriage (thali or mangalsutra) in her neck and adorned her forehead and parting with vermilion”. 

He further describes the dance by devdasis thus, “ Wearing beautiful silken costumes and ornaments, they performed every morning, for half an hour, when god was being taken to a specially constructed mandapam, which had six steps. As god ascended each step a particular song was sung and an exclusive dance was performed by two devdasis on either side of god. The dancers were normally between the ages of twenty and thirty and were very good looking. Apart from the daily performance in the mornings they also performed, in the afternoons, during the twenty-day festival in the month of Marghazhi. As artistes they were held in high esteem..”

C K Gariyali IAS
Source : chennaionline