Devadasis and their dance aesthetics

CHENNAI: Understanding of devadasis, their culture, practices and dance aesthetic has been burdened by misunderstanding and mistranslation by Western historians in the colonial period, the author of a book on devadasis has said. Speaking at the release of his book Unfinished Gestures: Devadasis, Memories and Modernity, author Devesh Soneji also said that his research and book would discredit the popular notion that the devadasi communities have ceased to exist in southern India.The book, published by the Chicago University Press, was released in India, and was presented to four guides and associates of the author. Soneji also read excerpts from his book and explained some of his findings as he went along.“The phraseology and terms used in English do not find mention in any of the vernacular records of the time. This is also true of the terms that have been used in scholarly as well as popular publications and magazines,” said Soneji. “The very term devadasi cannot be used without bringing in colonial understanding. Also, their categorisation as ‘temple dancers’ or ‘holy prostitutes’ does not capture the essence of their culture,” he added.Soneji, a researcher of Bharatanatyam’s various forms and their histories, said that devadasi traditions have all but disappeared from southern India. “Devadasi communities continue to exist. The performances now happen behind closed doors and continue to have their clientele. Their dance aesthetic continues to exist despite Bharatanatyam having been converted into a form of ‘high art’ based in urban centres with an elite clientele,” said Soneji.The book deals with the identity, culture and practices that defined the Devadasi community, which had been an integral part of the cultural landscape of southern India. Apart from mapping the history of the community, it also deals with the various transitions Bharatanatyam has undergone over the past two centuries.