Devadasi Dance : A Significant & Important Role In Nurturing Of Dance Arts

Devadasi Dance : Bhagavatis played a significant role in nurturing and evolving the dance arts in Andhra Pradesh. The dance traditions of Devadasis and Bhagavatis developed independently. Devadasis performed worship dances, Ashtadikpalaka dances, Nalu, Kalapala, and other forms in the temple dance halls, following the Shaiva and Vaishnava traditions. They were performers of these sacred dances.

Devadasi Dance & Kacheri Dance:

One unique aspect of Kacheri dance is the synchronization of a single dancer. This art form, which originated in the royal courts, was revered by Devadasis and later became known as Kacheri dance in Andhra Pradesh. It is distinct from Kuchipudi dance, which also developed in the region. Kacheri dance flourished in places like Bobbili, Vizianagaram, Carveti City, Venkatagiri, and Kalahasti. Dance scholars of that era organized programs combining dance, music, and acting, promoting Kacheri dance as a refined art form. Devadasis choreographed dances for Kshetrayya Pada Sahitya and performed Kacheri dance.

After the decline of courtly patronage, Devadasis primarily relied on this art form for their livelihood. According to Nataraja Ramakrishnagaru, this predominantly Sattvic dance art is still preserved by elderly Devadasis scattered across Andhra Pradesh.

Nattuva Melas:

Nattuva Melas emerged from the Kacheri dance tradition. Kacheri dance is essentially a royal court art form. Nattuva Melas are well-known throughout Akhilandhra (Andhra Pradesh) and can be considered a form of street art. They are performed during wedding ceremonies, Mejuvanis (auspicious occasions), grand Tirunals (temple festivals), and divine wedding celebrations.

Nattuva Melas entertain not only scholars but also common people, as they include elements of light-hearted comedy songs. There exists a strong connection between Kacheri dance and Nattuva Melas, with many Devadasis being patrons of both arts. Kacheri performances in temples typically commence with “mela prapti” and conclude with “pushpanjali,” “Perani,” “Gitam,” “Shabda,” “Lasam,” “Jati,” “Varnam,” “Padam,” “Javali,” “Tillana,” or “Daruvu.”

“Shabda,” “Salam,” and “Jatu” are essential mudras (hand gestures) used in the dances, followed by Varna, where equal emphasis is given to Satvikabhinaya (expressions of devotion). Javalis are also performed with intricate footwork and expressive movements.

Nataraja Ramakrishnagaru explains that the show concludes with a Tillana dance, adding the final touch to the performance.

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