BETWEEN ‘CELESTIAL MAIDEN’ AND ‘SACRED PROSTITUTE’: THE MYTH OF THE DEVAͲDS5 IN THE IMAGINARY OF THE CONTEMPORARY INDIAN CLASSICAL DANCE PRACTITIONERS

One of the most controversial discussions in the contemporary Indian arts environment remains the connection of the post-colonial classical dance practice with the DevadƗsƯ or the MaharƯ, the temple dancing girls. Born in the Early Medieval India, amidst and in close connection to the Bhakti and the Tantric movements, abiding in the temple institution, the so-called ‘DevadƗsƯ temple system’ remains a mystery, between awe and fascination to the nowadays practitioner and connaisseur of Indian arts. While tracing back the socio-religious contexts that brought the temple dancers on the foremost place of the stage of Indian art history, the author looks for the understanding of this myth in the imaginary and the reality of contemporary practitioners, from the perspective of a foreigner researcher-cum-practitioner of an Indian art form. The paper is based on consulting the existing literary sources concerning the DevadƗsƯ system, and the research is focusing on the nowadays classical dance practitioners’ imaginary (re)construction(s) of this system. Till today, here she stands, the woman-as-dance practitioner, either Indian or from any other part of the world, at the cross-road of all myths, imaginarily rooted in the past, but living all the aspirations of the nowadays social, cultural, religious, political dynamics, neither celestial maiden, nor sacred prostitute.