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The "Devadasi," literally translated as "God’s servant," eventually came to signify "temple dancer" based on her profession. The Devadasi is an enigmatic figure who evokes a range of emotions, including curiosity, respect, fear, admiration, discomfort, resentment, and empathy. While evidence of her existence dates back to before the Common Era, references to her as an organised dancer within a guild emerge only from the 16th century. The existence of the temple and the court woman served a context and purpose, underscoring a strong case for feminine empowerment and the complex interdependence of society. This powerful woman, who embodies a rich history, continues to face social stigma due to her unmarried marital status and the eroticism in the songs she performs. The law forbade her from dancing on any occasion, stripping her of her economic agency and driving her into a state of apparent invisibility, whether through shaming or deification.
These hereditary women dancers were known by various names across different regions of India before the term ‘Devadasi’ became established in the 20th century. They are referred to as Kalavantulu in the Telugu-speaking areas of Andhra Pradesh, and I am a descendant of the Kalavantulu families. This presentation highlights the empowered yet marginalised Kalavantulu woman through her repertoire. It explores the Kalavantulu dance traditions and history in relation to both past and present society.
Yashoda Thakore, a distinguished figure in the world of Indian classical dance, is renowned for her unique approach to Kuchipudi and Devadasi Nrityam. Her repertoire is enriched by her deep understanding and practice of Yoga. Yashoda's journey in Kuchipudi began with 14 years of rigorous training under the guidance of Sobha Naidu. She further honed her skills by training under the Kalavantulu women, particularly Annabattula Mangatayaru and Leelasai, to reclaim the art of her family.
She was awarded a Doctoral degree for her research on the Interrelationship between Yoga and Indian Classical Dances.
Besides being a consummate performer and choreographer with all the National Festivals to her credit, Yashoda works relentlessly with the hereditary women dancers on the social, historical and aesthetic aspects of the Devadasi repertoire.
Yashoda authored the book Kaivalya-Joy in Yoga and Dance. She also co-authored the translation and critical edition of Nritta Ratnavali, a 13th-century text published by the IGNCA, Government of India. Yashoda edited the stories of the 20th-century Telugu poet Malladi Ramakrishna Sastry. This book, Keligopalam, also features the handwritten notes the poet painstakingly made from the Kalavantulu ladies, preserving them for posterity.
Her workshops on dance at Russia were received with appreciation. Censorship and Women Resistance in the Performing Arts, From Continental Asia to Insular Southeast Asia, May 2014 and Temple, Court, Salon, Stage: Crafting Dance Repertoire in South India, June 2015 were conferences by Centre for South Asian Studies, Paris where she presented papers and performed. The IFTR at the University of Hyderabad and NrittaRatnavali Conclave by Nartanam (2018), Hyderabad, were among the other venues that hosted Yashoda’s presentations. The University of Pennsylvania invited her to be an Artist in Residence, and the Wesleyan University invited her to perform at the Navaratri Festival. The University of Hyderabad invited her as part of the Distinguished Lecture Series. University of California, Los Angeles hosted her talk in Feb 2020. The IIT, Hyderabad, hosted her workshops on dance and yoga on various occasions. She was also invited by the Emory University to be an Artist in Residence.
Yashoda is now Chair of the Department of Kuchipudi at the University of Silicon Andhra, California, where she teaches dance history, theory, and practice to graduate students.
In 2017, the Samskruti Organisation, Guntur, and the Ugadi Puraskaram, administered by the Government of Andhra Pradesh, conferred her with the Bangalore Nagaratnamma award.