The last Mahari

Above: Shashimani in 2011. (Photo by Sandrine Da Costa)

UPDATE: Shashimani passed away on March 19, 2015. You can read her obituary in the New York Times at this link.

The Maharis were the temple dancers who performed for Lord Jagannath in the Jagannath temple in Puri, Orissa. Dating back to the 12th century, the Jagannath temple is an important place of pilgrimage for Hindus. This temple was also once a great cultural centre where dancers and singers would worship Lord Jagannath through dance and song as part of the daily temple rituals.

Shashimani is the last remaining Mahari belonging to this temple tradition. She is now in her late 80s and lives in a lane close to the great temple. Two years ago, while conducting research for an upcoming film on Odissi, I along with the film’s director, Sandrine Da Costa, had the chance to meet Shashimani and have a short discussion with her.

We climbed up a narrow staircase to a dark room where Shashimani lives, in the house of a temple servitor. When she was told that she had visitors, she excitedly asked her student who was with her to help her apply the bright red dot of sindoor on her forehead. She wrapped the end of her sari over her head as she received us with her hands joined in a respectful namaste. She sat on the floor of her modest room and motioned for us to sit too.

Shashimani told us how she was dedicated to the Jagannath temple by her parents at the age of seven. Through a ceremony called Sari Bandhan she was formally married to the god. “When the marriage knot was tied with Lord Jagannath we became Maharis, she explained. “From that day, we became the wives of Lord Jagannath.” The Maharis would then be considered to be married women and would remain wedded to the god for the rest of their lives.

There were many dancers connected to this temple and each had specific duties (seva) to perform. There were 21 different sevas and the Maharis would take turns going to the temple to perform the rituals. “Each Mahari had different sevas to perform,” Shashimani explained.. I would dance in the morning when Jagannath would be woken up, and at night when he would be put to sleep. The other sevas were performed by the other Maharis. I would come to the temple for seva four to five times a month. After the other Maharis died, I was the only one left.”

Shashimani was a Bheetar-gani Mahari, a Mahari who would dance inside the temple sanctum. “When the main temple door closed after arati, we would sing and dance inside the sanctum for Lord Jagannath until the door opened again.” Sometimes she would also dance for the god during dhupa, the evening meal. “During dhupa we only danced, we wouldn’t sing. He would take a long time to eat and we would get tired,” she lamented. “We wanted him to eat quickly!” When I asked her what would happen after the temple doors closed for the night, she hastily replied: “Don’t ask me what happens at night time! No dancing!”

She also described for us the costumes the Maharis would wear: “We would get all decked up and wear lots of heavy jewellery from the neck to the navel. We would wear bangles and beautiful silk saris and a big garland. We would even have jewellery in our hair and decorating the nose – we would be completely covered with heavy gold jewellery. Who dresses like that today?”

The Maharis would also dance during festive occasions. She told us about the Chandan Yatra, one of the most important festivals honouring Lord Jagannath. “In front of the Lord we would dance and sing. Then he would be taken to Narendra pond. While the Lord played in the water we would sing many bhajans and songs from the Gita Govinda. After playing in the pond, the Lord would have his meal and then have a nap. In the evening he would go to the pond again. Again we would go with him and dance and sing.”

Shashimani stopped dancing in the temple five years ago because she no longer had the stamina to continue. She told us that the Mahari tradition has gradually faded because there are no Maharis left to perform the rituals. “The other Maharis have all passed away and I’m the only one left. How much can I do?” she concluded.

For a temple dancer who used to get decked up in silk saris and heavy gold jewellery, Shashimani now lives a very austere life. Unsurprisingly, she expected a donation for the time she spent with us and after refusing the first generous offer, did not hesitate to state her price. This article I came across on the Internet describes her situation in more detail and calls on the temple authorities to assume responsibility for former ‘temple servants’.

The upcoming film on Odissi will feature video footage of our interview with Shashimani. The film is still work in progress and is expected to be released in 2014. For updates, visit this page.

Odissi dancer and scholar Ileana Citaristi, wrote a fascinating detailed account of the lives of the temple dancers of Jagannath temple back in 1985. She has kindly shared this article with Sacred Space - you can read it at this link.

The text I’m pasting below was written in 1972 by Ragini Devi (taken from her book Dance Dialects of India) and offers a glimpse into the lives of the Maharis:

The Maharis of Jagannath Temple

When the great temple of Lord Jagannath became the matrix of the religious and cultural life of Orissa, the role of the Maharis in the daily rituals and festivals is clearly defined. It is said that in the 12th century King Chodaganga Deva established seven colonies for temple servants (Sebayatas) adjacent to the temple, and the place allotted to the Maharis was known as ‘Anga Alasa Patna’ the ‘place of bodily gestures’.

Maharis are the holy brides of Lord Jagannath. A piece of cloth taken from the idol is tied around the head of the initiate danseuse by the temple priest to symbolize her marriage to the deity of the shrine.

Maharis are vowed to chastity and their sacred duties and daily life are supervised by the Mina Nayak and the Sahi Nayak, temple servants appointed by the king. A valuable manuscript, Niladri Archana Chandrika, written by a Mahari of Jagannath Temple, describes the ritual dances of Maharis, and their daily life and customs.

Maharis are richly attired for temple service. After bathing, fragrant sandalwood paste is applied to the body. A colourful silk sari of traditional pattern is draped around the body and tied at the waist. A tight bodice covers the breasts. The face is decorated with the sacred ‘tilak’ mark between the brows, and delicate patterns of white dots are applied above the brows and on the cheeks. Fingertips, palms and feet are tinted crimson, and they eyes are lined black with collyrium. The hair is parted and knotted in a chignon wreathed with flowers and adorned with a golden curved disk pierced with a peg of ivory and gold. Beautiful gold ornaments decorate the head, neck, arms, ears, nose, waist and ankles.

Covering her head with a veil, the Mahari goes to the temple accompanied by the Mina Nayak. She is escorted to the inner shrine by the Rajguru, who bears a gold-mounted staff as a symbol of the king’s authority. He is always present at the dance rituals, and, after obeisance to the deity, the Mahari bows to him before beginning her dance.

There are two classes of Maharis at the Jagannath Temple. The Bheetar-gani Maharis are those who dance exclusively before the deity in the inner shrine. The Bahar-gani Maharis dance in the hall of dance (Nata Mandir) or in the temple courtyard near the Garuda pillar. Other temple servants who render daily service are the Gaudisanis, temple maids who fan the idol with charmaris, Gita-ganis (singers), and musicians who play veena, drone, drums, flute, and cymbals to accompany the dance.

There are two daily rituals at Jagannath – one at midday and the other at night. At the midday Sakala Bhupa ceremony when consecrated food is offered to Lord Jagannath, a Bahargani Mahari dances in the Nata Mandir and sacred songs are sung.

At night, after the Sanja Dhupa or food offering and just before the ritual adornment of the idol, prior to his nightly retirement, a Bheetar-gani Mahari renders dance and song before the deity. A portion of the food offerings is given to the Maharis, and this is the only food they are allowed to eat on the days of their temple service.

According to temple records there were twenty Maharis serving Lord Jagannath in the 15th century, each dancer taking her turn in the daily rituals, and all of them participating in the religious festivals. There are sixty-two annual festivals in honour of Jagannath and in two of these the Maharis have an important part. In the Chandan Jatra or Spring Festival, the image of Jagannath is taken in procession to a large tank about three miles from the temple and installed in a boat. Two boats are set afloat, one carrying Maharis, and the other Gotipuas in female dress, to entertain Lord Jagannath with songs and dances. In the Jhoolan Jatra the image of Jagannath is placed on a swing, and entertained by Maharis and Gotipuas with songs and dances.

Maharis, as a community of Jagannath, were exclusive teachers of their art. It was a custom for Maharis to adopt daughters and train them for dance service in the temple. Thus the dance retained its artistic purity and sanctity for at least six hundred years.

Maharis continue to dance in the Jagannath Temple, but their beautiful rituals belong to the past. The dance offering is perfunctory, for the sake of custom. Maharis receive a portion of the food offering and no maintenance or quarters are given to them, as before. Many of them have left the profession, and those who serve the temple are living in penury. It is only now that their art has become precious and they are in demand as teachers of dancing. (By Ragini Devi, Dance Dialects of India, 1972)

Upcoming film: Odissi - from the temples to the contemporary stage

Documentary filmmaker Sandrine Da Costa’s latest project takes a look at the history and evolution of Odissi, the classical dance from the state of Orissa. I had the opportunity to collaborate with Sandrine on this project last July. We travelled around Orissa visiting dance schools and meeting gurus and dancers, as well as dance historians, musicians and art critics.

This 2.4-minute ‘teaser’ is just a hint of what’s to come. The film features many well-known dancers, gurus, teachers and dance personalities, including: the gotipua dancers and gurus at Konark Natya Mantap, Bhubaneswar-based dancers Ileana Citaristi, Sujata Mohapatra, Saswat Joshi, Sagarika Mohanty, Guru Bichitrananda Swain and dancers of Rudraksh; Surupa Sen and Bijayini Satpathy of Nrityagram, Bangalore; dance historian Dr Sunil Kothari; dance writer Shyamhari Chakra; Shasimani, former devadasi of Jagannath Temple; and singer Bijay Kumar Jena amongst others.

The documentary is scheduled for completion in 2013. To stay informed about updates, visit the filmmaker's website: http://www.sandrinedacosta.fr.

La Danse de l’Enchanteresse

Brigitte Chataignier’s evocative and atmospheric film, La Danse de l’Enchanteresse – co-produced with Adoor Gopalakrishnan, Kerala’s famed film director – is a visual ode to the classical dance from Kerala, Mohiniattam (which literally means ‘dance of the enchantress’). The absence of dialogue provides a hint of mystery and the brilliant imagery and exquisite music speak much louder than words.

Throughout the 75-minute film, we see different aspects of Mohiniattam revealed through a collection of scenes shot in scenic locations around Kerala. A peek through a doorway reveals a class in progress in a temple courtyard, dancers in resplendent white Kerala saris practice adavus under the watchful eye of their guru, seated in a circle with their teacher dance students learn a padam, dancers in costume apply eye makeup, there is a rehearsal with musicians, a recital in a temple. Interspersed with these dance images, we are also offered glimpses of life in Kerala: a young girl looking out over a lake lost in thought, a bus journey, a village temple, pouring rain. Several prominent Mohiniattam gurus and dancers are featured in the film.

For Brigitte Chataignier, the film is a testimony of a certain time which she wanted to capture and preserve. It is also a homage to her dance gurus and to Maharaja Swati Tirunal, the 19th century poet, composer and musician. His compositions are featured in the film and some scenes were shot in his palaces.

Brigitte Chataignier’s fascination with the Indian performing arts first brought her to India more than 20 years ago. In her native France she had studied contemporary dance, theatre, mime and yoga. She had the opportunity to study Mohiniattam at the famous Kerala Kalamandalam school with Kalamandalam Leelamma and then with Kalamandalam Kshemavathy. She has presented group and solo performances in India and abroad and also studied Carnatic music, Kathakali and Kalaripayattu. After living continuously in Kerala for six years she now divides her time between France and India. (Left: Brigitte Chataignier)

I had the chance to see La Danse de l’Enchanteresse in Bangalore during the 2009 Attakkalari India Biennial and spoke to Brigitte Chataignier about her film.

How did this film come about?

I had the idea to make this film for a long time. In the process, I interviewed teachers and older people and asked them not only about Mohiniattam, but also about the arts and life in Kerala.

I’m a big admirer of the work of Adoor Gopalakrishnan and I quickly realized that he was the only person who I could collaborate with on this project. What I appreciate about his work is his fabulous use of light. I approached him and told him about my idea. He didn’t agree at first. But slowly through the many discussions we had, an understanding and friendship developed between us and after some time he agreed to do the film.

We both agreed that we wanted to create a certain atmosphere in this film. We wanted to bring out the essence of Mohiniattam while also capturing a certain time period in India, a time which is quickly disappearing. We carefully thought out and planned each scene in detail and wrote the scenario together. We decided to have very little dialogue and an underlining ‘hint’ of a story. We didn’t want to tell too much. Throughout the film different aspects of Mohiniattam are revealed. There are glimpses of each item of the Mohiniattam repertoire. And interspersed with these are short ‘vignettes’ or glimpses of life in Kerala.

Who are the gurus and dancers featured in the film?

The teachers are Satiabhama, Sreedevi Rajan, Kalamandalam Kshemavathy and Kalamandalam Leelamma. I wanted to bring them all together in the film. I found that each had certain qualities and thought they could all be featured, like all the fingers in a hand. There are four main styles of Mohiniattam. Three are represented here. There are also glimpses into the relationship between teacher and student. Some of the dancers include Kalaratna Smitha Rajan, Dr Neena Prasad, and Pallavi Krishnan.

Tell me more about the underlying theme or story in the film.

The story is of a young dance student who is living a romance ‘in her head’: she’s thinking of the potential husband she’ll meet one day. She is a young girl with love on her mind. The theme is sringara, longing, separation. The same themes we find in padams. So there is a link between the poetry and lyrics of the padams featured in the film and the girl’s story.

How was the film received in France?

Very well. It received good reviews. The film is beautiful to watch, it’s also very contemplative, so it’s appreciated by art lovers and connoisseurs, and those who like India, dance, meditation, yoga.

It is not at all a commercial film so it was shown only at select cinemas which feature films on art and dance. It was also screened at several film festivals in Europe, Asia and in Brazil and won a prize in 2008 at the International Audiovisual Festival of Performing Arts in Lisbon, Portugal.

In India it has been shown in Trivandrum, the Habitat Centre in Delhi, Shantineketan, Calcutta and now Bangalore.

The locations used in the film are stunning. Where are they located?

Yes a lot of thought had gone into selecting locations. We see Maharaja Swati Tirunal’s palaces in Trivandrum and Padmanabhapuram, a small Shiva temple in a local village, the Kuthambalam theatre at the famous Kalamandalam school and Thiruvattar temple. We also see traditional Kerala houses with their courtyards and verandas.

These locations provide an echo of history. Time stops in the film. It captures a certain time, a memory of a certain time. It’s a testimony of something I felt and a homage to my teachers. The aim was not to illustrate the complete technique and every detail of the dance but rather the feeling of lasya in Mohiniattam and the atmosphere of Kerala, which I really love. This is what I wanted to preserve in this film.

Watch the trailer of La Danse de l’Enchanteresse:



A few more excerpts from the film: