Will the Sanctum Ever Echo Again?

In Puri, Odisha, the Jagannath Temple stands as a timeless testament to devotion, where once a unique and profound tradition breathed life into daily rituals — the Devadasi tradition. Known locally as Maharis, these women were far more than mere performers. They were considered the living consorts of Lord Jagannath, consecrated to a life of service, celibacy, and divine artistic expression.

The Devadasis: Living Offerings of Devotion

The Maharis held a sacred position within the temple hierarchy. Bound by spiritual vows, they were believed to be wedded to the deity himself, dedicating their existence to serving the Lord through dance and music. Their art was inseparable from worship, performed at pivotal moments within the temple’s ceremonial cycle.

Two ceremonies, in particular, showcased their devotion: the Sakaladhupa, the morning offering, where the Alasa dance unfolded as a gentle yet deeply symbolic ritual, and the Badasinghara, the bedtime ceremony, where devotional songs echoed through the sanctum.

These women were categorised into two groups: the Bahar Gaunis, who performed the dances during daytime rituals, and the Bhitar Gaunis, who sang at night, especially verses from the Geeta Govinda, the celebrated poetic work of Jayadeva, integral to Jagannath worship.

Far from mere entertainers, the Maharis embodied a living bridge between mortal and divine, their artistry entwined with spiritual purpose.

See the Maharis’ devotion come alive in this authentic glimpse:

The Last Bearers of a Sacred Flame: Sashimani Devi and Parasmani Devi

The twilight of this tradition is marked poignantly by two figures — Sashimani Devi and Parasmani Devi.

Sashimani Devi was the final dancer in the Mahari lineage, inducted as a child and remaining unmarried, her entire life dedicated to Lord Jagannath. Her performance of the Alasa dance was slow, deliberate, a poignant expression of surrender and devotion. She was the last living embodiment of a centuries-old ritual until her passing in 2015.

Parasmani Devi, meanwhile, was the last known singer among the Devadasis. Gifted in Odissi music and adept with the harmonium, she lent her voice to the

temple’s nightly rites well into her old age. Despite living in hardship and relative neglect, Parasmani Devi’s commitment never wavered; she subsisted at times

on temple prasad but remained spiritually resolute.

Their lives speak not only of artistic excellence but of immense personal sacrifice and faith.

Discover their stories through this moving documentary:

A Tradition Under Threat: The Decline of the Devadasi System

The Devadasi tradition was widespread in various parts of India, but Odisha’s system was unique in its spiritual depth and integration with temple ritual. For generations, Maharis were revered as vital custodians of temple music and dance, not performers for public entertainment.

However, the 20th century brought sweeping societal changes. Increasing criticism of the Devadasi system, often misunderstood and conflated with exploitation elsewhere, led to its legal prohibition in Odisha during the 1990s. This official ban effectively ended new inductions into the tradition.

Sashimani and Parasmani Devi remained as the last living vestiges of a bygone era — their passing marked the near-complete disappearance of a once-vital spiritual heritage.

This raises an urgent question: should the legacy of the Maharis be allowed to fade quietly into history, or can it be honoured and preserved in new ways?

Hear the voices of history in this poignant documentary:

The Sacred Song Endures

Although the Devadasis themselves have vanished, the temple still resounds with the sacred verses of Geeta Govinda, traditionally sung during the Badasinghara ritual. Today, male servitors perform these chants, offering a distant but

meaningful echo of the feminine voices that once led this spiritual music.

Experience the haunting beauty of the Geeta Govinda as it echoes through the temple halls:

Why Remembering This Legacy Matters

Odisha’s cultural heritage is receiving growing global recognition, but understanding traditions like the Devadasi system is vital to appreciating the full richness of its spiritual and artistic history.

The Maharis were not victims or mere dancers. They were disciplined artists and custodians of a sacred ritual lineage. Their celibacy, dedication, and rigorous training reflect a unique matrilineal spiritual heritage that challenges common misconceptions.

Through their music and dance, they gave form to the ineffable — the emotion of the divine made manifest in human movement and song.

Beyond the Temple: The Mahari Legacy Today

While the original temple tradition has ended, the essence of the Mahari’s art survives in Odissi dance, performed on stages worldwide. Contemporary dancers and musicians seek to honour their sacred origins, though the temple’s ritual context can never be fully recreated.
Preserving this heritage involves delicate negotiation — between reverence for ritual and adaptation for modern audiences.

The Maharis’ story invites us to contemplate how ancient spiritual arts can find renewed life, balancing respect for tradition with the realities of today.

A Call to Listen

If the echoes in the sanctum seem faint, it falls to us to listen attentively and ensure that this precious legacy is not lost.

The Maharis’ dance and song were once the living heart of devotion in Jagannath Temple. Remembering their contribution is an act of respect and cultural preservation — a vital step towards keeping Odisha’s spiritual heritage alive for future generations.

Will the sanctum ever echo again? The answer lies in how deeply we choose to remember and renew this sacred tradition.

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Will the Sanctum Ever Echo Again?