During his younger days, Bharatanatyam guru Muthuswami Pillai (1921 - 1992) felt it was embarrassing and hateful to go for performances in the company of devadasis as they were treated with scant respect. During out of town concerts, the nattuvanars and musicians were often lodged in cowsheds.
(‘A marvel of tradition and talent,’ Sujatha Vijayaraghavan, Sruti issue 319 April 2011)

The Jain scripture Nayadhammakaha refers to Champa, a prosperous courtesan skilled in singing and dancing, whose fee was one thousand coins and who was privileged to carry the royal umbrella, fly whisk and fan.
(‘Traditions of Indian classical dance,’ Mohan Khokar, chapter ‘Down the centuries’)

The famous Virupaksha temple built by Lokamahadevi (the queen consort of Vikramaditya II to commemorate his third victory over the Pallavas of Kanchi) in Pattadakkal, Karnataka, is mainly manifested by the dancing Shiva in various modes, since the early Chalukyan art is dominated by the mythological themes of Shiva.
(‘Classical dance heritage of Karnataka’ edited by Dr. Choodamani Nandagopal, chapter ‘Dance heritage of Karnataka,’ Dr. Choodamani Nandagopal, 2012)

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