The subjects of the carving are not merely decorative. They are records of what went on here. One important institution in the Hindu temple was the 'Devadasis'-
the temple dancing girls. These girls entertained the public as well as performing dances to the temple god. They represented an incarnation of heavenly nymphs and portrayed myths and stories from the scriptures. The Devadasis would have danced here in this hall. But however pure its beginnings, the Devadasi institution went into a spectacular decline. By the 18th century there was an entire colony of the girls living in Puri, an old center of Brahminical piety. Under royal guard, the girls were not allowed to marry, as they were officially " married " to Surya, the sun god they served. However, not only the deity enjoyed their charms. The colony was popularly known as "the place where bodies may enjoy relaxation," and out of the six categories of Devadasis residing in this stately pleasure dome; one was called "those who are meant for the king only," and another "those who are meant for the inner apartments only." Perhaps the other four were generally available-at least to the upper echelons of society. The Devadasi system was kept alive by the random recruitment of young girls, often from poor families who were probably only too pleased to see their daughters assured of a good living and themselves freed from having to find a dowry they could ill afford. Nevertheless, it would be wrong to see the system as nothing but a front for wholesale prostitution. Even in its last hours, the custom retained some of its former glory, and some of the Devadasis fulfilled their original duty. The Orissan historian, Dr. K. Mansingha, recalls seeing a brilliant performance of the dancing art in the Hall of Celebration of Orissa's holiest temple, the Jagannatha at Puri. This was in the early years of the present century. Sumptuously clad in heavy gold jewelry from the temple coffers, a young Devadasi danced silently in front of the image for almost an hour. Only her guru, an old man, who played the pachawaj drum, accompanied her. When she had finished, many of her spellbound audience-men and women of all ages-spontaneously rolled over the very ground on which she had danced, so great was their appreciation.
more..