In India, a devadasi is a female artist who is dedicated to the worship and service of a deity or a temple for the rest of her life. The dedication takes place in a ceremony that is somewhat similar to a marriage ceremony. In addition to taking care of the temple and performing rituals, these women also learn and practice classical Indian dances such as Bharatanatyam, Mohiniyattam, Kuchipudi, and Odissi. Their status as dancers, musicians, and consorts was an essential part of temple worship.

Between the sixth and thirteenth centuries, Devadasis had a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts. During this period, royal patrons provided them with gifts of land, property, and jewellery. After becoming Devadasis, the women would spend their time learning religious rites, rituals and dances. Devadasis were expected to live a life of celibacy.

During the period of British rule in the Indian subcontinent, kings who were the patrons of temples lost their power, thus the temple artist communities also lost their significance. As a result, Devadasis were left without their traditional means of support and patronage and were now commonly associated with prostitution. The practice of Devadasi was banned during British rule, starting with the Bombay Devadasi Protection Act in 1934. The colonial view of Devadasi practices remains debated as the British colonial government were unable to distinguish the Devadasis from non-religious street dancers.

The Devadasi system is still in existence in rudimentary form, but under pressure from social activism at different times, some state governments have outlawed it, such as Andhra Pradesh with its 1988 Devdasis (Prohibition of Dedication) Act and Madras with its 1947 Devdasis Act.

The practice became significant when one of the great queens of the Somavamshi dynasty decided that in order to honour the gods, certain women who were trained in classical dancing, should be married to the deities. The inception of the practice was one that was imbued with great respect as the women who were chosen to become devadasi or “Devidasi” were subject to two great honors: first, because they were literally married to the deity, they were to be treated as if they were the goddess Lakshmi herself, and second, the women were honored because they were considered to be "those great women who (could) control natural human impulses, their five senses and [could] submit themselves completely to God." As they were married to an immortal, the women were considered to be auspicious. Their main duties, in addition to committing to a life without marriage (to a mortal, in the common, popular sense), were to take care of a temple and learn classical Indian dances, usually the Bharatanatyam, which they would perform at temple rituals. Patrons were considered to have higher status for their ability to financially sponsor Devadasis.

According to temple worship rules, or Agamas, dance and music are the necessary aspects of daily puja for temple deities. Devadasis were known by various local terms such as Basavi in Karnataka, Matangi in Maharashtra, and Kalavantin in Goa and Damaon. Devadasis were also known as Jogini, Venkatasani, Nailis, Muralis and Theradiyan. Devadasi is sometimes referred to as a caste (varna); however some question the accuracy of this usage. "According to the devadasi themselves there exists a devdasi 'way of life' or 'professional ethic' (vritti, murai) but not a devadasi jāti (sub-caste). Later, the office of devdasi became hereditary but it did not confer the right to work without adequate qualification" (Amrit Srinivasan, 1985). In Europe the term bayadere (from French: bayadère, from Portuguese: balhadeira, literally dancer) was occasionally used.

The definite origin of the Devadasi or Devidasi tradition is murky due to its early inception. Many scholars have noted that the tradition has no basis in scriptures. A. S. Altekar states that, "the custom of association of dancing girls with temples is unknown to Jataka literature. It is not mentioned by Greek writers, and the Arthashastra, which describes in detail the life of Ganika, is silent about it."

The tradition of female artists in temples is said to have developed during the 3rd century CE. A reference to such dancers is found in the Meghadūta of Kālidāsa, a classical poet and Sanskrit writer of the Gupta Empire. An example of reference to a Devadasi in the 3rd century CE in South India is Madhavi found in the Silappadikaram. Other sources include the works of authors such as Xuanzang, a Chinese traveller, and Kalhana, a Kashmiri historian. An inscription dated to the 11th century suggests that there were 400 Devadasis attached to the Thanjavur temple in South India. Similarly, there were 500 Devadasis at the Someshvara shrine of Gujarat. Between the 6th and 13th centuries, Devadasis had a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts. During this period royal patrons provided them with gifts of land, property, and jewellery.