Devalinda

Devalinda must be extensively trained in raga'anannë from a young age, with many starting as early as their mid-twenties. The rigorous, decades-long training and the physical demands of the art form essentially bar non-elves from the profession. Dancers who wish to become devalindë may begin their training in the same schools as secular dancers, but move to temples or specialized academies by recommendation from their teachers roughly ten years before they expect to commit themselves to service.   Devalinda are nearly always female, though a small handful of istyimë have served as devalindë in the past. Traditional beliefs hold that masculine energy is spiritually incompatible with the ritualistic dances performed, and a male "devalindo" would either be unable to perform his duties or accidentally summon fiendish spirits instead of celestials.

After her initial dance training, a potential devalinda moves to a temple or conclave to spend the next decade learning dozens of complex, highly specific ritualized dances, as well as how to combine their individual elements as new prayers for particular blessings. She also spends significant time in meditation and study, seeking an individual deity or archangel to spiritually devote herself to. Even her Trance is spent in training, as she tries to connect subconscious symbols to the deities of her temple to divine which one might eventually claim her hand.   Around the tenth year of a novice devalinda's study, she begins to choreograph and refine a particular solo dance meant to perfectly represent her love and devotion to her deity. She will perform variations on this dance at temple services and holy sites many times over the final period of her training, which may take anywhere from months to years. Once the dance pleases her god enough, a celestial messenger (most typically a Deva) will appear to her, joining her in a partnered bridal dance. If she performs the dance well enough to maintain the connection with her celestial partner for its full duration, she is considered a fully ordained devalinda, officially married to her deity. The most auspicious time for this ritual to succeed is Brealairë, the celebration of Danu and Dagda's marriage.   If an aspiring devalinda fails to complete this ritual after many attempts, her mentors may encourage her to either work towards the favor of a different patron god (starting much of her later training over again), or seek a different calling. Some women with devalinda training who do not achieve a celestial marriage leave the temple to become secular annanë dancers, while others pursue different religious positions within their temple. Among the Aldanuvian Orders, there is significant crossover during the training of devalindë and warrior monks.

Devalindë communicate with their gods via dance to ask for signs, blessings, or small miracles. Their artistic and technical skill moves mortals and immortals alike.

Devalindë are highly regarded in society, both as master performing artists and as religious figures blessed by the gods. Any mistreatment of a devalinda is taken as an insult to the god she is devoted to, since the two are considered spiritually married.   The devalinda's place in temple hierarchy varies in different cultures and dynastic practices. Among the temples of the Aldanuvian Orders, where most devalindë are trained, they are the highest-ranked clergy besides the Primë, though a devalinda of one of her temple's major patron gods slightly outranks one of a lesser or unrelated deity. Among the Scaladosian Wild Dynasty religion, devalindë are considered Aistanë.

Devalindë dress far more richly than most other religious figures, in multicolored silk outfits often patterned to evoke traditional bridal costumes of the central Aquatic Kingdoms. They wear copious amounts of jewelry given as alms by wealthy patrons; pearls, moonstones, sapphires, and especially silver are common elements. The more expensive and ornate a devalinda's jewelry and clothing, the more successful and devout she is seen as. Damaged or ill-fitting clothing are seen as signs that her god is neglecting her for some reason, and often bring great shame. Thus, sewing and clothing repair are key skills for devalindë, especally those on long pilgrimages. (Many also develop a keen eye for how to make fake jewels look convincing, though this skill is rarely discussed in the open.)

Most devalindë are primarily based in the temples of the Aldanuvian Orders, where they serve important roles as worship leaders and entertainers, particularly during major holidays like Papaýala. Periodically, devalindë will leave their temples in troupes of three to five dancers to make a round of pilgrimages to faraway temples to their gods. They perform in towns and villages along the way in exchange for alms, which are used both to support them and brought back to the temple. The arrival of a corps te-devalindë is considered a major event, as good health and good fortune tend to follow in their wake.   Some corps te-devalindë are entirely itinerant. They may spend several months at a time hosted by a smaller temple or shrine and as members of the community. In these cases, they take on roles as teachers of dance, theology, and philosophy as well as leaders of ceremonies and worship services. They are also expected to be mentors and spiritual guides to the young women of the village.