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every positive energy/feeling is portrait as a deva and negative side is portrayed as an asura but Kaama is portrayed as a deva, meaning it has a positive aspect to it. But...
Kaama is not needed as a fuel for reproduction(those who see reproduction as a kartavya may accept it as it is) nor it has any place in love(I remember a line from somewhere where the protagonist tells, there is no place for kaama when there is love). Then, why is kaama needed and in what way is kaama positive/needed?
kaama is positive if used as meditative practice. It is mentioned in verse 69, 70, 71 of Vijyanbhairava Tantra:
During sexual union there is excitement and absorption in Śakti at the end. That joy, which is said to be the essence of Brahman, comes from the Self.
Divine Goddess, a man becomes flooded with joy at the memory of kissing, embracing, or having intercourse with a woman, even in the absence of physical contact.
On the occasion of great joy or on seeing a relative after a long time, by meditating on that joy, just as it arises, the mind becomes absorbed in That.
A good commentary is done by Yogi Matsyendranatha in his Blog. To understand the above 70 verse, I'll cherry-pick a para from his blog; which gives a clear perspective of this verse and meaning:
The operative word is ‘recalling’ (smṛteḥ). It presupposes an earlier experience. It is not fantasizing, or imagining what has not happened. It is not a form of pornography or voyeurism. It is not compensation or make-believe. It is the act of recalling a delightful episode, which did in fact happen.
Also in Dharmashastra, 4 Purushartha are mentioned which includes kaama too; they are Dharma, Artha, Kaama and Moksha. In the book The Religious Traditions of Asia: Religion, History, and Culture, Page 17 by Joseph Mitsuo Kitagawa; He has explained these purushartha:
The Four Purusharthas (Goal of Man). The theory that the integrated life involves the pursuit of four goals (arthas) is first represented in the Dharmashastras and the epics, in the latter case through repeated narrative illustration. The development of distinctive technical interpretations of each artha, or facets thereof, can also be followed during the period in separate manuals: the Arthashatras , a manual on statecraft attributed to Chandragupta Maurya's minister Kautilya but probably dating from several centuries later, on arthaa (in the sense now of material pursuits) Kamasutra, most notably that of Vatsyanam (C 400 CE), on kaama("love, desire") the already discussed Dharmasutras and Dharmashastras and the Sutras of the "philosophical schools" (darshanas) insofar as they are concerned with the fourth goal, moksha. Early sources often refer to the first three goals as trivarga; the three categories but this does not imply that the fourth goal is added later. The Dharmashastras and epic texts that mention the trivarga focused on the concerns of the householder, - and in the epics, particularly of the royal householder these being the context of the pursuit of the trivarga. The fourth goal is to be pursued throughout life-- indeed throughout all lives. but especially the goal of those who have entered the fourth life stage Sanyasin. The trivarga moksha opposition thus replicates the householder renunciant-opposition. But the overall purpose of the purushartha formulation is integrative and complementary to the varnaasharmadharma theory. From the angle of the householder, it is dharma that integrates trivarga as a basis for moksha .
