Alluring Lavani

  • Meenu Thakur Sankalp
  • India
  • Aug 22, 2014

 

 

 

Battle-weary Maharashtra during the eighteenth and nineteenth centuries, often in a state of war against the invading Islamic rulers and the British, was thirsting for peace. The army of brave Maratha soldiers, suffering the pangs of separation from their young wives back home, waited patiently – sometimes for years - for reunion. The anxious generals, eager to boost the sagging morale of their men, organised special song and dance performances - by sensuous women dressed in ornamental and beautifully woven nine-yard saris (navvari), decked in heavy jewellery, waist belts, neck pieces and nose pins, with red bindis dazzling on their foreheads, and hair tied up neatly in buns. These women gave the soldiers a ‘feel’ of their waiting wives back home. These song and dance performances, which entertained Maratha soldiers during the times of war, were known as Lavani. Though the origins of these performances are debatable, Lavani is said to have originated in the sixteenth century. Unfortunately, the meaning and purpose of these dance performances had been misconstrued for long. Lavani is derived from the words ‘Lavanya’ or ‘Lavane’ (Marathi) - which mean beauty. And true to that sense, Lavani, as the world knows it today, is a beautiful folk theatre, known for its sensual allure. Lavani is widely performed in Maharashtra and Madhya Pradesh, and is popular even in Karnataka and parts of Tamil Nadu (that came under Maratha domination during the medieval period). 

Lavani is a dance performed by females, though occasionally males (nats) also perform as background artistes. Some Maharashtrian castes like the Mahar Kolhati and Kumbhar have more wholesomely embraced Lavani. Lavani is also traditionally said to be performed by the ‘dangars’ (shepherds) of Sholapur district, and folk legends attribute the singing of Lavani music to a local deity known as Biruba. Lavani was initially intended to be performed during the worship of Gods in temples, wherein beautiful women entertained the audience as a cultural pastime. Often Lavani performances used to last a full night, and ended with a traditional depiction of the razing of the replica of Mount ‘Manmathas’. However, in course of time, courts of the Maratha Peshwas organised private performances of these dancers, and Lavani dancers became courtesans. Thus the Lavani performances acquired a socio-cultural dimension. Lavani dancers are beautiful, often voluptuous, and are primarily viewed as entertainers. They gyrate to popular local music, though their skills have not been accorded their rightful recognition. 

The Lavani dance deals predominantly with two themes, philosophical (nirguna) and sensual (shringara) - the latter being more popular. The women performing Shringara Lavani move their bodies sensually to the accompanying music, which is fast and lively. Lavani dancers are quick footed, dramatic and vivacious. Their expressions are predominantly amorous and exhibit the sexual union of man and woman. Lavani performances also deal with social subjects like the pangs of separation between loved ones, and childbirth, in addition to sexual desires and adultery. The lyrics of the Lavani songs also dwell on socio-economic satire. ‘Tamasha’, or street theatre, of Maharashtra is also associated with Lavani. Lavani performances are also sub-divided into two styles: ‘Phadachi Lavani’, which is intended to be performed in front of a large audience, preferably in an open setting; and the ‘Baithakichi Lavani’, in which the dancer sits and performs in front of an exculsive small group of connoisseurs. Honaji Bala is said to have developed the Baithakichi Lavani. The musical instrument used in the Lavani dance is known as the ‘dholki’ (a percussion instrument). Traditionally the music is composed by males and the stage performances are female oriented. Great poets like Honaji Bala, who is credited with having introduced the tabla as a musical accompaniment to Lavani (in place of the ‘dholki’), have contributed to the popularisation of Lavani as a form of folk theatre. Great Lavani performers like Raja Bhoj and Kanjar Kohl have given Lavani a new dimension and meaning. 

There is unfortunately a stereotyping of Lavani performances as being sexually explicit, which is far from the truth. Lavani is evolving as one of the premier folk dance forms, with a distinctive theme, outlook and structure. Male dancers are also creating their space within the Lavani spectrum. Dressed up as females, the ‘Binbaykancha Tamasha’ (performance without women) is gaining popularity in Mumbai. Anil Hankare is a noted male performer of Lavani. Even LGBT community members are experimenting with Lavani dance as an outlet to their masked sexuality. The State government of Maharashtra and the Marathi film industry have revived the Lavani tradition, and movies like Natrang, which was released in 2010, have embraced Lavani as the main subject; and this move has been widely accepted and welcomed by critics. Respected performers like Surekha Punekar have ensured that Lavani gets its rightful due as an art form. Lavani is also gaining popularity through television reality shows and dance programmes - a positive sign in the right direction for a dance form that has long been denied its respectful and rightful due within society.

 

The Writer is a renowned Kuchipudi Danseuse and Choreographer


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