Introduction
While going through some old newspapers, I came across an interesting article from February 2023 stating that Ajit Pawar, the NCP leader instructed his party members to refrain from organising explicit dance shows in the name of Lavani. He was particularly offended by a dancer who was said to have performed some vulgar dance moves while performing Lavani. What caught my attention was that Lavani is considered to be a traditional dance form popular among all start of society and on multiple occasions. Even schools include Lavani in their dance performances. So how did this traditional dance form come under such controversy? This article is going to examine the history of Lavani, dance moves and gestures and why it is surrounded by a questionable reputation.
Naming the Dance
The term ‘Lavani’ has roots in the word ‘Lavanya,‘ meaning ‘beauty’ in Marathi. It is a popular folk dance in Maharashtra, Gujarat, southern Madhya Pradesh and the Konkan region.
History
Traditional it was performed by women wearing bright vibrant Nauvari sarees, decked with Maharashtrian jewellery, bright makeup and Ghunghroos. Lavani is known for its fast-paced dance moves with dholki, harmonium, and tabla beats showcasing a lively folk dance performance.
Although the origin of Lavani dates back to the 16th century however it became popular during the Peshwa rule in the 18th century. It was supposed to have social and cultural themes while being held in front of kings or rich people, however, during the Peshwa rule it was performed as a morale booster for tired soldiers and started including songs that were generally erotic and mischievous.
During the Maratha rule, bakhars emerged as a form of historical narrative. Simultaneously a style of Marathi poetry shahiri kavan also started taking shape. This style of poetry was patronized by Holkars and Bhosles in Indore and Tanjore respectively. Lavani adopted these dual elements of literature and performance and combined them in its production. No wonder they got royal patronage easily. Love songs with erotic overtones served as a mirror for the broader warrior-peasant culture of the Marathas. Soldiers who would return from the war front during monsoon, their horses who had become integral parts of their ornamentation as warriors, their wives who waited for them with longing, and cultural celebrations, all these became the primary subjects of Lavani songs.
Types of Lavani
As a dance form, Lavni developed various forms and divisions. One categorisation of this dance form is based on place of performance. A public performance in front of a large audience came to be called Phadachi Lavani. In the 19th century, they became an integral part of Tamashas, the famous travelling folk theatre.
A more private performance in private chambers for a selective audience was known as Baithakichi Lavani. During the Peshwa rule, Baithakichi Lavani received heavy patronage, especially from Sawai Madhavrao (1775-1795) and Bajirao II (1795-1818).
Another categorisation of Lavani is based on its themes. The philosophical theme-based Lavani is known as Nirguni and themes related to erotic and sensual ideas are called Shringari. Within these categories also there are sub-themes and genres. Under Nirguni Lavani focus is more on introspection, divinity and Godly ideas. Shringari Lavani as the name suggests focuses on romance, love, erotica, and sensuality. Not only the lyrics of the songs but dance moves also incorporate these themes.
Lavani in Tamasha
During the 19th century, Lavani became an integral part of Tamshas becoming a big source of entertainment for a wide Marathi audience. Within these Tamshas also different genres emerged over some time. Dholki-phad Tamasha as the name denotes was led by the loud and fast beat of Dholki. It is a diverse performance that lasts for approximately four to eight hours in front of a huge crowd at village fairs, weekly markets, and other similar venues. Lavani in these Tamashas also featured storylines of Krishna-Radha and devotional folk songs. A very popular theme was Vaghya Murali when Lord Krishna incarnated as a Martha warrior. This story also included his interaction with Gopis.
Sangeet Bari was rather soft-paced on comparatively milder music. It is a type of Baithakichi Lavani within a closed venue and stationary. Traditionally Sangeet Baris had only female artists who were not allowed to marry. Or it can be said that their being ‘unmarried’ and ‘serving the men’ was more convenient.
How did Lavani get into controversy?
In the 20th century a new adaptation of Lavani when cross-dressing men performed in front of a crowd started to get popular. Bin Baykancha Tamasha (tamasha without women) was founded in the year 2000 to perform for urban audiences. It was a radical idea that didn’t sit well with a large section of society. Many criticised it for not being masculine, and inappropriate for men so much so that male performers hesitated to perform in front of their home crowd as they were embarrassed to face the criticism.
Another reason why Lavani came under criticism was because it was mostly performed by a few women in front of a huge male audience. The subject was mostly erotic with explicit gestures and expressions. It was not for ‘well-born’, ‘decent’, and ‘cultured’ women from respectable households. Mostly the dancers belonged to lower caste sections and slave girls. Since these women were not from respectable sections of society it was indispensable that some stigma was associated with it. The dance being considered controversial came naturally to it. Since the genre of Lavani revolves around sensual and erotic topics, the character of Lavani performers is often questioned.
During the rule of the Peshwas Lavani and dancing girls were omnipresent in the court so much so that the decline of Maratha rule is attributed to the indulgence of the Maratha warriors to Lavani and women. A popular Maharashtrian proverb says “the Peshwa rule collapsed due to the lavani and the women”.
Just like any other dance form, Lavani has gone through a transition. Even some senior dancers have raised concerns over the ‘degradation’ of Lavani due to the inclusion of musical instruments and changes in dressing styles. Dholki the traditional instrument associated with Lavani is replaced by DJs and Nauvari sari is replaced by ghagra choli. Even the songs played during Lavani performances are not composed by them, rather Bollywood sons are simply copied or played as it is. Some senior Lavani artists have also appealed for censorship on the ‘obscene’ and ‘vulgar’ lyrics and dance moves.
The main theme of Lavani’s dance revolves around the various forms of love between a man and a woman. It explores topics such as menstruation, a soldier’s romantic exploits, the sexual union between husband and wife, a wife bidding farewell to her husband going to war, and their separation. Additionally, it talks about the experience of childbirth and adulterous love. With such bold themes and topics, it was not surprising that Lavani came under the scrutiny of certain critics who believed in the sanitization of the dance form.
Lavani has been scrutinized on several occasions by political authorities as well. In 1948, Balasaheb Kher, the Chief Minister of Bombay banned Lavani performances after receiving complaints about their alleged obscenity. Recently Ajit Pawar, the NCP leader also tried to keep a check on how much liberty can be taken in the performance.
Conclusion
This highlights the issue of liberating artists. Female artists across all artistic fields frequently encounter similar criticism and shaming. Not only are their characters scrutinized, but also their lifestyles, clothing choices, skin tones, and more become topics for societal gossip. India is recognized for its rich culture and diverse art forms. A vibrant, liberal, expressive, and bold dance form like Lavani deserves appreciation from the audience without constraints related to who performs it. Whether performed by a male or female artist, the dedication and passion for the art should be valued equally.
Confining Lavani to limited themes will also narrow its potential. Bhushan Korgoankar, the author of ‘Sangeet Baari on Lavani’, stated: “Lavani has no borders.” While Lavani can be playful and provocative, it can also highlight serious socio-economic issues affecting both performers and spectators. The dynamic, musical, and vibrant nature of Lavani necessitates a nuanced appreciation of its varied forms and underscores the importance of addressing inclusivity, fair remuneration, and the preservation of its essence.
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