Development of Lavani

Development of Lavani

The dance is developed into two forms, namely Phadachi Lavani and Baithakichi Lavani. The form essayed before a large audience in a theatrical atmosphere is known as Phadachi Lavani. And, when it is performed in a closed chamber for a private and select audience by a girl sitting before the audience, it is called as Baithakichi Lavani.

Lavani : A folk dance

Lavani is a traditional song and dance combination originating in the state of Maharashtra. Donned in a nine-yard saree, heavy ghungroos on the feet and intricate nath (nose ornaments), Lavani dancers combine body movements, striking expressions and upbeat songs to perform on themes of love, romance and socio-political situations. Over centuries, Lavani has gone through a journey from a respectable art form to a disgraced ‘cheap’ entertainer and then revived as a folk dance stylized for modern audiences. It is closely associated with the Tamasha tradition of theatre by travelling theatre groups. Its popularity streak among the masses began with the prominence of Tamasha. Lavani was a popular form of entertainment and a morale booster for soldiers in the 18th and 19th century. Tamasha theatre form and the Lavani song and dance provided moments of entertainment and escape from the prevailing atmosphere of instability and social unrest. The Lavani dance was patronised by the Peshwas in the 18th century and gained prominence under their rule. The dance was recognized as an art that thrived on its sensual nature. After the fall of the Peshwa Empire, the Lavani’s distinction as an art form that was appreciated by the elite class, dropped. From the royal courts, Lavani moved to private kothas(brothels) in Marathwada and Pune. The respectable folk art was limited to a vulgar entertainment and shunned as ‘indecent’.