'Lavani' in Tamasha

While someone is talking about ‘Tamasha’, it is very difficult to separate the ‘Lavani’ art form from it. Lavani music is an integral part of Tamasha performance and it is a distinct dance form as well. Manmathashivalinga wrote the very first verses that later came to be known as a Lavani song. It was in his composition called ‘Karadchya Bhavanivaril Lavani’.  Lavani really became popular in the 19^th century with it’s inclusion in the folk theatre performance of Tamasha even though, the history of Maharashtra’s various folk art form suggest that there were several compositions made by Jotiram and his disciples in the 17^th century.

Lavani performance by Smt. Surekha Punekar. Image courtesy: wikipedia.org

The presence of theatrical acts in the Maharashtra’s history is prevalent in various olden scriptures and manuscripts.

As is mentioned, the Lavani appeared during the Peshwa period in Maharashtra, the male singers used to sing and perform even the female parts of the performance earlier. With the arrival of the 19^th century, the mulgis (female performers) took the centre stage in their embroidered nine meter long sarees. The Lavani performance became the heart and soul of the theatrical performance that the rural people loved eventually.

The audience at the time of performance can award a certain performer with money and request to repeat that certain song or dance again. The request or daulat-jadda is fulfilled by the singer or the performer by repeating the song or the dance once again. The songs are sometimes accompanied by mime performances as well called chakkad.

Lavani can be categorized into two types. One, being the Phadachi Lavani and the other one is the Baithakichi Lavani. The Lavani performance in Tamasha is a Phadachi Lavani as it is performed publically before a big heterogeneous audience. Baithakichi Lavani is a kind of a private performance.

Musical instruments of Tamasha

Tamasha is a live song and dance theatrical performance. Naturally, it includes a lot of music in it. Several musical instruments contribute to a single performance of Tamasha. To name a few, there are instruments like ‘dholki’, ‘tuntuni’, ‘manjeera cymbals’, ‘daf’, ‘halgi’, ‘kad', ‘lejim’, ‘harmonium’ and ‘ghunghroos’ which makes a Tamasha performance lively and distinctive.

A Dholki is an instrument that is related to various classical and folk performing arts of India and is not just specific to Tamasha. It is a percussion musical instrument, a kind of a drum. The music that comes out by playing a drum, i.e, Dholki or a Dholak is considered auspicious in India. This is evident if we see the use of ‘Dhaks’ during the festivities of Durga Puja in West Bengal, ‘Dhol’ in Navaratri celebrations of Gujrat and in wedding rituals of northern India.

Dholki, a percussion instrument used in Tamasha

A Tuntuni is a single string instrument that has a distinctive sound that brings out the vibrancy of Maharashtrian folk songs, whereas a Manjeera consists of two small cymbals which when hit together creates a clanking sound. A Daf is another percussion musical instrument that is used in a Tamasha performance. It is has a wooden frame with metal rings attached to it and the membrane is made up of goat skin. A Halgi is a smaller Daf.

A Kad is a triangle made of metal and Lejim is another instrument that causes the jinging sound that is specific to Tamasha’s music.

A Harmonium is one of the most popular keyboard instruments of the country. It has pump attached at the back of the keyboard that blows air through the vessels to create music. Harmonium is again, related to a large number of classical and folk forms of Indian traditional music.

Lastly, the Ghunghroos are the anklets that the dance performers wear during the performance. Although it’s part of the performer’s costume is crucial to the progression of the music in Tamasha. It is very important for jingling of the ghunghroos to be in sync with the beats of the dholki. 

Tamasha: How it’s done?

The emergence of Tamasha was in 18^th-19^th century. It bridged the gaps between all the traditional folk forms of the Maharashtra region and the dignified song and dance drama routines performed by skilled actors. The one who manages the Tamasha performing party is known as ‘Phadkari’. The performance begins with the ‘Gans’ which are songs specifically sung for the devotion of deity, mostly the Hindu God Ganesha.

Performers of Tamasha in middle of the play. Picture Courtesy: http://www.natarang.org/

After the songs are sung, the dancers appear in front of the audience. They don’t face the audience immediately and have their backs turned towards them. They usually have their heads covered up with a saree. With the rhythmic beats of the ‘dholkiwala’, the dancers dramatically turn and face the crowd and begin their dance routine. This takes us to the next level of the performance where there is usually a narration of the life of the Hindu God Krishna. In the mean time, the main dancer appears in front of the crowd and enthralls them with a song which is like ‘Lavani’. Lavani is also a popular traditional song and dance art form of Maharastra. It is usually performed on the beats of ‘Dholki’ a percussion instrument.

The main dancer serves as the ‘Sutradhar’ to the play. The play takes a proper shape just afterwards this act. The dance performances are mostly taken up from other traditional dance forms of India. The dancers wear ‘ghungroo’, a kind of anklet that ‘Kathak’ dancers wear while dancing also. Though the two dance forms are not really the same. Tamasha dancers have distinct dance steps and hip movements; those differ from the classical dance form of Kathak. Although the co-ordination among the dancers, the footfalls with the rhythm of the music are quite similar in both the cases.

Tamasha plays are written by skilled composers as in ‘Jatra’ in West Bengal, ‘Nautanki’ in Uttar Pradesh and ‘Bhavai’ in Gujrat and Rajasthan. But unlike a men-only cast in Jatra; Nautanki; and Bhavai, Tamasha has both male and female performers. 

Tales of ‘Tamasha’

Tamasha is a peculiar form of folk theatre belonging to the state of Maharashtra, which includes both singing and dancing. The word ‘Tamasha’, originating from Persian language eventually means fun and frolic of a theatrical performance in Marathi. Performed by nomadic theatre artists, this form of theatre derives it's elements from various Indian classical song and dance forms.

The Tamasha can be classified into two very popular forms- 'Dholki Bhaari' and 'Sangeet Bhaari'. Majorly, the Mahar and Kolhati communities in Maharashtra are well known performers of Tamasha acts, which are highly satirical in nature.

The sixteenth century saw the origin of Tamasha. From what is retold over centuries, this theatrical form was for entertaining the Mughals. During the Peshwa period of the Maratha Empire, this form took a bigger shape and became distinct among India’s traditional performing arts.

Performers of Tamasha, Pic Courtesy: chandigarhsna.blogspot.com

Eventually Tamasha reached all over the state of Maharashtra and became the most popular medium of information and entertainment for the rural sections. Believed to be from the lower castes such as, 'Kolhati', 'Mang', 'Mahar' and 'Bhatu', these performers were vocal about the looming prejudice of the caste system.  

Basically, Tamasha contains dance routines, acting and songs with messages, specifically designed to educate the audience. The performance begins with the entry of the musicians, i.e. ‘dholkiwala’, ‘halgiwala’, ‘manjriwala’ and a ‘tuntune’ player. The appearance of the lead singer then takes the show to the next level.

Tamasha involves no elaborate costumes and the clothing donned by the musicians, singers and dancers are known as Gammat, Phada etc.

The oldest form of Tamasha consisted of men who were called ‘Nachya’. These men played the roles of women as well, when times commanded. There used to be a composer, popularly called a ‘Shahir’. He played the part of ‘Sutradhar’ (a jester). Eventually, women started actively participating in Tamasha performances.

Other indigenous theatre forms of India, like Bengal’s ‘Jatra’ and Gujrat’s ‘Bhavai’ were termed as ‘biased’ and ‘corrupt’ along with Mararasthra’s Tamasha, after the country’s independence. The arrival of modern theatre shows and films took away so much from the spectacles of these live performances of Tamasha, although this folk art form continues to be performed in the rural localities of Maharashtra.