'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.