Meaning, significance and purpose of this Marathi folk music and dance
Lavani is a music genre which is popular in the Indian state of Maharashtra. The word Lavani is believed to have been derived from the root word Lavanya which translates to beauty. It is a traditional form of music which thrives not only in the state but is also popularly known country-wide. Lavani consists of an amalgamation of both songs and dance, where music is majorly played on a Dholki or Indian musical instrument. It contributes to the folk theatre of the state of Maharashtra. In Madhya Pradesh too this form of music is believed to thrive. This dance is performed by women wearing the nine yard long sarees by female artists. They also adorn themselves with heavy jewellery, tie their hair back in a tight bun, apply a dark red Tilak or bindi. The ornaments contain ghunghroo, waistband, dangling earrings etxc. Lavani is also renowned for its powerful rhythm and the quick paced tempo of the songs.
Significance
Lavani is said to have been established in the 18th and 19th century in Maharashtra as these Lavani dancers were sent in royal courts to entertain the kings, lords or noblemen. The shepherds living in Solapur, a city in Maharashtra or the Dhangars were the ones performing this art form to appease the kings and lords. Although It can be dated back to as early as 1950s, it became popular under the Peshwa rule, a Maharashrain dynasty. Ideally, these Lavani forms of art narrate the tails of society, religion and politics.
Because of its nature of origination, this dance and music were created to attract the kings, making it appropriate for the outbursts through sentiments. Lavani involves emotions, sentiments and dialogue. It helps improve the mood of soldiers too by giving them a confidence and morale boost. The songs were deemed to be luring, erotic and explicit lyrcially which was then complimented with apt dance steps and choreographies.
Types
Essentially, there are various subcategories of this music form. The performance itself can be of two types; Phadachi and Baithkichi. The former is performance for a large number of audience or the common people where the generic songs are composed to appease the masses. Baithakichi on the other hand is performed and sung only in front of a specific audience that too not publicly but behind closed doors. Requests for particular songs or compositions can be made to the singers in the latter. Baithakichi consists of songs with explicit meaning and is often requested for men on the outskirts of the village or the like.
Themes
The dominating themes of this renowned music form are Nirguni Lavani and Shringari Lavani. Nirguni Lavani involves the philosophical and devotional aspects, be it through cultures or stories and theories. Nirguni Lavani songs were immensely popular in the region of Malwa plateau. Shringari Lavani covers the sensual, seductive songs which have such lyrical content as well, besides the suitable music beats.
For a long time, Lavani received the slack for being an explicit music form which leaned towards emphasising sensuality. But, it covered social issues and spirituality too commonly. The audience in front of which is performed also further bifurcates Lavani into two types; Dholki phad Tamasha and Sangeet Bhari. The former lasts for around four to eight hours and are performed by travelling communities in jatras, local fairs, markets, large groups of people etc. They find their audience as they move around. Whereas Sangeet Bhari Lavani falls under Baithakichi form and is stationary, they do not move around roaming. They perform at a specific location and the audience can keep changing. It is exclusively sung by females only and these females are shunned from marrying due to their profession.
