Lavani: Not Just a Folk Dance

'Apsara Aali' and 'Wajle ki Bara' are two popular Marathi songs. They are well-known throughout India for their rhythmic music and Lavani dance performances. Lavani, a folk dance predominantly performed by women, stands out for its convoluted historical narrative concerning the status of women in society.

Traditional Lavani Performance | Source: Indianmirror

Clad in nauvari saris in the kashta style with ghungroo tied to their ankles, a neatly tied bun, occasionally accessorised with a gajra, and a large red bindi, women prepare to perform Lavani, a traditional Maharashtrian dance. It is characterised by rhythmic beats, enchanting music, and captivating dance moves. This folk art was first popularised and developed during the Peshwa era in Maharashtra, though its origins trace back to medieval India.

The word "Lavani" finds its roots in "lavanya," meaning beauty. Lavani primarily captivates its audience with its aesthetic and entertainment qualities. Moreover, this art form is renowned for its daring representation of "shringareek," embodying emotions of love, passion, and eroticism. The history of this folk dance is intricate and entwined with caste systems, the role of women in society, and the socio-cultural roles they have played throughout time. Exploring its past is akin to dissecting the Peshwa era as a whole, paying close attention to the social and cultural aspects of their rule.

It's crucial to note that, although Lavanis are most frequently performed as dance forms, they originated as regional poems sung by shahirs or poets, playing a significant role in Marathi literature. These Lavanis were later incorporated into dance performances. Fortunately, records from various shahirs accurately depicted the multifaceted aspects of Peshwa rule, including festivals, architecture, and, most significantly, the status of women regarding their portrayal during Lavani performances.

One such reference made by shahirs illustrates how Peshwas were once compared to Krishna or Indra and Lavani performers to gopis and apsaras. This comparison served as a defence for the Peshwas' right to enjoy such entertainment. When likened to Krishna or Indra, it became acceptable for Peshwas to indulge in the performances of the heroines.

Lavani, in this historical context, transcends being just a folk dance. It encapsulates the patriarchal trends prevalent in Peshwa society. Among the many narratives surrounding Lavani, the widespread trade in lower caste women as slaves accused of adultery during the Peshwa era provides an intriguing perspective. The vicious cycle of labelling women who performed Lavani as adulterous and then trading them as entertainers, particularly from the lower classes of society, underscores how history and art are interwoven with complex threads of societal norms and culture.

During Lavani performances, women from lower castes had their sexuality and eroticism scrutinised intentionally to regulate the trade in female slaves and later to raise money from taxes levied on that trade. Female slavery became a significant source of revenue during Bajirao II's rule.

Even after the Peshwa era, Lavani continued to be sexualised. As a new bourgeois class emerged, theatres were regarded as "moral" entertainment while Lavani performances were labelled "immoral." The blatant sexualisation of Lavani performances and their portrayal as "too wild" further solidified caste and gender hierarchies.

Despite these challenges, Lavani has persevered as a popular folk dance. Its powerful dance moves capture the tenacious energy of strong women. The unwavering spirit of female performers finding a stage to exhibit their resilience can be witnessed in the continued popularisation of Lavani, despite its inaccurate portrayal. While all visual arts have their popular narratives, it's imperative to reconsider whether Lavani, performed by women, should still be seen through a patriarchal lens or simply appreciated as a folk art form.