{{Short description|Genre of Indian music}} {{Use dmy dates|date=March 2017}} {{Use Indian English|date=March 2017}} {{Infobox music genre | name = Lavani | bgcolor = | stylistic_origins = | cultural_origins = 17th century | image = Lavani 1.jpg | caption = | derivatives = | subgenrelist = | subgenres = | fusiongenres = | local_scenes = | other_topics = | current_year = }}
'''Lavani''' is a genre of music popular in Maharashtra, India.<ref name="Thielemann">{{cite book|last=Thielemann|first=Selina|title=The Music of South Asia|year=2000|publisher=A. P. H. Publishing Corp.|location=New Delhi|isbn=978-81-7648-057-4|page=521|url=https://books.google.com/books?id=jqgHAQAAMAAJ&q=Lavani+Maharashtra+Tamil+Nadu}}</ref> Lavani is a combination of traditional song and dance, which particularly performed to the beats of ''dholki'', a percussion instrument. Lavani is noted for its powerful rhythm. Lavani has contributed substantially to the development of Marathi folk theatre.<ref>''The Encyclopaedia of Indian Literature (Volume Two) (Devraj To Jyoti)'', Volume 2 by Amaresh Datta, p. 1304</ref> In Maharashtra and southern Madhya Pradesh it is performed by the female performers wearing nine-yard long sarees also called Lugade saree. The songs are sung in a quick tempo.
==History Vocabulary == According to a tradition, the word Lavani is derived from the word '<nowiki/>''Lavanya''' which means 'beauty'.{{Citation needed|date=January 2026}}
thumb|Lady performing Lavani dance
==Origin== Lavani dance originated from Maharashtra in the 18th and 19th century. Lavani dancers were patronised by Maratha Lords and Kings.
Lavani dance was generally performed by Dhangars or Shepherd living in Solapur, Maharashtra.<ref>{{Cite web|date=2015-07-28|title=Lavani- Traditional Maharashtrian Dance|url=https://www.utsavpedia.com/cultural-connections/indian-performing-arts/lavani-maharashtrian-dance-performance/|access-date=2021-10-03|website=Utsavpedia|language=en-US}}</ref>
==History and genres== Traditionally, this genre of folk dance deals with different and varied subject matters such as society,<ref>Shirgaonkar, Varsha. "“Lavanyanmadhil Samajik Pratibimba”." Chaturang, Loksatta (1997).</ref> religion and politics. The songs in 'Lavani' are mostly emotional in sentiment and the dialogues tend to be pungent in socio-political satire.<ref>''The Encyclopaedia of Indian Literature (Volume Two) (Devraj To Jyoti)'', Volume 2 by Amaresh Datta, p. 1304</ref> Originally, it was used as a form of entertainment and morale booster to the tired soldiers. ''Lavani Songs'', which are sung along with dance, are usually naughty and erotic in nature. It is believed their origin is in the Prakrit Gathas collected by Hala.<ref>''History of Indian Theatre, Volume 2'', by Manohar Laxman Varadpande, p. 164</ref> The Nirguni Lavani (philosophical) and the Shringari Lavani (sensual) are the two types. The devotional music of the Nirguni sect is popular all over Malwa.
Lavani developed into two distinct performances, namely Phadachi Lavani and Baithakichi Lavani. The Lavani sung and enacted in a public performance before a large audience in a theatrical atmosphere is called Phadachi Lavani and all the Tamasha Troupe (phad) in Maharashtra present it as one of its main sections. Lavani poet Bashir Momin Kavathekar had written Lavani's extensively for Tamasha Troups of Maharashtra during the late twentieth century.<ref>"लोककला जिवंत ठेवणारी लेखणी विसावली", ‘दै. लोकमत- पुणे’, दि. १४-नोव्हेंबर-२०२१</ref><ref>{{cite book| title = भारतीय संगीताचा इतिहास व विकास, इयत्ता बारावी| author = महाराष्ट्र राज्य पाठ्यपुस्तक निर्मिती आणि अभ्यासक्रम मंडळ, पुणे| publisher = पाठ्यपुस्तक निर्मिती मंडळ, पुणे| date = February 2020}}</ref> When the Lavani is sung in a closed chamber for a private and select audience by a girl sitting before the audience, it came to be known as Baithakichi Lavani. It is a kind of Mujra strictly performed for men and away from the village with no access for ladies or families to watch. The songs were written in sexually explicit double meaning.
==Clothing== The ladies who perform lavani wear a long sari called a nauvari, measuring around 9 yards in length. The sari is draped in a pant-like structure, as is typically associated with Maratha culture. The dancers form a bun (juda in Hindi or ambada in Marathi) in their hair. They wear heavy ornaments that include necklaces (such as the thushi, bormaal, and pohehaar) earrings (zumka), anklets (ghungru), a belt at the waist (kamarpatta), bangles, sindoor, etc. They usually wear a large bindi of dark red color on their forehead.<ref>Shirgaonkar, Varsha ""Glimpses of Jewellery in Lavanis" " Rasika-Bharati ( Prof. R. C. Parikh Commemorative Volume) (2005)</ref>
<blockquote>{{Quotation|"The main subject matter of the Lavani is the love between man and woman in various forms. Married wife's menstruation, sexual union between husband and Wife, their love, soldier's amorous exploits, the wife's bidding farewell to the husband who is going to join the war, pangs of separation, adulterous love - the intensity of adulterous passion, childbirth: these are all the different themes of the Lavani. The Lavani poet out-steps the limits of social decency and control when it comes to the depiction of sexual passion." K. Ayyappapanicker, Sahitya Akademi<ref>''Medieval Indian Literature: an anthology, Volume 3'', by K. Ayyappapanicker, Sahitya Akademi, p. 375</ref> }} </blockquote>
thumb|Surekha Punekar performing Men who dance in Lavani along with the women lead dancer are called nat or the kinnars. {{Citation needed|date=January 2026}}
Although the beginnings of Lavani can be traced back to the 1560s, it came into prominence during the later days of the Peshwa rule. Several celebrated Marathi Shahir poet-singers, which include Parasharam (1754-1844), Ram Joshi (1762–1812), Anant Fandi (1744-1819), Honaji Bala (1754-1844), Prabhakar (1769-1843), Saganbhau, Lok Shahir Annabhau Sathe (1 August 1920 – 18 July 1969) and Bashir Momin Kavathekar<ref>[https://maharashtratimes.indiatimes.com/editorial/manasa/vithabai-narayangaonkar-lifetime-achievement-award-bashir-kamroodin-momin/articleshow/68226068.cms "बशीर मोमीन (कवठेकर)"] {{Webarchive|url=https://web.archive.org/web/20190603012822/https://maharashtratimes.indiatimes.com/editorial/manasa/vithabai-narayangaonkar-lifetime-achievement-award-bashir-kamroodin-momin/articleshow/68226068.cms|date=3 June 2019}}, दै.महाराष्ट्र_टाइम्स, 2-March-2019</ref> (1 March 1947 – 12 November 2021) has contributed significantly for the development of this genre of music. Lokshahir Bashir Momin Kavathekar was a popular choice amongst the famous Lavani Dancers and his compositions had been presented on stage by various artists like Ms. Surekha Punekar, Ms. Sandhya Mane, Ms. Roshan Satarkar and many Tamasha Troupes since the early 1970s.<ref>[https://www.freepressjournal.in/lifestyle/world-theatre-day-the-unforgettable-bequest-of-regional-theatre-in-india], "Unveiling Lavani: The Art, Essence, Story"</ref><ref>खंडूराज गायकवाड, [http://www.navakal.org/images/epaper/20-jan-2019.pdf लेखणीतून ग्रामीण लोककला संपन्न करणारे- बशीर मोमीन कवठेकर!], “दै नवाकाळ", 20-Jan-2019”</ref><ref>[लोकाश्रय लाभलेले लोकशाहीर बी. के. मोमीन - कवठेकर], “दै. पुढारी, पुणे”, २३-एप्रिल-२०१५</ref> His folk songs & Lavani's enthralled the audiences, helped in sustaining popularity of the 'Tamasha' and earned him 'Vithabai Narayangavkar Lifetime Achievement Award' for his lifelong contribution.<ref>{{cite book |last1=Dr. Bokil |first1=Neelam|date=November 30, 2022 |editor-last=Dr. Mukadam |editor-first=Kedar |title=भारतीय लोक कलाकार |publisher=Maharaja Sayajirao University of Baroda |pages=85–90 |chapter=Chapter 18: महाराष्ट्रका लोक संगीत एवं लोक कलाकार}}</ref> Honaji Bala introduced ''tabla'' in place of the traditional ''dholki''. He also developed the ''Baithakichi Lavani'', a subgenre, which is presented by the singer in the seated position.
Satyabhamabai Pandharpurkar and Yamunabai Waikar are the popular present-day exponents of Lavani.
Shringar Lavani is mostly sung and danced on the stage by a female and written by a male. Vithabai Bhau Mang Narayangaonkar, Kantabai Satarkar, Surekha Punekar, Mangala Bansode, Sandhya Mane, Roshan Satarkar are well known artiste presenting Lavani on stage. Lavani can also be termed as a romantic song sung by a lady who is waiting for her lover to accept her, who longs for his love. Many Lavani dancers are from some castes of Maharashtra like Mahar Kolhati, and Matang.
Marathi films played an important role in making the Lavani genre accessible to the masses. Movies such as Pinjara and Natarang not only attempted to blend traditional music with social messages but also helped portray Lavani in a positive light.
==References== <references />
==External links== {{Commons category|Lavani}} *[https://web.archive.org/web/20150610201839/http://www.marathicharolya.in/marathiworld/categories.php?cat_id=17 Lavani pictures]
{{Pune district topics}}
Category:Culture of Malwa Category:Music of India Category:Culture of Maharashtra Category:Marathi music Category:Performing arts in India Category:Dances of India