A Second Coming for Lavani

Punekar8217;s efforts paid off and that set the ball rolling for other performers. Says Sunil Mahajan, who specialises in the production and event management of folk arts: 8216;8216;Punekar8217;s twist had Lavani turn the traditional way. Women began flocking to it. Soon, the shows started attracting white-collar audiences.8221;

It8217;s not just the audience that has come back. Lavani artists are reintroducing the focus on ada expression. Says Madhu Kambikar, a senior Lavani performer: 8216;8216;A Lavani dancer must always have perfect understanding of the song. It8217;s even more so in the case of songs that can be interpreted in two ways. Otherwise, the song is lost and there is no art in the dance either.8221;

Chhaya, the eldest of the famous Chhaya-Maya Khutegaokar duo, says: 8220;When I started over 25 years ago, women didn8217;t understand much of the art. But now, they are an important section of our fans.8221;

Lavani began as part of the tamasha tradition, performing under trees. Later, as the troupes travelled to various villages, it became popular among the diwan-e-aam the masses. In the Peshwa period, as Lavani incorporated classical music, it became entertainment for the diwan-e-khas the classes as well.

In 1940, with Shahir Patthe Bapurao, Lavani separated from tamasha troupes and started out on its own. When cinema became popular, the viewers started demanding movie numbers in the shows, thus changing the style of the folk art.

Lavani has also changed in terms of sets and costumes.With shows shifting from temporarily constructed stages to air-conditioned auditoria, the art has more colour now. Says dancer Varsha Sangamnerkar, who has been in the profession for 22 years: 8216;8216;Change was inevitable. Earlier, people would come to see the ada of a Lavani dancer. With cinema, they wanted only movie dances. But now again, people are stressing on ada.8221;

Compere Parag Chowdhary, who also produces the Lavani show Chaufula after the famed Tamasha theatre, adds: 8216;8216;A good set is important to create the right atmosphere. We keep out vulgarity. For a good show, the dancer must express every word and not just dance to the music.8221;

Explains Mahajan: 8216;8216;Sets, lights, make-up, costumes and stage have changed to help Lavani meet the entertainment requirements of this age.8221; However, Kambikar agrees that there are performers who interpret songs to revel in their double meaning. 8216;8216;They have spoiled Lavani8217;s image. But there are also performers who communicate with the audience through their expressions,8221; says Kambikar, who has performed abroad as well.

Chips in Chhaya:8216;8216;The knack is not inshowingskin, but inkeeping theaudience glued to their seats with your eyes and expressions.8221;Her training in Kathak has helped, she says. 8216;8216;When I choreograph,Ikeepinmindthatapure classical touch willnot be appreciated much.So, ithastobeanidealmixofthe traditionalandthemodern.8221;

With all the changes, is Lavani fun now? Sangamnerkar says: 8216;8216;I learnt to sing for my own shows from my mother Gulab Bai, a specialist Lavani singer. Earlier, dancers would wear ghungroos weighing 10 kilos. Now, I manage with ghungroos weighing about 7 kg.8221;

8216;8216;I miss the days when we had a paipeti harmonium played with hands and feet simultaneously, but I know the newer Lavanis will not sound the same on a paipeti. Now, most dancers borrowvoices fromcassettes. My sister is among the few who can sing and perform,8221; smiles Chhaya.

Paipeti was replaced by keyboard. And the elaborate shaalus worn by the dancers gave way to stitched ready-towear inauvari nine-yard saree. Sangamnerkar comments: 8216;8216;The jewellery, especially the inath nose ornament and the big ambada bun, are a must for Lavani performers. Now, we have to change our costumes about four times during a show. Given the time on hand, ready-to-wear options are welcome.8221; While the sarees for lead performers are still largely in heavy silk, 8216;8216;Tikli work and even georgettes are entering the stage,8221; she adds.

Production has also undergone changes. While the lead dancers get anywhere up to Rs 5,000 for a show, the junior dancers earnup to Rs 500.

Ravindra Kale, a Lavani show manager, says: 8216;8216;For a reusable set,we spend about Rs 50,000. Each nauvari shaalu of the lead dancer costs about Rs 8,000- 10,000. Along with one or more lead dancers, we have two dholki players, one singer, one keyboard player and about eight performers. This is apart from the expenses on lights, sound and auditorium.8221;

S Kothavle, who produces Lavani shows, says: 8216;8216;We put in about Rs 22,000 for a show.8221; And what about profits?8216;8216;Thosecanneverbeguaranteed. But for known names, there will definitely be no loss,8221; avers Kothavle. The stagesureisset! And you8217;reinvited.

THE HEARTTHROB

Dnyanoba Utpat8217;s is a voice Lavani lovers will never forget. He is perhaps the only male in the field to lend his voice to women dancers. 8220;There8217;s no choice,8221; says Utpat, the only person who composes and writes Lavanis. 8220;People have accepted that there is a paucity of female voices.8221; Though he is keen to train others, Utpat says, 8220;Nobody is willing to learn. I have recently formed a troupe of young artists and started traveling with them. I am training them to sing in true traditional style.8221; How does one compose a Lavani? He grins. 8220;It8217;s not spontaneous. Lavani is always born in the head as a tune. I add words to it later.8221;