essay on lavani in marathi language

लावणी नृत्य माहिती Lavani Dance Information in Marathi

Lavani Dance Information in Marathi लावणी बद्दल माहिती आपल्या भारत देशामध्ये वेगवेगळ्या प्रकारचे नृत्य प्रकार सादर केले जातात तसेच भारताच्या प्रत्येक राज्यामध्ये एक नृत्य प्रकार आहे. जो त्या राज्याचा नृत्य प्रकार किंवा कला प्रकार म्हणून ओळखला जातो. तसेच महाराष्ट्र राज्यामध्ये देखील एक लोकप्रिय नृत्य प्रकार साजरा केला जातो आणि तो म्हणजे लावणी. लावणी हा महाराष्ट्रातील पारंपारिक प्रकार आहे ज्यामध्ये नृत्य आणि संगीत याचे संयोजन असते जे मुख्यता ढोलकी या वाद्याच्या सुरांवर सादर केले जाते. लावणी हा शब्द लावण्या यापासून आला आहे आणि ह्याचा अर्थ सौंदर्य असा होतो आणि वरती सांगितल्या प्रमाणे हे एक नृत्य आणि संगीत यांचे संयोजन आहे. 

हे राजकारण , धर्म, समाज आणि प्रणय या विषयांवर सादर केले जाते. आपल्या सर्वांना माहित आहे कि महाराष्ट्र भूमी हि एक प्राचीन काळा मधील युध्द भूमी म्हणून ओळखली जाते. ज्यावेळी १८ व्या आणि १९ व्या शतकामध्ये युध्दामध्ये थकलेल्या सैनिकांचे मनोबल वाढवण्यासाठी आणि त्यांचे चांगल्या प्रकारे मनोरंजन होण्यासाठी त्या काळी महाराष्ट्रामध्ये लावणी हा प्रकार सादर केला होता.

त्यावेळी पासूनच बहुतेक लावणी हा प्रकार उदयास आला असावा. त्यानंतर लावणी या नृत्य प्रकाराला महाराष्ट्रामध्ये खूप चांगली लोकप्रियता मिळाली आणि राम जोशी, प्रभाकर आणि होनाजी बाळा या कवींच्या मुळे या नृत्य प्रकाराने एक वेगळीच उंची गाठली आणि आज हा नृत्य प्रकार महाराष्ट्राचा पारंपारिक नृत्य आणि संगीत प्रकार म्हणून ओळखला जातो.

लावणी नृत्य माहिती – Lavani Dance Information in Marathi

लावणी नृत्य म्हणजे काय  .

what is lavani dance ? लावणी हे महाराष्ट्रातील पारंपारिक नृत्य आणि लावणी यांचे संयोजन आहे जे मुख्यता ढोलकी या वाद्याच्या तालावर सादर केले जाते. लावणी या नृत्य प्रकारामुळे मराठी लोकनाट्याच्या विकासामध्ये भरीव योगदान मिळाले आहे. महाराष्ट्र तसेच मध्य प्रदेश आणि कर्नाटक या राज्यामध्ये महिला नऊ वारी साडी नेसून हा नृत्य प्रकार सादर करतात. लावणी नृत्य हि मुळता संगीताची एक चर्चा आहे आणि गाणे, सूर, ताल, नृत्य आणि परंपरेचे संयोजन आहे

इतिहास – history of  lavani  dance

लावणी हा महाराष्ट्रातील पारंपारिक प्रकार आहे ज्यामध्ये नृत्य आणि संगीत याचे संयोजन असते जे मुख्यता ढोलकी या वाद्याच्या सुरांवर सादर केले जाते. लावणी हा शब्द लावण्या यापासून आला आहे आणि ह्याचा अर्थ सौंदर्य असा होतो. महाराष्ट्र भूमी हि एक प्राचीन काळा मधील युध्द भूमी म्हणून ओळखली जाते.

ज्यावेळी १८ व्या आणि १९ व्या शतकामध्ये युध्दामध्ये थकलेल्या सैनिकांचे मनोबल वाढवण्यासाठी आणि त्यांचे चांगल्या प्रकारे मनोरंजन होण्यासाठी त्या काळी महाराष्ट्रामध्ये लावणी हा प्रकार सादर केला होता आणि त्यावेळी पासूनच बहुतेक लावणी हा प्रकार उदयास आला असावा. त्यानंतर लावणी या नृत्य प्रकाराला महाराष्ट्रामध्ये खूप चांगली लोकप्रियता मिळाली आणि राम जोशी, प्रभाकर आणि होनाजी बाळा या कवींच्या मुळे या नृत्य प्रकाराने एक वेगळीच उंची गाठली.

लावणीची शैली  

लावणी हा एक लोकनृत्याचा प्रकार असून हे संगीत आणि नृत्य याचे संयोजन आहे जे राजकारण, धर्म, समाज आणि प्रणय या विषयांवर सादर केले जाते. लावणी मध्ये जी गाणी साजरी केली जातात ती बहुतेक भाव भावना कामुक असतात. नृत्यासह गायिली जाणारी लावणी हि खोडकर आणि कामुक असते. लावणीचे मुख्यता २ प्रकार आहेत ते म्हणजे निर्गुणी लावणी आणि शृंगारी लावणी . तसेच लावणी दोन सादरीकरणामध्ये सादर केली जाते ती म्हणजे फडाची लावणी आणि बैठकीची लावणी .

लावणी करणाऱ्या महिलांचा पोशाख कसा असतो 

लावणी हि महाराष्ट्र, कर्नाटक आणि मध्य प्रदेश या राज्यांमध्ये महिला सादर करतात. लावणी सादर करणाऱ्या महिला नऊ वारी साडी कासूटा घालून नेसतात आणि त्यावर जड दागिने परिधान करतात जसे कि हार, कानातले, कमरपट्टा, बांगड्या आणि पायातले पैंजण घालतात तसेच कपाळावर लाल गडद रंगाची टिकली लावतात. तसेच केसांना पाठीमागे बन घालून त्याला मोगऱ्याच्या फुलांचा गजरा गुंडाळलेला असतो.

मराठी लावणी नृत्यांगनांची नावे 

लावणी नृत्य प्रकाराविषयी काही अनोखी आणि मनोरंजक तथ्ये .

• लावणी हे एक नृत्य आणि संगीत यांचे संयोजन आहे आणि हे राजकारण, धर्म, समाज आणि प्रणय या विषयांवर सादर केले जाते.
• लावणीचे मुख्यता २ प्रकार आहेत ते म्हणजे निर्गुणी लावणी आणि शृंगारी लावणी.
• लावणी नृत्य हि मुळता संगीताची एक चर्चा आहे आणि गाणे, सूर, ताल, नृत्य आणि परंपरेचे संयोजन आहे
• लावणी नृत्य हि मुळता संगीताची एक चर्चा आहे आणि गाणे, सूर, ताल, नृत्य आणि परंपरेचे संयोजन आहे.
• ज्यावेळी १८ व्या आणि १९ व्या शतकामध्ये युध्दामध्ये थकलेल्या सैनिकांचे मनोबल वाढवण्यासाठी आणि त्यांचे चांगल्या प्रकारे मनोरंजन होण्यासाठी त्या काळी महाराष्ट्रामध्ये लावणी हा प्रकार सादर केला होता आणि त्यावेळी पासूनच बहुतेक लावणी हा प्रकार उदयास आला असावा.
• आजच्या काळामधील लोकप्रिय लावणी नृत्यांगना सुरेखा पुणेकर हि आहे.
• राम जोशी, प्रभाकर आणि होनाजी बाळा या कवींच्या मुळे लावणी या नृत्य प्रकाराने एक वेगळीच उंची गाठली.
• लावणी हा नृत्य प्रकार काही वेळा तमाशाचा एक महणून सादर केला जातो.
• लावणी हा नृत्य प्रकार १८ व्या किंवा १९ व्या शतकामध्ये उदयास आला आणि लावणी हा नृत्य प्रकार महाराष्ट्रातील पारंपारिक नृत्य प्रकार आहे.
• लावणी दोन सादरीकरणामध्ये सादर केली जाते ती म्हणजे फडाची लावणी आणि बैठकीची लावणी.

आम्ही दिलेल्या lavani dance information in marathi माहितीमध्ये काही चुकीचे आढळल्यास आपण तत्काळ आम्हाला comment box आणि email लिहून कळवावे तुम्ही दिलेली माहिती योग्य असल्यास आम्ही त्यामध्ये नक्की बदल करू.

मित्रानो तुमच्याकडे जर “लावणी नृत्य माहिती मराठी” marathi lavni dance बद्दल अधिक माहिती असेल तर आम्हाला कंमेंट बॉक्स मध्ये कळवा आम्ही ते या lavani information in marathi या article मध्ये upadate करू, मित्रांनो हि information of lavani in marathi माहिती जर तुम्हाला आवडली असेल तर तुमच्या मित्र मंडळींमध्ये marathi dance name Share करायला विसरू नका धन्यवाद अधिक माहितीसाठी भेट द्या : इनमराठी.नेट

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Performing intimacy: slavery and the woman’s voice in eighteenth-century Marathi lavani

2021, South Asian History and Culture

This article provides an optic for understanding the genre of the Marathi love lyric, lavani (lāvaṇī), and its emotionality. The genre reached its greatest popularity during the turn of the nineteenth century, receiving broad popular support as well as patronage from the Maratha State. Often contrasted with the povada (povāḍā), defined essentially as a heroic ballad that recounts the feats of larger than life historical persons, the two have been seen in tandem, paired for their characterization of masculine valour and feminine eros. Each genre, relying on the other to form a complete picture, providing the appropriate context in a dialogue of genres. Despite the contrast and obvious references to warfare in the povada, however, most scholars have not acknowledged the eros of lavani as a product of its historical circumstances. Instead, generations of scholars have often characterized lavani as immoral, about women who are ready to swindle heroic men out of their hard-earned riches – riches earned from plunder and warfare in the eighteenth century. In this article, I steer away from moralizing discourses, and instead historicize the lavani’s aesthetics and emotionality within the contexts of warfare, displacement, and slavery – the material conditions under which lavani reached its apex. I consider the emotional language of the lavani as a desire for social intimacy, attachment, and protection, rather than an attempt at duplicity. The Maratha State frequently sold slaves for revenue generation, and often even granted slaves in lieu of payment; these activities disproportionately affected women. In reading the lavani genre, especially the woman’s voice, within its historical contexts, therefore, I argue for a materialist understanding of the lavani’s emotionality.

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Dancing to the Beats of Lavani: Maharashtra’s Unforgettable Folk Dance Experience

• Post author By Mala Chandrashekhar
• Post date November 5, 2023
• No Comments on Dancing to the Beats of Lavani: Maharashtra’s Unforgettable Folk Dance Experience

ॐ श्री गुरुभ्यो नमः   ॐ श्री शिवानन्दाय नमः ॐ श्री चिदानन्दाय नमः   ॐ श्री दुर्गायै नमः  

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Lavani is a combination of traditional song and dance which is performed to the dholki drum. Noted for its powerful rhythm and eroticism, Lavani has contributed to the development of Marathi folk theatre.

In Maharashtra and southern Madhya Pradesh, it is performed by women wearing nine-yard-long saris. The songs are sung at a quick tempo.

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Lavani  is a combination of song and dance that is most commonly associated with the state of Maharashtra as well as the surrounding areas in the Konkan or Coastal Region.

The word ‘Lavani’ is derived from the word Lavanya, which means ‘beauty’. Lavani aims to take various aspects of social life such as politics, religion, romance, etc. and present them in an entertaining form.

Background :

The Lavani dance originated as a form of morale booster for warring troops during the 18th and the 19th century when the state of Maharashtra was embroiled in conflict and turmoil.

The dance form reached the peak of its popularity during the rule of the Peshawari Dynasty that was seated in Pune during which it was given support by the ruling elite.

The Lavani dance is generally performed by Dhangars or shepherds living in the Sholapur district of Maharashtra. They are inspired by nature and the dance form contains tales of the birth of Biruba, their deity.

The more commonly performed forms of the Lavani dance are concentrated in Maharashtra and are not restricted to the Dhangar community.

The Performance :

It is performed by women who dance to the beats of a Dholak, which is an Indian drum.

It isn’t uncommon for the Dholak to be accompanied by other instruments like a cymbal called the Manjeera, a string instrument called a Tuntuni, a Daf which is quite similar to a tambourine but has a single leather surface, along with a harmonium.

The tempo of the music and the dance is quite fast, and the music is supported by the performers themselves who wear ankle bells called the Ghungroo. The quick tempo helps pump up the dances as well as the crowd and a Lavani performance is generally quite vivacious and energetic.

A Lavani performance can be broadly categorized into two parts. The Nirguni Lavani, which deals with philosophy and Shringari Lavani which deals with sensuality.

Shrinagri Lavani is more popular than Nirguni Lavani and is performed in theaters as well as Bollywood movies. Shringari Lavani deals with a multitude of genres, with the love between a man and a woman being the most prominent.

Themes such as the sexual union between husband and wife, adultery, menstruation as well as childbirth are common themes that are enacted. Long performances of the Lavani depict various situations such as the separation of a husband and wife or the passionate endeavors of soldiers.

Style and variety :

The quintessential part of each performance is the saree. The saree worn by the performers is longer than the usual and is called a nauvari, which is wrapped around in a Kashta drape.

Buy Jewellery for Lavani dance

A nauvari Saree measures 9 yards in length. The unique Kashta drape is not only much more comfortable as compared to other forms of draping a Saree, but allows for a greater movement.

Since the  nauvari saree  generally goes hand-in-hand with the kashta drape, and the dance requires fast-paced movement, traditional cotton Sarees are the ideal choice.

Although it can be argued that it is easier to manipulate lighter materials like chiffon into the kashta drape, cotton is better because it will prevent the Saree from riding up. Moreover, cotton is a cool and strong fabric that absorbs sweat easily and is less likely to tear or get damaged.

Besides the Saree, the performers also tie their hair back in bun called a Juda or Ambada. The performers may also choose to wear a Gajra which is a flower garland for the hair. Performers also wear heavy jewelry that includes necklace, earrings, a nose ring called a nath, and bangles.

They also wear a Kamarpatta which is a belt at the waist. On their feet, performers wear Payal or Ghungroo which not only looks beautiful, but can also be considered a musical instrument in its own right. Lavani performers also put a large red bindi on their forehead.

Perception of the Dance Form :

Its popularity has reduced in the recent times and most people consider it passé. Due to the sensuous nature of the dance form as well as its depiction in mainstream Bollywood films, the performers of Lavani are stereotyped and discriminated against.

Currently, 40 medium sized troupes performing Lavani and about 600 small troupes exist in the state of Maharashtra alone.

Interesting Facts :

A performance in front of a large audience is called Padhachi Lavani. It is performed for a small select audience is called Baithakichi Lavani and is performed by a solitary woman who is sitting down.

A traditional Lavani drama goes on through the night and at the end of one, a replica of the Manmathas mount is burnt.

There are males who perform this dance form. These male dancers are called Nats or Kinnars. One other dance form associated with Lavani is known as the Tamasha.

Lavani , the most popular dance form of Maharashtra derives its name from Lavanya, which is translated as beauty.

It is performed by beautiful women wearing nine yards sarees and dancing to the beats of a drum-like instrument called dholak. The movements are gyrating and spiral and involve intricate leg and hip movements.

The Lavani is a traditional dance form which earlier depicted the life of the ordinary people, society, overall. It later went on to be performed for the tired soldiers of the Maratha battles and further on came to be misused for the entertainment of influential people.

The disrepute gained in this process maligned the dance form for a few years but it was eventually revived by several great poets and reformers and its lost glory was thereby reinstated.

Today, Lavani is performed in the Baithi (sitting position) form also, in addition to the traditional standing position.  To see Video of Top 8 Lavani songs.

Lavani is a genre of music popular in Maharashtra, India. 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. 

In Maharashtra and southern Madhya Pradesh, it is performed by the female performers wearing nine-yard long  Sarees . The songs are sung in a quick tempo.

Etymology :

According to a tradition, the word Lavani is derived from the word Lavanya which means beauty. According to another tradition, it is derived from Marathi Lavene.

History and Genres :

Traditionally, this genre of folk dance deals with different and varied subject matters such as society, religion and politics. The songs in ‘Lavani’ are mostly erotic in sentiment and the dialogues tend to be pungent in socio-political satire. 

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. The Nirguni Lavani (philosophical) and the Shringari Lavani (sensual) are the two types. The devotional music of the Nirguni cult 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, 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.

Lavani Dress

The ladies that perform lavani wear a long  Sari  length around 9 yards. They form a bun (Juda in Hindi or Ambada in Marathi) with their hair.

Lavani Saree for kids on Amazon India

They wear heavy jewellery that includes necklace, earrings,  Payal , Kamarpatta (a belt at the waist), bangles etc. They usually put a large  Bindi  of dark red color on their forehead.

The sari they wear is called Nauvari. The Sari is wrapped and is more comfortable as compared to other Sari styles.

There are also men that dance in Lavni along with the ladies. They are the called nat (male dancer) usually the Kinnars. These men dance in support with the lead dancer.

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 and Lok Shahir  Annabhau Sathe  (1 August 1920 – 18 July 1969) has contributed significantly for the development of this genre of music.

Lokshahir  Bashir Momin Kavathekar  is the popular present day Shaheer/ Poet of Lavani whose compositions are presented on stage by Surekha Punekar, Sandhya Mane, Roshan Satarkar and many Tamasha Troupes since the early 1980s.

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 male.

Vithabai Narayangaonkar, Kantabai Satarkar, Surekha Punekar,Managala Bansode, Sandhya Mane,  Roshan Satarkar  are well known artiste presenting Lavani on stage.

Lavani can also be termed as a romantic song sung by 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 masses. Movies such as Pinjara and  Natarang  not only attempted to blend traditional music with social messages but also helped portray Lavani world in positive light.

By Mala Chandrashekhar

Introducing Blogger Mala Chandrashekhar - a specialist academically trained in modern Western sciences, yet deeply enamored with India's timeless ethnic arts, crafts, and textiles. Her heart beats for the rich and glorious cultural and spiritual heritage of India, and she has dedicated her entire blog to spreading the immortal glories of ancient India worldwide. Through her simple yet impactful blog posts, Mala aims to reach every nook and corner of the globe, sharing India's beauty and wisdom with the world.

But Mala doesn't stop at just sharing her own thoughts and ideas. She welcomes constructive criticisms and suggestions to improve her blog and make it even more impactful. And if you share her passion for India's culture and heritage, she extends a warm invitation for high-quality guest blog posts.

Ready to dive into the world of India's ageless beauty? Follow Mala on LinkedIn and join her in spreading the magic of ancient India to the world.

LinkedIn Profile : https://in.linkedin.com/in/mala-chandrashekhar-04095917a

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The captivating music of Lavani

MUMBAI: A comparatively known form of music, Lavani originated in Maharashtra. Lavani can be categorised as Shringari lavani or Nirguni lavani . As the name suggests, shringari lavani explores the Shringar (Love) bhaav borderlining sensuality; whereas Nirguni Laavni is devotionally inclined. However, off late this form of music has only been known for its sensual content.

There are two basic broad forms of Lavanis , Phadachi Lavani and Baithakichi Lavani . Phad meaning a troupe, presents their performance for public on large platforms. Whereas, Baithakichi, literally meaning ‘of the sitting’ lavani is presented for a select audience where the presenter or the danseuse sits down in front of audience and performs. The other forms of Lavani are Andhartli Lavani (Lavani in the dark) or Chaukichi or bhedkichi Lavani (Heart piercing). However, Andhartli Lavani was banned due to it explicit and overtly bold content.

Lavani is a combination of narrative, which could be of socio-political relevance, singing and high-on energy performances by the female dancer. The narrative is usually a satire presented by a male actor known as nat , who are mostly eunuchs. The dance performances are set to the percussion instrument, Dholki.

With evolution, Lavani today is still presented at grass-root level and sometimes in urban set-ups under the folk-music bracket. The art form is known due to its heavy usage of it in movies. Be it Madhuri Dixit’s Main Kolhapur se aayi hoon or Vidya Balan’s Mala Jau De , these songs have depicted the Lavani form of music in Hindi movies. Marathi movies have had entire motion pictures made just on this art form. Be it V.Shantaram’s epic Pinjara or more recent Natrang . Each song in these movies have been popular. Lavani in Marathi movies have been sung by Asha Bhosale, Usha Mangehskar, Sulochana Chavan which got immensely popular and are still performed on widely.

The art form has given some of the most legendary musicians and performers. Currently, Yamuna bai Waikar, SatyahamaBai Pandharpurkar and Surekha Punekar are the veterans of Lavani.

The dance on Lavanis are extremely high on energy and can attain fast paced rhythm cycles. The danseuses are dressed peculiarly and decked up heavily to lure the audiences. The basic reason why the art form got the stigma is because the narrative and lyrics could be beyond the code of conduct or social decency. This art form was developed in a time and age when women were supposed to be under the veil. Also, in the beginning, a legit bidding would happen for women performers by male audiences and the performers were to perform on order. This process was called Daulat Jadda, which began in Mughal rule, for mujra performances. An otherwise rich art has been stigamised. However, government has taken cognizance of contributions made by Lavani artistes, even though sparsely, as some of the are awarded with prestigious awards.While this art form stays alive in the inetriors, some of the artistes of this form are known to be facing challenges to survive, no different story from other folk music forms.

The basic problem stays that it is too mainstream for the elite. However, there is more to this form that just gyrating and pelvic thrusts. It requires phenomenal performance quality, ability to hold the audience and sometimes sing and dance at the same time. No mean feat.

Lavani from the movie Sangte Aika sung by Asha Bhosale

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Madhuri Dixit’s Lavani in Anjaam

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Lavani: The Most Popular Folk Dance Form of Maharashtra

by Lakshmi Kalarikkal May 12, 2022

Lavani is a traditional folk dance belonging to the state of Maharashtra and other Konkan regions. Besides being a popular dance, Lavani holds recognition as a famous music genre in Maharashtra.

Evolution Of Lavani Through The Ag es

History Of Lavani

Forms Of Lavani

Famous Celebrities Who Contributed To Lavani

• Marathi Shahir poet-singers like  Parasharam, Ram Joshi, Anant Fandi, Honaji Bala, Prabhakar, Saganbhau, Lok Shahir,  Annabhau Sathe.
• Honaji Bala introduced table into Lavani performances for percussion and also the Baithakichi Lavani form.
• Lokshahir Bashir Momin Kavathekar is a contemporary poet. Surekha Punekar, Sandhya Mane, Roshan Satarkar and others have performed his compositions on stage since the 1980s.
• Satyabhamabai Pandharpurkar and  Yamunabai Waikar are other contemporary artists.

Performance

Stereotypes

Did You Know?

Written by Lakshmi Kalarikkal

Lakshmi Kalarikkal is pursuing her degrees in History and Economics at Mumbai University, although she has been researching, studying and writing about the world around her for far longer than that. With over a decade of professional training in classical dance and music, she is deeply interested in Indian culture and lifestyle. She has studied many aspects of Indian life ranging from Ancient India to the present century, both in her formal classroom and beyond it. With a penchant for reading and writing history, she works to enrich the Ethnic Lifestyle and Joyful Celebrations pages at Yeh Hai India with well researched stories about the culture and life in India.

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Folk Dances of Maharashtra, Colourful Expressions of Marathi Culture

• Folk Dances
• Maharashtra

Table of contents

1. lavani dance, 2. koli dance, 3. dhangari gaja dance, 4. povadas dance, 5. lezim dance.

Maharashtrian culture revolves around dancing, and many folk dances are performed during festivals, marriage ceremonies, birth celebrations, and harvesting times. Lavani, Dhangarigaja, Lezim, Koli, and other traditional dances are popular in Maharashtra today . Lezim, Koli, Tamasha are performed by both male and female dancers whereas Lavani is performed by only females and  Only males perform Dhangari Gaja.

The word Lavani comes from the Sanskrit word Lavanya, which means “beauty.” This form combines dance and music to address a wide range of issues such as society, religion, politics, romance, and so on. The dance is usually performed by attractive women wearing nine-yard saris to the enticing rhythm of dholak. These women moved sensually in time to a catchy melody and enticing lyrics. During the 18th and 19th centuries, Maharashtra was a battle-torn state, and Lavani dance functioned as a form of entertainment and morale booster for the exhausted warriors. The dance was given royal patronage by the ruling class under the Peshwai (a dynasty based in Pune) rule, when it achieved its pinnacle popularity. Honaji Bala, Ramjoshi, Prabhakar, and other Marathi poets elevated Lavani to new heights.

Koli is a Maharashtra dance genre performed by the Koli fisher folk. The community has a distinct character as well as colourful dances. The dance contains elements that are most known to this culture, such as the sea and fishing. Men and women are divided into two groups for the dance, with fishermen standing in two rows with oars in their hands. The dancers move in lockstep, simulating the motion of rowing a boat. Fisherwomen are lined up in opposite rows, arms interlocked, and marching towards the men. The distinct formations then split up, and the dancers join together in motions that represent waves, breakers, rowing from cliff to cliff, and casting nets to catch fish.

The Dhangars of Maharashtra’s Sholapur area become acquainted with nature as they herd their cattle to verdant pastures for grazing. They write poetry called ovi about nature and their God Biruba, inspired by the visual grandeur. When they return home once a year, they pay homage to God Biruba. They spend their time with their loved ones and families. And it is at this time that the Dhangari Gaja dance is performed in order to appease their God and thank Him for His bounties. Dhangar dancers wear traditional Marathi attire such as dhoti, angarakha, and pheta, as well as colourful handkerchiefs. During the dance, they usually move around a group of drummers.

Povadas are sung in the style of Marathi ballads. This dance genre depicts the events in the life of Shri Chhatrapati Shivaji Maharaj, the famous Maratha emperor. Shivaji was the foundation of the Maratha Empire and fought the Mughals for the rest of his life. By 1680, the year of Shivaji’s death, he had virtually all of Deccan under his control. Shivaji was a superb warrior and one of India’s finest kings, and he is regarded as the most important figure in Maratha history. Maharashtrians hold this great hero in high regard and commemorate him through these melodies.

Maharashtra’s Lejim dance is popular during social and religious occasions, and is important in Maharashtra’s martial arts dances. Lezim is more of a strenuous physical workout and drill than a dance; formations can be in twos, fours, or even a circle. Every region of Maharashtra regularly performs the lezim dance. Ghoti Lejim, Ghungroo Lejim, Dakhni Lejim, and Palita Lejim are all part of this dance. Drums, Tasha, and cymbals are all common instruments in lezim dance.

In Persian, the word tamasha implies “fun” or “entertainment.” The tamasha dance form is thought to have evolved from the ancient Sanskrit theatre forms of ‘Prahsana’ and ‘Bhana.’ Song-dance troupes and Folk-drama troupes are the two types of modern Tamasha troupes. Tamasha is linked to the Kolhati and Mahar people. Many tales and love songs were written for Tamasha by the poet singers known as shahirs. Any Tamasha performance is enhanced by Kathak, Kavali, and Ghazal tunes. A devotional hymn usually precedes Tamasha, which is followed by the dramatic sequence known as ‘Gaulan.’ Tamasha’s energy is embodied in love songs like lavanis, which are extremely popular. To enhance the aestheticism of the dance, musical instruments such as the dholki drum, tuntuni (a single string instrument), manjeera cymbals, daf (a tambourine-like instrument with a single leather surface), halgi (smaller daf), the metal triangle known as kad’, the lejim (an instrument with a jangling sound), the harmonium, and ghunghroos (ankle bells) add dance’s aestheticism.

The folk art form should be preserved by government and private sector efforts to help preserve the lustre of India’s vanishing folk arts. Folk dances require ongoing financial and structural support in order to maintain and preserve our artistic traditions by holding workshops to improve dancers’ artistic skills, providing dance training to children and youth, organising tribal events, and launching specific schemes for the dance community’s benefit; otherwise, they may lose faith in their artistic power and motivation. People must work together and develop skills in order to achieve economic advancement and a sustainable livelihood. As a result, strengthening these folk art forms is critical, as they are at the heart of our society’s culture.

Image credits: The copyright for the images used in this article belong to their respective owners. Best known credits are given under the image. For changing the image credit or to get the image removed from Caleidoscope, please contact us.

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Maharashtrachi Sanskriti essay in Marathi language | महाराष्ट्राची संस्कृती मराठी निबंध

Maharashtrachi Sanskriti essay in Marathi language – भारतातील महाराष्ट्र हे राज्य त्याच्या मराठमोळ्या संस्कृतीसाठी ओळखले जाते. त्याचबरोबर महाराष्ट्र ही संतांची भूमी म्हणूनही ओळखली जाते. महाराष्ट्रात मुख्यतः मराठी भाषा बोलली जाते त्याचबरोबर मराठी संस्कृती समृध्द करणारे विविध सणवार, मराठमोळे दाग-दागिने, लग्नाचे विधी, रांगोळ्या केव्हां व कशा काढायच्या, सणावारांशी संलग्न अशा खास मराठी पाककृती, व्रत-वैकल्ये, परवचा व विविध स्तोत्रे इत्यादींसारख्या संस्कृतीशी निगडीत विषयांना वाहिलेले हे ‘संस्कृती’ दालन येथे पहायला मिळतात. विविध विषयांमध्ये लक्षणीय कामगिरी करून मराठी संस्कृतीची कीर्ती वृध्दिंगत करणाऱ्या मराठी व्यक्तींची माहितीही या दालनात जपून ठेवलेली आहे.

महाराष्ट्राच्या सामाजिक, सांस्कृतिक, राजकीय आणि आध्यात्मिक लोकजीवनाचा विचार करता या लोकजीवनाला वळण देणारे तीन महत्त्वाचे प्रवाह सांगता येतील. पहिला म्हणजे संतपरंपरा आणि महाराष्ट्र. दुसरा प्रवाह म्हणजे लोकपरंपरा आणि महाराष्ट्र तर तिसरा प्रवाह म्हणजे सुधारकांची परंपरा आणि महाराष्ट्र संतपरंपरेने भक्तिसाक्षर केले, लोकपरंपरेने भावसाक्षर केले तर सुधारकांनी बुद्धिसाक्षर केले. संतांनी विवेकप्रामाण्यवाद दिला. त्यावर सुधारकांचा बुद्धिप्रामाण्यवाद उभा राहिला. तर विवेक आणि बुद्धी या दोन सीमारेषांचे मोठेपण ओळखून कलावंतांनी विशेषतः लोककलावंतांनी कलाविष्कारातून मराठी मनाचे उत्कट भावदर्शन घडविले. संतांनी महाराष्ट्राला नेमके काय दिले, याचे उत्तर काय दिले नाही, असे द्यावे लागेल. मराठी भाषेच्या नगरीत ब्रह्मविद्येचा सुकाळ करून संतांनी भागवत धर्मातील भक्तीला अध्यात्मनिष्ठ मानवतावादाची बैठक दिली आणि आपल्या वाङ्मयातून आणि कृतीतून तो मानवतावाद जगाला दिला. महाराष्ट्राचे आणि संतपरंपरेचे एक अद्वय नाते आहे.

आचार्य अत्रे म्हणत, ज्ञानेश्वर माऊली हा महाराष्ट्राचा श्वास आहे तर तुकोबाराय हा निःश्वास. ज्या नामाचा गजर करीत लाखो वारकरी आध्यात्मिक स्तरावर अद्वैताची, तर सामाजिक स्तरावर साम्यभावाची अनुभूती घेतात, तो ‘ज्ञानोबा-तुकाराम’ हा महाराष्ट्राचा महामंत्र आहे. विचारांचे दैन्य फिटो, मनाचे आणि जगण्याचे सार्थक होवो तसेच विवेकाचा आनंद ओसंडून वहावो, ही अनुभूती सर्वांना लाभावी म्हणून महाराष्ट्राच्या लोकजीवनाशी संतांनी संवाद साधला. लोकपरंपरेचे मोठेपण ओळखून त्यात नवचैतन्य ओतण्यासाठी विवेकाची नवी दृष्टी दिली. त्याचा परिणाम असा झाला की, पंढरपूरच्या वाळवंटात भक्तिप्रेमाची पेठ फुलली. एकात्मतेची दिंडी निघाली. समतेची पताका खांद्यावर फडकली.

ग्रंथातील अद्वैतता कृतीत उतरली. अद्वैतभावाची देवाण-घेवाण झाली. सदाचाराचा व्यापार फुलला आणि पंढरीच्या वाळवंटात एकचि टाळी झाली. त्या टाळीचा निनाद संपूर्ण महाराष्ट्रभर घुमला. ही टाळी ज्याला पकडता आली त्याला महाराष्ट्र समजला. भक्तीच्या व्यासपीठावर सारे एक झाले. संतांनी सांगितलेला भक्तिवाद हा केवळ निवृत्तिवाद नाही तर शुद्ध प्रवृत्तिवाद आहे. त्यामुळेच ज्ञानरूप ब्रह्मतत्त्व प्रेमरूप करण्यासाठी तर प्रेमरूप भक्तितत्त्वातून वास्तवाचे दर्शन घडविण्यासाठी संतपरंपरा उभी राहिली. विठ्ठलभक्ती, अध्यात्मदर्शन याबरोबरच पर्यावरण, सामाजिक जाणिवा, सामाजिक मूल्यांचे सद्विचारदर्शन, जगण्यातली स्वाभाविकता, प्रतिकूलतेवर मात करण्याची भूमिका, शुद्ध जीवनप्रणाली आणि लौकिक व्यवहारनीति जागवून लोकजीवनातील भक्तीची गंगा अखंड वाहती ठेवून त्यांनी जीवनवादी विवेकदर्शन उभे केले. या भूमिकेतून संतांनी घडविलेले लोकसंवादी प्रकटीकरण, म्हणजेच ‘भक्तिसाक्षरता’ होय.

महाराष्ट्राला प्राचीन परंपरा आहे. इतिहासाचार्य चिं. वि. वैद्य यांच्या मते ही प्राचीनता सनपूर्व 600 पर्यंत मागे जाते. आज आपण ज्याला महाराष्ट्र म्हणतो त्या सर्व भूप्रदेशाला एक अभिधान प्राप्त होण्यापूर्वी विदर्भ, अश्मक, कुंतल, अपरान्त, बोपराष्ट्र, मल्लराष्ट्र, पांडुराष्ट्र अशा भिन्न भिन्न घटक विभागात महाराष्ट्र संस्कृतीची जोपासना होत होती. सातवाहनांच्या शिलालेखात ‘महारठी’ हे नाव आढळते. यावरूनच या प्रदेशाला ‘महारठ’ म्हटले जाऊ लागले आणि त्याचे संस्कृत रूप म्हणून ‘महाराष्ट्र’ हे नाव प्रचलित झाले. वररुची, वात्सायन, भरतमुनी यांच्या ग्रंथात महाराष्ट्र हे नाव आढळते. म्हणजे किमान दोन हजार वर्षे या भूप्रदेशाचे महाराष्ट्र हे नाव प्रचलित आहे. मार्कंडेय, वायू आणि ब्रह्मपुराणातही महाराष्ट्र हे देशनाम सापडते. तेथून पुढे अनेक संस्कृत आणि प्राकृत ग्रंथांतही ‘महाराष्ट्र देशी’ असे संदर्भ आढळतात. स्वतः ज्ञानदेवांनी ज्ञानेश्वरीच्या शेवटी, पसायदानानंतर ‘ऐसे युगी परी कळी। आणि महाराष्ट्रमंडळी। श्री गोदावरीच्या कुली।’ असा ग्रंथनिर्मितीच्या स्थळाचा उल्लेख केला आहे. इथे महाराष्ट्रमंडळी हा शब्द महाराष्ट्रदेशी अशा अर्थी आहे. सनपूर्व 300 च्या सुमारास महाराष्ट्री भाषेमुळे महाराष्ट्र संस्कृती निर्माण झाली. सनपूर्व 235 च्या सुमारास प्रतिष्ठान नगरीत सातवाहनांची सत्ता स्थापन झाली. सातवाहनानंतर वाकाटक, चातुक्य, राष्ट्रकूट आणि यादव या महत्त्वाच्या राजघराण्यांनी महाराष्ट्रावर राज्य केले. हे राजे सुसंस्कृत, प्रजाहितरक्ष आणि कलेचे भोक्ते होते. याच काळात कला, नृत्य, संगीत यांचा उत्कर्ष होऊन महाराष्ट्र संस्कृती भरभराटीस आली. इ. स. 1318 साली यादवांची सत्ता संपुष्टात आली. परकियांची मोठी आक्रमणे झाली. लोकजीवन आणि संस्कृतीवर आघात होऊ लागते. सामाजिक संतुलनाला बाधा आली. राजकीय अस्थैर्याचा तो कालखंड. राजकीय परिस्थिती अस्वस्थ होती. अत्याचार, दुराचार, अनाचार, भ्रष्टाचार याने सारा समाज पोखरला. दंभाचार, बुवाबाजी, राजकर्त्यांची सत्ता संपादण्याची असूया, त्यासाठी प्रजेला वेठीस धरणे, गावगुंडांचा गोंधळ यातून लोकजीवनाला उपसर्ग पोहोचत होता.

भौतिक दुरवस्था आणि मानसिक गुलामगिरी यामुळे सामान्य जनता जडमूढ व अगतिक बनली. समाजाची आत्मनिर्भरता हरवली. या केविलवाण्या स्थितीतून तिला मुक्त करण्यासाठी संतचळवळ जन्माला आली आणि देशभाषेची म्हणजे मराठी भाषेची प्रतिष्ठा, भक्तिपंथाचा उदय तसेच कर्तव्यप्रधान समाजजीवन यातून संतप्रबोधनाची दिशा स्पष्ट झाली. लोकसंस्थेचे मोठेपण ओळखून रात्रंदिवस लोकांमध्ये वावरूनच त्यांनी समाजाच्या अंतरंगात आणि बाह्याचारात नवचैतन्य ओतले आणि त्याचे चैतन्यरूप लोककलेच्या अंगाने अधिक समृद्ध झाले. खरेतर संतपरंपरेच्या खूप अगोदरपासून महाराष्ट्रात लोककला आणि लोकपरंपरा उभी होती. लोककला, लोककाव्य, लोकवाणी हे सारे लोकजीवनाशी जेव्हा जोडले जातात, तेव्हाच लोकसंस्कृती उभी राहते. ज्ञानदेवांच्या अगोदरपासून या महाराष्ट्राला काहीतरी सांगणारा, शिकविणारा, आणि जाता जाता प्रबोधन करणारा एक वर्ग या महाराष्ट्रात नांदत होता. वाघ्या, मुरळी, भराडी, गोंधळी, कोल्हाटी, फकीर, मानभाव, दरवेशी, वासुदेव, पिंगळा या साऱ्या लोकभूमिका गावगाड्यात होत्या. पारंपरिक लोककलांमधून त्या लोकांचे मनोरंजन करत होत्या तर दुसरीकडे नीतीचे दोन शब्द सांगून प्रबोधनही घडवित होत्या. मराठी संतांनी विशेषतः एकनाथांनी या प्रतिकात्मक लोकभूमिकांमध्ये रूपकात्मक पद्धतीने अध्यात्मविचारांची मांडणी करीत भारुडे लिहिली. समृद्ध लोककलांचा वारसा महाराष्ट्राला लाभला आहे. महाराष्ट्राची लोककला, लोकभूमिका, लोकगीते यांना नृत्य, नाट्य, संगीत, संवाद याची जोड मिळाली आणि ‘मराठमोळा लोकरंग’ उभा राहिला. या लोकरंगात गण आला, गौळण आली, पोवाडा आला, लावणी आली, कटाव आला, भारूड आले. लळित, दशावतार, कीर्तनही सहभागी झाले. लोकधर्माला जागविणारे गोंधळ, जागरण आणि भराडही आले. निखळ मनोरंजनाचा मराठमोळा तमाशाही आला आणि वीरश्री फुलविणारा पोवाडाही. ज्या गावात कीर्तन झाले नाही आणि ज्या गावाने तमाशा पाहिला नाही असे गाव महाराष्ट्रात नसेल. मराठी मन कीर्तनाच्या भक्तिरसात रंगून निघाले तर लावणीच्या पद-शब्दलालित्याने शृंगाररसात न्हाऊन निघाले. मराठी मनाला रिझविणारी लावणी ही यौवनाने, शृंगाराने आणि सौंदर्याने नटलेली. महाराष्ट्रीय लोकसंस्कृतीची एक सौंदर्यवती-नटरंगी नार आहे.

इ.स. 1843 च्या सुमारास सांगलीला विष्णुदास भावे यांनी पौराणिक नाटकाचे यथार्थ रूप लोकांसमोर आणले आणि पुढे मराठी संगीत रंगभूमी समृद्ध झाली. मराठी माणूस जेवढा भजन-कीर्तनात रमला तेवढाच संगीत नाटकात. तो जेवढा शास्त्रीय गाण्याच्या मैफिलीत रंगला तेवढाच तमाशा-लावणीतही. ह्या कलाआविष्काराने आणि विशेषत्वाने लोककलेने, मराठी माणसाचे भावविश्व अधिकाधिक खुलू लागले. त्या भावदर्शनात तो स्वतःला विसरला. या लोककलांनी प्रबोधनाचे एक वेगळे तत्त्व उभे केले. लोकशाहीर अण्णाभाऊ साठे यांची ‘माझी मैना गावाकडं राहिली। माझ्या जिवाची होतीया काहिली’ ही संयुक्त महाराष्ट्राच्या चळवळीतील लावणी, त्याचे उत्तम उदाहरण म्हणावे लागेल. वरवर शृंगाराचा मुखडा घेऊन आलेली ही लावणी, पुढे

मैना गावाकडे एकटी भेट नाही तिची। तीच गत झाली ह्या खंडित महाराष्ट्राची।

महाराष्ट्रातील सुधारकांचा विचार करताना, ‘महाराष्ट्र ही महान व्यक्तींची जन्मभूमी आहे, महान कृतींची कर्मभूमी आहे, अभंग उक्तीची स्फूर्तिभूमी आहे आणि अलौकिक त्यागाची व सेवेची यज्ञभूमी आहे,’ हे आचार्य अत्र्यांचे विधान किती यथार्थ आहे, हे लक्षात येते. महाराष्ट्रात बाळशास्त्री जांभेकरांपासून सुरू झालेली सुधारकांची मालिका सामाजिक स्तरावर तर्कनिष्ठ बुद्धिवादी विचारांचा प्रवाह पुढे नेत होती. लोकहितवादी, महात्मा फुले, न्या. रानडे, गोपाळ गणेश आगरकर, विठ्ठल रामजी शिंदे, डॉ. बाबासाहेब आंबेडकर, स्वा. सावरकर, महर्षी कर्वे, गाडगेबाबा अशा सुधारकांनी त्यागाची आणि सेवेची यज्ञभूमी उभारून वेळोवेळी बंडाचे निशाण फडकावले. बुद्धिप्रामाण्यवादातून महाराष्ट्राच्या ह्या बंडखोरांची परंपरा वैचारिक क्षेत्रापर्यंत आणून ठेवली. धर्मवादाला परंपरेच्या जोखडातून मुक्त करून विज्ञाननिष्ठ सुधारणावादाची जोड देत महाराष्ट्राला पुरोगामी दृष्टी दिली. हीच बुद्धिसाक्षरत्वाची खरी साक्ष आहे. या परंपरा आणि प्रवाह पाहता संत, लोककलावंत आणि सुधारक यांचा विसर पडणे, हा महाराष्ट्राच्या सांस्कृतिक साक्षरतेचा पराभव आहे, असेच म्हणावे लागेल.

प्रत्येक संस्कृतीची विशिष्ट रचना असते. त्या विशिष्ट रचनेत सर्व सामाजिक संस्था अंगप्रत्यंगाप्रमाणे एकमेकांत ओवलेल्या असतात. धर्म, नीती, शिष्टाचार, कर्मकांड, कायदा, विवाहसंस्था, आर्थिक उत्पादनपद्धती इ. सामाजिक संस्था व सामाजिक प्रवृत्ती एकमेकांत गुंतलेल्या असतात त्या एकमेकांवर अवलंबून असतात. त्यांच्यात सहकार्य व विरोध सुरू असतो. त्यांच्यापैकी एकात बदल झाला की, त्याचा परिणाम इतरांवर होतो. संस्कृती ही अंगप्रत्यंगांनी युक्त अशी रचना किंवा आकार आहे. प्राथमिक स्थितीतल्या किंवा उन्नत स्थितीतल्या प्रत्येक समाजाचे सांस्कृतिक जीवन भिन्न असते. 19 व्या शतकात ‘मराठी भाषेचे शिवाजी’ म्हणवणाऱ्या चिपळूणकरांनी तिच्या वृध्दीची हाक दिली. माधव जूलियन यांनी 1922 मध्ये या मायबोलीची सुंदर आरती आळवली. स्वातंत्र्यवीर सावरकरांनी भाषाशुध्दीची जोरदार मोहीम उघडली. विसाव्या शतकाच्या उत्तरार्धात ग्रामीण, दलित, आदिवासी अशा साहित्यप्रवाहांनी मराठीला नवे चैतन्य प्राप्त करून दिले. जागतिक मराठी परिषदेने ‘हे विश्वचि माझे घर’ या उक्तीचा अनोखा आविष्कार घडवला. आता संगणकाशी सलगी करत मराठी भाषा विस्तारत आहे. माझ्या मला अभिमान आहे.

Maharashtra chi Sanskriti essay in Marathi language. महाराष्ट्राची संस्कृती हा निबंध कसा वाटला ते कमेंट करून नक्की सांगा.

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