A woman in a nine-yard sari, anklets tinkling as she dances to the beat of the dholki — for many, this is the image of lavani. But how much do we really know about the woman behind that image?
This will be the central question of Lavanyavati (a performer of lavani), a documentary theatre production by Kali Billi Productions which will be performed at The Lab @ Shanta on October 1.
Lavani, an art form from Maharashtra, was traditionally performed by women from communities such as Bhatu, Kalwat and Dombari, many of whom are from nomadic or OBC (Other Backward Class) communities. Historically, while the performers have mostly been women, in spaces such as tamasha and sangeet bari, the audiences have largely been men from dominant communities.
Years ago, when Savitri Medhatul, founder, Kali Billi Productions, began researching lavani, she realised that its portrayal in popular culture was skewed, with lavanyavatis often being labelled as vulgar or perceived as the ‘other woman’. She felt this narrative needed to change. Savitri along with a team of six, will be performing at the Lavanyavati.
“To counter such fictional narratives woven around lavani artistes, the production has been built around research, oral histories, interviews and personal narratives, using a non-fiction format,” says Savitri, explaining the choice of documentary theatre.
For Savitri Medhatul, encountering traditional lavani artistes through dramatised stage performance and conversation is key to changing perceptions of the form. | Photo Credit: Special arrangement
“Lavanyavatis have been perceived either as vamps or victims. I wanted to challenge both these ideas and show that lavani women are independent, intelligent, and artistic entrepreneurs. The problem was never the women, but the larger patriarchal society,” she says.
At the heart of lavani is shringara rasa (emotion of love). While the form can be burlesque, Savitri believes its texts can be viewed through a feminist lens, allowing the performance to be seen as an expression of agency and empowerment rather than exploitation.
For her, encountering traditional lavani artistes through dramatised stage performance and conversation is key to changing perceptions of the form. “Once you meet traditional lavani artistes, you understand that the portrayal of them in popular media is wrong. But it is important to have that encounter.” Through Lavanyavati, the group hopes to facilitate that encounter by bringing the artistes’ narratives to urban, middle-class, and upper-middle-class audiences, thereby changing the way lavani is perceived. The production has previously performed in Goa, Mumbai and Delhi
“Everybody talks about the pride of lavani, but nobody talks about the sustenance of these artistes,” says Savitri, adding that Government support and patronage are necessary if the traditional form is to survive.
Over the years, Savitri has also observed positive changes in the way lavani has accessed and perceived. The form is no longer confined to the communities that have traditionally performed it, with lavani workshops drawing people from diverse backgrounds across Maharashtra. The growing interest in learning and performing the form, she says, offers hope for its sustenance.
The association of lavani with vulgarity has also begun to shift, with the form finding newer audiences through Hindi cinema and other popular platforms. For Savitri, the growing interest is a positive sign.
ThroughLavanyavati, she hopes to take that conversation further. “It’s like a domino effect. Through the performance, I hope it will spark more conversations about lavani keeping it alive,” she says.
Lavanyavati, a documentary theatre production by Kali Billi Productions, will be presented at The Lab@Shanta on Thursday, October 1, at 7pm.